World Screen October 2020

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OCTOBER 2020

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

MIPCOM Online+ Edition

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THE MAGAZINE OF INTERNATIONAL MEDIA

WWW.WORLDSCREEN.COM

OCTOBER 2020 EDITION

BACK ON SET Gillian Flynn Tim Minear Sally Wainwright Jack & Harry Williams Anna Winger Piv Bernth

Jon Feltheimer Lionsgate Casey Bloys WarnerMedia

Tyler

Perry

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CONTENTS

OCTOBER 2020 EDITION WORLD SCREEN TRENDSETTER AWARD

DEPARTMENTS

32 TYLER PERRY

PUBLISHER’S NOTE

By Ricardo Guise.

12

WORLD VIEW

By Anna Carugati.

14

UPFRONTS New content on the market.

18

MILESTONES Foxtel’s Brian Walsh.

36

WORLDSCREENINGS 222 A spotlight on the new lineup from Brain Power Studio.

TV LISTINGS Listings for more than 80 distribution companies.

223

ADVERTISERS’ INDEX

237

WORLD’S END In the stars.

238

Publisher Ricardo Seguin Guise

The actor-director-writer-producer talks about his studio facility in Atlanta, being a multi-hyphenate and the power of television to change hearts and minds.

Group Editorial Director Anna Carugati Editor Mansha Daswani

SPECIAL REPORT

42 CHARGING AHEAD

Executive Editor Kristin Brzoznowski

This special report on how the content community is coping with COVID-19 restrictions includes Q&As with Gillian Flynn, Tim Minear, Sally Wainwright, Harry & Jack Williams, Anna Winger and Piv Bernth.

ONE-ON-ONE

Associate Editor Chelsea Regan Editor, Spanish-Language Publications Elizabeth Bowen-Tombari

143 LIONSGATE’S JON FELTHEIMER

Associate Editor, Spanish-Language Publications Rafael Blanco

The CEO of the independent studio discusses streaming opportunities and how the industry may change post-pandemic.

Contributing Editor Elizabeth Guider Production & Design Director David Diehl

ON THE RECORD

183 WARNERMEDIA’S CASEY BLOYS

Online Director Simon Weaver

The chief content officer at HBO and HBO Max on his programming strategy.

Senior Sales & Marketing Manager Dana Mattison Sales & Marketing Coordinator Genovick Acevedo Business Affairs Manager Andrea Moreno

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

TVKIDS

Ricardo Seguin Guise President Anna Carugati Executive VP

CAN WE SHARE? CATCHING A HIT VIACOMCBS’S JULES BORKENT SUPER RTL’S CLAUDE SCHMIT M6’S PHILIPPE BONY CYBER GROUP’S PIERRE SISSMANN

WORLD SCREEN is published nine times per year: January, March, April, May, June, July, September, October and December.

Annual subscription price: Inside the U.S.: $90.00 Outside the U.S.: $160.00 Send checks, company information and address corrections to: WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. For a free subscription to our newsletters, please visit www.subscriptions.ws.

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

TVDRAMA TRUTH BE TOLD BLUE SKIES AHEAD WALTER PRESENTS’ WALTER IUZZOLINO

TVREAL

102 110 120 122 132 140

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.

166 174 178

Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.worldscreen.com ©2020 WSN INC.

WHODUNIT? HUNGRY FOR MORE TERRA MATER’S WALTER KÖHLER & SABINE HOLZER MARIANA VAN ZELLER

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204 210 216 218

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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PUBLISHER’S NOTE

BY RICARDO GUISE

Making History We have a tradition at World Screen in which I am allowed to write a column every five years. I am keeping the tradition alive as we celebrate the past 35 years of this storied publishing group—but this time it nearly did not happen, thanks to COVID-19.

Since March, we have not been able to publish a print edition, as one convention after another has been canceled. Most of this year, I have been feeling like Sisyphus, rolling an immense boulder up the hill only to see it fall back to the bottom. During my long career, I was under the impression that being in NYC after 9/11 would be my greatest personal and professional challenge, but this virus has proved me wrong.

During these 35 years, I was privileged to be present for many of our interviews with the media world’s most influential executives. I’ve witnessed the evolution of their businesses from U.S.-centric theatrical companies to global media empires with multiple channels worldwide. The OTT revolution is the latest step in this transformation.

I’m often asked what my favorite interview is. I have to say, it was not one with a Hollywood mogul (even though some of them were fascinating). In retrospect, I would have to choose the interview that Anna Carugati and I conducted 15 years ago with Don Hewitt, the legendary creator and executive producer of 60 Minutes, and arguably the most successful producer in the history of TV news.

Anna, whose first job was at CBS, was understandably nervous about this interview with one of the icons of the news business. However, when we arrived at Mr. Hewitt’s office, he immediately put us at ease and was gracious with his time. Unlike most of our interviews, no assistants or corporate-relations executives were present—just the three of us in his unpretentious office.

