World Screen MIPCOM October 2021 by World Screen

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WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

MIPCOM/October 2021 Edition

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THE MAGAZINE OF INTERNATIONAL MEDIA

WWW.WORLDSCREEN.COM

THE STATE OF

Scripted Cathy Payne Banijay Kevin Beggs Lionsgate Fred Burcksen ZDF Enterprises Louise Pedersen All3Media Tim Gerhartz Red Arrow Fernando Szew MarVista

Gilles Pélisson TF1 David Nevins ViacomCBS Dick Wolf Talks Crime Procedurals

OCTOBER 2021 ED IT ION

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FALL / WINTER 2021

HIGHLIGHT SELECTION Meet us at MIPCOM stand no. R7.D 5 zdf-enterprises.de

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NEW NEW RELEASES RELEASES FROM FROM

MARVISTA MARVISTA

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2-HOUR FEATURES WWW.MARVISTA.NET SALES@MARVISTA.NET

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CONTENTS

MIPCOM/OCTOBER 2021 EDITION DEPARTMENTS Publisher Ricardo Seguin Guise

WORLD VIEW By Anna Carugati.

Group Editorial Director Anna Carugati

UPFRONTS New content on the market.

Editor Mansha Daswani

TV LISTINGS Program listings for 100-plus distributors. TRENDING ON The most-viewed clips on our video portals in the last 30 days.

Executive Editor Kristin Brzoznowski Managing Editor Chelsea Regan

AUDRA MCDONALD

DICK WOLF

SPECIAL REPORT

THE STATE OF SCRIPTED This special report on how high volume, access to financing, availability of talent and crews, and viewer demand for unique storytelling are influencing scripted programming includes Q&As with Banijay Rights’ Cathy Payne, Lionsgate’s Kevin Beggs, ZDF Enterprises’ Fred Burcksen, All3Media International’s Louise Pedersen, Red Arrow Studios International’s Tim Gerhartz and MarVista Entertainment’s Fernando Szew.

ONE-ON-ONE

Associate Editor Jamie Stalcup Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Associate Editor, Spanish-Language Publications Rafael Blanco Contributing Editor Elizabeth Guider Production & Design Director David Diehl Online Director Simon Weaver

TF1’S GILLES PÉLISSON

Senior Sales & Marketing Manager Dana Mattison

The chairman and CEO of TF1 on boosting production, establishing a oneon-one relationship with viewers and offering content on multiple platforms.

Sales & Marketing Coordinator Genovick Acevedo Business Affairs Manager Andrea Moreno

ON THE RECORD

VIACOMCBS’S DAVID NEVINS A wide-ranging conversation with the chairman and CEO of Showtime Networks and chief content officer of scripted originals for Paramount+.

Contributing Writers Steve Clarke Andy Fry Joanna Stephens Jay Stuart David Wood

THESE TARGETED MAGAZINES APPEAR BOTH INSIDE WORLD SCREEN AND AS SEPARATE PUBLICATIONS:

TVKIDS

Ricardo Seguin Guise President

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GAME CHANGE BACK IN STYLE PREMIERE: UNDERCOVER BOSS CURIOSITY’S CLINT STINCHCOMB 16 WORLD SCREEN 10/21

Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development WORLD SCREEN is a registered trademark of WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.worldscreen.com ©2021 WSN INC. Printed by Fry Communications No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

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WORLD VIEW

BY ANNA CARUGATI

Harnessing Technology I have always considered September, not January, the beginning of the year. As a student for 16 years, the month represented new opportunities, challenges, learning and friends. I continued regarding the fall as a new beginning as I watched my children commence their own school years. Along with the welcomed anticipation of having someone else be responsible for my beloved young ones for eight hours each workday, September brought additional excitement—the start of the TV season, with the return of favorite shows and the arrival of new ones. When linear networks dominated, shows ended in May. (Yes, I know, I’m dating myself, but the Dallas “Who Shot J.R.?” cliffhanger was one for the record books.) We had to wait until the fall to see the continuation of the story. During the summer months, the networks reran series, so we had only one chance to catch an episode we had missed—something my kids’ generation considers a violation of human rights. Another memory for the history books: I, like many others, would anxiously await the Fall Preview issue of TV Guide to get the scoop on new shows. This was before EPGs, which today’s generation probably isn’t familiar with either. What a difference four decades have made. Think about the impact technology has had on the way series are created and consumed. Cable brought premium channels, which, coupled with programming executives who were willing to take risks and creators with innovative visions, gave us serialized stories. Video on demand started to unshackle us from linear schedules. Laptops, tablets and smartphones ushered in the era of “wherever, whenever” watching. Thanks to streaming, we have an abundance of choices at our ﬁngertips. We’ve also moved from the 500-channels-andnothing-to-watch complaint to, “I heard about show X, but can’t find it.” Viewers’ ability to discover and sample shows is essential to creators, producers and distributors. Costly and tricky even when linear networks ruled, today, marketing is challenging but more essential than ever. Streaming platforms want you to not only sample a show but stick with it till the end. And when you do, they promptly suggest other shows you might enjoy. Their endgame is ensuring you stay on the platform and not look for programming elsewhere. In jargon, we’ve moved from clicks to completion. Viewing hit record highs during the early months of the pandemic, not just on digital platforms but on linear channels as well. But just as dealing with Covid-19 had us craving the distraction programming could offer, the pandemic halted production of the shows we wanted to watch.

Production companies, producers and crews reached new levels of resourcefulness as they complied with Covid protocols and found ways of shooting series despite limitations. As a result, many shows that were delayed are reaching screens in the next weeks and months—a very special treat for those of us who feel the fall is the beginning of the year. But the variety and volume of shows offered is thanks to the time, funding and innovation that producers and distributors have invested. In the main feature of this issue, I examine the state of scripted television and what factors have been impacting the supply of shows in such hot demand. If anyone thinks creativity is the exclusive domain of writers and showrunners, think again. Finding suitable financing models at a time of elevating costs requires considerable inventiveness. So does matching talent with projects, as well as discovering original and fresh voices. I spoke with David Nevins, the chairman and CEO of Showtime Networks and chief content officer of originals for Paramount+, who was recently put in charge of Paramount Television Studios. Nevins has spent his career developing, executive producing and greenlighting shows, among them some of the biggest hits on broadcast and premium cable. He talks about brand clarity in today’s media environment, working with new talent and the importance of effective marketing. I also speak with Gilles Pélisson, the chairman and CEO of TF1 Group, home to the leading commercial broadcaster in France. While linear channels have undoubtedly felt the competition from streaming services, when a broadcaster offers must-see programming, viewers flock. TF1 saw its audience share grow—including those elusive young viewers—in 2020 and during the first half of this year, thanks to event dramas, entertainment shows and newscasts. Pélisson is quite aware broadcasters need scale to compete with the global streamers, and TF1 Group and M6 Group want to merge. As the transaction awaits approval from authorities, Pélisson is guiding the company toward a hybrid model that combines linear broadcasting with AVOD and SVOD offerings. Technology has been altering TV for decades and continues to do so. We, the viewers, are the beneficiaries— provided we can find the shows we want to watch!

Technology has been altering television for decades and continues to do so.

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UPFRONTS Next of Kin

A+E Networks Invisible Monsters / Next of Kin / Red Election The crime docuseries Invisible Monsters comes from A+E Networks’ factual production house Category Six. Shining a spotlight on notorious serial killers, it features interviews with survivors, investigators and family members to bring fresh insights into the culture of the ’70s and ’80s that allowed for such heinous killers to thrive. Next of Kin is an atmospheric, eight-part mystery drama set in the near future, in an increasingly uninhabitable version of Earth where genetic engineering is commonplace. Red Election is set in modern-day London and stars two female secret service agents—one English, one Danish—who become embroiled in a plot to steal a pivotal election. Robyn Hurd, VP of content sales in EMEA at A+E Networks, calls it a “ripped-from-the-headlines, race-against-time spy thriller.”

“Next of Kin has a distinctive arthouse feel that we’re thrilled to share with viewers.” —Robyn Hurd

Manhunt

All3Media International Manhunt / Fever Pitch: The Rise of the Premier League / Undercover Boss Martin Clunes stars in the true-crime drama Manhunt, on offer from All3Media International, with a second season coming later this year. “The ﬁrst series was one of ITV’s most-watched dramas of the year; odds are this will be too,” says Amreet Chahal, sales manager for the Asia Paciﬁc. In the way of premium factual, Fever Pitch: The Rise of the Premier League charts the start and development of Premier League football and features David Beckham, among other stars of the sport. The workplace format Undercover Boss continues to be in the spotlight. “The show has just seen a new edition produced for one of the biggest commercial broadcasters in the U.K., ITV, and it’s very relevant for us as we all look at how our companies may be restructuring to face Covid-19 times,” Chahal says.

“We have a great lineup across scripted, unscripted and formats that we are excited about.” —Amreet Chahal

ARTE Distribution The Mystery of Joan of Arc / Animal Odyssey / The Fire Under the Sea Among the programs on ARTE Distribution’s slate are The Mystery of Joan of Arc, Animal Odyssey and The Fire Under the Sea. The Mystery of Joan of Arc, a docudrama with 3D animation, focuses on the minutes before Joan of Arc’s trial. The ﬁve-part series Animal Odyssey takes viewers on a voyage around the world to discover where the animals of the Americas, Europe, Antarctica and Oceania really came from. The Fire Under the Sea offers a unique dive into the Mediterranean Sea with an international expedition searching for undiscovered underwater volcanoes. The programs “reﬂect our demanding editorial line: high-hand programs with the mission to inform and entertain in order to make better sense of the world in which we live,” says Florence Sala, head of international distribution.

Animal Odyssey

“We are always on the cutting edge to propose programs that you will never see elsewhere.” —Florence Sala

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Current Highlights

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Agatha Christie’s Hjerson

The Window Series / Crime + Suspense

10 x 45’

Series / Crime + Suspense

New

4 x 90’ / 8 x 45’ New

The Window is a character-based thriller set in the world of elite professional football. Focusing on an ensemble cast of players, agents, club owners, administrators and journalists, the series explores the cutthroat oﬀ-ﬁeld machinations of the game. The series begins at the end of the English football season — with the transfer window opening. Across ten episodes, The Window charts one summer in the life of Jordan Burdett, a 17-year-old Wunderkind who is on the wish list of every club in Europe. The tug of war begins…

A modern-day Agatha Christie spinoﬀ about Sven Hjerson, a once renowned criminal proﬁler who suddenly chose to retire from the spotlight, and Klara Sandberg, a trash TV producer who wants to reset her career with a true crime show that stars him. Hjerson has just been informed of his mother’s death and is forced to return to Åland. Klara manages to track him down and is on the same cruise ship heading to the archipelago. A young journalist is murdered on the ship. A reluctant Hjerson and a zealous Klara start to solve a string of murder mysteries.

Produced by: Boogie Entertainment in co-production with Fuji Television Network and ZDF Enterprises Cast: Tommy Bastow, Mel Raido, Teo Yoo, Samuel Jordan a. o.

Produced by: BR•F, TV4/C MORE, ZDF, Agatha Christie Ltd., Nadcon Film Cast: Johan Rheborg, Hanna Alström, Maria Lundqvist, David Fukamachi Regnfors, Björn Andrésen, Peter Kanerva

Sherlock — The Russian Chronicles

Before We Die (English language adaptation)

Series / Crime + Suspense

8 x 52’

Series / Crime + Suspense

New

6 x 60’ New

The action drama gives a Russian spin to the stories of the world’s most famous investigator. The story unfolds as Sherlock Holmes attempts to track down Jack the Ripper, who has ﬂed to St Petersburg in the year 1889. To help him navigate this unfamiliar country, Mr. Holmes is joined by Dr. Kartsev and Sophia who help him solve a series of mysterious crimes, while facing conﬂict and interference from the local police chief, Znamensky.

When her married lover and fellow police officer, Sean Hardacre, is reported missing under mysterious circumstances, Detective Hannah Laing launches an urgent search. She manages to contact ‘Issy’, one of Sean’s confidential sources. Meanwhile, Hannah and her partner start investigating the Mimica family after receiving a tip-off. The Croatian clan plans to smuggle a massive quality of cocaine into the country, but Hannah faces a conflict of interest when she finds out the informant is her son.

Produced by: SREDA, START Cast: Maxim Matveev, Irina Starshenbaum, Vladimir Mishukov

Produced by: Eagle Eye Drama Cast: Lesley Sharp, Patrick Gibson, Vincent Regan a. o.

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School of Roars Animation

The Muscleteers 104 x 7’

Preschool

Animation

45 x 11’

Season 2: Brand New

Brand New

Welcome back to the School of Roars, where monsters go to growl and grow. We bring you a brand new season of the hugely popular School of Roars, with even more adventures for Wuﬄebump, Yummble, Icklewoo, Meepa and Wingston, a class of loveable monster friends who together with their teacher, Miss Grizzlesniﬀ, experience one of life’s biggest challenges… starting school! There are also seasonal episodes, with a ‘Beaster Egg Hunt,’ a Halloween ‘Pumpkin Parade,’ and a Christmas episode featuring jolly monster ‘Frosty Claws.’

Welcome to the Harbor district, a bustling port full of activity and cosmopolitan flair. But its dark, shadow-filled alleyways are not always safe for the area’s rodent residents. Hunted by cats and exterminators, swept away with the garbage, driven from their homes by construction and stomping, oblivious humans; every day is filled with danger and hardship. But the flame of hope still burns thanks to our courageous protectors — The Muscleteers! Produced by: Caligari Film Web: www.zdfe-presents.de/the_muscleteers

Produced by: Dot to Dot Productions Ltd. Web: www.zdf-enterprises.de/schoolofroars

Scream Street Animation

6 — 10

Zoom — The White Dolphin 78 x 11’

6 — 10

Animation

104 x 12’

Season 2: Brand New

6 — 10 Season 2: Available Now

Scream Street is back: bigger, better, funnier and scarier than ever before. The new season sees teenage werewolf Luke and his friends, Cleo the mummy, and Resus the vampire, face all kinds of gruesome new monsters: the likes of ‘Vostradamus’ the ghostly fortune-teller, ‘Lorelei’ the siren singer as well as ‘The Destroyer of Worlds.’ It also sees the arrival of secretive new neighbour ‘Dr F,’ an evil scientist with a manic laugh, together with her new creation ‘Six,’ a teenage Frankenstein’s monster.

Yann (15) and his little sister Marina (7) live on the island of Maotou, a tiny corner of paradise lost in the Paciﬁc Ocean. Yann has formed a bond of friendship with Zoom, a white dolphin of exceptional intelligence. In the new season, our heroes and their Polynesian friends are confronted with fresh dangers. Through Ramana, the custodian of local legends, Yann and his friends are also set on the trail of the mysteries that shroud the history and origins of the island.

Produced by: Coolabi Productions, Factory, Nau Productions Web: www.zdf-enterprises.de/screamstreet

Produced by: Media Valley, Marzipan Films Web: www.zdfe-presents.de/zoom

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Wildlife + Nature + 1 x 50’ Special

Surprise Supervise! The PRISM IS A DANCER Show

5 x 50’

Entertainment / Show

90’

4 Shows Aired

New

With unprecedented access and filmed over 30 years, this groundbreaking series uncovers Dr. Jane Goodall’s extraordinary journey to create the largest chimpanzee sanctuary in Africa, Tchimpounga. From malnutrition and tetanus to disease and paralysis, the sanctuary’s director, Dr. Rebeca Atencia, and her team of vets are challenged every day on a whole assortment of issues. Together they battle illness, escapees, personality clashes, and a constant arrival of new orphans, each bringing their own unique challenges.

Embarrassing selfies posted on Facebook, YouTube videos that were thought to no longer exist and detailed LinkedIn CVs: the Internet forgets nothing! Surprise Supervise! The PRISM IS A DANCER Show meticulously x-rays the Internet profiles of the unsuspecting studio audience prior to filming. In the show itself, the host uses the audience members’ online posts to truly grill them. All of the juicy finds come together to create one entertaining show with added studio stunts and exciting clips.

Produced by: Oﬀ the Fence Productions with the support of the Jane Goodall Institute for Curiosity Stream in association with ZDF Enterprises

Produced by: btf

Underworld

Ancient Superstructures, Season 2

Science + Knowledge

5 x 50’

History + Biographies

New

UHD

3 x 50’ New

Underworld is an exciting, visually spectacular cave exploration series shot in 5 countries. Each film follows an investigation led by Richard ‘Roo’ Walters, using pioneering 3D laser-scanning technology to solve a cave-related mystery. Alongside this key quest, the expedition also sheds light on the science, natural history and culture surrounding caves in the featured country and beyond. These underground adventures create a detailed picture of a unique world hidden beneath our feet.

Ancient Superstructures reveals the secrets behind Angkor Wat, Istanbul’s Hagia Sophia and the French monument The Louvre. These ancient marvels have been scrutinized for centuries and yet remain shrouded in mystery. By observing them from diﬀerent perspectives of scale — from satellite imagery right down to macro and microscopic levels — this groundbreaking series sheds new light on historical and construction enigmas.

Produced by: Oﬀ The Fence for Curiosity Stream in coproduction with ZDF Enterprises and Youku, in association with Wingsight

Produced by: Pernel Media in association with RMC Découverte, Histoire and ZDF Enterprises

Current Highlights

2 2021

Rescued Chimpanzees of the Congo with Jane Goodall

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Artist View Entertainment Black Bags / Double Threat / Rent a Groom In the Artist View Entertainment highlight Black Bags, a chance encounter between two women with identical travel bags on a lonely Greyhound bus sets into motion a deadly game of cat and mouse. Double Threat is a “highimpact action-adventure,” says Scott J. Jones, president of Artist View. It follows a beautiful young woman who finds herself on the run, after skimming money from the mob, with a kind stranger on a pilgrimage across the country to scatter his brother’s ashes. The company is also presenting the romantic comedy Rent a Groom, about an agency that provides a convincing young man to play the role of a fiancé. “The marketplace continues to go through changes, and we are keeping up with these changes,” says Jones.

“We have a real mix of genres and casts, so I’m hoping that as we present these titles, there will be something for everyone.”

Rent a Groom

—Scott J. Jones

Grantchester

Banijay Rights Germinal / Grantchester / A Class Apart The drama Germinal, featured in the Banijay Rights catalog, is the story of a miners’ strike during the Second Empire, recounting their passion, suffering, rebellion and comradeship. The company also has on offer a sixth season of Grantchester. This time, it’s 1958 and trouble is brewing in the titular Cambridgeshire village. Reverend Will Davenport (Tom Brittney) relishes his role as a ﬁrebrand vicar, willing to rock the boat and challenge conventions to help people. The drama A Class Apart is set at Sweden’s top-ranked boarding high school, where there is a secret society for the super-rich, the Zebra Club. On the night of the new semester, the selected few indulge in the hazing of two new members. The following morning, one of them is found dead.

Distribution360 Race Against the Tide / Best in Miniature / The Parker Andersons/Amelia Parker Distribution360 has made the push into the formats market with two new series. Race Against the Tide takes place on the shores of the Bay of Fundy, home to the highest tide in the world. Sand-sculpting teams must build an extraordinary sculpture before the clock runs out and the tide comes in. Best in Miniature, meanwhile, sees artists compete to build their dream homes in miniature form. It utilizes the Probe lens for the room reveals, giving the same look and feel of a full-sized show. “Both series have tightly structured, considered formats that are simple and easy to replicate...with localized tweaks,” says Diane Rankin, senior VP of rights and executive producer. Distribution360 is also presenting The Parker Andersons/Amelia Parker, two interconnected sitcoms that follow a newly blended family.

Best in Miniature

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“We have now really diversiﬁed into formats and have kick-started this area with two strong titles.” —Diane Rankin

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Spy Date

Dori Media Group Power Couple / Da Next / Spy Date Dori Media Group’s reality format Power Couple puts love to the test as eight couples face challenges to see how well they really know each other. Nadav Palti, president and CEO, says, “During the season, they will ﬁnd out more about something that is not revealed in any other program and not always in life—who is the partner you have chosen to spend your life with?” The format Da Next is a digital talent competition in which two teams of fans record a song with their favorite inﬂuencers. To win the competition, their song must earn the most digital engagement. The reality dating show Spy Date sees a former Mossad agent and professional matchmaker play Cupid by making singles meet up “by chance” to spark spontaneous love.

“Together with our clients, we ﬁnd the perfect match between our content and their needs.” —Nadav Palti

Threesome

Eccho Rights Liar / Threesome / One of Us From Turkey’s Sürec Film comes the series Liar, which Eccho Rights is offering to the international marketplace. Based on a format that has seen global success, Liar highlights the injustice and difficulties in having the truth heard, especially for women, all over the world. Eccho Rights also has on its slate Threesome, from Sweden’s Yellow Bird. It centers on the anxiety and heartbreak experienced after the end of a seemingly perfect relationship. On a lighter note, One of Us is also from Sürec Film. “Its central theme of impossible love between two people from starkly contrasting backgrounds holds universal appeal,” says Fredrik af Malmborg, managing director of Eccho Rights. He also notes that the company can’t wait for the moment when “our wonderful international community can once more come together.”

“We can’t wait to see many familiar faces and friends in person as events such as MIPCOM return.” —Fredrik af Malmborg

Electric Entertainment

To the Lake

Leverage: Redemption / To the Lake / The Outpost The newest iteration of the hit crime series Leverage, Electric Entertainment’s Leverage: Redemption stars new cast members Noah Wyle and Aleyse Shannon alongside returning cast members Aldis Hodge, Christian Kane, Gina Bellman and Beth Riesgraf. Currently streaming on Netflix, the Russian thriller To the Lake is available for worldwide distribution. The drama is Electric Entertainment’s first foreign-language series, and the company is confident it can garner a broad audience, as “quality will always find a following,” says Sonia Mehandjiyska, head of international distribution. The fantasyadventure series The Outpost’s fourth season is available now. “As with most sci-fi fantasy series, your fan base becomes very passionate, so even when it may be considered ‘niche,’ there’s still a devoted audience to be served,” Mehandjiyska notes.

“Finding ways to produce during Covid-19 has been key.” —Sonia Mehandjiyska 22 WORLD SCREEN 10/21

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Escapade Media For the Love of Pets / The Healing / Osher Günsberg: A Matter of Life and Death Escapade Media’s For the Love of Pets offers an inside look at the Animal Welfare League of South Australia at a unique time when pet ownership has never been higher. The Healing also focuses on a welfare program, this time on the Thoroughbred and Veteran Welfare Alliance. The documentary follows as the rehabilitation program pairs traumatized ex-racehorses and veterans so they can help heal each other. “This beautiful story will resonate across the globe while offering a real possibility of hope,” says Natalie Lawley, managing director. Osher Günsberg: A Matter of Life and Death centers on the eponymous Australian celebrity as he investigates how new science, innovative thinking and technology are helping prevent suicide and what Australians can do to reduce the national suicide rate.

For the Love of Pets

“All our projects are in line with Escapade’s mission to present unique and fresh content that resonates with global audiences.” —Natalie Lawley

Brave Wilderness

FilmRise The Mediator with Ice-T / Brave Wilderness / Classic TV shows The FilmRise highlight The Mediator with Ice-T is an original conﬂict resolution series with the rapper and actor Ice-T as the host. Brave Wilderness, a nature and science series, follows popular science experts Nathanial “Coyote” Peterson, Mark Vins and Mario Aldecoa as they go face-to-face with wild animals, unusual reptiles and insects. FilmRise is also highlighting a variety of programs within the classic TV genre, with multiple American TV comedy series such as The Dick Van Dyke Show, The Danny Thomas Show and That Girl, starring Marlo Thomas. Melissa Wohl, senior VP and head of sales, says that the programs “each contain well-known talent with millions of enthusiastic fans and followers, and sit ﬁrmly within the highly popular genres with universal appeal, among the many other metrics we consider.”

“Our analytics show that each series we are highlighting will deliver a high return to streaming platforms.” —Melissa Wohl

Global Screen The Conference / The Palace / The New Front From Constantin Film, the Global Screen period drama highlight The Conference follows the minutes prepared by Adolf Eichmann of the meeting that established the “Final Solution to the Jewish Question.” Global Screen also has on offer Constantin Television’s The Palace, a suspenseful family story taking place in 1989 Berlin. On one side of the Berlin Wall is the Friedrichstadt-Palast and the family’s mother; on the other is the family business and its patriarch. From Gaumont, meanwhile, the thriller The New Front focuses on a love story between two people caught up in a right-wing extremist conspiracy. Emma Bading and Jannick Schümann star in the lead roles. Global Screen also has a new kids’ and family series, 3Hz, which targets audiences between the ages of 8 and 16.

The Palace

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The World Between Us

GMA Network Legal Wives / The World Between Us / The Other You The drama Legal Wives on GMA Network’s slate follows a Muslim man who marries three women—one to fulﬁll his family duty, one because of true love and one to save the honor of a friend’s daughter. “The series features the colorful traditions of Filipino Muslims, which captivate and engage viewers in every compelling episode,” says Roxanne J. Barcelona, VP of the worldwide division. In The World Between Us, a tech genius is framed for the death of his legal guardian, who also happens to be the mother of the woman he loves. The Other You sees a man’s guilt over his wife’s miscarriage trigger traumatic memories. After developing a split personality and running away, his wife ﬁnds him living as his alternate personality and in love with another woman.

“Our dramas appeal to a universal audience because of their powerful and emotional themes.” —Roxanne J. Barcelona

GRB Studios Death Walker / The Center Seat: 55 Years of Star Trek / On the Case In the GRB Studios series Death Walker, host Nick Groff theorizes and investigates the origins of some of the most notorious hauntings in America. Season two is now available. “This season of Death Walker has amped the energy and the quest to make contact with another dimension,” says Hud Woodle, executive VP of international. The Center Seat: 55 Years of Star Trek marks a milestone anniversary for the hit franchise with a 9x1-hour series that presents many never-before-told stories. Currently in its tenth season, the true-crime series On the Case brings audiences along on murder investigations. “This series has become a staple in the true-crime space and now represents the best kind of bad habit with viewers,” says Woodle.

The Center Seat: 55 Years of Star Trek

“The Center Seat: 55 Years of Star Trek will take audiences through the allencompassing history of the franchise.” —Hud Woodle

Inter Medya The Trusted / Scorpion / Respect In the Inter Medya highlight The Trusted, ex-soldier Marashli’s life is turned upside down after meeting the beautiful Mahur Turel at the second-hand bookstore he opened after leaving the special forces to spend more time with his sick daughter. Scorpion centers on Perihan Emgen, who found success after clawing her way to the top—and abandoning her ﬁrst daughter, Ferda, at the age of 1. When Ferda reveals who she is, a war begins between the long-lost daughter and mother. Respect “is a story that revolts against the daily acts of disrespect we choose to ignore, disregard or forget in the course of time,” says Can Okan, founder and CEO. In the series, a psychopath obsessed with disrespect gets entangled with two lovers who go on a killing spree in Istanbul.

“The Trusted is produced by one of Turkey’s leading production companies, TIMS&B Productions.” —Can Okan The Trusted

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Keshet International Furia (Fury) / Blue Moon / The Perfect Dessert A political drama thriller on Keshet International’s slate, Furia (Fury) centers on two people—with four different identities— who team up to take down a far-right terror cell. In Blue Moon, another drama on offer from the company, bomb expert Justine Laurier returns home from Afghanistan following her father’s death to take over his ethically dubious private security ﬁrm. “This fast-paced, all-action French-language drama combines Justine’s emotional journey with the explosive realities of undercover missions,” says Rose Hughes, VP of sales at Keshet International. The baking competition format The Perfect Dessert is inspired by the internet trend of creating stylish confections. “Beautiful, escapist and aspirational, this brand-new format is also emotional—you really care about the contestants competing and their creations,” says Hughes.

Blue Moon

“We have a really high-caliber slate of foreign-language dramas from countries including Iceland, Norway, Belgium and Israel that have been wowing audiences.” —Rose Hughes

Leonine Studios SurrealEstate / Herzogpark / Bonn SurrealEstate, a dark drama series that follows a team of estate agents and the haunted houses they sell, leads Leonine Studios’ MIPCOM highlights. Tim Rozon, Sarah Levy, Savannah Basley and Tennille Read star. Featuring strong female characters, the comedy-drama series Herzogpark is set in the titular rich Munich suburb. “Think Desperate Housewives meets Sex and the City,” says Patrick Phelan, director of world sales. The political thriller Bonn tells the story of a young woman trying to ﬁnd her place in the maledominated society of the 1950s. It tells “the true, untold story about the battle between Germany’s separate intelligence agencies formed after World War II,” says Phelan. Also in Leonine’s library are such evergreen titles as the Rosamunde Pilcher miniseries and The Name of the Rose.

Herzogpark

“We’re extremely excited to be presenting our latest top international series at MIPCOM.” —Patrick Phelan

Love at Sky Gardens

MarVista Entertainment Love at Sky Gardens / Sweet Navidad / This is the Year Romance is at the center of the MarVista Entertainment highlight Love at Sky Gardens, which sees a barista and an event planner fall in love after teaming up to plan a rooftop garden wedding. In the holiday movie space, Sweet Navidad follows a Latina self-taught aspiring pastry chef who is selected to partner with a professionally trained chef to create a unique menu for a hotel’s holiday gala. “With the clock ticking down to Christmas, the two chefs come up with a truly inspiring meal made from passion and love,” says Jody Cipriano, senior VP of global distribution. Executive produced by Selena Gomez, This is the Year “is a contemporary spin on many of the classic ’80s movies— focused on good times and a killer soundtrack featuring performances by lovelytheband,” says Cipriano.

“Our slate of movies extends our ongoing initiative to highlight more diverse talent behind and in front of the camera.” —Jody Cipriano 28 WORLD SCREEN 10/21

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Lost Luggage

Newen Connect Christian / Lost Luggage / Imago Produced by Lucky Red for Sky in Italy, Christian is a sixpart mystery crime series on offer from Newen Connect. It follows the destiny of a 35-year-old man, born and raised in the worst criminal suburb of Rome, who works for a local crime family. Also a six-parter, Lost Luggage is a psychological drama for VRT and ARTE produced by De Mensen. “A poignant series inspired by real events, Lost Luggage focuses on one strong female lead, her efforts to overcome the most challenging situation and the throwbacks from her past,” says Leona Connell, executive VP of distribution at Newen Connect. Meanwhile, Imago, an animated fantasy adventure series for kids, features sweet little creatures that are created when the imagination of a child meets a little magic.

“MIPCOM is a big market for us, as a lot of the programs we’ve been pitching throughout 2021 are launching now.” —Leona Connell

NHK Enterprises Heirs of the Red Gene: A Century of Chinese Communist Rule / Regeneration: From Bullets to Brotherhood / Fukushima Monologue

“Even during the pandemic, we have continued to produce many powerful programs.”

NHK Enterprises has a slew of “documentaries that search for truth through meticulous fact-ﬁnding and novel perspectives,” says Afumi Watanabe, chief manager of content distribution. Heirs of the Red Gene: A Century of Chinese Communist Rule sheds light on what is happening with the Communist Party of China by offering in-depth coverage of two disparate branches over a three-month period. Regeneration: From Bullets to Brotherhood follows Andie Steele-Smith, a pastor working to break the cycle of gang violence in Cape Town. He was able to engineer a truce between gangs to deliver food to people under Covid-19 lockdown and continues to work at rehabilitating members. Fukushima Monologue tells the story of a man who stayed behind to look after abandoned animals after the 2011 nuclear accident.

—Afumi Watanabe

Regeneration: From Bullets to Brotherhood

Nicely Entertainment

Love in Bloom

Love in Bloom / Dying to Belong / Adeline Nicely Entertainment’s highlights include the romance title Love in Bloom, in which a Chicago ﬂorist travels to Australia for her sister’s wedding and ends up partnering with the best man to take over wedding preparations when her sister and the groom get stuck in the mountains. Shannen Doherty leads the cast of Dying to Belong, a thriller about two women who ﬁnd their lives in danger at the hands of a school’s corrupt sorority system. Based on a true story, Adeline sees a mysterious doctor bring a healing horse to a small Midwestern community, where miracles begin to abound. “Our goal is to keep growing our movie offering, and as such, we’re continuing to expand our production and distribution slate with a dozen new movies per year,” says CEO Vanessa Shapiro.

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Nemesis

Nippon TV Life’s Punchline / Nemesis / Money or Junk Each episode of Life’s Punchline, a drama series and scripted format on offer from Nippon TV, opens with a punchline-free comedy sketch that serves as a prelude to the stories that unfold. “Five men and women in their late 20s, all stuck in a situation that anyone would call a failure, accept their downbeat ‘prelude’ and turn it around into a glittering future through laughter and tears,” says Sayako Aoki, sales and licensing, international business development. Another scripted format in Nippon TV’s catalog, the drama series Nemesis centers on the useless detective Kazama and his reckless but genius assistant Anna as they team up to solve cases. In the unscripted format Money or Junk, contestants compete in remote locations to create attractive products to sell on e-commerce apps using only the available resources.

“These combinations of strong stories and elaborate presentations can maintain viewers’ engagement and would work for all demographics, regardless of the territory.” —Sayako Aoki

NTV Broadcasting Company KAMAZ. Extreme Racing / With Surgical Precision / Secret for a Million NTV Broadcasting Company has on offer two original dramas and a chart-topping celebrity quiz format, among other highlights. KAMAZ. Extreme Racing focuses on the dramatic stories from the real racing team. The series is “destined to become an international sensation,” says Timur Weinstein, general producer. “The series’ narrative is unique and original, as it is based on real events and characters.” With Surgical Precision is a crime drama about a surgeon who suddenly gets in the middle of an organ-smuggling operation. The format Secret for a Million sees celebrities open up about their deepest secrets, making the audience gasp in disbelief. This NTV original format is “absolutely perfect for adaptation in any part of the world,” says Weinstein. “Peeking into celebrities’ private lives is addictive and popular.”

“Our main efforts are now directed at expanding the international footprint for NTV projects.” —Timur Weinstein

KAMAZ. Extreme Racing

ORF-Enterprise Soko Kitzbuehel / Colombia—Wild and Free / Emperor Augustus—Tyrant and Peacemaker Now in its 20th season, the ORF-Enterprise drama highlight Soko Kitzbuehel has found audiences around the world. “In France, Switzerland, Hungary and Germany, viewers can follow the thrilling criminal cases from the Austrian Alps,” says Armin Luttenberger, head of content sales international. “The witty detective series previously also reached viewers in China and Iran, as well as German-speaking audiences in the U.S.” The wildlife doc Colombia—Wild and Free, from ﬁlmmaker Harald Pokieser, explores the country’s natural splendor. A brand-new ORF Universum History title, the documentary Emperor Augustus—Tyrant and Peacemaker focuses on how Augustus brought an end to civil war with cunning and violence and ultimately ensured that Roman culture was able to blossom for centuries.

Emperor Augustus—Tyrant and Peacemaker

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“ORF-Enterprise continues to offer high-quality content from various genres in a colorful program catalog.” —Armin Luttenberger

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Rive Gauche In Their Own Words / Disaster Déjà Vu / Survivors Leading Rive Gauche’s MIPCOM slate, In Their Own Words takes viewers on a trip into the lives and minds of such icons as Elon Musk, Pope Francis, Diana Princess of Wales, former German Chancellor Angela Merkel, Chuck Berry and President Jimmy Carter. In each episode of Disaster Déjà Vu, a pair of cities and the unbelievable disasters that struck each one twice are featured. “Using cutting-edge GFX, original ﬁlm footage and photos, along with sound design, the series will take the viewer right inside each of these disasters,” says Marine Ksadzhikyan, COO and executive VP of sales. Survivors tells the stories of those who escaped opioid addiction, as well as those who have yet to. “The powerful documentary chronicles the life-changing [effects] that opioids have on otherwise wellfunctioning individuals and couples,” says Ksadzhikyan.

“Rive Gauche is continuously striving to bring content that is premium, unique and relevant to our clients globally.” —Marine Ksadzhikyan Survivors

TeleColombia & Estudios TeleMéxico Opa Popa Dupa 2 / Latin Flow / Noticia de un secuestro TeleColombia & Estudios TeleMéxico’s MIPCOM catalog covers a range of genres, including a preschool series, reality show and drama series. The preschool series Opa Popa Dupa 2 teaches children about science, technology, space, physics and more using puppets. The reality series Latin Flow follows a group of nine Colombian women who are passionate about urban culture. Inspired by real events, Noticia de un secuestro portrays the harsh experiences of a group of people who were kidnapped in 1990 by Colombian drug traffickers. In addition to the development of new productions, “the demand for canned products and formats by different clients has reactivated—Televisa has achieved great results with the adaptation of our original telenovela La Dama de Troya, now retitled as La Desalmada,” says Ana Barreto, commercial VP.

“Our productionservices business unit has several projects in the pipeline.” —Ana Barreto

Noticia de un secuestro

Thunderbird Entertainment Kim’s Convenience / Strays / The Last Kids on Earth Thunderbird Entertainment’s Kim’s Convenience, a comedy co-created by Korean playwright Ins Choi and based on his life and family, is heading into its ﬁfth season. “This series broke new ground for its portrayal of the immigrant experience in Toronto when it was introduced in 2016 and became a hit series on CBC,” says Richard Goldsmith, president of global distribution and consumer products. Thunderbird is also showcasing the Kim’s Convenience spin-off Strays, starring Nicole Power as she reprises her role as Shannon Ross, who is now managing a local animal shelter. From the company’s kids’ and family division, Atomic Cartoons, the Netﬂix original series The Last Kids on Earth, based on Max Brallier’s best-selling books, will be offered by Cyber Group Studios to TV platforms worldwide.

Kim’s Convenience

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“Thunderbird and Atomic work hard to produce the highestlevel content with diverse creative teams for our primetime scripted, factual and animated productions.” —Richard Goldsmith

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Voxx Studios

Voxx Studios Localization / Voice Recording / Sound Mixing Voxx Studios offers localization services, from simple translations and subtitling to small- and large-scale dubbing projects. Its services also include the recording of original voices for animated series and features, ADR and music recording, as well as 5.1 and 7.1 mixings for theatrical and home theater, Dolby Atmos mixing for home theater and music, sound design and audio editing. “We produce projects in up to ten languages in-house and over 40 through our network of partners throughout the world,” says Andrei Zinca, CEO and owner of Voxx Studios in Los Angeles. “Doing that from Los Angeles allows our clients a quick glance into how their projects evolve, the conﬁdence one can have in the resources available [here], the speed of execution and delivery requested of us, time and time again.”

“Localization is mandatory in order to reach a global market.” —Andrei Zinca

Vuulr Mocro Maﬁa / Shitsel / The Queen of Flow The online content marketplace Vuulr has a catalog of more than 30,000 titles from 120 countries and across 60 genres. Distributed by Dutch Features, the thriller Mocro Maﬁa is based on a best-selling novel about the gang wars between the organized crime syndicates of Amsterdam, Rotterdam and Antwerp. It’s “an exceptional noir show from the Netherlands, akin to Scandinavian crime series, which have been growing in demand internationally,” says Natasha Malhotra, chief content and commercial officer at Vuulr. Shitsel, an Israeli series represented by Dori Media Group, offers a window into the world of ultra-orthodox Jewish communities through the Shitsel family. The Caracol TV drama The Queen of Flow tells the story of a songwriter who is out for revenge on the men who killed her family and had her wrongfully imprisoned.

“Vuulr is excited to bring our unique and diverse catalog of titles to MIPCOM this year.” —Natasha Malhotra

The Queen of Flow

ZDF Enterprises The Window / Rescued Chimpanzees of the Congo with Jane Goodall / School of Roars Among ZDF Enterprises’ highlights, The Window is a drama that explores the off-ﬁeld machinations of professional soccer. Focusing on players, agents, club owners, administrators and journalists, it examines the cutthroat scheming behind the scenes. Filmed over 30 years, the documentary series Rescued Chimpanzees of the Congo with Jane Goodall follows the renowned primatologist and anthropologist’s journey to create the largest chimp sanctuary in Africa. On the kids’ slate, the preschool series School of Roars follows little monsters’ ﬁrst year at school. Fred Burcksen, president and CEO, says, “Our monsters experience life lessons through their adventures such as caring, sharing, friendship and fun, mirroring the social and emotional behavior and group dynamics of our audience who is just starting school.”

“We are particularly looking forward to this year’s MIPCOM, even if it takes place on a smaller scale.” —Fred Burcksen The Window

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he only performer to have won six Tony Awards—three before the age of 30—and the only one to bring home statuettes in all four acting categories, Audra McDonald is a singularly talented actor and singer. She is equally at home on Broadway—whether in A Raisin in the Sun, Porgy and Bess, or unleashing her riveting performance as Billie Holiday in Lady Day at Emerson’s Bar & Grill—as she is on the concert stage. Having graduated from Juilliard in classical voice training, McDonald has been accompanied by some of the world’s greatest orchestras. She has won two Grammys. Her film career began in 1996, and she recently appeared as Aretha Franklin’s mother in Respect. She has also worked extensively in television, notably as Dr. Naomi Bennett in Private Practice and attorney Liz Reddick-Lawrence in The Good Wife and The Good Fight. She donned a doctor’s lab coat once again in The Bite, a satirical drama shot during the pandemic. McDonald talks to World Screen about the innovative techniques used to shoot that series, the fifth season of The Good Fight and the differences between acting on stage and in episodic television. By Anna Carugati WS: I’m not into zombies, but when I watched the ﬁrst episode of The Bite, I was hooked. What appealed to you about the project and the role of Dr. Rachel Boutella? MCDONALD: I love and adore working with Robert and Michelle King. When they came up with this idea, I, too, was not into the zombie genre, but this idea appealed to me. Because we are learning something new every day about this virus, the variants and whatnot, it didn’t seem that far-fetched. I think something connected with what’s going on in terms of the zeitgeist, the anxiety and [disinformation]. It’s just that crazy. I was quite attracted to that type of project. WS: I understand that The Bite was shot during Covid, making innovative use of iPhones. MCDONALD: It was wild the way we shot it. Taylor Schilling, myself, my husband [Will Swenson], Steven Pasquale and Phillipa Soo all shot on set. But most of the supporting cast

and guest artists were sent a kit to their apartments or homes. And they had to set up the kit, set up the lights, do their own hair, do their own makeup, and get on Zoom with the directors and producers and the cameramen, who helped them and guided them through. The rest of us were shooting in the townhouse they were renting in the city, and the iPhone cameras were placed all around the set. We were housed in the basement, and the camera crew was on the sixth ﬂoor. They would come down, set everything up and then go back up to their ﬂoor. Then we would get a text saying you can now come up. So, we would go up, and there would be nobody there. The only person on set with us would be the director, who was being tested on the same schedule as we were. This was pre-vaccines. We had to do our own hair and makeup, put on our costumes and all that stuff. We would shoot and then they would say, “We have to change the cameras,” so we’d go down and hide out, and the crew would come down. We doubled up and stayed

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Kings are putting a mirror up to serious issues and doing it in a way that seems slightly absurd but makes a point.

Audra McDonald’s extensive list of TV credits includes Paramount+’s The Good Fight, now in its fifth season.

safe. It was kind of amazing that we got through it that way, but we did. WS: You started working on season five of The Good Fight when the vaccines were already available, so was it a little easier on set? MCDONALD: Vaccines started to be available as we started shooting, so everyone was still being tested every day. The only people allowed to take off their masks were the actors and that was only when they said, “And we’re rolling,” and we’d take our masks off. Otherwise, our masks were on. People started to get vaccinated during that time. I got both of my vaccinations between shooting episodes two through four. WS: Season four was cut short because of the pandemic. For anyone who hasn’t seen the beginning of season five yet, tell us how the writers were able to fill in the blanks and bring the audience up to a Biden presidency instead of—I’m going to be political—the nightmare of the Trump presidency. MCDONALD: Yes, yes! They had a wonderful device to do it. They decided to use “previously on The Good Fight,” but instead of showing scenes of episodes we had already shot, they showed scenes of what happened to the characters between the pandemic and everything shutting down to rolling into the Biden presidency. It was a series of vignettes that took you from that time, but all considered as “previously on.” It was a smart way of [filling in the audience]. They could defy convention and they didn’t have to make it linear. Just provide bullet points of what happened to these characters and what happened in the world and get us to this moment. Then with the second episode, they started with, “OK, we’re in the Biden presidency.” WS: The atmosphere is a little bit lighter compared to previous seasons! There’s a little more normalcy! MCDONALD: [Laughs] But only a little! WS: Mandy Patinkin is fascinating as self-appointed Judge Wackner in his alternate court. MCDONALD: Yes, with his, what do we call it? Kangaroo cookie court! It’s interesting! Again, as usual, the 40 WORLD SCREEN 10/21

WS: What different creative “muscles,” so to speak, does theater stretch compared to episodic television? MCDONALD: The creative impetus is all the same. But as to the muscles that are stretched, when you are doing theater, usually you want to achieve the same thing, the same commitment, the same beats, the same emotional journey, and you have to do it on a nightly basis. You have to bring it alive in that same way every night, and you need to hit the back wall and make sure that everybody in that entire theater—be it 200 people or 2,500 people or even more—receives the same performance. It’s grueling in a different way than in television, where there are long hours on set. You do 5, 10, 15, 20 takes, but once you get it, then it’s in the can; it’s there. You don’t ever revisit it. In television, in front of the camera, you have to think loudly but not be as big as you usually would in theater, because it would be too big for the camera to take and the audience at home would think, Whoa, what’s going on there? In that sense, it’s the same beat, but there are different muscles that you have to flex. WS: Do you have a preference? Do you enjoy them both? MCDONALD: I enjoy them both. The theater is my first love, my first playing pitch; it’s the first thing I did. Both hold special places in my heart. WS: I’ve always found it interesting that some Hollywood stars have tried theater and have not been received well by critics. It’s a different way of performing, isn’t it? MCDONALD: It is. You can’t use the same muscles that you use for film and television. You have to be able to lift off the stage into the audience. What you’re doing may be brilliant, but if it’s so small that someone beyond the second row can’t see it, or feel it, or experience what you’re trying to get across, then it’s a moot point. WS: You are a co-founder of Black Theatre United. How did that come together and what are its goals? MCDONALD: Black Theatre United was founded by Black members of the theater community. Lots of friends and colleagues with whom I have worked for 20 or 30 years [came together] in the wake of the George Floyd murder. We formed Black Theatre United to bring awareness, accountability, advocacy and action to see if we can change the industry to make it more inclusive, more diverse and more anti-racist for everybody. These are issues around the country that affect Black bodies, Black talent and Black lives. WS: What upcoming projects do you have? MCDONALD: I’m looking forward to getting back to the theater, and hopefully, that will happen within the next two years. I am a member of the cast of Julian Fellowes’ show The Gilded Age. That stars Christine Baranski, too, with whom I’ve been working a lot. We just shot the first season of that, so I’m looking forward to that getting out into the world as well.

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Dick Wolf ew creators or executive producers have contributed and supported the procedural drama as much as Dick Wolf. He grew up in the television business; his father and mother both worked in the industry. Wolf started his career as a writer. In the late ’80s, he conceived of Law & Order, which premiered in 1990. The show’s first half illustrated the investigation of a crime, what Wolf described as a murder mystery. The second half depicted the work of the prosecution attempting to convict alleged criminals. The “ripped from the headlines” series became an enormous hit, lasting 20 years and yielding several spin-offs. The most successful, Law & Order: Special Victims Unit, debuted in 1999 and is still on the air today. The Law & Order franchise grew again last season, with Organized Crime featuring the much-anticipated return of SVU’s Detective Elliot Stabler. Through his company, Wolf Entertainment, Wolf has also created three series set in the Windy City, Chicago Fire, Chicago P.D. and Chicago Med, all airing on Wednesday nights on NBC. Over on CBS, Wolf has secured real estate with the FBI franchise: FBI, FBI: Most Wanted and FBI: International. By Anna Carugati

WS: As a storyteller, through the decades, what has continued to appeal to you about procedurals and selfcontained episodes? WOLF: Procedurals and self-contained episodes have a start and a ﬁnish. They are complete stories. Viewers can come and go as they please and not miss serialized stories. And these episodes play very well globally.

with my COO Peter Jankowski. We were looking at the beautiful city, and I said to Peter, I can see spin-offs, police, medical, the sky is the limit. We have basically created Dickensian London with the Chicago shows. The characters are interchangeable, and you’ll never know when or where one will turn up. That was my plan all along.

WS: What was the strategy and creative process in crafting Law & Order: Organized Crime, besides, of course, the return of Christopher Meloni as Elliot Stabler? WOLF: I saw Organized Crime first as a vehicle for Detective Stabler, with story arcs that reflect the most dangerous and scintillating crimes of this genre. The first season showed the inner workings of a modern-day Mafia kingpin (Dylan McDermott as Richard Wheatley).

WS: How did you develop the FBI franchise? WOLF: Growing up, my uncle was an FBI agent, so I have always had a fascination with the Bureau. So it was always something I wanted to do, and with CBS’s blessing, we have a very successful brand.

WS: When you created Chicago Fire, did you already have in mind Chicago P.D. and Chicago Med? How did you develop the Chicago franchise? What is unique about it? WOLF: When we were shooting the Chicago Fire pilot in 2012, I was standing on a bridge over the Chicago River

WS: What is the enduring appeal to worldwide audiences of crime and medical dramas and, in particular, of Dick Wolf crime and medical dramas? WOLF: Viewers have always been fascinated by real-life crime and medical stories. We dramatize them but try to keep them as realistic as possible. I cannot say enough about the writers on all my shows, how important it is for good storytelling. And the writers do just that. It starts on the page. 10/21 WORLD SCREEN 43

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All3Media International’s Annika.

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The STATE of SCRIPTED High volume, access to financing, availability of talent and crews, and viewer demand for unique storytelling are all influencing scripted programming today. By Anna Carugati

ho doesn’t love a good story? People always have, from oral tales to printed books, from movies to television series. In the last two decades, advances in technology have shaped how stories for the small screen are told and consumed. First, premium pay channels and VOD made it possible for writers to create and viewers to enjoy serialized fare. More recently, streaming platforms have begotten bingeing. Viewers no longer need to wait a week for a new episode; they can gobble up as many as they want in one sitting. The proliferation of local and global streaming services, SVOD and increasingly AVOD, hungry for content, is fueling recordhigh demand for content. Several trends already impacting the business were accelerated by Covid-19. Now, producers and distributors are seeing myriad possibilities in the international market. “Putting the pandemic and production delays aside, the big trend was the expansion of both the global streaming platforms and domestic VOD offerings, which have a strong appetite for content,” says Cathy Payne, the CEO of Banijay Rights. “There aren’t many

VOD platforms outside of Disney+ possessing a library that allows them to sustain themselves. No doubt Netflix and Amazon lead the way in opening up many international markets to non-local scripted fare; however, we have all the other new players in the market. When we would take out a British drama in the U.S. only eight years ago, the two dominant targets were BBC America and WGBH, now, of course, rebranded as GBH. Whereas today this has expanded to include the likes of Netflix, Amazon, EPIX, Peacock, Paramount+, Showtime, HBO Max and STARZ, among others. There’s significant demand, and as all these services expand globally, it’s essential they have storytelling from the international market.” Louise Pedersen, the CEO of All3Media International, concurs: “We feel pretty positive about the market at the moment. Yes, there are shows that are getting commissioned by global SVODs or studio SVODs where we, as a distributor, don’t have rights, but that’s good business for our partner production companies. Outside of that, there are lots of potential SVOD homes for our shows on the co-production side, both with local SVOD partners, such as Stan in Australia, who we worked with on Eden, and global SVOD partners who are prepared to do deals 10/21 WORLD SCREEN 45

in speciﬁc territories. Then there are also long-standing and valued commercial or public-service free-to-air broadcasters who are very keen to get access to good content because the studio SVODs are hanging on to some of their library product.” In this sea of possibilities, however, the waters can get quite choppy. “There is still high, high demand for good storytelling, good scripted programs,” says Fred Burcksen, ZDF Enterprises’ president and CEO. “The market is almost overheated. There is so much demand, and that also indicates that it’s a challenge to ﬁnd the right talent for the right production. We consider that the biggest challenge.” “It continues to be a highly competitive world in this business, and it’s competitive across all aspects of production; not just talent, but within all disciplines and through the production value chain,” notes Fernando Szew, the CEO of MarVista Entertainment. “There is a lot of demand for content with a limited pool of capable producers and talent.” “Clearly, there are challenges: Budgets are becoming bigger and bigger, there’s stiff competition when it comes to access to talent, and then, Covid-related, some budgets have been on hold recently,” adds Tim Gerhartz, the president and managing director of Red

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ZDF Enterprises worked with a slew of partners on the TV4/C More commission Agatha Christie’s Hjerson, delivering a Nordic spin on one of the author’s creations. Arrow Studios International. “But the key message is that there are more opportunities than there are challenges.”

THE POWER OF PRESTIGE Despite the race for ideas, talent, crews and funding, producers and distributors remain in the scripted business because of high-end dramas and comedies’ capacity to create buzz, earn critical acclaim and win awards. The distribution pipes to viewers may have changed, but prestige TV’s unique characteristics have not. “Those early shows, like Mad Men, Breaking Bad and a slew of others that have come since, were auteur-driven, highly serialized, non-formulaic shows—the antithesis of a broadcast procedural,” observes Kevin Beggs, chair of Lionsgate Television Group. “Back then, they were the outliers, but today they’re the mainstream because the conglomerates have become focused on streaming platforms. Streaming is consumed on a binge basis that is more like reading a great novel. The shows don’t have to be tied to a weekly airdate or time, which changes the story dynamics immensely in terms of what you can accomplish. And we’ve seen that these kinds of series are capturing more and more critical attention.” Streaming services rely on high-end shows to attract paying customers. “In the subscription business, premium series that people feel are worth paying for matter,” continues

Beggs. “This is not a cable or satellite package for which you’re paying a ﬂat fee. With subscription services, people are deciding whether they’re going to pay $8.99 or $16.99 [each] or somewhere in between for several services and whether that’s a good value proposition. So, the more premium, the better.” VOD platforms not only need to attract customers, but they also have to retain them. Buzzy new titles draw first-time subscribers; long-running popular series can engender viewer loyalty. “If you look at the shows we’re delivering next year, many of those are returning series: Peaky Blinders, Grantchester, The Good Karma Hospital and Beck, among many others,” says Banijay Rights’ Payne. “Moreover, within our library are several scripted multi-season franchises that continue to sell strongly cycle after cycle. We have been pleasantly surprised by the indemand reaction we received from relaunching a number of such franchises this year, including Broadchurch.” “With the studio SVODs, there has been a huge demand for library content,” notes All3Media’s Pedersen. “If you have a decent library of shows—and we just bought the [NENT Studios UK, formerly DRG] library, which is another 10,000 hours or so—there are opportunities for co-productions, presales or library deals. AVOD, in particular, has been an opportunity for us to exploit shows in a different rights window and for a longer 46 WORLD SCREEN 10/21

period of time. It feels like there are lots and lots of opportunities, which is really positive. “As for the challenges, new entrants to the market, like the AVOD/FAST licensees, require a different set of rights,” continues Pedersen. “We have to make sure we are being smart about the rights windows that we grant so we can maximize revenue for our content across as many windows as possible.”

FINDING THE RIGHT HOME With all the time, effort and money put into producing a show, a great deal of work goes into placing it on the appropriate channel or platform. “You need two parties to ﬁnd the right home for your content,” says ZDF Enterprises’ Burcksen. “It starts with the buyers of the networks or platforms. You need to listen carefully to their needs. It begins with their requests. Every discussion we have about product starts with: What are you looking for? What is your target audience? What’s the playout? Is it more linear, more nonlinear? Is it a combination of the two? And that, combined with the knowledge of our titles, will hopefully lead to a perfect solution for the program.” The competition for shows is so heated that placement is often tied to financing. “There are certain shows that are very big and might be out of reach for some parties,” says Payne. “But my golden rule, and it’s always paid off, is that if you find the right editorial fit for the story, the financing will come together.”

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With so many projects in development, writers’ imaginations and producers’ visions are not the sole domains of creativity. There is plenty of resourcefulness in today’s ﬁnancing models, of which there are many.

EARLY START Lionsgate has a history of working with platforms. Beggs credits his colleague Sandra Stern, the president of the television group, for pioneering these deals. “Sandra single-handedly engineered an entire business model with Netﬂix. There was no blueprint, and she has gone on to do that again and again, with shows at Apple, Amazon, Hulu and most recently at Roku. Her partner in crime in that space, because the two of them funcBanijay Rights’ extensive European drama slate includes A Class Apart, an eight-part series for Viaplay. tion hand in hand, is Jim Packer development going on outside the broadGerhartz. “We’re getting involved in new [Lionsgate’s president of worldwide TV and casters, particularly in the U.K. That’s been a projects pretty much in every possible way— digital distribution]. Roku and Zoey’s change. That’s all about distributors and finfrom classic acquisitions to investments in Extraordinary Christmas comes out of all the anciers coming in early to get shows they think development at the very early stage. Our business Jim is doing, selling them library, and will travel that they really like. It’s about securproject Inspector Maigret, which we’re crafting a relationship around movies and ing your position early in the process.” doing with Playground, would be an examreruns of series. He asked, Is there something “Maybe a decade ago, you could wait until ple. We’re also involved in deficit financing. we can do with Zoey’s Extraordinary Playlist? you could see a rough cut or read a script,” We’re also teaming up with equity partners. That evolved into a movie conversation. Then adds ZDF Enterprises’ Burcksen. “Now you It’s a whole mix. We are invested and Sandra and her team helped craft what that involved in pretty much every stage of the will look like. You need to be willing to spend have to get involved in the early developvalue chain, and we’re very flexible when it the time to do it because these are important ment by securing rights, maybe book rights, comes to finding the right model. It really new markets for us, and we have to come up but you need to be involved from the begindepends on the show and the idea.” with a formula that’s fair and incentivizes both ning. Then it comes down to, Is this mainly a As All3Media’s Pedersen points out, sides to want to do more,” Beggs adds. local production? Is it an international cothere are new players contributing money “There is no one solution that fits all situproduction? Is it being financed by a platto the development process. “Broadcasters ations; it really depends on the project,” form completely, or do you need more than are still funding a lot, of course, but there is explains Red Arrow Studios International’s one partner?”

WHERE’S THE MONEY?

Lionsgate produces the romantic anthology series Love Life—renewed for a second season—for HBO Max. 48 WORLD SCREEN 10/21

“We’ve got examples of each way of financing,” continues Burcksen. “We have a series called The Window, about the complex and dark off-field machinations of the world of soccer. It was produced by Germany’s Boogie Entertainment and ZDF Enterprises, in coproduction with Japan’s Fuji Television Network and Belgium’s Velvet Films and Streamz. We’ve also done more complicated co-productions where we need six or seven partners to finance the high-end production. It comes down to: Is it a true international coproduction or is it a more local project that is being covered by two partners? For instance, Scandinavian crime dramas are financed by the Scandinavians and ZDF. We have Agatha Christie’s Hjerson, a modernday Agatha Christie spin-off. It was produced by BR•F, TV4/C More, ZDF, Agatha Christie Ltd. and Nadcon Film. The financing model was relatively simple, but there are more complicated examples as well.”

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Red Arrow Studios International’s Vienna Blood, an English-language period crime drama, has notched up a slew of slots, including with the BBC in the U.K. The PSB (public-service broadcasting) financing model is still strong in the U.K., explains All3Media’s Pedersen. “Broadcasters come in with a significant percentage of financing, a distributor comes in and probably matches it, and you’ve got a tax credit as well. That’s a model we like, but, increasingly, we are financing shows by bringing in one or two co-commissioning partners—a show like Van der Valk, which had ARD, PBS Masterpiece, ITV’s BritBox and All3Media International. Partners don’t pay the full freight commissioning fee but more of a coproduction level fee. Another example is our new detective series Dalgliesh, financed by us, Acorn TV and Channel 5. In essence, there used to be one dominant model of financing for U.K. distributors, but we are now working with producers on more creative ways of getting shows into production.” Working with both internal and third-party producers, Banijay Rights’ teams are aware of their slates from their very early stages. “We’ll read pitches,” explains Payne. “We’ll discuss writers. Sometimes we get involved in options. Then we will look at what we think the financing plan will be, how we’ll take it to market and who the main targets are. For me, it’s always about the right editorial target—where the series has the best chance of success and return for further seasons.”

Payne adds, “At Banijay, because we have no intention of launching our own direct-toconsumer offering—we are platform-agnostic— we’ll look at where we think is the best home for a story and get it to them early. Then we work on a finance plan—when and how we’ll finance the project. Our slate, in terms of investment, is always a mixed economic model. There will be some titles you will feel confident to stand in front of a large deficit from the outset and other projects where you do need to bring in a partner up front to move ahead. Five years ago, my rule was that deficits were approximately 20 percent of the budget. They’re not that anymore. They are between 40 percent and 50-plus percent.”

PANDEMIC PRICES Covid safety protocols, longer shooting schedules and production halts have also impacted budgets, on average between 15 percent and 30 percent, depending on a show’s complexity. Inevitably, the high demand for and increased volume of scripted have impacted the way series are made. “The quality bar has risen on every aspect: the auspices, the performers that go into these shows, the writers and directors, production,” says Lionsgate’s Beggs. “This line that used to exist, what I call the Maginot Line, between theatrical movies and television has been crossed. Talent is freely going back and forth 50 WORLD SCREEN 10/21

across that line in all areas. There’s almost no motion picture artist that isn’t dabbling in TV in one form or another.”

MAKING NOISE “And everything is supercharged,” continues Beggs. “How do you market or get attention for a show in this 500-series universe? Creators and producers really care about that; it’s part of the ecosystem. Where is the marketing? Who is going to promote? All this leads back to a new enhanced reliance on intellectual property, preexisting material, or audiences that come built in. That leads you into this explosion over the past ten years that has really focused on existing IP—book, feature film, podcast and article adaptations— because there’s an assumption that fans will show up, and if it’s good, stick around.” “High-end, high-budget, English-language series from the U.K. and the U.S., but also from Canada, ideally based on an existing IP—that’s what’s really traveling internationally,” says Red Arrow Studios International’s Gerhartz. “An example in the case of Red Arrow would be Vienna Blood. It’s doing really, really well. Another example would be Departure, which is a production from Shaftesbury that we’re selling worldwide.” “That reliance on IP is quite different from Matthew Weiner conceiving of Mad Men out of thin air,” adds Beggs. “Or Jenji Kohan

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Actress Brittany Underwood directed one of MarVista’s new movies, Sweet Navidad. conceiving of Weeds out of thin air, or any of the shows we have: Zoey’s Extraordinary Playlist from Austin Winsberg and Eric and Kim Tannenbaum. Or Love Life from Sam Boyd and Paul Feig, starring Anna Kendrick, now going into a second season. These are high-concept original ideas, but they are fewer and farther between in a world of managing risk in which we have to decide where to put our resources and into which subject matter.” There are original ideas coming from nonEnglish-language territories. Not so long ago, these series could not break into Englishspeaking territories. But today, compelling stories can. “It probably started with the Scandinavian noir series some 15 years ago,” recalls ZDF Enterprises’ Burcksen. “I remember The Killing. The BBC bought the series from us and decided to televise it in the original language with English subtitles. That was daring at the time and a real breakthrough. Since then, it comes down to the story, not the language. The Scandinavian wave is still very strong. We’ve seen it ﬂow toward Belgium, which offers a good output of original content. Spain is coming up, and we are currently looking at Central and Eastern Europe. We have some great content from Ukraine and Russia. It’s not about the language anymore.” “As we speak about more and more pay and VOD platforms being available, we see a strong demand for non-English-language, more complex productions,” adds Red Arrow Studios International’s Gerhartz. “Those could come from anywhere. What counts at the end of the day is quality, and quality travels. For example, we have a show called Dignity, which was produced for a German channel and for Chile, and we placed it with HBO in

the Nordics and Europe but also on Amazon Prime in Latin America. These are examples that also work very, very well.” Banijay Rights also has a robust slate. “We have quite a lot of non-English shows launching, mainly because so much of them have come from markets that initially weren’t as affected by production shutdowns,” notes Payne. “We have Germinal, which premiered at Series Mania. We’ve got shows coming from the Nordics, Italy and Israel, a wonderful, very rich non-English selection of content including Detective Maria Kallio, My Ballerina, A Class Apart, Bonnie & Clyde, Hierro season two, The Store That Has It All, The Truth Will Out season two, and the third run of Poquelin and De Beaumont.”

AT THE MOVIES Watching serialized dramas has often been likened to reading a novel—we can read as many chapters in one sitting as we like. Similarly, when bingeing, we can watch as many episodes as we want. However, sometimes, we don’t want to dive into a long tale; we prefer a short story. Television provides the equivalent: the movie. While the name has evolved from made-fortelevision to made-for-platform, as MarVista’s Szew explains, this kind of scripted storytelling for the screen is increasingly in demand. “No matter how these movies are labeled, made-for-platform movies are experiencing a lot of growth, almost a renaissance; not just in the volume, but the type of movies that are being made. This is driven by the different modes of consumption and the various ways that, as content creators, we get to exploit them for our distribution goals and for the talent we work with.” 52 WORLD SCREEN 10/21

Szew continues, “Another aspect that makes the made-for-platform movies so desirable, which we were beginning to see before the pandemic, is that many of the platforms are leaning into the 90-minute or two-hour movie, where the audience gets a full story in one sitting without having to commit to ‘binge.’ “We’re seeing recognizable and established talent understand that made-for-platform movies are yet another way of telling and delivering great stories. Today’s made-forplatform movie is no longer perceived as the ‘stepchild’ of the theatrical movie.” As Szew explains, because these movies can now be promoted and featured alongside prestige TV series, they attract actors that might not have signed up for a cable movie a few years ago. One example is the movie The Fight Before Christmas, starring Dermot Mulroney, Hayley Orrantia and Janel Parrish.

NEW VOICES Szew also remains committed to working with first-time storytellers and directors. MarVista has given actresses a chance at directing. “We are shifting and designing new creative outlets for talent,” says Szew. “We just finished a movie, Sweet Navidad, directed by actress Brittany Underwood, who also happens to be Latina. She leaned into her background to make this an authentic and beautiful movie. She did a phenomenal job directing the charming holiday movie that is a wonderful marriage of the crossover multiculturalism that exists in today’s America.” The increased demand for content across linear and nonlinear platforms has been accompanied by a growing chorus of voices demanding diversity in subject matter and employment in front of and behind the camera. Lionsgate and its sister premium service STARZ have been working with showrunners of color for years. Most recently, Katori Hall, the Pulitzer Prize–winning playwright, made her first foray into television with P-Valley, “and what an impact the first season has had,” explains Beggs. “Now we’re into the second season. That is emblematic of exactly how STARZ and Lionsgate are focused on diverse voices and underserved audiences and delivering at the highest level with a fantastic business result on top of it, which is the fundamental premise of the diversity equation. Working with diverse talent to create inclusive and relatable content for our audiences is not only the right thing to do but smart business as well.”