The interview quickly turned into an awe-inspiring conversation. Besides creating 60 Minutes, Mr. Hewitt was also the producer of the first televised presidential debate between John F. Kennedy and Richard Nixon. Hewitt was a master storyteller; here is how he explained Kennedy’s eventual victory and how it changed our business: “Kennedy was Cary Grant. That night, he walked into that room, he looked like a Harvard undergrad, perfectly tailored, he was tan, he was in command, he looked like he owned the world. Nixon had a staph infection. He looked green. He had banged his knee on the car. He looked like death warmed over. So it was no contest. That night, incidentally a historic night, we got the right guy for the wrong reason. You shouldn’t pick a president according to who’s the better looking of the two. You should pick Mr. America that way, but not your president. But we did and we got the right guy. You know what was wrong about that night? That was the first night that politicians looked at us in television and said, ‘That’s the only way to run for office.’

And we looked at them and said, ‘That’s a bottomless 12 WORLD SCREEN 10/20

pit of advertising dollars.’ From that day on, no one can even think about running for office in the greatest democracy on Earth unless they’ve got money for television time. And you can’t get money for television time unless you are doing something with a lobbyist you shouldn’t be doing. A word was born that night called ‘fundraising.’ I had never heard about fundraising before. In politics, it’s called fundraising; in business, it’s called bribery. You’re giving money at a fundraiser to get someone to do what you want them to do. Politics in America has been ruined by television because it’s become a money game. If you don’t have the money, don’t even think about it.”

After leaving his office, Anna and I immediately checked the tape recorders. Yes, we recorded every word.

We looked at each other and smiled. We were going to publish a little piece of history.

If Mr. Hewitt were alive today, I am pretty confident he would add another threat to the world’s democracies: the propagation of misinformation on social media networks.

As CNN’s Christiane Amanpour so eloquently told us when we interviewed her last year: George Orwell showed us the dangers of doublespeak and fake news, and “now with social media, these untruths, conspiracy theories and propaganda are exponentially transmitted around the world. When people say they don’t know where the truth is, that is a very dangerous fact for our democracy, our civilizations, our humanity and our communities.”

Despite these setbacks to professional journalism, the digital revolution has also created significant advancements for industries and consumers alike. Our company is a clear beneficiary of some of these changes. I now believe we will come out of this experience even stronger, with a redoubled commitment to expediting the delivery of our content on multiple digital platforms. The investments we’ve made during the past few years to expand our online services are paying off in spades. It also helps that we’ve assembled the most awesome group of people under our roof (a virtual roof nowadays) to implement these changes. Not only did our team rise to the challenge of adding new services while working remotely, but we have also flourished. I am full of admiration for these dedicated professionals.

Last but not least, I cannot say enough about the support we received from the great majority of our clients. Some of them went way beyond fulfilling their obligations—they lifted our spirits and prodded us to move forward. I am forever indebted to them and grateful to be part of an industry that feels like an intimate and caring community.

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WORLD VIEW

BY ANNA CARUGATI

Creativity to the Rescue What a year 2020 has been, and it’s not over yet. March, when the coronavirus pandemic took hold, feels like years ago, not seven months. “Normal” life, work and school are fuzzy dreams. We’ve been catapulted out of our daily routines, tossed into different lifestyles and schedules.

Most of us are still working from home and have found how productive we can be without having to commute to the office. Zoom meetings are efficient and allow for group communication, but we miss face-toface contact. We haven’t seen family and friends in person either. Zoom dinners and birthday parties have become our go-to social gatherings. Tragically, because of lockdowns and limits on travel, many who have lost loved ones have not been able to say goodbye.

These have been challenging months, and we’re not sure when some form of normalcy will return. Until science can tame the virus, we have to learn to live with it, wearing masks when with others and social distancing.

I chose to work in media because I am awed by the creative process, which in television shows starts with the germination of an idea, the writing of a script or rundown, the performance of actors or participation of contestants, the filming by crewmembers assisted by talented teams of set designers, builders, lighting techs, makeup and costume artists, editors and that indefinable alchemy that pulls it all together.

For decades, different countries have had their own processes and systems in place for shooting programs on location or in studios. COVID-19 brought it all to a grinding halt in March. But the international production community would not be bullied by the pandemic; they reacted and found ways to restart.

From numerous interviews with executives, producers, government officials and showrunners and writers, I have learned that for all the problems and chaos, there have been several silver linings in the coronavirus tempest.

Meticulous planning, implementation of safety guidelines and adherence to schedules have allowed production to restart. Getting back on set or in studio required collaboration among government and health officials, union representatives, producers, studios and networks.

Communication has been the essential glue to the collaboration, made possible by teleconferencing or telephone.

The COVID-19 safety protocols inevitably lengthened shoots, which added to production budgets. I’ve heard that collaboration between production companies and channels and platforms has been abundant and critical in handling delays in delivering shows and sharing their increased costs.

Just as creativity is at the core of every great idea for a show, whether scripted or unscripted, it once again took center stage as producers and programmers tackled production problems. There are countless challenges to keeping actors and crew members safe while shooting scripted TV series. Resourcefulness has led to the practice of separating crews into groups known as pools or pods.

And while scenes of physical intimacy or kissing may seem completely off-limits during COVID-19, rest assured, whether through the use of dummies or real-life partners or glass screens, romance will not be written out of storylines!

Communication, collaboration and creativity are recurring themes in the TV industry and inside this issue. Jon Feltheimer, Lionsgate’s CEO, tells us communication with his teams has been instrumental in navigating the company’s businesses through the pandemic.

Casey Bloys, the chief content officer for HBO and HBO Max, talks about harnessing the creativity of diverse storytellers.

I also got the chance to interview Tyler Perry, the writer, producer, director, actor and philanthropist, who was one of the first to get back into production during COVID-19. Perry will receive the World Screen Trendsetter Award, given in partnership with Reed MIDEM, during a virtual keynote that will take place during MIPCOM Online+.

We also speak to Brian Walsh, the executive director of television at Foxtel in Australia, as the company celebrates its 25th anniversary.

World Screen also celebrates an anniversary this year.

Ricardo Guise launched the publication 35 years ago with a single magazine. Through the decades, he has added ten magazines, five annual guides, five daily newsletters, 11 weekly newsletters, 22 websites, two apps and two video portals. He’s a little too close to home—literally—for me to provide an unbiased opinion of him, but I can say he is focused, determined and tremendously hardworking. The entire team is devoted to putting out the best content possible, but allow me to single out Mansha Daswani, Kristin Brzoznowski and Elizabeth Bowen-Tombari. COVID-19 has turbocharged our move into digital, and that would not have been possible without their heroic work ethic—nor without communication, collaboration and creativity.

Communication, collaboration and creativity are recurring themes in the TV industry.

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UPFRONTS

ABS-CBN Corporation Love Thy Woman / Irreplaceable / The Law of Revenge A recurring history of betrayal between two generations within a family is explored in the ABS-CBN Corporation highlight Love Thy Woman. Irreplaceable tells the story of estranged lovers who are reunited after their son disappears. In The Law of Revenge, a friendship is destroyed in a potent mix of ambition, lies and treachery. “Our stories are hopeful, uplifting and aspirational, with characters that showcase persistence and resilience as people, especially in times of difficulty and uncertainty,” says Pia Bacungan-Laurel, sales head for new media and international co-production. “We remain passionate about delivering stories that do not only warm the hearts of viewers but also leave them with lessons and an aspiration to thrive and succeed.”

Love Thy Woman

“Our commitment is to always find a way to bring our stories closer to our partners, audience and supporters.”

—Pia Bacungan-Laurel

all3media international

Little Mix The Search

Little Mix The Search / Sex Traffickers / The Cube From its fall slate, all3media international is presenting content across scripted, non-scripted and formats.

Leading the highlights, Little Mix The Search is a talent competition hosted by the eponymous girl group. “It feels authentic, and the message is positive,” says Sally Habbershaw, the company’s executive VP for the Americas. “I love the fact that it’s a group of young women who originated by the same means and are making the decisions.” The all3media international factual highlight Sex Traffickers, produced by Story Films, follows an ops team that is tracking a global sextrafficking racket. The Cube, which is returning in both the U.K. and U.S., is looking for a home in key Latin American territories, says Habbershaw.

“How we connect may have changed, but what hasn’t changed is the excellent content we will be sharing.”

—Sally Habbershaw

AMC Studios Cursed Films / The Walking Dead: World Beyond / Soulmates AMC Studios has on offer this fall the first and second seasons of a trio of series: Cursed Films, The Walking Dead: World Beyond and Soulmates. The docuseries Cursed Films dives into the myths and legends surrounding iconic horror films.

The Walking Dead: World Beyond, meanwhile, explores a new mythology and story within the franchise’s universe that follows the first generation raised in a surviving civilization of the post-apocalyptic world. “As one of the top TV franchises globally, this series provides a fresh new story to engage fans of the Walking Dead universe around the world,” says Mark Dee-Shapland, head of international content sales at AMC Studios. An episodic anthology series from William Bridges (Black Mirror, Stranger Things), Soulmates explores the meaning of love in the not-too-distant future.

Soulmates

“We’re looking forward to presenting our latest slate of premium scripted and unscripted programming.”

—Mark Dee-Shapland 18 WORLD SCREEN 10/20

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I was amazed at how well it had done. There’s a secret there, in its casting. We had a comedian, Alan Carr, and it was the first time he’d done this sort of series. He was just genius. It’s always about casting. You can see that with Steve Harvey [on Family Feud] or Alec Baldwin [on Match Game]. If you get the right sock on the right foot, then you’ve got a perfect fit. So, Epic Gameshow was perfectly cast, and the shows had scale. It looked blingy without being rough; it’s shiny and sparkly. There was nothing about the show that wasn’t family-friendly. It’s perfect for co-viewing. When you’re at home with the whole family, which at the moment most people are, there’s going to be a moment where it’s a godsend that you can all sit down together and enjoy something.

We’ve got a quiz show in the Netherlands, Ask Me Anything, on RTL 4, and it’s stripped in access [prime time].

It’s often the number one entertainment show of the night.

Rolling In It launched on ITV and has consolidated at 3.8 million viewers and rocketed for the 16-to-34s.

You should see the number of commissions that we’ve had for game shows since that period. Game shows don’t need audiences, and if they do, you can get around it.