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CATHY PAYNE BANIJAY RIGHTS By Anna Carugati and rollout of regulation for global platforms regarding local content spend and other matters, so this could have an impact. WS: What opportunities and challenges within scripted does the market hold for a company like Banijay Rights? PAYNE: It is a world of opportunity, and that’s from the global streaming platforms and the domestic broadcasters. And in response to anyone who says that “all linear is dead,” that’s just not true. They are fighting back. They’ve expanded their catch-up offerings into fully fledged VOD platforms. And for those linear channels with an associated VOD platform, there is the ability to combine budgets and aim for bigger, ambitious pieces alongside their more domestic offerings. These platforms can compete by scheduling more domestic programming that appeals to that home market, scattered with the big, high-profile pieces. There’s a lot of opportunity for a company like us, especially one with a strong library of domestic and international products. However, linear pay TV is a very challenging environment that requires partnerships and exclusive product offerings—they must have content to compete.

“At Banijay, because we have no intention of launching our own direct-to-consumer offering—we are platform-agnostic—we’ll look at where we think is the best home for a story and get it to them early.”

anijay Rights boasts a catalog of some 100,000 hours of programming, ranging from megahit unscripted formats to buzzy, high-end scripted series. CEO Cathy Payne works with inhouse and third-party producers, helping them develop, finance and find the best homes for their shows, whether period, Nordic, crime, medical or family dramas or comedies. Banijay’s offerings are broad enough to satisfy the growing demand for content from linear channels and the increasing number of SVODs and AVODs, all looking for international and local programming. WS: In the last two years, Covid-19 aside, have there been trends impacting the scripted business? PAYNE: Putting the pandemic and production delays aside, the big trend was the expansion of both the global streaming platforms and domestic VOD offerings, which have a strong appetite for content. There aren’t many VOD platforms outside of Disney+ possessing a library that allows them to sustain themselves. No doubt Netflix and Amazon lead the way in opening up many international markets to non-local scripted fare; however, we have all the other new players in the market. When we would take out a British drama in the U.S. only eight years ago, the two dominant targets were BBC America and WGBH, now, of course, rebranded as GBH. Today, this has expanded to include the likes of Netflix, Amazon, EPIX, Peacock, Paramount+, Showtime, HBO Max and STARZ. There’s significant demand, and as all these services expand globally, it’s essential they have storytelling from the international market. They know that’s what the audience wants editorially in terms of both big international pieces and domestic stories. Editorial will, and I believe always should, be the champion of scheduling. That said, we are also seeing the increased discussion

Also, with scripted, you’ve got to finance these shows, and having in-house distribution is an advantage. We work with producers (both internal and third-party) from the very early days to shape the finance plan and identify what we believe will be the distribution deficit requirement. WS: Would you give us some examples of financing models and how you work with producers? PAYNE: [We work with] both internal and third-party producers. The distribution team is aware of their slates from the very early stages, when a project is usually at the idea stage. We’ll read pitches. We’ll discuss writers. Sometimes we get involved in options. Then we will look at what we think the financing plan will be, how we’ll take it to market and who the main targets are. For me, it’s always about the right editorial target—where the series has the best chance of success and returns for further seasons. At Banijay, because we have no intention of launching our own directto-consumer offering—we are platform-agnostic—we’ll look at where we think is the best home for a story and get it to them early. Then we work on a finance plan—when and how we’ll finance the project. Our slate, in terms of investment, is always a mixed economic model. There will be some titles you will feel confident to stand in front of a large deficit from the outset and other projects where you do need to bring in a partner upfront to move ahead. Five years ago, my rule was that deficits were

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RFDS: Royal Flying Doctor Service

approximately 20 percent of the budget. They’re not that anymore. They are between 40 percent and 50-plus percent. WS: In large part, does finding the best home for a project start with the financing? PAYNE: Certain shows are very big and might be out of reach for some parties. But my golden rule, and it’s always paid off, is that if you find the right editorial fit for the story, the financing will come together. In a competitive situation, the channels and platforms will pitch to you why they are the right home for your series and how it will be marketed and positioned on their service. What’s also become more common is the very joined-up approach to marketing and series rollout between co-production partners who share day-and-date release. WS: Are AVOD platforms still acquiring only library product, or have they begun commissioning as well? PAYNE: The larger players do commission; a very active example is IMDb TV. Being part of Amazon, their editorial team is aligned with that of their parent company, and between them, they will decide which platform is best suited for the launch of a particular title. Indeed, there are some very good examples of AVOD services associated with parent companies. In Australia, Nine has both their AVOD offering, 9Now, and their SVOD service, Stan. Meanwhile, ITV has ITV Hub and Hub+ alongside their joint venture with the BBC, BritBox. I think it’s hard for the AVODs to commission unless they’ve got an association with a linear channel or a parent company. WS: New series attract a lot of attention, but does demand remain strong for popular library titles? PAYNE: If you look at the shows we’re delivering next year, many of those are returning series: Peaky Blinders, Grantchester, The Good Karma Hospital and Beck, among many others. Moreover, within our library are several scripted multi-season franchises that continue to

sell strongly cycle after cycle. We have been pleasantly surprised by the in-demand reaction we received from relaunching several such franchises this year, including Broadchurch. WS: You mentioned non-English-language fare. Have you seen increased demand for that, too? PAYNE: There’s huge demand, and again, you must give credit to the streaming platforms because they did open up many territories to the fabulous world of non-English. Traditionally genres such as crime have been very strong within the non-English successes. Nevertheless, it is great to see non-English comedy finding new audiences, too, with a [French] show like Call My Agent just one such example. WS: RFDS: Royal Flying Doctor Service is doing very well. Years ago, you and I had a conversation about the popularity of Australian drama. Have the streamers helped that even more? PAYNE: Australian drama has gone through various stages. Typically, the appeal of Australian scripted was that it featured a world not available internationally that was attractive overseas, such as open landscapes and big skies. Like in all markets, Australian drama covers series with more domestic focus to the premium level. And you’re right, the recently launched RFDS: Royal Flying Doctor Service has done very well with sales already confirmed, including PBS in the U.S. and Channel 4 in the U.K. WS: How have scripted shows been faring in production since the pandemic? PAYNE: All our premium scripted was delayed. You can’t believe how many drama series we will deliver between December 2021 and early 2023. We even managed to film SAS: Rogue Heroes in Morocco. Filming during this pandemic has been demanding, not only with the associated costs but also with the time that talent and crews have had to devote to creating bubbles, quarantining and often being away from home for longer periods. And then the constant testing on top of that.

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KEVIN BEGGS LIONSGATE By Anna Carugati In a 500-series universe, you have to break out with some noise and heat to get people talking to one another about what they’re watching. And these high-end serialized shows lend themselves to that. When we started on this journey, those types of shows were on the outside, and luckily for us, we had a wide-open field because they weren’t that interesting economically to a lot of other players. We continue to find and partner with new and emerging players all the time. The biggest new wave of buyers is going to be AVOD, with AVOD players already showing a big appetite for premium programming. As part of our journey, [Lionsgate CEO] Jon Feltheimer and [Vice Chairman] Michael Burns conceived a strategy of converging our studio and platform businesses by acquiring STARZ, giving us a platform partner to whom we could bring our 17,000-title library and the production capability of our motion picture and television studios. Together with Jeffrey Hirsch, STARZ’s president and CEO, we have a complete virtuous circle for the right shows and right films. STARZ has a very specific framework on the shows they need and, whether or not it’s an exact fit for every one of the shows we create, they are the highest priority.

“In a 500-series universe, you have to break out with some noise and heat to get people talking to one another about what they’re watching. And these high-end serialized shows lend themselves to that.”

ionsgate has always taken chances on new voices. It was among the first studios to embrace prestige TV and produce auteur-driven shows that draw viewers, subscribers and critical acclaim. Today, the studio’s television group prioritizes sister company STARZ’s needs while also providing content to some 20 other outlets. Kevin Beggs, chair of Lionsgate Television Group, has encouraged relationships with a diverse range of creators and showrunners who have helped cater to underserved audiences and bolster the bottom line.

We are servicing 20 or 25 other buyers at any given time on shows that aren’t right for STARZ. That’s why we have a nice balance between the two. That’s quite different from when we were just a developerproducer-distributor without a platform.

WS: What have been the biggest changes for Lionsgate Television since the ﬁrst seasons of Mad Men and Weeds? BEGGS: As a nimble, agile company on the smaller end of the “big company” spectrum, we have to maneuver quickly and adapt to the market. We don’t make the market; we respond to it. In that respect, nothing has changed. We’re still a challenger brand. We still have a start-up mentality because you’ll be boxed out of new business if you become complacent. The other similarities are the continually emerging new platforms. This is where we found traction in the early 2000s, with new platforms like USA Network, AMC, Showtime, Lifetime, Turner, and, at the time, ABC Family and then Freeform. All these newer entries were looking to do originals but couldn’t get the attention of either their in-house corporate studio partners or outside studios because the upside was modest compared to an outsized broadcast network hit. Those early shows, like Mad Men, Breaking Bad and a slew of others that have come since, were auteur-driven, highly serialized, non-formulaic shows—the antithesis of a broadcast procedural. Back then, they were the outliers, but today they’re the mainstream because the conglomerates have become focused on streaming platforms.

WS: Is Lionsgate Television adapting IP from other divisions within the studio? BEGGS: We have a whole working group called Lionsgate 360. We came up with that name after the STARZ partnership to formalize something we had been doing casually for many years—what I would call elevator synergy. A few of us might end up in an elevator heading for the parking lot on a Friday. One of my motion picture colleagues might say, “Hey, we have this great book. We never quite cracked the script. The option is up in a week. Maybe it’s good for TV.” Then you’re scrambling in a few short days! Or it could be reversed. It might be something that we couldn’t figure out, and we said to them, “Maybe it’s a movie.” It wasn’t very purposeful or strategic. So we decided about five years ago to put that into a more formalized group, which is comprised entirely of creative executives from every vertical in the company: motion pictures, television, STARZ, 3 Arts, Pilgrim (our nonfiction company) and location-based entertainment and franchise management group. We brainstorm. If something can become more than what it once was, it qualifies to be on the list. If it’s never going to be more than a TV show or a movie or a home video release or a syndicated talk show, we don’t get into that. John Wick is an ongoing feature film franchise,

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BMF it has game optionality, and there are some in-person experience theme park-like experiences with it. The blockbuster movie franchise continues. We are working on the series for STARZ called The Continental. Or take Nashville, a show we did for ABC and CMT across six seasons. Our locationbased entertainment group is hard at work developing that as a potential Broadway offering. Or take a series like Blindspotting. The film had great critical acclaim. It was timely, about gentrification and the prison industrial complex transforming Oakland, California. We partnered with Daveed Diggs and Rafael Casal, who made and starred in the movie. They are the writers and essentially showrunners on the series. It offers the perspective of a woman whose husband has been incarcerated, and she’s left to pick up the pieces. That’s where Blindspotting the series picks up. We’ve been doing it for STARZ and are quite proud of it. That comes out of the treasure trove of titles that are in our library. WS: Lionsgate has had first-look deals and partnerships with talent for a long time. How is that history of working with talent helping you today? BEGGS: For many years, we were a boutique television company. We had a slate of approximately ten shows at any given time and the ability within our division to manage and produce them with a unified development and current programming team. Essentially, everyone was across every project. When we made the strategic decision to increase our volume dramatically while not adding overhead, we had to reorganize the creative teams into development. We also consciously expanded our deal roster with producers and writers who were prolific in order to generate even more development and opportunities for production. This restructuring, along with the close working partnership with STARZ, has built our current roster to 34 different series. Our development and current teams are across each one, but with very experienced producers working on many of them, we can adjust the day-to-day involvement in an accordion-like fashion and increase efficiency. In essence, with an eye toward being nimble and adapting quickly, we decided to bet on talent. Not only was the 3 Arts investment an affirmation of that strategy given their amazing client list and what they do so well, but on individual writing-producer or non-writingproducer deals in which they are generating a lot of IP, concepts and ideas. We can help facilitate getting those into top shape and to market

using our expertise and creative skills, but not necessarily relying on our own in-house staff to generate and create every idea. As we think about the bar being raised, it’s not about volume from any one producer in this auteur-driven space. It’s more about making a huge impact with one show; maybe that builds to two and in a perfect world three. So it’s remarkable when we have four or five from Paul Feig’s company. You have to curate because you’re only going to have so many shots. Yes, there are many more platforms, but they are under siege from everyone pitching them everything. Yours has to stand out to even get to a place that they want to take a pitch. And thinking beyond the pitch, if the show gets made, you have to think about whether it will stand out when it’s on. That’s a different function than traditional development, in which your group conceives of every single project, finds a writer and says, let’s go pitch. We have Jenny Bicks in an overall deal. She’s had great success with Sex and the City and Divorce and is now doing Welcome to Flatch for FOX. We forged a partnership about three years ago with BBC Studios to become their U.S. studio for scripted. That’s been very successful, giving us access to an incredible roster of formats from the U.K. We have two airing this year, Ghosts on CBS and Welcome to Flatch for FOX. And we have more in development. In this crowded market, everyone wants a hit, but in the back of their minds, they worry about what might happen if this doesn’t work. Seeing something that succeeded elsewhere is always a nice vote of confidence because at least you see a framework of the tone. And, of course, the U.K. has some of the greatest shows. We just announced a producing deal with Bob Greenblatt, one of the most accomplished producers and executives in the television business, who brings a major studio and network perspective to our television group. We signed Sarah Timberman and Carl Beverly, one of the most successful and prolific producing partnerships in Hollywood. We renewed Eric and Kim Tannenbaum, two incredibly prolific producers making shows from Home Economics to Zoey’s Extraordinary Playlist to Acapulco. And that’s just scratching the surface: We have an overall film and TV deal with Seth Rogen and Evan Goldberg’s Point Grey Pictures, and producer deals with Katori Hall, the brilliant creator of P-Valley, and Rebecca Cutter, who is heading into the second season of Hightown for us. I could go on and on.

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FRED BURCKSEN ZDF ENTERPRISES By Anna Carugati the development process as well; otherwise, there’s no chance to play a role in the project. That’s what we try to do. WS: With so many outlets looking for scripted series, would you give some examples of ﬁnding the right home for a title, and what considerations go into that decision? BURCKSEN: You need two parties to ﬁnd the right home for your content. It starts with the buyers at the networks or platforms. You need to listen carefully to their needs. It begins with their requests. Every discussion we have about product starts with: What are you looking for? What is your target audience? What’s the playout? Is it more linear, more nonlinear? Is it a combination of the two? And that, combined with the knowledge of our titles, will hopefully lead to a perfect solution for the program. Having said that, we’ve learned that a program can function on various networks for different audiences. One example is the Rosamunde Pilcher Collection, a collection of 90-minute TV movies. On ZDF, it’s a prime-time highlight and works very well for an adult audience. But it’s also very successful on commercial television in Italy in an access prime-time slot.

“Every discussion we have about product starts with: What are you looking for? What is your target audience? What’s the playout? Is it more linear, more nonlinear? Is it a combination of the two?”

nce, non-English-language TV series did not break into Englishspeaking countries. This is no longer the case. For Fred Burcksen, president and CEO of ZDF Enterprises, what matters to worldwide viewers today is the story, not the language in which it is told. The commercial arm of the German public broadcaster offers scripted series for prime-time audiences, others for tweens, animated series for children and documentaries and factual programs. WS: Does there continue to be demand for scripted shows? BURCKSEN: There is still high demand for good storytelling, good scripted programs. The market is almost overheated. There is so much demand, indicating that it’s a challenge to ﬁnd the right talent for the right production. We consider that the biggest challenge. WS: As so many global streamers are keeping programming for themselves, is that creating additional opportunities for you? BURCKSEN: It does. Again, there are opportunities and challenges. What we are discussing is called vertical integration. The big groups cover a complete chain of rights, and they have their own playouts like Netflix and WarnerMedia. They try to keep things within their group, which is fine, and to be honest, we do the same. ZDF Enterprises is basically a studio. We cover the whole chain of rights from early development through financing, production, sales and longtail sales as well. Our group consists of some 20 production companies and distribution companies. It’s about vertical integration. On the other hand, if you want to be a partner for the other groups, you need to be involved very early in development. You need to control

WS: Are there various financing models you use for different projects? BURCKSEN: There is no one solution. The bottom line is that if you want to be a partner on any project, you need to be there from the beginning. Maybe a decade ago, you could wait until you could see a rough cut or read a script. Now you have to get involved in the early development by securing rights, maybe book rights, but you need to be involved from the beginning. Then it comes down to: Is this mainly a local production? Is it an international co-production? Is it being financed by a platform entirely, or do you need more than one partner? We’ve got examples of each way of financing. We have a series called The Window, a drama thriller that explores the complex and dark off-field machinations of the world of soccer. It was produced by Germany’s Boogie Entertainment and ZDF Enterprises, in co-production with Japan’s Fuji Television Network and Belgium’s Velvet Films and Streamz. We’ve also done more complicated co-productions where we need six or seven partners to finance the high-end production. [The considerations are] is it a true international co-production or is it a more local project that is being covered by two partners? For instance, Scandinavian crime dramas are financed by the Scandinavians and ZDF. We have Agatha Christie’s Hjerson, a modern-day Agatha Christie spin-off about Sven Hjerson, a once-renowned criminal profiler who retires from the spotlight, and Klara Sandberg, a trash TV producer who wants to reset her career with a true-crime show that stars him. It was produced by BR•F, TV4/C More, ZDF, Agatha Christie Ltd. and Nadcon Film. For

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The Window

Agatha Christie’s Hjerson, the financing model was relatively simple, but there are more complicated examples as well. WS: Non-English-language scripted shows used to travel only among non-English-language territories. That has changed. BURCKSEN: It probably started with the Scandinavian noir series some 15 years ago. I remember The Killing. The BBC bought the series from us and decided to televise it in the original language with English subtitles. That was daring at the time and a real breakthrough. Since then, it has come down to the story, not the language. The Scandinavian wave is still very strong. We’ve seen it flow toward Belgium, which offers a good output of original content. Spain is coming up, and we are currently looking at Central and Eastern Europe. We have some great content from Ukraine and Russia. It’s not about the language anymore. WS: While scripted series get a lot of attention, ZDF Enterprises also has a significant range of factual programs and documentaries. Are there subjects that co-production partners or buyers are requesting now? BURCKSEN: Yes, and we are talking about a vast genre that includes all the magazine programs. We try to focus on wildlife, science and history. That is the core of our catalog and activities. Demand for these three genres is high, particularly for sustainability, developing circular economies or going green. For example, we are very proud to have the groundbreaking series Rescued Chimpanzees of the Congo with Jane Goodall in our catalog. It uncovers Jane Goodall’s journey to create the largest chimp sanctuary in Africa. It follows the rehabilitation of a cast of orphaned chimpanzees from recovery to eventually living in a wild environment. It is produced by Off the Fence with the support of the Jane Goodall Institute for Curiosity Stream in association with ZDF Enterprises.

Our documentary series Ancient Superstructures is about ancient marvels among the most studied and scrutinized monuments in the world, which remain shrouded in mystery even today. Now in its second season, Ancient Superstructures reveals the secrets behind some of the world’s most famous monuments, such as the Louvre, Angkor Wat and the Hagia Sophia. It is produced by Pernel Media in association with RMC Découverte, Histoire and ZDF Enterprises. WS: ZDF Enterprises has ZDFE.junior, a catalog of programs for young viewers. What demand are you seeing for children and youth? BURCKSEN: There continues to be a consistent demand for high-quality, live-action drama series for tweens and preteens. One example is Surviving Summer, a series we developed with Joanna Werner from Werner Film Productions in Australia. As I said, we need to be involved in development. It’s a coming-of-age series about coming out that was picked up by Netﬂix on a global scale. Of the many highlights from our animated series, I would like to point out two, which are now launching their second seasons. Our preschool series School of Roars helps children prepare for school life by exploring a child’s ﬁrst year through lovable mini monsters. They go to school at night and, through their adventures, experience life lessons such as caring, sharing and friendship. And Scream Street is a funny, scary, stop-motion animation show in which zombies, vampires, mummies, glamorous witches and monsters put a whole new spin on community spirit. A trend we see in productions for children and youth is the demand for more diversity. We are even talking about gender-neutral animation series. There is also a need for more education-oriented preschool series and edutainment series. It’s not a new trend, but we feel there’s an energy for this kind of program.

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LOUISE PEDERSEN ALL3MEDIA INTERNATIONAL By Anna Carugati us to exploit shows in a different rights window and for a longer period of time. It feels like there are lots and lots of opportunities, which is really positive. As for the challenges, new entrants to the market, like the AVOD or FAST licensees, require a different set of rights. We have to make sure we are smart about the rights that we grant to maximize revenue for our content across as many windows as possible. WS: There is such demand for scripted programming. I love detective and cop stories. Is that a genre that continues to be successful? Are there others? PEDERSEN: We love a good detective show ourselves. We represent some very well-known detective brands from Inspector George Gently to Midsomer Murders. We launched Van der Valk last year and have a couple of others, such as Annika with Nicola Walker and Dalgliesh, based on the P.D. James series of books, from New Pictures, launching this autumn. Yes, the genre continues to do very well. If, on occasion, we think of them as a comfortable

“New entrants to the market require a different set of rights. We have to make sure we are smart about the rights that we grant to maximize revenue for our content across as many windows as possible.”

ong gone are the days when distribution involved mainly selling finished programs. Today, executives like Louise Pedersen, All3Media International’s CEO, work with producers in the early stages of development to help shape series that will appeal to international buyers. As demand for scripted has increased, so has the company’s range of product. Beloved long-running detective series, pacey, twisty thrillers and shows examining social issues sit alongside a selection of entertainment and factual programs.

WS: How do you view the international scripted TV market? PEDERSEN: We feel pretty positive about the market at the moment. Yes, there are shows that are getting commissioned by global SVODs or studio SVODs where we, as a distributor, don’t have rights, but that’s good business for our partner production companies. Outside of that, there are lots of potential SVOD homes for our shows on the co-production side, both with regional SVOD partners, such as Stan in Australia, whom we worked with on Eden, and global SVOD partners who are prepared to do deals in speciﬁc territories. Then there are also long-standing and valued commercial or public-service freeto-air broadcasters, who are very keen to get access to good content because the studio SVODs are hanging on to some of their library product. The AVOD and FAST channel market is a growth area, particularly for our longer-running, established scripted series. With the studio SVODs, there has been a huge demand for library content. If you have a decent library of shows—and we just bought the [NENT Studios UK, formerly DRG] library, which is another 10,000 hours or so—there are opportunities for co-productions, presales or library deals. AVOD, in particular, has been an opportunity for

currency, then a show like Mare of Easttown comes along and reminds everyone that the genre can be fresh and challenging. Interestingly, the global SVODs seem to have given comedy-drama a boost. That was a genre that was generally difficult for our terrestrial licensees. Now, particularly in terms of ﬁnding a co-production, it’s a genre that works quite well, certainly in the U.S. and with global SVODs. We brought in Amazon as co-pro partners for Fleabag a few years ago, and Back to Life from the same producers (Two Brothers Pictures) starring Daisy Haggard is a show we were delighted to place with Showtime in the U.S. I don’t think that buying into a U.K. comedy would have happened a few years ago. The platform that SVODs have given this genre has allowed audiences to find content that, perhaps in the past, buyers didn’t think they would like. That’s been very positive. WS: Has the increased volume of scripted changed the way shows are developed or produced? PEDERSEN: More and more development is being financed by distributors or financiers. Broadcasters are still funding a lot, of course, but there is development going on outside the broadcasters, particularly in the U.K. That’s been a change. That’s all about distributors and financiers coming in early to get shows they think will travel that they really like. It’s about securing your position early in the process.

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Dalgliesh

In terms of production, there is still a very strong model in the U.K., the PSB model, where broadcasters come in with a significant percentage of financing, a distributor comes in and probably matches it, and you’ve got a tax credit as well. That’s a model we like, but, increasingly, we are financing shows by bringing in one or two co-commissioning partners. On Van der Valk, we had ARD, PBS Masterpiece, BritBox and All3Media International. Partners don’t pay the full freight commissioning fee but more of a co-production level fee. Another example is our new detective series Dalgliesh, financed by us, Acorn TV and Channel 5. In essence, there used to be one dominant model of financing for U.K. distributors, but we are now working with producers on more creative ways of getting shows into production. WS: Is there enough talent to go around? PEDERSEN: A lot of production companies are finding that they have to wait a long time for writers. It’s a very competitive situation to get really good talent across the board. We do have to mention Covid here. When it comes to crews, the Covid protocols, the fact that some productions are having to stop and start as somebody tests positive, has placed a lot of strain on line producers, production managers and producers. Production is a stressful job anyway, and it’s gotten probably ten times more stressful with Covid. There is a squeeze on availability as well. Lots of shows went back into production at about the same time, rather than being staggered. If you talked to production companies in our group, they would probably say getting crews is quite hard at the moment and being in production is more stressful. WS: You have non-English-language shows that do very well. Are you seeing greater demand for them? PEDERSEN: We apply the same criteria to foreign-language shows as we do to any English-language shows we invest in. They have to be

really strong commercial ideas that are original and have a very clear idea of what they want to be. If we find a foreign-language show that we love, we’re going to back it. We want everything to hit the quality threshold. We’re seeing a lot more willingness and openness from our buyers, particularly in the U.S., to consider foreignlanguage content. WS: When linear channels dominated the landscape, a scripted series could attract viewers and help brand a network—think of Mad Men on AMC. Are scripted series still important today? PEDERSEN: Absolutely they are. Baptiste is still a show that I’m hearing people talk about a lot around its BBC transmission, so scripted shows can still bring people together to talk about next week’s episode. Scripted series do still provide a common experience. It’s not to say that sports, entertainment and factual can’t do the same job, but sitting down and watching the latest episode of a new drama and talking about it with your friends and family afterward is one of the things that hasn’t changed during Covid. We are all still doing that and enjoying it. WS: Scripted series can also shed light on important issues, often better than documentaries can. PEDERSEN: The Russell T Davies series It’s a Sin, about the AIDS crisis in the ’80s, launched on Channel 4 and HBO Max this year. It told the moving and shocking story of that pandemic in a way that was incredibly poignant, relatable and powerful. It was interesting watching younger people talk about their response to the show on Twitter: “Oh God, we can’t believe this affected our community like this.” It enabled them to relate to it in a way that perhaps they wouldn’t have done if they were watching a documentary about the subject.

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TIM GERHARTZ RED ARROW STUDIOS INTERNATIONAL By Anna Carugati WS: What kind of scripted stories are of interest to broadcasters and streaming services? GERHARTZ: It’s quite diverse—as diverse as the platforms are these days. Of course, high-end, high-budget, English-language series from the U.K. and the U.S., but also from Canada, ideally based on existing IP, are what’s traveling internationally. An example in the case of Red Arrow would be Vienna Blood, which you might have seen on PBS or BBC or ZDF. Another example would be Departure, which is a production from Shaftesbury that we’re selling worldwide. In terms of genres, it’s still crime dramas and dramedy that do well. Then again, as we speak about more and more pay and VOD platforms being available, we see strong demand for non-English-language, more complex productions. Those could come from anywhere; it could be Europe, it could be Latin America; what counts at the end of the day is quality and quality travels. For example, we have a show called Dignity, which was produced for a German channel and for Chile, and we placed it with HBO in the Nordics and Europe

“We are invested and involved in pretty much every stage of the value chain, and we’re very flexible when it comes to finding the right model. It depends on the show and the idea.”

iewers must navigate such a sea of choice that they often turn to genres and characters they already know. Red Arrow Studios International has had great success with dramas based on best-selling books, from Bosch, Amazon’s longest-running original series, to Vienna Blood. Tim Gerhartz, the company’s president and managing director, recently completed a deal to co-develop a series based on the iconic fictional French detective Jules Maigret.

WS: There is so much demand for scripted series. What opportunities and challenges do you see in the market? GERHARTZ: Clearly, there are challenges: Budgets are becoming bigger and bigger, there’s stiff competition when it comes to access to talent, and then, Covid-related, some budgets have been on hold recently. But the key message is that there are more opportunities than there are challenges. There’s a huge demand for content. There’s lots of creativity out there. There’s a whole new generation of creators who want to come up with ideas and see their ideas traveling across the globe. I see more opportunities than challenges, especially for a company like Red Arrow. As we are a truly international company—with roots in Europe and production entities and resources both in the U.K. and continental Europe, but also having a footprint in the U.S.—we can benefit from both sides, so to speak. We are well connected to the more traditional spaces of the industry, the linear broadcasters, for example, and what they buy. But we are equally connected with the new entrants and new VODs and pay platforms. We have a diversified content catalog; we span from factual to fiction to formats. Being positioned like that, we can look to a fruitful future more than seeing the challenges.

but also on Amazon Prime in Latin America. These are examples that also work very well. WS: Would you give some examples of ﬁnding the right home for a show? GERHARTZ: There are more options than there have ever been, with all the new players and platforms. Ideally, you have a very distinctive idea about what your show is about, and you share that vision with the producer. If that’s the case, it’s much easier to place a show and get a commission because the platforms become obvious as to the right fit. The clearer the vision and agreement you have with the initiator, producer and creator behind the show, the easier it is to define where a show belongs. But then, as the markets are transforming so quickly, there’s always room for a surprise; you may see shows traveling to places where you wouldn’t have expected. We are looking forward to another show that we’re distributing later in the year called Blackout: Tomorrow Is Too Late, a highend German series. It comes with a big budget. It is produced for a German commercial channel and a VOD platform, and that could equally sit on a public network but also a commercial network, pay or free-to-air. There are lots of opportunities. WS: Would you give some examples of the financing models you are using for scripted shows?

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Blackout: Tomorrow Is Too Late GERHARTZ: No one solution fits all situations; it depends on the project. At Red Arrow Studios International, we’re getting involved in new projects pretty much in every possible way—from classic acquisitions to investments in development at the very early stage. You may have heard about our project Inspector Maigret, which we’re doing with Playground; that would be an example. We’re also involved in deficit financing. We’re also teaming up with equity partners. It’s a whole mix. We are invested and involved in pretty much every stage of the value chain, and we’re very flexible when it comes to finding the right model. It depends on the show and the idea. WS: What’s your view on the mega-formats in prime time: Do you see some of their staying power starting to wane, or are they still going strong? GERHARTZ: The importance and power of mega-formats are increasing. We’ve seen that specifically throughout recent months, as broadcasters are sticking to what worked prior to Covid-19 and during Covid-19. So having a mega-format in place is definitely helpful these days, and I don’t see why platforms would want to change their strategies when it comes to mega-formats. When you talk about mega-formats in the case of Red Arrow, we’re speaking about Married at First Sight, which we launched in 2013. The format has traveled into more than 30 countries since then. It turned from a successful show into a channel-defining brand. That’s what I would consider a mega-format. It does a really good job, and it’s even increasing in significance. WS: Are knowledge and best practices shared among producers of various local versions?

GERHARTZ: That’s a core part of what we do; that’s the purpose of a distributor. Our job is to turn ideas into programs and to turn programs into deals, and that applies to the format business. It’s our job to make sure it travels but also to make sure that all the knowledge and experiences and everything [production-wise] go back into the bible and to the team in order to support our production partners throughout the world and get the maximum out of the brand and the format. WS: What do you see as the keys to longevity for a format? GERHARTZ: Nowadays, a format has to have a [concept with a] purpose. It’s not enough to just have a funny show or entertaining show. The show needs a purpose; it must be immediately obvious why the audience wants to watch it. You can call it relevance or purpose, mixed with simplicity. Over-produced and over-constructed shows are hard to sell these days. This might be a Covid-driven thing, but scalability has been a key element in the recent months to make shows work and travel. WS: Why is it still important to reinvigorate even the strongest format brands from time to time? GERHARTZ: You have to keep it fresh for the audience. Especially for the established platforms, it’s important to continuously deliver to the audience what they expect from the brands, but you also have to offer fresh angles and surprise the audience with something new. Especially in times when hundreds of new platforms and offerings become available to the audience, the mix of a consistent slate of shows with a fresh take is key.

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FERNANDO SZEW MARVISTA ENTERTAINMENT By Anna Carugati WS: How has MarVista grown in the last two years, and what opportunities do you see for further growth? SZEW: We have seen positive growth. It’s primarily because of the entrants into the marketplace—the platforms leaning into their movie strategies—converging. MarVista is very well-positioned to super-serve the strategies for the established and brand-new set of buyers. Based on this, our client base has expanded, and we are experiencing growth due to our core traits of being solution-oriented, “buyer ﬁrst” and remaining entrepreneurial. As platforms see this market need for movies, they understand and know that MarVista is one of the studios that can deliver on their goals and seamlessly collaborate with their teams on creating content strategies beyond just one-off movies. It’s more about creating more expansive multiple movie strategies to serve their audience with a consistent ﬂow of movie offerings. Another crucial piece of the puzzle is that we’ve always had a global focus. Around the world, locally and regionally, we are experiencing tremendous growth and expansion. This ubiquitous demand increases opportunities for MarVista to expand our scope and breadth further.

“It continues to be a highly competitive world in this business, and it’s competitive across all aspects of production, not just talent, but within all disciplines and through the production value chain.”

arVista Entertainment offers linear and nonlinear platforms a range of movies and other content. CEO Fernando Szew has led the company’s growth with a focus on solving buyers’ needs. He has forged partnerships with producers and studios in and outside the U.S., attracted diverse voices and given talent the opportunity to direct. His strategy is paying off as viewer taste and platform demand for movies continues to increase.

WS: What changes have you seen in the business of TV movies? That’s not the correct term anymore, is it? SZEW: The nomenclature can be a bit confusing, but at MarVista, we view our titles as “made-for-platform movies,” as this feels more appropriate in our media-agnostic world. No matter how these movies are labeled, madefor-platform movies are experiencing a lot of growth, almost a renaissance, not just in the volume but the type of movies being made. This is driven by the different modes of consumption and the various ways that, as content creators, we get to exploit them for our distribution goals and for the talent we work with. When we are making a movie directly for a traditional cable network or SVOD/AVOD, we consider all of them as viewing platforms. When we are making movies without a set buyer or destination in place, we still believe that eventually, they will end up on one of these platforms, even if the initial path is through a theatrical release or other means. Another aspect that makes the made-for-platform movies so desirable, which we were beginning to see before the pandemic, is that many platforms are leaning into the 90-minute or two-hour movie, where the audience gets a full story in one sitting without having to commit to “binge.” The tide of great content has been rising for all during this golden age of scripted content, and movies are no exception.

WS: You’ve also forged some exciting partnerships. SZEW: The way we are positioned allows us to provide, if not the entire solution, then part of the solution for different platforms and buyers. Because of this, we have partners who seek us out to complement the skills and expertise they may not have. To name a few, we have recently announced a partnership with Cyma Zarghami at MiMO Studios for kids’ and family programming. MarVista is enhancing the great development and IP creation Cyma and her new team were already working with as they launched MiMO. The teams are working cohesively, not only on IP and development but now on a real path to production, financing and distribution. Similarly, but in a different genre of titles, is our partnership with Elefantec Global, [co-founded by] my friend Pepe Bastón. This partnership is about taking the best of MarVista, its studio platform, and addressing the continued substantial growth of the Spanish-speaking market, not just in Latin America but also here in the U.S. We know there is a strong appetite to tell culturally relevant stories to this audience. Pepe and his team can create these compelling stories, and with MarVista’s know-how across the value chain—from development that can be produced on time and budget, to delivery, to being able to commercialize and finance projects—it became a perfect marriage. As Pepe and I say, it’s the blending of our know-how and his know-who. This combo is leading to fantastic early results, and we are having lots of fun making great content and influencing the stories and quality of the movies.

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This Is the Year Additionally, we are in business with other great partners in Latin America and the U.S. Hispanic landscape. Another deal that was also recently announced is the partnership with Lionsgate, which harkens back to the beginning of most of our careers when what we used to call made-for-television movies or MOWs were dominated by Hearst and programmed across all the general entertainment networks. Lionsgate holds the rights to the expansive Hearst library, which has some of the classic movies that made a mark when there was just television, movie theaters, magazines and books! It was a simpler world in which the lanes for content were delineated. The Hearst movies garnered huge ratings, made a real impact and starred people who would become A-listers. It’s a wonderful partnership with Lionsgate because it allows us to take the nostalgia of those MOWs but reimagine the stories for a new multicultural audience and the new platforms and buyers. In a sense, we are updating the point of view with a new modern perspective to these stories. We have a fun canvas to play with because of the high volume of movies and like-minded people on the Lionsgate side that also allows us to leverage the power of collaboration. WS: Has the high volume of scripted fare impacted the subject matter, the availability of talent or the production values of movies? SZEW: It continues to be a highly competitive world in this business, and it’s competitive across all aspects of production, not just talent, but within all disciplines and through the production value chain. There is a lot of demand for content with a limited pool of capable producers and talent. MarVista is a talent-friendly place with the size and scale to differentiate ourselves in this landscape. Also, and most importantly, our DNA and the heart of our company mission are focused on creating opportunities for people. So, we can support and cultivate new talent across the content creation sphere with a system for them to be their best selves and do their best work. On the talent front, one of the appealing aspects is that we’re seeing recognizable and established talent understand that made-for-platform

movies are yet another way of telling and delivering great stories. Today’s made-for-platform movie is no longer perceived as the “stepchild” of the theatrical movie. The home and mobile viewing experiences are now legitimized, and audiences are getting accustomed to it, and in some instances, even prefer it. From a platform and talent synergistic point of view, the made-for-platform movie can now be promoted and featured alongside the most talked-about content in the world, which are some of the wonderful series that are currently having their “watercooler” moments. The fact that these titles live in the same environment and space also means that there can be more crossover and synergies with the same production companies and talent. There is less of a silo effect, which has been refreshing, and we are fortunate to be the beneficiaries of this. Because there is greater demand for movies, more partnerships, and frankly more chances and space to play, we can launch new talent. We’re able to continue what’s constantly been at the forefront of my and MarVista’s purpose and the company’s DNA, which is to allow new voices to get into the industry, work in a professional setting and tell stories. We consistently work with first-time storytellers and directors and pride ourselves on making not only their first movie but their second. In particular, this has played out for us in the past five to seven years for some female directors who are now making huge waves throughout the industry. We also offer opportunities for talent normally in front of the camera to get behind the camera. For instance, we have given quite a lot of actresses their directorial debut. We are shifting and designing new creative outlets for talent. We finished Sweet Navidad, directed by actress Brittany Underwood. She also happens to be Latina and leaned into her background to make this an authentic and beautiful movie, a wonderful marriage of the crossover multiculturalism in today’s America. In addition, through our partnership with Neshama, we’ve been able to find a new pool of producers and directors in Canada. Although they have a robust industry, we believe that our collaboration with Neshama and the addition of MarVista’s know-how have helped create vast new opportunities there. We are beginning to see the same pattern in Mexico and throughout Latin America in our partnership with Elefantec.

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TVKIDS

WWW.TVKIDS.COM

MIPCOM & MIPJUNIOR/OCTOBER 2021 EDITION

AVOD Deals / Comedy / BLE Special Report / Mattel’s Ynon Kreiz / WarnerMedia’s Tom Ascheim Sensical’s Eric Berger / Aardman’s Sean Clarke / Guru’s Big Blue / BBC’s Sarah Muller / PBS KIDS’ Linda Simensky In-Demand: Preschool & Comedy / DR’s Niels Lindberg

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16 TV KIDS

CONTENTS

The Ties That Bind As I write this column, I am feeling cautiously optimistic that I will be back on a plane a few weeks from now, making my way from New York to Cannes for what I expect to be a MIPCOM—and MIPJunior—like no other.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor Jamie Stalcup Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Kids ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

MIPJunior as we have all known it—the packed lobbies of the Martinez, Carlton or JW Marriott; the scramble to get a table; buyers spending hours on end in ballrooms converted into screenings lounges; the fabulous beachside parties—will not exist this year, with a compressed version of the event taking place alongside MIPCOM inside the Palais. And, as we all know, attendance won’t be what it was as travelers fret over variants, testing, vaccine proof, QR codes and paperwork—that’s where I am! And yet, this is the most excited I’ve been about anything since, well, before the pandemic that shall not be named showed up and turned our lives inside out. There is something special about the international kids’ community, isn’t there? It is its own little universe with friendships forged over many, many years of showing up in the same city every few months. Friendships that became partnerships (both the work and personal kinds). The casual conversation that became the deal that transformed your business. The intel gathered at workshops and panels (and, of course, afterparties) that helped inform a decision—leading you to make the right one and (hopefully) not the wrong one. The heavily European contingent that made it to Annecy and Cartoon Forum have already had a taste of what a return to live events feels like. From what I’ve heard, it’s not quite what it was, but just having a small taste of that bustling market energy was a blissful start. And the kids’ business is at a fever pitch right now: lots of commissions, tons of new ideas and narrative techniques, a real attempt to embrace diversity and the promise of lucrative future revenues as AVOD expands—a sector we take a deep dive into in this issue with a special report from me and a Q&A with Common Sense Networks’ Eric Berger. We also hear about the keys to getting kids’ comedy right, given how in-demand that genre is. We spotlight brand-building plans, which these days must cross physical and online platforms. And we hear from some of the biggest names in the business, including Mattel’s Ynon Kreiz, WarnerMedia’s Tom Ascheim, Aardman’s Sean Clarke and more. —Mansha Daswani

GET DAILY NEWS ON KIDS’ PROGRAMMING

FEATURES

FREE FOR ALL

A range of distributors and platforms discuss the booming kids’ AVOD opportunity.

LAUGH TRACK

We hear from producers and distributors about how to make great kids’ comedies, the demand for which has never been higher.

READY TO PLAY

Leading content owners discuss the increasingly important role of digital platforms in establishing and building brands today.

INTO BIG BLUE

A behind-the-scenes look at the new series with creator Gyimah Gariba and Guru Studio’s Frank Falcone.

IN-DEMAND: PRESCHOOL

Spotlighting ZDF Enterprises’ School of Roars, CAKE’s B.O.T. and the BEASTIES, Magic Light Pictures’ Pip and Posy, GO-N’s Simon Super Rabbit, Zodiak Kids’ Mumfie, Planeta Junior’s Milo, Global Screen’s Mister Paper and Serious Kids’ Tulipop.

IN-DEMAND: COMEDY

Spotlighting ZDF Enterprises’ Scream Street, The Muscleteers and Zoom—The White Dolphin; Guru Studio’s Big Blue; Studio 100 Media’s FriendZSpace; Mondo TV Group’s Monster Loving Maniacs; Jetpack Distribution’s Critters TV and PBS International’s Cyberchase.

INTERVIEWS MATTEL’S YNON KREIZ WARNERMEDIA’S TOM ASCHEIM SENSICAL’S ERIC BERGER AARDMAN’S SEAN CLARKE PBS KIDS’ LINDA SIMENSKY BBC’S SARAH MULLER DR’S NIELS LINDBERG

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9 Story Distribution International Circle Square / Weird Waters / Bad Nature

Bad Nature

From the duo The Brothers McLeod, the 9 Story Distribution International title Circle Square centers on a community of nine unique households—from a family of wizards to a family of emergency service owls. In each episode, Vanessa the dragon helps a different household in need. In Weird Waters, four characters are thrown into the deep end of a secret pond full of hidden realms, ﬁsh with magical powers and ancient monsters. Kids “will learn that, although you can’t always control where the waters of life take you, if you have good friends by your side, you can always enjoy the ride,” says Alix Wiseman, senior VP of distribution and acquisitions. Bad Nature provides animal facts and ﬁgures that delve into the disgusting but truly amazing things animals do.

“It is our mission to create and distribute content that respects children and their emotions.” —Alix Wiseman

Aardman Interstellar Ella / The Very Small Creatures / Pop Paper City Aardman is highlighting Interstellar Ella, produced by Fabrique Fantastique and Apartment 11, which is an adventure-comedy set in space in the year 3021 that follows the adventures of 8-year-old Ella Ryder. The preschool stopframe series The Very Small Creatures, produced by Aardman, features genderless, inquisitive toddler-like creatures who learn about the world through play. Pop Paper City, produced by Love Love Films, focuses on a group of friends who live in a paper world. “Each [series] will be fully relatable to the audience, whatever country they live in—whether it be an emotional or aspirational connection to one of the many characters in each of them or an experience that’s portrayed in one of the programs they can identify with,” says Alison Taylor, director of distribution and business development.

Interstellar Ella

“Comedy plays a vital role in each series, and from my experience, everyone loves to laugh.” —Alison Taylor

ADK Emotions NY Beyblade Burst QuadDrive / Beyblade Burst Surge / Beyblade Burst Rise Several shows from the Beyblade Burst franchise are in ADK Emotions NY’s catalog for MIPCOM, all of which continue to bring the characters and storylines to life by focusing on sports, competition and the excitement of battle. Beyblade Burst QuadDrive is the upcoming sixth season of Beyblade Burst. Beyblade Burst Surge, which precedes QuadDrive and debuted earlier this year, sees brothers Hikaru and Hyuga Asahi work to topple the ruling class of the Blading elite. Beyblade Burst Rise, which precedes Surge and premiered in 2020, centers on Dante Koryu as he prepares to take on the world with his new Bey, Ace Dragon. The Beyblade Burst franchise has a host of new licensing partners in place for products, including toys, for the future.

Beyblade Burst Surge

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Nina & Olga

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Beyond Rights Nina & Olga / The World According to Grandpa / Turbozaurs Based on the best-selling book series Olga the Cloud from Nicoletta Costa, Beyond Rights’ highlight Nina & Olga follows little kids as they get acquainted with themselves and learn about the world. “The delightful stories about friendship and navigating new things in everyday life are universal and timeless with enduring appeal,” says Sarah McCormack, senior VP of acquisitions and co-productions at Beyond Rights. “The fact that the characters are learning to manage their emotions and feelings makes it also feel very current and of the moment.” The World According to Grandpa blends live action and animation, following as grandpa whisks his grandchildren away to exciting new worlds from his couch. The preschool series Turbozaurs features a rescue team of friendly dinosaurs who can transform into machines.

“MIPCOM commemorates the ﬁrst anniversary of Beyond Rights, and it has been a great year for the business.” —Sarah McCormack

CAKE Total Drama Island / Tish Tash / Kiri and Lou Two new seasons of the CAKE highlight Total Drama Island are set to premiere in the U.S. The show sees teen contestants face hardcore competition, brutal eliminations and more drama than ever before. The preschool series Tish Tash follows the adventures of a young bear named Tish and her imaginary friend Tash. It premiered on CBeebies in September and was nominated for an International Emmy Kids Award. Also available is a new season of Kiri and Lou, which follows the dinosaur Kiri and her friend Lou as they explore their feelings. Ed Galton, CEO, says, “The stories perfectly capture young children’s emotions in a way that is resonating with audiences of all ages and is seeing an overwhelming response from viewers all over the world.”

Tish Tash

“We continue to do as much business as possible, putting as many shows into production and distributing our catalog far and wide.” —Ed Galton

Wowzu

Cisneros Media Zumbar / AnimalFanPedia / Wowzu Cisneros Media’s MIPCOM catalog features three edutainment shows focused on teaching children more about the animal kingdom, from where they live to their speciﬁc behaviors. In Zumbar, a live-action series with 26 5-minute episodes available, six children play interactively with a variety of animals while learning from them and their ecosystem. The episodes feature challenges, charades, memes, lip-syncing and dancing to make learning fun. In a similar vein, AnimalFanPedia is a preschool edutainment series that introduces families to every kind of animal imaginable. Wowzu, meanwhile, showcases wild and wacky animal behaviors from around the world in 52 7-minute live-action episodes. The series engages children using visual language, which they know and use to express themselves.

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30 TV KIDS

Cookbook Media Chase and CATCH / Ella / The Jolliest Elf Among Cookbook Media’s highlights is Saturday Animation’s Chase and CATCH, an action-comedy that features a teenager and robot duo as they work to dismantle an outlaw syndicate that has taken over their city. The new animated show Ella, from Island of Misﬁts in partnership with Boss Mama Media, follows the eponymous 8-year-old who has a magic key that allows her to open portal doors that lead her around the world. “In Ella, we share the thrill of exploring a new culture and location with best friends while appreciating what makes you special and what makes all of us the same,” says Claudia Scott-Hansen, partner at Cookbook Media. From Trick 3D Studios, the holiday series called The Jolliest Elf sees Santa’s elves compete for the title of Jolliest Elf.

Ella

“At the core of all the shows we represent are engaging characters and fun stories relatable to kids everywhere.” —Claudia Scott-Hansen

Cyber Group Studios 50/50 Heroes / Squared Zebra / The Last Kids on Earth Cyber Group Studios is focused on making content that allows children to laugh and feel more confident. The new series 50/50 Heroes, launching officially at MIPCOM, features half-siblings who inherit superpowers. However, the superpowers are split in half between the two and can only work if they cooperate. The new preschool show Squared Zebra “is set to bring uplifting moments to small children and let them understand, in a fun way, that it’s cool to be who you are no matter how different you may be,” says Raphaelle Mathieu, senior VP of sales, acquisitions and new media. Based on the book of the same name, The Last Kids on Earth sees a group of 12-year-olds survive and thrive during a monster and zombie apocalypse.

Squared Zebra

“We need kids to laugh, feel good about themselves and feel empowered.” —Raphaelle Mathieu

Epic Story Media Hailey and the Hero Hearts / Dex and the Humanimals / Piper’s Pony Tales Epic Story Media’s catalog includes its ﬁrst three original shows. The new series Hailey and the Hero Hearts features a young girl who receives a magical heirloom bracelet that takes her on big adventures within her own home. Dex and the Humanimals takes place in a world where humananimal hybrids have been living in harmony for centuries. When everything starts to fall apart, however, Dex, a humanimal who presents as a human boy, uses his extraordinary powers to try to save the day. The preschool series Piper’s Pony Tales sees Piper’s dreams turn into real adventures, during which she discovers that with freedom comes responsibility. Jessica Labi, head of distribution and brand strategy, says, “Our shows focus on universal themes and messages that audiences around the world can relate to.”

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Dex and the Humanimals

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32 TV KIDS

Zoom the White Dolphin

GoldBee Hoodie / Zoom the White Dolphin / The Game Catchers GoldBee’s highlight Hoodie is a parkour-based live-action series that follows the story of Pieter and his friends, who secretly become crime ﬁghters. It now has two seasons and is aimed at tweens and teens. Season two of Zoom the White Dolphin, an animated series for children ages 6 to 10, centers on the underwater adventures of Yann, his sister Marina and Zoom, an intelligent white dolphin they have befriended. GoldBee is also presenting the brand-new preschool series The Game Catchers, which is about a team of friends who go on an interstellar journey to explore other planets. While on their voyage, they learn about, play and collect new playground games. Christophe Goldberger, managing director, says, “The series is conceived to bring attention back to playground games, promoting an active lifestyle.”

“We continue to offer our clients a diverse slate of high-end kids’ and family programs, commissioned and produced by the best partners in the kids’ industry.” —Christophe Goldberger

Guang Dong Winsing Company GG Bond: Kung Fu Pork Choppers / Team S.T.E.A.M.! / GOGOBUS GG Bond: Kung Fu Pork Choppers

The seventh season of GG Bond, the Guang Dong Winsing Company highlight Kung Fu Pork Choppers tells a rescue and adventure story across 52 different floating sky cities, starring pigs and their pets who have Chinese kung fu superpowers. Team S.T.E.A.M.! sees kids overcome problems using the STEM curricula of science, technology, engineering and math, as well as athletics and the arts. The kids make up a tightly knit team with diverse cultural backgrounds who genuinely like each other and enjoy solving problems and sharing knowledge. A series for preschoolers, GOGOBUS follows artificial school bus Gordon, who has the ability to transform into different vehicle shapes. The story is based on social and emotional learning, embracing preschoolers’ fascination with vehicles while encouraging basic scientific thinking skills.

Guru Studio

Pikwik Pack

Big Blue / Pikwik Pack / True and the Rainbow Kingdom Guru Studio’s new comedy adventure Big Blue follows sibling underwater adventurers as they lead a submarine crew with a magical ocean fairy stowaway. The show aims to redeﬁne what family means and was created by Gyimah Gariba, who was on Forbes Magazine’s list of Young African Creatives Rebranding Africa. The preschool series Pikwik Pack emphasizes working together and sharing joy with those in your community. True and the Rainbow Kingdom aims to empower children and encourage being mindful, courageous and respectful of all living things. “True is everything you would want in a hero—she doesn’t wield a sword or wave a wand; instead, it’s her kindness and compassion that make her aspirational for boys and girls all over the world,” says Jonathan Abraham, VP of sales and business development.

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Kidoodle.TV Safe Streaming The Kidoodle.TV Safe Streaming AVOD offer has over 30,000 episodes available for free with no barrier to entry. It seeks to ensure “that the brands families are looking for are on the service, as well as making sure new brands are discoverable,” says Brenda Bisner, chief content officer. This includes major brands such as Peppa Pig, PAW Patrol, Baby Shark and Angelina Ballerina. The channel has a gaming offering as well, which has grown 500 percent to include titles from Roblox, Minecraft, Nintendo and more. Kidoodle.TV also recently launched the ﬁrst podcast stream for kids. Bisner notes, “Allowing brands a safe place to advertise alongside some of the biggest titles in the world, all within a top-notch user experience, has been a home run for all of our stakeholders.”

“A driving force of our engagement has been curating a fulsome content experience.” —Brenda Bisner

Konami Cross Media NY Yu-Gi-Oh! Sevens / Yu-Gi-Oh! VRAINS / Yu-Gi-Oh! Duel Monsters Konami Cross Media NY’s catalog has a slew of titles dubbed in English from the Yu-Gi-Oh! franchise. “Yu-Gi-Oh! ranks among the top 25 highest-grossing media franchises in the industry,” says Kristen Gray, president. “With anime content driving subscriptions to streaming services worldwide, it makes sense for buyers to want to work with a known entity that can deliver an audience.” Among the titles available are Yu-Gi-Oh! Sevens and the ﬁnal season of Yu-Gi-Oh! VRAINS with 38 episodes. The ﬁrst spin-off of the original Yu-Gi-Oh!, Yu-Gi-Oh! Duel Monsters, is also available. Konami Cross Media NY recently launched a cross-media strategy for its gaming titles and is looking “to engage our gaming fans through different entertainment mediums,” Gray notes. “In addition, we are seeking out new partners and IPs.”

“We continue to focus on opportunities to grow the Yu-Gi-Oh! audience across streaming and broadcast.”

Yu-Gi-Oh! Sevens

—Kristen Gray

AstroLOLogy

Lemon Sky Studios AstroLOLogy / Itchy Ichiro With characters based on the 12 zodiac signs, Lemon Sky Studios’ AstroLOLogy series has two completed seasons of 2-minute episodes available. The non-dialogue slapstick series has garnered more than 1 million subscribers on YouTube and received multiple awards. The non-dialogue comedy series Itchy Ichiro, meanwhile, has 52 3-minute episodes available. It centers on the monkey Ichiro and the two ﬂeas that live on him as they navigate existing together. Ken Foong, chief creative officer, notes, “With the rise of media consumption on social media, short-form content is becoming a popular choice with young viewers. Short-form content like AstroLOLogy and Ichiro has great potential on social media platforms and for young viewers with shorter attention spans who are used to content that is concise.”

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The Gruffalo’s Child

Magic Light Pictures The Gruffalo / The Gruffalo’s Child / Room on the Broom From Magic Light Pictures, The Gruffalo tells the magical tale of a mouse who takes a walk through the woods in search of a nut. A sequel to The Gruffalo, The Gruffalo’s Child follows as the little Gruffalo ignores her father’s warnings and tiptoes into the snow in search of the Big Bad Mouse. Room on the Broom is a tale about a kind witch who invites a surprising collection of animals to join her on her broom. “We’ve built the wonderful Gruffalo brand and enjoyed many award successes, but we’re happiest when our products delight their audience,” says Muriel Thomas, international distribution director. “We love stories, witty invention and evergreen characters, always balancing commercial imperatives with creativity to make products we can be proud of.”

“We want children to engage with our characters, products and ﬁlms so that they are inspired to play creatively, think originally and live imaginatively.” —Muriel Thomas

MarVista Entertainment Unicorn for Christmas / I Hear You

Unicorn for Christmas

Leading MarVista Entertainment’s children’s slate, Unicorn for Christmas centers on a young girl who discovers a real-life unicorn at a Christmas carnival and must protect it from a greedy fair owner. Chuck Wicks, Abby James Witherspoon (Hot Pursuit), Sunny Mabray (Hillbilly Elegy) and Ed Marinara (Dynasty) star. In I Hear You, after a young teen makes a wish upon her grandmother’s old Christmas ornament to ﬁnally get her family to listen, she wakes up unable to say anything but the truth. The movie stars Alison Fernandez (UpsideDown Magic), Judy Reyes (Scrubs), David DeLao (Silk Road), Taylor Castro (Dream Killer) and Soﬁa Salas (Doom Patrol). “These titles will unite families with lighthearted stories that bring a moment of much-needed levity to their days,” says Jody Cipriano, head of global distribution.

“Our slate of kids’ and family movies brings joy and laughter to families in a time that has been so challenging for many.” —Jody Cipriano

He-Man and the Masters of the Universe

Mattel Television The Masters of the Universe / Thomas & Friends: All Engines Go / Barbie Mattel Television is featuring among its top highlights its The Masters of the Universe franchise, for which it has produced two animated Netﬂix series: Masters of the Universe: Revelation and He-Man and the Masters of the Universe. The former, which has Kevin Smith as showrunner, has a voice cast that includes Mark Hamill, Lena Headey, Chris Wood, Sarah Michelle Gellar and Tiffany Smith. Thomas & Friends: All Engines Go introduces a new look and feel for the brand. “It is crafted to appeal to contemporary audiences’ sensibilities while maintaining Thomas’s core brand ethos, which is all about the importance of friendship,” says Fred Soulie, senior VP and general manager of Mattel Television. Mattel is also spotlighting a trio of Barbie TV specials.

“Our mandate is to engage audiences through timely and compelling episodic television content and television movies based on our iconic franchises.” —Fred Soulie 104 WORLD SCREEN 10/21

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The Marsupilamis

Mediatoon Distribution Nicholas’ Fantastic Summer / The Marsupilamis / Living with Dad A kids’ comedy title that Mediatoon Distribution is bringing to the global market, Nicholas’ Fantastic Summer sees its titular protagonist enjoy time with his family at the beach, exploring places and finding new friends to play with. “We believe that Nicholas will fit in very well alongside other iconic heroes such as Yakari, Samsam and Garfield,” says Jérôme Alby, managing director. The Marsupilamis follows Hope, Twister and Punch in the big city, where their love of playing wildly makes it difficult to be discreet when they’re out exploring. Living with Dad sees stepsisters Berenice, Roxane, Ondine and Panda living together with their patriarch—and joining forces to team up against him, despite their different personalities. Also on Mediatoon’s slate is the new CGI Samsam series.

“Thanks to Mediatoon’s production studios and third-party partner producers, our catalog cements over 4,000 hours’ worth of high-quality content.” —Jérôme Alby

Monster Loving Maniacs

Mondo TV MeteoHeroes / Monster Loving Maniacs / Robot Trains In Mondo TV’s MeteoHeroes, six superpowered kids set out on adventures to ﬁght to protect the planet from climate change and pollution, educating while entertaining its audience. “The show is wonderful entertainment: an animated kids’ show that is exciting, colorful and fun but that also teaches viewers about the need to protect our planet—and how to,” says Luana Perrero, head of content sales. Monster Loving Maniacs centers on three siblings whose grandfather is teaching them how to hunt monsters, though they’d rather get to know the creatures. The adventures continue for Kay, Alf, Victor, Maxie, Gary and Genie in the third season of Robot Trains, with the future of Railworld threatened. “The new series takes the elements that fans love and adds new concepts, challenges and alliances,” says Perrero.

“Demand for high-quality entertainment and licensed product has been constant, especially in the past year, and Mondo TV has responded.” —Luana Perrero

NCK Backstage

Pink Parrot Media Butterfly Academy / Joy Eternal / NCK Backstage Leading Pink Parrot Media’s highlights, the CGI animated series Butterfly Academy is a prequel to the film Butterfly Tale. While being fun and comical, it also features sciencebased facts that help teach kids about the importance and value of diversity and inclusion. Joy Eternal, a mystery sci-fi comedy adventure, has a comic book style. NCK Backstage gives insight into being in a kids’ music band by taking the audience backstage to experience the ups and downs along with the superstars. Though the animated series is made up of 10 2-minute episodes, a longer format is currently in development. Begoña Esteban, head of international TV sales and acquisitions, notes that Pink Parrot is “not only a familyfilm content producer and distributor, but is now working with high-quality kids’ entertainment for television.”

“We have established a dedicated TV division with brandnew series already in development, preproduction and production.” —Begoña Esteban 106 WORLD SCREEN 10/21

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pocket.watch Ryan’s Mystery Playdate / Onyx Monster Mysteries / Elemon About to launch its fourth season, Level Up, on Nickelodeon, pocket.watch’s Ryan’s Mystery Playdate has 90 episodes available for international distribution. “The latest season introduces new characters and has an entirely new set, giving fans the biggest challenges and mysteries ever,” says Chris M. Williams, founder and CEO of pocket.watch. Premiering its second season on Amazon Kids+, Onyx Monster Mysteries, created with YouTube’s The Onyx Family, is a comedyadventure series with original music, gadgets and monsters that delivers a message of compassion and understanding. A new show for summer 2022, the animated series Elemon invites Ryan’s World fans on an adventure with the fantastical titular monsters and real-world science. “Kids and parents will ﬁnd plenty to enjoy in this all-new series,” says Williams.

Onyx Monster Mysteries

“Demand for kids’ and family content has accelerated over this past year, and we’ve met that demand in a big way.” —Chris M. Williams

44 Cats

Rainbow Summer & Todd Happy Farmers / Pinocchio and Friends / 44 Cats Summer & Todd Happy Farmers, Rainbow’s new preschool series, promotes environmental respect and sustainability. Through farm-related stories, the series spreads positive messages, including the importance of proper nutrition, helping each other, respecting nature, playing outside and caring for animals. Inspired by Carlo Collodi’s classic fairy tale, Pinocchio and Friends combines adventure, comedy, friendship and edutainment by following the adventures of Pinocchio and his friends. 44 Cats now has a second season, full of new stories and characters. “We are ever more engaged in spreading solid values such as friendship, tolerance, inclusion and environmental awareness from a very young age through exciting, inspiring content,” says Andrea Graciotti, head of TV sales and co-production.

“Rainbow is committed to producing highlevel shows that can entertain the audience while sharing positive values.” —Andrea Graciotti

Chase and CATCH

Saturday Animation Studio Chase and CATCH / Aiko and the Masters of Time Saturday Animation Studio’s ﬁrst original IP, Chase and CATCH is an ’80s nostalgia action-comedy series that features heroic characters, robots, vehicles and gadgets. “We truly believe Chase and CATCH has the potential to become a global evergreen franchise,” says Fred Faubert, chief creative officer for Digital Dimension Entertainment Group and its subsidiaries Saturday Animation Studio and Meduzarts Animation Studio. Saturday Animation is also presenting Aiko and the Masters of Time, set in an age after linear time has collapsed and been reassembled as one combined era, resulting in samurai, cowboys, knights, African warriors and Stone Age scavengers living together. Two teens from different factions must cooperate to defeat powerful forces intent on upending this existence.

“We will focus on identifying the best-inclass media partners to bring these new shows to market.” —Fred Faubert 108 WORLD SCREEN 10/21

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Serious Kids Girls of Olympus / Tulipop / Operation Ouch! Girls of Olympus, a new animated fantasy-adventure series for kids aged 8 to 12, leads Serious Kids’ MIPCOM highlights. The program “centers on themes such as friendship, love and bravery, which are conveyed through the fantastic adventures and everyday lives of three teenagers,” says Genevieve Dexter, founder and CEO. The preschool series Tulipop, based on the lifestyle brand, is in production for delivery in June 2022. Set on a magical island rich in folklore, its characters explore their diverse identities in a free environment. The tenth season of Operation Ouch! features a brand-new adventure with Dr. Chris and Dr. Xand. “Operation Ouch! goes from strength to strength, and breaking into new territories ten years on, it has proven itself time and time again in the most varied platforms and cultures worldwide,” says Dexter.

Girls of Olympus

“We are enjoying our refreshed identity as Serious Kids and will be back in Cannes within the comfort zone of our growing sales team.” —Genevieve Dexter

Sesame Workshop Mecha Builders / Furry Friends Forever / The Not-Too-Late Show with Elmo: Game Edition Featuring Elmo, Cookie and Abby as robo superheroes-intraining, Mecha Builders is a CGI animated series that Sesame Workshop is showcasing at MIPCOM. “They’re ready to problem-solve every out-of-this-world situation that comes their way,” says Whit Higgins, senior VP of international media and education and distribution. “From a giant asteroid hurtling toward Earth to feeding a family of chickens, they’re here to help—it just might take them a few tries before they save the day!” An animated special and series, Furry Friends Forever introduces Elmo’s new puppy, Tango. Also in Sesame Workshop’s catalog is the second season of The Not-TooLate-Show with Elmo: Game Edition. “It’s the perfect coviewing and co-doing experience for children and the adults in their lives,” says Higgins.

Mecha Builders

“Our new shows really meet the moment and offer the best of all worlds for buyers and viewers.” —Whit Higgins

Alma’s Way

Sinking Ship Entertainment Alma’s Way / The Fabulous Show with Fay and Fluffy / Odd Squad Among Sinking Ship Entertainment’s top titles for MIPCOM, the animated Fred Rogers Productions series Alma’s Way was created by Sonia Manzano and features title song lyrics by Lin-Manuel Miranda. The series’ protagonist is a proud Bronxborn Puerto Rican girl who ﬁgures out solutions to problems and sets about making things right. A storytime drag cabaret for kids and families, The Fabulous Show with Fay and Fluffy inspires a love of reading and encourages kindness and empathy. The live-action series Odd Squad follows kid agents who use math to solve problems. “These series will resonate with buyers globally because themes like problem-solving for preschoolers, building kindness and empathy and using math skills to solve problems are universal in their appeal,” says Kate Sanagan, head of sales and distribution.