Rob Clark

By Kristin Brzoznowski

A

s productions have been impacted across nearly all genres (and in nearly all markets) in recent months, studio entertainment shows have certainly been among the trickiest to navigate amid new production measures. For Fremantle, the coronavirus pandemic has led to some carefully executed iterations of a number of its key productions, including megahit entertainment franchises such as Idols, Got Talent and The X Factor. Sharing knowledge across its global network of producers, the company has continued to deliver broadcasters and audiences the type of feelgood, escapist entertainment that the marketplace is absolutely craving at the moment. Rob Clark, Fremantle’s director of global entertainment, shares his view on navigating the current format landscape and what’s to come.

TV FORMATS: Fremantle is the undisputed “Home of Game Shows.” How will this genre be impacted in the year ahead?

CLARK: In the U.K. we [recently] had Epic Gameshow, which was an amalgam of a number of our games. Each show had a different, bigger ending: a bigger ending to The Price Is Right, a bigger ending to Play Your Cards Right, a bigger ending to Bullseye, all these very well-known game shows. It rated through the roof! I expected it to do well, but

For The Price Is Right, we have a smaller audience, they’re in family pods, and it works. We’re back in production with that in Portugal. Game shows are also very uplifting. They’re very easy to control as well, in terms of the cast and the people who are there, so you can test people easily and make sure that they are brought in in a way that they’re not in contact with others. The production process can be very COVID-19-friendly. They’re also just nice shows, good shows for the time; they’re uplifting, they’re positive, there’s nothing about them that’s downbeat. Audiences are drawn to the positivity of a game show. When you’re not feeling very well, what you want is comfort food. I always equate [game shows with comfort food].

TV FORMATS: How will broadcasters’ budgets and willingness to take risks impact the next cycle of formats being launched to the international marketplace?

CLARK: We’ve got to cut some slack for our broadcast partners because they’ve had it tough! Everyone has had a really tough year, and it’s not the year in which they’re going to experiment. For 2020, they may have had some things in the can that they could put on that were new, but if they didn’t, they’re not going to have anything for the rest of the

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year. However, we’ve seen a real appetite and real desire for programs for 2021 that are original and fresh and often have scale; they’re not looking for small shows. That’s a very positive message for the industry.

TV FORMATS: What are some of the new formats that Fremantle will be focused on rolling out for the rest of 2020 and into 2021?

CLARK: The autumn slate will be some new titles, game shows, a few dating shows, a few new launches from Israel in particular. Given the circumstances of the year, I’m quite happy with the slate. For 2021, I see that [buyers] are still looking for family-friendly shows, they’re looking for in-the-field reality, because that’s been missing this year, so they’re hoping they can get back to filming out of a studio and out of the controlled environment. And everything has got to have a degree of positivity about it and humor.

That’s a wise decision. Behind the health crisis is going to be a financial crisis, and that’s going to affect audiences.

Audiences invariably in those times want to be entertained, they want positivity, they want good TV in the sense of not being too harsh. There will, obviously, be some counter-commissioning to that, where there are a few programs that are absolutely the reverse of that. Overall, I’m quite positive about next year. I think 2021 is going to be a good year for everyone.

TV FORMATS: How are you and your team tapping into the umbrella of Fremantle’s labels for ideas that can travel?

CLARK: Any new show from anywhere—no matter if it’s 25 percent owned, 50 percent, 51 percent, wholly-owned or not owned at all—all of that is fed into our global entertainment department. Out of that, we choose the shows that we think have the best potential for international exploitation.

That will depend on a number of things: the rights situation, the content, the scale, the transferability of the idea in itself,

the scalability of the idea—can you make it in America and make it in a smaller territory with a much smaller budget.

Also, is it returnable? What I am not interested in is somebody with a brilliant one-off stunt. It’s like, Good one, but now you’ve got to do it all over again next year.

TV FORMATS: What advantages does Fremantle’s scale bring to its format prowess?

CLARK: You could call it a criticism, but a lot of our formats are still on air from a long time ago. If you look at something like Family Feud, it’s from 1976, and it’s been commissioned again nearly all over the world. The reason that shows like that, or any of the talent shows, are still on air is that the company has scale enough to invest. It also has the stability: financial stability and stability in terms of the people [working there]. It’s a stable structure and it allows that network to function really effectively. Any new idea from anywhere is quickly monitored, checked, qualitycontrolled and if it’s good, then it’s passed on. That’s why we were very quick with the different iterations with COVID-19 on how to produce. The network was stronger over that period than probably at any time I can remember.

Everybody wanted to find out information, whereas when you’re busy, you’re busy. This time, we were all busy in a different way. Everyone needed to know what other people were doing: had anybody done this, had anybody done that. That stability and network allow new shows to be rolled out relatively quickly, but not too quickly. It’s not about rolling out quickly; it’s about rolling out and staying out; keeping the shows on air. That’s where the value is. The value is not in having a format that sells in 20 territories in six months and only sells once. It’s about having it in 70 territories and keeping it there for 50 years. That is brought about by having a stable network, a stable financial company, a company that has the resources and the ability to invest and to care about its formats.