“Sinking Ship is actively partnering with new content creators and has several series coming out in the next year for acquisition.” —Kate Sanagan 110 WORLD SCREEN 10/21

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Heidi

Studio 100 Media FriendZSpace / 100% Wolf—Legend of the Moonstone / Heidi Studio 100 Media’s FriendZSpace follows best friends and seemingly regular human kids Alice, Leo and Kim, who are risk-taking deep-space friend makers. “FriendZSpace is all about kids and kid culture—alien and human—it’s about embracing our differences and getting into exciting trouble in the process,” says Dorian Bühr, head of global distribution. In 100% Wolf—Legend of the Moonstone, Freddy Lupin, heir to a proud family line of werewolves, turns into a poodle during his ﬁrst “warﬁng,” but is determined to prove that he still has the heart of a werewolf at Howlington Academy. Also in Studio 100’s catalog, the revived series Heidi features 26 new adventures of the happy and communicative orphaned girl. Heidi “is a wonderful family brand with a great track record, popular with every generation,” says Bühr.

“The demand for good entertainment and making people laugh is more prevalent and needed now than ever, and we aim to continue to deliver.” —Dorian Bühr

The Adventures of Little Penguin

Superights The Adventures of Little Penguin / Croco Doc / Anna & Friends Produced by Tencent, the Superights highlight The Adventures of Little Penguin is a 3D animated non-dialogue series that follows young penguin Oscar as he explores the world and meets new characters who teach him about himself and others. The 2D animated series Croco Doc aims to educate kids on health issues and cures for different diseases in a fun way. Featuring 3D animation with a clay effect, each episode of Anna & Friends explores the title character’s daily life, surrounded by her group of inseparable pals. “This CGI program helps children develop their imagination, creativity and fantasy,” says Nathalie Pinguet, deputy general manager of sales and acquisitions at Superights. She adds, “This year again, we have a lot of new additions in our catalog. Come and meet us at our new booth to discover them.”

“Superights is always seeking new, entertaining and diverse programs to enrich its catalog.” —Nathalie Pinguet

The Brilliant World of Tom Gates

WildBrain Ruby and the Well / Caillou / The Brilliant World of Tom Gates The live-action WildBrain highlight Ruby and the Well, produced in partnership with Shaftesbury and set to launch on Family Channel in Canada next year, sees Ruby discover a magic well after moving to a new town. “The series combines mystery and intrigue with real-life issues and highlights Ruby’s resilience and resolution in overcoming challenges to bring happiness to everyone she cares about,” says Caroline Tyre, VP of global sales and rights strategy. In brand-new CGI family specials and shorts, Caillou returns with the titular 4-year-old tackling the everyday achievements of preschool kids. The Brilliant World of Tom Gates, based on the best-selling book series, “captures the unique graphic style of the books through a mix of live action and animation, coupled with humor, authentic storytelling, games and songs,” says Tyre.

“To thrive, organizations must adapt, and we’ve worked hard to be collaborative, ﬂexible and creative in our approach.” —Caroline Tyre 112 WORLD SCREEN 10/21

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Mr Magoo

Xilam Animation Oggy Oggy / Mr Magoo / Pfffirates The first two seasons of the CGI animated comedy Oggy Oggy are on offer from Xilam Animation. In the series, the titular kitten and his cat pals embark on fun adventures in a bright and colorful world. “The innovative series is a spin-off to our iconic Oggy and the Cockroaches franchise, and we’re sure it will capture buyers’ attention through its blend of fastpaced action and playful humor, as well as its adorable characters and visual style,” says Morgann Favennec, executive VP of distribution. Season two of the 2D slapstick comedy Mr Magoo has “more wild pursuits, unbelievable rescues by Mr Cat, fails for Fizz and Weasel, gadgets and unexpected plot twists,” says Favennec. The comedy-action series Pfffirates is set on an island where three crews are taught Pfffiracy by the legendary Captain Lamar.

“We’ve been focusing our efforts on expanding our content pipeline and developing many new projects in multiple genres and for all target demographics.” —Morgann Favennec

School of Roars

ZDF Enterprises School of Roars / Scream Street / The Muscleteers ZDF Enterprises (ZDFE) has a second season of the preschool series School of Roars in its ZDFE.junior catalog. The series follows a group of little monsters as they attend school for the ﬁrst time. Also with a second season available, Scream Street is a stop-motion animation series that features a young werewolf. In the real world, he has trouble making friends and his parents are afraid of him, but on Scream Street, he ﬁnds a supportive environment where he can be himself. In The Muscleteers, a trio of mice living in a bustling port protects their fellow rodent residents from dangers such as cats, exterminators, construction and oblivious, stomping humans. The series “is all about helping and being there for each other,” says Fred Burcksen, president and CEO of ZDFE.

“The stories are understandable for all children around the globe.” —Fred Burcksen

Silverpoint

Zodiak Kids Mumfie / Street Football / Silverpoint Zodiak Kids’ Mumfie features an eclectic cast of animals supported by bright visuals and physical humor. Each 7-minute episode jumps straight into the action, allowing time for fun and laughter. A new season of Street Football is available just in time for the World Cup in 2022. The heroes of the series return, just as determined to prove that size and age don’t matter. “All that counts is street football’s spirit: friendship, respect and solidarity,” says Delphine Dumont, senior VP of sales, acquisitions and coproductions. Also in Zodiak Kids’ catalog, Silverpoint is a sci-fi mystery adventure that leaves viewers desperate to know what happens next. With many twists and turns and little clues for those who pay close attention, the series builds to a cliffhanger in the finale.

“We are looking forward to seeing everyone live or digitally.” —Delphine Dumont 114 WORLD SCREEN 10/21

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pocket.watch’s Kids Diana Show Ultimate Mishmash.

FREE FOR ALL Mansha Daswani checks in with a range of distributors and platforms about the booming kids’ AVOD opportunity.

his summer, Sensical, a new AVOD streaming platform, launched in the U.S. with an array of licensed content from some of the biggest names in the business, including Mattel, WildBrain, ZDF Enterprises, Zodiak Kids, Cyber Group Studios and CAKE. It is the latest entrant in a market that was growing well before Covid-19 hit, but that kicked into high gear as distraught parents looked for new ways to entertain their kids amid an abundance of home time. WildBrain Spark—which runs a network of more than 800 channels across YouTube and other major platforms— commissioned a study earlier this year on the “streaming generation” and found that AVOD is holding strong when it comes to viewing choices. YouTube and YouTube Kids ranked second among kids’ most-watched streaming services (66 percent), just behind Netflix at 69 percent. In addition, approximately one quarter of parents say it’s not

very, or not at all likely, they’ll be watching linear TV services in the next 12 months, while around seven in ten parents are expecting time spent watching both SVOD and AVOD services in the next 12 months to remain the same or increase. WildBrain Spark “is the most rapidly growing part of the company, frankly outpacing the amount of on-demand viewing across all of AVOD,” Eric Ellenbogen, CEO and vice chair of parent company WildBrain, told delegates at the TV Kids Festival. Granted, the money that distributors can make from selling content to AVOD services is still a fraction of the fees they’d secure from their traditional broadcast platforms or the SVOD services, but it is emerging as a key revenue contributor. Among the companies faring particularly well in the AVOD space is pocket.watch, whose Ryan’s World brand is huge on YouTube and a slew of other platforms. “We’re the leading company transforming kid YouTube stars into global franchises with premium original content, global

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Jetpack Distribution recently landed the rights to Spookiz, a non-verbal slapstick comedy show that has more than 4 million subscribers on YouTube.

distribution partnerships and massive consumer-products business, made possible through pocket.watch’s unique positioning in the industry,” says Chris M. Williams, founder and CEO. “Demand for kids’ and family content has accelerated over this past year, and we’ve met that demand in a big way, supplying our premium and long-tail content to more than 41 platforms in 80-plus territories to deliver Generation Alpha even more of what they love.”

INCREMENTAL GAINS “AVOD has become a signiﬁcant revenue stream over the last ten years,” says Robin Gladman, senior distribution and acquisitions manager at Aardman. “There was a marketwide blip early last year with drops in ad rates across the kids’ content category, but we have recovered very well.” “AVOD is starting to be a signiﬁcant revenue source for us and is certainly an area we are focusing on and expect to grow exponentially,” adds Kate Sanagan, head of sales and distribution at Sinking Ship Entertainment. It’s a similar situation for Jetpack Distribution, according to CEO Dominic Gardiner. “AVOD for us has been growing quite dramatically over the last two to three years. One might argue we’ve been a little slow to get into the game. We’re taking a much more proactive approach now. We plan on it being a much bigger piece. We’re getting much more involved in YouTube than we were previously. We foresee growth in the ad revenues, and more platforms will spring up. We’ll see growth in other languages [outside of English]. It’s not the central part of our business, because the premium TV networks, if you will, will still generate the most [revenues], but as shows get older and our library gets bigger, we can exploit the library better. Those revenues will be important, no doubt.” The value of AVOD goes well beyond delivering incremental revenues for library titles—these free platforms are critical when building awareness for new and returning brands.

“It’s exciting to see our AVOD efforts become a promotional tool,” says Sanagan. “Our own Dino Kids YouTube channel, for example, has more than 750 million views and 667,000 subscribers. It has become a massive tool for us in our brand extensions of Dino Dana, and we have integrated it into our marketing, consumer-product and publishing strategies.” “You cannot ignore the vast audiences using AVOD platforms,” agrees Aardman’s Gladman. “It’s a great opportunity for you to build awareness and drive deeper engagement around an IP.”

WINDOW OPTIMIZATION All of that means some ingenious windowing strategies and making well-thought-out decisions about where you want your brand to be featured—and how much money you’ll earn from that opportunity. “Particularly with new platforms, you’re never quite sure what their performance is going to be,” Jetpack’s Gardiner explains. “As much promise and hope that any new platform has, what they’re actually going to deliver in terms of reach, you’re never guaranteed. And what they’re going to deliver in terms of revenue, you never know until the reports start coming in. We always like to say, let’s get on there first, let’s make sure we’re not committing forever, let’s make sure that if things don’t go the way we hope that we can get out of these deals as well. We spend quite a bit of time negotiating that just in case. Being able to be flexible is helpful for both parties. But, of course, there’s a minimum amount of time they need. This world has always been non-exclusive, so people are not asking for your best show; they’re not asking for your best show forever. But what you want from them is some commitment. How easy is it going to be for your content to be discovered? We look at how complicated it is to work with them if they are in multiple territories. And because we’re generally talking

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Aardman’s beloved Shaun the Sheep can be found on YouTube.

about deals that are low-ish in value, complication is the killer. If you have to spend a lot of time and effort once you’ve delivered [the content], you’ve got to make sure you’re still proﬁtable. We take all of that into consideration.” “We look at each series and try to figure out its unique path to viewers,” Sinking Ship’s Sanagan says. “Some series will sit almost exclusively on one platform, either on SVOD or AVOD, and other series will be seen on public and private linear channels, on SVOD and AVOD as well as TVOD. Odd Squad is a good example of this broader approach, with four or five platforms in some territories. We always consider how we can best get the most eyeballs on a series and have also lately put more marketing efforts behind TVOD to help promote shows.”

SEEING THE MONEY “There are new models as more AVOD players enter the market,” Aardman’s Gladman adds. “We work in a variety of ways with these new platforms, including requesting minimum guarantees when we feel that is appropriate.” Sinking Ship, too, is looking at minimum guarantees from AVOD players, “and sometimes a hybrid of license fee and rev share,” Sanagan says. “It is always nice to have cash upfront or an MG,” says Jetpack’s Gardiner. “It’s a preference, but we appreciate that a lot of these new platforms are taking a lot of risk in their investment in technology and they are often growing audiences from zero. It’s important for us as content

providers to be good partners and be understanding that they don’t have budgets for license fees. We do see that users are growing, the views are growing and digital marketing is growing quite dramatically. As the ad dollars start going up and the users migrate to these platforms, I think we’ll see an increasing return on the revenue side.” Ad dollars and usage are rising across the board in AVOD in multiple markets. In the U.S., the Kids & Family destination on The Roku Channel reached more than 28 million people last year, according to Ashley Hovey, director of AVOD. “Content partners we work with are looking for broad scale,” Hovey says. “They are looking for reach that they can’t get just with their standalone apps or apps they have on all of these platforms. This is an incremental way to get more audience. They’re looking for not only how do you get that content in front of the audience but how do you monetize it in a way that is brand-safe for advertisers? And they can go back and invest in additional content opportunities, grow that audience and be a trusted source for content creation. That’s what we focus on: How do we continue to be even more effective in monetizing for these partners? And by driving scale for them, [they can] go back and do more. And we work across the board. Creators that are bringing things like Ryan’s World and CoComelon. We’re working with creators like the Mattels and the Hasbros that continue to evolve for today’s audiences. Post-Covid, there’s a lot of viewing in the house, a lot of co-viewing in the same room, a lot more family time. We’re seeing it on platforms like Roku. Being the number one TV streaming platform in the U.S., we’re seeing tons of that viewing coming in. We’re trying to keep that flywheel going for all of our content partners.”

SAFE STREAMING Kidoodle.TV has carved out its own niche under the Safe Streaming banner. “The important work we have been doing here at Kidoodle.TV since 2012 has proven incredibly valuable and desired in the post-Covid-19 era we are all living in,” says Brenda Bisner, chief content officer. “With our growth last year, we have made [Kidoodle.TV] a household name and have become a trusted go-to destination for millions of kids who deserve a safe viewing experience—and for their parents who insist on having one. Our commitment to children and the work we are doing to take care of families is only getting bigger.” The platform has amassed a slate of more than 30,000 episodes from a range of key partners. “We’re a safe alternative to anything else out there, and we are an additional revenue stream to any existing AVOD business you have,” Bisner says. “We’re looking at partners that have great content that people care about, that we care about, and

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WildBrain’s classic Teletubbies can be found across a raft of different services, including its own YouTube channel operated by WildBrain Spark.

that care about the important work we’re doing. It’s not just a one-way street for us. The homework around the work we do, how that partner can contribute and be part of this movement, is something we do look at. Knowing people are making money with our channel and lots of it, the strategy is around monitoring the needs of kids. The unicorns—the PAW Patrols, the Peppa Pigs—we’ll always have those brands, but we can also uncover those gems in the marketplace. Some of these content providers and brand owners are struggling to get traditional broadcast deals struck. We’re able to offer that and get them monetizing and great awareness in a meaningful place because families know they can trust us.” Bisner adds, “When you’re making content for children, there’s a moral obligation to keep kids safe. Where we’re placing our content should be considered. We pay a

competitive CPM, we’re non-exclusive, we’re a meaningful place to put content and have revenue come in and understand that it’s reaching a certain number of children every month.” In Europe, Playground TV has positioned itself as a new home for kids’ fare from the less traditional markets. Launched as an AVOD platform, the service is also adding a subscription tier as it gears up for expansion. “We believe the world is growing into a more and more diverse place,” says Daniel Nordberg, CEO and founder of the new service. “We want to mimic with our portfolio the diverse world we live in. We have cartoons animated in India, China, Iran and Brazil to complement those shows from the bigger studios in the States and Europe. We believe that many amazing productions across the world don’t get their fair amount of exposure on the bigger streaming platforms. As the world is getting more diverse, we want Playground to reﬂect that in the productions we serve.”

COMMON SENSE Sensical, too—which has the backing of Common Sense Media—has taken a highly curated approach to its selection. “A lot of the creators from whom we’ve licensed love the brand association because you have to be selected,” says Eric Berger, CEO of Common Sense Networks, Common Sense Media’s for-profit arm. “It’s not a normal licensing deal; it goes both ways. You may want to get in, but you might not pass our criteria. If you went through

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Mondo TV licensed Invention Story to Kidoodle.TV.

the whole ratings process—and we watched every frame of every video, through human review, we tag all of it and capture the metadata—it’s a little bit of a badge of honor. At the same time, it’s incremental revenue for them. We’re putting them out onto other platforms they may not be on already—the Rokus, the Amazon Fires, other devices—so it’s a win for everybody.”

A MATTER OF EXCLUSIVITY Like almost all other kids’ AVOD services, Sensical’s deals are currently non-exclusive. That may change as the market evolves, Berger says. “For us, the charm of Sensical is the curation. It would be very hard, if not impossible, for anyone else, and certainly a parent, to ﬁgure out the appropriate content by age across the breadth of what we’re licensing. That said, as we look at all the data that we’re getting and where people are aggregating, we’ll be able to make informed decisions about where we need exclusivities and original content and other initiatives down the line.”

At Playground, however, Nordberg is committed to the non-exclusive model. “We don’t believe in exclusivity at Playground,” he explains. “It slows down competition, and it’s not beneficial to the producers. Often exclusive deals give a short-term win for both parties, while the production gets lost in the long run. There is an initial boost, and then once that is capitalized on, the productions sometimes disappear within the service. I prefer a time to market or a windowing where within a given period, typically three months, both parties agree to do something and promote the title, and then after that, the parties are free to do whatever they want. I just don’t believe in two years of exclusivity. [Producers] feel it’s a good deal initially. Then one, one and a half years down the line, they want to sell the property, but it’s locked in and not being used. We also want to be the partner that our producers prefer to work with because we’re doing a great job, not because we’re locking them into a contract. We could look in the future at

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Sinking Ship’s Odd Squad can be found across the kids’ media spectrum, from linear to AVOD, SVOD and more.

possibly doing windowing or time to market, but we’re not there yet. Currently, all our contracts are non-exclusive.”

RIGHTS MATTER On exclusivity in rights deals, Roku’s Hovey explains, “AVOD is special.” Unlike SVOD, where new and exclusive content is key to driving and maintaining subs, “in the ad-supported world, there’s much more of a need for comfort viewing and broad distribution, for kids especially. They want the characters they know and love to be where they are. And they want to be able to find them and immerse themselves in these experiences and this world. We focus much more on an ad-supported, economic-friendly type of model, rather than feeling like exclusive content is the only way.” Outside of YouTube, AVOD services are not yet committing considerable sums to exclusivity and originals. But that could be on the horizon as the market matures. “They have the data, more than anyone, to know what

works on their platform,” says Sinking Ship’s Sanagan. WildBrain’s Ellenbogen echoed that view at the TV Kids Festival this year, noting, “One of the things that we love about working with some of these platforms like Samsung and Comcast Xﬁnity is the availability of data. We get numbers back. We know who’s watching our shows, and that informs our development process as well as our distribution strategy.” “There’s not been the influx of AVOD commissions that some expected, but there is no shortage of AVOD content arriving on the big platforms,” adds Aardman’s Gladman. “That said, original content deals still do happen in the AVOD space. If the market competition rises, we will probably see more exclusive/original deals, as we have seen with SVOD over the years.” “I think it’s an ambition,” says Jetpack’s Gardiner. “Many of these platforms are often app-delivered or IPTV-delivered. How do they distinguish themselves? If you’re not YouTube or Roku, how do you distinguish yourself if everyone is showing the same content? Long term, it’s a margin business. If they want to be successful, they’re going to have to have a point of difference. It takes a long time to mature a business to that size, to be able to invest in content.” And while the landscape is already quite crowded, Playground’s Nordberg believes that for AVOD to become a serious revenue contributor for kids’ companies, the market needs to get even bigger. “Many of the producers we talk to, their AVOD revenues are coming from very few partners. With that in mind, it’s important to favor more players coming into the market.”

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Xilam Animation’s Trico.

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Laugh Track Several leading producers and distributors tell Chelsea Regan about the always present demand for kids’ comedies, and why they are more important now than they have ever been.

aughter is the best medicine—a tonic for the doldrums of being a year and a half into a pandemic that has seen lockdowns and mask mandates and shifts in socialization and schooling. It’s what kids and adults alike need more than ever, resulting in a steady demand for kids’ content injected with a healthy dose of humor. Indeed, Ed Galton, CEO of CAKE, notes that while comedy has historically sold well, the current climate is likely fostering a boost in demand, driven by a greater need for laughs. Kids “like to come home from school and escape reality—they do that through comedy,” says Galton. “That’s why comedy has always been really strong. There could be an argument that there’s a greater demand for comedy now because of all of the stuff that kids have had to go through with Covid-19—being stuck at home, not seeing their friends, not engaging with other kids for so long. That’s probably true across the board.” “There’s never been a more important time to make all of our viewers laugh,” says Rachel Marcus, VP of creative development at Guru Studio. “Families are all under an enormous amount of stress, and our younger generations are feeling it, whether they know it or not. The best remedy to counteract this is comedy, laughter and joy. We need

more levity in our lives, and we as content creators can play a role in supplying that.”

COMEDY EVOLUTION

The Guru Studio property Big Blue, which is slated to premiere later this year on CBC Kids, is a character-based comedy for kids aged 5 to 9. It follows a group of daring underwater explorers and their eccentric submarine crew, as well as the magical ocean fairy stowaway Bacon Berry. “The beauty of animation is that the laws of physics don’t need to apply, allowing our characters to experience even more silly hijinks than would ever be possible in live action,” says Marcus. “In the end, we’ve been able to create a show that balances comedy and adventure in a way that’s unique to the medium.” This mixing of comedy into other genres within the kids’ space is a development also noted by Pierre Sissmann, Cyber Group Studios’ CEO and president. “There is a trend today to see comedy blending with adventure and action, which when you look back four, ﬁve, six years ago, it was all about comedy. Whether it was a sitcom or cartoon, it was pure, 100 percent comedy. That 100 percent comedy genre still exists and prospers, but we’re now able to merge it with different things like action, even historical things or edutainment. There’s an evolution in the writing.”

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A brand-new comedy on the Cyber Group slate is 50/50 Heroes, which presents a new spin on the superhero genre.

Cyber Group is currently in production on six series and in development on about 12 programs, including the comedy-adventure show The McFire Family, which is about real-life superheroes, including firefighters, nurses and doctors. “It’s not the ultimate comedy or the ultimate adventure show or the ultimate action show, but I think it is a perfect blend, which is a result of the evolution of the demand of having shows that still have comedy, still are light, where kids can laugh,” says Sissmann. “It’s funny, but at the same time, it’s serious; it has suspense, action and adventure.”

REAL COMEDY On the Beyond Rights content slate, comedy is ﬁnding its way into titles with a factual bent. “What’s been especially nice in this Covid period is that factual has a lot more comedy in it,” notes Sarah McCormack, senior VP of acquisitions and coproductions at Beyond Rights. “There’s more humor in factual kids’ content at the moment than there had been before. That’s been great to see.” McCormack has also seen the appeal of surreal comedy for kids these days. “When you do a bedtime story, there’s the kind of silliness and surreal bit that they know is silly, but they love it.” In Beyond Rights’ The World According to Grandpa, the titular elder tells fantastical tales about everyday wonders, like why the sky is blue or why cats go out at night. At the end of each episode, a clever rabbit offers a fact-check. “That’s the wonderful thing I’ve seen in factual—that you can get this more surreal, wonderful comedy,” says McCormack. “It goes into what makes you laugh: why do we laugh, why do we ﬁnd things funny? For me with humor, it’s when you subvert the normal, when it’s a little bit different from normal, that’s what you can laugh at.” While the trend of surrealism might be relatively new in kids’ content, a steady standby in international comedy for children has been the slapstick genre, which continues to translate well across borders.

Known for its expertise in slapstick comedy, Xilam Animation has on its slate such non-verbal programs as Oggy and the Cockroaches and Zig & Sharko. “We like this format because it enables universal storytelling, language and humor, and if it’s well done, it has evergreen potential,” says Marc du Pontavice, CEO. “The more visual and physical the comedy is, the more it translates globally. It becomes more challenging when the stories are driven by local customs such as school activities. However, humor is universal, and many common themes are funny for kids all over the world.” Universal themes for kids include “school life, sibling rivalry, family situations, friend relationships, love of pets and mastering everyday situations,” says Terry Kalagian, executive VP of creative content in the U.S. for Gaumont. “While the market is ever-changing, it seems the best chance for comedies to travel across territories is to reﬂect at least some of these themes, include physical humor and take great care in the translation of jokes.” In the younger kids’ space, CAKE distributes Mush-Mush & the Mushables, which is about to go into production on its second season, and has long had in its catalog the Total Drama franchise. Galton points out that the former has “much more physical comedy than you would get from something like a Total Drama, which obviously has an element of physical comedy, too, but is also much more of a social comedy that relies more on the interplay of characters and their relationships.” Both kinds of series can work internationally, but smart comedies like Total Drama strike a balance that’s not always easy to come by. As Beyond’s McCormack puts it: “If you’re too clever, it gets lost in translation. Keep your humor simple and based on values that we all have. That will keep people smiling. ‘Know thy audience’ is the key.” It’s also key not to offend viewers from different parts of the world. “Comedy that everyone can understand and that is not hurting the sensibilities of anybody” is the kind that travels best, according to Cyber Group’s Sissmann. “I’ve

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Gaumont’s The Royal Family is based on the book series of the same name.

seen people come to us with things they think are funny. But, when you look at it from a perspective of a given country or a given region, it’s not funny. You’ve got to be very careful because the one thing about animation is that it is a global market.” Non-dialogue slapstick humor remains the surest and safest bet for internationally resonant kids’ comedy, but character-driven comedy can find homes across the globe with the right themes, too. “This kind of comedy speaks to the universal human experience,” says Guru’s Marcus. “No matter your location, an upbeat character like SpongeBob will always have an external struggle with a Squidward-type. Personality clashes and conflict will always be canon for humor.” A series like SpongeBob SquarePants has managed to ﬁnd fans from a variety of different countries and ages. Shows

that can capture and engage children, their older siblings and parents are as valuable as they’ve ever been in the current market, which has seen shifts in family viewing habits. “If your characters seem real and they have heart, that’s how you engage a broader swath of audience, that’s how you get coviewing in place,” says CAKE’s Galton. “That’s how you’re going to rope in your older audience. I look at shows like Bluey, where you get a lot of co-viewing even though it’s a preschool show. It has so much heart, you’re going to drag in the family audience to sit down with younger kids.” A priority for Beyond and its catalog is finding programs that have this broad appeal. “We make sure that we’ve got animation and factual and have a light humor all the way through,” says McCormack. “Would your kid laugh at it? Would you laugh at it? Is it multi generational? When you’ve been a parent, you find yourself watching TV shows and the kids have gone away and you’re still sitting there watching these shows and going, ‘Why am I still watching this? What am I doing this for?’”

GENERATIONAL APPEAL

Targeted at kids aged 6 to 8, Beyond’s Quimbo’s Quest follows the titular character, who doesn’t look like any other human or animal that’s ever been seen before, as he sets out on a mission to figure out who and what he is. According to McCormack, the show “works on different levels, and you can see that there are jokes for the adults, there are jokes for the teenagers, jokes for the 5-yearolds in there. You can all sit there as a family and watch a show and get something different out of it.”

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Beyond Rights’ Hey You! What If... is a CBBC factual series that features strong comedic elements.

Ultimately, families most enjoy watching shows that reflect back to them what they see in their own everyday lives. “All the complex and hilarious moments we can relate to as viewers, like past family experiences or sibling and parent dynamics, work extremely well when trying to create multiple entry points for a wider demographic,” says Guru’s Marcus. “Putting a mirror up against all the aspects of family life that are universally relatable becomes important.”

FAMILY TIME Co-viewing, which had already been on the uptick for several years, has become even more popular, in large part due to the global pandemic. “People enjoy being together and sharing things,” says Cyber Group’s Sissmann. For that viewing experience to be entertaining for everyone, it helps to have traditional absurdist cartoon comedy, unifying themes and “comedy that can be deciphered at two different levels by two different types of people, whether it’s the parents that read one thing or the kids that read the other thing,” Sissmann explains. Taffy, a traditional cartoon on Cyber Group’s slate, is one that, through the writing, can reach kids and adults alike, according to Sissmann. He notes that several broadcasters have chosen to air the show before prime time in the evening due to its co-viewing credentials. Giganto Club is a bridge preschool show from Cyber Group that delivers different comedic elements. It features “a whole new set of comedy and the reactions of the dinos on the set, who are being played by real actors, even though in the end, the image that you see is CG,” explains Sissmann. “There’s an evolution in the emotional stakes that you can represent. This is brought by the talent of the animators, but also the technology, which has evolved massively.” Technology plays an essential role—as does the backto-basics approach of meeting kids at their level. “Children are naturally funny,” says Beyond’s McCormack. “Building that natural humor that children have and their view of the world into your show, that’s what I look for. You go, ‘How well do they know

children?’ It’s got to be that kids’ voice. You can see that [in The World According to Grandpa] because those are the kinds of questions kids ask. I always judge it with my own children. What do they ask me? If you can see that you can relate it back [to them], you know that you’re going to get a winner somewhere along the line.” Checking in on the kids of today is important, as they’re very clearly not the kids of yesterday, with different standards for their entertainment. “Over the years, kids have become more sophisticated in their expectations of a good show,” says Gaumont’s Kalagian. “They want multidimensional characters with more complex storylines,” she adds, referencing Gaumont’s own Bionic Max, a slapstick buddy comedy, and the family sitcom The Royal Family. “Kids’ comedy is the ever-elusive butterfly and has been since I’ve been in the business. It’s hard to find comedy that works across multiple territories, and everyone is looking for it. When you find it, it’s like spotting a unicorn.”

UNIVERSAL VALUES

For Cyber Group, a proven unicorn is Gigantosaurus, which was awarded the 2021 Export Award for animation by UniFrance. “It does resonate around the world with kids, both in terms of subject—dinos—but also in the way it was written, the comedy and adventure,” Sissmann says. As for the enduring success of the comedy genre as a whole, it’s a fan and broadcaster favorite for a reason: “It has the advantage of grabbing a child’s attention very quickly,” says Xilam’s du Pontavice. “It’s easier to dip in and out of a comedy show, and broadcasters love that ﬂexibility.” Covid-19 challenges for producers, distributors, broadcasters and streamers notwithstanding, CAKE’s Galton believes that the market has turned a corner. “We are climbing out of the darkest days when it comes to the impact on business; even though the numbers are still not great, we are starting to see more activity, whether that’s traveling to MIPCOM or Cartoon Forum,” he says. “We’re starting to see movement there, which we haven’t seen in a year and a half. That’s really positive.”

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BLE REPORT 2021

Mattel’s Ynon Kreiz / Brand-Building Strategies

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CONTENTS

The Power of Play

70 MATTEL’S YNON KREIZ

The chairman and CEO of the IP-driven toy company on his transformation strategy, trends in retail, the endurance of brands like Barbie and Thomas and more.

While spending quality time with a friend’s adorable and precocious little girls, I had the pleasure of picking up a nostalgic toy from my own childhood, the Barbie doll—and was delighted with the reinvention I saw.

As a child of the ’80s, my Barbies had long blonde hair and teeny tiny bodies; their clothes were fitted tight and shoes traditionally had high heels. But today’s Barbie dolls are far more diverse. The ones I was handed by these two little girls wanting me to fall into their imaginary worlds were much more reflective of the people they see every day on the streets in their Brooklyn neighborhood. One Barbie had a limb difference and wears a prosthetic leg, the other with vitiligo areas on her face, neck and hands. I was so pleasantly in awe as they continued to display their collection of dolls with different skin tones, hair types, body shapes and abilities. “Barbie today is much more than a toy; it’s much more than a doll; it is about a very clear brand purpose to inspire the limitless potential in every girl,” Mattel Chairman and CEO Ynon Kreiz told attendees at the TV Kids Summer Festival. “It has been a multiyear journey about diversity, inclusivity, equality and purposeful play. Barbie today is the most diverse doll line on the market, with multiple body types, skin tones, hairstyles, hair colors. Barbie represents the world as we see it today and continues to resonate with consumers and families at levels we have not seen in many years.” More from the interview with Kreiz can be found later in this issue of TV Kids. We also hear from a range of content owners about the increasingly important role of digital platforms in establishing and building brands today. Kids nowadays are on TikTok, Snapchat, Instagram, Facebook, YouTube and the like, and brands are looking to these platforms as yet another way to make meaningful connections with their audiences. With the challenging year and a half that kids have faced, the value of playtime has become all the more important. Indeed, in the first half of 2021, toy industry sales increased by 15 percent to $22.45 billion when compared to the same time period in 2020 and 28 percent when compared to the $17.59 billion generated in the same period in 2019, according to The NPD Group. This is all good news for brand owners taking part in Brand Licensing Europe, where discussions will center on new product partnerships that will hopefully bring about toys that kids will make connections with and see themselves authentically reflected in. —Kristin Brzoznowski

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Leading content owners discuss the increasingly important role of digital platforms in establishing and building brands today.

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TV KIDS: Even last year, despite the pandemic, you had a very good year. Barbie deserves a shout-out—she has been performing really well, hasn’t she? KREIZ: Barbie strengthened its position as the number one global doll property and continued to gain market share. We are extending characters like Chelsea. We are launching new fashion segments like Barbie Extra. We are celebrating Ken’s 60th anniversary. Barbie today is much more than a toy; it’s much more than a doll; it is about a very clear brand purpose to inspire the limitless potential in every girl. It has been a multiyear journey about diversity, inclusivity, equality and purposeful play. Barbie today is the most diverse doll line on the market, with multiple body types, skin tones, hairstyles, hair colors. Over half of the Barbie dolls today are diverse. Barbie represents the world as we see it today and continues to resonate with consumers and families at levels we have not seen in many years. TV KIDS: How does reaching out to children and families through movies and television strengthen Mattel’s brands and their connection with consumers? KREIZ: This is an important way for us to connect with consumers and engage with fans through multiple

Ynon Kreiz Mattel By Anna Carugati

nder the leadership of Ynon Kreiz as chairman and CEO, Mattel has reported quarter after quarter of strong financial gains. As Kreiz told attendees of the TV Kids Summer Festival, Mattel is in growth mode, led by its transformation into an “IP-driven, high-performing” toy company that is extending its storied brands into numerous consumer touchpoints. In that keynote, excerpted here, Kreiz weighed in on the fruits of the strategy, trends in retail, the endurance of brands like Barbie and Thomas and more.

touchpoints. In today’s world, it’s not just about one representation of a franchise or a brand. It’s a holistic experience. Owning the underlying rights for these brands gives us the ability to engage consumers and entertain them in multiple ways. We always stay true to the DNA of our brands and franchises. We maintain the ethos of these brands in a way that is threaded throughout the experience, so it is a consistent representation but gives us a much broader base to reach consumers at many levels.

TV KIDS: You’ve led Mattel to transform itself from a toy company to an IP company. Tell us about that vision. KREIZ: Mattel today is a very different company than it was just a few short years ago. We had a very clear vision and put together a strategy—the biggest change was to transition from being a toy manufacturing company to becoming an IP-driven, highperforming toy company. Our transformation strategy is paying off, and we are starting to unlock the true value of Mattel. We ﬁnished the heavy lifting of restructuring and are now entering growth mode. This is all driven by the Mattel playbook, which is a portfolio-wide framework and methodology that sets us apart from the competition. We’re seeing our product resonating with consumers at levels we have not seen in years, all fueled by innovation and cultural relevance.

TV KIDS: How are your teams managing and refreshing franchises for new audiences while remaining true to what those properties are? KREIZ: This is about finding the balance between reviving legacy heritage brands that have many years, decades in some cases, of representation and a built-in fan base and creating them to be more relevant to today’s world, more culturally relevant and still maintaining their brand purpose and what made them successful in the first place. It is about integrity and authenticity. This is one of our core strengths as a creative company—finding that right balance and continuing to innovate, reimagine and stay relevant to today’s world.

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TV KIDS: You have also grown your e-commerce business. How has it been performing during the pandemic when a lot of families are experiencing ﬁnancial difficulties?

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KREIZ: Our retail and e-commerce [businesses] are very important parts of our transformation strategy. Covid has brought about a big shift in how consumers shop with the acceleration of online retail and e-commerce— anywhere between two, three, maybe even five years, depending on the market. We pivoted the company and were able to respond to that change in consumer shopping habits. Mattel is engaging with consumers in ways that strengthen and broaden what we do in brick-andmortar stores. This is driven by two strategies. One is through our relationships with retail partners, who have pivoted and expanded their online retail and e-commerce. Second is what we do as a company in terms of building our own direct-to-consumer sales capabilities. American Girl is leading the way for us, with end-to-end capabilities, expertise and a robust business that is growing and performing very well. Mattel Creations is our own collective focus website that is highly curated and is getting great response and market feedback. Expect to see more from Mattel in online retail and e-commerce, and specifically in our direct-to-consumer business. TV KIDS: How do you see consumer behavior as we move out of the pandemic? KREIZ: One thing is becoming very clear: physical play is here to stay and is projected to grow. We believe in the long-term growth prospects of the toy industry. In 2020, the industry saw extraordinary growth and proved its resilience yet again, partly backed by the shift to e-commerce, but generally, it’s an important part of our daily lives. The pandemic emphasized how parents prioritize physical play, especially when it comes to quality products and trusted brands. Consumers want to buy brands that align with their values and beliefs. Parents are increasingly drawn to toys that promote positive values and reflect how they would like to raise their kids. We know that parents will always prioritize spending money on their children. This is where we step in and do our share in creating products that resonate, that stand true to our mission and purpose as a company. We are aiming to create innovative products and experiences that inspire, entertain and develop children through play. A big part of our success over at least the last three quarters has been driven by our ability to manifest that mission in the products that we make and how we engage consumers on multiple levels. Also, screen time is on the rise, further accelerated by Covid, but it is not taking away from play and especially from physical play and toys. In fact, the toy industry will continue to thrive, even with the rise of screen time or the growth of tablets and video games in parallel. Given the fact that we own the underlying rights, we can participate in these areas. This is a complement to what we do, and we see exciting opportunities for Mattel as part of our midto long-term strategy in those areas as well. TV KIDS: You worked for some of the most important media companies before joining Mattel. How do your previous experiences help you navigate the challenges and the opportunities that you see ahead? KREIZ: The companies that I managed before were all creative organizations with core content libraries,

intellectual property assets or access to creative talent. We looked to leverage market developments and new technologies to reposition those companies, create a new economic model, or find new commercial opportunities. At FOX KIDS, for example, we capitalized on new digital technology to transition from being a distributor of children’s programming to free-to-air broadcasters—which was a mature industry at the time—to become one of the fastest-growing pay-TV channels in Europe. At Endemol, we expanded the business from being a producer of reality and game shows, also a mature industry, to becoming a global distributor of TV programming and a key player in scripted content as demand for localized scripted shows was growing. At Maker Studios, a pioneer in a brand-new industry, we leveraged our relationship with leading YouTube talent and aggregated UGC content through our technology platform to create a global multichannel network and become one of YouTube’s largest partners. And of course, working as part of The Walt Disney Company, one of the world’s preeminent entertainment companies, after they acquired Maker Studios was a great experience in and of itself. So taking all of that, coming into Mattel, I saw the incredible asset catalog, a treasure trove of intellectual properties, heritage brands and incredible franchises with so much appeal and built-in fan bases. I was attracted by the opportunity to extend what we do into new areas, new activities, as part of becoming a high-performing toy company. So the strategy is two parts. First, become a high-performing toy company. There are many opportunities for us to grow and continue to perform well in the mid- to long-term as we extend the brands that we own to all these highly accretive business verticals and capture the full value from these assets. I’m very excited about the opportunity, and we’re seeing it unfold right in front of us as we are executing our strategy. 10/21 WORLD SCREEN 139

Barbie Big City Big Dreams is the latest animated special for Netflix featuring Mattel’s beloved doll brand.

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Sesame Workshop’s Furry Friends Forever: Elmo Gets a Puppy.

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READY TO

PLAY

Leading content owners discuss the increasingly important role of digital platforms in establishing and building brands today. By Chelsea Regan

ocial media apps and sites that host shortform content and cater to engaged consumers—notably, TikTok, Snapchat, Instagram, Facebook and YouTube—are becoming fixtures in brand plans for media companies looking to reach young viewers. Meeting the audience members where they are is essential, and today’s kids are online—all the time. “We know that kids are consuming content through digital platforms,” says Fred Faubert, chief creative officer at Digital Dimension Entertainment Group and its subsidiaries Saturday Animation Studio and Meduzarts Animation Studio. “We need to find creative ways to reach kids where they are and give them the experience they are expecting. You cannot go out now without this broad strategy. Kids [need to] see and interact with the characters everywhere they go.” Digital Dimension is planning to launch a video game alongside a YouTube channel to accompany the Saturday Animation Studio-produced action-adventure series Chase and CATCH. Together with its social media

channels, the plan is to build an audience to advertise its products to. Faubert sees both brick-and-mortar retail and online sales, which social campaigns can drive, as key for the company’s developing brand strategy. Laying the groundwork for 2022 product rollouts, Cookbook Media is keen to use the power of digital media and the communities therein. “A big part of the push we’re doing with our partners is creating content not only for broadcast and streaming channels but also in the spaces that their fans and their audiences live,” says Robert Bencal, partner and co-founder of Cookbook, which is developing a consumer-products strategy for Saturday Animation’s Chase and CATCH. “For example, we’re doing a lot of work in developing content in the kids’ space for platforms like YouTube and TikTok.” Cookbook is also looking into the gaming space, as well as NFTs for nostalgia properties like Rainbow Magic. “We’re using those platforms—TikTok, YouTube, NFT spaces, gaming—almost for a dual purpose,” explains Bencal. “Developing from a storytelling and content perspective—and brand marketing.”

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Studio 100 is keeping the Maya the Bee brand refreshed with a range of new initiatives.

This year, Konami is celebrating the 40th anniversary of the Frogger brand with a new show streaming on Peacock and the 25th anniversary of Yu-Gi-Oh! with key categories and special releases. Somewhat ahead of the game, Konami has long been in the online space to cater to its target audience. “We’ve been active in the digital space for a while because our fans have been there for so long,” says Kristen Gray, the newly appointed president of Konami Cross Media NY. “Our episodes have been available

Sesame Workshop has created a 360-degree experience to coincide with the beloved Sesame Street character Elmo getting a puppy named Tango. This includes the debut of the 30-minute animated special Furry Friends Forever: Elmo Gets a Puppy. “We’re rolling out brand-new and exclusive digital content featuring Elmo, Tango and other furry friends on our Sesame Street YouTube and social media platforms,” says Risa Greenbaum, VP of international consumer products at Sesame Workshop.

“Our goal is to deepen our connections with families by creating powerful ways for fans to engage with Sesame Street.” —Risa Greenbaum, Sesame Workshop digitally on many platforms internationally. As digital has grown in each country, we’ve expanded our presence there. We have a strong social media following. We use YouTube episodes, as well as sharing product information and building a community within the show.” Gray adds, “We think it’s going to continue to evolve, and we’re always looking for new ways to ﬁnd our fans because they were [on digital platforms] before us. They were the ﬁrst ones there, and I think our job is to give them what they want.”

“Our goal is to deepen our connections with families by creating unique and powerful ways for fans to engage with Sesame Street,” Greenbaum continues. “One way we’re doing that is by investing in more short-form content.” As an example, Greenbaum points to the Sesame Workshop and Headspace collaboration Sesame Street Monster Meditations, six animated shorts to help children learn the fundamentals of mindfulness, meditation and social and emotional learning. They are available on YouTube and YouTube Kids. Also for YouTube, Sesame Workshop has

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Digital Dimension’s Faubert thinks that children’s desire for fresh content could also beneﬁt properties new to the scene. “Kids today are always clamoring for something new, and we believe that Chase and CATCH has the potential to become a successful and timeless franchise, with diverse characters and universes that will translate into a robust merchandise program. We believe kids will respond to the overarching message that we are stronger together and can make a difference in the world.”

BITE-SIZE CONTENT

Konami Cross Media NY’s Yu-Gi-Oh! marks its 25th anniversary this year.

partnered with The Wiggles on a reimagining of their “Fruit Salad” song and an updated version of the Sesame Street song “The ABCs of Moving You.” While platforms are helping established IPs like Yu-Gi-Oh! and Sesame Street engage with old and new fans alike, they also enable brands just emerging in the market to find a foothold, according to Konami’s Gray.

When using platforms like TikTok to build interest in a new property, shorter content can be used to appeal to the audience in a meaningful way with stories they want to hear, according to Cookbook’s Bencal. “That’s been a really interesting platform to start working with from a brand and licensing space; it’s in more of an organic way, not just running commercials,” he says. “Working with influencers is a big piece—and finding the right influencers. There are those mega-influencers that are doing it and taking checks and things like that, but finding more of those micro-influencers who are fans of your brand or believe in your brand and working in a partnership with them is something we’ve had great conversations on. We’re going to put some things into motion here for 2022.” For new IP, in order to grab the attention of young viewers, it’s also imperative to be shown on several

“Some of these other platforms are introducing new opportunities, and it just turns out to be different metrics.” —Kristen Gray, Konami Cross Media NY “We have more known brands, but we still see that you have to look at other things like social media, YouTube, what Instagram and TikTok are doing, because they’re leveling the playing field a bit,” she explains. “New IP can find new opportunities there. We think that as much as known brands have an advantage, some of these other platforms are introducing new opportunities, and it just turns out to be different metrics. We’re not looking at ratings so much, but we could be looking at followers and subscribers. It will be interesting to see how it plays out.”

different platforms, as theater and linear TV alone are no longer sufficient to gain traction, explains Joachim Knödler, head of licensing at Studio 100 Media. “Digital platforms have had a huge increase over the last two years, and with new IPs, it is imperative to connect with the target group through digital and linear and to get successful L&M programs started,” says Knödler. “This includes print-ondemand products to first get consumer demand satisfied and ‘early movers’ involved in a new IP. Integrated marketing campaigns, especially with influencers, are key

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Saturday Animation’s new series Chase and CATCH will be accompanied by a video game and a YouTube channel.

to get consumer attraction and are the perfect argument to secure shelf space in retail.”

BRAND PLANS Knödler goes on to say that Studio 100 Media has already developed IP with a view to digital releases. Of note, the prehistoric-set Vegesaurs, developed with Cheeky Little Media, was “designed with content that we will address for loyalty campaigns at super and hypermarket chains across Europe,” he says. “The content supports the launch of each campaign on digital channels and acts as a booster in the entire communication circle.” Across the board, the L&M business is in a healthy place. While this might create room for some new IP to break through with those willing to take a calculated risk, known brands

Sesame Workshop’s Greenbaum has witnessed new preschool properties managing to pick up shelf space and sees that as evidence of a market in good health. But with the ongoing global pandemic and the implications of a world not yet back to normal, she’s also witnessed consumers craving the comfort of the known. “Especially during challenging times, consumers are gravitating toward the tried and true,” says Greenbaum. “They’re attracted to the brands they grew up with, know are safe and want to share with their children.” “It’s so important that brands have characters that resonate,” Greenbaum adds. “The Sesame Street muppets have a unique ability to spark deep, often immediate, personal connections with kids. When people meet Elmo, they know he represents love, Big Bird is friendship,

“Working with influencers is a big piece—micro-influencers who are fans of your brand.” —Robert Bencal, Cookbook Media continue to have an advantage. “Currently, we are seeing a strong demand on classic IPs—the focus on brands well known over generations,” says Knödler. “Retailers and consumers are playing safe with their decisions for such brands, and therefore, they are demanding properties where they value continuity in terms of presence, targeting multiple generations.” This is good news for Studio 100 Media and such brands in its catalog as Heidi, Vic the Viking and Maya the Bee, for which it has launched the Project Poppy Meadow campaign that places a focus on sustainability.

Oscar is the contrarian and Cookie Monster is the poster child for instant gratification, but he’s working hard on his delayed gratification skills. These relatable personality traits make our characters instantly engaging to kids and adults alike.” Digital Dimension’s Faubert agrees: “Strong characters and creative storytelling are essential, as is finding ways for audiences to experience the brand when and where they want it, and this will be through a variety of formats,” he explains. “Kids want to be with friends while

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major category drivers—even some of the seasonal people—to let them know what’s coming down the pike. In some cases, we’re even collaborating with manufacturers, licensees and retailers on developing programs so that everybody is on the same page on making it the most successful it can be.”

FRAGMENTING AUDIENCES

Cookbook Media is working with Saturday Animation on the brand plans for Aiko and the Masters of Time.

they are having their entertainment experiences, which is why Roblox, for example, has done so well. Kids want to connect with their heroes, but they also want to be connected to other kids.” In order to get the shelf space and the opportunity to reach kids on screens, online and in stores, it can be helpful to partner with retailers at an earlier stage, particularly when it comes to bigger properties,

Looking ahead, challenges in brand-building stand to run parallel to the challenges in the content industry at large. Namely, “the audience and the platforms are just getting more fragmented,” explains Bencal. “Going over to the digital side, it sounds easy, but it’s hard. On the digital side, people are making decisions on your content in a short period of time. You have to make sure you’re going in with the right kind of content and also being able to have that authentic voice, the right storytelling and the right messaging to get traction because the digital side and some of those platforms are very transient. That said, you’re able to experiment a little more.” Meanwhile, the more established ways of connecting with an audience, like theme parks, which provide an opportunity for family-fun experiences outside the home, remain—even if they have been in short supply for much of the pandemic. Studio 100 Media and Sesame Workshop are both keen to welcome young fans and their caregivers back to their sites with fresh activities and events around the world. “With Studio 100’s extensive experience with our own theme park business, we are currently developing new concepts with a partner in Spain to bring the fun and entertainment back into retail with location-based attractions and entertainment,” says Knödler. “Initiating and launching [a] great project in Poland, we will go for a

“Integrated marketing campaigns are key to get consumer attraction and [securing] shelf space in retail.” —Joachim Knödler, Studio 100 Media according to Cookbook’s Bencal. “There is only so much shelf space and attention space, even in the digital world. You think there’s infinite shelf space, but there isn’t because people can only focus on so much,” says Bencal. It’s important, he adds, to give “retailers an insight into what you’re doing early—and not only retailers but consumer-product companies.” Bencal continues, “Traditionally, you’d sell a show and then you’d go to the toy companies. We’re getting out there earlier to talk to toy and apparel companies and the

rollout in other European markets soon and combine this with the brand essence of our classic IPs.” Sesame Workshop’s Greenbaum notes, “Families are anxious to get back out and enjoy activities. Themed entertainment—live shows, theme parks, family entertainment centers—will see a rise in attendance. Milestones like the 50th anniversary of Sesame Street in Germany in 2023 and character birthdays throughout the year are great reasons to invite families to come out and celebrate, once it’s safe to do so.”

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Tom Ascheim WarnerMedia he launch of the Cartoonito block on HBO Max and Cartoon Network this September is the latest prong in Tom Ascheim’s strategy to ensure the portfolio of assets he is responsible for at WarnerMedia meets the needs of kids and families wherever they are. As president of Warner Bros. Global Kids, Young Adults and Classics, Ascheim has overseen a reorganization and expansion of WarnerMedia’s suite of businesses targeting young ones and their caregivers. In his detailed keynote at the TV Kids Summer Festival, Ascheim weighed in on the importance of the Cartoonito preschool initiative, catering to girl audiences and the ever-increasing need to deliver co-viewing opportunities.

TV KIDS: Tell us about the “Redraw Your World” tagline. ASCHEIM: We have this incredible history at Warner Bros. A hundred years of Looney Tunes, years of DC and HannaBarbera and Cartoon Network. But we hadn’t had a chance to put all of our assets together to build a modern kids’ and family business that we think WarnerMedia deserves. That’s the quest we’ve been on. To do that, we had to think hard about who we were and our relationship with the audience. You start with a great brand and an emotional connection—that was the root of Redraw Your World. One of the things [people] most want to feel is that we get to be seen as who we really are. That sense of inclusion is the root of how we want our audience to feel. When they’re with us, they get to be their own best self. The second part is understanding that this generation of kids is really powerful. They have the ability to use social media. They see the role models who are just a little older than them—Emma González, Greta Thunberg, Amanda Gorman—looking at the world, ﬁnding it somewhat unsatisfying, doing everything they can to make a change and having an unbelievable impact. Redraw Your World borrows this idea of imagination, which has always been the root of who we are, and creativity, and anchors it in the sense that you can reimagine the world to have it be the way you want it to be. That sense of inclusion and the potency of the audience is what animates our relationship with them. TV KIDS: You’ve described Cartoon Network as a missiondriven platform for children. ASCHEIM: The mission-driven part is both for the audience and for the people who work here. If you work in kids’ media, you’re always in service in a way. But we know if we’re just doing good without entertaining, there’s zero good. You need to make sure your message is delivered because people are compelled to watch—it’s wildly entertaining and deeply satisfying. Redraw Your World gives us a mission as we think about the audience. And if inclusion is the centerpiece of what you do, we had to face whether we were dealing appropriately with all the members of the audience that we want to talk to. We [launched] Cartoonito, the biggest preschool commitment we’ve ever made. We do well with boys 6 to 11, but we haven’t done as well with girls. We have a huge initiative to make sure that girls are an equal part of the audience. Over the years, I think we have focused much more on the children part of the family. But

we know from research pre-Covid that as we get more divided by our own screens and proﬁles, families atomize a little bit around their entertainment. When we talked to families pre-Covid, they were looking for moments to gather, to have a cultural moment that unites them. That happens successfully when the entertainment is great for the family in totality; it’s not just for the children and the parents are gritting their teeth. It’s wildly entertaining for parents and for kids. TV KIDS: How are you reaching out to attract more girls? ASCHEIM: Some of it is just making sure that when we do animation, we are making girls prominent centerpieces of the story. We are venturing into live action. That’s one of the ways we need to attract girls, and honestly, grown-ups and boys too. 10/21 WORLD SCREEN 151

By Anna Carugati

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IP because it helps signal that this is something you should pay attention to. Sometimes it’s eventizing. The idea of a global launch creates a sense of momentousness. Then we have a pretty big digital reach. So we have our channel, our streamer, our IP and we use the tendrils we have in the digital landscape to ﬁnd the audience where they are.

WarnerMedia Kids & Family has greenlit a Looney Tunes movie featuring Porky Pig and Daffy Duck for its new family programming block, ACME Night.

TV KIDS: Tell us about Cartoonito. ASCHEIM: Cartoonito [launched] this fall with 20 shows across HBO Max and Cartoon Network. We’re building to 50 shows over the next couple of years. We are using the power of some of what we have in our IP library. Batwheels is the youngest show made for Batman. Bugs Bunny Builders is a fantastical construction arena for Looney Tunes where they get to take their anarchic energy and apply it to buildings rather than each other. There’s Tom and Jerry Time. Cartoonito is anchored by a Humancentric Learning curriculum, which is an important part of building credible and effective preschool programming. TV KIDS: You also oversee the kids’ and family block of programming on HBO Max. ASCHEIM: Ann Sarnoff [chair and CEO of WarnerMedia Studios and Networks Group] has given our team responsibility to program HBO Max kids and family along with Cartoon Network. Now, when we think about projects and we go to creators, we don’t have to divide how we [approach] the platforms—we just need the best work, and we’re going to make sure that it’s available in all the places our audience wants to find it. For the most part, in time, our shows will be simultaneously in both places. We’re not quite there yet—now we often have shows on one and then the other. We know our audience is watching television when it’s linear and when it’s streaming, and they don’t want us to make that hard—they want us to make it easy, so we’re going to make it easy. One of the competitive advantages we have at WarnerMedia versus a peer streamer is that our channels give that sense of focus and importance. It can get a little hard to find things on the streamers. One of the ways we make people pay more attention is we turn it into an event. That helps drive interest in shows. TV KIDS: How do you build awareness for shows and help children and families find them? ASCHEIM: That’s one of the things everybody’s grappling with. There’s no one-size-fits-all, but there are a few things we do that make things easier. Sometimes we use existing 152 WORLD SCREEN 10/21

TV KIDS: What role does acquired product play on Cartoon Network, the other channels in the portfolio and HBO Max? ASCHEIM: We in the business talk about “acquired” versus “original.” To the audience, it’s an invisible line. It’s usually about our deal structure. We have lots of shows that the audience thinks are original, but the way we’ve done the deal with the production company, it could be called an acquisition. But it’s new to them, so it doesn’t matter. I would say what’s more important for us is “familiar” and “brand new.” We use familiar programming to pull people in, which helps us build a bed of awareness to build to something brand new. On Cartoonito, we’re using the library of Thomas & Friends as part of how we’re going to bring attention, but we’re also launching brand-new episodes. It’s an acquisition and an original all in one. I think almost all networks have been built from the successful mix of the familiar and the new. That combination is important and will remain so. TV KIDS: You oversee Cartoon Network’s studio and the Warner Bros. animation studio. What are the two different remits? ASCHEIM: We actually have three studios. We announced one [in April]. We’ve had an under-the-radar studio in England that we renamed Hanna-Barbera Studios Europe, which has been super successful for us. It has shows like [The Amazing World of] Gumball and others that are huge hits on Cartoon Network. One of the most important decisions I made when I arrived was to centralize the leadership of what we do with our studios [under] Sam Register, who came from Cartoon Network and went to Warner Bros. Animation and built it into a powerhouse. He and I spoke about the importance of creating a centrality of approach to have the best practices for all but not lose the cultural norms that made them great. Warner Bros. Animation uses a lot of existing Warner Bros. IP. That’s part of its power. Cartoon Network Studios has been more [focused on] originated brand-new work. While that is not the rule by which we govern all things, it will be part of what keeps them differentiated. In Europe, we have very different talent, sometimes a different approach. We try to bring the best of all three. Sometimes, it lets us send artists back and forth if they’re ﬁnished with one project. Instead of having them roll off to a competitor, we can have them roll off to one of the sister studios. Sometimes there’s collaboration that happens between studios that wouldn’t have happened otherwise. They get to support each other. The ecosystem of the network and the studios together helps us differentiate ourselves.

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A DIVISION OF World Screen

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TV Kids Guide

TVKids.com

TV Kids Breaking News

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TVNiños.TV

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OUR PLAYGROUND

IS GETTING

BIGGER!

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kids, these platforms are designed for adults, which has inherent problems. They have content that is inappropriate, advertising that is inappropriate and the algorithms are a problem. We had to think about it holistically; we couldn’t just put something out there with some licensed content. It was so crucial for us to get the environment and the experience exactly right. TV KIDS: What’s the approach to distribution partnerships? BERGER: We do think that connected TVs are very important. We are live on Apple TV, Roku and Amazon Fire, in addition to iOS and Android mobile phones and tablets and the web. We’ll continue to roll out on more smart TVs. That living room experience for streaming is so important—increasingly for kids and families, as they do more and more co-viewing with their kids. But for kids’ products, you need to have a collection of devices, which is different from adults, who tend to just stream on one device. TV KIDS: How did you curate your initial slate of content? BERGER: We wanted to curate content that allowed kids to explore their passions. We’re big believers in interest-

Eric Berger

Common Sense Networks By Mansha Daswani

amilies and educators have long looked to Common Sense Media’s recommendations as they seek out trusted content for young ones. Those values have now been built directly into Sensical, a new AVOD service that launched this summer, operated by the organization’s for-profit arm, Common Sense Networks. Stressing the importance of high-quality programming in a safe environment, delivered for free to the consumer, Sensical has taken a highly curated and algorithm-free approach to devising its lineup. The viewing experience is built around age, with 50-plus topic-based channels and all content vetted for age-appropriateness, including all advertising campaigns. Sony Pictures Television veteran Eric Berger was tasked with using his deep knowledge of the streaming business to position Sensical for success in an increasingly crowded landscape. The CEO of Common Sense Networks shares with TV Kids his strategies for making Sensical the preferred destination for kids and families. TV KIDS: Tell us about the thinking that went into crafting Sensical. BERGER: Creating a service for kids is very different, so you have to be extremely thoughtful. We were focused on solving some speciﬁc issues in the market under the thesis that kids really do deserve better. Their viewing patterns have shifted to these large open platforms; they’re watching there far and away more than [anywhere] else. About 80 percent of kids are spending over an hour a day just on the [free] platforms; they’re also watching premium services and live TV. And unlike Sensical, which was designed speciﬁcally for 156 WORLD SCREEN 10/21

based learning—if kids like something, they’re going to go down the rabbit hole, so it needs to be a safe rabbit hole. We have 50 topic-based channels designed around things like how-to in categories like sports or drawing or dance or cooking or DIY or building. At the same time, we have these areas of passionate interest that kids like—animals, dinosaurs, video games, outer space or nature. Parents are looking for solid preschool learning—reading, math, science, music—and making and moving activities. All of those are there. It gives Sensical an interesting breadth that doesn’t exist on another service like this for kids right now. It gives them a safe space. TV KIDS: Did you ﬁnd that the Common Sense Media brand name was beneﬁcial as you approached distributors who sometimes can be wary about putting their content up on a brand-new AVOD service? BERGER: Absolutely. A lot of the creators from whom we’ve licensed love the brand association because you have to be selected. It’s not a normal licensing deal; it goes both ways. You may want to get in, but you might not pass our criteria. If you went through the whole ratings process—and we watched every frame of every video, through human review, we tag all of it and capture the metadata—it’s a little bit of a badge of honor. At the same time, it’s incremental revenue for them. We’re putting them out onto other platforms they may not be on already—the Rokus, the Amazon Fires, other devices—so it’s a win for everybody.

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TV KIDS: Are you looking at international expansion? BERGER: We’re testing in the U.S. right now but have a global vision. This is a global problem, one that we want to address. We want to, as quickly as we can, start to move into other territories. There are some big AVOD territories around the world that are obvious targets. In Europe, the U.K., Germany, France, Spain. In Asia, Japan, Australia. And Mexico and Brazil. Those are the obvious targets for us because there are AVOD businesses there. And other countries, of course. TV KIDS: How is Sensical determining the right advertising brand partners to align with? BERGER: That’s as important as the content itself. The whole experience has to be right. We set up what we think are the best-in-class ad guidelines for digital. We do borrow a lot from television. There are some very good things about the ad guidelines in television; they just haven’t been brought into the digital world. The first is, the content itself has to be appropriate and age-appropriate. We exclude certain categories—unhealthy foods and drinks, for example—that we don’t think are appropriate. We also screen the creative itself. And then we look at things like frequency caps to make sure the volume of ads you’re seeing, and the spacing out of the ads, is appropriate. The biggest issue has to do with the blending of the advertising and the content. This is one of the biggest problems in digital right now. It happens in two ways. One is where you can’t tell where the content ends and the ad begins. We’re going to have bumpers and clear separation in the messaging to the child. In the digital world, there’s also a lot of brand integration into the content that is unclear, where the host of a popular show might be pushing a product, or they have these unboxing videos— that’s the type of thing we’re not going to do. TV KIDS: I know preschoolers tend to rewatch the same content. As such, do you need to refresh your slate more often for the older demos? BERGER: It’s true that when preschoolers find something, they will watch it over and over again. You don’t know what they’re going to find, so you have to have a good breadth there, which I think we do. The refresh rate, and the nature of the programming, are a bit different for 8 to 10s. We have much more live-action how-tos for them; that’s where we have more sports, drawing, dance, cooking, DIY things.

TV KIDS: Comparing the landscape today to the conditions in place when you were building Crackle out, what’s more challenging now, and what’s easier? BERGER: The challenge is, you have a lot of competition. When we started Crackle, we needed to educate people on streaming, connected television streaming, building an audience, and we had to educate advertisers about AVOD. You trade that off now with the fact that it’s very crowded out there. You have to have something that’s differentiated and [that ﬁlls] a very speciﬁc need versus another me-too streaming service. We do. We have Common Sense Media’s approach as our guiding light, and we have a base of users from Common Sense. When we do poll after poll in the market, 80 percent of parents are saying they know the content [on other free services] is not appropriate, the advertising is not appropriate. They’re looking for something that offers educational value and is age-appropriate. What’s easier is, when we started, you had to build everything, every piece of technology. Now there are a lot of off-the-shelf things you can do. When you’re building these platforms, the trick is to know where you need to focus on proprietary intellectual property and where you can pull things off the shelf. For this business, what I focused on were the things that really matter, the tools we created that are unique, like the ParentZone, where caregivers can gain insight into what their kids are watching and how to extend the learning process. Or the way we did these topic-based channels inside the application. That’s original IP. TV KIDS: It’s still early days for Sensical. Where do you want to be with the service six to eight months from now? BERGER: We want a large and growing base of kids to be loving this service. We also want to be a partner to parents. You have a dual audience situation with kids’ media. The parent tools we are supplying are not just helping them limit the watch time or put restrictions around it— it’s more to bring them into the conversation with their kids. These tools tell them what types of content they’re watching along learning lines, but also what types of topics they’re watching, and it enables them to extend the conversation with their kids and be part of the process. So yes, we want a lot of kids and a lot of parents, but we’re successful if we’re creating a different type of viewing and learning experience. And on a practical level, we want to be growing this around the world. 10/21 WORLD SCREEN 157

Sensical acquired a huge slate of content from across the globe for its launch this year, including Superights’ Bo Bear.

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series on the internet, if you think about the turn of the new millennium. At the heart of everything, it’s still us being storytellers, but we’re always continuing to embrace unique ways to tell stories. TV KIDS: What environment does Aardman offer creators? CLARKE: The founders of the studio, David Sproxton and Peter Lord, always had an ethos to create a friendly, open, collaborative environment. That’s been underpinned by the fact that we’re now employee-owned. We are truly a values-based business, where all the value created, whether it’s money or investment, is with employees in mind—or partners, as we call them. It’s very much about creating a culture that allows creativity to thrive and an environment for those ideas to spark. We have a building that encourages people to meet and talk and discuss. We have forums for people to present ideas, for them to be nurtured and hopefully come to fruition. TV KIDS: Would you give some examples of how an animation style is selected for a particular project? You have a vast toolbox. CLARKE: The idea comes ﬁrst. The parameters of working out the technique come into the nature of the idea. During the pandemic, we greenlit our ﬁrst end-to-end CG series that we’re making here in Bristol, Lloyd of the Flies. It has been done in CG because it’s about a group of insects—there are just so many of them, if we did it in stop-motion, there would be scale issues, and you do see some of the humans’

Sean Clarke Aardman By Anna Carugati

ince its inception by Peter Lord and David Sproxton, Aardman has been at the forefront of stop-motion animation technology, giving the world such beloved hits as Chicken Run, Wallace & Gromit and Shaun the Sheep. The multi-award-winning British studio operates across various mediums—commercials, shorts, television series and feature films, with its characters also extended to consumer products and live experiences—and has expanded into new animation styles. Now employee-owned, Aardman continues to innovate across the animation landscape. Speaking at the TV Kids Summer Festival, Sean Clarke, managing director, outlined the creativity-driven ethos at the heart of the company.