Epic Gameshow

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The Senseless Dating Show

Armoza Formats The Senseless Dating Show / Shirt Off Your Back / Beat the Grid The studio-based format The Senseless Dating Show, in which one single relies on her senses as five suitors compete to win a date, leads Armoza Formats’ slate. Shirt Off Your Back is a lifestyle show following experts as they put together a stylish and efficient wardrobe for the protagonist, who, in exchange, must empty their closet. “The experts will help the protagonist tap into their entrepreneurial side to sell their current clothes in order to raise funds for their new wardrobe and then donate the rest,” explains Sharon Levi, head of sales.

From Armoza Formats and Gamechanger, the game show Beat the Grid challenges contestants to find answers to a question on a grid as it grows bigger—as does the cash prize.

“Beat the Grid is ideal for producing a game show under the current conditions,” says Levi.

“Each of these formats offers a unique element that broadcasters are looking for during this time.”

—Sharon Levi

Beyond Rights Edges Unknown / Pooch Perfect / Sex Unlimited A new twist on the survival genre, the 4East Media-produced Edges Unknown on Beyond Rights’ slate follows along as pals and survival pros Brett Rogers and Cliff Quinn travel back in time to try their hands at everything from logging and prospecting to ranching and fishing. Pooch Perfect, hosted by actress and former fifth-generation junior dog handler Rebel Wilson, sees pet stylists competing in themed challenges to transform the appearances of family pets. A series of films, Sex Unlimited looks at how sex can enhance people’s lives, increase their wealth and complement their relationships.

“Beyond Rights has an enviable catalog covering an extensive range of unscripted genres and documentaries, in addition to scripted content, feature films, children’s programs and formats,” says Kate Llewellyn-Jones, CEO of Beyond Rights.

“Beyond Rights is committed to being a refreshing new business in the international marketplace.”

—Kate Llewellyn-Jones

Our Story

Calinos Entertainment Forbidden Fruit / Our Story / Woman The Calinos Entertainment highlight Woman centers on a young widow named Bahar who has to endure life’s hardships with only her two children by her side. Forbidden Fruit, which is currently in its fourth season in Turkey, spotlights two very different sisters, with different values and aims in life. Another drama series on Calinos’ current slate is Our Story, starring Hazal Kaya and telling a tale that many people can relate to, according to Jose Luis Gascue, executive VP and head of worldwide sales at Calinos Entertainment. It features a woman who has been struggling to survive in one of the poorest neighborhoods in Istanbul.

Gascue says, “All of these stories depict the lives of strong, independent and driven women who would stop at nothing to protect their families or their dreams.”

Pooch Perfect

“Our aim is to strengthen our relationships with our current customers and establish new ones with potential customers.”

—Jose Luis Gascue 10/20 WORLD SCREEN 19

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Normal

Dori Media Group Normal / Power Couple / Dumb A young columnist named Noam hits rock bottom in the Dori Media Group highlight Normal, which sees the 24-year-old find a route to “normality” in a psych ward. “The series is actually not about madness but about belonging,” explains Nadav Palti, president and CEO of Dori Media Group. “The plot revolves around someone trying to feel a sense of belonging, and the only place he can somehow find it is the alternative reality of the psychiatric ward.” The reality format Power Couple puts love to the test as eight couples move into a villa for six weeks, facing challenges to see how well they really know each other. All three seasons of the crime drama Dumb are also on offer from Dori Media Group. Each of the seasons “reached top three status on Israel’s HOT, gaining incredibly high results in the process,” says Palti.

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

—Nadav Palti

Legacy

Eccho Rights The Red Room / Legacy / Hammarvik From Turkey’s OGM Pictures and distributed by Eccho Rights, The Red Room takes place in a therapy clinic and tackles the tragic reality of violence and trauma in relationships and throughout society. Another title on the company’s slate, Legacy, a new series from Karamel Yapim, has been “hotly anticipated both in Turkey and around the world,” according to Fredrik af Malmborg, managing director of Eccho Rights. The Swedish blue-sky drama Hammarvik, created by novelist Camilla Läckberg, features a murder-mystery element, as well as family stories, romance and light comedy. “This is Läckberg’s first time writing directly for TV, and the interest in Hammarvik has already been enormous before the first episode airs later this year,” says af Malmborg.

“As we carry on through this highly unusual year, the Eccho Rights catalog continues to diversify.”

—Fredrik af Malmborg

Electric Entertainment Leverage 2.0 / The Outpost / Almost Paradise A reboot of the original Leverage series, Electric Entertainment’s Leverage 2.0 stars Noah Wyle as well as most of the original cast, who team up to take down the rich and powerful. The fantasy-adventure series The Outpost is shooting its fourth season in Serbia. “The fantasy sci-fi genre is an audience favorite, and the show will be again broadcast in the U.S. on The CW and around the globe on NBCUniversal channels, including in the U.K., Germany, Spain, France and Latin America,” says Sonia Mehandjiyska, head of international distribution at Electric.