TV KIDS: Everything that comes out of Aardman has some level of newness, inventiveness and innovation. How has the company embraced new technologies, new creators and innovation for so long? CLARKE: We’ve always been world-renowned for our stopmotion. The studio’s ethos has always been to embrace technology. I’ve been at the studio now for 23 years. Twenty years ago, we launched our ﬁrst movie, Chicken Run, which was a mammoth task in terms of putting together a crew. In the same year, we did a series called Angry Kid, a live-action/stop-motion mix. It was actually one of the ﬁrst 158 WORLD SCREEN 10/21

legs and the props in the house. So, CG was the right technique to bring that to life. There may be another dynamic such as budget. Not so much on the movies—there’s not a lot of difference between a CG movie budget and a stopmotion movie budget. But there may well be a commercial for a third-party client where they have a budget restriction and it makes sense that we look at it in 2D. The only other denominator we could look at is a practical thing of what our pipeline is like. Our stop-motion pipeline, I’m pleased to say, is pretty busy through the end of 2024. There will be some implications there that mean we have to look at other techniques as well. But, ﬁrst and foremost, it’s how you bring that idea to life. TV KIDS: Tell us about Aardman’s many diversity initiatives. CLARKE: Like everybody, we’re very conscious that we need to address it and do more than we have done. Last June, we committed to being a lot more open and transparent in what we’re doing. Morally, it’s the right thing to do with an employee-owned company—to be internally open and transparent about our plans and objectives. And frankly, I wanted us to be publicly transparent because if it’s public, you’re held to account and it’s more meaningful. We’ve done a lot of work on our development slate. We

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have industry standards that we work to, like the BFI standard. Many financiers now are, rightly so, insisting on a different diversity formula for the stories you tell. The area that we have more work to do on is behind the camera. We established a diversity and inclusion charter that was formulated by a group of people across the studio. I was keen on it not being just the exec board or me saying, This is the charter. For it to have teeth, you’ve got to get the people producing or hiring to embrace it and understand it. It is broken into three areas: ourselves, our stories and our voice. Ourselves is about how we start to be more diverse and inclusive in terms of our workforce. Our stories speaks for itself. And how we use our voice is encouraging other studios to adopt a similar approach. We have the Aardman Academy, where we look to do training courses. As part of every course, we now offer up two bursaries for people who perhaps aren’t in a privileged position to afford it. We have great associations with bodies like Creative Access, which help us find potential candidates from ethnic minority communities to bring them into the workforce. We’ve rolled out various unconscious bias training and other initiatives, and we’ve invested a fair bit of money into trainee roles. For those roles behind the camera, we will do what we can now, but it’s also about what we can do to influence the talent pool going forward. TV KIDS: The public knows about Aardman’s Oscarwinning movies and hit TV series, but the company does so much more. CLARKE: We’ve got this world-class talent in the studio that does movies and series and creates stories and characters and worlds. We also do some work-for-hire, where we do commercials for various clients, ranging from the Serta Sheep in the States to DFS commercials for sofas in the U.K. We have a very strong interactive team that uses that toolbox to create stories in VR and augmented reality. With Wallace & Gromit, a 30-year-old brand, we did a new take on it called The Big Fix Up with another party called the Fictioneers, where we did a whole new immersive story in augmented reality. We created an award-winning app, StorySign, with Huawei. We created a character that signs books for deaf children. And two years ago, we did our first 4D film for the Efteling theme park in Holland. In Japan, we have Shaun the Sheep cafés where you can sit in the farmhouse and have a cup of tea. We have a Shaun the Sheep theme park in Australia and Japan. We’ve collaborated with a producer in Australia to create a Shaun the Sheep circus show using these worldrenowned acrobats. We’re always looking at different ways of telling new stories and connecting our brands with audiences all over the world. TV KIDS: Tell us more about employee ownership. CLARKE: Peter Lord and David Sproxton were starting to look at succession. There are a number of ways you can relinquish ownership. You can sell to a corporate entity or venture capitalists. Frankly, they both felt if they did that, they knew what would happen. The studio would be sliced and diced and everything would be made in a cheaper

place. The integrity and everything Aardman stands for would be lost. So they did a lot of research and felt the best way to move forward and future-proof the studio’s independence was to sell it to the employees. David Sproxton has left the studio; he’s now a trustee. I took David’s role and became managing director, and we have an operational board. I report to a group of trustees who are there to check that I’m still running the company in the way the original owners wanted the company to be run. The other accountability I have is to what we call a partner rep group, representing the hundreds of people who work here. They are there to ask questions of how we’re running the company. It’s important to future-proof our independence, which in turn, for me, future-proofs our ability to be authentic and protect our integrity. A group of suited shareholders isn’t asking us to make something in a formulaic way. It allows us to take calculated risks. It allows us to believe in ideas and push the boundaries. In terms of a creative work environment, it’s perfect. And I’d hope to see more studios become employee-owned. TV KIDS: What opportunities do you see in the next year or two in the animation world? CLARKE: I think the future looks good. It’s a thriving industry. There has been much change; I expect there to be more. Technology will underpin that. One of the areas we are investing in, both in terms of people and resources, is gaming. We did our first console game a couple of years ago. We believe that those pastimes of gaming and watching series and movies are no longer mutually exclusive. They are starting to overlap. We did a great initiative with Epic Games, where they had a virtual film festival on Fortnite with one of our films. Unreal Engine is now becoming an engine used for animation. It feels like these worlds are starting to blend. The nature of our business is all about partnerships. It’s partly why we announced last year that we’re keen to work with people who share that vision. It’s an exciting time. 10/21 WORLD SCREEN 159

For CITV, Lloyd of the Flies is the first full CGI series Aardman is producing at its Bristol studios.

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Guru Studio’s Big Blue.

Into Big Blue Creator Gyimah Gariba and Guru Studio’s Frank Falcone take TV Kids inside Big Blue’s path from compelling pitch to commissioned and completed series. By Mansha Daswani ettie and Lemo, the young sibling adventurers in Big Blue, are on a mission to unravel the mysteries of the ocean. In their submarine, the duo, together with their crew members and a stowaway named Bacon Berry, discover the wonders of the underwater universe while also ﬁnding ways to protect the planet. Aimed at kids of all ages, the series is being rolled out worldwide by Guru Studio, with CBC in Canada as the commissioning partner and ABC in Australia on board with a prebuy. Big Blue was created by Gyimah Gariba, a GhanaianCanadian whom Guru had spotted while he was still at university, tapping him for a design role on Justin Time. “The idea for Big Blue originated while I was working on Justin Time season three,” Gariba tells TV Kids. “I was inspired by an underwater episode. Guru launched an internal call for pitches for new original IP, and I jumped at the opportunity. I wanted to explore merging tangible, realistic things about the world’s oceans with the myths of the underwater world. The next layer was centering the story around a goofy, unusual family. When

crafting the story, we wanted audiences to care about the characters, but also laugh with them.” And for those characters, Gariba took inspiration from his own family. “The characters started as caricatures of my three siblings,” he says. “Lettie represents the oldest sister who can do it all, Lemo is the obnoxiously conﬁdent little brother, and Bacon Berry is the adorable yet powerful baby sister.” Frank Falcone, president and executive creative director at Guru Studio, says he and his team were immediately attracted to Gariba’s pitch. “Gyimah presented something he was passionate about,” Falcone says. “It was unique. It was a family story. We were looking for something that could reach beyond our 5-to-9 target demo—inclusive of preschoolers and parent co-viewers. The representation aspect was also very important to us—way back in 2015! We were supporting the honest reﬂection of a creator’s identity long before the world jumped on board. When we were presenting the show, many doors were closed to us, but in 2015, the CBC came on board and championed the show along with acquisition partner ABC Australia.”

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“When you have strong characters, they almost write themselves. We got to that place with Big Blue.” —Frank Falcone

Completing the financing was not easy, Falcone notes, with Guru Studio stepping up to deficit finance the project. “It was a difficult decision for an independent company, but we couldn’t leave the CBC and ABC high and dry, and we certainly didn’t want to let Gyimah down. So we committed to the show and its message and purpose, not just in word but in dollars.” The relationship between Lettie and Lemo and their assorted crew is at the heart of the show’s appeal, Falcone notes. “It’s an honest representation of Gyimah’s family dynamic, without being topical or having any hint of political motivations or social commentary on race relations. It’s not a cartoon about the experience of Black people in society or what it’s like to grow up Black. Gyimah wanted to level the playing field in representation. He wanted to present an ideal. That’s something we stood behind so much so that we wrote it into his contract as a creator, which allowed us to stay the course with his vision.” The result, Falcone explains, is a show that is “funny and delivers on the promise of a diverse modern family dynamic, with all of SpongeBob SquarePants’ goofy dysfunctional sensibilities, sitting at the helm of a USS Enterprise-like submarine exploring an underwater fantasy universe. That’s what we have on-screen: missions and a lot of comedy—silliness wins the day!” The teamwork at the heart of the storytelling reflects the allhands-on-deck approach the creative team at Guru took to getting the elements of Big Blue perfect, from the look of the characters to the tone of the comedy. “We focused on the characters and finding their voices— ensuring they have integrity so you know how they would react to any situation they’re written into,” Falcone says. “When you have strong characters, they almost write themselves. We got to that place with Big Blue.” Outside of Lettie, Lemo and Bacon Berry, the core characters include ship medic Phil the dolphin and onboard engineer Freddie the turtle. Falcone notes that the casting process for Freddie, in particular, speaks to the theme of diversity that permeates the series. “Many broadcasters have representation quotas for female and male characters,” Falcone explains. “We fulfilled that for this show, but we also had a character, Freddie,

that fell between those binary categories. We didn’t care whether Freddie was male or female, so we cast the actor blindly—without knowing whether the actor identiﬁed as male or female. And still don’t know to this day! It’s a funny cartoon turtle; it doesn’t matter, does it? That was a great way to work within a broadcaster’s rules and yet landed somewhere between them so we could carve out some new territory for representation. In the end, we love the character’s voice and how Freddie, in many ways, embodies the real spirit of the show—true inclusivity without judgment or identity politics.” Gariba hails the supportive environment he has found at Guru. “They helped me expand my ideas and streamline them so that every episode would build toward the larger picture.” Falcone is a fan of betting on new talent at Guru, a process that he says comes down to “asking questions and allowing the creator to make those big decisions for their show. We’re there to provide advice and guidance—it’s an educational process. Pairing a creator with a strong, talented director who has experience is key to helping new creators quickly learn the ropes of production. You don’t want too much of the learning to be mid-production; you want it to be guided. Experiential learning can be expensive! You want to allow someone to learn but provide clear guard rails and priorities. We learned things in our early episodes that trigger improvements in the later episodes—stronger design, stronger layout, the show continues to grow and develop as the season unfolds. The process should always get better as the creator’s experience deepens.” The sales team at Guru, led by Jonathan Abraham as VP of sales and business development, is busy doing deals on the series ahead of its CBC launch later this year, with NRK in Norway and CTC Kids in Russia among those on board. Gariba is excited for families around the world to fall in love with his creation. “I want people to have fun watching the show,” he says. “The characters go through hardships and overcome them like any other story, but my favorite part of the show is that they never stop enjoying each other’s company, and they never stop being a little silly.”

“I wanted to explore merging tangible, realistic things about the world’s oceans with the myths of the underwater world.” —Gyimah Gariba

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Linda Simensky PBS KIDS each show with a little bit of what it’s like to be really interested in something, or what it’s like to have a lot of fun doing something that you love. We have this strategy called “New Voices, New Approaches,” and it’s been a way for us to talk to people who haven’t historically developed shows for PBS, for a variety of reasons, and try to invite them in. We’re trying to get a lot of different viewpoints on our air and represent all different kinds of kids. We’re working on developing different ways in, different platforms that people can work on. We’re just trying to have fun thinking about how kids watch now, where kids watch now and how we can make shows for the way kids watch now. TV KIDS: Are there certain content directives or mandates you must take into consideration with regard to programming? SIMENSKY: We have to do programming that has impact. When PBS was designed, I don’t think they were thinking this is a replacement for school; I think they were thinking we should use programming to enlighten people and to give them information that they might want that they might not get in school or otherwise. I always look at our programming as it needs to have impact, it needs to encourage kids, it needs to introduce them to things that they will find interesting but didn’t even know about. That’s what guides us. One of the things we say is, all American kids should see themselves somewhere on our air. We are working hard to live up to that. It sounds easy, but there are a lot of different kinds of people in the U.S., so we’re working at figuring out how to do that. If kids are going to see themselves, those characters need to be created by people who know what they are talking about. It goes back to finding a variety of creators to bring their visions to our screens.

By Kristin Brzoznowski

s the only children’s programming block on U.S. public television, PBS KIDS has undertaken the mandate to deliver content that is educational, entertaining and authentically reflects the world that kids are living in today. It has developed a multiplatform approach to respond to the quickly evolving media environment and meet the needs of current and future viewers. Linda Simensky, head of content at PBS KIDS, talks about the role and value of public-service broadcasting in the kids’ programming landscape.

TV KIDS: Can you share a brief overview of the programming focus for PBS KIDS? SIMENSKY: PBS KIDS is focused on kids between the ages of 2 and 8, and we are both educational and entertaining. We focus on some core themes of curiosity, enthusiasm and optimism, which are all very important these days, although we’ve been focusing on those things for years. We do a lot of shows that, while generally built around a typical topic that you might ﬁnd on educational television like nature or learning how to read, we are trying to imbue 162 WORLD SCREEN 10/21

TV KIDS: What do you look for in acquired content? SIMENSKY: We program for kids between the ages of 2 and 8 and, within that, there’s the younger preschool age group, 2 to 4, or 2 to 5, or 3 to 5. I think Daniel Tiger’s Neighborhood is a good example of a “ﬁrst” TV show. These shows are kind of like entry-level PBS shows. It’s the show that introduces you to watching content. What we try to cover in those shows is, if you’re new to the world, what information is it that you’re looking for? We have some shows that are just teaching how the world works, like Daniel Tiger’s Neighborhood, or simple lessons like, if you slug someone, they won’t be happy, and what to do about that. I always think of us as the guide to how the world works for younger kids. For slightly older kids, the 4-to-7, 4-to-8 age group, we’re teaching more information that you might need. You might be curious about animals, so a show like Wild Kratts would work for you. We do anywhere from one to three new series a year. Sometimes that third series is because it was supposed

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to be the second series in another year, and we didn’t time it right. We usually put a few new things into development. Historically, we did 11-minute pilots. We’re starting to try things like a whole series of shorts instead of a pilot. We put those 3-minute shorts out on different platforms. We’re trying to use different platforms to figure out what length things should be. A lot of what we’re doing is at the younger end of preschool. [We] focus on that entry into content and making that a positive experience for kids and parents and caregivers. [We did] Molly of Denali, where we focused an entire series on an Alaskan native girl, but we did it like it was a regular animated show, just telling stories of her doing fun and interesting things. The curriculum is in there, but it’s mostly an adventure show. Her whole world was depicted very accurately, and the producers at GBH went and did workshops and found native Alaskan writers and producers and worked very closely with them. This was a world right in the United States that most kids, most producers at PBS, didn’t know much about. A lot of what we did know was incorrect. It was an amazing experience making that show because we all learned a lot. It’s opened our eyes to how many different cultures there are in and around the U.S. We could be introducing these worlds to other kids, but even more important is kids seeing themselves and saying, “Oh, that’s like what my family does, and I’ve never seen that on television before.” I just have to recommend it to everyone to experiment and hire those producers that come from places that you wouldn’t expect. That’s exactly the kind of thing that public broadcasting is going to do that no one else is going to do. In my mind, I was saying no one will acquire this because this is so specific. It turned out that the more specific we were, the more general the stories became just about a kid and adventures. To me, that was a total public-television moment. TV KIDS: What are some of the core themes and brand qualities that you have to keep top of mind with programming for PBS KIDS?

SIMENSKY: Things like curiosity, enthusiasm and optimism. We’ve tried to make our brand be about optimism. We’ve been working on that for years. I think we got into that because we saw that it wasn’t really out there. A lot of shows were kind of cynical, and a lot of other shows just seemed earnest and cute. We wanted to ﬁnd something that captured what we were trying to do, and optimism really captured it. Then our marketing department did some brand testing and found that people did associate optimism with us. I think it’s that hope that people need right now that’s so important. It’s been a really tough year. When we’ve taken on topics like Covid-19 or racism, we always try to take them to the point where we show that we believe that things ultimately will go the right way. There’s a little bit of an optimism gap out there, so we’re trying to ﬁll that gap. TV KIDS: With the entrance of so many SVODs, AVODs, apps and on-demand services targeting young ones, what do you see as the role and value of public broadcasting in addressing kids today? SIMENSKY: The distribution question is just incredible. We sat down and said, let’s make a list of the questions we have about distribution. We wrote up seven pages of questions, and that’s not one question per page; that’s 25 questions on a page. Some are very broad, and some are very specific. The world is changing so rapidly in terms of how people get their content, and kids, of course, try things out first. They are the early adopters of everything. We need to be there for them, so it’s figuring out how to do that. If each platform requires something slightly different, do you have the people to do that? It’s so much more complex than it used to be. The twin problems of discoverability and distribution are the biggest things we’re dealing with. It used to be funding. We’re past that. Funding seems like a quaint problem to solve compared to navigating the world as it’s changing. We’re making plans, and things are changing as we’re making those plans. We all have to be so nimble. 10/21 WORLD SCREEN 163

Daniel Tiger’s Neighborhood, sold by 9 Story Media Group, is among PBS KIDS’ top performers.

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Sarah Muller BBC Children’s TV KIDS: Tell us about the crucial role kids’ programming plays on the BBC. MULLER: In children’s, we’re working for kids aged 0 to 12. For that demographic, 80 percent of the U.K.’s children spend at least three-quarters of their time with us at some stage in the week. BBC Children’s is a microcosm, in a way, of the whole of the rest of the BBC. We provide a full service that goes from daily live news through live-action drama, factual, comedy and entertainment. We try to supply something for everybody. It was a difficult year last year. We found ourselves doing some different things than what we might normally do. We’ve been in a really good position to meet the challenges thrown at us in a unique set of circumstances. We’ve demonstrated our importance to our communities and societies in the last year in a way that we haven’t been offered before. TV KIDS: Are there content directives you must take into consideration? MULLER: We’re focused on our audience and delivering public-service value to them. It’s making sure we remain focused on a really good sweep of different types of content, from factual through to drama. It’s also about the type of work we do and where we do it. We’re always very keen to make sure our production bases and our commissioning bases are situated around all of the U.K., not just in the media-centric areas. So, across the regions, up into the north into Manchester and Newcastle, but also in Scotland, Northern Ireland and Wales. That’s how we work our quota system.

By Kristin Brzoznowski

he BBC operates the most-watched kids’ services in the U.K., but like pubcasters everywhere, faces its fair share of challenges. Patricia Hidalgo, the director of BBC Children’s and Education, set out her vision to a group of reporters earlier this year, noting, “We knew we had to evolve, and the impact of the coronavirus pandemic has expedited that further. We needed to better understand what our audiences wanted and how they consumed our content and evolve our commissioning decisions.” In that light, Hidalgo unveiled a restructure of her content teams, dividing them by age rather than channel brand and combining commissions and acquisitions. To oversee content for the 7-plus set, BBC Children’s enlisted respected kids’ industry veteran Sarah Muller, who had returned to the pubcaster in 2019 after roles at Milkshake! and the POP services in the U.K. Muller tells TV Kids about her content approach.

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TV KIDS: What kinds of acquisitions are you eyeing? MULLER: iPlayer has very much become the focus of our activity. So alongside our public-service commissioning, we will be looking for acquisitions for iPlayer. We have a wide sweep of successful live-action pieces across all the genres. It’s 6 to 9, 2D, characterdriven comedy animations that we’ve struggled to find off the shelf. I have a personal wish to find some anime suitable for our young audience, and that means complex storytelling with an arc, something that demands attention and engagement in a different way but doesn’t have tons of violence and sexual stereotyping. We’re always looking for films. Apart from that, we’re looking for the lovely, holistic, unexpected thing that we haven’t made ourselves, we probably wouldn’t make ourselves, but that tells a really great story, shows a different way of life, somewhere else in the world that isn’t in the modern, contemporary U.K. kids’ experience. We’re always looking to be surprised by the unexpected. TV KIDS: Tell us about the recent restructure based on age and combining the commissioning and acquisitions teams.

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MULLER: We’re trying to make sure that we reflect the audience and their needs in a more proactive way. It’s become clear that, for us, channels were potentially quite limiting in terms of how we reach different children. If you weren’t careful, you would end up picking the same narrow-gauge group of content over and over again. It’s just proved easier to break down how we approach finding world-class content for our audience across the whole 0 to 12 age group if we start to think about the individual needs of a smaller group of children. Within the 0 to 6 commissioning band, you’ve got 0 to 3 and 4 to 6. Within my group, 7 to 12, you’ve got 7 to 9 and 8 to 12. That makes it much easier to micro-identify needs in a way we might not have done before. That picks up on the trend for self-scheduling, for selecting what you want to watch. It also allows us to be realistic about where we’re putting things, how we’re telling different parts of the audience about what we’re doing. It also makes us able to be honest with ourselves about the need for business structure and brands within what we’re doing, even within public service. We do have to make sure we’re still entertaining and engaging kids within public service. There’s no point in making terribly worthy shows that nobody wants to watch. We’re hoping this will help us strategize around where the great things we’re already doing will need to land and how to land them. It’s about working more closely with audiences. It’s about getting ourselves battle-ready, future-proof, making sure the BBC—which is 100 years old soon—is going to be able to meet the challenges of the next 100 years. TV KIDS: Tell us more about addressing diversity and inclusivity in your programming remit. MULLER: Diversity is just a terribly straightforward and very important thing that we all need to think about in different ways. We have worked hard to get on-screen representation front and center. We’ve done well. What we’ve identified [that needs work] is behind the camera and at the managerial level. What writers, creators, directors are we bringing in? How can we reflect their stories? We’ll all be the beneficiaries of widening our net beyond the narrow pool of people we tend to draw from. For the BBC, diversity isn’t just about ethnicity. It’s also gender, ability, sexual identity and socioeconomic. A very narrow group of people with a very narrow life experience end up creating a lot of our content, so the jokes are the same and the stories are the same and the characters are the same. We as an entire organization are committed to building on that diversity, going as far as to embed it into our contracts now, and we have a series of targets that are enshrined in our agreements. We’re definitely going to make it work. It’s very important, and this is the time we have to get it right. TV KIDS: How do you see the competitive landscape now since the emergence of global SVOD and AVOD services catering to kids?

MULLER: They have a global approach, a global outlook. For me, that means that in their attempt to reach everybody, with exceptions, they might end up reaching nobody. When you’re trying to think on that scale, sometimes you miss things—the emotional beats, the curiosity. We’ve all got something that our audience is looking for. I think that’s harder to do if you’re trying to think very, very big off the page, rather than, “This is just the right thing to do off the page.” I still think they struggle enormously with discoverability. Yes, they’ve got lots of choice, but I struggle to find things I want to watch, to discover something new, without opinion pieces that I’ve read online that might direct me to something. It’s even harder for kids. It’s really hard to find the brands that are for you. The thing that [public broadcasters] all have—which I think everyone is envious of so we mustn’t lose sight of it—is the ability to reach a linear audience and tell them about the great things we’re doing elsewhere to create an ecosystem where everything can support and promote everything else. There’s always a way of finding something within the public-service bubble. That’s what we’ll continue to do. We will also continue to work with the content that mirrors every child’s experience because, again, that brings it down to a very narrow approach, but you have to be able to hold the mirror up to every kid in your audience. It’d be a really big mirror if the others had that approach. I absolutely welcome the competition and think it’s made us all think about how we work, really identify the content that we want and the producers we want to work with because we might lose the opportunity to work with them. We need to work that bit harder to make sure we still secure the right titles. Ultimately, it’s quite positive, and [public broadcasters have] really thought about how to raise their game and meet the challenges the future is going to bring. 10/21 WORLD SCREEN 165

Distributed by Serious Kids, Operation Ouch! has been on the air on CBBC since 2012.

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In-Demand: Preschool

School of Roars Commissioners: CBeebies (U.K.), Sprout (U.S.) Produced By: Dot to Dot Productions Distributor: ZDF Enterprises represents all rights worldwide. Description: (Preschool 3-6 comedy, S1-2: 104x7 min.) Children are prepared for school life through the experiences of our lovable mini-monsters. Through their adventures they learn how to care, share, make friends and have fun. Pitch Perfect: Now in its second season, our series is full of monster laughs and teaches the core values of life. Going to school is something children all over the world experience and can relate to. The series introduces children to the first year of school and shows them that it’s full of fun and not scary at all. Slot Winner: The show has also aired on Nick Jr., DeA Junior and Rai Yoyo in Italy, TG4 in Ireland and ABC Kids in Australia. Nominated for Best Preschool Series at the Broadcast Awards in 2017 and 2018. Sales Contacts: Katharina Pietzsch, Director ZDFE.junior; Marei Bruckmann, Director ZDFE.junior; Jan-Frederik Maul, Director ZDFE.junior.

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B.O.T. and the BEASTIES Commissioner: CBeebies (U.K.) Produced By: Ragdoll Productions Distributor: CAKE represents worldwide rights excluding the U.K. Description: (Preschool 2-6 comedy, 50x5 min.) Introduces preschoolers to the comic adventures and misadventures of a lovable robot called B.O.T. (Beastie Observation Transmitter) as he discovers new worlds and an assortment of bizarre beasties that inhabit them. B.O.T. must collect data on the comically unpredictable beasties and while his mission is never easy, it is always fun! Pitch Perfect: B.O.T. and the BEASTIES is the latest series created by Anne Wood (Teletubbies, In the Night Garden and Twirlywoos), whose reputation for producing high-caliber IP with global appeal is unprecedented in the preschool space. Strong visual comedy, playfulness and invention coupled with wonderful storytelling is ensuring its strong performance on CBeebies. Slot Winner: Regularly appears in CBeebies’ top ten. Sales Contacts: Edward Galton, CEO; Bianca Rodriguez, Head, Sales.

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Pip and Posy Commissioners: Milkshake!, Sky (U.K.) Produced By: Magic Light Pictures Distributor: Magic Light Pictures represents all rights. Description: (Preschool 2-6, 52x7 min.) An animated series based on the hugely popular picture books by Axel Scheffler and Camilla Reid. Pitch Perfect: Packed with warmth and humor, the series is a celebration of great friendship. Based on the million-selling book series illustrated by Axel Scheffler, Pip and Posy premiered in the U.K. in March to huge ratings success and is already a social media hit with 5-million-plus views. Slot Winner: Number one on Milkshake! nine times in June 2021. Logged 2.4 million viewers. Among kids 4-15, Pip and Posy beats Peppa Pig (67,000 to 58,000) and is currently first or second every day. It commands a 25 percent share of viewing for the 4-6 group and 28 percent for kids 4-15. Averaged 191,000 viewers in June 2021. Reached over 3.1 million people on social media. Over 1.4 million videos viewed on social media. Sales Contact: Muriel Thomas, International Distribution Director.

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Simon Super Rabbit Commissioner: France TV; prebuys from VRT (Belgium), RTS (Switzerland), Hop! (Israel), TéléQuébec (Canada), DR TV (Denmark), SVT (Sweden) Produced By: GO-N Productions Distributor: GO-N International represents all rights worldwide. Description: (Preschool/kids, 52x5 min.) A fresh narrative and graphic take that explores the rich imaginary world of Simon and his friends when they play at being superheroes. We follow them in their imaginary games where Simon is becoming “Super Rabbit.” Pitch Perfect: The cutest and funniest superhero animated series for preschoolers, based on the iconic character Simon. Slot Winner: Three seasons of Simon are broadcast on major channels worldwide. It is number one on France TV’s Okoo and in the top five kids’ shows almost everywhere it is broadcast. Broadcasters include VRT (Belgium), Cartoonito (Italy), Tiny Pop (U.K.), Clan RTVE (Spain), SVT (Sweden), DR (Denmark), JimJam (Central Europe), EBS (Korea) and NHK (Japan). Sales Contact: Eric Garnet, Producer & Co-Founder.

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Mumfie Commissioners: France TV (France), Rai (Italy) Produced By: Zodiak Kids Studio, Animoka Distributor: Zodiak Kids Description: (Preschool, 78x7 min.) Preschool comedy series from the creator of Thomas the Tank Engine featuring the optimistic young elephant Mumfie and his best friends Pinkey and Jelly Bean. As our trio embark on their daily adventures you’ll get to meet their eclectic bunch of animal friends. Pitch Perfect: “Audiences will fall in love with Mumfie because it’s warm and friendly, with an eclectic cast of animal characters in a slightly off-kilter world. In each episode, there is one clear and simple story—with plenty of time for fun and laughter. The dialogue is always supported by bright and appealing visuals, with a lot of physical humor.” —Delphine Dumont Sales Contacts: Delphine Dumont, SVP, Sales, Acquisitions & CoProductions; Cecile Cau, VP, Sales & Co-Productions; Julia Rowlands, VP, Sales, Co-Productions & Acquisitions.

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Milo Commissioner: Milkshake!/Channel 5 (U.K.) Produced By: Fourth Wall in association with Planeta Junior, supported by the U.K. Government’s Young Audiences Content Fund. Distributor: Planeta Junior for all media and licensing rights worldwide excluding the U.K. Description: (Preschool 3-6 comedy/educational, 52x11 min.) Milo aims to introduce preschool children to the large variety of vocations and their associated outfits, vehicles and uniforms in a fun and entertaining way. Pitch Perfect: Milo and his friends discover that every vocation is amazing, giving a positive message to kids that they can be anything they want to be when they grow up. Like current times, Milo’s world celebrates delivery workers as much as explorers and doctors and nurses as much as astronauts. Lisle Licensing has signed a deal with Planeta Junior to promote and represent the property Milo in the U.K. and Ireland. Sales Contacts: Lucia Vismara, Judit Foz.

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Mister Paper Commissioner: VRT Ketnet Produced By: A Private View, Beast Animation, Viking Film, NDR, Balance Film Distributor: All rights worldwide from Global Screen. Description: (Preschool 0-5, 26x5 min.) With his scissors, Mister Paper cuts and sticks together the world that he wants. With his childlike imagination, he is never alone. For every situation, Mister Paper creates a solution by cutting or pasting something new. Through his adventures, the world of children is brought to life in a playful, imaginative manner. A world, rooted in reality, where anything is possible and imagination is king. Pitch Perfect: We are convinced that this animation series will stimulate children to get creative themselves. We want them to start working with paper, glue and paint, just like they do in kindergarten. We hope that our young audience will create their own universe, just like Mister Paper does. Sales Contact: Julia Weber, Head, International Sales & Acquisitions.

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Tulipop Commissioner: Síminn (Iceland) Produced By: Tulipop Studios Distributor: Television, VOD and home entertainment from Serious Kids. Description: (Preschool 3-6, 26x5 min.) Modern-day fairy tales set on the fantastical island of Tulipop, where anything can happen—and usually does! Follow the adventures of Gloomy, Bubble, Fred, Miss Maddy and Mister Tree, a group of unique and equally lovable characters. The series follows on the heels of a strong performance for Tulipop merchandise in 2020. Tulipop has also introduced print-on-demand items to its extensive range of toys, T-shirts, accessories, home items and more. Pitch Perfect: We look at others and wished we could be them. We wished we could have what they have. But you can’t be someone else. You are you. Tulipop encourages you to be who you are! The stories celebrate diversity and uniqueness in a magical world where anything is possible. The kids can learn they are unique and have their own talents and experiences. Sales Contact: sales@seriouskids.com

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In-Demand: Comedy

Scream Street Commissioner: CBBC Produced By: Coolabi Productions, Factory, Nau Productions Distributor: ZDF Enterprises represents all rights worldwide. Description: (Kids 6-10 animated comedy, S1-2: 78x11 min.) This funny, scary, gross-out stop-motion animation show follows the adventures of Luke Watson, a smart, fun-loving, mischievous teenage boy—except Luke is a werewolf! On Scream Street, he can finally be himself. Pitch Perfect: Scream Street is a fast-paced, stylish, comedy-horror extravaganza, based on the hit book series by Tommy Donbavand, following Luke Watson: a regular teen—apart from the werewolf gene! The stories are packed full of humor and horror, delivered with warmth and heart— even if some of those hearts have stopped beating! Sales Contacts: Katharina Pietzsch, Director ZDFE.junior; Marei Bruckmann, Director ZDFE.junior; Jan-Frederik Maul, Director ZDFE.junior.

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Big Blue Commissioners: CBC, SRC Produced By: Guru Studio Distributor: Worldwide content and L&M rights from Guru Studio. Description: (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. Pitch Perfect: Captain Lettie and The Calypso Crew are always ready to tackle every challenge. Slot Winner: Big Blue is getting ready to launch on CBC Kids in Canada, SRC in French Canada, ABC in Australia, CTC Kids in Russia and CIS, NRK in Norway and Boing in France, Africa and Israel, with more broadcasters to be announced soon! The series is created by Gyimah Gariba, named one of “15 Young African Creatives Rebranding Africa” by Forbes Magazine. Sales Contacts: L&M: Jonathan Abraham, VP, Sales & Business Development; Content: Corey Caplan, Director, International Sales.

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FriendZSpace Produced By: T&B Media Global, Flying Bark Productions Distributor: Studio 100 Media represents all rights worldwide, excluding Thailand, Australia and New Zealand. Description: (Comedy/adventure, 52x11 min.) Meet Alice, Leo and Kim, seemingly regular human kids, but behind their normal facade they are risk-taking deep-space friend makers! Each episode follows the three kids as they jet into space in their unpredictable star cruiser. Their mission is simple and wonderfully weird: locate planets, find alien kids, introduce themselves and make friends. Pitch Perfect: “The idea of FriendZSpace is: Different is good! The core messages are about friendship, inclusion and welcoming diversity with open arms. The producers and our goal with this series is to create a rich immersive world of fresh characters for a universal community of kids.” —Dorian Bühr, Head, Global Distribution Sales Contacts: Dorian Bühr, Tanja Aichberger-Schaetzle, Fabrice Laventure.

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Monster Loving Maniacs Commissioners: Super RTL, DR, NRK, SVT Produced By: Ja Film, Belvision, Ginger Pictures, Mondo TV Distributor: All rights worldwide, excluding Scandinavia, from Mondo TV and Toon2Tango. Description: (2D comedy adventure, 52x11 min.) Three kids, raised by wildlife specialist parents, are sent to live with their grandfather. They soon realize that Grandpa Arthur is a genuine Monster Hunter. To fulfill the family legacy, our kids embark on a journey of training and discovery, to become the next generation of Monster Hunters. Except these kids don’t want to hunt the monsters. They want to save them. Pitch Perfect: The show is fun, with lots of excitement and humor as well as bigger themes, like families, relationships and coping with our fears, all delivered with wit, energy and stylish, skilled animation. And, of course, there are lots and lots of monsters and lots of comedy. Sales Contacts: Luana Perrero, Mondo TV; Ulli Stoef, Toon2Tango.

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The Muscleteers Commissioner: ZDF Produced By: Caligari Film Distributor: All rights worldwide from ZDF Enterprises. Description: (Kids 6-9 animated comedy, 45x11 min.) In action-filled tales of intrigue and hilarity, two mice, a hamster and a lab rat band together to help those who cannot help themselves. One for all and all for one! Pitch Perfect: The series is all about helping and being there for each other. Traditional values, such as solidarity and fairness, are transported into the modern world and it becomes obvious that they are not oldfashioned but timeless. The episodes are a mix of action-packed, often perilous adventures, mixed with a lot of fun and entertainment. Sales Contacts: Katharina Pietzsch, Director ZDFE.junior; Marei Bruckmann, Director ZDFE.junior; Jan-Frederik Maul, Director ZDFE.junior.

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Critters TV Produced By: Turnip & Duck Distributor: Worldwide rights, excluding Ireland, from Jetpack Distribution. Description: (Comedy, 25x11 min.) A spoof nature documentary featuring a cast of hilarious cartoon animal families, from fun-loving foxes to filthy fleas, oddball squirrels to very silly owls. Critters TV shows kids wildlife like it’s never been seen before! Pitch Perfect: Can you imagine animals watching nature documentaries on TV? Owls laughing at otters or foxes fighting over the remote control? Well, on Critters TV, for the first time in the history of television, we get the animal’s-eye view on nature docs, discover what our furry friends are really thinking, and learn some amazing facts about the natural world along the way! Slot Winner: The series first aired on RTÉjr in Ireland in 2019 and 2020, with further episodes due to air before the end of 2021. Sales Contacts: Dominic Gardiner, CEO; Gillian Calvert Ridge, Global Distribution Director; Sophie ‘Kido’ Prigent, Global Sales Director.

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Cyberchase Commissioner: PBS Produced By: THIRTEEN Productions for WNET Distributor: All international rights for seasons 12 and 13 are available from PBS International. Description: (Kids 8-11) Join Jackie, Matt and Inez on exciting, math-based adventures! Students will learn how important and useful mathematics can be when solving everyday problems and how to apply their math skills to the real world. Season 12 consists of 12x30-minute episodes. Pitch Perfect: The villain Hacker is on a mission to overthrow Motherboard and take over Cyberspace. But Motherboard enlists the help of three curious kids to stop him! Cyberchase shows children that math is everywhere, and they can be good at it by teaching concepts in a fun way that is easy to understand. Sales Contacts: Betsy LeBlanc, Director, Sales; Anna Alvord, Senior Sales Manager; Nanci Church, Senior Sales Manager.

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Zoom—The White Dolphin Commissioners: TF1, ZDF Produced By: Media Valley, Marzipan Films Distributor: All rights worldwide from ZDF Enterprises. Description: (Kids 4-10 animated adventure comedy, S1-2: 104x12 min.) Fifteen-year-old Yann and his little sister Marina live on the paradise island of Maotou with their uncle. They go on amazing adventures with Zoom, a white dolphin of exceptional intelligence. Pitch Perfect: Now in its second season, the eco-friendly series is a proven hit in Europe with outstanding ratings. It is about every child’s dream: having a dolphin as a best friend! The young viewers plunge into an amazing natural world in this series full of comedy and danger, where adventure awaits at the tip of your diving fins. Sales Contacts: Katharina Pietzsch, Director ZDFE.junior; Marei Bruckmann, Director ZDFE.junior; Jan-Frederik Maul, Director ZDFE.junior.

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of the parents from Denmark [should] know Minisjang by the end of the year. TV KIDS: Are there specific content directives or mandates in your market that you must consider concerning programming? LINDBERG: We are driven by having some sort of publicservice value in everything we do. However, we still need to be competitive enough in our original programming so it can compete with Peppa Pig and PAW Patrol, which are the biggest brands for us currently. We have one rule regarding our acquisitions: The series that we buy that we get FVOD or longer VOD rights on have to be funded somehow by a public-service broadcaster. Luckily, there are many great brands out there. Bluey is doing tremendously for us right now. Hey Duggee has done [well] for the past couple of years. That’s the biggest hurdle for us in terms of acquisitions. TV KIDS: What do you look for in acquired content? LINDBERG: It is getting harder and harder to secure those early windows of the big animation series. It is a huge

Niels Lindberg DR By Kristin Brzoznowski

ubcaster DR Ramasjang reaches up to 85 percent of its core demo of viewers between the ages of 4 and 8, a testament to the channel’s work over the past decade to become a firm fixture in the lives of Danish kids. DR is now looking to replicate that success with Minisjang, a new brand focused on toddlers. Niels Lindberg, commissioning editor of the two services, tells TV Kids about the complexities and rewards of serving young ones with public-service content today.

TV KIDS: Can you share a brief overview of the role that kids’ programming plays on DR? LINDBERG: I’m the commissioning editor across two channel brands at DR. We’ve got Minisjang, which is our toddler brand aimed at 1- to 3-year-olds that launched at the end of March. I think we’re the last of the Nordic territories to focus on programming for toddlers, and it’s just been going tremendously. We have a lot of commercial interest in that demographic. YouTube is really big for toddlers, and we have a lot of local, big YouTube channels that we are competing against for that target demographic. We have a lot of music and games and small animated character universes alongside Hey Duggee. It’s something that the parents of Denmark have [responded] to. Our older brand is for 4- to 8-year-olds and is called Ramasjang. The channel is ten years old, and it’s linear and online. Our FVOD service is our primary way of measuring success. We are reaching 80 to 85 percent of our demographic with the Ramasjang brand. With Minisjang, we’re not measuring based on reach. We measure it based on knowledge. So 50 percent 166 WORLD SCREEN 10/21

challenge for all of us as we are looking into competition with the big streaming services [that are] filling us with monoculture. We’re looking a lot into what we can have as a first window and maybe handle exclusively. Many of the VOD services coming into the Nordics are doing nonexclusive deals on every kids’ brand that they can get ahold of. It helps us a lot to focus on big brands. I think Stephanie Blake’s Simon has been with us from the start and has been doing incredibly well for us alongside Hey Duggee, Bluey and Peppa Pig. It’s proven to be a great value to us to have it from the start. I’m interested to see what else we can do and what other animation brands we can consider. We have an ambitious animation fund that we’ll take out for co-productions during the next couple of years. We have three or four projects in development that we are just starting to pitch to bring some new, original universes from the incredibly talented Danish business. TV KIDS: What are the biggest challenges for public broadcasters today? LINDBERG: We’re discussing distribution a lot and making sure that you can meet our character brands in real life— maybe in school materials, or the library, or the mall. What we’re discussing the most is how to make sure we stay relevant when Disney+ can come in and take a reach of 38 percent of our target demo in one quarter. We’re trying to develop how to stay in touch with schools and maintain our relevance. I think [all public broadcasters] will be fighting for that relevance and that reach through the next many years.

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uring the beginning of the pandemic, consumption of programming skyrocketed. This increase was not surprising given that so many people were stuck at home, uprooted from their routines. What was unexpected to Gilles Pélisson, the chairman and CEO of TF1 Group, was the number of young people who returned to linear television. Thanks to its mix of news, entertainment shows and dramas, TF1, the leading commercial network in France, saw significant increases in audience share—a trend that has continued through the first half of 2021. Among recent top-rated programs are Koh-Lanta, the French version of Survivor; the dramas HPI and Les Combattantes; and the daily soap Demain Nous Appartient. Under Pélisson’s leadership, TF1 Group has made production one of its three core businesses. The other two are broadcasting and digital. Newen, home to the group’s studios, has expanded its footprint by investing in production units in the Netherlands, Denmark, Belgium, Spain, the U.K. and Canada. Newen Connect offers linear and nonlinear platforms outside of TF1 Group topical dramas, soap operas, TV movies, documentaries and animation. Production allows TF1 Group to partner with Netflix, otherwise seen as a competitor in the French market.

The group’s broadcasting division includes five free-to-air channels, four thematic channels and the streaming platform MYTF1, with more than 23 million users. TF1 is also a partner with the public broadcaster, France Télévisions, and the commercial broadcaster M6 in the French domestic streaming service Salto. TF1 Group’s digital division consists of Unify, including 15 digital brands and services, and Unify Advertising. As Pélisson tells World Screen, TF1 Group and M6 Group have announced their intention to merge. Both groups’ parent companies, Bouygues Group and Bertelsmann, respectively, support consolidation in the European broadcasting sector. The deal is awaiting approval from the CSA (Conseil Supérieur de l’Audiovisuel) and the French anti-trust authority and is not expected until 2022. The decision to merge is indicative of the need linear, ad-supported networks have for size and scale as they compete in a media landscape dominated by global tech companies. Should the merger be approved, the new company will be better positioned to serve viewers and advertisers. In the meantime, Pélisson is focused on boosting production, establishing a one-on-one relationship with viewers, and transitioning to a new hybrid model that combines offering content on linear and AVOD and SVOD platforms.

GILLES PÉLISSON TF1 GROUP

By Anna Carugati

WS: Viewers have so many entertainment choices. What is the role of a commercial network these days? PÉLISSON: At TF1 Group, we believe that television’s ability to provide a social link and bring people together, especially in difficult times, is more important than ever. This was fairly obvious when we observed the high ratings we were getting during the lockdown. We saw the importance of commercial television, from a democratic standpoint, in ﬁghting fake news. We have such a strong and balanced newscast, the leader in France. We have 5 million viewers for our 1 p.m. newscast at lunchtime. At 8 p.m., our evening news usually has between 6 million and 7 million viewers and reached 8 million during the crisis. This, for a country with a population of less than 70 million, is just amazing. We saw increases in our total audience of 4-plus and among viewers 25 to 49, where we have a share of more than 20 percent on TF1. Younger people are also watching TV and that was very encouraging. We saw this trend continue in the first half of 2021. WS: What programming contributed to TF1’s ratings success? PÉLISSON: I think we were able to reinvent the sexiness of television, much of this thanks to our series. We had an amazing first semester this year. We created unique content such as HPI [High Potential Intellectual], a series about an odd but extremely bright cleaning lady in a police station who solves cases during her shift at night. Across four evenings in prime time, HPI averaged 12.4 million viewers, 10/21 WORLD SCREEN 169

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HPI (High Potential Intellectual), a crime procedural on offer from Newen Connect, was a breakout hit for TF1 this year on both linear and on-demand. with a 45-percent audience share in 4-plus on linear television and a 20-percent share on replay during the next seven days. This was just outstanding! Our fiction deals with social issues. We addressed Down syndrome and a girl who, despite her condition, managed to take her baccalaureate exam. In the coming months, we will have drama about a transgender teenager—a boy who aspires to become a woman—and the struggle for him and his parents. A couple of years ago, we co-produced Le Bazar de la Charité with Netflix. It was a huge hit in France. The same three actresses and Sofia Essaïdi will be the four heroes of a miniseries about a town in the east of France during World War I when the men are gone and the women are in charge. We also offer a lot of entertainment. We are bringing back Dancing with the Stars and a special edition of The Voice with contenders from the last ten seasons, which should be a hit. Then we have an all-star season of Koh-Lanta [the French version of Survivor], with the stars from previous seasons. All of these shows give us a very powerful lineup. In our group, we believe more than ever that content is king. We want to go premium and play on the fact that our programming is unique. We have great talent from the movies as it’s now one big world between television and movies. We are also partnering whenever possible with the platforms. They are competitors, but they can also be partners.

WS: What is the focus at Newen? PÉLISSON: Since 2016, we have transformed Newen from a France-based group to an international production house. We are now established in seven countries. In France, the Netherlands and Belgium, we are strong in drama. We produced Versailles in France and will have another drama, Marie Antoinette, with the same Banijay team. We are producing L’Opéra for OCS, Orange’s private cable channel. We are doing a lot of drama for France Télévisions. Plus Belle La Vie has been on the air for 15 years and is still in production in Marseilles. Four years ago, we introduced the first daily soap for TF1 called Demain Nous Appartient [Tomorrow Is Ours]. Two years ago, we added a new one, called Ici Tout Commence [Here Everything Begins], about a culinary school in Camargue in the southeast of France. These shows air before the news and are very popular, with 3 million to 4 million people watching every day. We have created about 300 jobs with the first soap and 250 with the second, offering opportunities to new actors and actresses, showrunners and producers. In Belgium, we have Undercover, starring Tom Waes, which has been sold in many countries and to Canal+. Netflix also picked up Undercover and asked for a feature movie, which De Mensen produced. Leonis Productions captured the attention of Apple TV+ and Ringside Studios is coproducing with Apple Liaison, with Vincent Cassel and Eva Green. 170 WORLD SCREEN 10/21

Recently, we acquired a couple of companies in Spain. One is iZen, which has been producing The Legend of El Cid for Amazon. It stars Jaime Lorente, the actor who played Denver in La Casa de Papel. Then we have Reel One Entertainment, out of Canada and the U.S., which produces more than 80 TV movies a year. Also, the animation studio Blue Spirit is creating all kinds of animated stories for Disney, Marvel, TF1, Canal+ and France Télévisions. And Newen is also producing documentaries. With this mix of programming, Newen represents around €400 million ($470 million) in content production, as well as worldwide distribution through its sales arm, Newen Connect. WS: Tell us about establishing a one-on-one relationship with viewers. PÉLISSON: It was one of the most significant decisions we made in the last four or five years. We moved toward establishing a direct relationship with viewers—when we were coming from a culture where we were talking to millions of people and that was all that mattered. If there is one thing that we have learned from the platforms, the web and digital consumption patterns, it’s that you need to talk to your audience on a one-to-one basis. We have invested heavily in our platform, MYTF1, which has more than 22 million subscribers. It’s number one in France. The consumer experiences are now very similar to Netflix or Amazon. It gives us high credibility and the belief that in the French-speaking market—

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because we will never have the power, size or scale of the hyper-scalers—we can be credible competitors. We are also now looking at having premieres on Salto, in which we participate with France Télévisions and M6. Salto is the local Hulu, let’s say, which was created between competitors to have a national platform. We put HPI, the drama I mentioned earlier, on Salto for 30 days as a premiere. Then there was the linear broadcast, then the replay and eventually, it will go to another platform. This is how we think of what I call the lifetime value of our content, which is a new way of looking at programming from end to end.

Newen produces TF1’s popular soap Demain Nous Appartient (Tomorrow Is Ours).

WS: You mentioned M6. The proposed merger still needs regulatory approval, but how would TF1 and M6 benefit from it? PÉLISSON: It’s a combination of two stories. On the one hand, the successful transformation of the TF1 Group in recent years has strengthened the confidence of our main shareholder, the Bouygues Group, in our business. On the other hand, an opportunity: the decision by Bertelsmann to participate in the consolidation of national champions throughout Europe and therefore to sell their 48-percent stake in the M6 Group in France. Of all the

candidates, their choice fell on the Bouygues Group. Bouygues will ultimately own 30 percent of the new entity and Bertelsmann 16 percent. When you start thinking about the evolution of the market, we are competing with the global streamers every day, not only in drama and movies but also for sports rights. Amazon has bought the Roland-Garros night matches and the French soccer league—eight games out of ten every weekend. These players are very significant, and they also happen to be present in French consumers’ homes. So,

the merger makes more sense than ever, and this is why both shareholders, Bouygues and Bertelsmann, have embarked on saying we should join forces and try to build a stronger group. We will never compete with Netflix, Google or Amazon on a worldwide level. However, on a French-speaking territory level, we can be a solid contender. The French audience knows us. They like what we do. They have given us a lot of success and credibility over the last years, and we can capitalize on that. But we need a stronger base for acquisitions, tech investment and

TF1 commissioned Ici Tout Commence (Here Everything Begins) for its afternoon schedule from Newen. 10/21 WORLD SCREEN 171

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The proposed TF1 and M6 merger will help the broadcasters compete in a range of areas, including sports rights. a large base for data. By uniting our forces, we believe we can achieve that. And if you look at the future company as a streaming player, having this larger, stronger base will be an asset. WS: How are you working with advertisers, both across linear channels and digital offerings? PÉLISSON: We try to combine what I call “the best of both worlds,” which are the power and reach of linear television and digital targeting. When I speak to most of our top clients and the largest advertisers in France, they recognize that television is unique in its reach and power for brands and brand-building. However, we have seen over the years that the French advertising linear market has remained flat. It’s around €3.2 billion ($3.75 billion), while, as in most countries in the world, the digital advertising market has inflated in a very steep way. In France, five years ago, it was about equal to linear television advertising. Now, we’re at about €8 billion ($9.4 billion) for digital advertising, implying that the bulk of the advertising money is going in that direction. Furthermore, with addressable TV, advertisers will be able to fine-tune the targeting of their television spots. So, the ability to combine the targeting of the web with the power of television—this is addressable advertising—represents a new era. We received authorization to implement this in France last summer. We are now developing it with the French telcos, especially Orange and Bouygues Telecom, and we are looking forward to seeing how advertisers will be able to use this as a new tool. During the same advertising break, the

family on the fourth floor of a building will receive a different spot from the family on the first floor or the house next door. From a socioeconomic standpoint, these families are different and we will be targeting them differently. WS: Where do you see growth in the next 12 to 24 months? PÉLISSON: We see growth through streaming, and therefore, addressable TV. Of course, Newen’s development will continue. There are quite a few countries where we could go. Then there’s the acceleration of partnerships, the ideal one being the merger with M6, but there could be others. Our priority is making the merger possible, but it’s not only up to us; it is in the hands of the regulators. The CSA and the anti-trust authority in France will look at what the relevant market is and define what the conditions would be for the two groups to merge. I think our future, from an almost patriotic and nationalistic standpoint—given that France is unique in terms of culture, history and creativity—is of national interest. WS: Were there lessons learned from these past 18 months dealing with the pandemic? PÉLISSON: I was very happy to see how agile our teams were in addressing the very sharp drop in advertising revenues, adjusting and managing our cost base very smartly. Especially the programming costs, where we were opportunistic and changed our model. We implemented some exceptional measures during the pandemic. We organized ourselves differently. We struck some deals with the French and Hollywood studios in a very helpful manner. That was 172 WORLD SCREEN 10/21

good for everybody because movie theaters were closed. The studios couldn’t release their new films, so they gave us the full possibility of using their catalogs, and we did. We bought, for example, the eight Harry Potter and three Lord of the Rings films, and so forth. Then we had highly entertaining content like Koh-Lanta, which achieved excellent ratings. We happily had a couple of seasons pre-recorded, which we were able to broadcast. During the last three to five years, the younger generation had shifted to watching Netflix and other platforms. We saw them coming back to television. The company had to adapt to work from home, which has been a challenge for all companies in the world. For us, it meant protecting, ﬁrst and foremost, our news teams because these people had to be located in our offices and produce the news from the studios, travel and work in a different and difficult environment. The rest of the company, as much as possible, had to work from home. Bringing everybody back now is a challenge, like in every country, with everybody wanting to come back but maybe in a different manner. Our management style has to change. Like every other company, we are going through those learning curves, trying to adapt. It’s rewarding, but it’s a challenge. So is understanding—and this is one of the essential parts of making the merger a success—that little by little, our traditional linear model has been weakening. Therefore, we should evolve toward a hybrid model offering linear programming, AVOD and SVOD in a combined way. I think this is what is at stake when we are trying to imagine the future.

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MIPCOM/OCTOBER 2021 EDITION

Scripted Formats / European Drama

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CONTENTS

Room to Collaborate

FEATURES SAY IT AGAIN Interest in scripted remakes is picking up pace as producers and distributors look for much-needed shortcuts to get fresh, compelling content onto screens.

The SVOD giants do generate the most ink when it comes to scripted deals, but the area driving new opportunities for many distributors is less about the global players and more about the regional services kicking into high gear. Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor Jamie Stalcup Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Drama ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvdrama.ws

Viaplay is on a tear, executing on ambitious expansion plans, but its approach to commissions is still very much rooted in partnerships. “We’re interested in the markets we’re in and even though they are increasing—we will be in at least 15 markets by the end of 2023—there is a lot of the world left,” Filippa Wallestam, executive VP and chief content officer at Nordic Entertainment Group (NENT Group), told me recently. “It leaves room for more collaborations and for the creators to get their shows financed but still have a significant upside in the back end.” I heard a similar sentiment from Ryan Chanatry, general manager of North American streamer Topic, which has been acquiring signature productions like The Killing and Baron Noir. “There is so much support for incredible series, especially in Europe. If those are not globally available rights, services like ours are great partners for the Nordic broadcasters, the STUDIOCANALs, the ARTEs, the ZDFs and all of the other strong brands and filters that have started to [come into] their own in the last five to ten years. It becomes a different approach when you have multiple markets.” As I heard from several distributors in my conversations for this edition’s feature on European drama, the expansion of the streaming universe combined with the ambitious needs of broadcasters has resulted in a raft of new kinds of partnerships that are driving what does feel like a renaissance in European drama. And it’s only going to get more competitive as everyone looks for new ways to drive viewership and subscriptions, reduce churn, keep advertisers happy and, most importantly, have audiences tuned in and clamoring for more. This edition also spotlights the very hot remake market, as pandemic woes and rising budgets are leading producers and commissioners to find more cost-effective, less risky ways to get shows on screen. Interestingly, several distributors are now selling multiple versions of the same show. In this new age when subtitles don’t bother anyone, will viewers check into different takes on Doctor Foster or Liar or Fauda or any of the other great brands being remade across borders? I know I will. —Mansha Daswani

GET DAILY NEWS ON TELEVISION DRAMA

LET’S MAKE A DEAL Jimmy George discusses how developments in streaming services have created more demand and, consequently, a good time to be GoQuest Media.

EUROPE’S FINEST Amid a renaissance in European drama production, several distributors discuss new opportunities at home and abroad.

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All3Media International Hollington Drive / Angela Black / Manhunt Series 2: The Night Stalker Among the programs on All3Media International’s slate are two female-led thrillers. The ﬁrst, the four-part series Hollington Drive, examines the complexity of modern families and the lengths we go to in order to protect the people we love. The second, the six-part series Angela Black, follows a woman whose idyllic life hides the reality of the abuse she experiences from her husband. All3Media International is also highlighting Manhunt Series 2: The Night Stalker, which sees police officer Colin Sutton investigate a series of brutal attacks against the elderly in South London. “These shows explore the domestic arena and are universally relatable—whether you are sitting in your house in Prague or your apartment in Paris, all three shows are relevant to you,” says David Swetman, senior VP of scripted content.

Angela Black

“With over 150 hours of premium drama delivering in 2021, All3Media International continues to build its high-quality drama slate.” —David Swetman

ATV Wounded Heart / Between Us / For My Family Leading ATV’s lineup, Wounded Heart centers on revenge and love, with the story’s rich elements supported by its setting. “The series has been shot in Hatay, one of the most picturesque locations in Turkey,” says Müge Akar, content sales deputy manager at ATV. Recently launched in Turkey, the female-oriented series Between Us centers on Neva and her daughters, whose world is turned upside down. “Even though the series just debuted, it has already gotten the attention of audiences,” says Akar. ATV is also offering on the global market For My Family, which is currently airing its second season in Turkey. It tells a story with a class conﬂict that reveals how the balance between the rich and poor can change through the powers of love and hate.

For My Family

“These shows have successfully premiered in Turkey, and some of them have already been licensed in several international markets.” —Müge Akar

Germinal

Banijay Rights Screw / Germinal / My Ballerina Banijay Rights’ highlight Screw, produced by STV Studios, is a six-part prison drama that follows an officer in a modern all-male British prison. Germinal, produced by Banijay Studios France and Pictanovo Production, is based on Émile Zola’s eponymous novel. It centers on a miners’ strike in northern France in the 1860s. My Ballerina, produced by Banijay Studios Italy, is a 12-part series that follows a choreographer who believes her baby died at birth 16 years earlier. After receiving a message claiming that her daughter is alive, she begins her search for the truth. “From an adaptation of a classic text to a very accessible broad audience drama, we have no doubt that these shows will resonate strongly with audiences worldwide,” says Simon Cox, senior VP of acquisitions.

“We continue to ﬁnd new and innovative ways to bring our fresh content to all our buyers online.” —Simon Cox 186 WORLD SCREEN 10/21

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Sherwood

BBC Studios Sherwood / Ragdoll / The Chelsea Detective BBC Studios’ Sherwood centers on two killings that shatter an already-fractured mining community. As antipathy builds between neighbors and toward police, divisions sparked by a miners’ strike are inﬂamed. Ragdoll focuses on the killing of six people, who were then dismembered and sewn together into one body. The killer sends police a list of his next victims, including a London Met policeman. The Chelsea Detective follows the detective son of a local bookshop owner who is a far cry from the affluent elite whose crimes he’ll help solve. “Covering various parts of the U.K. and different aspects to the detective teams out solving the crimes featured, these three series will…keep audiences thrilled and horriﬁed at the same time,” says Caroline Stone, director of independent drama.

“I am looking forward to bringing such a full and strong slate of programs to our international customers.” —Caroline Stone

Manayek

Cineflix Rights Rebecca / Crime / Manayek Cineflix Rights’ lead highlight Rebecca, produced by Elephant, centers on the eponymous woman who returns to the police force after quitting six years prior. When she comes back, she becomes convinced a killer from her past has resurfaced. “The series is filled with enough red herrings, twists and turns and a heart-wrenching journey of loss and redemption to keep viewers gripped through every episode,” says James Durie, head of scripted. Crime, from Buccaneer Media, is an adaptation of Irvine Welsh’s novel of the same name. It follows as a detective undertakes criminal investigations while engaged in his own battle. Lastly, Manayek from Yoav Gross Productions sees an investigator stumble upon a police corruption case in which the prime suspect is his best friend.

“We’re very excited to be launching these three fantastic new series to the international market this fall.” —James Durie

Inter Medya The Trusted / Scorpion / Respect The Inter Medya-produced Respect centers on psychopath Ercument Cozer and his obsession with disrespect, as well as two lovers who start committing murders in Istanbul. In the series, “the notion of disrespect between two generations has turned into a media-based struggle,” says Can Okan, founder and CEO of Inter Medya. Produced by TIMS&B Productions, The Trusted follows Marashli, who has left the special forces to open up a bookstore and spend more time with his daughter. After Mahur Turel walks into his shop, his life is forever changed. In 1441 Productions’ Scorpion, Perihan Emgen, her daughter, grandchildren and son-in-law live under the famous matriarch’s roof. Perihan’s long-ago abandoned daughter sets out to seek revenge on her mother by having an affair with her stepsister’s husband.

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Scorpion

“Scorpion is a very successful Turkish drama.” —Can Okan

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Recipe of Love

Kanal D International Recipe of Love / Twist of Fate / Three Sisters The Kanal D International drama highlight Twist of Fate tells the story of a young woman who tries to maintain her fraudulent marriage while working with a handsome boss who’s not open to love—until Cupid strikes them both. Recipe of Love sees Chef Fırat searching for love after being abandoned by his fiancée on their wedding day. Kanal D is also bringing to the market the new series Three Sisters, an adaptation of a Turkish novel written by İclal Aydın, and the medical drama Hekimoğlu, an adaptation of the U.S. series House. “Called the best remake in Turkish TV history by Turkish audiences, Hekimoğlu has satisfied audiences’ need for an alternative drama with its witty dialogue and startling incidents,” says Ekin Koyuncu, executive director.

“Viewers are shifting toward more optimistic, feel-good stories.” —Ekin Koyuncu

Heels

Lionsgate Heels / Hightown / BMF Lionsgate is shining a spotlight on a trio of STARZ dramas: Heels, Hightown and BMF. Heels stars Stephen Amell and Alexander Ludwig as siblings and pro-wrestling rivals who are trying to follow their late father’s legacy. The second season of the crime series Hightown will continue its story about drug addiction on Cape Cod, centering on a woman pursuing her goal of becoming a cop while trying to bring down a drug dealer responsible for her best friend’s death. BMF is inspired by the true story of the Flenory brothers and the crime family they created in the U.S. in the 1980s. “All three series are amazingly written with incredible performances that will captivate audiences everywhere,” says Agapy Kapouranis, president of international television and digital distribution.

“Our distribution team is laser-focused on bringing great and compelling premium content to all markets across the globe this year and beyond.” —Agapy Kapouranis

MISTCO The Innocents / The Great Seljuks: The Legend of Alparslan / Barbarossa: Sword of the Mediterranean Leading MISTCO’s drama highlights, The Innocents outlines the importance of mental health amid childhood traumas. The series, which is currently on air on Antena 3 in Spain, “encourages people who have similar problems all around the world to face their problems in order to ﬁnd happiness through the [authentic] main characters,” says Aysegul Tuzun, managing director. The Great Seljuks: The Legend of Alparslan tells the story of the commander Alparslan, who opened Anatolian doors for the Turkish people. Another historical drama in MISTCO’s catalog, Barbarossa: Sword of the Mediterranean follows brave and legendary sailors who become conquerors of the seas. “In our historical dramas, we offer strong stories with great production quality that is comparable to Hollywood movies,” says Tuzun.

The Great Seljuks: The Legend of Alparslan

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“Our advantage is having the most diverse Turkish catalog and offering different genres for all types of broadcasters.” —Aysegul Tuzun

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Red Arrow Studios International

“Our catalog of classic crime procedurals and comedy dramas is as enduringly popular as our scripted remakes.”

Blackout: Tomorrow Is Too Late / Australian Gangster / Stella Blómkvist A thriller in Red Arrow Studios International’s catalog, Blackout: Tomorrow Is Too Late sees a sudden blackout plunge Europe into darkness, with the past catching up with a former hacker. “It’s a thought-provoking, psychological portrait of a society in a state of emergency, so the subject matter is timely and will resonate with viewers,” says Tim Gerhartz, president and managing director. Set within the Sydney underworld, the crime series Australian Gangster tells a tale of ambition and revenge as gangsters and the Instagram generation collide with the city’s social elite. “It’s a close-up, contemporary view of the criminal world,” says Gerhartz. The second season of Stella Blómkvist sees the titular protagonist return for another journey into the Icelandic noir series’ dangerous, stylish and sexy world.

—Tim Gerhartz

Australian Gangster

Russia Television and Radio/Sovtelexport Cloister / Elsa’s Land / The Lockdown

Cloister

The Russia Television and Radio/Sovtelexport period drama Cloister, based on the best-selling novel of the same name by Zakhar Prilepin, tells a love story that unfolds amid the horrors of the Solovetsky special purpose camp in post-Civil War Russia. Another love story, Elsa’s Land follows 70-yearold Leonid and Elsa, whose families do not approve of their relationship. The detective drama The Lockdown, which was written and ﬁlmed before Covid-19, centers on a pandemic. “Its central idea is that any pandemic will end; the key to survival is preserving eternal human values, such as love, friendship and commitment to principles,” says Julia Matyash, director of Sovtelexport, who adds that the company has continued to thrive despite the real-life global health crisis. “Our efforts, mission and goals remain unchanged.”

“With new content providers appearing comes the motivation to ﬁnd new ways to keep audiences satisﬁed and attract new ones.” —Julia Matyash

Agatha Christie’s Hjerson

ZDF Enterprises The Window / Agatha Christie’s Hjerson / Before We Die ZDF Enterprises’ catalog features the new series The Window, a drama thriller that focuses on the off-ﬁeld machinations of professional soccer. Following one summer in the life of a 17-year-old wunderkind who is on every European club’s wish list, it will reveal the cutthroat schemes that occur behind the scenes. Agatha Christie’s Hjerson, based on the detective character created by Agatha Christie’s ﬁctional writer Ariadne Oliver, sees Hjerson and a TV producer team up to solve a string of murders. It is “a playful, meta, contemporary whodunit from the producers behind Midsommar,” says Fred Burcksen, president and CEO. Based on the eponymous Swedish noir series, Before We Die follows Hannah Laing, a police detective who discovers her estranged son is an undercover informant in a brutal murder investigation.

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“We can’t wait to see our long-standing partners and meet new ones as well.” —Fred Burcksen

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Madd Entertainment’s A Woman Scorned, based on BBC Studios’ Doctor Foster.

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Say it

Again

Interest in scripted remakes is picking up pace as producers and distributors look for much-needed shortcuts to get fresh, compelling content onto screens. By Mansha Daswani etween rigorous testing and other new on-set processes, booked up studio space and creatives’ packed schedules, the global drama business has faced a cavalcade of delays since the start of the pandemic. But audience interest is as high as it’s ever been. Against that backdrop, scripted formats and reboots have emerged as a smart, efficient way to get new content to viewers while saving on development costs—and at the same time having the peace of mind that the property you’re remaking worked for audiences elsewhere. “We have seen a huge growth in interest for scripted formats over the past five years and, even more so in the past 18 months, as broadcasters have seen the benefit of reduced development times on stories that are already proven successes,” says André Renaud, senior VP of global format sales at BBC Studios. Renaud cites the breadth of the BBC Studios scripted-format slate, having sealed remake deals on a broad range of shows, from the dramas Doctor Foster, Undercover, Mistresses, Criminal Justice and The Split to the megahit comedy The Office, mainly in Asia but also in EMEA markets such as France, Russia and Turkey. “Local writers and producers have the flexibility to tell the character’s story in a way that resonates with audiences,” Renaud notes.