Starring Leverage’s Christian Kane and produced by Dean Devlin, Almost Paradise is a crime procedural with a lighter tone. “We expect to start production on Almost Paradise season two in Asia again early next year,” says Mehandjiyska.

“We are extremely proud to be approaching MIPCOM with so many new series to offer.”

—Sonia Mehandjiyska

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The Outpost

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Deep in Vogue

FilmRise Deep in Vogue / The Short History of the Long Road / The Dog Doc Topping FilmRise’s highlights is Deep in Vogue, a documentary that celebrates the Black, gay ballrooms of 1980s New York City and the stories of Northern Vogue and its people. “We’re also excited to be featuring Hollywood Records recording artist and American actress Sabrina Carpenter in the critically acclaimed feature The Short History of the Long Road,” says Danny Fisher, FilmRise’s president and CEO. Following the success of the documentary Life in the Doghouse, FilmRise is presenting another caninecentered film, The Dog Doc. “We want content producers and our partners around the world to think of FilmRise as an innovative, leading distribution partner where diverse voices and stories from around the world are welcomed, celebrated and elevated to heights beyond expectation,” says Fisher.

“Each of these titles has universal themes that we feel are important to the times and will be welcomed and celebrated around the world right now.”

—Danny Fisher

Global Agency Mr. Wrong / Good Singers / Home Quiz Can Yaman and Özge Gürel, who charmed audiences together in the series Bitter Sweet, are reunited in the romcom Mr. Wrong, distributed by Global Agency. “Nowadays, there is a big appetite for romantic comedies,” says Izzet Pinto, founder and CEO. The crime drama Aleph also tops the scripted highlights. The company is home to a slate of formats that includes Good Singers, in which celebrities must distinguish the talented performers from the untalented ones without ever hearing them sing. “Good Singers is feel-good family entertainment,” Pinto says. “We believe that it will be a big franchise.” Another format highlight, Home Quiz is a game show that sees celebrities take part from the safety of their homes, competing against each other to win the grand prize.

“With our powerful programs and trendsetting formats, we are well placed to keep providing ‘content that creates buzz.’”

Good Singers

—Izzet Pinto

Inter Medya The Ambassador’s Daughter / Ramo / The Light of Hope The Inter Medya highlight The Ambassador’s Daughter, produced by O3 Medya and NGM, centers on the wealthy and educated Nare and Sancar, a boy of more modest means, whose love ends tragically. Still, they stand a chance at rekindling their romance. From BKM, Ramo tells the story of a man whose great love is the daughter of his archnemesis. In The Light of Hope, a trap that throws a man behind bars on theft charges creates a chain of events that tears a family to pieces. “This universal story is about a mother, father and child overcoming obstacles to find each other and become a family again,” says Can Okan, Inter Medya’s founder and CEO. Amid the challenges created by the coronavirus, “We will be doing what we always do; we do our best and continue to serve our clients and partners in every circumstance,” Okan says.

“Our aim is always to expand our library and extend our reach to new territories.”

—Can Okan 10/20 WORLD SCREEN 21

Ramo

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MarVista Entertainment Brutal Bridesmaids / My Best Friend’s Bouquet / Christmas at Maple Creek The MarVista Entertainment title My Best Friend’s Bouquet is a love-triangle story that features an unlucky-in-love woman who unexpectedly meets a handsome, successful attorney—and finds out a friend also has romantic feelings for her. The company’s thriller slate includes Brutal Bridesmaids, which sees a bride-to-be’s wedding day disrupted by strange events. From MarVista’s holidaymovie strand, Christmas at Maple Creek centers on a romance novelist who is torn between following her heart with a charming local blacksmith in the town that’s inspiring her new book or the handsome cover model from her previous novel. “MarVista has continually, year after year, been at the forefront of the holiday-movie space,” says Jody Cipriano, head of global distribution.

Brutal Bridesmaids

“We have worked diligently and closely with our global buyers and partners to maneuver through the new normal to deliver on the volume of quality movies our clients have come to expect.”

—Jody Cipriano

Nicely Entertainment Save the Wedding / Lonestar Christmas / His Killer Fan Nicely Entertainment, which made its debut in January, has in its catalog the romance movie Save the Wedding and the holiday film Lonestar Christmas. In Save the Wedding, Meg and Tyler must work together to rescue the nuptials of their best friends, and they soon begin to realize that they make quite the team. Lonestar Christmas features a single mom who takes her daughters to spend the holidays with her dad on his ranch and unexpectedly falls in love with a local restaurateur. It is part of a slate of holiday films from Nicely that will air in the U.S. on Lifetime. “As we are starting to diversify our offerings, we’re releasing our first thriller, His Killer Fan,” says Vanessa Shapiro, the company’s CEO. In the movie, up-and-coming musician Ariana Kent’s obsession with rock superstar Josh Halliday turns deadly.

His Killer Fan

“All our movies are aiming toward a very broad audience.”

—Vanessa Shapiro

Nippon TV Piggyback Challenge / Double Booking This fall, Nippon TV is offering two brand-new formats: Piggyback Challenge and Double Booking. The unscripted game-show format Piggyback Challenge sees couples compete against other pairs while piggybacking their partner as they clear tasks such as shopping, jogging or dining within a time limit, in pursuit of their dream prize. If they fall off, they are out. The scripted format Double Booking begins with a scenario of a man accidentally booking dates at the same time with two different women.