“A lot of countries that haven’t traditionally done scripted formats are now more interested in them,” observes Kelly Wright, the senior VP of distribution and new business at Keshet International, which has seen recent traction around its romantic comedy The Baker and the Beauty, while False Flag is being redone in the U.S. for Apple and in India.

EMERGING MARKETS “In Poland, there has been a surge in the quality of drama production,” Wright continues. “Given the coronavirus restrictions that have been pretty severe in the country, I’m seeing more interest in scripted formats. And then you have some markets like the U.S. and India, which have always been scripted-format friendly and continue to be. There’s an overall positive trend.” Jane Sharp, formats executive at All3Media International, says the company has seen demand for scripted formats grow across all of its sales regions, “both before and during the pandemic.” Liar, in particular, has been a scriptedformat hit for the company, Sharp reports. “While historically it was volume that was a key driver in a potential deal, we have noticed a big shift to limited series proving very appealing. Equally, we are seeing an increase in the number of broadcasters approaching us to option and license, rather than third-party producers. People are keen to secure the

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Rebecca is the French adaptation of Cineflix Rights’ Marcella for TF1.

rights for strong stories, even if the cultural nuances are different to their regular dramas.” And having a better chance of a hit in the risky business of high-end drama certainly helps. “While there is no guarantee of a hit show, arguably you stack the odds in reproducing a show that has worked to critical acclaim in another territory,” Sharp adds. “And that, of course, really reduces preproduction and development time—so you can get to screen quicker, and therefore cheaper.”

KNOWN IP BBC Studios’ Renaud observes that the uncertainty brought about by the pandemic has left audiences clamoring for familiarity, “so instant recognition of a name or story can be useful to drive viewership.” “With the rise of streamers, both local and global, the competition in creating good drama stories that can attract viewers is getting ﬁerce,” adds Sayako Aoki, who handles scripted format sales at Nippon TV. The Japanese media giant inked remake deals on its Mother format in Turkey, South Korea, Ukraine, France, Thailand, China, Indonesia and Spain. “Drama remakes can provide a strong structure and guidance in what has already gained success in other territories, as well as visual examples of how the series is going to turn out, and the data on how well that IP is performing,” Aoki adds. “All of this is helpful for buyers when exploring the next big hits.” But even if you do already have a hit on your hands, translating it for a new territory, taking into account cultural nuances, is no easy feat. Starting with a track record helps, says Nadav Palti, president and CEO of Dori Media Group, but other factors can help guarantee a successful remake. “Times change and create new situations where a certain format is suddenly more relevant,” Palti explains. “For example, Lalola today is more relevant than it was in 2007-08 when we produced it because of the #MeToo movement, and therefore is of huge interest today.”

Dori Media boasts several other successful scripted formats in its catalog, including Split, Ciega a Citas, In Treatment— remade in 18 territories—and Dumb, which has been sold for remakes in France, Belgium, the Netherlands and Spain. Little Mom is in production for Channel 4 in the U.K. as Hullraisers.

LOCAL FLAVOR GMA Network in the Philippines has remade several Korean drama series into local hits that the group has then sold internationally, including Descendants of the Sun. “We only acquire remakes that we can tailor to our viewer’s tastes and preferences,” says Roxanne J. Barcelona, VP of GMA’s worldwide division, which handles content sales, syndication and distribution. “Dramas whose concepts are relevant and our viewers can relate to socially and culturally are very important in reboots and remakes. Sometimes we tweak a story or a character to ensure proper engagement with the target demographics as opposed to alienating them.” At Series Mania this year, Cineflix Rights launched Rebecca, the first adaptation of the critically acclaimed Marcella. For Tom Misselbrook, senior VP of scripted sales and development, getting a remake right comes down to the “delicate balance of keeping close to the original—because that is ultimately what contains the successful formula—but in the process creating a distinction between the two, something that feels unique and that will resonate with local audiences within the market it’s being produced. It comes down to the writing and the execution of a remake. With Rebecca, our production partner Elephant has cleverly woven Marcella’s personal journey across the first two seasons into the first season of the remake, which makes for a very emotive, intense and thrilling drama. They’ve also explored Rebecca’s role as a woman and a mother in her professional and personal life in greater depth, which adds another layer to our central character and makes it more relevant for today’s audiences.” Renaud says you have to start with a great idea and authentic characters. “At BBC Studios, each of our

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Nippon TV’s newest scripted format for the global market is Life’s Punchline.

scripted formats has bold and relatable characters at the heart that can comfortably sit in a brand-new set of surroundings. Their stories are both speciﬁc and universal: a serious crimes officer trying not to be consumed by the dark crimes he investigates or even the day-to-day goings-on of people in an office environment. It is essential for us that the adaptation process is a collaborative one. We have a dual responsibility to do justice to the original creative work and be sensitive to making an adaptation that remains true to the original. We work closely with our partners to translate stories in a way that will best resonate in their own country.” “It depends a lot on the experience of the producers you’re working with,” agrees Wright at Keshet International. “Experienced writers and producers can see a piece of IP and

immediately form a vision for it based on their own cultural experience, where they come from and the zeitgeist of where that place is at that point in time. That’s the kind of experience we had with Peter Bowker on The A Word for the BBC and with Howard Gordon and Alex Gansa on Homeland. It was an immediate click where they said, OK, we get your show, we see exactly where this needs to go and we’re running with it. The job of the distribution company is not to interfere too much. On the opposite side of that, you have people who have never done this before. When they try to put too many twists on something that already works as it is, and they don’t have the experience of doing so, that’s when we see projects not succeed the way they wanted them to. And in some places, including the U.S., where they’ve stayed faithful but tried to be too inventive with the material without having that clear, completely separate storyline and vision, they’ve fallen. It’s a tricky line to cross. There has to be creative respect on either side.”

TRACKING THE TAPE

GMA Network licensed the format rights to the drama The Other Mrs. Real into Vietnam.

Once you have a well-executed remake on your hands, your IP becomes even more valuable given the surging interest in foreign-language drama across the globe. Cineﬂix Rights already fared well with Marcella and hopes Rebecca will be equally viable on the global circuit. Misselbrook says the company looks to retain the rights to any adaptations of its scripted formats “so that we can control the brand and ensure that any remake is produced, marketed and sold effectively while taking into consideration sales of the original series. Commercially, it makes a lot of sense to do that, as it creates an additional stream of revenue for the business while adding volume to our catalog. When analyzing a particular scripted series for acquisition, we look at the potential for a remake, which forms an important factor in our decision-making process. A good example of this is Manayek, our hard-hitting Israeli cop drama from Yoav Gross Productions. We could instantly tell the strength of the original and bought into that, but also felt that it had all the ingredients to be adapted elsewhere. We’re having some interesting conversations around that currently.”

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Keshet International recently inked a format deal for The Baker and the Beauty in India.

Keshet International, similarly, looks to hold onto the distribution rights to remakes. That approach is more straightforward in some territories than others, Wright observes. “In the U.S., it’s been challenging. We’ve been lucky with our deal with NBC because we’ve split distribution on most of the shows that we produce for NBC and Universal Television. In cases where the country or the buyer isn’t fully equipped to do distribution, we step in and take on that role. Sometimes these companies want to grow their distribution, and that’s something they will ﬁght hard for, but they won’t necessarily be willing to pay more for it, for example, with an MG or a higher fee. When you take on distribution, you have more expenses, but you also stand to gain. So, it is on a case-bycase basis.” It’s also on a project-by-project basis at Dori Media, Palti observes. “We aim to distribute the remake, but when the agreement doesn’t allow it, we still receive a percentage of the remake’s sales.”

BALANCING ACT At BBC Studios, Renaud says those decisions about rights retention for remakes include “balancing the needs of the commissioning broadcaster in any region with the desire to have as many people as possible around the world see the great quality of production that countries bring to life. That is often the ﬁne line everyone treads. As audiences become more comfortable seeing shows from around the world, we work closely with all of our partners to ﬁnd the best way to navigate this together.” For GMA Network, the approach has generally been to only take on distribution rights to its own remakes of scripted formats it has licensed from third parties. “The challenge is when we have limited distribution rights to some of our remakes,” says Barcelona. “Although this is not the norm but rather the

exception, it does pose challenges in some cases. This limits the amount of content that can be offered to regular clients. But on the other hand, it opens an opportunity for a deeper and longer cooperation between the format owner and the licensee and its distributor. We trust that format owners will promote and market our adaptations and distribute them to a wider audience. If the adaptation is promoted alongside the original, it may also strengthen the marketability of the remake, and in the long run, promote Filipino dramas in general.” The other complication in the scripted-formats market is the commissioning model at the global streamers, which will sometimes call for exclusivity. “On When Heroes Fly, we sold the tape to Netflix, and Apple saw it and said, We love it and we can see this being remade with American exsoldiers in Colombia,” says Wright at Keshet International. “But when it comes to partners like Apple, you have a lot of incentive to be exclusive to them. We’ve had people come to us wanting to make When Heroes Fly and we haven’t agreed to that because we’re committed [to Apple’s version]. The one remake is going to be Apple’s. Sometimes there is no conflict of interest. Often, buyers won’t mind if that IP exists, even on a platform as popular as Netflix. Countries like Germany are a bit warier of foreign-language versions entering the territory, especially if they will be dubbed in German.” There are both challenges and opportunities in selling multiple versions of the same series, Dori Media’s Palti observes. “The opportunity is the better and larger offer to clients, in different languages and with a different number of episodes. The challenge is managing sales worldwide without infringing on granted rights.” Cineflix’s Misselbrook adds, “One of the biggest challenges we’re seeing is to be able to make a clear distinction between the original series and the remake in a way that local audiences respond to the new version. There are always obvious comparisons to make between the original and remake. If the original is very much associated with a particular platform or channel, then the challenge is to make a remake feel new and fresh.”

BOOM TIME Ultimately, though, the business is filled with upsides, BBC Studios’ Renaud explains. “One of the most rewarding things in format distribution is to see how a story can be told and retold with different nuances every time. Not only does it give insight into a culture or a community, but it also often can shed new light on the stories themselves and give viewers the chance to rethink or rediscover a part of the story they may have missed before. Making this happen must be explored in a way that gives everyone the space to allow their own version to shine, too, and it’s why we always want to spend time with our partners to talk through how their own unique version stands next to the other versions around the world.” Nippon TV’s Aoki agrees, noting, “To have multiple versions based on the same IP produced, aired and distributed could be tricky when adjusting the terms like languages or holdbacks, but I feel it is more of a good inﬂuence in making the IP grow globally. As a content provider, we keep trying to provide relatable stories and innovative viewing experiences to viewers all over the world. The synergy we can see in different versions in terms of marketing and viewers’ engagement is contributing to our new business opportunities.”

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GoQuest’s Traitor.

Let’s Make a Deal Jimmy George discusses how developments in streaming services have created more demand and, consequently, a good time to be GoQuest Media. By Chelsea Regan

n recent years, the international media industry has felt a marked shift across the landscape with the widespread adoption of digital platforms. Jimmy George, the VP of sales and acquisitions at GoQuest Media, attuned to the wants and needs of the market and the viewers therein, sees how developments in streaming services have created more demand and, consequently, a good time to be GoQuest.

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“There’s more demand for original programming as more industry players have opportunities to take creative risks,” says George. He notes that there’s been a rise in established platforms expanding into new markets, the proliferation of new services and an increasing appetite for foreign-language content amid Covid-19. “The

“There’s more demand for original programming as more industry players have opportunities to take creative risks.” —Jimmy George most exciting change has been the way attention to non-Englishlanguage content has gone up. There are no longer barriers of language and culture to cross.” Among the highlights in GoQuest’s catalog are a pair of espionage thrillers, Traitor and Civil Servant, along with the family dramas Debt to the Sea and Divorce in Peace. Also on GoQuest’s slate is Rats, set in the world of the Czech drug trade. “All these titles have excellent plots and unique storylines at their core that will be of interest to audiences anywhere in the world,” says George. GoQuest has in the works additional acquisitions and sales for its catalog while it looks to boost opportunities for collaboration with local producers and international entertainment providers for adaptations and remakes for some of its titles. As the company seeks out new avenues for growth, it remains true to its mission to put the viewer ﬁrst.

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ZDF Enterprises’ Huss. 198 WORLD SCREEN 10/21

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Europe’s

Finest Amid a renaissance in European drama production, Mansha Daswani checks in with several distributors about new opportunities at home and abroad. he conversation about America’s golden age of television has been ongoing since the late ’90s, as cable TV, and then streamers, ushered in new concepts, innovative narrative techniques, A-list stars and much bigger budgets. “We may well be now entering the golden age of European content,” Jan Koeppen, president for Europe, the Middle East and Africa at The Walt Disney Company, told delegates at Series Mania at the end of August. Koeppen was on site in Lille to tout the success of Disney+ and make it clear to the region’s content community that the streamer is not going to be just a global platform for American content. (Indeed, Series Mania also played host to high-proﬁle sessions with Netﬂix and HBO Max executives showcasing their latest investments in the region.) Disney+ had previously set a target of 50 European originals by 2024. “We’re leaning in, and given the reception from the creative community across Europe, we’re on track to exceed 60 originals in that same time frame,” Koeppen said. “In 2020, there were 50 percent more European commissions than the year before. These commissions are accompanied by bigger budgets. I would call this a real

bonanza for the European creative community. It also means that European creatives are busier than ever and consumers have more choice. There’s no sign of this slowing down.”

DEMANDING VIEWERS The expansion of the streamers has been paramount in this new European scripted boom. As Rodrigo Herrera Ibarguengoytia, senior acquisitions and co-productions manager for scripted at Red Arrow Studios International, observes, it’s not just the global giants injecting funds into the sector. “Regional European streamers have continued to grow, and many have ambitions to launch in additional territories—as we’ve seen with Viaplay, for example,” he explains. “As such, they’ve become major players—offering more financing power with a degree of flexibility. The advantage for us is that these local services are multi-territory, not global, which still provides us with the ability to build different financing models and put together diverse partnerships, such as a combination of linear broadcaster and streamer.” Working with a variety of different models across the global, regional and local streaming opportunity is crucial, according to Mirela Nastase, director ZDFE.drama at ZDF Enterprises. “Streamers will be increasing their originals, and this could both limit the volume of acquisitions

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Banijay Rights is rolling out a second season of Movistar+’s Hierro.

and increase the available premium ﬁction for distribution. We have started closing volume deals with already existing platforms and with newly launched streamers. This was a very satisfying development this year, and we anticipate it to continue.”

MIND YOUR LANGUAGE The streaming giants have helped drive the interest in European drama—think the global success of France’s Lupin or Spain’s Money Heist on Netﬂix. For a company like Banijay, with production companies across Europe, the elevation of non-English-language drama has been transformative. “No one is negotiating more with the streamers than we do,” says Lars Blomgren, the European giant’s head of scripted for EMEA. “I also have a scripted fund, which is an important tool for us because we can step in and support a production company in acquiring expensive IP or maybe an agreement with talent. It’s a very useful tool to elevate a production and begin at a better level.” About 70 percent of the scripted slate at Banijay is non-English-language, Blomgren says. Austria’s ORF-Enterprise has found a raft of international opportunities for its series, including the Alps-set Soko Kitzbuehel, which sold into Germany, Italy, France and several other European markets. “It is interesting to observe that there is obviously room for so many different types of programs on the market, driven by global, nonlinear players that have been a door-opener for new program types from different cultures,” says Armin Luttenberger, head of content sales international at ORF-Enterprise. “The success of our strong TV movies and series in various European countries is motivating us to roll out our products in markets like the Americas and Asia.” Finding new monetization opportunities is undoubtedly essential as budgets continue to escalate. They were already on the rise, but Covid-19 has added another level of expenses for producers. “The budget increases are a tricky development, putting more pressure on the producers and co-ﬁnanciers,” says ZDFE.drama’s Nastase. “We have faced recalculations a few times since the start of the pandemic, and in most cases, we have found solutions together with all partners. As

distributors, we are expected to increase our contribution, which is a short-term [solution], but is definitely not sustainable for our business.” As has long been the case, the co-production remains a key financial model across the region given that “shared risk is preferable,” Nastase says. “But I wouldn’t say co-pros are the only solution. Authentic, diverse and innovative ideas that better reflect society today should be the focus of broadcasters and distributors. Streamers are not only well-funded, but they appear to respond with more awareness and precision to what each viewer enjoys watching. That’s why it is not the number of co-producers that matters but the right ones with a common vision. This way, what appears to be an uncommon coproduction opens new paths for content creation: take The Window, a creative financing model between Germany, Belgium and Japan.” The brand-new drama, set in the cutthroat world of football, is produced by Germany’s Boogie Entertainment and ZDF Enterprises in co-production with Fuji Television Network in Japan and Belgium’s Velvet Films and Streamz. Picking up on Nastase’s point, Red Arrow Studios International’s Ibarguengoytia says that being able to work with multiple different financing models is critical. He cites as examples of Red Arrow’s diverse slate Stella Blómkvist, which Sagafilm produced for Síminn in Iceland and Viaplay in Sweden; and Blackout: Tomorrow Is Too Late, made by Wiedemann & Berg for Joyn and SAT.1 in Germany. “Using models like this, we’re able to produce great series that compete internationally and make a difference in the marketplace.”

NEW NORMAL With the challenges of the last year, Covid-19 insurance production funds, such as the ones in place in Austria and the U.K., “have helped stabilize the situation,” Ibarguengoytia says. “However, the added pressure of ﬁnding partners to share the burden of the costs remains. Everyone is dealing with different situations and challenges. Financiers have to ﬁgure out a way that works for every partner, on a project-by-project basis, while trying to maintain the respective proportions of each party’s contributions to the greatest extent possible.”

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Soko Kitzbuehel, an Austrian crime procedural from ORF-Enterprise, has sold well across Europe.

While much of the high-end drama production coming from Europe tends to hail from the usual big guns—Spain, France, Germany, Italy, the Nordics—several distributors are eyeing opportunities in Russia, Central and Eastern Europe and other markets that are elevating their storytelling techniques. “We keep looking into CEE as a truly rich source of talent,” says Nastase at ZDFE.drama. “We have launched START’s Sherlock: The Russian Chronicles and are thrilled with the market response! We also look closely at the Baltics and Balkan countries, where we’ve noticed visible progress in scripted production.”

RUSSIA RISING

Russian and global streamers. We know that our shows are competitive—Russian Affairs (Gold Diggers) has been shown as part of Amazon’s originals and Walter Presents, and Better Than Us was the first Russian series to be presented as a Netflix original. We are breaking the barriers in both domestic popularity and international recognition. Our series regularly top Russian audience charts and entertain global viewers.” “A lot of markets have been emerging in recent years,” says Ibarguengoytia at Red Arrow Studios International. “Covid helped accelerate that trend because some smaller markets were able to step in to fill the gaps left by those U.S. and U.K. productions that were postponed or put on hold. We’ve certainly enjoyed working with some of the best producers in those smaller countries,” including Sagafilm in Iceland for Stella Blómkvist and De Mensen in Flemish-speaking Belgium on The Bank Hacker. “The focus is on consolidating the presence of those secondary markets as they continue to deliver more,” Ibarguengoytia continues. Banijay is tapping into its extensive footprint to make sure it’s aware of all opportunities emerging within this European scripted renaissance. Blomgren says that he and his team stay in constant contact with producers within the group. “We’re close to their slates; we hear what they are developing. We talk about planning for success…. To create the best content, you just want the best creative to pitch an idea you hadn’t even considered. That’s what creates a trend.”

“Russian content is getting better every year,” says Julia Matyash, the director of Sovtelexport, which represents the Russia Television and Radio slate. “With new content providers appearing (streaming services, for example), viewers are becoming pickier and harder to please. It encourages [producers] to ﬁnd new ways to keep the audiences happy and attract new ones. Nowadays, a unique plot and high-quality cinematography are crucial, and Russian dramas are proud to have both. The period TV series Ekaterina, Sophia, The Terrible and Godunov have already conquered their audience and remain Russia Television and Radio’s catalog hallmarks.” Sovtelexport series continued to sell well throughout the pandemic, Matyash says, citing deals with Telewizja Polska in Poland, CJ ENM in South Korea, Ginga in Japan, OSN in the Middle East and Amazon Prime. “The themes of Russian projects stand out—they have to do with rich and sometimes tragic Russian history, which keeps motivating directors to create new, exciting stories,” Matyash continues. She highlights the company’s brand-new Cloister, based on the bestselling novel of the same name by Zakhar Prilepin. Since its 2017 launch, the Russian SVOD service START has been heavily investing in original content—more than 40 to date, ten in the last six months alone, according to Daria Bondarenko, executive VP of sales and acquisitions at the platform. “We like to think of START as the home to premium Russian drama,” Bondarenko says. “Before launching a series into production, we always evaluate its international potential because we compete with both Sovtelexport is launching the new pandemic drama The Lockdown. 202 WORLD SCREEN 10/21

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ON THE RECORD

hroughout his career, David Nevins has gained firsthand knowledge of numerous aspects of the television business: development, production, marketing, monetization of content and distribution. He has been involved with some of the most critically acclaimed shows on broadcast and premium networks, including ER, The West Wing, Will & Grace, Friday Night Lights, 24, Homeland, Ray Donovan, The Affair, The Chi and Billions. After holding leadership roles at NBC, the FOX Broadcasting Company and Imagine Television, he joined Showtime Networks—then owned by CBS Corporation—in 2010. He shepherded a culture that encourages critically acclaimed, conversation-starting shows. In the process, Showtime opened its doors to new and diverse voices. In 2019, CBS Corporation merged with Viacom, the two companies recombining after initially separating in 2006. The new entity, ViacomCBS, caters to various age groups and demographics through its many brands, including CBS—its studio, news and sports divisions— The CW, MTV, VH1, Nickelodeon, Comedy Central, BET, Pluto TV and Paramount Television Studios. Like other major media companies, ViacomCBS is harnessing all

of its production and programming prowess to bolster its Paramount+ streaming offering. Given his extensive programming background, Nevins was named chief content officer of scripted originals for Paramount+ earlier this year while remaining chairman and CEO of Showtime Networks. The storied Star Trek franchise and The Good Fight, each with loyal fan bases, are already part of the Paramount+ lineup. Joining them in the coming months will be a new season of Star Trek: Discovery; Halo, a live-action science-fiction series based on the video game; and Mayor of Kingstown, from Taylor Sheridan. As Nevins tells World Screen, the Paramount+ originals aim to be of broad appeal, while Showtime continues its tradition of offering more specialized series. Dexter: New Blood; Three Women, based on Lisa Taddeo’s book; Yellowjackets, a blend of survival, horror and coming-of-age; and The Man Who Fell to Earth, based on the novel by Walter Tevis that inspired the cult film starring David Bowie, will all premiere in the coming months. Nevins also talks about maintaining brand clarity, working with talent, marketing shows and collaborating with fellow ViacomCBS executives.

DAVID NEVINS VIACOMCBS

By Anna Carugati

WS: Paramount+ offers such a wide variety of programming. What role do scripted originals play in the mix? NEVINS: The original scripted shows tend to be how streaming services are defined, particularly scripted dramas. They tend to be a key driver of consumer interest and the subject of a lot of focus. Part of what differentiates Paramount+ is that it’s got a lot of other programming; it has sports, news, kids’ shows, movies, unscripted. But still, at the core of everything are the scripted dramas, which generally drive a ton of usage and are definitional to how consumers look at a streaming service. WS: How do you find the right home for a scripted show? Is there a difference between the scripted shows on Paramount+ and Showtime? NEVINS: Yes. Part of my job is to have clarity on the brands [and differentiate] what you are going to get on Paramount+ and what you’re going to get on Showtime. Showtime has been in business for a long time, so there is relative clarity about what makes a Showtime show. We’re still building and developing Paramount+. We have a real toehold in the science-ﬁction/fantasy genre, beginning with Star Trek: Discovery and then Halo coming relatively early in 2022. That is an important part of it, but we’re also the home of Robert and Michelle King, who do Evil and The Good Fight. We’re the home of Taylor Sheridan’s new shows. Paramount+ will be the home of broad-based, four-quadrant programming, and Showtime will always be a little more specialized. WS: A show like Billions is very much about the current state of power in New York. Homeland in its day was about the state of national security. Many 10/21 WORLD SCREEN 205

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The Marc Cherry–created comedy-drama anthology Why Women Kill wrapped its second season on Paramount+ this summer. Showtime series drive daily conversation about what’s going on now. Is that still part of its remit? NEVINS: Absolutely. Showtime is very much at the forefront of culture and looking at what’s next, and Paramount+ is looking for what’s broadly entertaining, what’s going to have wide appeal and feel like great popcorn entertainment. WS: How different is it to program a streaming service compared to a linear service? NEVINS: You’re asking people to subscribe, keep their subscription going and pay a check on a monthly basis. You better have something that feels special, that a) is going to get people’s attention, and b) is going to deliver something that feels it’s worth paying for. The least-common-denominator series or the satellite show that is time period-driven don’t always work. There are no time periods to drive [viewership]. On the other hand, you don’t need to appeal to an enormous number of people. Each show can have a specialized audience. So that is why something like Star Trek or niche shows can work in streaming if they are somebody’s favorite show. And people want to binge, so there has to be a premium on deeper, richer characters and serialization. People want to fall into a world. A streaming service functions very differently from broadcast television, which can feel like a less demanding commitment. WS: Looking back over your career, you oversaw ER, The West Wing and Will & Grace,

among many other shows. You were an executive producer on Arrested Development and several critically acclaimed series. Is the high volume of shows developed and produced today impacting the development process? NEVINS: No, I think the fundamentals still apply. I tend to get very involved in some things but also have great people who are very good subjective developers: Nicole Clemens on the Paramount+ side; Gary Levine, Amy Israel, Vinnie Malhotra on the Showtime side. Sometimes they are doing [the development], but it’s still hard to have a good project without a good script. Sometimes it takes multiple drafts to get to a good script. Good scripts can always be ruined by bad casting or bad directing. And you need to build a series for the long haul. All those basics that have [guided] me in my career, both as a network executive and a producer going back 25 years, are still the same. WS: We can’t talk about production and shows without mentioning Covid-19. How much of the lineup in your pipeline has been delayed? I know protocols have allowed many shows to get back into production. Is it still slow going and touch-and-go? NEVINS: We’ve hit a little bit of a lull. For the most part, complicated new shows didn’t go into production until January of this year. We tried to hide it, and I think we’ve done a good job hiding it. On both Showtime and Paramount+, we have continued on a very good growth trajectory throughout this year. 206 WORLD SCREEN 10/21

Spring and summer were a little thin in our offering. The good news is that series that went into production in January will be hitting the air. Dexter: New Blood went into production in January and premieres at the beginning of November on Showtime. Billions came back to Showtime at the beginning of September. Star Trek: Discovery comes in the fall to Paramount+, so does the ﬁrst of the Taylor Sheridan shows, Mayor of Kingstown. If it feels like the output has been a little thin in the summer, it’s going to be jam-packed in an exciting way for audiences this fall. So yes, Covid has had an impact—2020 was kind of a lost year in terms of production. The cupboard was a little bare, but now it’s getting restocked. We started in September, and through October, November and December, we will have great shows on the air. WS: How have you and your teams brought Dexter back to life with Dexter: New Blood? I imagine you have to satisfy the fans of the original show but also draw in new viewers. NEVINS: It wasn’t that complicated. The show takes place today, so the Dexter character is still Michael C. Hall. It will be very familiar. A lot of people have seen Dexter over the years. It has a very devoted audience, but there will be some people coming to it for the first time, and it will be accessible for them as well. Obviously, it’s a richer experience if you’ve watched previous seasons of Dexter. Clyde Phillips crafted a

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actors have an incredible nose for good scripts, so the trick is just to make sure your material is good, and then you are going to get the cream of the crop.

After one season on CBS, Robert and Michelle King’s Evil is moving to Paramount+ for a second season. show that will speak to different audiences. There are Dexter loyalists who stayed with the original series for its entire run. There are people who watched some of Dexter, and there’s a cohort of people who have never seen Dexter but only heard about it over the years. We are going to be marketing to all of them. WS: High-quality scripted shows are expensive to produce. What kind of financing models do you and your teams use? Are you also acquiring ﬁnished shows or co-ﬁnancing with partners? NEVINS: We do all the above. Fortunately, we have a thriving business. Paramount+ is growing rapidly. Showtime is growing rapidly. ViacomCBS has been very clear about wanting to get bigger and bigger, so we are plowing more and more money into our shows. That said, we are always looking at different models. We don’t need other people’s money to make shows, but I’m always looking to be opportunistic. We have acquired shows. For Showtime, we have Back to Life, a very successful show that is a co-production between us and the BBC. We Hunt Together is an acquisition from BBC Studios. We acquired an Australian show called The End. We make acquisitions all the time. We do co-productions. Penny Dreadful and Penny Dreadful: City of Angels were co-productions with Sky. We have a fair amount of production right now in Europe. Writer and director Steven Zaillian is doing a big, gorgeous Italian production, Ripley, starring Andrew Scott, Dakota Fanning and Johnny Flynn. We are in production in the U.K. on The Man Who Fell to Earth, created by Alex Kurtzman and Jenny Lumet and starring Rob Delaney, Chiwetel Ejiofor and Naomie Harris. We are in production in Budapest on Halo; again, a lot of European talent. These are three big productions in Europe right now. They are not co-productions but will have significant

appeal in Europe with our European partners and when Paramount+ starts to expand into Europe. WS: With so much in development and production, are there enough creators, writers and showrunners to go around? NEVINS: There is a lot of opportunity, and it’s a great time to be a writer, director, actor or cinematographer. You’ll never hear me say there’s not enough talent because I feel like that’s where good developers and good curators come in. You develop a good script; good actors will find it. There may not be an endless pool of great actors, but for great scripts, you are always going to find great actors. It starts on the page. Our creative teams at Paramount+ and Showtime are the best people working in Hollywood, and Hollywood still has some of the best writing. It’s our job to attract the best people. When you develop good scripts, things seem to miraculously come together. Good

WS: I imagine if you have a good experience with writers or actors, you develop a relationship that then leads to other projects down the road. NEVINS: If you treat people well, create a good creative atmosphere, word tends to [get out]. If you get a reputation within the acting community and writing community that they will have a positive, creative experience, that helps. The other thing that helps on our shows is, we don’t tend to look at them as commodities. We make each show count. People know they get worldwide visibility with our programming because of the way it’s marketed and rolled out on a oneby-one basis. You don’t get lost on the shelf at Showtime or Paramount+, so that also makes it attractive to creative people. WS: Besides working with established talent because it attracts subscribers and viewers, are your teams also looking for new talent? NEVINS: Yes. At Showtime, we’re casting a new show based on Three Women by Lisa Taddeo. Lisa is an accomplished journalist, and with her partner, Laura Eason, has written gorgeous scripts. There are four fundamental parts, even though it’s called Three Women. It’s going to be an interesting combination of established actors and new actors. We have another show in the works and are about to shoot the pilot for it, and the series rests on a 24-year-old woman who will be new to everybody, but she’s an amazing talent.

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CBS Studios is keeping the beloved Star Trek franchise alive with new series, including Star Trek: Discovery on Paramount+. I’ll give you another example, she’s not unknown, but she was when the show went on the air. The Chi is a show we developed with Lena Waithe, and she created it. The show just finished its fourth season and is coming back for season five. It’s a big hit for Showtime and a mainstay show. Lena is known as an actor, writer and producer, and in the five years since the show has been on the air has become a real power player in Hollywood. But when the show was developed and ordered, she was a new voice. It’s been amazing to watch her grow, the show grow and become a real business driver for Showtime. It’s sometimes really good to be someone’s first hit! The show that has been a breakout voice for us this year is called Ziwe, a sketch and talk show from comedian Ziwe. She had been a writer on Desus & Mero and is a very provocative online persona. She gets a lot of attention. The press love to write about her. That’s another new voice that popped up at Showtime this year. WS: Are you working with executives from other divisions of ViacomCBS to find the right home for a show? Maybe something comes across your desk, and it’s not right for you but could work for someone else? NEVINS: Without a doubt. I would say the creative executives of the company are probably more connected now than they ever were in the past. Something is coming out of CBS Studios—is it right for Showtime? Is it right for Paramount+? Or a Showtime

production, Halo, goes on Paramount+. Even before I was officially in charge of Paramount+, Nicole Clemens had shown me the script of the Grease prequel, Rise of the Pink Ladies. It’s a brilliant reimagining of Grease, set in high school in the ’50s but in a way that smartly reﬂects high school today because it’s dealing with outsiders and a multicultural, non-mainstream group. I was a very early advocate of that. There is a lot of back and forth within the company. It’s a very collaborative culture. There is a content council, and since all quarters of the company are invested in the success of streaming, it’s become necessary to collaborate. You can’t just look at what’s good for your channel anymore. It’s about the combination of your linear channel, your studio and the ultimate streaming home for shows. It drives collaboration. WS: With so many shows out there, it’s often difficult to find where they are. How do you market and create awareness for shows today compared to how it was done back when there were only linear channels? NEVINS: First of all, ViacomCBS controls more ad space than any other company in the United States. We have a pretty potent platform. If we decide we want to make a big deal about Top Gun: Maverick or SpongeBob or Halo, we have the platforms to do it. We have an enormous digital inventory. We have the CBS broadcast network. We have MTV, Nickelodeon and Comedy Central. We have the power to use our platforms to make noise. 208 WORLD SCREEN 10/21

A lot of it has to do with what bets you’re making. Are you making tame bets, or are you being bold and taking risks to get attention? You have to be very smart about positioning, cross-promotion, how you lead an audience from an existing show that is already popular to a next show that they don’t know about yet. At Showtime, we’re going to use Dexter: New Blood to launch a show called Yellowjackets. We know that Dexter will drive a ton of awareness, and people are already paying very close attention to it. Our job at Showtime is to get the people who are signing up for and paying attention to Dexter because they’ve had 15 years in the culture to pay attention to another show that is also a genre show. Yellowjackets is a combination of dark and scary stuff but also with some comedy with well-observed characters. People haven’t heard about it yet, but Yellowjackets is going to be a phenomenon, and I’m very conﬁdent about making noise for a show like that. You just have to be a smart promoter, use your data, use your platforms and create excitement and demand. WS: There’s just not enough time to watch everything! NEVINS: No one person can watch everything, but no one ever said I want to read all the books in the library. Some people are interested in historical fiction. Some people want romance. Some people want biographies. If you’re running a streaming service, you’ve got to try to have different things for different people.

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MIPCOM/OCTOBER 2021 EDITION

Distribution Trends / Mega-Formats Premiere: Undercover Boss / Curiosity’s Clint Stinchcomb

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CONTENTS

Choice Overload

FEATURES GAME CHANGE

Leading distributors discuss how early-stage investments, smart windowing strategies and a keen focus on market intel are crucial to succeeding in the factual distribution business today.

Is it just me, or has the pandemic left us all having to make way more decisions than usual? Travel or not? I’m home for dinner all the time now; what do I make? And, of course, I have a massive chunk of time this evening—where am I going for my entertainment? Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing Editor Jamie Stalcup Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Real ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvreal.ws

Sometimes, it is exhausting as I scroll through endless options on the SVOD services, trying to figure out what I’m in the mood for. A crime drama? Something funny and uplifting? A new true-crime doc? (Ninety-nine percent of the time, that is what I end up going for.) I often wish that, given the 100 other decisions I have to make on an average day, someone could just curate something for me. Please don’t try to tell me that the algorithm is supposed to do that, because really, who on Earth do those things even work for? Not me (and it’s not because I have family members “accidentally” watching shows on my profile and throwing everything off for me). I’ve been thinking about this a lot since my fascinating conversation with Charlie Sextro, a longtime programmer at the Sundance Film Festival who also serves as editor-inchief of Documentary+, a new AVOD platform aimed squarely at passionate fans of factual filmmaking. “Our goal is to be a trusted place for when you’re in that documentary mood and want something good that stands out,” Sextro told me. “You’re trusting the curation and going through and saying, ‘This speaks to my taste.’ I want for there to be a bar of quality but an absolute range of experiences. Stranger than fiction but also meaningful and driven by a cause. To me, in programming, the juxtaposition of different films and different experiences next to each other is special.” I have to admit, I am absolutely charmed by the approach—scrolling through the service’s selections, I wanted to watch everything. And bonus, it’s free! “There’s huge interest in AVOD at the moment, speciﬁcally in FAST channels, because they are lean-back experiences,” Ralf Rückauer, VP ZDFE.unscripted at ZDF Enterprises, told me for a piece in this edition on doc distribution trends. Indeed, AVOD, SVOD and consolidation are upending the traditional factual-sales business, and I heard from a broad cross section of executives about how they are exploiting all available new opportunities. This edition also features a Q&A with Clint Stinchcomb on what’s new at Curiosity, as well as a trend report on mega-formats. —Mansha Daswani

GET DAILY NEWS ON FACTUAL PROGRAMMING

BACK IN STYLE

Mega-formats continue to dominate prime-time grids, and many are being renewed and refreshed to keep audiences engaged.

PREMIERE: UNDERCOVER BOSS Executive producer Mike Cotton and All3Media International’s Caroline Stephenson introduce ITV’s new version of the hit format brand.

INTERVIEW Curiosity’s Clint Stinchcomb

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Albatross World Sales Superbirds—The Secret Life of Tits / Ode to Nature / The White Diamond A pair of nature and wildlife titles lead Albatross World Sales’ MIPCOM highlights, including Superbirds—The Secret Life of Tits, a ﬁlm that takes viewers into the world of the little birds and reveals their secrets. Ode to Nature explores stunning habitats across Central Europe—from the Alps to the Baltic Sea—as well as those who live in them. Director Werner Herzog and airship engineer Dr. Graham Dorrington go on an expedition in Guyana in a helium-powered mini zeppelin in the nature and adventure title The White Diamond. “The production of new programs has slowed down considerably during the pandemic, so we are very happy and feel privileged to present many new one-offs and series in the genres of nature and wildlife, science, sustainability and travel,” says Lisa Anna Schelhas, sales director at Albatross.

Ode to Nature

“We are very excited to ﬁnally present our newest slate of factual programming faceto-face again.” —Lisa Anna Schelhas

Autentic Distribution World’s Most Dangerous Railway Lines / Heroes of the Deep / Berlin—Fateful Years of a Metropolis From Autentic Distribution’s People & Places strand, the three-part docuseries World’s Most Dangerous Railway Lines brings viewers along on a train journey through extreme landscapes. The railway lines “tell the story not only of industrial culture but also of progress and the art of travel,” says Mirjam Strasser, head of sales and acquisitions. “They are truly breathtaking, beautiful and fascinating.” The factual-entertainment series Heroes of the Deep showcases Baltic divers and their discoveries at the bottom of the sea. A history program on Autentic’s slate, Berlin— Fateful Years of a Metropolis chronicles the events in Berlin over six decades—from the building of the Berlin Wall to when the city once again became the capital of a united Germany.

Heroes of the Deep

“We have a great variety of new programs in each genre and are keen to see them travel around the world.” —Mirjam Strasser

Motor MythBusters

Beyond Rights Facing Monsters / Motor MythBusters / Race for the Future From Beyond Rights’ sister company Beyond West, the new documentary Facing Monsters sees free surfer Kerby Brown take on some of the world’s deadliest slab waves. “It is intensely personal, seeing a man on a journey following his dreams, and captures the impact his obsession has not only on his own life but also those close to him,” says Connie Hodson, head of partnerships and business development at Beyond Rights. In the new series Motor MythBusters, produced by Beyond Rights’ sister company Beyond Media Rights, former MythBusters presenter Tory Belleci, mechanic Faye Hadley and engineer Bisi Ezerioha put car-related pop culture under the microscope. James Levelle raises awareness about climate change in Race for the Future by traveling from the U.K. to Chile in a fossil fuel-free way.

“We have crystallized our offer in the marketplace, put partnerships front and center of our business and have successfully grown our catalog.” —Connie Hodson 218 WORLD SCREEN 10/21

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Osprey: Sea Raptor

Blue Ant International Osprey: Sea Raptor / History by the Numbers / Encounter UFO Narrated by Emmy Award-winning actor Sean Bean (Game of Thrones), the one-hour blue-chip documentary Osprey: Sea Raptor that Blue Ant International is offering to the global market tells the story of an osprey couple as they reunite after having traveled separately across continents to raise their young. “The beautifully shot, up-close footage of the osprey family offers a universal story of perseverance, devotion and affection that audiences around the world will love, all brought to life by Sean Bean’s distinctive narration,” says Solange Attwood, executive VP at Blue Ant International. History by the Numbers delves into the digits behind historical milestones and events. Visual evidence and ﬁrsthand accounts detail UFO sightings from around the world in the highlight Encounter UFO.

“Blue Ant International is an industry thoughtleader and is in constant contact with both producers and programmers around the world.” —Solange Attwood

Motorway Patrol

BossaNova Motorway Patrol / Ripper Speaks / Decades That Deﬁned Us BossaNova’s Motorway Patrol is now in its 19th season, with a total of 190 episodes. It is an enduring hit that is still in production. Ripper Speaks is a 90-minute special that gives unparalleled access to one of Britain’s most notorious serial killers, the Yorkshire Ripper. The threepart series Decades That Defined Us highlights the historical, musical and cultural events of the ’60s, ’70s and ’80s. All three programs “have global appeal,” says Paul Heaney, founder and CEO. “There is a special as well as a long-running, high-volume series, and we have a breadth of appeal across these three titles and the rest of the MIPCOM slate.” The company’s catalog also includes The Car Years, Black Panthers of WW2 and Stuck in the Suez.

“BossaNova is very much open for business at our ﬁrst MIPCOM, with a varied selection of programs.” —Paul Heaney

Secrets of the Universe

Curiosity Secrets of the Universe / Engineering the Future / Doug to the Rescue Curiosity’s lineup of original productions includes the new series Secrets of the Universe. Coming in 2022, it will seek answers to some of the universe’s biggest mysteries, including whether there are parallel universes. Engineering the Future explores revolutionary machines that could potentially save the world from ecological disaster. Curiosity recently greenlit a second season. Doug to the Rescue sees drone pilot and aerial cinematographer Doug Thron use cutting-edge technology to rescue pets and wildlife stranded due to natural disasters. “We’re highlighting titles we know appeal to buyers because they cover topics and genres that are globally recognized and have already proven to resonate with our viewers around the world,” says Bakori Davis, managing director and head of international distribution.

“We’re always looking for opportunities to expand distribution to the naturally curious.” —Bakori Davis 220 WORLD SCREEN 10/21

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Match Made in Heaven

Media Ranch Match Made in Heaven / Love Van / All About Animals Media Ranch’s catalog includes two dating formats and a studio game show. The dating format Match Made in Heaven uses astrology to help singles ﬁnd love. From Media Ranch’s Horsepower 3.0 winner, Alexandra Paquin, the new dating format Love Van follows singles on a crosscountry journey in livable converted vans to see if they will stick with the dates they chose to join them or replace them with hitchhikers they meet along the way. The studio game show All About Animals tests celebrities’ animal knowledge. “Media Ranch is all about sharing the best content with the world, and we continue to source from our partners…and work with new producers from all walks of life, as in our Horsepower incubator project,” says Sophie Ferron, founder and CEO.

“Love and the love of animals are universal themes and have always done well everywhere on the globe.” —Sophie Ferron

Off the Fence The Secrets to Civilisation / Wolverine: One Tough Mother / Italy Made with Love Featuring visual techniques and CGI, the Off the Fence highlight The Secrets to Civilisation brings empires and cities of history back to life for viewers. “What we know about our past is constantly being examined by data and science, and what we ﬁnd out is that the climate could have played a key role in the creation and extinction of some of these early civilizations,” says Loren Baxter, head of acquisitions at Off the Fence. Wolverine: One Tough Mother centers on 3-year-old wolverine Freya as she navigates the challenging wilderness between Russia and Finland with her two newborn cubs. Taking viewers into the world of artisans and traditions, the travel series Italy Made with Love showcases glassblowing in Venice and making olive oil in Tuscany.

“Our sales team is ready to present our new slate of over 150 new hours to our clients.” —Loren Baxter

Italy Made with Love

Red Arrow Studios International Who Is the Phantom? / Stealing the Show! / #OfﬂineintheWild Topping Red Arrow Studios International’s unscripted slate, the entertainment format Who Is the Phantom? is produced by Constantin Television for ProSieben in Germany. It features celebrities trying to guess the identity of a mysterious famous face hidden behind a mask. From Florida Entertainment for ProSieben, Stealing the Show! is a quiz show in Red Arrow’s catalog. “Stealing the Show! is a truly original game-show concept that turns the traditional quiz-show format on its head,” says Tim Gerhartz, president and managing director at Red Arrow Studios International. “In each episode, contestants have the chance to literally steal the show from the host.” In the reality format #OfflineintheWild, from Redseven Entertainment for Germany’s Joyn, social media stars see who can best survive offline and off the grid.

Stealing the Show!

“From prime-time entertainment hits and reality competitions to game shows and quiz shows with ﬂexible scheduling opportunities, we have a slate of compelling new formats for every schedule and platform.” —Tim Gerhartz 222 WORLD SCREEN 10/21

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Terra Mater Factual Studios Secrets of the Unsaid—The Science of Animal Poo / Great Lakes Untamed / Horse Power: American Legacies The Terra Mater Factual Studios highlight Secrets of the Unsaid—The Science of Animal Poo takes audiences on a trip around the world with scientist Dr. Scott Burnett, a.k.a. “Scat Man,” who spends months at a time in the ﬁeld looking for clues in wildlife excrement. “Wombats, whales, krill and rhinos—join him and us as we journey to far-ﬂung places, looking for facts in feces,” says Sabine Holzer, head of specialist factual. A three-part series about North America’s Great Lakes, Great Lakes Untamed delves into the natural history of the largest freshwater ecosystem on Earth. Horse Power—American Legacies traces the emergence of American horse breeds over time. “We are happy to talk about presale options regarding each of these projects,” says Holzer.

Horse Power: American Legacies

“We not only want to inspire with our ﬁlms but also with our way of making ﬁlms: a green and sustainable path to enjoy nature frame by frame.” —Sabine Holzer

Down for Love

TVF International Untold Arctic Wars / Down for Love / Carbon TVF International (TVFI) is highlighting Untold Arctic Wars, a six-part series from NTRNZ media that centers on the least-known events of World War II—those that occurred north of the Arctic Circle. It will feature new research from historians and never-before-seen footage. Down for Love, produced by Attitude Pictures, has diversity at its heart as it aims to help people with Down syndrome ﬁnd love. From Genepool Productions, Carbon provides a biography of carbon, the most talked-about but least understood element on Earth. The documentary traces its beginning from the death of a star to its impact on today’s world. “This story of life’s core element promises to transform how we think of carbon, from a maligned destroyer toward a powerful enabler,” says Will Stapley, head of acquisitions.

“TVFI’s aim for MIPCOM and the rest of 2021 is to double down on our efforts to support fellow independents.” —Will Stapley

ZDF Enterprises Rescued Chimpanzees of the Congo with Jane Goodall / Ancient Superstructures / Ancient Engineering Leading ZDF Enterprises’ factual catalog, Rescued Chimpanzees of the Congo with Jane Goodall was ﬁlmed over 30 years to follow the creation of the largest chimp sanctuary in Africa, which gives orphaned chimpanzees a chance to recover and eventually return to the wild. Ancient Superstructures’ second season will continue to reveal the secrets behind the world’s most famous monuments, such as the Louvre, Angkor Wat and the Hagia Sophia. Ancient Engineering explores the most intriguing feats of engineering from the ancient world, including the Egyptian pyramids, Stonehenge and the Great Wall of China. “We shed new light on the techniques, materials and innovative thinking behind each ancient engineering feat and offer a new perspective on their fascinating and important histories,” says Fred Burcksen, president and CEO.

Ancient Engineering

“Let’s all join forces to get our industry up and running again.” —Fred Burcksen 224 WORLD SCREEN 10/21

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GAME Mansha Daswani hears from leading distributors about how early-stage investments, smart windowing strategies and a keen focus on market intel are crucial to succeeding in the factual distribution business today.

rom the sector’s biggest players to boutique independents, changes are afoot in the business of selling factual content. Whether restructuring business models, altering rollout plans, launching FAST channels or pioneering new narrative techniques, companies are aware that the landscape is changing quickly—and evolution can’t stop, pandemic or not. Of note, smack in the middle of Covid-19, longtime factual content executive Paul Heaney decided to embark on a brand-new startup. Having built TCB Media Rights into a thriving outﬁt that could feed the needs of numerous outlets— from straight library acquisitions to co-pros, development partnerships and more—Heaney knew all too well the demanding and rapidly evolving nature of the business. Following the downfall of Kew Media Group and TCB’s subsequent sale to Beyond International, Heaney opted to build his new venture, BossaNova—which recently received an investment from Herbert L. Kloiber’s Night Train Media—as one that was “leaner and meaner” than his last one. “You learned during parts of Covid that you can make these businesses work with fewer people,” Heaney observes. “We had a lot of people at TCB. It was lean, but now you have to

look at it again and say, this can be leaner still. It focuses you on what partners to choose. Eight years ago, I was obsessed with picking up hours and hours of content because I felt that was the right thing to do. Now, I’ve turned away so much because I’m not interested in that strategy as much. What’s the point if it slows you down? I want to bring content in that is going to do a job and has an appeal.” Heaney is not the only executive course-correcting amid a rapidly transforming world. Bo Stehmeier, who returned to Off the Fence at the start of this year to become CEO, put it like this when discussing the new strategy he has implemented at the company: “The macro system has changed massively. It’s unprecedented times. As we navigate new waters, we have to prepare for something—and we don’t know what it looks like or what it will be like.”

FINDING THE HOURS Among the most significant shifts has been in simply securing access to a steady supply of quality content. Driven by vertical integration and streamers retaining global rights, just getting ahold of shows to sell can be a considerable challenge. “The old days of meeting a Canadian producer with hundreds of hours of completed shows in

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BossaNova inked a volume deal with CJZ and Greenstone covering hundreds of hours, including Dog Patrol.

the catalog are gone,” Stehmeier told TV Real recently. And that means coming on board projects as early as possible. “We sometimes even encourage producers to come up with ideas and then we can discuss them,” reports Ralf Rückauer, VP ZDFE.unscripted at ZDF Enterprises. “Sometimes we do development funding so we can help the producer create a sizzle to present to potential partners. We do that two or three times a year. In addition, we do selfcommissioning. We have Great Inventions, for example, a 35part series we completely ﬁnanced on our own, without any partners attached. We really do early-stage commitments.”

FAMILY TIES ZDF Enterprises has another preeminent factual distributor in its family, Off the Fence, which it took control of in 2019. “Most people say merger and think 50 percent of the staff will get fired,” Rückauer quips. “We had plans to merge the teams, specifically in distribution, but then Ellen Windemuth [the founder of Off the Fence] and I sat down and said, ‘Maybe we should keep them separate. It’s a different culture, different personnel, different structures, different partners.’ So we chose not to. ZDF Enterprises owns the company, and we have a lot of exchanges about the market. Sometimes we get approached by a production company and they offer us a program, and I’ll say it’s not for my catalog, but it might be something for Off the Fence. And vice versa. Sometimes we do deals together. Off the Fence has strengths in certain territories. We’re not competing. It’s very comfortable.” Like ZDF Enterprises, Off the Fence takes a flexible approach to securing content to license. “We can come on board at any stage, from early development to finished programs,” says Stefanie Fischer, the company’s managing director of sales. “What sets us apart is that we are a distributor with our own production arm, which means we can bring in our expertise at any point. We are acquiring a lot more content than we produce, and our production knowledge is always an advantage when working with third-party producers, as we can share feedback. While we don’t fund whole productions, we do offer advances, and we can help bring in partners at an early stage to raise the financing for a production.” ARTE Distribution, similarly, looks to engage with producers early on in the process, “sometimes the project is not even sold

to the French broadcaster” ARTE yet, says Florence Sala, head of international distribution. “We discuss the angle with them and sometimes advise them on the international version.”

TRUSTED PARTNERS Albatross World Sales has established a network of producers it partners with frequently, according to Anne Olzmann, the company’s managing director. “Our philosophy is to always establish long-term relationships with our producing partners and give honest feedback. Until recently, we took on almost only fully financed projects. Now we are expanding our activities to projects in the earlier stages of production. We want to use our experience and market insights to get exciting productions off the ground and get them ready for the international market.” Since its inception, Escapade Media made early alliances with producers a priority. “The development side of the business has always sought to take content on even if the idea is just an idea,” says Natalie Lawley, managing director. “If it is the right project for Escapade, we will offer our executiveproducer services to develop, finance and distribute. With the experience of working with buyers, commissioning editors and completed sales for over 20 years, we feel we can ensure that each project is carefully crafted to maximize its appeal to the global audience.” Of course, that approach to boarding projects early does not come cheap. As Heaney puts it, “You have to have a war chest to spend on content…. Any distributor that has the same setup or size they did in 2013-14 is probably going to be struggling now. You’re not going to be able to get content without putting in a decent deficit. That’s just the way it is. Nine, ten years ago, 90 percent of shows were fully funded. Now it’s probably the opposite. Or it’s fully funded, but there are no rights for those shows coming out of the streamers. Content that is available for distribution, most of it will need a deficit, and that deficit won’t be small.” That means being far more selective about what to take on—and having the proper market intel to make those informed decisions. For Heaney, that translated into resurrecting “Development Day,” an initiative he had started at TCB connecting producers with broadcasters. This year’s virtual

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edition hosted 55 buyers perusing 77 projects from 29 producers. “Distributors can work at an even earlier stage if you’ve gathered enough market intelligence and are useful for [the producers],” Heaney explains. The key is “going where the opportunities are,” Heaney says. “The streamers are still co-producing; they don’t want to fully fund everything. The linear broadcasters don’t want to co-produce everything; they want to fully fund some things. There is room for collaboration, especially if people know you can access money and you’re willing to take a risk, or you have market intelligence and you can bring partners in.” Mirjam Strasser, head of sales and acquisitions at Autentic Distribution, makes a similar point about being able to work across multiple models, noting, “We are not only including finished projects in our catalog, but also helping to realize projects in early stages through co-financing, presales or other forms of financing. In addition, we have our own production department that delivers high-quality productions every year. This combination puts us in a very good position in the market, where a battle for the best content is in full swing, fueled by the emerging streaming services.” Indeed, the SVOD and AVOD platforms are upending the doc business in the same manner they changed the game in drama and kids. The opportunities created have been significant, both commercially and creatively.

rollout strategies to make sure all opportunities are maximized, from linear to SVOD to AVOD. There are several factors to consider when weighing up deals. “It depends on the status of each project,” observes Olzmann at Albatross. “When a project is still in the financing phase, then the approach could be different from a project that is more or less finished without a finance gap. The chances to get significant funds from a streamer remain limited at that point—though I am confident that this will change in the near future. So when it comes to financing films that are still in development or in production, we’re generally approaching our main—mostly public—broadcasters and a few selected streamers first. We also work closely with our producers to reflect their vision for the project, especially in terms of a possible audience. There is a difference in audience numbers comparing VOD and pay TV versus public broadcasters. Public broadcasters still have the bigger audience share—this may be more important to some producers. In addition, more broadcasters are asking for full exclusivity or a VOD holdback, so we have to be careful in licensing to the right partner at the right time. It has become quite a rights jungle to navigate now, but for me, that is the fun part of being a distributor: finding individual solutions to make

Wildlife is a key part of the ZDFE.unscripted slate, including the new offering The Leopardess.

STREAM ON “AVOD and SVOD services have been an everincreasing source of revenue stream for us and we expect that to continue,” says Hud Woodle, executive VP of international sales and operations at GRB Studios. “Over the last year, we’ve increased our focus on finding and selling programs to these sectors. GRB is known for providing premium unscripted content, and we are glad to see a trend in streaming services gravitating to factual content.” The streamers are generally “more flexible in terms of editorial,” notes Fischer at Off the Fence. “They do not have such stringent audience profiles to satisfy and can therefore be far more curious exploring hybrid genres.” Of course, streamers angling for global rights to shows has caused some windowing headaches, leaving distributors to craft careful and considered

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One of Albatross’s new launches for MIPCOM is the travel series Beautiful Italia.

all sides smile and get the stories out there in the best possible way.”

THE RIGHT MATCH Off the Fence’s Fischer agrees, noting, “Streamers are often looking for content that cannot be seen anywhere else—they are looking for that edge and USP that a traditional player wouldn’t include in their prime slot. Therefore, we first and foremost need to ask ourselves where we could see the content fit best. It’s about finding the right match for each project. We want to ensure that we capture the sensitivities around the program’s needs. We look at the return on investment, from profit to impact, eyeballs, campaigning, etc. Sometimes it is worth keeping more control over a title and flexibility to place it with different players in different markets across the different exploitation forms.” Acknowledging the increasingly complicated nature of rights management, Autentic’s Strasser observes, “We simply have to pay attention to which rights are sold to whom. Strictly speaking, it has always been like that. In addition, productions that may have already completed their life cycle on TV can find new homes with streamers.

ARTE Distribution is offering up the music doc Damon Albarn: A Modern British Tale.

We see the different offers more as a complementary cycle than as competing rights-exploitation options.” For the high-end projects and original commissions, the factual streaming business is being driven by the SVOD players, but the AVOD market should not be discounted. “There’s huge interest in AVOD at the moment, specifically in FAST channels, because they are lean-back experiences,” says ZDFE.unscripted’s Rückauer. “It’s an exciting area. You can’t make a lot of money, but you can collect money. We’ve always been very active on all platforms. We were a launch partner for iTunes in Germany 15 years ago. We started collaborating with Google and YouTube. And we have plans to launch FAST channels.” “AVOD, and in particular FAST channels, are gaining relevance,” agrees Fischer. “A global streamer SVOD deal for a premium title is, of course, a very different business model to AVOD and FAST, although we are seeing SVOD starting to mimic FAST channels in certain parts of the world. As FAST is growing from strength to strength, we are in serious presales negotiations with those channels that have harnessed their core audiences.” Strasser is upbeat about the YouTube opportunity, with the company having entered a content partnership with Little Dot Studios Germany, “where we exploit content from our distribution catalog on their YouTube channel. We also have similar partnerships with international companies.” As for narrative trends within factual, the competition for the most compelling personalities, the latest cutting-edge technology and deep insider access is intense. “Clients are asking for more than the classic blue-chip title, and there is a need for a real USP in access, talent and story, with authentic emotional narrative arcs,” says Fischer. “We also ﬁnd the growing appetite for content exploring diversity and diverse storytelling very encouraging.” Albatross’s Olzmann says that natural history and science are both in high demand at the moment. “Many buyers who used to only buy the feel-good, plain nature-portrait shows are now looking for more in-depth, captivating stories to go along with astonishing nature footage,” she notes. History is also on a lot of buyers’ wish lists, says Strasser at Autentic, “especially ancient and contemporary history. Wildlife is evergreen. However, there is a noticeable shift

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toward conservation programs and the relationship between humankind and nature.”

THE NEXT WAVE “People are thinking about climate change,” agrees ZDFE.unscripted’s Rückauer. “My impression is, what is the next step? What will happen after that wave? You don’t want to just watch a climate change doc; you want something different. People are thinking about Covid and what it says about us and our relationship to nature. We’re trying to bring green thinking to the next level. That’s one of my biggest interests. And many clients are asking us for dinosaurs! It’s been years since you saw the big landmark Walking with Dinosaurs. Now we have better CGI technology. What would happen if you transferred that technology into a really good dinosaur story? I would love to build up a classic co-production model with three or four partners, maybe public broadcaster-led but not necessarily, possibly in combination with a streamer, to tell the dinosaur story from A to Z again.” True crime remains a top-seller in the factual business, according to GRB’s Woodle. Still, Rückauer reports that while stories of American misdeeds fare well worldwide, local broadcasters are generally more interested in domestic tales.

“Everyone wants true crime, but it needs to be very local and speciﬁc, which doesn’t sell internationally,” he says. Both Lawley at Escapade and Sala at ARTE Distribution reference the clear demand for escapism amid pan demic woes (and travel challenges), while Autentic’s Strasser says that male-driven factual entertainment is “selling like hotcakes.” At BossaNova, Heaney has set out to craft a curated slate that builds upon the close to 1,000 hours he has from the CJZ and Greenstone catalogs. “That was a big win for us,” he says. “I don’t obsess about hours; I obsess about returning brands and new brands. They have lots of those, which gives a value beyond the number of hours. There are two poles [in the BossaNova slate]: the returnable, repeatable, scalable—it doesn’t matter what genre it’s in—and then the one- to four-part premium. In terms of subjects, it’s true crime, history, adventure, paranormal, hidden-world docs, blue light, ob-doc series, engineering, mysteries, quick turnaround [and more]. We’ll go where we think the demand is. We’re not going to just build up a catalog. We’re not saying, ‘Brilliant, that adds 120 hours,’ because that’s boring and a waste of time. We’re picking up projects we think are going to at least wash their faces—and maybe do a little more.”

GRB Studios is filling clients’ needs for paranormal shows with highlights such as Death Walker.

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Banijay Rights’ MasterChef on FOX.

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BACK

Style

Mega-formats continue to dominate prime-time grids, and many are being renewed and refreshed to keep audiences engaged. By Kristin Brzoznowski

he reality entertainment boom at the start of the 2000s gave way to a slew of megahit format brands—Survivor, Big Brother and Idols among them—and 20 years on, many of these shows are still going strong. There’s a bevy of big-name formats that have held onto their prime-time slots with an iron grip. Some have been given a rest period to return with full force, while others have undergone carefully executed refreshes.

STAND-OUT BRANDS In today’s TV landscape, mega-formats “are not just remaining strong; they are in the middle of a new boom,” says Lucas Green, global head of content operations at Banijay. He points to two recent global phenomena: the Covid-19 pandemic and the rise of streaming platforms. “Those two factors have created an environment where the linear broadcasters and schedulers are under pressure to deliver big hits,” Green says. “People are staying at home, watching more TV and signing up for more streaming subscriptions, and the broadcasters—linear and nonlinear—have been facing ﬁnancial pressures due to the drop in advertising revenue, so they need shows that are going to deliver. And if they’re looking very carefully at where they spend their budgets, they want to make sure that they have a couple of

really big mega-brands that they can get behind, market, support in their schedules and have lots of complementary programming around.” “The importance and power of mega-formats are increasing,” agrees Tim Gerhartz, president and managing director of Red Arrow Studios International. “We’ve seen that speciﬁcally throughout the recent months, as broadcasters are sticking to what worked prior to Covid and during Covid. So, having a mega-format in place is helpful these days.” The company has in its catalog the über-successful Married at First Sight format, which has traveled to more than 30 countries and become a channel-deﬁning brand in many markets. “That’s the beauty of a mega-format; you don’t only have a successful show, you turn it into a brand,” says Gerhartz. “You reach a point that when people talk about the show, they immediately have the platform in mind and vice versa.” In the case of Married at First Sight, successful examples include Nine Network in Australia, Lifetime in the U.S. and Channel 4 in the U.K. “The channels not only show the local version on the main channel, but they also offer the audience spin-offs and add-ons that are based on the original format on secondary channels,” Gerhartz says. “And then, to push their VOD services and extend their catch-up

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Red Arrow Studios International’s Married at First Sight has been adapted in numerous markets, including Australia, with eight seasons on Nine Network.

platforms, they acquire foreign tapes to offer even more of the brand to the audience.” With Married at First Sight in the U.S., the main show has stayed true to the original version, but spin-offs and addons have offered the audience new content. Married at First Sight: Unmatchables picks up on protagonists and participants who weren’t matched for the original show, while Married at First Sight: Couples’ Cam is a self-shot series following fan-favorite pairs. “There are many ways to do it, and we see that trend of coming up with spin-offs and add-ons just starting,” Gerhartz says. There has also been a slew of revivals for mega-formats as of late, with big-name brands being recommissioned after a hiatus. All3Media International and Studio Lambert’s Undercover Boss is back on ITV in prime time as Undercover Big Boss, seven years after it last aired on Channel 4. “Undercover Boss launched after the global recession, so it felt fitting for the format to come back to the U.K. following the impacts of Brexit and the Covid-19 pandemic,” says Nick Smith, executive VP of formats at All3Media International.

Gogglebox returned in Norway as a celebrity version on TV2, a different channel from its original home. “It was always a ratings success on the public-service broadcaster, so it made sense for it to have been commissioned by a commercial broadcaster,” Smith adds. There have been lots of subtle tweaks to Gogglebox to keep the format fresh over the years. “In the earlier series, we would never have reviewed shows from SVOD platforms, but it is important to reﬂect how viewing experiences have changed,” Smith notes. “We also didn’t review ﬁlms and dramas until discovering that they work well, and so many of us do talk in the middle of the most dramatic of programs. “Most controversially, stars of Gogglebox were dropped from the cast after they became too famous and started appearing in reality shows,” he continues. “This seems counterintuitive, but Gogglebox is all about having a cast of ordinary people who are just like the viewers. It proved to be the right decision.”

A FRESH SPIN Tweaks and subtle twists from international versions can also make their way back into the format bible, Smith says, helping to inform broadcasters about what’s worked elsewhere—and what hasn’t. Adaptations of the game show The Cube in the U.S. and Australia allowed The Cube to speak and have a personality. It worked so well that for season 11 in the U.K. this year, The Cube has had an update and can now talk. From ViacomCBS International Studios’ (VIS) reality format slate, Ex on the Beach has proven quite versatile, with a wide range of tweaks and changes over the years across the various local versions, explains Laura Burrell, VP of international formats. There have been location variations, such as a winter-themed version (Ex on the

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Beach: Peak of Love) produced in the U.S. and the Nordics, and a standalone spin-off to the original U.K. version (Celeb Ex in the City) set in the city rather than beachside.

FRESH FACES Casting is another way to add freshness to a longrunning format like Ex on the Beach, Burrell notes. “We’ve had either full celebrity versions (such as the most recent season in the U.K.) or diversiﬁed the cast to include gay or bisexual contestants; we’ve even had a cougar in one local series! There have also been some new format beats added, always subject to approval and always carefully worked through to ensure that they enhance the creative. In the U.S. version, an elimination process was added in for the ﬁrst time.” The key, according to Burrell, is to stay current. “You have to grow with your audience, and you can’t do that without moving the dial from time to time. You also want to attract new viewers from season to season. With reality TV particularly, if a format becomes too familiar, the audience knows what to expect and potential cast members know how to play the game. The result is that it becomes boring to watch and loses its authenticity factor. Regularly refreshing the format helps to avoid such pitfalls.” It is crucial, though, to have a format with durable pillars at the outset to ensure its longevity. So, what are the keys to creating a long-running mega-format?