What begins to feel like a romantic comedy turns suspenseful with an unexpected twist. The series “reflects the times, with a look and feel you’ve never seen before,” says Shigeko Cindy Chino, associate managing director of international business development at Nippon TV.

“We are more focused than ever before on creating exciting new formats, with a new kind of energy in our creativity.”

—Shigeko Cindy Chino 24 WORLD SCREEN 10/20

Piggyback Challenge

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Secret for a Million

NTV Broadcasting Company Secret for a Million / Noble Detective / Wolf Trap The entertainment format Secret for a Million is one of NTV Broadcasting Company’s top titles for the international marketplace. “Time after time, it has been the slot leader and the best broadcasting event, becoming the number one weekend entertainment format in Russia,” says Timur Weinstein, general producer at NTV Broadcasting Company. The company is also showcasing the period crime drama Noble Detective and the actionpacked Wolf Trap. “The demand for Noble Detective as a period piece is driven both by a highly artistic picture, featuring expensive decorations and costumes, and unpredictable plot twists that might spark interest in any viewer,” Weinstein says. Wolf Trap is set against the backdrop of the Russian crime wave of the 1990s.

“Versatility and adaptability are the hallmarks that make our projects attractive for buyers.”

—Timur Weinstein

ORF-Enterprise Big Bend—America’s Wildest Frontier / The Salt Saga—White Gold of the Alps / Last Will Big Bend—America’s Wildest Frontier marks a brand-new addition to the renowned wildlife and nature brand ORF UNIVERSUM. On offer from ORF-Enterprise, the doc explores, in 4K cinematography, the secret places and wild animals in an area between the U.S. and Mexico. The Salt Saga—White Gold of the Alps is the first title from the UNIVERSUM History fall season. It explores the world’s oldest salt mine: Hallstatt. The docudrama features “elaborate reenactments and animation depicting the life and work of the prehistoric people from Hallstatt and especially explores the central role of women in the salt mines,” says Armin Luttenberger, head of content sales international. ORF’s newest addition to its TV-series lineup is Last Will, a comedy miniseries that deals with issues of money, love and death.

Last Will

“Buyers will continue to find a colorful potpourri of high-quality factual programming and prime-time TV series and movies, as well as music and kids’ content.”

—Armin Luttenberger

Red Arrow Studios International The Weekly: Special Edition / How to Become Superhuman / TV Movies Romcom Package From Left/Right and The New York Times, the team behind the acclaimed factual series The Weekly, comes The Weekly: Special Edition, which Red Arrow Studios International is offering to the marketplace. The documentary collection features reporting from award-winning journalists, who explore investigations and character-driven stories. The format How to Become Superhuman, produced by Snowman Productions for Discovery (Denmark), sees a group of celebrities trained by mentors in three areas of superhuman endeavor, in just three weeks. The show “offers buyers a new take on the popular adventure genre,” says Joel Denton, acting president of Red Arrow Studios International. The company also has a package of TV-movie rom-coms, sourced from North American producers and broadcasters.

The Weekly: Special Edition

“Each of these titles from our fall/winter 2020 slate has global appeal.”

—Joel Denton 26 WORLD SCREEN 10/20

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RTVE HIT / The Department of Time / I’m Alive The RTVE catalog features HIT, set in a secondary school where things are getting out of hand. A very special teacher—a mixture of a psychologist, schoolmaster and soldier—will have to deal with problems caused by troublesome students. Meanwhile, The Department of Time “offers a new concept of storytelling by mixing fiction with historical reality,” says María Jesús Pérez Gómez, international sales director. The series follows a special patrol unit at the Department of Time, which has a key mission: to prevent the past from changing. In I’m Alive, a police inspector dies while pursuing a serial killer and gets the opportunity to come back to life in the body of another officer. It combines elements of fantasy along with a detective drama.

STUDIOCANAL

I’m Alive

“All of these are very original series that have engaged the audience.”

—María Jesús Pérez Gómez

The King of Warsaw

Finding Alice / The King of Warsaw / Possessions Keeley Hawes (Bodyguard), Nigel Havers (Downton Abbey) and Joanna Lumley (Absolutely Fabulous) star in the STUDIOCANAL series Finding Alice, about a woman’s honest, raw, darkly comedic journey of grief, love and life. The STUDIOCANAL catalog also features The King of Warsaw, a gangster drama series set in 1937 Poland. “With contemporary issues such as nationalism and identity crisis, the series strongly resonates with our world today,” says Beatriz Campos, senior VP of global sales and production financing for TV series.

Meanwhile, Possessions is a psychological thriller created by Shachar Magen (Sirens) and directed by Thomas Vincent (Bodyguard). The series was filmed in Israel in French, Hebrew and English. “It is an intriguing drama with multiple twists and turns, which keep viewers hooked,” says Campos.

“STUDIOCANAL has a continuing pipeline of new, high-end productions with strong appeal for the global market.”