FUTURE-PROOFING “Big or small, simple is best,” says Paul Gilbert, senior VP of international formats for ViacomCBS Global Distribution Group. “If a game show has a gimmick, it seems to work in the short term but not in the long term. Shows like Wheel of Fortune and Jeopardy! are free of gimmicks, and their success speaks for itself. Play-along for the viewers is always a plus. That’s not to say that a game show that is purely entertaining can’t be successful, because many have been. In the reality format world, cringe-worthy for me is a must. It’s the OMG moments in a show. Also, the David-versus-Goliath moments when we cheer for the underdog.” Banijay’s Green shares a similar view: “The way that we champion longevity is that at their heart, these shows have very simple, clear premises. Survivor is ‘Outwit, Outplay, Outlast’—it is about who the last one will be. It’s clearly a strategy game with loads of drama, and it’s very well cast. Big Brother is the ultimate reality show; it’s a popularity contest. Who is the most popular housemate? MasterChef is one of our biggest and best, and the very simple premise is, it’s really good cooking. It’s high-quality food, and it has a lot of ﬁlmic qualities; it’s beautifully made and at the heart of it are great chefs.” As long as mega-formats continue to deliver in their ratings for broadcasters and brand potential for distributors and producers, their future as staples in prime-time schedules seems certain. “While they’re successful, there’s no reason why [broadcasters] would want to rest them,” Green

says. “It’s up to us to keep the quality high. The viewers have shown that they like them and will keep coming to them. “Looking into the future, the landscape is changing,” he continues. “There is a real battle going on between the streaming platforms for viewers, subscribers and top-quality content. I think we will see them start to enter the market and identify some of these mega-brands as a great way to launch their service in a new territory. Then, straight out of the block, you’ve got a show that people are familiar with and, even better, you know works.” Even with the established megahits continuing to ﬂourish, there’s always room for brand-new concepts, says Red Arrow’s Gerhartz—if they’re compelling. “At the moment, it’s key for broadcasters to work with what does well for them. It’s important for them to extend on that success, but then again, they need to come up with something fresh.” He believes that Stealing the Show! could be the next big thing. In a spin on the classic quiz show, the format sees the contestant who wins in one episode host the next. “That’s something we haven’t seen before,” says Gerhartz. “It’s a megahit! It’s a huge success on ProSieben in Germany and ratings are building in season two, even better than season one. Proof of concept with a fresh twist gets people excited.”

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All3Media International’s The Cube was adapted for TBS in the U.S., hosted by Dwyane Wade.

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Undercover Boss rom Studio Lambert and All3Media International, Undercover Boss follows high-level corporate executives as they covertly step into the role of a worker at their own organizations. The bosses slip anonymously into the lowest level jobs within their companies, get their hands dirty and ﬁnd out what their employees really think of them and how smoothly their organizations are really run. Undercover Boss debuted in 2009, a time of ﬁnancial crisis and big changes in the business world. Fast-forward to today—with the Covid-19 pandemic, Brexit, the Black Lives Matter movement and a greater emphasis on mental health—and the business world is yet again experiencing challenges and undergoing changes.

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This set the stage for ITV in the U.K. to recommission the show with a prime-time edition, airing as Undercover Big Boss. “Although there had been international versions airing in the U.K., it hadn’t had its own version for a number of years,” says Mike Cotton, executive producer of Undercover Boss. “We felt there would never be a better time to bring it back; it’s such a relevant time for Undercover Boss to be relaunched.” Along with a successful U.S. version going strong on CBS, the format has been adapted in a slew of markets, big and small. “It resonates with audiences because of the universal themes,” says Caroline Stephenson, senior VP for EMEA at

“It’s such a relevant time for Undercover Boss to be relaunched.” —Mike Cotton

All3Media International. “The hierarchies in the workplace mean that bosses don’t often have much of a clue about the challenges faced by their workforce. Similarly, employees would like an opportunity to tell how it is to the bosses. The beauty of this format is that when each boss goes undercover, the employees are unwittingly telling it like it is. It has such a positive resolution in that there’s recognition for the employees and all their hard work that is appreciated and rewarded, and quite often, changes are made within those businesses. It ends on a high.”

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STINCHCOMB: Nebula has been a tremendous marketing channel for us for more than a year, so our enhanced partnership and investment are based on the success we’ve already seen working together. It’s the world’s largest creator-owned streaming and technology platform, and they have 140-plus active creators in the “education-y” space who together have over 120 million collective YouTube subscribers. There is natural alignment on our core propositions, and we’re just excited to get more active in what is arguably the most exciting area of media right now with the creator economy. TV REAL: And what about One Day University? STINCHCOMB: Similar to Nebula, we’d also had a successful commercial relationship with One Day University, so they were a proven partner for us. One Day University focuses on providing engaging and informative content, so again you see clear strategic alignment, and it expands our factual content proposition. It has many of the same attributes as MasterClass—but our instructors are better. Overall, our strategy for deals like One Day University and Nebula is fairly simple: will it grow our revenue, subscribers and/or our content proposition? These deals also tie back to how we’re thinking about “Curiosity” as a diverse and dynamic brand proposition. TV REAL: It’s been quite a year for SVOD services! What gains did you see amid lockdowns, and how are you looking to maintain those increases?

Clint Stinchcomb Curiosity By Mansha Daswani

t has been a transformative year for Curiosity. The recently rebranded outfit founded by cable pioneer John Hendricks has seen usage gains on its flagship Curiosity Stream SVOD service, inked new carriage deals for its linear channel, expanded Curiosity Studios’ originals slate and increased its portfolio of assets as it positions itself for further success in a competitive, and fragmented, media landscape. TV Real caught up with Clint Stinchcomb, president and CEO of Curiosity, to discuss the company’s accelerating growth trajectory. TV REAL: Tell us about the rebrand and what that means for the broader company outside of your SVOD service. STINCHCOMB: The elevation of “Curiosity” is a recognition of the dynamic and diverse company we have grown to become over the past six years. We are the global entertainment brand for people who want to know more, and our SVOD service, Curiosity Stream, is still the flagship and the foundation of our business. But we provide myriad ways for both viewers and partners to engage with our content—we’re producing more original content than ever—and the time is right to showcase our full suite of offerings. TV REAL: What led to the Nebula investment, and what does that bring to the company?

STINCHCOMB: Like most streamers, we saw an uptick at the beginning of the pandemic. But what’s more encouraging for us is that, after a full year, our retention rate for the 13 months ended May 2021 was 72 percent—which is higher than every other streamer of consequence. We believe this is due to our quality, uniqueness, value and indispensability. Many consumers consider the spending decision on Curiosity Stream to be outside of their traditional entertainment budget. The content itself and the experience is high-quality, enlightening, family-friendly and offers a great price-value relationship. We’re also not reliant on single shows or series to drive acquisition and retention—people may join us for a particular program or series, but they stay for the breadth and depth of our content. TV REAL: What are the core subscriber retention tools you use for Curiosity Stream? STINCHCOMB: Due to the nature of our service, we have an audience that in some cases wants immense breadth and in others wants to be able to dive deep into speciﬁc topics. Therefore, we need reﬂexive strategies that ensure we are serving up what an individual is looking for each time they open up our apps. We initially serve a new user some of our best content across all of our genres and categories that we know

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Curiosity Stream’s lineup of originals includes Rescued Chimpanzees of the Congo with Jane Goodall, produced by Off the Fence and distributed by ZDF Enterprises.

performed well and see what resonates. From there, we can get an idea of what sort of content they are interested in and begin to build a reflexive experience. At a high level, all of this data informs our programming strategy to make sure we have a continuous flow of new content to the platform that we know will feed all these different tastes and appetites. If we’re doing that correctly, we will see high retention from people who are most active on our apps. We also have to make sure that we reach people outside of our owned-and-operated [platforms]. We have a variety of ways we do that. Our CRM and engagement team uses off-platform content recommendations, retargeted ads and a variety of other mediums to make sure that people are not missing content we think they’re going to be interested in if they have not logged in recently. We are also building out a strong front-of-the-wall content strategy that will keep our audience engaged with us even as they consume content on other platforms beyond Curiosity Stream (like YouTube, FAST platforms and social media). All of this works together to give us industry-leading retention that we expect to continue to build upon as we focus on driving ever-growing engagement and share of our audience’s watch time. TV REAL: What’s new at Curiosity Studios? How vital are originals to the service? STINCHCOMB: I’m excited that we’re producing and releasing more originals this year than we ever have before. Our fall slate is packed, including our first original featurelength film, Heval, which premiered in September. We also have the second season of our original series Beyond the Spotlight—this time featuring some intriguing names in the cultural zeitgeist right now. And of course, we’re always guaranteed to deliver the epic, brand-defining science, history and natural-history titles our viewers love, including the dramatic story of the titans who built Wall Street, a fascinating exploration of biomimicry and a wild tour down the Humboldt Current.

TV REAL: How is your channel doing? What growth do you still see within that pay-TV channel ecosystem? STINCHCOMB: The channels are doing well and generating more viewership every day. We see considerable growth in the pay-TV ecosystem. It won’t always be in historically traditional forms, but as distributors more aggressively embrace the streaming revolution, we are partnering with them in win-win constructs. TV REAL: How important are partnerships with telcos and other players as you build out Curiosity Stream’s global SVOD footprint? STINCHCOMB: These types of partnerships are extremely important to building our global footprint. We view thoughtful bundled partnerships with distributors of scale as key to maximizing our growth; they are clearly key to the growth of any content service. TV REAL: Amid a market that seems to shift daily, how are you and your team plotting the next stage of Curiosity’s growth? STINCHCOMB: As a team, we are focused on the day in, day out deliberate and accountable work necessary to build a great company. The ﬁeld-of-dreams approach, which some large players have tried, doesn’t work. We will showcase more and better original programming in the third and fourth quarters of this year than at any time in the company’s history. We are building a premium factual library of programming that will exceed 10,000 episodes. We are prioritizing certain international markets, like German-speaking Europe. We are making considerable foundational improvements to our tech and engagement enhancements to our UI and UX. And we are complementing our teams with bar-raising performers. As we execute on these initiatives, we will be well-positioned to take advantage of the many growth opportunities in front of us.

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34 Gaumont Global Screen 35 GMA Network 36 GO-N International GoldBee 37 GoQuest Media 38 GRB Studios Guang Dong Winsing Company 39 Guru Studio Happy Camper Média 40 Headspinner Productions Idéacom International 41 Incendo 42 Inter Medya Jetpack Distribution 43 Just for Laughs Distribution 44 Kanal D International Keshet International 45 KO Distribution 46 Konami Cross Media NY Lemon Sky Studios 47 LEONINE Studios Lionsgate 48 Madd Entertainment 49 Magic Light Pictures Magnify Media 50 MarVista Entertainment 51 Mattel Television 52 Media Ranch 53 Mediatoon Distribution MISTCO 54 Mondo TV Group 55 Muse Distribution International NBCUniversal Global Distribution 56 Nicely Entertainment 57 Nippon TV 58 No Water Studios NTV Broadcasting Company, Russia 59 Off the Fence 60 ORF-Enterprise

61 Pink Parrot Media Planeta Junior 62 pocket.watch 63 Portfolio Entertainment Prestigo Medias 64 Productions Avenida PVP Media Rainbow 65 Red Arrow Studios International 66 Rive Gauche 67 Russia Television and Radio/ Sovtelexport 68 Saturday Animation Studio Serious Kids 69 Sesame Workshop 70 Sinking Ship Entertainment 71 SPI International Squeeze St Laurent TV International 72 START Studio 100 Media 73 Superights 74 Syon Media TeleColombia & Estudios TeleMéxico 75 Tencent Video Terra Mater Factual Studios 76 Toonz Media Group 77 TVF International 78 ViacomCBS International Studios (VIS) Vuulr 79 WaZabi Films WildBrain 80 Xilam Animation 81 ZDF Enterprises 82 Zodiak Kids 83 Zone3

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Contact: Alix Wiseman, SVP, dist. & acq.; Joss Duffield, VP, dist., Europe, LatAm & snr. dir., acq.; Brian Nolan, sales & acq. mgr. PROGRAM HIGHLIGHTS Circle Square (Kids 4-6 animated adventure comedy, 40x7 min.) Vanessa the dragon is always ready to help her neighbors: a yeti, a dog, owls, talking instruments, two pine trees, a human family, a bear and a family of wizards. Let’s Go Luna! (Kids 4-8 animated adventure comedy, 76x11 min.) Follows the adventures of Leo, a wombat from Australia; Carmen, a butterfly from Mexico; and Andy, a frog from the U.S., as they traverse the globe with their parents’ traveling performance troupe.

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friends, employees and confidantes of Playboy A+E NETWORKS founder Hugh Hefner. O (1-212) 210-1400 Invisible Monsters (Crime/investigation, 6x60 m intl.sales@aenetworks.com min.) Featuring exclusive interviews with survivors, w sales.aenetworks.com investigators and family members, unpicks the culContact: Steve MacDonald, pres., global content tural landscape that allowed infamous serial killers lic. & intl.; Mark Garner, EVP, global content sales & Bundy, Gacy and Dahmer to hide in plain sight. business dvpmt.; Patrick Vien, group mng. dir., intl.; Melissa Madden, SVP, intl. mktg.; Liz Soriano, SVP, pgmng. intl.; Ellen Lovejoy, SVP/head, content sales, Americas & formats; Glen Hansen, SVP/head, content sales, AsiaPac; Crispin Clover, intl. dir., format prod. & acq.; Robyn Hurd, VP, intl. content sales, EMEA. PROGRAM HIGHLIGHTS American Justice (Crime/investigation, 35x60 min.) Dissect recent high-profile criminal cases Next of Kin through the prism of the U.S. criminal justice sys- Lincoln (History, 3x120 min.) Executive produced by tem. From first-hand perspectives, explore what Pulitzer Prize-winning author Doris Kearns Goodwin, each story tells us about how the system works, tells the story of Abraham Lincoln, 16th President of the and in some cases, how it doesn’t. United States and Commander-in-Chief of the Union City Confidential (Crime/investigation, 10x60 armed forces during America’s bloodiest conflict. min.) Each episode goes deep into the heart of a Next of Kin (Scripted, 8x60 min.) Liv, a psycholocity to explore the crimes and the impact they have gist suffering from mysterious pains, joins forces on the residents who live there. with Wolf, a cybersecurity agent, to uncover the Cold Case Files (Crime/investigation, 20x60 true reason why her DNA was recently stolen, ultimin.) The groundbreaking Emmy-nominated series mately revealing a dark past of genetic tampering. returns to examine murder cases that have Panic 9-1-1 (Crime/investigation, 20x60 min.) remained unsolved for years, using recent Experience the harrowing life-and-death moments advancements in technology and featuring inter- that unfold in real-life, 9-1-1 calls with footage from views with those closest to the cases. body cameras, home security systems, personal cell Secrets of Playboy (Crime/investigation, 10x60 phones and more. min.) Dive into the dark underbelly of the Playboy Red Election (Scripted, 10x60 min.) Against a lifestyle, featuring candid interviews with the backdrop of international tensions, we follow two

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TV LISTINGS

female agents—one British, one Danish—who must join forces to avert a Russian terrorist attack on British soil. Right to Offend (Bio., 2x120 min.) Explores the evolution of Black comedy and comedians who have used pointed humor to expose, challenge and ridicule society’s injustices and to articulate the Black experience in America.

out on interstellar adventures and discover the wonders of the universe. Lloyd of the Flies (Kids 7-11 CGI comedy, 52x11 min.) It is estimated that there are some 10 quintillion individual insects alive at any one time. This series is about one of them: Lloyd.

AARDMAN

O (44-117) 984-8485 m hello@aardman.com w www.aardman.com Contact: Alison Taylor, dir., dist.; Robin Gladman, snr. dist. & acq. mgr.; Miguel Mestre, snr. sales mgr.; Ruth Preston, snr. sales mgr. PROGRAM HIGHLIGHTS The Very Small Creatures (Preschool 1-3 stopframe comedy/discovery, 20x3 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. Big Lizard (Bridge 4-6 CGI comedy/adventure/ science, 52x7 min.) Imagine having a whole alien planet to explore with your new best friend, who happens to be a fun-loving big lizard. Brave Bunnies (Preschool 3-5 2D edutainment, 52x7 min.) Bursting with curiosity, the Brave Bunnies set off on an adventure-filled road trip around Bunny World to explore, meet new friends, play games and learn new things. Interstellar Ella (Bridge CGI, 52x11 min.) In 3021, on a faraway space station, Ella and her friends set

Interstellar Ella

Numberblocks (Preschool 3-5 CGI educational, 120x5 min., 1x20 min., 3x10 min.) A math brand that uses humor, music, delightful characters and engaging storylines to show children how numbers really work. Pop Paper City (Preschool 3-5 3D/mixed-media view-and-do adventure, 52x11 min.) Focuses on creating adventures together, encouraging “doing as well as viewing” through lovable characters and adventures. Shaun the Sheep (Kids 6-9/family stop-frame comedy, 170x7 min., 2x28 min., 15x1 min., 21x1 min.) Aardman’s family-favorite TV series is recognized the world over for its slapstick humor, distinctive look and strong, quirky characters and enjoyed across multiple media platforms. Sol (Family 2D, 1x28 min.) This film celebrates the light that true love brings into the world. The Epic Adventures of Morph (Kids 5-11 stopframe comedy, 15x5 min., 40x1 min.) Morph, his sidekick Chas and the rest of the gang are up to all

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TV LISTINGS

their usual mischievous antics but in bigger and Koryu is ready to take on the world with his new Bey, Ace Dragon. bolder adventures. Beyblade Burst Surge (Kids action/adventure, 26x22 min.) Brother Bladers Hikaru and Hyuga ADK EMOTIONS NY Asahi vow to topple the ruling class of the Blading O (1-646) 284-9825 elite with their Solar Beys.

m info@adkemotions.com w adkemotions.com

Contact: Shunichi Ogawa, CEO; Daichi Wakabayashi, COO; Ayako Tsunekawa, VP, mktg. & creative; Natasha Khavin Gross, dir., TV sales & lic. PROGRAM HIGHLIGHTS Beyblade Burst (Kids action/adventure, 51x22 min.) The story of a group of passionate Bladers who follow their dreams on an unforgettable journey to the top. Beyblade Burst Evolution (Kids action/adventure, 51x22 min.) Valt Aoi, runner-up at the Japanese National Tournament, travels to Spain after being scouted by the prestigious Spanish club, BC Sol.

Beyblade Burst Surge

Beyblade Burst Turbo (Kids action/adventure, 51x22 min.) Aiger Akabane sets his sights on defeating Valt Aoi and becoming an invincible Blader with the help of his Turbo Bey, Z Achilles. Beyblade Burst Rise (Kids action/adventure, 26x22 min.) After training with Valt Aoi, Dante

ALBATROSS WORLD SALES

O (49-341) 4428-2450 m info@albatrossworldsales.com w www.albatrossworldsales.com

Contact: Anne Olzmann, mng. dir.; Lisa Anna Schelhas, sales mgr., Europe (excl. Eastern Europe), Americas, ANZ, inflight; Eleytheria Heine, sales mgr., Asia, MEA, Russia, CIS; Claudia Zell, sales mgr., Eastern Europe; Linda Kujawski, mktg. & acq. PROGRAM HIGHLIGHTS Superbirds—The Secret Life of Tits (Nature/wildlife, 1x52 min.) We see these lovely birds every day, but barely notice them. From everyday problems to neighborhood disputes, the film will reveal the magical and challenging world of titmice. The White Diamond (Nature/adventure, 1x87 min.) Legendary director Werner Herzog embarks on a voyage of discovery in the canopy of the jungle in an extraordinary flying object—the White Diamond, a helium-powered mini-zeppelin. Ode to Nature (Nature/wildlife, 2x52 min./1x90 min.) A visually stunning journey through the nature of central Europe, from the peaks of the Alps to the coasts and into the depths of the North and Baltic Seas. New Land—The Islands of Marker Wadden (Nature/sustainability, 1x52 min.) One of the biggest

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nature restoration projects in Western Europe is in progress, aiming to restore the ecosystem of the Markermeer, one of Europe’s largest lakes. Zoo Life (Nature/wildlife, 2x52 min./1x90 min.) Zoos serve as modern-day arks, trying to create a natural habitat for some of the most endangered species and running breeding programs to preserve biodiversity.

history, views, culture, people, foods and wines found across the regions of Italy. Jewels of the Alps—Italy’s Great Lakes (Travel/adventure, 5x52 min./5x43 min.) Explores the five largest lakes of Italy’s far north, introducing us to a distinctive natural environment and to local people closely connected with it.

ALL3MEDIA INTERNATIONAL

m rachel.glaister@all3media.com w www.all3mediainternational.com

Superbirds—The Secret Life of Tits

Wild Heart of Europe—The Return of an Ancient Forest (Nature/wildlife, 1x52 min./1x90 min.) In the Bavarian Forest National Park, a primeval forest is growing out of the former commercial forests, turning into a unique ecosystem and refuge of biodiversity free from human intervention. Glorious Bustards (Nature/science, 1x52 min.) The Great Bustard is the Dodo of our time. From the heart of Europe comes an immersive story, revealing the odyssey of its species, the passion of its safeguards and their endeavors to ward off extinction. Metamorphoses—The Return of the Wilderness (Science/sustainability, 3x52 min.) In some places, where flora and fauna were once eradicated to make room for agriculture, mining and industry, nature is coming back into its own. Beautiful Italia (Travel/adventure, 9x26 min., ongoing) Gives an all-new look and feel to the exciting

Contact: Sally Habbershaw, EVP, Americas; Stephen Driscoll, EVP, EMEA; Sabrina Duguet, EVP, AsiaPac. PROGRAM HIGHLIGHTS New Gold Mountain (Drama, 4x60 min.) Follows a group of compelling, morally grey characters brought together by a mysterious murder during the Wild West era of the Australian gold rush. Hollington Drive (Drama/thriller, 4x60 min.) A domestic thriller led by BAFTA Award winner Anna Maxwell Martin that explores the lengths families will go to protect their children. Total Control (Drama/thriller, 6x60 min.) Having unseated the Prime Minister and the woman who betrayed her, Indigenous senator Alex Irving faces the ultimate democratic test as the nation take to the polls. Manhunt II: The Night Stalker (True crime/detective drama, 4x60 min.) This detective drama traces the real-life police pursuit of a notorious criminal whose 17year reign of terror left thousands of elderly people in South East London living in fear.

THE LEADING ONLINE DESTINATION FOR THE INTERNATIONAL MEDIA BUSINESS.

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TV LISTINGS

APC KIDS

O (33-1) 8508-7017 m lionel.marty@apckids.com w www.aboutpremiumcontent.com

New Gold Mountain

Ghislaine Maxwell: Life on Trial (Doc., 2x60 min.) Traces Maxwell’s story from her chaotic upbringing right up until the current events of her trial through exclusive interviews with friends, former boyfriends, colleagues, rivals and confidants. Fever Pitch: The Rise of the Premier League (Doc., 4x60 min.) Created by Story Films and David Beckham’s new production company, Studio 99, offers the definitive story of the English Premier League. The Wimbledon Kidnapping (Doc., 2x45 min./1x90 min.) With Rupert Murdoch pivotal to the crime,explores how big business, race and tabloids’ rise influenced the trial around Muriel McKay’s abduction. Catch Phrase (Game show, 60 min. eps.) From sayings to song titles, the contestants must quickly guess the correct catchphrase and win prize money. 100 Things (Fact-ent., 60 min. eps.) Follows families challenged to use just 100 items per person for a month. Date or Drop (Dating/game show, 60 min. eps.) Lucky singles hear everything about their potential date but have no idea who said what. If they hear something they don’t like, the culprit takes a sudden drop through a trapdoor.

GET GLOBAL MEDIA NEWS IN SPANISH

Contact: Lionel Marty, mng. dir. PROGRAM HIGHLIGHTS Kid-E-Cats (Preschool 2D, 208x5 min., 3x10 min., 5x2 min.) Three little kittens—Cookie, Pudding and kid sister Candy—are forever ready to jump into action with endless enthusiasm and energy. DinoCity (Kids 3-7 2D, 52x5 min.) Fun stories around a family of city dinosaurs: little Ricky and her sister Tira—who can turn everyday situations into something extraordinary—and their parents. Little Tiaras (Kids 5-8 3D, 78x7 min.) Five princesses arrive from faraway lands to study wizardry on the mysterious island of Wondermont. Adventures, secrets and dangers await them.

Galactic Agency

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. Fox and Hare (Kids 3-7 3D, 26x11 min.) The cheerful adventures of the most unexpected

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forest friends: Fox, with a taste for the finer things in life, and Hare, who is more responsible and gentler. Huggleboo (Preschool 2D, 26x7 min.) A wayward little girl goes on small adventures in and around her house, exploring things that seem normal to us but are very special to her. Galactic Agency (Kids 6-9 2D, 52x11 min.) These all-repair specialists come to the rescue at any destination in the galaxy. Hello Maestro (2D educational, 7x26x26 min.) The series to learn about the human body, the history of humankind, the discoverers and explorers of the world, sustainable development and more. Roger (Kids 6-9 3D, 78x7 min.) The lively adventures of a little girl, the carefree, joyful and occasionally perky Fatou; and an alien, the clumsy Roger, on a tropical island. Go Green with the Grimwades (Live action/format, 30x10 min.) Tim and Ella Grimwade and their six children set themselves a challenge to go green through five “R” words: refuse, reduce, reuse, repair and recycle.

ARTE DISTRIBUTION

m infosales@artefrance.fr w distribution.arte.tv/home

Contact: Florence Sala, head, intl. dist.; Alec Herrman, head, catalog & video acq. (DVD/VOD); Audrey Kamga, sales mgr.; Isabelle Monteil, sales mgr.; Franka Schwabe, sales mgr.; Sophie Soghomonian, sales mgr.; Whitney Marin, intl. sales asst.; Laura Wuilay, web mktg. project mgr jnr.

The Mystery of Joan of Arc

PROGRAM HIGHLIGHTS The Mystery of Joan of Arc (History, 1x52 min./1x90 min.) A 3D animation docudrama revealing neverseen-before minutes of Joan of Arc’s trial. Volcano Stories (Nature/discovery/travel, 15x26 min. & 2x52 min.) With stunning images and unique stories of mankind’s relationship with these natural wonders, season two will reveal neverbefore-filmed volcanoes. Drug Shortages—Profits Before Patients (Current affairs/investigation, 1x52 min./1x90 min.) Explains how pharmaceutical groups speculate on medicine to provoke drug shortages in order to raise their prices. Searching for Planet 9 (Green/science, 1x52 min./1x70 min.) At the edge of our solar system, scientists believe a huge, uncovered planet lies, ten times bigger than ours. Follow teams of international experts in their frantic race to detect it. Damon Albarn: A Modern British Tale (Art/ culture/music, 1x52 min.) Walk down memory lane with pop icon Damon Albarn, whose career spans 30 years of British history as the singer of Gorillaz and Blur.

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.

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Toni Morrison—Black Matter(s) (Art/culture/ literature, 1x52 min.) A portrait of the first Black female writer to win the Nobel Prize, who became a figurehead of African-American literature and gave a voice to the unheard. The Fire Under the Sea (Nature/discovery/travel, 1x52 min.) A unique dive into the Mediterranean Sea with an international expedition searching for undiscovered underwater volcanoes, led by Emmy Award-nominated Laurent Ballesta. Animal Odyssey (Nature/discovery/wildlife, 5x52 min.) Ride on fantastic voyage around the world to discover where the animals symbolic of each of the five continents really come from. Far West, A Story of Amnesia (History, 1x52 min.) A journey through the American West on the traces of the pre-1848 border to encounter families that have lived there since long before the U.S. takeover. Israel/Iran/USA, The Long War (History, 2x52 min.) Targeted assassinations, bombings and unidentified military attacks are piling up all over the Middle East. Can the “secret war” between Iran and Israel turn into a major regional, if not global, confrontation?

PROGRAM HIGHLIGHTS Double Threat (Action/adventure, 1x90 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 scatter his brother’s ashes. Rent a Groom (Romantic comedy, 1x90 min.) To fulfill her grandmother’s last wishes, a successful book editor contacts an agency that provides a convincing young man to play the role of her fiancé.

Paint

Black Bags (Female thriller, 1x90 min.) On a Greyhound bus, a chance encounter between two women with identical black travel bags sets off a deadly game of cat and mouse. Navigating Love (Romantic drama, 1x89 min.) After catching her husband cheating, a talented, beautiful woman is forced to figure out life in NYC ARTIST VIEW as a single woman. ENTERTAINMENT Plus One (Romantic adventure, 1x107 min.) When O (1-818) 752-2480 a young married couple becomes involved with m scott@artistviewent.com another woman, they must learn to navigate a w www.artistviewent.com three-way relationship. Contact: Scott J. Jones, pres.; Jennifer Dillon, dir., Saving Paradise (Holiday drama, 1x98 min.) A dist. services; Rachel Jones, sales & acq. asst.; Lani successful corporate raider is forced to return to his Jones, accounting. small-town roots when he suddenly inherits his

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father’s nearly bankrupt pencil factory, which is the heart and soul of the struggling community. Paint (Drama, 1x94 min.) Three friends from art school try to start their careers in the competitive NYC art world. Here Awhile (Drama, 1x87 min.) While dealing with her terminal illness, Anna returns home to reconnect with her estranged brother as she considers putting to use the Death with Dignity Act. The Believer (Thriller, 1x90 min.) Lucas, an outof-work nuclear scientist, struggles with tension in his marriage after his wife Violet mysteriously terminates her pregnancy. Blood Born (Horror, 1x90 min.) After struggling to conceive, Eric and Makayla hire a witch doctor to help them.

Berry Bees

Geronimo Stilton (Kids 6+ 2D adventure, 78x23 min.) The famous mouse journalist, together with his companions Benjamin, Trap and Thea, is launched into adventures in New Mouse City and around the world. Snow Black (Kids 10-14 live-action sci-fi/mystery, 10x30 min.) A young vlogger, nicknamed Snow Black, wakes up trapped inside the web—is she now a ghost? Her two friends help her to investigate the ATLANTYCA mysterious disappearances of young guys. ENTERTAINMENT Dive Olly Dive (CGI, 104x11 min.) The fun-filled O (39-02) 4300-101 underwater escapades of two research submarinesm distribution@atlantyca.it in-training who, under the guidance of Diver Doug, w www.atlantyca.com discover the marvels of Safe Harbour. Contact: Caterina Vacchi, head, animation dept., ZDFE.junior Catalog Atlantyca distributes proexec. producer & dist. dir.; Niccolò Sacchi, exec. grams from ZDF Enterprises’ Junior catalog in Italy. producer & dir.; Alessandra Dematteis, dist. mgr. PROGRAM HIGHLIGHTS Berry Bees (Kids 5-9 2D spy action, 52x12 min.) ATTRACTION INTERNATIONAL Three girls with the most extraordinary talents have DISTRIBUTION O (1-514) 360-0252 been recruited by the B.I.A. to become spies and solve m sales@attractiondistribution.ca missions in which only child agents can be involved. w www.attractiondistribution.ca Bat Pat (Kids 5-9 2D sitcom, 104x11 min.) Bat Pat and his friends Martin, Leo and Rebecca unravel Contact: Xiaojuan Zhou, pres.; Max Oliveras, VP; mysteries and cross paths with supernatural crea- Sylvia Kocman, admin. mgr.; Antonello Cozzolino, tures who don’t really want to hurt anyone. producer.

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TV LISTINGS 13

PROGRAM HIGHLIGHTS The Sketch Artist (Crime thriller, 10x44 min./5x86 min.) A crime thriller seen through the lens of a young forensic sketch artist capable of “reading” people who helps solve a laundry list of sordid crimes.

Way Over Me

Way Over Me (Psychological thriller, 6x50 min.) The series takes us into the world of mental health, where Dr. Justine Mathieu follows up on patients brought in by frontline emergency responders. Fluffy Academy (Children’s comedy, 26x3 min.) Follow the adventures of Neo, an endearing guinea pig, in his new school as he learns to adapt to his new environment and friends.

Trouble Maker (Drama, 45 min. eps. in prod.) Psychology enthusiast Ipek, who is working at the police department, and Şahin, the chief commissioner of the murder bureau, prove that opposites do attract. For My Family (Drama, 63+x45 min.) After the sudden death of their parents, Kadir and his siblings find themselves in a new life without any money in their pockets and no shelter. Maria and Mustafa (Drama, 58x45 min.) The love story of a Colombian girl named Maria, who returns to Turkey after her father passes away, and a Turkish guy named Mustafa, who is forced to get married to another girl to end a blood feud. The Ottoman (Drama, 185+x45 min.) Osman will fight for the future of the Kayı tribe and to be reunited with his love, Bala Hanım. Hercai (Drama, 250+x45 min.) Reyyan and Miran try to appreciate their love despite all obstacles. Lifeline (Drama, 207x45 min.) Sold to a businessman as a child bride, Nefes suffers at the hands of her husband’s abuse.

ATV

O (90-212) 354-3701 m info@atvdistribution.com w www.atvdistribution.com Contact: Muge Akar, content sales deputy mgr.; Emre Gorentas, content sales deputy mgr.; Gozde Dinc Ozcan, content sales specialist; Merve Dogan, content sales specialist. PROGRAM HIGHLIGHTS Wounded Heart (Drama, 45 min. eps. in prod.) A Maria and Mustafa story of revenge between two families.

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Love and Secrets (Drama, 85x45 min.) Ali and Pilot, unaware that they are brothers, will begin to fight each other. Ali and Sevda, completely opposite characters, will fall in love. Grand Family (Drama, 45 min. eps. in prod.) Hizir, a high-ranking member of a weapons smuggling syndicate, attempts to hold his family together and survive without choosing between his wife and his mistress. Don’t Leave Me (Drama, 147+x45 min.) Arzu, her husband Cengiz and her two sons, Tarik and Emre, live together in Ankara.

Ancient Greece and the Netherlands in three miniseries. All have left legacies, changing history and the way we live. Napoleon—The Beginning of the End (History, 1x90 min.) Reconstructs the fateful showdown between Napoleon and Metternich. Trace the steps of Napoleon’s downfall guided by international historians.

AUTENTIC DISTRIBUTION

O (49-89) 673-469-797 m sales@autentic.com w www.autentic.com

Contact: Mirjam Strasser, head, sales & acq., German-speaking & Italy; Birte Zywko, intl. sales mgr., France, Benelux, Nordics, U.K., LatAm, Spain, Portugal, U.S., Canada; Julian Althaus, snr. sales mgr., AsiaPac, MEA, Central Europe, inflight, digital sales; Angelika Stebbings, acq. mgr. PROGRAM HIGHLIGHTS Heroes of the Deep (Fact-ent., 4x45 min.) Follows the Baltic Divers to the bottom of the sea, where they come across unusual and sometimes explosive stories. Wrecks (Science/tech., 3x52 min.) Visits the famous wrecks of Wakashio, MT Haven and Orient Queen, focusing on the engineering of the ship disasters and the environmental effects of the wrecks. Empire Builders (History, 3x60 min., 2x60 min., 2x60 min.) Examines the great empires of China,

Heroes of the Deep

Rewilding: Back to Nature (Nature/wildlife, 1x52 min., 1x30 min.) Discovers a new form of nature conservation that aspires to make the world a wilder place by creating a network of wilderness corridors across entire continents. The History of Camping (Lifestyle, 1x52 min.) Shows what makes camping so fascinating. Travels back to the beginnings 100 years ago to the post-war camping boom to present day. Survival of the Fittest in the Alps (Nature/wildlife, 1x52 min.) Reveals the amazing abilities animals have developed to adapt to the extreme conditions, and looks at how climate change is altering their behavior. The Virus Within Us (Science/tech., 1x52 min.) Unravels the secrets and myths surrounding viruses. They are considered dangerous and deadly but they are less a threat than indispensable architects of all life.

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TV LISTINGS 15

World’s Most Dangerous Railway Lines (People/places, 3x45 min.) Follows the most dangerous railway lines, crossing extreme heights, oceans, savannahs and braving hurricanes. Agents of Democracy—Civil Society Under Attack (Current affairs, 1x52 min.) Illustrates the repressions civil society is subjected to and the impact on the future of the democratic idea, using the examples of India, Russia and Poland.

BABEL FILMS

O (1-514) 261-5716 m eric@babelfilms.com w www.babelfilms.com Contact: Eric Piccoli, Philippe-A. Allard, Mathieu Paiement, Marco Frascarelli. PROGRAM HIGHLIGHTS Je voudrais qu’on m’efface (Wipe Me Away) (Drama, S1: 8x20 min., S2 in dvpmt.) The lives of children who live in a tough neighborhood of Montreal. Écrivain public (Public Writer) (Drama, S1: 3x22 min., S2: 5x23 min., S3: 5x23 min.) In a poor neighborhood of Montreal, Mathieu is a public writer doing his best to find the right words to help others.

Je voudrais qu’on m’efface (Wipe Me Away)

GET DAILY NEWS ON KIDS’ PROGRAMMING

Les Rose (The Rose Family) (Drama/nonfiction, 1x127 min.) In October 1970, members of the Front de libération du Québec kidnapped minister Pierre Laporte. Fifty years later, Félix Rose tries to understand what led his father and uncle to commit these acts.

BANIJAY RIGHTS

O (44-870) 333-1700 m sales@banijayrights.com w www.banijayrights.com Contact: Matt Creasey, EVP, sales, acq., coprod. (worldwide, excl. EMEA); Claire Jago, EVP, sales & acq., EMEA; Jane Rimer, SVP, Canada; Michelle Wasserman, SVP, LatAm finished tape & formats; Rashmi Bajpai, EVP, Asia; Chris Stewart, SVP, U.K. & Eire; Andrew Dickens, VP, press. PROGRAM HIGHLIGHTS Germinal (Drama, 6x60 min.) The story of a miners’ strike during the Second Empire, recounting their passion, suffering, rebellion and comradeship. Grantchester (Drama, S6: 8x60 min.) In 1958 in the Cambridgeshire village of Grantchester, Reverend Will Davenport relishes his role as a firebrand vicar. A Class Apart (Drama, 8x60 min.) At Sweden’s topranked boarding high school, a secret society for the super-rich indulge in the hazing of two new members. The following morning, one of them is found dead. The Good Karma Hospital (Drama, S4: 6x60 min.) Tells the story of a junior doctor who arrives in India looking for a job and a distraction from her heartbreak.

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TV LISTINGS

BEYOND RIGHTS

O (44-207) 323-3444 m sales@beyondrights.tv w www.beyondrights.tv

Grantchester

Hierro (Drama, S2: 6x60 min.) In season two, a few months have passed since El Hierro was shaken by a series of murders, and things have finally returned to normal. Survivor Australia (Ent., S8: 7x60 min. & 17x90 min.) A show that tests the spirit of 16 ordinary, and yet extraordinary, people. SAS: Who Dares Wins—2021 Celebrity (Ent., 6x60 min.) Twelve celebrities head into wilds of Scotland to be put through what the DS believe is their toughest selection course yet. LEGO Masters USA (Ent., S2: 12x60 min.) Hosted by Will Arnett and based on the hit British realitycompetition series of the same name, brings imagination, design and creativity to life when teams of LEGO enthusiasts go head-to-head. Changing Rooms (Ent., S16: 6x60 min.) DIYers work against the clock to renovate a room in each other’s houses with the help of interior design icons. Temptation Island: Back to Love USA (Ent., S3: 12x60 min.) In this social experiment, four couples at a crossroad in their relationships put their love to the test.

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Contact: Kate Llewellyn-Jones, CEO; Connie Hodson, head, partnerships & business dvpmt.; Simona Argenti, head, sales, U.K., Italy; Joanne Azzopardi, EVP, sales, ANZ, Asia; Sherry Fynbo, EVP, sales, U.S., Canada; Holly Cowdery, VP, sales, France, CEEMA, Nordics; Lenneke de Jong, VP, sales, Benelux, Germany, Iberia, LatAm; Sarah McCormack, SVP, acq. & coprod.; Nicola Davey, SVP, acq. & coprod.; Sean Harris, head, intl. mktg. PROGRAM HIGHLIGHTS Facing Monsters (Feature doc., 1x90 min.) Free surfer Kerby Brown takes on the world’s deadliest slab waves in Western Australia, attempting to reconcile personal demons and fulfil a childhood dream. Bismarck: 24 Hours to Doom (History, 1x60 min.) Based on Iain Ballantyne’s best-selling book, this documentary provides a countdown of the German warship Bismarck’s final 24 hours in May 1941. Motor MythBusters (Auto, 8x60 min.) The enduring franchise returns, this time taking science to the streets and putting car-related pop culture, viral videos and urban legends under the microscope. Ice Vikings 2 (Reality/ob-doc., 8x60 min.) Following men and women undertaking one of the most dangerous professions in the world—ice fishing— banking on big money before the ice melts. Pooch Perfect USA (Ent./competition, 8x60 min.) Hollywood star Rebel Wilson hosts the

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American version of this prime-time competitive BIG BAD BOO STUDIOS dog grooming series. Race for the Future (Travel/adventure/eco, 4x60 O (1-604) 688-6484 m info@bigbadboo.com min.) Adventurer James Levelle undertakes a w bigbadboo.com 9,000-mile international race against the clock to raise awareness about climate change—but without Contact: Shabnam Rezaei, cofndr. & pres.; Aly Jetha, cofndr. & pres. becoming part of the problem. PROGRAM HIGHLIGHTS 16 Hudson (Kids 4-7, S1-2: 84x7 min., S3: in prod.) Follows Lili, Sam and Amala as they embark on small adventures in a big city while showing us what friendship is all about. 1001 Nights (Kids 6-9 comedy, S1-2: 52x11 min.) Brings the delightful tales of the famed 1001 Arabian Nights to the screen. ABC with Kenny G (Kids 3-5, S1: 30x2 min., S2: Facing Monsters in prod.) When night falls and the humans at 16 British Columbia: An Untold Story (History, Hudson go to bed, grumpy Kensington sings late4x60 min.) Using interviews, archive and footage, night ABC songs at the local “Milk & Cookies” club. tells the Canadian province’s fascinating history through inclusive and diverse perspectives. Train Truckers (Reality/ob-doc., S2: 8x60 min.) The adventures of a crew of heavy-haulage specialists who transport the heaviest, longest and most precious locomotives around the world by road, rail and sea. Underground Worlds (History, S2: 10x60 min.) Revealing hidden stories of some of the world’s ABC with Kenny G most extraordinary underground structures, both Galapagos X (Kids 6-9, 52x11 min.) Environmental trouble comes in all shapes and sizes, but natural and manmade. Nina & Olga (Kids, 52x7 min.) Based on Nicoletta there’s nothing Oshie, Rae, Zephyr and Orchid, Costa’s best-selling books, following the adven- a.k.a. Team Galapagos X, can’t field. tures of 6-year-old Nina, her classmate Teo and Judge Jodhi (Kids 6-9, 20x11 min.) Jodhi Metha, 12, has set up a mock courtroom in her backyard. their very special friend Olga, a light young cloud.

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Assisted by her brother Mani, she must rule on neighborhood cases. Lili & Lola (Kids 3-5, S1-3: 15x7 min.) The adventures of two sisters who live in a small apartment with their Mama, Papa and lazy cat, Kensington. The Bravest Knight (Kids 6-9, S1: 13x11 min., S2: in dvpmt.) A young pumpkin farmer named Cedric attempts to become the greatest knight who ever lived.

his team as they make the journey around the world in a World-War-II-era Spitfire plane. Cops on the Rock (Crime/action, 10x60 min.) Following Gibraltar’s police and customs forces as they deal with international smugglers and drug dealers on a regular basis.

BLUE ANT INTERNATIONAL

m international@blueantmedia.com w blueantinternational.com PROGRAM HIGHLIGHTS Battle of the Alphas (Nature/wildlife, 12x30 min.) Our planet is a battleground as animals go headto-head with their own kind. Osprey: Sea Raptor (Nature/wildlife, 1x60 min.) A veteran pair of osprey battle enemies and the elements to raise the next generation of sea raptors. Encounter: UFO (Paranormal, 8x60 min.) Combines compelling visual evidence of UFOs with the firsthand accounts of those who were there. History by the Numbers (History, 20x60 min.) Takes a global dive into the extraordinary and often overlooked numbers that have created our world’s history. Bathsheba: Search for Evil (History/paranormal, 2x60 min.) Examines the truth behind the story of Bathsheba Sherman, a witch made famous by the film The Conjuring, and the Perron family, who have been haunted by her. Silver Spitfire: The Longest Flight (History, 1x60 min./1x90 min.) Follows pilot Matt Jones and

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Osprey: Sea Raptor

Secrets of the Imperial War Museum (History, 6x60 min.) Hundreds of Imperial War Museum experts and volunteers work tirelessly to preserve the most important objects and stories from our past. Spirit to Soar (Human interest doc., 1x60 min.) Examines the hard truths around seven missing or dead First Nations high school students—truths the country of Canada has long ignored. Shadowlands (Nature/wildlife, 3x60 min.) Wildlife dramas play out in snow-capped fiords where saltwater mixes with fresh.

BOAT ROCKER STUDIOS

O (1-416) 591-0065 m sales@boatrocker.com w www.boatrocker.com

Contact: Jon Rutherford, pres., Boat Rocker Studios, kids & family & rights; Kate Schlomann, EVP, brand

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mngmt. & content mktg.; Bob Higgins, EVP, content, kids & family; Gia DeLaney, SVP, global sales, kids & family; Henry Or, SVP, strategic partnerships, Asia; Natalie Vinet, VP, global sales, unscripted; Chapman Maddox, VP, dvpmt. & prod.; Jessica Watson, snr. dir., global sales & acq.; Kelsey Griffin, snr. mgr., global sales & mktg.; Fabien Ching, mgr., global sales & lic., Asia. PROGRAM HIGHLIGHTS Mary Makes it Easy (Food/lifestyle, 25x30 min.) Filmed at her very own home kitchen, the series follows Mary Berg as she shares tips, tricks and recipes to solve everyday cooking conundrums. Weeks of War (History, 8x60 min.) By analyzing the events in 41 critical weeks of WWII, we explore how people lived and survived during the most devastating conflict the world has ever seen.

Mary Makes it Easy

COVID America (Current events, 2x60 min.) Uncovers how everyday Americans are dealing with the pandemic and the new structure of their lives. Chuck and the First People’s Kitchen (Lifestyle/food, S2: 13x30 min.) The veteran chef travels through forests, rivers and snow-covered landscapes as he prepares world-class meals using the resources the land provides and the sharing of ancestral recipes.

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Relative Race (Reality/competition, S7: 10x60 min.) Four teams take a ten-day journey across the country to discover new relatives and compete for a grand prize using the contestant’s DNA as a road map. Dino Ranch (Preschool 2-5 3D comedy/ adventure, 104x11 min.) Follows the adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam. Love Monster (Preschool 3-5 2D comedy/adventure, 79x7 min. & 1x14 min.) Love Monster happens to be the only monster among a sea of cute baby animals. Remy & Boo (Preschool 2-5 3D adventure, 52x11 min.) Remy is an adventurous 6-year-old girl with a unique best friend Boo, a big, squishy, pink robot. Kingdom Force (Preschool 3-6 3D action/ adventure, 52x11 min.) Follows the exploits of five mighty animal heroes as they serve and protect the citizens of five unique animal kingdoms. The Strange Chores (Kids 6-11 2D comedy/adventure, 52x11 min.) Two teenage wannabe warrior heroes and a super high-spirited ghost girl master the skills they need to replace the world’s greatest (and oldest) monster hunter by doing his strange, supernatural chores.

BOSSANOVA

m sales@bossanovamedia.com w www.bossanovamedia.com Contact: Paul Heaney, CEO; Tatjana Kostovski, snr. sales mgr.; Jasmin Joseph, mktg. mgr. PROGRAM HIGHLIGHTS Accused of Murdering Our Son (Crime/ investigation, 1x60 min.) Follows in real time the

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unique experience of an elderly couple accused of murdering their son. The Ripper Speaks (Crime/investigation, 1x90 min.) This film provides access to the country’s most notorious serial killer, Peter Sutcliffe. Stuck in the Suez (Doc., 1x60 min.) In March 2021, the Suez Canal was blocked for six days after the grounding of Ever Given. This documentary investigates the origins of this epic mishap.

Border Patrol (Reality, S12: 10x30 min.) We have the eye-opening opportunity to look over the shoulder of the men and women on the frontline: those responsible for protecting the border. Highway Cops (Reality, S6: 10x30 min.) Follows the officers who aim to keep motorists safe on 11,000 kilometers of unforgiving roads in New Zealand. British Museum: History Hunters (Popular factual, 4x60 min.) There are over 50,000 archaeological finds reported to the British Museum Portable Antiquities Scheme team each year. We’ll tell the stories of Britain’s most fascinating finds.

CAKE

O (44-207) 307-3230 m info@cakeentertainment.com w www.cakeentertainment.com Black Panthers of WW2

Decades That Defined Us (History, 3x60 min.) Paints a picture of life during the decades that defined us: the ’60s, ’70s and ’80s. Black Panthers of WW2 (History, 1x60 min.) Through dramatic reconstruction, interviews with the veterans and their families, this show tells the incredible hidden story of the brave men who fought in this little-known tank battalion. Dog Patrol (Reality, S11: 10x60 min.) Follows the integral roles that working dogs and their handlers play on the frontline to protect the community. Motorway Patrol (Reality, S19: 10x30 min.) Those who drive on New Zealand’s motorways never fail to deliver when the cameras are rolling.

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Contact: Ed Galton, CEO; Bianca Rodriguez, head, sales; Rob Doherty, SVP, prod.; Daniel Bays, VP, dvpmt.; Julien Farçat, sales mgr.; Bassma Rassi, sales exec.; Zoe Durand, sales coord.; Tanya Peck, mktg. mgr.; Odilia Sickinghe, dvpmt. coord. PROGRAM HIGHLIGHTS Total Drama Island (Kids 6-12 animation, 26x22 min.) After seven seasons, it’s time to go back to the island as Total Drama promises to take reality to the next level with wild challenges, dramatic eliminations and total insanity. Dodo (Kids 8+/family, 20x11 min.) A funny, relatable and heartwarming portrayal of everyday school life as experienced by 11-year-old Joe Connolly navigating the dramas and pitfalls of his first year at secondary school.

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Pablo (Preschool animation, 104x11 min.) Pablo, a 5-and-a-half-year-old boy who is on the autism spectrum, turns his life challenges into imaginative drawings to help him face the real world with confidence. Kiri and Lou (Preschool animation, 78x5 min.) Kiri, a feisty little dinosaur, and Lou, a gentle and thoughtful creature, navigate a forest of feelings with laughter, song and adventure. Mighty Mike (Kids 6-12 animation, 78x7 min.) B.O.T. and the BEASTIES Non-dialogue slapstick comedy featuring a refined B.O.T. and the BEASTIES (Preschool animation, pug who longs for a quiet life but is instead forced 50x5 min.) From Ragdoll Productions, introduces to defend his house from a bunch of furry intruders. the comic adventures of a lovable robot as he discovers new worlds and an assortment of bizarre CARACOL TELEVISIÓN beasties that inhabit them. O (1-305) 960-2018/ Jorel’s Brother (Kids 8-12 animation, 104x11 (571) 6430-430 min.) Multi-award-winning Brazilian animated m sales@caracoltv.com.co comedy that follows the daily adventures of a shy w www.caracolinternacional.com/en and nameless 9-year-old boy, who is overshadContact: Lisette Osorio, VP, intl. sales; Paloma owed by his more infamous sibling. Tish Tash (Preschool animation, 52x5 min.) Garcia, sales dir., Europe, Africa; Jesus Iriepar, Young bear Tish, her bear family and her larger- sales exec., Asia, Europe, Middle East. than-life imaginary friend Tash embark on fun PROGRAM HIGHLIGHTS adventures while inspiring imaginative play and The Cartel The Origin (Super-series, 60x60 min.) The untold story of the Cali Cartel, profiling problem-solving in young children. Angry Birds Slingshot Stories (Kids 4+ anima- two men who climbed the ranks in the criminal tion, 40x1 min.) A behind-the-scenes look that world and become the lords of the drug world. gives us some answers to all the big questions Blood Sisters (Super-series, 60x60 min.) In this historical drama, three aristocratic sisters live doufrom the Angry Birds games. Non-dialogue. Mush-Mush & the Mushables (Animation, ble lives as spies for the liberation army, facing the 48x11 min./2x22 min.) Follows the exciting out- Spanish army, led by Coronel Montenegro, who is door adventures of the Mushable community, responsible for the death of their mother. pocket-sized Guardians of the Forest, as they The Queen of Flow (Telenovela, S2: 80x60 min.) The new season of the International Emmy-winning embark on a fun journey of self-discovery.

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telenovela delivers a vibrant story with high doses PROGRAM HIGHLIGHTS of adrenaline, romance and musical flow. Rebecca (Scripted, 8x60 min.) A tormented yet brilliant Parisian detective battles depression and a series of blackouts while piecing together a brutal murder investigation. Crime (Scripted, 6x60 min.) From the best-selling novels of Irvine Welsh, prepare to enter a dangerous world and the troubled mind of DI Ray Lennox. The Greatest of All Time with Photographer Walter Iooss (Doc., 3x60 min.) The world’s greatest athletes as seen through the extraordinary lens of America’s most iconic sports photographer: The Cartel The Origin Walter Iooss. The Challenge The Box (Ent. format) A new Voices from the Dead (History, 3x60 min.) Leadadventure in the middle of the jungle and the Andes ing a forensic investigation into some of the most mountains, where a small citadel like no other has enduring mysteries of the ancient world, Professor been built. Bettany Hughes brings back voices from the dead. Secret Nazi Expeditions (History, 6x60 min.) Exposing Hitler’s twisted hunt for ancient knowlCINEFLIX RIGHTS edge and artifacts to help deliver Germany an edge O (44-20) 3179-5050 on the battlefield and everlasting world domination. m sales@cineflix.com Smoke & Steel: Secrets of the Modern World w www.cineflixrights.com (History, 6x60 min.) Exploring the extraordinary Contact: Tim Mutimer, CEO, Rights, Cineflix Media; innovations of the Industrial Revolution and revealJames Durie, head, scripted; Tom Misselbrook, SVP, ing how the very same techniques are changing the scripted sales & dvpmt.; Sandra Piha, SVP, sales, way we live, think and build today. pan-regional, U.K., Eire, Scandinavia; Lucinda Gergley-Garner, SVP, sales, North America, German-speaking territories; Chris Bluett, SVP, sales, AsiaPac, Benelux; Kai Rowley, VP, sales (FTC), Africa, CEE, Middle East, Southern Mediterranean; Meghan Baxter, snr. sales exec., OTT, inflight, nontheatric, footage, home ent.; Sabrina Ayala, SVP, sales, France, Italy, Iberia, LatAm. Crime

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Moving Houses (Fact-ent., 10x60 min.) Follow daring Kiwis as they take on the ultimate reno recycling project—moving must-have homes to pictureperfect New Zealand destinations. Expert Witness (True crime, 15x30 min.) Reveals how forensic specialists used science and determination to uncover critical hidden clues. Ainsley’s Good Mood Food (Fact-ent., 10x60 min.) Join one of Britain’s favorite TV chefs for a delicious cross-country road trip fueled by a passion for local produce and food that feeds the soul. Left for Dead: The Ashley Reeves Story (TV movie, 1x90 min.) The harrowing true story of a teenage girl who had to fight for her life three times—first in the woods, then in the hospital and finally in court.

CISNEROS MEDIA

O (1-305) 442-3400 w www.cisneros.com Contact: Jonathan Blum, pres.; Ailing Zubizarreta, VP, content & creative services; Carlos Cabrera, VP, sales; Maria Benel, sales dir. PROGRAM HIGHLIGHTS Zumbar (Children’s, 26x5 min.) A live-action series in which six children play interactively with a great variety of animals while learning from them and our ecosystem. AnimalFanPedia (Edutainment, 26x11 min.) A dynamic, fun and educational wildlife program, bringing every kind of animal imaginable to families. Planet A (Doc., 8x60 min.) A travelogue that will tell the stories of people who are changing the

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game by taking actions and initiatives that have a positive impact on our planet’s resources.

Planet A

Food Pop/Comida Pop (Docuseries/ent., 13x30 min. English & Spanish versions) Brings to light the various aspects of popular foods that are consumed worldwide and how their recipes change in each region or country. Wowzu (Children’s, 52x7 min.) In this live-action series, children will react in fun and silly ways to wild and wacky animal behaviors.

COOKBOOK MEDIA

O (1-914) 844-5439 m info@cookbook-media.com w www.cookbook-media.com Contact: Claudia Scott-Hansen, partner; Rob Bencal, partner. PROGRAM HIGHLIGHTS Chase and CATCH (Kids 8+ CGI action comedy, 13x22 min.) A serialized action comedy featuring a futuristic detective duo pursuing a diabolical outlaw syndicate that has taken over their city. The Jolliest Elf (Kids real-time animation, 12x7 min.) The first-ever animated talent competition show set in

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TV LISTINGS

the North Pole, featuring magical music-filled performances, with viewers voting for the winner. L’il Stompers (Kids 2-4 CGI SEL comedy, 78x5 min. in prod.) The L’il Stompers are a huggable, cuddly group of stuffed dinos seeking knowledge and understanding of the amazing world around them.

The Jolliest Elf

Tasty Tales of the Food Truckers (Kids 5-9 3D/2D comedy adventure, 52x11 min.) Join young chefs traveling the world via food truck, encountering wild adventures in search of unique and crazy ingredients. Out of the Nest (Kids 4+ CG comedy adventure, 1x90 min.) An unlikely young hero suddenly becomes the protector to five young, rambunctious, royal fledglings, embarking on a journey to save their kingdom. Shelldon (Kids 4-6 CG eco-adventure, 78x11 min.) The adventures of aquatic friends who live on a coral reef and learn to be responsible environmental citizens.

CURIOSITY

Bakori Davis, mng. dir. & head, intl. dist.; Brandon Fong, SVP & head, North American dist. PROGRAM HIGHLIGHTS Doug to the Rescue (Wildlife/nature, S1: 6x30 min., S2: coming soon) Equipped with a cutting-edge infrared drone, Doug Thron heads into disaster zones to save the cats and dogs that have been left behind. Engineering the Future (Science/tech., 6x60 min., S2: coming soon) An engineering revolution is underway, driven by dedicated individuals who are building extraordinary machines that will change our lives. Ancient Engineering (History, 10x50 min.) The ancients were brilliant engineers who built spectacular monuments. Ancient Yellowstone (Wildlife/nature, 3x20 min., S2: coming soon) Yellowstone National Park is famous for its unparalleled beauty, but there’s more happening in this breathtaking spot. The History of Home (Lifestyle, 3x60 min.) Narrated by Nick Offerman, unlock the door to an entertaining journey around the world to explore the past, present and future of what makes our houses homes. Hot Roads (Travel/adventure, 5x43 min.) A risky expedition along thoroughfares that harbor mortal danger for those who use them or live on them. Rescued Chimpanzees of the Congo with Jane Goodall (Wildlife/nature, 5x52 min.) Jane Goodall braved a realm of unknowns to give the world a remarkable window into humankind’s closest living relatives.

m distribution@curiositystream.com w www.curiositystream.com Contact: John Hendricks, fndr. & chmn.; Clint Stinchcomb, pres. & CEO; Jason Eustace, CFO; Tia Cudahy, COO & general counsel; Bill Goodwyn, chief revenue officer & EVP, strategy, business dvpmt. & partner; Rob Burk, head, original content; Ancient Yellowstone

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CYBER GROUP STUDIOS

O (33-1) 5556-3232/

(1-818) 844-1660 m sales@cybergroupstudios.com w www.cybergroupstudios.com Contact: Pierre Sissmann, pres. & CEO; Raphaelle Mathieu, SVP, sales, acq. & new media; Karen K. Miller, pres. & CEO, Cyber Group Studios USA; Dominique Bourse, COO; Olivier Lelardoux, SVP, studio & associate producer; Pierre Belaïsch, SVP, creative dvpmt.; Bruno d’Aumont, lic. & mktg. VP; Michèle Massonnat, snr. sales mgr.; Jessica Laloum, intl. sales exec.; Ira Singerman, VP, dvpmt., Cyber Group Studios USA. PROGRAM HIGHLIGHTS 50/50 Heroes (Kids 6-10 CGI comedy/adventure, 52x11 min.) The adventures of Mo and Sam, half-siblings aged 11 and 9, who discover they have inherited superpowers that must be shared down the middle. The Last Kids on Earth (Kids 8-12 comedy action, 1x66 min. pilot, 22x22 min. & 2 specials) Netflix original animated series follows Jack Sullivan and a group of zombie-fighting middle schoolers who live in a treehouse filled with video games and candy. Gigantosaurus (Kids 4-6 2D/CGI comedy/adventure, 52x11 min.) Four young dinosaur friends are about to leave the family and explore a world full of mysteries and danger. Taffy (Kids 6-10/family 2D comedy, 78x7 min.) Follows the non-stop, slapstick extravaganza 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.

Droners (Kids 6-10 2D/CGI adventure/comedy, 26x22 min.) In Terraqua, a world 95 percent covered by oceans, Corto, Arthus, Enki and Mouse firmly intend to win the Whale Cup, the most extreme drone race of all time.

The Last Kids on Earth

Nefertine on the Nile (Kids 4-7 2D/CGI comedy, 52x11 min.) Nefertine, a little girl endowed with lively intelligence, inexhaustible curiosity and great courage, aspires to be the first female scribe in the history of Egypt. Squared Zebra (Preschool 3-5 2D comedy/ edutainment, 78x7 min.) Follows the daily adventures of Checkery the zebra and her friends as they learn to overcome their differences and embrace life in all its diversity and beauty. Tom Sawyer (Kids 6-12 CGI adventure, 26x22 min.) Tom Sawyer, a boy called to adventure from the moment he wakes up, and his friends are always on the go. Orange Moo Cow (Preschool 3-6 2D comedy, 52x7 min.) Follows the daily life of Zoh, an energetic 6-year-old cow, and her little brother, Boh, a sensitive and curious 4-year-old bull. Bananimals (Kids 5-8 2D comedy, 78x7 min.) Follows the daily lives of the animal inhabitants of a farm village whose primary activity is to go and ask Gordon the Bull, their mentor, for help and advice.

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DARO FILM DISTRIBUTION

O (377) 9797-1605 m daro@daro-films.mc w www.daro-films.mc Contact: Pierre Andre Rochat, pres. & sales, South Africa, Poland, U.K., Ireland, Seychelles; Bertrand Reignier, head, sales & sales, U.S., Canada, France, Spain; Alexander Von Moers, sales exec., Germanspeaking Europe, Italy, Asia; Razvan Enache, sales exec., Eastern Europe excl. Poland; Polina Gurko, sales exec., CIS, Baltics, Scandinavia; Michael Greenwood, sales exec., French Africa, MENA, Turkey, Greece, Benelux, ANZ; Carina Mendes, sales exec., Portugal, Portuguese Africa; Sandra Crotty M’Sili, head, acq.; Adam Champ, head, mktg./digital. PROGRAM HIGHLIGHTS Mystic (Family adventure, 29x30 min.) A young girl and her group of horse-mad friends work together to prevent an environmental disaster in their small town. Around the World in 80 Days (Action/adventure, 8x60 min.) Gentleman adventurer Phileas Fogg sets out on a quest to travel around the world and back in a period of 80 days. Anja: Life on the Frontline (War biopic, 1x90 min.) Portrays the life of war photographer Anja Niedringhaus. Against the Wild: The Journey Home (Family adventure, 1x90 min.) Chinook the Alaskan Malamute must lead a shipwrecked blind man out of the wilderness, while the man’s children launch a rescue mission of their own. Christmas in Montana (Christmas romantic comedy, 1x82 min.) Before the holidays, Sara goes to Montana to help resistant Travis save his ranch. Can time on the ranch help restore her faith in Christmas in time for a miracle?

Mystic

A Perfect Match (Romantic comedy, 1x90 min.) When Zoe Williams has to prove her company’s new dating app works, she tests it on herself and ends up on a date with her complete opposite, Jake Thomas. Apex (Action, 1x90 min.) Five elite hunters pay to hunt a human on a deserted island. But each hunter begins to fall as the prey fights back with a determination they have never witnessed before. Habit (Crime comedy, 1x82 min.) When a streetsmart party girl with a Jesus fetish gets mixed up in a violent drug deal, she finds a possible way out by masquerading as a nun. Sorority Sister Killer (Female thriller, 1x89 min.) A grieving mother uncovers some difficult truths as she investigates the death of her eldest daughter following a seemingly drunken incident at a frat party. Dolphin Island (Family adventure, 1x90 min.) A teenager moves to an island paradise after losing her parents and soon develops a bond with a friendly local dolphin.

DISTRIBUTION360

O (1-416) 646-2711 m sales@distribution360.com w www.distribution360.com Contact: Diane Rankin, SVP, rights & exec. producer; Smiljka Baljozovic, dir., sales; Joanna Rowley, sales cnslt.; Robert Laughlin, dir., business dvpmt.

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PROGRAM HIGHLIGHTS Race Against the Tide (Reality competition, 10x30 min. & format) Ten world-class sand sculpting teams compete to create extraordinary sand structures—before the tide comes in and rips them out to sea. Best in Miniature (Reality competition, 10x60 min. & format) Miniaturists set out to create their dream homes in painstaking detail, using ingenuity and incredible design skills to shrink life-size objects to 1:12 scale.

Race Against the Tide

Blown Away (Reality competition, 10x30 min.) Showcasing the intriguing world of glassblowing and filled with fascinating characters and incredible artworks. The Parker Andersons/Amelia Parker (Family sitcom, 20x30 min.) Two interconnected family sitcoms following the comedic everyday world of a diverse, newly blended family. It’s one story world but told from two different perspectives. All-Round Champion (Family reality, S4: 11x60 min.) Talented teen athletes compete in each other’s sports. This time, they’ll be taking on both summer and winter sports. Escape if You Can (Kids live-action, 26x30 min.) Three young contestants work together to solve the mad professor’s puzzles, challenges and experiments to crack the code and escape his spooky chambers.

Happy House of Frightenstein (Kids animation, 10x3 min.) Fiendishly funny mini monsters play, laugh and grow together in a giant castle-like play structure located in the charmingly spooky backyard of Castle Frightenstein. Polkaroo Counts (Kids live action, 30x2 min.) Polkaroo, a colorfully spotted kangaroo, makes learning fun by taking kids on a wide range of adventures in numeracy and preschool mathematics. Where’s My Alphabet (Kids live action, 26x2 min.) Self-shot by kids and their family members, young treasure hunters go on scavenger hunts to discover the alphabet in their very own backyards. Finny the Shark (Kids animation, 12x11 min.) Finny and his ocean-going friends explore stories of friendship, family and everyday life, with his wild imagination turning even ordinary experiences into over-the-top adventures.

DORI MEDIA GROUP

O (972-3) 647-8185 m sales@dorimedia.com w www.dorimedia.com

Contact: Nadav Palti, pres. & CEO; Carolina Sabbag, VP, sales, Western Europe, U.S., Canada; Maria Perez Campi, dir., sales, LatAm, U.S. Hispanic; Camila Premet, sales mgr., CEE, CIS, Africa; Haikal Jamari, sales mgr., Asia, Middle East; Einat Borovich-Naim, VP, mktg. PROGRAM HIGHLIGHTS Power Couple (Reality format) Puts love to the test like you’ve never seen before as eight couples face extreme challenges that will test how well they really know each other. Da Next (Digital talent competition) The next generation of talent competition hits.

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manage a boutique hotel, which they will have to fulfill in order to claim the inheritance.

ECCHO RIGHTS

Da Next

Spy Date (Reality dating) A former Mossad agent and a professional matchmaker manipulate two singles to meet “by chance” and go on a date. El Cielo Puede Esperar (Heaven Can Wait) (Ent.) Have you ever wondered how your own funeral would be? Who would go? What would they say? Some of the most loved Spanish celebrities have been chosen to check it out. The New Black (Comedy, 28x30 min.) They live the dream—on the one hand, they enjoy the benefits of the prestigious yeshiva student status in the orthodox society, and on the other hand, they enjoy the pleasures of modern life. Normal (Drama, 8x35 min.) When 24-year-old Noam Ashkenazy hits rock bottom, he finds his own route to normality in the unlikeliest of places: the psych ward. Dumb (Crime drama, 75x35 min.) A frustrated and stoned 30-year-old actress goes undercover as a student in high school trying to help her exboyfriend, who was charged with drug dealing. The Best of All (Shiny-floor game show) Is the average answer from a large group of people always closer to the right result than the answer of one? Little Mom (Comedy, 51x30 min.) An internationally successful comedy that reveals the harsh truth of life after having kids. Las Estrellas (5 Stars) (Romantic comedy, 120x60 min.) The death of Mario Star leaves his five daughters facing a challenge to successfully

O (46-8) 55-60-9380 m info@ecchorights.com w www.ecchorights.com Contact: Fredrik af Malmborg, mng. dir.; Nicola Söderlund, mng. partner; Handan Özkubat, dir., Turkish drama; Hyo Sohn, chief strategy officer; Adam Barth, dir., coprod., acq. & dvpmt.; Lucy Roberts, dir., sales, Western Europe; Barbora Suster, head, LatAm, Iberia; Deborah Youn, head, Asia business. PROGRAM HIGHLIGHTS Liar (Thriller, 45 min. eps.) From Sürec Film for Show TV in Turkey. One of Us (Romantic drama, 45 min. eps.) A young couple, desperately in love but born worlds apart, must struggle to convince their traditional parents that their marriage can work.

Threesome

Threesome (YA drama, 23 min. eps.) A young couple have their lives turned upside down when a drunken flirtation leads to dramatic and fundamental changes in their relationship. High Class (Thriller/drama, 70 min. eps.) A woman wrongly accused of murdering her husband is given a chance to escape and find redemption among the social elite.

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Hometown (Thriller/drama, 70 min. eps.) Follows a small-town detective whose investigation into a missing child leads him towards finally solving the case of his murdered wife. Chrysalis (Drama, 45 min. eps.) The story of a young woman making her way in the world. The Red Room (Drama, 45 min. eps.) In a therapist’s office in Istanbul we learn how people’s futures are affected by their past experiences. Legacy (Drama, 45 min. eps.) From Karamel Yapim in Turkey, the producers of The Promise. Honour (Thriller/drama, 45 min. eps.) The female lawyers are once more hunting criminals while keeping their own dark history under wraps. The Promise (Drama, 45 min. eps.) Two people’s lives intersect with a promise that brings them together in the most unexpected way.

The Outpost (Fantasy/adventure, S1-4: 49x60 min.) Talon avenges the destruction of her village. On her journey, she discovers she has supernatural powers she must learn to control to defend the Outpost.

Leverage: Redemption

Almost Paradise (Action/crime, 10x60 min.) A U.S. DEA agent retires to a tranquil beach in the Philippines. Against doctor’s orders, he uses his skills as a longtime operative to put away criminals. The Fight That Never Ends (Drama, 1x95 min.) A true story about a Jewish woman and a gang leader ELECTRIC who fall in love fighting racial injustice during the ENTERTAINMENT 1990’s Los Angeles riots. O (1-323) 817-1300 Blood on the Crown (History/drama, 1x102 min.) m sales@electricentertainment.com Covered up for nearly 100 years, this is the true w www.electricentertainment.com story of how Maltese citizens fought for their indeContact: Dean Devlin, CEO; Sonia Mehandjiyska, pendence against England in 1919. head, intl. dist.; Nolan Pielak, SVP, intl. dist. & The Short History of the Long Road (Drama, coprod.; Steve Saltman, head, domestic dist.; Raul 1x94 min.) Follows teenage Nola, who grew up livPiña, intl. sales & mktg. coord. ing out of a van with her charismatic father, Clint. PROGRAM HIGHLIGHTS Leverage: Redemption (Action/crime, 16x60 min.) ENCORE INTERNATIONAL The Hitter, the Hacker, the Grifter and the Thief are O (1-514) 270-0011 together again, this time with help from a new tech m sales@encoretvintl.com genius and corporate fixer, to take on a new kind of villain. w www.encoretvintl.com To the Lake (Drama/sci-fi/thriller, 8x60 min.) A virus strikes Moscow. A group set off on a danger- Contact: Chrystine Girard, head, intl. dist.; ous journey to find an isolated lodge on a deserted Dominique Simard, mng. dir.; François Rozon, pres. & exec. producer. island. (Excl. CIS.)

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C’est la vie! (Le moments parfaits)

PROGRAM HIGHLIGHT C’est la vie! (Les moments parfaits) (Series, S1-2: 12x45 min.) Follows the journey of the Thomas family, whose lives are completely upended when an unforeseen event forces each family member to reassess themselves.

ENTERTAINMENT ONE (EONE)

w eone.internationaldistribution.com

Contact: Stuart Baxter, pres., intl. dist.; Spyro Markesinis, EVP, head, sales, EMEA, intl. dist.; Dan Loewy, EVP, head, sales, U.S., intl. dist.; Noel Hedges, EVP, acq., intl. dist. PROGRAM HIGHLIGHTS The Teacher (Drama, 4x60 min.) Starring multiBAFTA- and Olivier-Award winner Sheridan Smith as a teacher whose life unravels after being accused of having a drunken sexual encounter with one of her pupils.

The Newsreader

The Newsreader (Drama, 6x60 min.) Set in a frantic 1980’s commercial TV newsroom, centers on the compelling relationship between two reporters, covering an extraordinary chain of events. Joni Mitchell: Blue 50th Anniversary (w.t.) (Doc., 1x70 min./or 60 min./90 min. versions) The definitive documentary to celebrate the 50th anniversary of Joni Mitchell’s iconic album Blue and how her career has influenced countless artists across the last few decades.

EPIC STORY MEDIA

m ken.faier@epicstorymedia.com,

jessica.labi@epicstorymedia.com w epicstorymedia.com Contact: Ken Faier, CEO & pres.; Jessica Labi, head, dist. & brand strategy; David Sztoser, head, lic. & merch.; Danielle Zivav, head, finance; Kim Morris, global mktg. dir.; Marlene Schmidt, head, prod.; Lori Killback, head, business affairs. PROGRAM HIGHLIGHTS Piper’s Pony Tales (Adventure/comedy, 30x3.5 min.) When Piper makes up stories about her best horse friends, they magically come to life through the power of her imagination, transporting her and her pals into amazing adventures. Hailey and the Hero Hearts (Comedy/adventure, 26x11 min.) Hailey, a 7-year-old girl with bigger-thanbig emotions, gets a magical heirloom bracelet for her birthday, transforming her daily issues into adventures. Luna, Chip & Inkie (Comedy/adventure, 40x11 min.) Luna, Chip and Inkie are always ready to lend a helping hand, stumbling through hilarious obstacles before finally winning the day. Pet Shop Zombies (Comedy, 20x5 min.) A pack of pet shop zombies bring order to an adorable

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apocalypse while defending their “brain bites” from a ruthlessly entitled dog and cat bent on ESCAPADE MEDIA O (61) 411-035317 world domination. m natalie@escapademedia.com.au Dex and the Humanimals (Action/comedy, 6x11 w www.escapademedia.com.au min.) In a futuristic world where transgenic beings— half-human, half-animal—mingle with the human pop- Contact: Natalie Lawley, mng. dir.; Anthony ulation, Dex, a young boy with an extraordinary power Mrsnik, dir.; Jessica Stonehouse, head, sales, partof mutation, fights the forces of Cybortech laboratories. nerships & business dvpmt., U.K.; Damien Naughton, cnslt., CEE & Russia; Stephen White, cnslt., completed sales, ANZ & Canada & scripted projects in dvpmt.; Ole Steen Stolberg, agent, Nordics, Benelux, France, Germany. PROGRAM HIGHLIGHTS For the Love of Pets (Fact-ent., 8x60 min.) Offers insights into the world of people and pets at a unique time when pet ownership has never been higher. Dex and the Humanimals The Healing (Factual, 1x60 min.) Explores a lifeChaotic (Action, 79x22 min.) While playing their saving equine welfare program that brings traumafavorite online trading-card game, Tom and Kaz tized ex-racehorses and traumatized veterans receive a special password that takes them into together to help heal each other. another world where the card game comes to life. Tina & Tony (Comedy/adventure, 52x5 min.) Baby hippo Tony and baby elephant Tina are best friends. They live in a “cookie” village, which is full of miracles, adventures and merry friends. Albie (Comedy, 52x5 min. & 1x15 min. minimovie) With the help of his friends and magical book, Albi the Snowman designs and builds fanGold Digger: The Search for Australian Rugby tastic gadgets from snow. Little Angel (Educational, 270x3.5 min.) Whether Gold Digger: The Search for Australian Rugby it’s time to learn, play or some quality time with (Factual, 1x90 min.) A journey that explores the rise Mom or Dad, this is the home for nursery rhymes and fall of the Australian rugby union. Killer Soundtrack (Factual/crime, 13x60 min.) and kids’ songs. Beatlinks (Comedy/music/adventure, 11 min.) Runs the needle over true crime and examines the Introducing Penny Boom, a Beatlink whisperer and lyrics, tunes and genres it has inspired. budding DJ who uses her gift of Harmony to beat The Best Kind of Beautiful (Drama, 6x60 min.) A series about the relationship between Florence St. back the dark forces of Noise.

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Claire and Albert, whose journey is filled with deeprooted feelings and anxieties. Osher Günsberg: A Matter of Life and Death (Factual, 1x53 min.) Celebrity Osher Günsberg investigates how new science, innovative thinking and technology are helping prevent suicide. Crash Test World (Factual, 6x30 min.) Starring Kari Byron, this series is all about dropping in and testing out a culture to see how it works while Kari asks the important questions of our time. Back to Nature (Factual/lifestyle, 8x30 min.) Explores our need to reconnect with the land around us for our physical, emotional and spiritual wellbeing. Big vs Small (Factual, 1x60 min.) A modern-day fairy tale stretching from monster waves in Portugal to the dark stillness of a far-north, frozen Finnish lake. Devolution: A Devo Theory (Factual, 1x60 min.) Forty years ago, five musicians joined forces. In music they found a vehicle to share their dire prediction of human decay. They were DEVO, short for de-evolution.

FEDERATION ENTERTAINMENT

O (33-1) 8417-6528 m sales@fedent.com w fedent.com Contact: Monica Levy, co-head, intl.; Jean-Michel Ciszewski, co-head, intl.; Sarah Zarka, sales mgr.; Guillaume Pommier, sales mgr.; Isabella Barsumian, sales mgr.; Valerie Tailland, head, comm., press & mktg. PROGRAM HIGHLIGHTS Don’t Leave Me (Thriller, 8x52 min.) A drama set in a dark and unusual Venice. The deep web. The deeper you go, the more monstrous creatures you find. Everything is for sale—drugs, weapons, organs… children.

Theodosia

Around the World in 80 Days (Action-adventure, 8x52 min.) Adaptation of Jules Verne’s adventure tale for families around the world. The most ambitious and awaited series ever produced for the European Alliance. A French Case (Drama, 6x52 min.) Focuses on the death of little Gregory. For the past 35 years, this momentous unresolved investigation has marked a turning point in the media and judicial system in France. Mister 8 (Drama/comedy, 8x26 min.) Life is good for Maria. She has a great job and seven spouses, one for every weekday. Maria falls in love with Juho—sadly, there are not eight days in a week. Son Of (Drama, 8x45 min.) An urban tragedy set in Brussels’ criminal underworld, with an original soundtrack led by Belgium’s contemporary hiphop artists. Nadia (Doc., 1x90 min.) The story of Nadia Nadim, an Afghan refugee who has become a star soccer player, from Anissa Bonnefont, the acclaimed director of Wonder Boy. Theodosia (Live action, 26x30 min.) Set in 1906, the series centers around smart, bold 14-year-old Theodosia Throckmorton, who stumbles upon the “Eye of Horus,” an ancient artifact that will unlock a world full of adventures. Kung Fu Wa! (Animated comedy adventure, 52x11 min.) A curious 8-year-old girl named TZ

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stumbles upon a magical sock that lets her transform into a super heroine that must defeat evil and protect the world. Let’s Dance (Kids docu-style dance series, 39x7 min.) Each child learns a simple dance routine, and each episode ends with a finale performance at a surprise location. Presto! School of Magic (Kids 6-11 2D, 52x11 min.) The brand-new comedy produced by TeamTO! (Mighty The Mediator with Ice-T Mike, Angelo Rules) features a band of talented and Highway to Heaven (Drama, 111x60 min.) A probationary angel is sent back to Earth and teams up curious kids who dream of becoming magicians. with an ex-cop to help people. (Digital rights) The Dick Van Dyke Show (Classic comedy, 158x30 FILMRISE min.) Iconic classic TV series centered around the work O (1-718) 369-9090 and home life of television comedy writer Rob Petrie, m sales@filmrise.com played by Dick Van Dyke. Also stars Mary Tyler Moore.

w www.filmrise.com

Contact: Danny Fisher, CEO & pres.; Melissa Wohl, SVP, head, sales; Max Einhorn, SVP, acq. & coprod. PROGRAM HIGHLIGHTS The Mediator with Ice-T (Unscripted, 20x30 min.) Ice-T seeks resolutions between two feuding civilian parties in a court-like platform. Brave Wilderness (Nature, 170x30 min.) Adventurers and science experts Nathaniel “Coyote” Peterson, Mark Vins and Mario Aldecoa lead viewers on a variety of expeditions to dispel myths about dangerous wildlife and much more. (U.S., Canada, U.K., Ireland, ANZ rights) Dr. G: Medical Examiner (Medical, 83x60 min.) Renowned coroner Dr. Jan Garavaglia provides explanations and theories for mysterious causes of death that don’t make visible sense. That Girl (Classic comedy, 136x30 min.) Starring Marlo Thomas as Ann Marie, an aspiring actress who moves from her hometown of Brewster, New York, to try to make it big in New York City.

GALA PRODUCTIONS

O (1-514) 357-2496 m p.regnoux@galamedia.ca w www.galamedia.ca Contact: Philippe Régnoux, CEO. PROGRAM HIGHLIGHT The Adventures of Li’lDoc (Kids, 20x11 min.) Takes our renowned characters Li’lDoc and Geeko around the globe to reconnect with old friends, discover new cultures and their medical realities.

The Adventures of Li’lDoc

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GAUMONT

O (33-1) 4643-2000 m tvsales@gaumont.com w www.gaumonttelevision.com Contact: Cécilia Rossignol, EVP, intl. sales & dvpmt. PROGRAM HIGHLIGHTS Nona and Her Daughters (Dramedy, 9x30 min.) In love with André and freed from her triplets she adores, Nona, 70 years old, lives life to the fullest in the heart of Paris. Until doctor Truffe tells her that she is pregnant.

historian to solve crimes across storied French museums and landmarks. F is for Family (Adult animated comedy, 36x30 min.) Follows the Murphy family in the 1970s—a time when you could smack your kid, smoke indoors and bring a gun to the airport. Do, Re & Mi (Preschool 2-5 CGI comedy/musical, 52x11 min.) Takes little ones on a journey where they will discover new sounds and melodies, move to the beat and see how music helps solve every problem. Bionic Max (Kids 6-11 animated buddy comedy, 52x11 min.) A malfunctioning bionic guinea pig and his goldfish buddy escape from their lab into Woodchuck Woods and must learn to adapt in this urban jungle. Belle and Sebastian (Kids 5-9 animated action/adventure/comedy, 52x11 min.) The outdoor adventures of a courageous young boy, Sebastian, and his huge white dog, Belle, who will rush to anybody’s rescue. Galactik Football (Kids 6-12 CGI football/action, 78x26 min.) A sci-fi football game that mixes football, teen drama, amazing planets and scary enemies.

Bionic Max

El Presidente (Drama, 8x60 min.) Inspired by the real-life characters and events behind the 2015 “FIFA Gate” corruption scandal. Narcos: Mexico (Action/drama, 50x60 min.) Chronicles the real-life rise to global power of the most infamous drug lords. Latest installment focuses on Mexico’s cannabis trade and the rise of the Guadalajara Cartel. Hannibal (Psychological thriller, 50x60 min.) Hannibal Lecter was a brilliant psychiatrist in the employ of the FBI. His task was to help a gifted criminal profiler, Will Graham, solve horrible crimes. The Art of Crime (Procedural drama, 50x60 min.) A hotheaded Paris cop teams up with a Louvre art

GLOBAL SCREEN (A TELEPOOL BRAND)

O (49-89) 244-1295-500 m info@globalscreen.de w www.globalscreen.de

Contact: Jan David Frouman, CEO; Julia Weber, head, intl. sales & acq.; Stefanie Hofferbert, VP, intl. TV sales & acq.; Helge Köhnen, SVP, intl. TV sales & acq.; Stephanie Wang, VP, intl. TV sales & acq.; Ulrike Schröder, VP, intl. acq. & coprod.; Azuka Stekovics, head, mktg., intl. dist. PROGRAM HIGHLIGHTS The Conference (Period drama, 1x90 min.) Follows the minutes of the meeting drawn by Adolf

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content synd.); Dennis Augusto L. Caharian, pres. & COO, GMA New Media; Jose Mari R. Abacan, first VP, pgm. mngmt. (content acq.) PROGRAM HIGHLIGHTS Legal Wives (Drama, 40x45 min.) An upright Muslim man marries three different women for different reasons and struggles to keep the harmony among his three wives. The World Between Us (Drama/romance, 40x45 min.) An orphan tech genius is framed for the death of his legal guardian, who also happens to be the mother of the woman he loves. The First Nanny (Romantic comedy/drama, 40x45 min.) An ordinary nanny becomes involved in the political, personal and romantic concerns of The Palace her boss—the country’s president. The New Front (Thriller, 6x45 min.) A breathless Heartful Café (Romantic comedy/drama, 22x45 thriller about the unusual love story of Julia (Emma min.) The coffee shop of a romance novelist turns Bading) and Nick (Jannik Schümann), who are into shambles until a handsome investor rescues the café from bankruptcy—and her from misery. embroiled in a right-wing extremist conspiracy. 3Hz (Adventure family ent., 13x26 min.) With his vintage Walkman, Felix can listen to the past. Together with his best friends, he sets out to find answers about the mysterious death of his mother and discovers an environmental scandal. Eichmann, only one copy of which has been preserved, which is considered to be the key document of the plan for the extermination of the Jews. The Palace (Period drama, 6x45 min.) Centers around iconic Friedrichstadt-Palast in Berlin in 1989, setting a monument to the world’s largest show stage.

GMA NETWORK

O (632) 8333-7633 m gwi@gmanetwork.com w www.gmaworldwide.tv Contact: Lilybeth G. Rasonable, SVP, ent. group; Ianessa S. Valdellon, first VP, public affairs; Roxanne J. Barcelona, VP, worldwide division (content sales, synd. & dist.); Reena G. Garingan, adviser, content sales, synd., partnerships & dist.; Joseph Jerome T. Francia, first VP, GMA Intl. (linear channel dist. &

The World Between Us

I Can See You (Drama anthology, 7 series: 38x30 min.) Thrilling stories that use a common visual storytelling device, a camera (drone, cellphone, CCTV, etc.), as the silent witness to tales of love and mystery. Owe My Love (Romantic comedy/drama, 30x45 min.) In order to pay off a debt, Sensen agrees to become the caregiver of Migs’ senile grandfather, who thinks that Sensen and Migs are married.

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The Lost Recipe (Romantic comedy/drama, 27x45 min.) A chef travels back in time and accidentally brings a famous recipe with him to the present, erasing the restaurant empire built upon it. Descendants of the Sun (Romantic comedy/drama, 31x45 min.) A soldier who must kill to protect lives and a doctor who saves lives must find common ground to keep their relationship alive. Love of My Life (Drama, 40x45 min.) A domineering matriarch, a fearless wife, a feisty ex-girlfriend and a rebellious son live together under one roof at the request of a dying man. Prima Donnas (Family drama, 80x45 min.) Fraternal triplets separated from their father must find their way back home and earn their rights as heiresses to the family wealth.

GOLDBEE

O (34-931) 592-212 m christophe@goldbee.es w www.goldbee.es Contact: Christophe Goldberger, mng. dir. PROGRAM HIGHLIGHTS Hoodie (Live-action tween/teen drama, S1-2: 104x11 min.) A superhero story centered on a perfectly normal boy with an exceptional talent for parkour and a heart for justice.

GO-N INTERNATIONAL

O (33-1) 4874-8700 m eric.garnet@go-n.fr w www.go-n.fr

Time Traveler Luke

The Bureau of Magical Things (Live-action Contact: Eric Garnet. tween/teen comedy/drama, S1-2: 40x25 min.) PROGRAM HIGHLIGHT Follows the adventures of teenage girl Kyra, who is Simon Super Rabbit (Preschool) Superhero magically transformed into a Tri-ling when caught animated series for preschoolers, based on the in a clash between an elf and a fairy. iconic character Simon, loved by kids and their Heirs of the Night (Live-action kids/family drama, parents worldwide. S1-2: 26x26 min.) In 1889, the children of the five remaining European vampire clans come together to join forces and unite against Count Dracula. The Worst Witch (Live-action kids/tweens comedy/drama, S1-3: 39x28 min.) Faithfully based on Jill Murphy’s well-loved books, an exciting new series of adventures for one of the most iconic and best-loved characters in children’s literature. Space Nova (Kids 6-10 3D adventure, 26x22 min.) Science-based sci-fi adventure series about Simon Super Rabbit

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the Nova family, who discovers the first-ever proof that humanity is not alone in the universe. Zoom the White Dolphin (Kids 6-10 3D adventure, 104x12 min.) Follows the adventures of Yann, an intrepid 15-year-old diving enthusiast, and his best friend Zoom, a white dolphin of exceptional intelligence. The Game Catchers (Preschool 2D/3D, 52x7.5 min.) A team of five friends are on an interstellar journey to explore fantastic planets with the aim of learning about, playing and collecting playground games so they are never lost again. School of Roars (Preschool 2D, S1-2: 104x7 min.) Helps children prepare for school life by exploring a child’s first years through the relationships and experiences of mini monsters. Time Traveler Luke (Kids 6-10 3D adventure, 52x11 min.) Travel across time in this action adventure with bellboy Luke. Ziggy and the Zoo Tram (Preschool 3D, 52x11 min.) Series for upper preschoolers about a group of animals who work in a small zoo and who have a very special secret: they go home at night.

GOQUEST MEDIA

O (91-22) 495-591-00 m contact@goquestmedia.com w www.goquestmedia.com Contact: Vivek Lath, fndr. & CEO; Jimmy George, VP, sales & acq.; Harshad Wadadekar, GM, content sales; Akshit Sandhu, mgr., content acq. PROGRAM HIGHLIGHTS Traitor (Espionage/spy thriller, 6x58 min.) Driven by umbrage and personal gain, an official at the Estonian Ministry of Defense becomes an agent for Russian intelligence when Estonia joins NATO.

Traitor

Divorce in Peace (Dramedy, 20x28 min.) A couple who want to end their 20-year-long marriage consult a therapist to devise a divorce plan so they can part on good terms. Civil Servant (Espionage thriller, 24x50 min.) A young, ambitious Serbian Secret Service agent negotiates the dangerous rules of the moderncentury international spy game. Debt to the Sea (Mystery/thriller, 11x50 min.) The arrival of a mysterious stranger triggers an unstoppable wave of events for the unsettled inhabitants of a beautiful but deadly Montenegro coastal village. Rats (Crime thriller, 6x55 min.) In the world of the Czech-Vietnamese meth syndicates, the lines between order and anarchy shatter for a naive young drug dealer and an ambitious female cop. Mother’s Choice (Family drama, 16x45 min.) A young schoolteacher decides to rescue her favorite 7-year-old student from her negligent mother. They plan to flee the country, but a chain of deadly events will put a stop to their desperate escape. What the F***?! (Hidden-camera/wish-fulfillment format, 10x45 min.) Members of the public secretly spend weeks training in a skill. Hidden cameras capture the big reveal and reaction of family and friends. Three Days Before Love (Romantic drama, 16x45 min.) When Dana Romanova and Pavel Soldatov’s

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paths cross accidentally, their mutual despair leads to an unusual business deal—she offers to pay off his business debt if he spends three days with her. Queen (Biopic/historical drama, 11x50 min.) Inspired by true events, follows the life of Shakti Sheshadri from her days as an ordinary student to her rise as a film star to her final ascent into political prominence. Ek Thi Begum (Action thriller, 14x30 min.) When her gangster husband is tragically murdered by his exboss in 1980s Mumbai, a housewife transforms herself into a temptress to avenge her husband’s death.

Love and Marriage: Huntsville (Docuseries, 41x60 min.) Three high-powered couples come together to revitalize the city of Huntsville, Alabama, through their joint real estate venture. On the Case (Crime, 258x60 min.) Explore intriguing murder mysteries through in-depth interviews with those closest to the case and examine the evidence that helped unravel the mystery.

GRB STUDIOS

O (1-818) 728-4140 m sales@grbtv.com w grbtv.com Contact: Gary Benz, CEO; Hud Woodle, EVP, intl.; Liz Levenson, sales cnslt.; Torquil Macneal, sales cnslt. PROGRAM HIGHLIGHTS The Center Seat: 55 Years of Star Trek (Doc., 9x60 min.) From the original writer’s room in 1966 to the newest set of Star Trek: Picard, will take audiences through the history of Star Trek. Death Walker (Paranormal, 20x60 min.) Nick Groff theorizes and investigates the origins of some of the most notorious hauntings in America. Dons of Disco (Doc., 1x89 min.) A lip-syncing scandal pits an American singer against an Italian male model over the legacy of 1980s “Italo disco” star Den Harrow. Family Pictures (Docuseries/format, 3x60 min.) Participants share photos with historians, who help to unearth rich personal stories. Living by Design (Lifestyle, 32x30 min.) Brother and sister duo Jake and Jazz Smollett transform living, work and play spaces from drab to fab.

The Center Seat: 55 Years of Star Trek

Ready to Love (Docuseries, 51x60 min.) Explore the real-life dating interactions of sexy, successful men and women in their 30s and 40s looking for lasting love and an authentic relationship. Rhys Darby: Mystic Time Bird (Stand-up comedy, 1x80 min.) Kiwi comic Rhys Darby’s physical comedy combined with obscure observations. Turquoise Fever (Docuseries, 7x60 min.) Follow the Otteson family as they hunt for the most sought-after turquoise in the world.

GUANG DONG WINSING COMPANY

O (86-20) 3763-5953 m media@winsing.net w en.winsing.net

Contact: Sophie Lau, head, intl. mktg. PROGRAM HIGHLIGHTS Team S.T.E.A.M.! (Edutainment, 104x15 min.) Team S.T.E.A.M.! is made up of six amazing kids

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who each use a different STEM-based area of holiday special & bonus content) True, our bright and fearless heroine, and her hilarious best friend, expertise to solve the problems they face. Bartleby the cat, come to the rescue of Rainbow City’s whimsical citizens. Big Blue (Kids 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.

GG Bond: Kung Fu Pork Choppers

GOGOBUS (Edutainment/family, 156x13 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: Kung Fu Pork Choppers (Boys action/adventure/comedy, 104x13 min.) The Sky City Pikwik Pack is facing a terrible crisis, and KFPC have the responsi- Justin Time (Preschool 2D, 74x11 min. & 2x22 min.) Justin’s imagination catapults him into largerbility to save the universe from every threat. than-life adventures set in different points in history.

GURU STUDIO

O (1-416) 599-4878 m sales@gurustudio.com w gurustudio.com Contact: Frank Falcone, pres./exec. creative dir.; Jonathan Abraham, VP, sales & business dvpmt.; Rachel Marcus, VP, creative dvpmt.; Daniel Rattner, VP, mktg.; Corey Caplan, dir., intl. sales; Emily Jenkins, dir., creative dvpmt. PROGRAM HIGHLIGHTS Pikwik Pack (Preschool 2D, 52x11 min.) Follows Suki the hedgehog and her team of adorable animals as they deliver magical packages to the kind citizens of Pikwik. True and the Rainbow Kingdom (Preschool 3D, 30x22 min., 5x22 min. seasonal specials, 1x44 min.

HAPPY CAMPER MÉDIA

O (1-418) 655-4636 m r.sylvain@happycamper.media w happycamper.media Contact: Renaud Sylvain, CEO & exec. producer; Sarah Dubé, head, animation studio; Félix Larivière, producer, original content & web games; MarieHélène Dutil, producer, original content & podcasts. PROGRAM HIGHLIGHTS Super Agent Jon Le Bon! (Kids, 80x7 min.) On Earth A, the Agency is responsible for protecting the world from supervillains. Super Agent Jon Le Bon is always ready to save the world from impending doom. Super Agent Jon Le Bon!: How to Save the World in 90 Seconds (Kids, 49x1.5 min.) Join the

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over-the-top adventures of Jon le Bon as he and his Count Jr., Wolfie, Iggy and Griz, the characters from fellow agents try to do the impossible and save the the original Hilarious House of Frightenstein, reimagined as wee children of the night. planet in less than 90 seconds. Cabin 51 (Live-action mystery, 20x60 min.) Follows an ensemble cast of tween campers and teen junior counsellors as they work together to understand a series of strange occurrences that only they are party to. Brassy (Tween live-action sitcom, 26x22 min.) Emily Reese is an aggressively optimistic, overachieving eighth grader who is determined to transform the long-floundering school band. One Big Messy (Live-action family drama, 20x60 min.) Explores how international adoption can bring Super Agent Jon Le Bon! unconnected, often totally incompatible people MAXI (Kids, 26x11 min.) Part-time Siamese twins together as one big semi-functional mixed family. Mara and Xilo live on Vakarma. In this place where nature and music are in perfect harmony, Mara and Xilo get caught up in a whirlwind of exhilarating adventures.

HEADSPINNER PRODUCTIONS

O (1-416) 882-5579 m michelle@headspinnerproductions.com w www.headspinnerproductions.com

Denis and Me

Hilarious House of Frightenstein (Live-action Contact: Michelle Melanson, SVP, dvpmt. & prod.; family sitcom, 26x22 min.) Count Frightenstein and Ken Cuperus, pres. & CCO. the other monsters live and laugh together in their PROGRAM HIGHLIGHTS haunted castle, which is now a tourist attraction. Denis and Me (Kids 6-11 animated comedy, 20x3 min.) Stars an animated version of YouTuber “Denis” and follows the comedic ups and downs spent with IDÉACOM INTERNATIONAL O (1-514) 686-4056 his renegade cat companion Sir Meows a Lot. m info@ideacom.tv Denis and Me Specials (Kids 6-11 animated w www.ideacom.tv comedy, 4x11 min.) Longer-form stories following Denis and Sir Meows a Lot. Contact: Josette D. Normandeau, pres. & exec. Happy House of Frightenstein (Preschool ani- producer; André Barro, exec. producer; Amy mated comedy, 10x3 min.) The misadventures of Webb, producer.

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Human+, The Future of Our Senses

PROGRAM HIGHLIGHTS Who Was the Real Neanderthal? (Doc., 1x49 min.) Neanderthals have long been thought of as brutish and dim-witted. But new archeological discoveries, combined with cutting-edge science, are revealing that they were much closer to us than we ever imagined. Human+, The Future of Our Senses (Doc., 5x52 min.) Delves into the enigmatic world of researchers and entrepreneurs who are revolutionizing the way we see, touch, taste, hear and smell.

Love Knots (Romantic comedy, 1x90 min.) A sailmaker and lead architect work to find compromise between a luxury developer’s vision for a marina while maintaining the integrity of the local community. Sweet as Maple Syrup (Romantic comedy, 1x90 min.) A professor of arboriculture offers to help a young woman and her declining maple orchard, just ahead of the upcoming Maple Syrup Festival. The Secret Sauce (Romantic comedy, 1x90 min.) A marketing executive is sent to oversee a smalltown cook-off and entice the local BBQ joint owner to license his family’s secret sauce recipe. Written in the Stars (Romantic comedy, 1x90 min.) When her magazine approves a pitch about a skeptic’s take on love and horoscopes, a young woman teams up with an astrology guru.

INCENDO

Destination Love

Contact: Gavin Reardon, intl. sales & coprod.; Brook Peters, mng. dir. & SVP, sales & prod. operations; Ian Whitehead, head, prod. & dvpmt.; Effi Eustace, VP, sales & mktg. PROGRAM HIGHLIGHTS Destination Love (Romantic comedy, 1x90 min.) On a remote island in New Zealand, a young woman and local vineyard owner hope to create the perfect destination wedding for her best friends.

When Love Blooms (Romantic comedy, 1x90 min.) A risk management analyst competes in the Botanic Cup as a competitive flower arranger with the help of her father and a local florist. Farmer Seeking Love (Romantic comedy, 1x90 min.) A reality TV producer convinces a small-town farmer to be the next bachelor on her hit dating program. Together Forever Tea (Romantic comedy, 1x90 min.) Teaming up with a local flower expert, a young marketing whiz hopes to re-create a “love potion” tea to help fulfill her late aunt’s dream. Cupids on Beacon Street (Romantic comedy, 1x90 min.) A skeptical romance book editor

O (1-514) 937-3333 m greardon@incendo.ca w www.incendo.ca

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inadvertently shares house-sitting responsibilities Synchronous (Drama, 6x50 min.) One couple, three with a self-help coach just in time for Valentine’s Day. parallel worlds. One night, lightning strikes and they find themselves in the same universe. Now they will all try to find the mystery of these eerie events. INTER MEDYA Son Yaz (Drama, S2) Nothing is the same after Canan’s O (90-212) 231-0102 death. The Kara family are scattered across different m info@intermedya.tv places, Selim isolates himself and Akgun is a fugitive. w www.intermedya.tv The one who will reunite them will be Sare Akay. Contact: Can Okan, fndr. & CEO; Beatriz Cea Okan, Interrupted (Drama, 8x60 min.) Ozan, a young VP & head, sales & acq.; Sibel Levendoglu, sales and idealistic journalist, dies in an unfortunate trafexec.; Pelin Koray, sales exec.; Elena Pak, sales fic accident but is given a second chance and exec.; Sinem Aliskan, sales exec.; Ruba Zeitouni, comes back to life in the body of Kadir. sales exec. Bitter Lands (Drama, S4) All balances will be disPROGRAM HIGHLIGHTS rupted and new conflicts, rivals and love will arise. Respect (Drama, S2) We follow the story of a psy- A.Riza (Drama, 101x45 min.) After his father dies, Ali chopath, Ercument Cozer, and we delve into his Riza is forced to give up his dreams and focus on supobsession against disrespect and its reflections on porting his family as a taxi driver. But a chance the community. encounter in his car draws him into a vicious mafia feud.

JETPACK DISTRIBUTION

O (44) 7825-006924 m dominic.gardiner@jetpackdistribution.tv w www.jetpackdistribution.tv

The Trusted

The Trusted (Drama, 74x45 min.) Marashli is an ex-soldier who has left the special forces to open up a second-hand bookstore and spend more time with his sick daughter, Zelis. His life changes when the beautiful Mahur Turel walks into his bookstore. Scorpion (Drama, 91x45 min.) Ferda’s stubbornness and Perihan not wanting her causes a great war between the mother and daughter.

Contact: Dominic Gardiner, CEO; Sophie “Kido” Prigent, global sales dir.; Gillian Calvert Ridge, global dist. dir.; Toby Jones, sales exec. PROGRAM HIGHLIGHTS Critters TV (Comedy, 26x11 min.) We get the animal’s-eye-view on nature docs, discovering what our furry friends are really thinking and learning some amazing facts about the natural world along the way. Spookiz (Animation, S1: 26x2 min., S2: 26x2.5 min., S3: 23x2.5 min., S4: 83 min.) When night falls and the human kids from Freemont Elementary have all gone home, these wacky monsters creep out for their own slapstick adventures.

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Daisy and Ollie (Animation, 130x7 min. & 1x22 min.) A preschool series encouraging young children to be curious and question the world around them.

JUST FOR LAUGHS DISTRIBUTION

Critters TV

Claymotions (Edutainment, 60x2.5 min.) An educational miniseries aimed at the youngest audience segment, teaching them through games. Cardboard City (Action, S1: 10x36 min., S2: 10x4-9 min.) In a world made entirely from cardboard, the citizens of Cardboard City face titanic calamity on a daily basis. Mighty Little Bheem (Comedy, 49x6 min. & 3x6 min.) Bheem may be little, but he is mighty. An intelligent toddler with boundless creativity, curiosity and a heart full of love, he often crawls into mischief and adventure in his small Indian town. Clangers (Animation, 104x11 min.) The Clangers, a family who live on a blue planet in space, are inquisitive and adventurous creatures who are loving and supportive of each other and their friends. Moley (Animation, 52x11 min. & 1x30 min.) Inspired by bedtime stories about a magical mole told by a dad to his daughters, the series captures all the excitement of mission-based adventures, discovery, silliness and humor that children love. My Petsaurus (Comedy, 75x2 min.) Chloe, an energetic 7-year-old, looks after her troublesome pet triceratops, Topsy. Yoko (Comedy, 65x11 min., 14x12 min., 1x80 min. & 1x65 min.) Yoko takes ordinary children’s games and turns them into extraordinary adventures, making every day in the park a new challenge.

m distribution@hahaha.com w www.hahaha.com/en/distribution Contact: Marina Di Pancrazio, chief content revenue officer; Fred Joubaud, dir., content & strategic partnerships; Carlos Pacheco, dir., strategy & operations, OTT streaming platforms; Lauriane Groff, operation & dist. coord. PROGRAM HIGHLIGHTS Just for Laughs Stand Up (Comedy, S1-15: 125 eps.) The world’s largest comedy festival brings you the top comedy names and rising stars, with new shows in English and French.

Just for Laughs Stand Up

Humour Resources (Scripted comedy, 6x30 min.) Jon Dore, a retired entertainer turned HR manager for the comedy business, meets with comedians to evaluate and consult on the appropriateness of their material and overall “workplace” behavior. Just for Laugh Gags (Non-verbal unscripted comedy, 222x30 min.) The world’s longest-running prank show, where unsuspecting people get roped into hilarious situations, concocted by the Just for Laughs Gags experts.

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Just Kidding (Non-verbal unscripted comedy, 65x30 min.) Kids prank unsuspecting adults. They ensure that the adults fall for the ploy, while their candid reactions are caught on camera.

KANAL D INTERNATIONAL

O (90-212) 413-5111 m sales@kanald.international w www.kanald.international

Contact: Ekin Koyuncu, exec. dir.; Selim Türkmen, sales mgr., Western Europe, MENA; Salmi Gambarova, sales exec., CIS; Gamze Utma, sales exec., Asia. PROGRAM HIGHLIGHTS Twist of Fate (Romantic comedy, ongoing) What happens when a superstitious, beautiful girl tries to keep her “marriage fraud” to avoid being “happily n’ever after” and has to work with a handsome alpha male boss who has tightly closed doors against love? Recipe of Love (Romantic comedy, 13x134 min.) Chef Fırat, who can create great mixtures with Oriental and Western cuisines, will soon understand that there is no recipe for love in his cookbook. Romance Next Door (Romantic comedy, 60x38 min.) A love story and also the story of friendship between four young people from different social classes and cultures.

Love Trap (Romantic comedy, 136x41 min.) The marriage game between poor girl Ayşe and rich boy Kerem started as a “love trap” and will bind them forever. Sweet Revenge (Romantic comedy, 82x48 min.) After she was abandoned by the groom on her wedding day, a young girl searches for forgiveness from the boy she humiliated in high school. But the boy is not the same young loser anymore. Hekimoğlu (Medical drama, 157x44 min.) The local version of the hit U.S. series House starring Timuçin Esen as Ateş Hekimoğlu, an acclaimed infectious diseases and nephrology physician. Ruthless City (Drama, 136x46 min.) The story of two family members’ test with sin after an indecent deal. Price of Passion (Romantic drama, 96x48 min.) Can a doctor fall in love with a hitman? Can a woman heal the lost soul of her kidnapper? The answers to these questions are revealed through the story of an unforgettable couple. Flames of Desire (Drama, 186x44 min.) Adapted from a Korean drama, explores the old Turkish tradition of “betrothed in the cradle” and its consequences in modern life. War of the Roses (Drama, 168x45 min.) The story of a love triangle between a wealthy woman, a handsome man and a beautiful young girl.

KESHET INTERNATIONAL

O (972-50) 846-7316 m info@keshetinternational.com w www.keshetinternational.com

Recipe of Love

Contact: Keren Shahar, COO & pres., dist. (Turkey, Greece, Hungary, Czech Republic, Bulgaria); Kelly Wright, SVP, dist. & new business (ANZ, LatAm, Iberia, Asia, Poland, Balkans, Croatia, Georgia); Rose Hughes, VP, sales (Benelux, Canada, Nordics,

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global, U.K., U.S., Baltics, Russia, Ukraine, Romania, pan-regional); Anne Roder Botbol, snr. sales mgr. (French- & German-speaking Europe, Benelux, Italy, Africa). PROGRAM HIGHLIGHTS Furia (Fury) (Drama, 8x60 min. & format) Two different people, four different identities. Together they must work in tandem to bring down a terrifying farright terror cell and heal the grief that drives them. Blue Moon (Drama, S1-3: 30x60 min. & format) After inheriting her father’s private security firm, Justine must face her own demons while trying to maintain her own moral values amid the harsh reality of dangerous missions and less-than-legal activity.

based on the film Notting Hill and the second season was Indecent Proposal, then this third and last season is My Best Friend’s Wedding. The Perfect Dessert (Baking competition format) Inspirational new baking format with a twist, as judges vote with their eyes before their mouths. Surrounded by Enemies (Doc., 6x45 min.) Investigates right-wing extremist groups from within the movements, engaging the individuals in dialogue about their hatred and distrust of society and democracy. Killer Camp (Reality competition, S1: 5x60 min., S2: 8x60 min. & format) Horror-themed reality competition set in an ’80s American-style summer camp where contestants must do everything they can to stay alive.

KO DISTRIBUTION

O (1-514) 933-2462 m vallant@aroma-tv.com w kodistribution.ca

Blue Moon

Contact: Barbara Vallant, head, formats, sales & acq., aroma-TV; Louis-Philippe Drolet, VP & exec. producer; Alain Chicoine, pres., creation & dvpmt. dir.; Dominic Anctil, principal ent. & intl. dvpmt. producer. PROGRAM HIGHLIGHTS Virage (Veer) (Drama, 8x60 min.) Frédérique, a triple Olympic medalist in speed skating, retires. Faced with this void, she must learn to live without performing. The fall will be brutal.

Journey (Comedy/drama, 6x30 min. & format) Starring two white middle-aged men, the comedy drama about privilege you never knew you needed to see. The Kidnapping of Phil Frisco (Drama, 10x60 min. & format) A bittersweet satire about what life has in store for everyone who only pursues their own happiness. Pørni (Comedy/drama, 18x30 min. & format) Pørni— short for Pernilla—is a superhero without a cape. Pillowtalk (Comedy/drama, 8x30 min. & format) The bedroom—the center of life, where relationships are created and broken and lies and deep truths are told. The Baker and the Beauty (Romantic comedy, S1-3: 24x30 min. & format) If the first season was Virage (Veer)

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L’oeil Du Cyclone (Perfect Storm) (Comedy, 26x30 min.) This show about a single mother of three children will show that custody can be shared, but that concerns are never-ending. Entre Deux Draps (Pillow Talk) (Sketch comedy, 34x30 min. French eps., 10x30 min. English eps.) Sketch comedy featuring the daily lives of four couples and two roommates of different ages and backgrounds.

KONAMI CROSS MEDIA NY

O (1-212) 590-2100

Contact: Jennifer Coleman, VP, lic. & mktg.; Jennifer Buzzelli, coprod. & dist. cnslt. PROGRAM HIGHLIGHTS Yu-Gi-Oh! VRAINS (Animation, S1: 46x30 min., S2: 36x30 min., 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.

Yu-Gi-Oh! ARC-V (Animation, S1-3: 148x30 min.) Yuya Sakaki’s dream is to become the greatest “duel-tainer” in history–and he just might pull it off when he discovers a technique that lets him summon many monsters at once. Yu-Gi-Oh! ZEXAL (Animation, 146x30 min.) Yuma needs Astral to teach him how to duel, and Astral needs Yuma to help him regain his memories! Yu-Gi-Oh! 5D’s (Animation, 123x30 min.) Once the playground to legendary duelist Yugi Muto, New Domino City has been transformed into a futuristic society where dueling has kicked into overdrive. Yu-Gi-Oh! GX (Animation, 155x30 min.) Follows a new generation of duelists at the Duel Academy—a boarding school where pencils and books have been replaced by Duel Disks and monster cards. Yu-Gi-Oh! Duel Monsters (Animation, 236x30 min.) Meet Yugi and his best buds Joey, Tristan and Téa, who share a love for Duel Monsters.

LEMON SKY STUDIOS

O (603) 5032-2899 m inquiries@lemonskystudios.com w www.lemonskystudios.com Yu-Gi-Oh! VRAINS

Contact: Wong Cheng Fei, CEO; Ken Foong, chief creative officer; Jade Lee, business dvpmt. mgr.

Yu-Gi-Oh! The Dark Side of Dimensions (Animation, 1x110 min.) Marks the return of the original creator, the iconic hero and the classic characters idolized worldwide. Yu-Gi-Oh! The Movie (Animation, 1x90 min.) Heroic Yugi squares off against archrival Kaiba in an adventure even more dangerous when the imaginary monsters in their playing cards become real and an old evil enters the fray.

AstroLOLogy

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PROGRAM HIGHLIGHTS AstroLOLogy (Non-dialogue 3D comedy, 288x2 min.) Transforms the 12 zodiac symbols into characters with big personalities as the basis for a kids’ series. Itchy Ichiro (Non-dialogue 3D comedy, 52x3 min.) Unbeknownst to Ichiro, he shares the island with Yaya and Dada, the two fleas living on him, who send him scratching himself into SurrealEstate uproarious situations. Small Vs. Tall (Family ent., 44 eps.) Kids with unique talents face off against celebrities who think LEONINE STUDIOS they might be able to beat them in some of the O (49-89) 999-5130 biggest, baddest, most over-the-top challenges ever. m info@leoninestudios.com Are You Smarter Than... (Quiz show, 5 eps.) A w www.leoninestudios.com huge TV event show that everyone can join in and Contact: Kevin Anweiler, mgr., coprod. & dvpmt.; find out just how smart they really are. Stefanie Gelinas, intl. format sales; Christiane Goldberg, They Have No Idea What Will Happen... (Live SVP, license sales; Christian Meinberger, chief dig- game show, 20 eps.) Hosted by three of Germany’s ital officer; Patrick Phelan, dir., world sales; Cosima biggest television stars, spontaneity and improvisavon Spreti, head, co-finance & coprod. tion are key to this fast-paced game show. PROGRAM HIGHLIGHTS 5 Against the Quizmaster (Game show, 45 eps.) SurrealEstate (Comedic supernatural drama, Five celebrities team up to beat the quizmaster, a 10x60 min.) A team of real estate specialists investi- smart, well-known host who likes to be challenged. gate and correct the unconventional problems that make certain properties difficult to sell. They refer to LIONSGATE these properties as “metaphysically engaged.” O (1-310) 449-9200 Herzogpark (Comedy/drama/thriller, 6x60 min.) m general-inquiries@lionsgate.com The perfectly polished existence of a glamorous, w www.lionsgate.com champagne-fueled world is on the brink of chaos Contact: Kevin Beggs, chair, Lionsgate TV Group; as carefully hidden secrets threaten to surface. Bonn (Period drama/political thriller, 6x60 min.) True Sandra Stern, pres., Lionsgate TV Group; Jim Packer, untold story about the battle between Germany’s sep- pres., worldwide TV dist.; Agapy Kapouranis, pres., intl. TV & digital dist.; Craig Piligian, pres., Lionsgate arate intelligence agencies formed after WW2. The Name of the Rose (Thriller/literature, 8x60 Nonfiction TV; Chase Brisbin, EVP, worldwide TV & min.) A crime thriller set in a medieval world with a digital dist.; Susan Hummel, EVP & mng. dir., Canada modern take and new details to a multilayered story. TV & digital dist.; Nicky Wood, SVP & head, EMEA

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TV sales, U.K.; George Gioudas VP, intl. TV sales, U.K.; Vanessa Patenon, VP, intl. TV sales, U.K.; Nazneen Sethi, head, sales, U.K. & Eire; Chap Leonard, exec. dir., worldwide TV & digital dist.; Kara McKinney, exec. dir., worldwide AVOD/SVOD; Jamie Phillips, dir., sales, intl. TV, U.K.; Mark James, dir., sales, intl. TV, U.K.; Kathryn Ikenberry, dir., worldwide TV & digital dist., TV dist., intl. TV sales; Tyler Caldwell, dir., TV dist., LatAm; Laura Hockton de Castaneda, sales mgr., intl TV sales, U.K.; Sam Ellis, contract & sales mgr., U.K. PROGRAM HIGHLIGHTS Zoey’s Extraordinary Christmas (Holiday, 1x120 min.) The original Zoey’s Extraordinary Playlist cast is back in a feature-length film that picks up where season two left off.

phobic younger brother and her teenage daughter are trying their best to handle the ride called “life.” Home Economics (Comedy, 20x30 min.) Takes a look at the relationship between adult siblings: Tom, the middle-class writer; Connor, the little brother in the one percent of the one percent; and Sarah, the do-gooder sister who’s barely getting by. Minx (Dramedy, 10x30 min.) Set in the 1970s in Los Angeles, an earnest young feminist joins forces with a low-rent publisher to create the first erotic magazine for women. Son of a Critch (Comedy, 13x30 min.) Based on the award-winning, best-selling memoir from Mark Critch, the story of an 11-year-old coming of age in St. John’s, Newfoundland, in the ’80s. Welcome to Flatch (Comedy, 14x30 min.) A documentary crew goes to a small town in Ohio to study young people and their current concerns. Freak Brothers (Comedy, 8x30 min.) After smoking a magic strain of weed in 1969, laid-back Franklin, paranoid Phineas, man-child Freddy and sardonic Kitty are “Rip Van Winkled” 50 years into the future to 2020. Swimming with Sharks (Drama, 6x30 min.) A young female assistant is at the center of a wildly Zoey’s Extraordinary Christmas competitive, struggling studio chock-full of manipLove Life (Dramedy, 20x30 min.) The romantic ulators and masters. comedy anthology will follow a different protagonist’s quest for love each season, with each episode MADD telling the story of one of their relationships. Santa Inc (Adult animated comedy, 8x30 min.) ENTERTAINMENT O (90-212) 273-2434 Candy Smalls is the highest-ranking female elf in m info@madd.tv the North Pole. When the successor to Santa Claus w www.madd.tv is poached by Amazon on Christmas Eve, Candy goes for her ultimate dream—to become the first PROGRAM HIGHLIGHTS Evlilik Hakkında Her Şey (Drama) Starring Gökçe female Santa Claus in the history of Christmas. Hiccups and Hookups (Dramedy, 8x30 min.) A Bahadır, Yiğit Kirazcı, Sarp Akkaya and Sumru recently separated single mother, her commitment- Yavrucuk.

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Zog (Family/children/comedy/animation, 1x27 min.) The story of a keen young, accident-prone dragon and his surprising friendship with a powerful young princess. The Snail and the Whale (Family/children/ animation, 1x27 min.) A tiny snail hitches a ride on Yargi the tail of a humpback whale and together they Yargı (Drama) Starring Pınar Deniz, Kaan embark on an epic journey around the globe. Urgancıoğlu, Hüseyin Avni Danyal, Uğur Polat. Zog and the Flying Doctors (Family/children/ Yalancılar ve Mumları (Drama). comedy/animation, 1x26 min.) Princess Pearl, Sir 3 Kuruş (Drama). Gadabout and Zog the dragon make a most unlikely İmkansız (Drama). flying doctor team, committed to treating all kinds of creatures.

MAGIC LIGHT PICTURES

O (44-20) 7631-1800 m distribution@magiclightpictures.com w www.magiclightpictures.com/about/distribution/ Contact: Muriel Thomas, intl. dist. dir. PROGRAM HIGHLIGHTS 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 tiptoes into the snow in search of the Big Bad Mouse. Room on the Broom (Family/children/animation, 1x26 min.) A kind witch 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.

The Gruffalo’s Child

Superworm (Family/children/animation, 1x27 min.) A super-long, super-strong earthworm always comes to the rescue of bugs and animals in distress. Pip and Posy (Preschool animation, 52x7 min.) Pip and Posy are the best of friends. Together they navigate the ups and downs of friendship through a wonderful world of play.

MAGNIFY MEDIA

O (44-117) 307-2300 m info@magnifymedia.co.uk w magnifymedia.co.uk Contact: Andrea Jackson, CEO; Anthony Appell, head, sales; Cecilia Ingebrigtsen, dir., format sales;

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Katie Stephenson, snr. sales mgr.; Anne Roder-Botbol, format & pgm. sales, French-speaking territories; Malgorzata Gudel, format & pgm. sales, CEE, Russia CIS. PROGRAM HIGHLIGHTS Marcus Waring’s Tales from the Kitchen Garden (Fact-ent., 10x30 min.) This BBC Two series follows the chef extraordinaire and successful restaurateur as he follows his dream of living and cooking in the English countryside. Handmade: Good with Wood (Fact-ent., 6x60 min.) A prime-time series for Channel 4 that sees contestants create incredible feats of imagination, all made from wood.

Handmade: Good with Wood

Britain By Beaches (History, 8x60 min.) In this Channel 4 series, we discover the secret histories of Britain’s favorite beaches. Is My Country Prejudiced? (Format, 5x60 min.) This new format explores what a nation really thinks about emotive topics such as ageism, racism, sexism, obesity and disability. Ice Cowboys (Factual, 6x42 min.) This series takes you into the wilderness of Alaska, giving you an intimate look at the lives of the most legendary sled dog racers in the world. The Real Peaky Blinders (Factual, 2x60 min.) Exploring the mass gang movement that originated in Birmingham and other industrial cities in the 19th

century and evolved into modern gangsterism in the early 20th century. Mental (Scripted, S1-2: 10x22 min. & format) A powerful French-language drama, based on true stories, about four troubled teens and their journey to a secure psychiatric ward and how they find their way out again. My Unique B&B (Fact-ent., S1-2: 15x30/45 min.) In this BBC series, master carpenter Simon Parfett and his team help families cash in on their untapped, income-generating potential by creating their own unique B&B. Makeup: A Glamorous History (Factual, 3x48 min.) This BBC series explores what the beauty looks of three iconic moments in British history tell us about the era. Mountain Vets (Factual, S1-3: 6x30/60 min.) Welcome to the ancient Kingdom of Mourne, where animals outnumber people ten to one and no two days are the same for the busy mountain vets.

MARVISTA ENTERTAINMENT

O (1-424) 274-3000 m sales@marvista.net w www.marvista.net

Contact: Fernando Szew, CEO; Hannah Pillemer, EVP, creative affairs; Jody Cipriano, SVP, dist.; Deena Stern, SVP, mktg., comms. & acq.; Michol Hatwan, dir., dist. PROGRAM HIGHLIGHTS The Miseducation of Bindu (YA comedy, 1x90 min.) When a bullied teenage girl forges her mother’s signature to test out of high school, hijinks ensue as she struggles to pay the test fee. This Is the Year (YA comedy, 1x90 min.) In an effort to win over the girl of his dreams, a high

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school senior embarks on a road trip to see their favorite band. List of a Lifetime (Drama, 1x90 min.) A woman diagnosed with breast cancer is persuaded by the daughter she gave up for adoption to start a Breast Cancer Bucket List.

Murder and Matrimony (Drama/thriller, 1x90 min.) A wedding planner must determine whether her future sister-in-law is willing to kill to get access to her brother’s money. Two Deaths of Henry Baker (Action/Western, 1x90 min.) A multi-generational fight between two brothers and their sons comes to a head when the families fight for a hidden stash of valuable gold.

MATTEL TELEVISION

m content_sales@mattel.com w www.mattel.com

The Miseducation of Bindu

A Chance for Christmas (Holiday romantic comedy, 1x90 min.) A social media influencer struggles to secure a new endorsement by Christmas but finds love in the process. A Sisterly Christmas (Holiday romantic comedy, 1x90 min.) Two sisters must put aside their differences to win a local resort’s annual holiday competition by Christmas Day. Sweet Navidad (Holiday romantic comedy, 1x90 min.) Two chefs with competing personalities work together to create a Puerto Rican-inspired Christmas menu and find love in the process. The Deadliest Lie (Drama/thriller, 1x90 min.) A woman becomes friends with her new mentor but begins to question her intentions as her life starts to mysteriously unravel. A Jealous Friendship (Drama/thriller, 1x90 min.) A news anchor must determine whether the subject of her latest story is coercing women into harmful situations for his benefit.

PROGRAM HIGHLIGHTS Barbie Big City Big Dreams (Animation, 1x60 min.) Barbie swaps the shores of Malibu for the bright lights of Broadway to attend a summer performing arts program and meets...Barbie in this sing-along adventure. Barbie Princess Adventure (Animation, 1x72 min.) In this all-new musical, the adventure begins when Barbie meets Princess Amelia, who looks a lot like Barbie. The princess is nervous about becoming queen, so she comes up with a plan to switch places with Barbie.

Barbie Big City Big Dreams

Barbie & Chelsea The Lost Birthday (Animation, 1x60 min.) Barbie, Chelsea and the Roberts family set sail on an adventure cruise. During the trip Chelsea embarks on a fantastical journey through an enchanted jungle island to save her lost birthday.

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Barbie Vlogger (Animation, 130x5 min.) Barbie shares information about her life, inspirations and favorite things. She loves to do silly challenges with her friends Ken, Harper and Ryan and her sister Chelsea. Thomas & Friends All Engines Go (Animation, S25: 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. Thomas & Friends Race for the Sodor Cup (Animation, 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.

ingredients or steal them from opponents by answering food-related questions. Flea Fight (Format) Follow two expert teams with a limited budget as they shop at flea markets, creating the most value out of their findings; professional auctioneers judge.

Flea Fight

MEDIA RANCH

O (1-514) 315-4548 m info@mediaranch.tv w www.mediaranch.tv Contact: Sophie Ferron, fndr., pres. & exec. producer; Tanja van der Goes, SVP; Phil Kalin-Hajdu, head, content & storytelling; Alexa Jorizzo, head, sales, French Canada, Development Ninja; Malgorzata Gudel, format & pgm. sales, CEE, Russia CIS. PROGRAM HIGHLIGHTS Match Made In Heaven (Factual/dating format) Is love written in the stars? New DR dating format using astrology. Couples must date their astrological match and see if they fall in love. All About Animals (Comedy quiz format, 8x60 min.) New prime-time DR family entertainment show about animals. Two celebrity teams compete in hilarious rounds related to animals. Boiling Point (Cooking quiz format, 10x60 min.) To prepare the dishes, contestants must win

Dining with the Enemy (Format) Travel show where a chef enters war zones or conflicts to cook for two people on opposing sides to bring them together over a meal. The Tower (Talk/comedy panel format) Talk show with USP of everyone visiting or living in the same complex, “the tower.” Current themes are discussed, interspersed with scripted sketches. Pop the Jam (Factual/music format) New music stars meet their idols and they jam together while reviewing their careers. They perform and reimagine each other’s classics in ways never heard before. Love Van (Paper format) In this Horsepower 3 winner, singles find love on a cross-country rally in their livable vans. Will they stick with their dates in the van or replace them with hitchhikers instead? Honey in the Box (Paper format) Contestants ask questions to find their partner amid 50 “Honeys” wearing illuminated boxes on their heads. Things My Father Failed to Teach Me (Factual format, 5x29 min.) A celebrity host returns to his

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childhood home and is given a new skill to master. Samsam (Adventure, 52x12 min.) Confront villains Dad teaches hunting, harvesting, construction and and zoom around space with Samsam and his even how to cook. stuffed animal SamTeddy in this new CGI series. Kid Lucky (Comedy/adventure, 52x12 min.) Kid Lucky wants to be the greatest cowboy of the Wild MEDIATOON West, but until then his adventures in Nothing Gulch DISTRIBUTION with his friends are enough to keep him entertained. O (33-1) 5326-3100 Little Furry (Adventure/edutainment, 117x7 min.) m info@mediatoon.com Learn all about the world with this endearing w www.mediatoon-distribution.com adventurer who speaks his own language and Contact: Jérôme Alby, mng. dir., worldwide pre- overcomes life’s obstacles. sales & dist.; Fanny Gilabert, sales & business Tom and Lili (Comedy, 52x7 min.) These tornado affairs mgr.; Solene Crepin, jnr. business affairs & siblings are always making up tricky plans to joke sales; Franklin Cadre, jnr. business affairs & sales; around. Creative, unstoppable and clumsy, with Louis Perrin, jnr. business affairs & sales. them, disaster is never far away. PROGRAM HIGHLIGHTS Sardine in Outer Space (Adventure, 52x12 min.) Nicholas’ Fantastic Summer (Comedy, 52x12 Join Sardine and her friends in an intergalactic min.) Holidaying at the beach, Nicholas spends space adventure, but watch out for the evil villain time with his family, finds new places to explore, Supermuscleman. and above all, meets new friends to play with. Tintin (Adventure, 39x26 min.) Travel around the world with intrepid reporter Tintin and his dog, meeting all kinds of colorful characters along the way. The Garfield Show (Comedy, 214x11 min.) Join the lazy, overweight ginger cat on his enthralling adventures.

Nicholas’ Fantastic Summer

The Marsupilamis (Adventure, 52x12 min.) Hope, Twister and Punch have hatched in the big city. They love playing wildly, so living discreetly is hard when they want to explore. Living with Dad (Sitcom, 52x11min) Berenice, Roxane, Ondine and Panda, four stepsisters, all live together with their Dad. Even if they have different personalities, they always end up teaming up against him.

MISTCO

O (90) 21669-51300 m info@mistco.tv w www.mistco.tv Contact: Aysegul Tuzun, mng. dir.; Maria Espino, sales mgr., LatAm; Zeynep Kayrak, head, mktg. & sales support. PROGRAM HIGHLIGHTS Barbarossa: Sword of the Mediterranean (Historical drama, 120x45 min.) The series is about

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brave and legendary sailors who become conquerors of the seas in the 16th century. The Great Seljuks: The Legend of Alparslan (w.t.) (Historical drama, 120x45 min.) A spin-off from The Great Seljuks: Guardians of Justice, will tell the life of Sultan Alparslan, the ruler of the Great Seljuk state, who defeated the Byzantine army in 1071 and opened the gates of Anatolia to the Turks.

a company to invest in an airplane he built with his cousins. The engineer sent to look at the invention is his childhood sweetheart. Melek “A Mother’s Struggle” (Drama, 244x45 min.) Melek is a powerful woman who is willing to sacrifice everything for her children and will stop at nothing to protect them. Golden Cage (Drama, 51x45 min.) Zuluf and Kenan are the children of two rival families. Their love will be nurtured by Zuluf’s tears and Kenan’s patience. My Champion (Drama, 102x45 min.) After his wife passed away as a result of an incurable disease, a boxer gave up everything . When his son is diagnosed with the same disease, he comes back for one last round.

The Great Seljuks: The Legend of Alparslan

MONDO TV GROUP

The Shadow Team (Crime drama, S1: 44x45 min., S2: ongoing) Seven patriots accept a challenging duty that requires them to leave their own lives behind and become ghosts among the crowd for their country. Once Upon a Time in Cyprus (Drama, 100x45 min.) In the pastoral landscape of an island located in the south of Turkey in 1963, the Dereli family becomes the target of a terrorist organization. The Innocents (Drama, S1: 128x45 min., S2: ongoing) Tells the story of four siblings diagnosed with different types of obsessive-compulsive disorder as a tragic consequence of their childhood trauma and family history. The Great Seljuks: Guardians of Justice (Drama, 120x45 min.) Melikşah was forced to ascend the throne upon the death of his father. His son, Sencer, who is sent away as a baby, returns years later to be the Sultan’s bodyguard. An Anatolian Tale (Drama, S1: 110x45 min., S2: ongoing) A young inventor in a small town convinces

O (39-06) 8632-3293 m silvia.darchivio@mondotvgroup.com w www.mondotvgroup.com Contact: Matteo Corradi, pres. & CEO; Maria B. Fois, CEO, Mondo TV Iberoamerica; Luana Perrero, head, content sales; Paolo Zecca, chief prod. officer. PROGRAM HIGHLIGHTS MeteoHeroes (2D comedy/adventure/educational, S1: 52x7 min., S2: 52x13 min.) Six superpowered kids fight to protect our planet from climate change and pollution in a funny series full of adventures.

Monster Loving Maniacs

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Monster Loving Maniacs (2D comedy adventure, 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.) Robot Trains (CGI comedy adventure, S3: 52x13 min.) When villainous Train X takes control of a deadly source of energy, an unexpected new ally joins Railwatch. Can they defeat their most dangerous foe? The Wee Littles (Simulated stop-motion comedy adventure, 52x5 min.) A family of four very small creatures—the Wee Littles—handle their compact size with their own unique and inventive flair. Annie & Carola (2D comedy, 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. Grisù (CGI comedy adventure, 52x11 min.) Grisù wants to be a firefighter when he grows up. There’s just one problem: he’s supposed to be a fire-breathing dragon. Nina & Olga (2D preschool comedy adventure, 52x7 min.) The story of Nina, a little girl, her friend Olga, a cute and funny cloud, and how Olga helps Nina to cope with everyday emotions. Sex Symbols (2D edutainment/sex ed./emotional ed., 26x7 min.) Join Carla, Mia, Max and Hugo for an entertaining, animated explanation of the physical changes they are going through as they approach adolescence.

PROGRAM HIGHLIGHTS Aurora Teagarden Mysteries (Mystery, 17x90 min.) Candace Cameron Bure stars as librarianturned-detective Aurora “Roe” Teagarden, a crime buff who unexpectedly finds herself solving real-life murders in her small town. Flip That Romance (Romantic comedy, 1x90 min.) Rival house flippers renovating dual sides of a duplex attempt to out-do each other every step of the way.

MUSE DISTRIBUTION INTERNATIONAL

O (1-818) 777-1300 w www.nbcuniversal.com

Contact: Shawn Rosengarten, VP, dist.

Contact: Belinda Menendez, pres. & chief revenue officer, global dist. & intl.; Don McGregor, EVP, head, worldwide dist., NBCUniversal; Chloe van den Berg, SVP, head, kids & family ent.

O (1-514) 866-6873 m sales@muse.ca w www.muse.ca

The Last Bridesmaid

The Last Bridesmaid (Romantic comedy, 1x90 min.) Over the course of wedding season, Becca Foster bonds with the handsome videographer who covers many of the weddings in her circle. A Perfect Christmas (Drama/holiday, 1x90 min.) Newlywed couple Cynthia and Steve invite their families to join them for the holidays. When Steve is laid off just before Christmas and Cynthia discovers she’s pregnant, they both keep their secret news from each other.

NBCUNIVERSAL GLOBAL DISTRIBUTION

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PROGRAM HIGHLIGHTS 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. Dragons Rescue Riders: Heroes of the Sky (Animation/adventure, 24x30 min.) Viking twins Dak and Leyla work alongside their dragon friends to defend and protect other dragons in adventures around their home of Huttsgalor. Take Note (Live-action/music/comedy, 10x30 min.) Calvin is chosen to compete on a tween reality singing show, relying on his close-knit family to survive the pressures of being in the national spotlight.

as he “yes-ands” through life in this comedy about the importance of being present and celebrating the journey, not just the destination. Gabby’s Dollhouse (Animation/live-action, 40x30 min.) Join Gabby in her fantastical animated world full of adventure and adorable cat friends. Jurassic World: Camp Cretaceous (Animation/ action/adventure, 49x30 min.) Set against the events of Jurassic World, six teenagers’ once-in-alifetime camp experience on Isla Nublar is threatened as dinosaurs wreak havoc across the island. Go, Dog. Go! (Animation/adventure, 26x30 min.) Follow Tag Barker and her best friend Scooch Pooch on their adventures in the city of Pawston, a fun-loving community of dogs on the go.

NICELY ENTERTAINMENT

O (1-323) 682-8029 m info@nicelytv.com w www.nicelytv.com

The Croods: Family Tree

Create the Escape (Live-action/competition reality/DIY, 10x30 min.) Kids dream up incredible escape rooms and challenge their families to crack the puzzle to escape their rooms in the allotted time. The Mighty Ones (Animation/comedy, 40x30 min.) Follow the hilarious adventures of a twig, a pebble, a leaf and a strawberry in their wild world. Madagascar: A Little Wild (Animation/comedy/ adventure, 52x30 min.) Everyone’s favorite Madagascar characters as kids, residing and going on adventures in their rescue habitat at Central Park Zoo. Archibald’s Next Big Thing is Here! (Animation/ comedy/adventure, 24x30 min.) Follow Archibald

Contact: Vanessa Shapiro, CEO; Scott Kirkpatrick, EVP, dist. & coprod.; Laura Hoffman, SVP, sales & operations. PROGRAM HIGHLIGHTS Adeline (True story, 1x90 min.) A small Midwestern community becomes the epicenter for miracles when a mysterious doctor brings a healing horse to town. Love in Bloom (Romance, 1x90 min.) Chicago’s star florist travels to a small town in Australia for her sister’s wedding but must take over wedding preparations with the best man when her sister and the groom get stuck in the mountains. Dying to Belong (Thriller, 1x90 min.) Two women find their lives in danger as the powers at play in a school’s corrupt sorority system have something to hide and will go to any lengths to keep their secrets.

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a small town in Washington to meet a widowed firefighter whom she saw compete on a TV cooking show. 10 Steps to Love (Romance, 1x90 min.) Sophie has always relied on her 10 Steps lists for success in everything, so she decides to implement one for finding love.

NIPPON TV

Adeline

Writing Around the Christmas Tree (Holiday romance, 1x90 min.) When novelist Mikaela Leighton decides to revive her deceased mother’s holiday writer’s retreat, she meets handsome-yet-opinionated nonfiction writer Levi, and a romance ignites. Christmas with Felicity (Holiday romance, 1x90 min.) A struggling baker returns to her hometown, where her festive family and a handsome farmer try to get her back in the Christmas spirit. Christmas Lovers Anonymous (Holiday romance, 1x90 min.) A best-selling author hides her love for Christmas after an ugly breakup, but secretly opens her heart again when she joins a website for Christmas fanatics. Baking Spirits Bright (Holiday romance, 1x90 min.) Dedicated to preserving the East-meets-West traditions of her Indian family’s fruitcake company, a culinary executive matches wits with the marketing guru assigned to her company rebrand and falls in love while teaching him her holiday traditions. A Christmas Family Reunion (Holiday romance, 1x90 min.) When ambitious event designer Amy Kessler is hired by famous pop singer Tiffanie Christmas to plan her family’s ten-year reunion, she unexpectedly falls for Tiffanie’s cousin Calvin. A Christmas Wish in Hudson (Holiday romance, 1x90 min.) An unlucky-in-love web designer travels to

O (81-3) 6215-3036 m nippontv-ibd@ntv.co.jp w www.ntv.co.jp/english Contact: Shigeko Cindy Chino, associate mng. dir.; Yuki Akehi, dir. & head, mktg.; Tom Miyauchi, head, formats, unscripted format sales; Sayako Aoki, scripted format sales. PROGRAM HIGHLIGHTS Money or Junk (Ent./game show, 60-105 min. eps.) Located in abandoned factory sites or remote villages, each contestant will try to create value in what seems like junk.

Date My Daughter!

Stacking It! (Ent./game show, 60 min. eps.) Two teams race to compete and build the tallest tower of prizes to win. Crush Park (Game show, 60 min. eps.) Players crush walls and various objects to conquer wacky obstacle courses as fast as possible to reach the grand prize.

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9 Windows (Comedy game show, 60 min. eps.) Each episode features nine contestants beamed in from home on giant studio screens to reveal their extraordinary hidden talents . Mute it! (Game show, 30-120 min. eps.) Contestants need to keep moving facing obstacles and hazards in a deadly silent environment as they try to clear the missions. Life’s Punchline (Dramedy scripted format, 10x60 min.) Follows three “masters of comedy” who decide to give up on pursuing their dreams of becoming the dynamic trio of comedy and break up. Nemesis (Mystery/suspense scripted format, 10x60 min.) Follows the escapades of a lousy detective and his über-genius assistant who together solve one impossibly difficult case after another. Red Eyes (Drama scripted format, 10x60 min.) Using a state-of-the-art surveillance system to investigate crimes, the police department forms a new special force with a former brilliant detective to solve difficult crimes shrouded in mystery. Date My Daughter! (Romance/comedy scripted format, 10x60 min.) A fortyish woman who has been dubbed the queen of romance novels has a great dilemma: her daughter’s inability to get a boyfriend. A Girl of 35 (Drama scripted format, 10x60 min.) After a freak accident left her unconscious in 1995, a woman awakes with a 35-year-old-body but the mind of a 10-year-old.

NO WATER STUDIOS

O (1-514) 293-3452 m colin.riendeau@nowaterstudios.com w www.nowaterstudios.com Contact: Colin Riendeau, dir. & producer.

Seekers in India

PROGRAM HIGHLIGHT Seekers in India (Seekers en Inde) (Factual, 4x30 min.) Three French-Canadian social media influencers with unbalanced digital lives travel to India in search of balance.

NTV BROADCASTING COMPANY, RUSSIA

O (7-495) 725-5718 m sales@ntv.ru w sales.ntv.ru

Contact: Timur Weinstein, general producer; Marina Kataya, head, sales; Anastasia Lisova, CMO. PROGRAM HIGHLIGHTS With Surgical Precision (Medical/crime drama, 20x48 min.) The original blend of medical drama and crime series. The talented doctor uncovers an organ trafficking conspiracy. Superstar! (Talent show, 8x120 min.) Forgotten pop stars from the ’90s return to prove that they still have it and compete for the judges’ approval and the audience’s attention. Secret for a Million (Quiz/talk show, S1-10: 210x90 min.) Celebrities reveal their deepest secrets, face “truth or dare” challenges and donate all the winnings to charities.

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Fatherland (Drama, 10x48 min.) A journalist fighting corruption chooses a dark path and becomes one of the very people he fought before. KAMAZ. Extreme Racing (Drama/sport, 8x48 min.) Dramatic story of the best truck racers in the world fighting for personal and professional growth. Shepherd (Crime/drama/comedy, S6: 20x48 min.) A classic police procedural featuring a detective and dog duo. Dr. Driver (Medical drama, S4: 20x48 min.) The talented doctor with criminal ties leads an ER crew, saving peoples’ lives and sorting out their personal problems.

With Surgical Precision

Beyond Death (Thriller/drama, S2: 16x48 min.) The young female neuroscientist and the seasoned detective investigate cases where the line between reality and mystic is blurred. Dinosaur (Drama/crime/comedy, S3: 20x48 min.) An original crime drama with comic elements built on a controversy between a father—a former famous safecracker—and his newly found son, a police investigator.

Bergh - Spulber, snr. sales exec.; Jia Zhao, sales & prod. exec.; Loren Baxter, head, acq.; Dylan Casella, acq. exec. PROGRAM HIGHLIGHTS Voices of Earth (Nature/wildlife, 6x60 min.) Meet the people who are preserving a pact of coexistence with nature’s wilderness as modern civilization threatens to destroy the remaining paradises on Earth. Viking Empires (History, 2x60 min.) Discover an exciting new perspective on the Vikings as we explore the lives of these medieval warriors and traders. The Breakdown (Nature/wildlife, 5x7 min.) Breaking down all aspects of the climate and ecological crisis, exploring how we got here, where we’re headed and how we can make a difference. Italy Made with Love (Travel/adventure, 6x60 min.) Takes an intimate look at Italian culture while one of the most visited countries stands empty of tourists. Life of Khumbu (People/culture, 1x60 min.) A look at the highest mountain range on Earth, to the land of Sherpas and one of the best hiking areas in the world. Eyes of the Orangutan (Nature/wildlife, 1x60 min.) Discover the dark heart of the wildlife tourism industry. Aaron Gekoski takes us on a journey to discover the orangutan’s part in this multi-billion-dollar industry. Wild Miami (Nature/wildlife, 1x60 min.) Discover a different side to the city of Miami. Rather than its people, we look at its wildlife and its new animal residents.

OFF THE FENCE

O (31-205) 200-222 m info@offthefence.com w www.offthefence.com Contact: Stefanie Fischer, mng. dir., sales; Rebeca Fernandez, sales dir.; Oliver Taprogge, dir., digital sales; Antoine Paul, sales mgr.; Monica van den Voices of Earth

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Coral Ghosts (Nature/wildlife, 1x90 min.) The story of Dr. Tom Goreau, a marine biologist who inherited the family legacy of protecting the world’s coral reefs. Bird of Fire (Nature/wildlife, 1x60 min.) Discover one of the most iconic creatures in the world, the flamingo, as we explore its life and surprising mysteries. Brat Loves Judy (Lifestyle, 8x60 min.) Legendary rapper Da Brat and her multimillionaire CEO girlfriend, Jesseca “Judy” Dupart, offer an unprecedented look at their extravagant world.

ORF-ENTERPRISE

O (43-1) 87878-13030 m contentsales@orf.at w contentsales.orf.at Contact: Armin Luttenberger, head, content sales intl.; Marion Camus-Oberdorfer, sales dir., GST, music & performing arts & dist. investment; Monika Kossits, sales mgr., TV; Johannes Stanek, sales mgr., TV; Alexandra Hopf, sales mgr., TV; Mario Leonhardsberger, digital content dist. mgr.; Valerie Schmitt, sales mgr., VOD. PROGRAM HIGHLIGHTS Hudson River—Journey into the Wild (Wildlife/nature, 1x52 min.) Native Americans called it “Mahicantuck, the river that flows both ways.” The Hudson’s wilderness is a testament to nature’s ability to thrive in the shadow of a metropolis.

Hudson River—Journey into the Wild

Colombia—Wild and Free (Wildlife/nature, 2x52 min.) For decades, rebel groups spread terror but also protected the pristine forests. Now that peace is declared, Colombia can reveal its natural glories and an extraordinary variety of wildlife. Emperor Augustus—Tyrant and Peacemaker (History, 1x52 min.) The heir to Caesar used brutal violence to become ruler of the Empire. His reforms ensured the heyday of Roman culture for centuries. 1278—The Battle for the Continent (History, 1x52 min.) Tells the story of this turning point in world history. Until today, the battle is surrounded by countless myths, yet very few certainties. 1521—The Fugger Empire (History, 2x52 min.) The film focuses on the year 1521, a significant time for the Fugger Empire as it takes over mining in Tyrol—the Silicon Valley of Europe. Land Grabbing (History, 1x52 min./1x90 min.) This filmic journey into the year 1021—to the socalled Hungarian “conquest”—shows the influence this “land grabbing” had on the surrounding countries, including the territory of present-day Austria. Tatort (Scene of the Crime)—Conspiracy (TV movie, 1x90 min.) A senior official from the Interior Ministry is dead. Moritz Eisner takes on this case and the fight against the seemingly all-powerful opponents—not even Bibi Fellner can stop him. Soko Kitzbuehel (Series, 270x45 min.) In this upcoming season 20, the Alpine cops are again kept on their toes by bafﬂing cases. We Are Family (Series, 10x45 min.) Daniela and Andreas Pichler make regular visits to their couples therapist and always have funny stories to tell. Rookie Robot (Animation, 26x3 min.) Curious, open and friendly, Rookie Robot explores his world and meets new friends, discovers new things and experiences little adventures in each episode.

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PINK PARROT MEDIA

O (34-91) 633-4974 m info@pinkparrotmedia.ca w www.pinkparrotmedia.ca

Contact: Begoña Esteban, head, intl. TV sales & acq.; Tania Pinto Da Cunha, VP/partner & head, intl. sales & acq.; Marie-Claude Beauchamp, pres. PROGRAM HIGHLIGHTS Butterfly Academy (Kids CGI, 52x11 min.) Prequel to the feature film Butterfly Tale, encompassing science-based fun facts that speak to kids about the importance and value of diversity and inclusion. (In financing.) Joy Eternal (YA 2D, 13x11 min. in prod.) Sci-fi comedy adventure with a captivating comic-book style and previous web stories.

PLANETA JUNIOR

O (34-934) 92-80-00 m info.planetajunior@deaplaneta.com w planeta-junior.com/en

Contact: Paula Taborda dos Guaranys; Diego Ibáñez Belaustegui; Allegra Torricelli, franchise mgr. PROGRAM HIGHLIGHTS Milo (Adventure/comedy, 52x11 min.) An adventurous 5-year-old cat, called Milo, loves to use role-play to explore the wide world of jobs and vocations. Superpigs (Adventure, 52x11 min.) A series for 5to 9-year-olds that follows our crime-fighting superheroes as they battle to outwit The Big Bad Wolf and defend Fairyland Metropolis. Spectacular Bella (Fantasy/family/adventure/ edutainment, 52x11 min.) Bella is a 5-year-old with a very active imagination. Since she started wearing glasses, she thinks they are special lenses that magnify the wonders of the universe. Tilly, the Power Within (2D/3D family/adventure, 52x11 min.) Six-year-old Gem and Jax are discovering the world. Tilly, the Power Within helps them explore, understand and cope with making sense of the world. Magic Lilly (52x11 min.) Lilly, an ordinary 12-yearDouble Dribble old girl with a book of magic spells, an enchanted NCK Backstage (Kids 2D, 10x2 min.) Based on a dragon and her own personal Samurai protector real kids’ music band, bringing the audience back- travel magically through time and space. stage and experiencing the ups and downs of a superstar lifestyle. Double Dribble (Kids 2D, 10x2 min.) Bron and Brina are twins, best friends, really smart and, just like all siblings, love a good competition. Who knew Sasquatches were such B-ball fanatics? Snowsnaps (Kids CGI, 52x5 min.) Best friends Violet, Tomas, Sami and Kiki love to play outside and invent wildly funny and silly games in the snow. Superpigs

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That’s Joey! (Comedy, 52x13 min.) Who shoots jokes faster than his tiny shadow? Who thinks school is the best playground on Earth? Who is a better friend than your best friend? That’s Joey. Gormiti (Action/adventure/comedy, S1-3: 52x11 min.) A long time ago, Gorm was threatened by an enemy bent on eradicating all life. The Eternal Knights of Nature, the Gormiti, united to fight the menace. Helen’s Little School (Comedy, 52x11 min.) A kid is the teacher, she runs the school, makes the rules, teaches lessons—but always with a kid twist. Squish (Comedy/adventure, 52x11 min.) The story of three best friends who happen to be amoebas. Kiddets (Edutainment, 52x11 min.) The Kiddets are space cadets, explorers in training at a play school space academy on planet WotWot.

where she transforms from live action to the animated Princess of Play. Onyx Monster Mysteries (Animated kids comedy, S2: 12x7 min.) A comedy-adventure series that proves that with compassion and amazing gadgets, the Onyx Family can save the planet’s most endangered species—monsters. Ryan’s World Specials (Preschool 3-8 comedy/educational live-action/animation, S1-6: 87x22 min.) Join Ryan as he explores the world with play, challenges, science experiments and more.

POCKET.WATCH

Love, Diana Adventures

Contact: Thanda Belker, SVP, global dist.; Kerstin Guehne, dir., content dist., EMEA; Albie Hecht, chief content officer; Chris Williams, fndr. & CEO; Rose Frankel, dir., content dvpmt.; Jeff Sutphen, supervising producer; Anshuman Misra, mng. dir., AsiaPac. PROGRAM HIGHLIGHTS Ryan’s Mystery Playdate—Command Center (Preschool comedy, S4: 10x22 min.) Ryan’s Mystery Playdate season four is loaded with an endless supply of games, puzzles and challenges. Love, Diana Adventures (Preschool comedy, S2: 24x4 min., 1x6 min.) Diana, the world’s most popular kids’ YouTube star, goes on amazing adventures,

MarMar Land (Preschool 3-7 educational liveaction/animation, 30x11 min.) MarMar and his team of explorers learn life skills through adventures, challenges, games and songs. Kids Diana Show Ultimate Mishmash (Preschool 3-7 live-action comedy, 15x22 min.) Diana and her family make learning fun through songs, games and creative visual effects. Jillian’s Mystery Craft Box (Girls 4-8 liveaction crafts/activities, 10x10 min.) Karina Garcia puts Jillian’s DIY-fortitude to the test creating exciting and unique crafts using only the items given to her in a mystery box. The Do Crew (Preschool 3-6 educational, 24x11 min.) Anytime something needs to be fixed, built or repaired, brother and sister Donnie and Didi Do are always ready to help solve the problem.

O (1-424) 298-8234 m jeremy.chapman@pocket.watch w pocket.watch

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PORTFOLIO ENTERTAINMENT

O (1-416) 483-9773 m dmacintyre@portfolio-ent.com w www.portfolio-ent.com Contact: Lisa Olfman, co-fndr. & CEO; Joy Rosen, co-fndr. & CEO; Trent Locke, VP, finance & COO; Liliana Reyes, SVP, content; Donnie MacIntyre, VP, sales & business dvpmt.; Sheldon Teicher, VP, business affairs & legal counsel. PROGRAM HIGHLIGHTS Hero Elementary (Preschool animation, 40x22 min./80x11 min.) At Hero Elementary, young heroes in training can learn how to master their less-than-perfected powers and practice daysaving action.

Project Pay Day (Live-action family, 1x90 min.) A family adventure feature film about three friends who have to find their first-ever summer jobs. The Cat in the Hat Knows a Lot About That! (Preschool animation, 80x22 min.) The Cat leads best friends Nick and Sally on extraordinary adventures into the natural world. Do You Know? (Live-action kids & family, 118x15 min.) YouTube sensation and technology vlogger Maddie Moate makes the leap from the internet to TV in this series that answers some of the world’s most pressing questions. Addison (Preschool animation, 50x11 min.) An animated series for kids aged 4 to 6 chronicling the comical yet brain-teasing adventures of 7-year-old Addison, a female inventor who loves to solve mysteries. You Gotta Eat Here! (Unscripted, 150x22 min.) Comedian John Catucci is on a quest to find the most delicious, mouthwatering and over-the-top comfort foods.

PRESTIGO MEDIAS

Hero Elementary

O (1-514) 567-1553 m daniel@prestigo.ca w prestigo.ca/en

Doomsday Brothers (Adult animated comedy, 18x22 min.) Follows the post-apocalyptic misadventures of two survivalist brothers who are hired to become protectors of their rural hometown. Where Oliver Fits (Preschool animation, 1x30 min. Christmas special & 9x2.5 min.) Meet Oliver, a peppy, plunky puzzle piece from a loving family. Decoys (Live-action scripted comedy, 6x15 min.) About five people who have dedicated their lives to achieving excellence in their chosen field: competitive duck carving.

Contact: Daniel Coutu, CEO & producer; Johanna Veysset, mktg. & sales cnslt. PROGRAM HIGHLIGHTS Critters & Co (Kids, 15x13 min.) Bill Critter and Emilie are living in a wooded neighborhood that is the perfect place to discover surprising and perplexing critters. Arts & Pranks (DIY/comedy, 65x3 min.) Live from his art studio, our host Tristan Demers explains step-by-step how to make a hilarious DIY that will delight your kids.

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PROGRAM HIGHLIGHTS Woolly Woolly (CGI animation, 52x11 min.) Animated series that follows the adventures of a tightknit community of woolly-teensy forest gnomes through an enchanted universe. Secrets of the Deep (History/adventure doc., 13x24 Critters & Co min.) The diver Mario Cyr and the maritime historian Here’s the Magic (DIY/comedy, S1: 48x5 min., Samuel Côté are on a mission to reveal what lurks in S2: 15x15 min., S3: 15x15 min.) Daniel Coutu pulls the depths of Canada’s lakes and rivers. off, step-by-step, 108 magic tricks.

PRODUCTIONS AVENIDA

O (1-514) 804-2123 m clafleur@productionsavenida.com w productionsavenida.com Contact: Chantal Lafleur, pres. PROGRAM HIGHLIGHT Jenny (Kids, S1-3: 20x13 min. each) Over three sea- Secrets of the Deep sons, follows the story of a young girl whose life is com- 4 Days Before Christmas (3D animation, 1x88 pletely turned upside down by a diagnosis of leukemia. 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 super heroic Christmas Crusader. Cosmo the Dodo Bird (CGI animation, 55x11 min.) The last dodo bird on Earth, our spunky and selfless Cosmo, travels across the galaxy to protect stunning creatures and their biodiversity from harm. Jenny

PVP MEDIA

O (1-418) 566-2040 m info@pvp.ca, michele.ouellet@pvp.ca w www.pvp.ca

RAINBOW

O (39-071) 7506-7500 m info@rbw.it w www.rbw.it

Contact: Vincent Leroux, producer & pres.; Contact: Cristiana Buzzelli, SVP, content & lic.; François Trudel, exec. producer & VP; Éli Laliberté, Andrea Graciotti, head, sales, TV series, movies & content producer. coprod.; Silvia Quintili, content sales mgr.

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PROGRAM HIGHLIGHTS Summer & Todd Happy Farmers (CGI comedy/ edutainment, 52x7 min.) Summer, the enthusiastic bunny, and Todd, the handy raccoon, live at Sunshine Farms, learning new things every day and solving farm issues in original ways.

Summer & Todd Happy Farmers

Pinocchio 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 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. 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. Winx Club Season 8 (2D adventure/action/comedy, 26x23 min.) The Winx fairies embark on a cosmic adventure that will lead them to the farthest reaches of the Magic Universe to save the stars from going out. Diary of a Nerd (Comedy, 20x22 min.) Told from the point of view of Phil, a 12-year-old boy and 100 percent nerd, who can complete the Rubik’s cube in ten seconds but is a disaster at easy and practical stuff. Club 57 (Live-action comedy, 60x45 min.) Coproduced with Nickelodeon, the time-traveling

stories of science-lover Eva, catapulted back to 1957 and falling in love with JJ. 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. 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.

RED ARROW STUDIOS INTERNATIONAL

O (49-89) 9507-7303 m sales@redarrowstudios.com w redarrowstudios.com/international Contact: Tim Gerhartz, pres. & mng. dir.; Shirley Bowers, VP, sales & acq., North America, U.K., ANZ; Tobias Schulze, VP, sales, French- & Germanspeaking Europe, Benelux; Maria Arroyo, snr. sales mgr., Iberia, Italy, Turkey, Israel, LatAm; Joyce Dröse, sales mgr., Asia, Nordics, Africa, inflight; Victor Ukmar, sales mgr., CEE, CIS, Greece, Middle East; David Barber, VP, format dvpmt. & prod.; Rodrigo Herrera Ibarguengoytia, snr. acq. & coprod. mgr., scripted; Lavinia Cirstea, formats & non-scripted acq. mgr. PROGRAM HIGHLIGHTS Blackout: Tomorrow Is Too Late (Thriller, 6x45 min.) As a sudden blackout plunges Europe into darkness, the past catches up with a former hacker in this ambitious new international thriller.

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Married at First Sight Australia (Reality/format, S8: 32x90 min.) Season eight of the hit Australian version of Married at First Sight, the world’s leading relationship show.

RIVE GAUCHE

Blackout: Tomorrow Is Too Late

Who Is the Phantom? (Ent. format) Celebrities attempt to guess the identity of the mystery Phantom— a famous face hidden behind a mask. Stella Blómkvist (Crime, S2: 3x90 min./6x45 min.) The hit crime series returns, taking us deeper into the dangerous, stylish and sexy world of contemporary Icelandic noir. #OfflineintheWild (Format/reality) Social media stars battle it out to survive offline and off the grid in this competitive and definitive digital detox format. Stealing the Show! (Ent. format) Audacious new format turns the quiz show on its head by giving contestants the chance to literally steal the show. Australian Gangster (Crime, 2x90 min./4x45 min.) Set within the Sydney underworld, where gangsters and the Instagram generation collide with Sydney’s glamorous social elite. Deadly Standoff (History, 6x60 min.) The stories behind six extraordinary standoffs that shook a nation, from the early tensions that sparked these confrontations to their deadly conclusions. Quizness (Ent. format) TV quiz show in which the more answers the contestants know, the sillier they have to look to prove it. The Opposite Show (Ent. format) In this primetime game show, nothing is as expected; right is left, yes is no, loud is quiet and every win is a loss.

O (1-818) 784-9912 m marine@rgitv.com w www.rgitv.com Contact: Jon Kramer, CEO; Marine Ksadzhikyan, COO & EVP, sales; Justina Hamperek, SVP, acq. & sales; Tomas Silva, VP, intl. sales, LatAm & Iberia; Carrie Stein, intl. film/TV cnslt.; Jeff Ford, snr. exec., film/TV, U.K.; Dan Shires, VP, film/TV, U.K.; Christina Poray, dir., dvpmt., film/TV. PROGRAM HIGHLIGHTS In Their Own Words (Doc., 6x60 min.) Using a combination of access-driven interviews, archive and animated content, a journey into the lives and minds of some of the world’s most compelling legends. Disaster Déjà Vu (Doc., 13x60 min.) An actionpacked series that showcases cities that have been hit by the craziest disasters, not once but twice. Survivors (Doc., 1x60 min.) Through interviews with victims as well as medical experts, tells the heartwrenching stories of those who “broke free” from opioid addiction, and of some who unfortunately have not.

The Killer Truth

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The Killer Truth (Crime, 8x60 min.) Each episode tells the story of a single murder through the five people most intimately connected to the case. Very Scary People (Crime, 24x60 min.) Chronicles the lives of some of the most frightening, diabolical characters in recent history. Something’s Killing Me (Medical doc., 18x60 min.) Examines puzzling behaviors and diseases that result in near-death struggles. I Saw the Unknown (Paranormal, 10x60 min.) Features stories of people recounting how they lived through terrifying experiences of unexplained phenomena. My Misdiagnosis (Medical doc., 26x60 min.) Each episode features two cases told by the people who were misdiagnosed, their friends, family and doctors. Trace of Evil (Crime, 52x60 min.) Reconstructs intriguing criminal cases of the past two decades where technology has changed the course of the investigations and brought the guilty to justice. Homicide’s Elite (Crime, 24x60 min.) Features the most baffling, shocking and heartbreaking cases Detectives David Quinn and Vince Velazquez have worked in their combined 50 years on the street.

RUSSIA TELEVISION AND RADIO/SOVTELEXPORT

O (7-495) 955-8920 m ref.ste@vgtrk.com w sales.vgtrk.com

Contact: Julia Matyash, dir., Sovtelexport; Maria Dorokhina, head, intl. sales (worldwide, excl. CIS & Baltic states); Ekaterina Grigorieva, head, sales (CIS & Baltic states); Elizaveta Shcherbakova, mgr., intl. sales (worldwide, excl. CIS & Baltic states); Nadezhda Kobzeva, mgr., intl. sales (worldwide, excl. CIS &

Baltic states); Karina Soldatova, mgr. intl. sales (CIS & Baltic states). PROGRAM HIGHLIGHTS Elsa’s Land (Drama/romance, 1x95 min.) Retired geography teacher Leonid and recently widowed Elsa meet and fall in love. Both are in their 70s. Their friends and family do not approve of this relationship. Cloister (Drama, 8x52 min.) Late 1920s. In the Solovetsky concentration camp, a passionate love story between a prisoner and a Cheka officer unfolds.

Elsa’s Land

The Lockdown (Detective drama, 8x52-53 min.) A series of unexplained deaths shakes a small resort. An epidemiologist from Moscow demands to shut it down in order to find the source of infection and stop the epidemic. The Emerald Curse (Drama, 16x52-53 min.) The father of young Alena finds rare Ural emeralds in the mine. The treasure is cursed and will destroy the fate of whoever wants to possess it. Reckless Alena is ready to take the risk. The Terrible (Drama, 8x60 min.) The life of the most controversial and mysterious Russian ruler, Ivan IV. The Optimists: Caribbean Season (Spy/detective drama, 8x52 min.) The Cuban Missile Crisis is in full swing. Spy star Dmitry Nesterov is urgently sent back to the Foreign Ministry in Moscow from his post in New York and ends up in the thick of things.

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Zuleikha Opens Her Eyes (Drama, 8x53-55 min.) In the aftermath of the Russian Revolution, Zuleikha, a quiet and obedient Muslim wife, is arrested and sent to Siberia after her husband is murdered by communist soldiers for hiding grain. Homo Sperans (Lifestyle/psychology, 1x73 min.) A portrait of a Russian person made up of many images. The Wall (History, 2x45 min.) A film by a famous Russian journalist Andrey Kondrashov about the destruction of the Berlin Wall and German reunification. Kresty (Current affairs/psychology, 1x90 min.) Kresty is one of the oldest and largest prisons in Russia, located in the center of Saint Petersburg.

SATURDAY ANIMATION STUDIO

O (1-514) 369-8001 m info@digitaldimension.com w www.digitaldimension.com

Contact: Louis-Simon Menard, pres. & CEO; Fred Faubert, chief creative officer; Marc Bourbonnais, COO; Jean-Philippe Therrien, mktg. dir. PROGRAM HIGHLIGHTS Chase and CATCH (Animated action/comedy, 13x22 min.) A unique buddy-cop duo from a futuristic detective force solve criminal cold cases and work to dismantle VANISH, a diabolical outlaw syndicate.

Chase and CATCH

Aiko and the Masters of Time (Animated sci-fi/ action/adventure, 10x22 min.) The race is on to harness the mysterious forces that caused time to rearrange itself and control it.

SERIOUS KIDS

O (44-20) 8771-7310 m sales@seriouskids.com w www.seriouskids.com Contact: Genevieve Dexter, CEO; Leila Ouledcheikh, SVP, global dist. & commercial dvpmt. PROGRAM HIGHLIGHTS Art Ninja (Ent., 40x26 min. & 15x20 min.) A topfive-rating, new-look art show for kids interested in experimenting with modern art techniques. Bo & To’s Family (Stop-frame animated comedy, 54x5 min./3.5 min.) Bori, Toto and Mozzi are three eccentric rescue cats living above a café with their barista “servant,” entertaining his customers and hanging out with other neighborhood animals. Gigglebug (Animated preschool comedy, 52x5 min.) Based on the award-winning mobile app of the same title, this series is set in an enchanted forest with a little bug with an irresistible laugh. 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, fighting mythological creatures and maintaining school grades, they divert adult suspicions and go after Ares, the God of War. Monty & Co (Puppet animation, 34x11 min.) A musical puppet sitcom series for preschool children featuring a blended family living together in a house above their bring, buy and mend shop. Operation Ouch! (Fact-ent., 116x26 min.) This ongoing factual-entertainment show helps kids

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combat their fear of hospitals by showing them how amazing the human body is at fixing itself. The New Legends of Monkey (Action/adventure, 20x26 min.) Live-action kids’ and family series about a young girl who discovers a lost statue of the Legendary Monkey King, an ancient god who has been imprisoned for 500 years.

Welcome to Earth

Tik Tak (Live-action/animation, 104x5 min.) Toddler show that stimulates children’s cognitive development in a relaxed, simple way. Tulipop (Preschool animation, 26x5 min.) Modern day fairy tales set on the fantastical island of Tulipop, where anything can happen. Welcome to Earth (Animation, 26x5 min.) Commander Alpha has sent Mish, Klaus, Erza and Suzy to Earth to locate the best headquarters from which to invade the planet.

PROGRAM HIGHLIGHTS Furry Friends Forever: Elmo Gets a Puppy (Children/family, 1x26 min.) In this brand-new animated special, Elmo and Grover discover a stray puppy on Sesame Street. Join Elmo as he meets his furry friend forever, Tango. Furry Friends Forever: Elmo & Tango Mysterious Mysteries (Children/family, 13x5 min.) Elmo and Tango’s furry friendship blossoms in this new animated series. The pair follow clues to help their Sesame Street besties solve their biggest mysteries. Mecha Builders (Children/family, 52x11 min.) See our beloved friends like you’ve never seen them before: as CGI animated robo superheroes-in-training. The Not-Too-Late Show with Elmo: Game Edition (Children/family, S1: 13x15 min., S2: 16x15 min.) Put your paws, claws and hands together because everyone’s favorite furry, red host Elmo is back for a new season. Bea’s Block (Children/family, 20x22 min.) This brand-new, CGI animated series follows 5-yearold Bea and her best friends Ty and Lexi as they model kindness, friendship and empathy through their playful adventures. Sesame Street (Children/family, S52: 35x26 min.) Catch Elmo, Abby and Cookie Monster as the team takes on playful problem-solving by exploring how you learn.

SESAME WORKSHOP

O (1-212) 875-6887 m celia.musikant@sesame.org w www.sesameworkshop.org Contact: Whit Higgins, SVP, intl. media & education & dist.; Celia Musikant, dir., intl. media Mecha Builders dist.

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Through Our Eyes (Family docuseries, 4x30 min.) An intimate and inspiring journey into the lives of American families from the perspective of children themselves as they navigate challenges. Cookie Monster’s Foodie Truck (Children/family, 39x5 min.) Cookie Monster’s Foodie Truck continues to deliver the freshest food and content in this series. Elmo’s World (Children/family, 76x5 min.) Welcome to Elmo’s wonderful world, a place full of wonder, joy and learning. Elmo uses his imagination to transform his bedroom into “Elmo’s World.”

“paleontologist in training” who (like Dan and Trek before her) eats, sleeps and breathes dinos. Endlings (Live-action/CGI sci-fi, 24x22 min.) Follows four teenagers in foster care who discover they’re not alone in the universe, even though sometimes it can feel like they are.

SINKING SHIP ENTERTAINMENT

The Demon Headmaster

Contact: Marilyn Kynaston, head, sales & dist.; Kate Sanagan, head, sales & dist. PROGRAM HIGHLIGHTS The Demon Headmaster (Live-action mystery, 10x22 min.) Five teens discover that the principal of their school uses his powers of hypnotism, brainwashing and tech surveillance to “control, command and conquer.” Alma’s Way (Preschool 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. Dino Dana (Live-action/CGI preschool, 52x22 min./or 11-min. eps.) Dana is a feisty 10-year-old

Odd Squad (Kids 4-7 live-action/CGI, 114x22 min./or 11-min. eps.) A math comedy about a hightech 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, who plan to impose global control over the world’s youth. Lockdown (Live-action tween mystery, 16x13 min./8x26 min.) Follows a group of friends living in a big city affected by Covid-19. The series is shot entirely via webcam and smartphones. My Home, My Life! (Kids live-action docuseries, 13x22 min.) Each episode follows a different child who invites the audience into their life to see their home, their family, their customs and traditions. Annedroids (Kids 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 (1-416) 533-8172 m distribution@sinkingship.ca w www.sinkingship.ca

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SPI INTERNATIONAL

SQUEEZE

O (1-212) 673-5103 m info@spiintl.com w spiintl.com

O (1-418) 440-7836 m ccloutier@squeezestudio.com w squeezestudio.com

Contact: Loni Farhi, pres.; Berk Uziyel, CEO; Haymi Behar, CMO; Revi Benshoshan, dir., acq. & sales; Małgorzata Lucińska – Sikora, acq. dir. HIGHLIGHTS Filmstream Offers a specially curated selection of independent world cinema gems and classic movies, perfect for viewers who appreciate the art of cinema. FilmBox SPI’s flagship movie service, FilmBox provides entertainment to millions with a catalog that spans Hollywood blockbusters, classic evergreens, world cinema gems and local productions. Film1 Provides four premium movie channels and a VOD service on all cable, DTH and IPTV platforms in the Netherlands. Dizi The ultimate destination for Turkish series enthusiasts all over the world. DocuBox Brings a collection of award-winning documentary features and TV programming that explores the wonders of our world. Gametoon Created by true gaming and esports enthusiasts and features game reviews, esports tournaments and exclusive game walkthroughs and sessions from popular streamers.

Contact: Chantal Cloutier, exec. producer & head, originals; Denis Dore, CEO, cofndr. & exec. producer; François Houde, CFO & exec. producer. PROGRAM HIGHLIGHT Cracké Family Scramble (Animation, 52x7 min.) First-time daddy Ed loves his ostrich octuplets more than anything. Too bad his overprotective instincts and out-of-control imagination turn every family activity into a ridiculous adventure.

Cracké Family Scramble

ST LAURENT TV INTERNATIONAL

O (1-418) 554-5363 m audrey@stlaurent.tv w stlaurent.tv

Endless Love on Dizi

Contact: Lou Bélanger, producer; Rafael Perez, producer; Vincent RC, dir.; Robert Nelson, Dominic Lapointe & Karl-Alexandre Jahjah, ideators.

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pressure situations to a successful conclusion through the power of persuasion. Passengers (Drama/mystery, 8x20 min.) Andrey is no ordinary taxi driver. All of his passengers are Punch Club dead. His job is to deliver them to the afterlife, but PROGRAM HIGHLIGHT it’s never straightforward. Punch Club (Comedy, 8x22 min.) Allows players Addicted (Drama, 24x52 min.) Yana is a junkie, to compete in a one-on-one formula in a high-spirited however, in the new season she becomes a comcompetition featuring improvised performances pletely different person. Has she really changed? from the province’s top comedic talent.

START

O (7-495) 956-9246 m drama@start.ru w startdrama.ru Contact: Daria Bondarenko, EVP, sales & acq.; Ilona Romanova, head, intl. sales, scripted series.

Mediator

PROGRAM HIGHLIGHTS The Vampires of Midland (Detective comedy/drama, 8x52 min.) A new twist on the police procedural drama that brings together the supernatural and the earthly detective skills to solve a murder and protect a way of life. Mediator (Investigation/drama, 16x52 min.) Andrey Pavlov, a professional negotiator trained by the Russian government, brings threatening, high-

STUDIO 100 MEDIA

O (49-89) 960855-0 m distribution@studio100media.com w www.studio100group.com Contact: Martin Krieger, CEO; Dorian Bühr, head, global dist.; Tanja Aichberger-Schätzle, snr. sales exec.; Vanessa Windhager, sales exec.; Fabrice Laventure-Darival, sales exec.; Joe Hofer, mgr., corp. comms. & events. PROGRAM HIGHLIGHTS FriendZSpace (Comedy/adventure, 52x11 min.) Animated comedy about three human kids committed to making friends with alien kids all across the supercluster of stars. 100% Wolf—Legend of the Moonstone (CGI comedy/adventure, 26x22 min.) Freddy Lupin, heir to a line of werewolves, was in shock when on his 13th birthday his first “warfing” went awry, turning him into a poodle. Heidi (CGI adventure, S1-2: 65x22 min.) Heidi lives with her grandfather in the scenic idyll of the Swiss Alps. 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, S12: 104x7 min.) Wissper is a little girl who was born

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with the ability to talk to animals. She can transport herself to anywhere an animal is in trouble and in need of help. Arthur and the Minimoys—The Series (CGI adventure/fantasy, 26x24 min.) Arthur found the world of the Minimoys and visits his friends Selenia and Betameche. This time the King of the Minimoys is organizing the resistance against tyrant Malthazar.

FriendZSpace

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. Mia and me (Fantasy/adventure, S1-3: 78x23 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. Ghost Rockers (Live-action mystery, 209x12 min. & 1x92 min.) For five teenagers, the DAM Academy is the place to be in order to become famous music stars. What they discover in the school’s basement might turn the tides for them.

Marie-Laure Roche, sales dir.; Pedro Citaristi, VP, Southern Europe operations; Louise de Staël, VP U.S. operations. PROGRAM HIGHLIGHTS Anna & Friends (Comedy, 78x7 min.) What happens when an imaginative little girl, an impatient frog, an over-confident dog, a thoughtful cat and a naïve earthworm get together? A hilarious and heartwarming preschool series. Croco Doc (Edutainment, 26x7 min.) Are you an animal with a health problem? No worries, Croco Doc will visit you and make you feel better. The Adventures of Little Penguin (Adventure comedy, 52x5 min.) Follows the hectic adventures of Oscar, a little penguin who lives in a unique environment. Hidden Waste (Kids/family shortcom, 26x2.5 min.) Lifts the curtain on hidden pollution and tells you how to limit the damage to save our planet. Percy’s Tiger Tales (Adventure comedy, 52x13 min., 4x22 min. specials) Four great friends explore different imaginary worlds and imagine hectic stories. Handico (Shortcom, 24x3 min.) Using amusing terms, Will explains the most common handicaps to children, including their causes and the effects they have on a person’s daily life. Clay Time (Edutainment, 60x4.5 min.) Young viewers are invited to develop their imagination with a universal activity: modeling clay.

SUPERIGHTS

O (33) 516-500-016 m sales@superights.net w www.superights.net/en/ Contact: Nathalie Pinguet, deputy mng. dir., sales & acq.; Jérômine Ader de la Villardière, sales mgr.; Anna & Friends

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Bo Bear (Live-action, 52x5 min./10x12 min.) A series following the hectic adventures of young kids and their fluffy best friend Bo Bear. 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 mountains to catch the little hedgehogs who don’t want to hibernate. Koumi’s Animated Picture Book (Edutainment, 52x5 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.

SYON MEDIA

O (1-514) 497-4408 m dbergeron@syonmedia.ca w syonmedia.ca

TELECOLOMBIA & ESTUDIOS TELEMÉXICO

O (57-1) 417-4200 m ana.barreto@foxtelecolombia.com w foxtelecolombia.com, estudiostelemexico.com Contact: Samuel Duque Rozo, chmn. & CEO; Samuel Duque Duque, pres.; Ana Barreto, commercial VP; Ángela Suárez, original content VP; Silvia Duran, prod. dir., Colombia; Andrea Marulanda, prod. dir., Mexico; Federico Devis, prod. services exec. PROGRAM HIGHLIGHTS Opa Popa Dupa 2 (Preschool, 26x30 min.) A puppet show created for preschool children to learn, through humor and music, topics based on science, technology, space and physics, among others.

Contact: Danny Bergeron, pres. & producer. PROGRAM HIGHLIGHT Tom’s Tiny Toys (Upper preschool, 52x11 min.) Tom is a 6-year-old boy whose life was turned upside down the day he found a box of five tiny robot toys left for him in the attic by his grandfather. But these toys are not regular toys, they are alive and ready for some fun. Noticia de un secuestro

Tom’s Tiny Toys

El Galán (Comedy, 12x30 min.) A soap opera heartthrob from the ’80s who does not understand that times have changed tries to retake his place in the entertainment world. Viaje al centro de la tierra (Adventure, 8x30 min.) Eleven-year-old Diego is a creative, curious boy and the leader of his group of friends, with whom he will share his summer in the camp of Pompilio Calderón, an eccentric media explorer. Latin Flow (Reality, 13x30 min.) The story of a group of nine Colombian women who, driven by their

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passion for urban culture, will start an intense struggle Vivi Cat (Animation, 200x2 min.) Featuring the to get their own space in a very competitive universe. interesting daily life of Vivi, an adorable cat who Noticia de un secuestro (Drama, 6x45 min.) really enjoys slowing up and being cool every day. Inspired by real events, the suspenseful story follows the harsh experiences of a small group of people who were kidnapped in 1990 by Colombian drug traffickers.

TENCENT VIDEO

O (86-10) 6267-1188 m kid@tencent.com w v.qq.com/channel/child Contact: Selina She, dir., kids’ IP dvpmt. & pgmng.; Qing Fan, producer, content investment & coprod. PROGRAM HIGHLIGHTS Deep in the Bowl (Animation, 52x5 min.) Integrating 3D animation with live action, depicts amazing aquariums with a fantastic fishy cast. Rainbow Bubblegem (Animation, 52x11 min.) This fantasy adventure series follows the colourful adventures of seven mermaid princesses who must go to school on land to search for enchanted jewels to save their undersea realm from an evil witch. 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 special customers. Monsters in the Forbidden City (Liveaction/animation, 78x10 min.) When an ordinary girl, Rain, picks up a mysterious gem in the Forbidden City, she gains access to a parallel realm where monsters, gods and spirits live in harmony.

Rainbow Bubblegem

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.) Little bear BOOMi, his dog Bibop and their best friends play and learn in a wondrous virtual reality game universe. Cona Blue (Animation, 52x11 min.) Follows the exploits of five very different little sea creatures who form a united adventure team.

TERRA MATER FACTUAL STUDIOS

O (43-1) 87003-0 m office@terramater.at,

sven.westphal@terramater.at w www.terramater.at Contact: Sabine Holzer, head, specialist factual; Sven Westphal, dir., coprod. & portfolio mngmt.; Berend Dreier, coprod. & sales mgr.

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Wild Wales

PROGRAM HIGHLIGHTS Secrets of the Unsaid—The Science of Animal Poo (Science/nature, 1x50 min.) Looking for clues in poos, facts in feces? Join us and Scat Man in finding out more about what makes the world go round. Horse Power—American Legacies (Nature, 1x50 min.) American horses are icons that shaped a nation—a nation whose demands shaped them. And each breed has a unique story to tell. Wild Wales (Nature, 1x50 min.) With a cinematic Celtic score and charismatic cast, including puffins, fox cubs, red kites and newborn seal pups, our film reveals Wales in all its wild glory. Gorillas Close Up (Nature, 1x50 min.) Together with distinguished scientist Martha Robbins, we’re looking for the elusive lowland gorillas of Gabon— and manage to gain their trust. The Secret Crown (Nature, 1x50 min.) A conservation story that unfolds on newly discovered coral reef. Hippo King (Nature, 1x50 min.) A giant hippo bull— a king among the largest concentration of hippos on this planet—has an incredible story to tell. The Loco-Motion Picture (Science/nature, 1x50 min.) Experience nature’s many ways to keep life on Earth on the move—and thus alive. One Perfect Day (Nature, 1x50 min.) Fluffy bush babies, imposing elephants, hungry bears: come

rain or shine—for someone and in some aspect, it’s going to be a truly perfect day. Great Lakes Untamed (Nature, 3x50 min.) A visual exploration of the natural history of the largest freshwater ecosystem on Earth—North America’s Great Lakes and its many astounding inhabitants. Morava—Between Deluge and Drought (Nature, 1x50 min.) One of the last and most exceptional remaining riparian wildernesses: join us on an exploration of the Morava River in the heart of Europe.

TOONZ MEDIA GROUP

O (91-471) 434-2500 m jaya@toonzmediagroup.com w www.toonz.co Contact: P. Jayakumar, CEO; Bruno Zarka, chief sales & mktg. officer; Gulshan David, VP, media sales; Viju Thomas Varghese, dir., dist. & synd.; Maria Doolan, snr. sales mgr. PROGRAM HIGHLIGHTS Paddypaws & Pals (Preschool comedy adventure, 52x11 min.) A series created by Keith and Emily Chapman about a bunch of adventurous kitties led by the mischievous Paddypaws, and their loving, responsible young owner, Daisy. Aliens in My Backpack (Kids 7+ action comedy, 52x11 min.) Award-winning creators Rob Lee and Jim Driscoll come together for this alien CGI series that packs the punch of an exciting, otherworldly adventure. Kingdom of None (Kids 8+ comedy adventure, 52x11 min.) Reality and fantasy merge as our hero Meter and his friends transform their everyday lives into imaginary worlds full of wild adventures. Li’l Santa (Kids 3-7 comedy, 52x1 min. & 1x22 min.) Li’l Santa and his North Pole buddies face the challenges of making the most magical day of the year happen.

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TVF INTERNATIONAL

O (44-207) 837-3000 m sales@tvf.co.uk w tvfinternational.com

Paddypaws & Pals

Contact: Poppy McAlister, sales mgr.; Katie Bench, snr. sales & acq. exec.; Will Stapley, head, acq. & partnerships; Julian Chou-Lambert, acq. mgr.; Sam Joyce, snr. sales, acq. & mktg. exec. PROGRAM HIGHLIGHTS Untold Arctic Wars (History, 6x52 min.) Discover the game-changing events of WWII that played out against the Arctic landscape through new research, high-end CGI and unseen archive footage. Down for Love (Fact-ent., 3x60 min.) A primetime series following six inspiring young people with Down syndrome on their search for love, navigating the ups and downs of modern dating. Deciphering South Korea (Travel/culture, 4x48 min.) Join Korean-American journalist Joi Lee to uncover the realities of K-pop, Korean masculinity and the struggling millennial generation behind the nation’s global influence. 100 Years: China’s Communist Century (History/current affairs, 1x49 min.) Through groundbreaking eyewitness accounts and unseen archive footage, investigates how events from the Civil War to the Great Famine still affect China today.

Daisy Dew Drop (Preschool girl-centric adventure, 52x11 min.) Daisy and her friends live and play in the whimsical Rainbow Garden, where magic and nature come together. Zoonicorn (Kids 2-6 adventure, 52x7 min.) Young animals growing up together enter brilliant dreamscapes when faced with challenges. There, four enchanting Zoonicorns illuminate the solutions to their problems. Briko (Kids 4-7 non-dialogue adventure, 52x10 min.) A CGI and live-action hybrid activity-oriented preschool series focusing on the values of conservation and recycling, along with oodles of DIY fun. Sunnyside Billy (Kids 6-9 comedy, 52x11 min.) An upbeat comedy centered around a witty, happygo-lucky fried egg and his bunch of friends, who only know to love, care and spread sunshine. Mondo Yan (Kids 6-9 comedy adventure, 52x12 min.) Comedy rollercoaster about three young apprentice misfits chosen by three eccentric elders to protect their peaceful and idyllic world from evil powers. Darwin & Newts (Kids 4-7 edutainment adventure, 40x11 min.) An adventure buddy comedy for preschoolers that is imbued with the fun of learning, discovering and experimenting with early science and engineering principles. Deciphering South Korea

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Dun Huang: The Edge of the World (History, 5x22 min./2x52 min.) Docudrama reveals the turbulent history of China’s Silk Road frontier town and ancient nucleus of trade, politics and culture, Dun Huang.

VIACOMCBS INTERNATIONAL STUDIOS (VIS)

O (54-11) 4102-5600 m vis-americas@vimn.com w www.viacominternationalstudios.com

Contact: Guillermo Borensztein, VP, content sales & coprod. & head, films, Americas; Elena Antonini, dir., content sales & coprod.; Natalia Delmas, mgr., content sales & coprod. PROGRAM HIGHLIGHTS Parot (Drama/thriller, 10x60 min.) Spain, 2013. After the annulment of the “Parot Doctrine,” almost 100 terrorists, rapists and serial killers are set free before their sentences are up. The released convicts start turning up murdered in the same way their victims were. Club 57 (Teen telenovela, S2: 60x60 min.) The new season brings us extraordinary adventures in time and new challenges for our favorite characters. Because Victoria (Dramedy, 10x30 min.) Five years have gone by and Victoria starting school seems to mark the return of personal problems between the three mothers: Jazmin, Emma and Barbara.

Parot

Kally’s Mashup: A Very Kally’s Birthday! (TV movie, 1x90 min.) Days before her birthday, Kally takes an adventure with Tina to Colombia. While she’s having the best time of her life, Kally will need to decide what to do with her career and her heart.

VUULR

m support@vuulr.com w www.vuulr.com

Another Round

PROGRAM HIGHLIGHTS Another Round (Drama/comedy, 1x117 min.) A 2020 comedy-drama film directed by Thomas Vinterberg and starring Mads Mikkelsen. Dragon Blade (Adventure/action, 1x127 min.) Huo An teams his army up with an elite legion of defected Roman soldiers to protect his country and his new friends. Go Astro Boy Go (Children’s, 52x11 min.) Astro Boy, the most advanced AI with a human boy appearance, sets out to solve problems happening all over the world. God’s Pocket (Drama/crime, 1x88 min.) The film follows a guy named Mickey who gets in over his head when he tries to cover up the accidental death of his stepson. Goodnight Mommy (Horror, 1x99 min.) Tenyear-old twins wait for their mother. When she

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comes back, her head wrapped in bandages after plastic surgery, nothing is as it was before. Active Shooter: America Under Fire (Doc., 8x60 min.) Takes an in-depth look at eight mass shootings in the U.S., from the Aurora, Colorado, theater incident to the church shooting in Charleston, South Carolina. John Wick (Action/crime, 1x161 min.) Blinded by revenge, a former assassin unleashes destruction against a sophisticated kingpin, Viggo Tarasov, and his family. Logan Lucky (Action/crime/comedy, 1x118 min.) Two brothers attempt to pull off a heist during a NASCAR race in North Carolina. Mr Zoo (Comedy, 1x114 min.) Tae-joo is the highest performing National Information Service agent within the agency. During a mission, he suddenly starts to understand what animals are saying. Narcos Mexico (Bio./crime, S2: 10x60 min.) The rise of the Guadalajara Cartel as an American DEA agent learns the danger of targeting narcos in Mexico.

WAZABI FILMS

O (1-514) 866-3020 m sales@wazabifilms.com w www.wazabifilms.com Contact: Anick Poirier, co-pres.; Lorne Price, co-pres. PROGRAM HIGHLIGHTS Wuhan Wuhan (Doc., 1x90 min.) An intimate look at real people and how their lives have been impacted by this recent change in their way of life. Incendies (Drama, 1x130 min.) This Academy Award-nominated film from famed director Denis Villeneuve is about twins on a journey to the Middle East to discover their family history and fulfill their mother’s last wishes.

Wuhan Wuhan

My Tree (Doc., 1x105 min.) Filmmaker Jason Sherman is keen to better understand the origins of a tree planted in his name through the Jewish National Fund as he begins a quest from Toronto to Tel Aviv.

WILDBRAIN

O (1-416) 363-8034 m sales@wildbrain.com w distribution.wildbrain.com Contact: Josh Scherba, pres.; Stephanie Betts, EVP, content & current series; Deirdre Brennan, EVP, content partnerships; Jon Gisby, EVP & mng. dir., WildBrain Spark; Anne Loi, EVP, M&A & chief commercial officer; Caroline Tyre, VP, global sales & rights strategy; Katie Wilson, VP, channels & curation, WildBrain Television; Lara Ilie, VP, rights strategy; Wiebke Hoefer, snr. dir., sales; Richard Rowe, dir., intl. acq. & coprod. PROGRAM HIGHLIGHTS Ruby and the Well (Live-action family drama, 10x45 min.) When 12-year-old Ruby O’Reilly discovers she’s the latest “keeper” of a magic well, she rallies her two best friends to make secret wishes come true. Strawberry Shortcake Berry in the Big City (Preschool 2D, 40x4 min.) Strawberry Shortcake dreams of being the greatest baker the Berrylands has

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ever seen—she says goodbye to small-town Berryville and moves to Big Apple City to make it happen. Caillou’s New Adventures/New Caillou Seasonal Specials (Preschool 2D/3D, 90x5 min., 5x45 min.) Join Caillou as he takes on new experiences learning at school, playing with friends, going on adventures or spending time with family.

Ruby and the Well

The Deep (Kids 3D action, S4: 13x22 min.) After searching for generations, the Nekton family have finally found the fabled city of Lemuria, unlocking secrets and tantalizing mysteries. The Kid Who Only Hit Homers (Family liveaction, 1x52 min.) When 13-year-old baseball-loving Syl is secretly coached by the spirit of Babe Ruth, he quickly becomes a superstar. But his confidence is shaken when Babe leaves. Denis and Me (Kids 2D comedy, S1-2: 30x3 min. & 4x11 min.) Created by Canadian YouTuber Denis Kopotun and animation writer/showrunner Diana Moore, an animated series about the adventures of a quirky 12-year-old named Denis and his best friend, an enterprising business cat named Sir Meows A Lot. The Brilliant World of Tom Gates (Kids mixedmedia comedy, S1-2: 40x12 min. & 1x22 min. Christmas special) Tom’s very own TV show is full of epic things to make and do, hilarious stories with Tom’s friends and family, toe-tapping tunes and top doodling tips too.

Malory Towers (Tween live-action drama, S2: 26x24 min.) Adventure, fun and boarding school antics are back in full swing, with midnight feasts, classroom tricks and lasting friendships.

XILAM ANIMATION

O (33-1) 4018-7200 m sales@xilam.com w www.xilam.com

Contact: Marc du Pontavice, CEO & fndr.; Morgann Favennec, EVP, dist.; Céline Carenco, SVP, media sales dist., AsiaPac, Canada, Northern & Eastern Europe; Safaa Benazzouz, SVP, media sales dist., LatAm, MEA, Southern Europe, inflight; Manya Zhou, head, business dvpmt., China; Charles Courcier, SVP, digital dist.; Cathy Leclère, mktg. dir. PROGRAM HIGHLIGHTS Mr Magoo (Kids animated comedy, S2: 69x7 min. & 3x21 min.) Because he doesn’t realize he needs glasses, Mr Magoo confuses everything and unknowingly foils the plans of Fizz, the megalomaniacal hamster. Oggy Oggy (Non-dialogue preschool animated comedy adventure, S1-2: 156x7 min.) Join adorable kitten Oggy and his cast of cat pals in a bright and colorful kitty world. Pfffirates (Upper preschool animated comedy action, 52x11 min.) From sailing exercises and treasure-hunting competitions to cannon firing and accosting enemy ships, join the most pumped-up apprentice Pfffirates team. Tangranimals (Upper preschool animated adventure comedy, 52x11 min.) Young Geo explores Tangra-Planet along with his friends, the Tangranimals, who can link together and create all sorts of vehicles, creatures and objects.

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Mr Magoo

Where’s Chicky? (Non-dialogue animated comedy, S1-2: 156x1 min.) Chicky, an adorable little chick, turns up in a new place with an unknown object to discover each of our heroes’ adventures. Athleticus (Non-dialogue animated comedy, S13: 90x2 min. 15 sec.) The animals of Athleticus react according to their personality and the peculiarities of their anatomy, creating comical or poetic situations, but always offbeat. Lupin’s Tales (Upper preschool animated comedy, 78x7 min.) Lupin, an impetuous wolf-cub, reinvents traditional tales from Asia to Amazonia. Each episode takes place in extraordinary pop-up book backgrounds. Boon & Pimento (Non-dialogue animated comedy, 30x1 min. 40 sec.) Boon, a lazy cat, and Pimento, a hyperactive rabbit, live in a house right in the middle of the desert. Fortunately, they have access to a website where they can have whatever they want delivered!

ZDF ENTERPRISES

O (49) 6131-9910 m info@zdf-enterprises.de w www.zdf-enterprises.de/en Contact: Fred Burcksen, pres. & CEO; Robert Franke, VP, ZDFE.drama; Ralf Rückauer, VP,

ZDFE.unscripted; Peter Lang, VP, ZDFE.junior; Arne Lohmann, VP, ZDFE.junior; Christine Denilauler, VP, mktg. & corp. comms.; Sebastian Krekeler, dir., ZDFE.drama; Mirela Nastase, dir., ZDFE.drama; Susanne Frank, dir., ZDFE.drama; Yi Qiao, dir., ZDFE.drama; Florian Streit, dir., ZDFE.drama; Yuliya Fischer, dir., ZDFE.drama; Katharina Pietzsch, dir., ZDFE.junior; Marei Bruckmann, dir., ZDFE.junior; Jan-Frederik Maul, dir., ZDFE.junior; Oliver Grundel, dir., ZDFE.junior; Nikolas Huelbusch, dir., ZDFE.unscripted; Kerstin Jaitner, dir., ZDFE.unscripted; Margarita Garcia, dir., ZDFE.unscripted; Sylvia Brucker, dir., ent., ZDFE.unscripted. PROGRAM HIGHLIGHTS The Window (Crime/suspense, 10x45 min.) A thrilling drama that charts one summer in the life of a 17-year-old wunderkind, doing for soccer what House of Cards did for politics. Huss (Crime/suspense, 5x90 min./10x45 min.) Follows the ambitious new graduate of Sweden’s police academy, Katarina Huss, as she is drawn into a tangled web of corruption and betrayal. Before We Die (Crime/suspense, 6x52 min.) Based on the eponymous Swedish noir series, this U.K. crime thriller follows a police detective who discovers her estranged son is an undercover informant in a brutal murder investigation. Sherlock: The Russian Chronicles (Crime/suspense, 8x50 min.) Set in 19th-century St. Petersburg, the action drama follows Sherlock Holmes as he attempts to track down the serial killer Jack the Ripper, who has fled to Russia. The Muscleteers (Animation, 45x11 min.) The four muscleteers teamed up and swore to help and protect anyone in need. School of Roars (Animation, 104x7 min.) The monsters are back with a new season full of adventures.

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Scream Street

Scream Street (Animation, 78x11 min.) Based on the hit book series, this stop-motion animation show follows the adventures of Luke Watson. Rescued Chimpanzees of the Congo with Jane Goodall (Wildlife/nature, 5x50 min. & 1x50 min.) Looks behind the scenes at one of the largest great ape sanctuaries in Africa and showcases intimate stories from Dr. Jane Goodall. Ancient Superstructures (Wildlife/nature, S2: 7x50 min.) The series reveals the secrets behind the world’s most famous monuments, such as the Louvre, Angkor Wat and the Hagia Sophia. The Leopardess (Wildlife/nature, 2x50 min.) The gallery forests of the Serengeti are the realm of a leopardess. For days she is almost invisible, but then strikes out of nowhere.

Dumont, SVP, sales, acq. & coprod.; Cecile Cau, VP, sales & coprod.; Julia Rowlands, VP, sales, coprod. & acq.; Gary Milne, head, content dvmpt. PROGRAM HIGHLIGHTS Mumfie (Preschool, 78x7 min.) A comedy series based on Magic Adventures of Mumfie created by Britt Allcroft, featuring the optimistic young elephant Mumfie and his best friends Pinkey and Jelly Bean. Street Football (Kids 6+ animation, S4: 26x26 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. Silverpoint (Kids 6+ live-action, 13x22 min.) At Silverpoint adventure camp, four friends stumble upon something buried in the woods, sending their lives spiraling out of control. Sweet Tweets (Preschool, 26x3.5 min./17x7 min.) Animated nursery rhymes and original songs, featuring a chirping cast of adorable birds and backyard friends. When I Was Your Age (Kids 6+ animation, 52x11 min.) Ever wanted to know what your parents were like at your age? For Paul, it’s no longer a mystery!

ZODIAK KIDS

m graca.batista@zodiakkids.com w www.zodiakkids.com Contact: Benoit di Sabatino, CEO; Ludovic Taron, COO, Zodiak Kids Studios France; Delphine Mumfie

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Danny and Mick (Kids 6+ live-action, 39x11 min.) 10x30 min.) Four world-renowned Canadian surHapless brothers cause mayhem at the Leisure geons offer unique access to complex procedures Centre. that will change their patients’ lives, from face transplants to sex reassignment surgeries.

ZONE3

O (1-514) 284-5555 m mratte@zone3.ca w www.zone3.ca/en Contact: Mélanie Ratté, snr. dir., intl. dist. & business dvpmt. PROGRAM HIGHLIGHTS Entitled (Les Petits Rois) (Teen drama, 6x43 min.) The story of a gang of snotty, arrogant friends who rule their high school until the day a collateral victim of their egotism decides to play anonymous avenger. Plastic Surgery: Reconstructing Life (Chirurgie plastique: reconstruire la vie) (Doc.,

Patrick Sénécal Presents

Patrick Sénécal Presents (Patrick Sénécal presente) (Horror/sci-fi, 10x30 min.) An anthology series featuring stories that delve into the world of horror, mystery, suspense, sci-fi and dark humor.

@tvkidsdaily

@tvrealdaily

@tvdramadaily

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The Game Catchers (Preschool 2D/3D, 52x7.5 min.) Five friends explore fantastic planets, learning about playing and collecting playground games. Distributor: GoldBee

School of Roars (Preschool 3-6 comedy, S1-2: 104x7 min.) Children are prepared for school life through the experiences of our lovable mini monsters. Distributor: ZDF Enterprises

16 Hudson (Kids 4-7, S1-3: 105x7 min.) Follows Lili, Sam, Luc and Amala as they embark on small adventures in a big city. Distributor: Big Bad Boo Studios

Big Crazy Game Night (Comedy game show, 60-120 min. eps.) Fun and wacky prime-time entertainment filled with zany games, funny sketches and hilarious parodies. Distributor: WeMake

Quiz Pinch Hitter (Quiz show, 2x120 min.) Contestants can use a network of connections on social media to solve the problems during a live broadcast. Distributor: Fuji Television Network 244 WORLD SCREEN 10/21

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