—Beatriz Campos

All Together at the Table

The Story Lab Nine Windows / All Together at the Table / Making Sense of Love A co-development between Nippon TV and The Story Lab, Nine Windows is a game show-meets-talent contest that celebrates ordinary people with outlandish skills. Each episode features nine contestants, all beamed in from their homes via “nine windows” in the form of giant, on-set screens. Also on offer from The Story Lab, All Together at the Table sees a famous chef host a live, interactive masterclass from their kitchen. “All Together at the Table is a scalable, breakout format that can be filmed remotely or in-studio,” says Fotini Paraskakis, executive VP of entertainment at The Story Lab. Created by Drive Studios, Making Sense of Love is a scientific dating experiment in which singletons are led by their senses in their search for true love.

“The Story Lab’s lineup underlines our commitment to delivering highly original IP with international appeal and breakout potential.”

—Fotini Paraskakis 28 WORLD SCREEN 10/20

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Universal Cinergía facilities

Universal Cinergía Dubbing Dubbing / Subtitling / Postproduction Universal Cinergía Dubbing has been providing language dubbing, subtitling, closed captioning and translation services since 2012. It offers localization services in Portuguese, Spanish, English, French and Castilian, all done in-house from its various studios worldwide. The company also provides dubbing in other languages such as Italian, German, Polish and Russian through its partners in Europe and Asia. “Even with the pandemic and our team working remotely, we have not stopped working,” says Liliam Hernandez, president and CEO of Universal Cinergía. “In the past months, our studios operated at reduced capacity, and remote recording has been incorporated into the workflow in all our locations. Our clients have been understanding regarding turnaround deadlines, and we did not miss a beat.”

“More than ever, these are times when we need to be here for our clients.”

—Liliam Hernandez

Voxx Studios Dubbing / Sound Design, Editing & Audio Mixing / Music Composition & Recording Voxx Studios is dedicated to creative audio services for film, television and gaming. The facilities incorporate ten recording rooms, five mixing bays and a 1,500-square-foot state-of-theart recording and mixing studio, open for ADR and music recording (including full bands), as well as surround-sound mixing for music, and 5.1, 7.1 and Dolby Atmos for hometheater mixing. “With over 5,000 hours of localized feature films, telenovelas, series, animations, reality shows and games under our belt, we pride ourselves on our prompt delivery times, competitive pricing and, most importantly, the distinctive quality of our products,” says Silviu Epure, general manager. Voxx provides language dubbing in a multitude of languages, including English, Neutral Spanish, Castilian Spanish, German, French, Italian, Mandarin and Japanese.

Voxx Studios facilities xxx

“Our Voxx home gives you a warm welcome, ready to accommodate all your needs and deliver a product you can be proud of always and anywhere.”

—Silviu Epure

ZDF Enterprises Sløborn / Anthropocene—The Rise of Humans / Heirs of the Night From the showrunner of Netflix’s Dogs of Berlin, Sløborn tells the story of a group of islanders confronted with a fatal virus. “In a radical, uncompromising manner, the series raises the question of what happens to modern people when the thin varnish of our civilization collapses,” says Fred Burcksen, president and CEO of ZDF Enterprises. The company’s catalog also includes Anthropocene—The Rise of Humans, which looks at the nature of human impact on Earth. “Far from doom and gloom, this optimistic, stunning and revealing portrait of our planet and its human inhabitants is about presenting fascinating, cutting-edge scientific and societal solutions to the greatest challenge of our time,” Burcksen says. There’s also a new season of the kids’ live-action series Heirs of the Night.

“Sløborn mixes a coming-of-age drama with a pandemic thriller into a modern epic.”

—Fred Burcksen 30 WORLD SCREEN 10/20

Sløborn

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N

ot many writers can isolate themselves for two weeks and emerge with a completed movie screenplay or scripts for a full season of a TV series.

Tyler Perry can. Raised in poverty and with an abusive father, Perry found a lifesaving escape in writing. He wrote plays and then movies, which he also directed—most featuring the hilarious, foul-mouthed, pot-smoking, gun-carrying grandma Madea, who Perry played himself. He then began writing TV series that garnered loyal audiences, and in 2017, he signed a multiyear content deal with Viacom for television, film and short-form video. Last year, he inaugurated the new Tyler Perry Studios, built on the site of Fort McPherson in Atlanta. Perry dedicated 12 soundstages to African American Hollywood legends. It did not escape the attendees of the star-studded event that a Black man born in poverty now owned the facility that Confederate forces used to advance slavery.

Perry is the recipient of the 2020 World Screen Trendsetter Award, in partnership with MIPCOM. He talks to World Screen about his work, the quarantine bubble model that has enabled him to restart production amid COVID-19, and television’s power to entertain and enlighten in these challenging times.

By Anna Carugati WS: When and why did you start writing, and when did you realize you wanted to work in the entertainment business?

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

WS: I’ve read that when you write, whether it’s a TV series or a movie, you write for two weeks straight and get it done. Is that true? How did you develop that discipline?

PERRY: For me, you have to understand, it was born out of a very traumatic childhood. I can go inside my imagination and create worlds and stay there for hours. That’s where this gift to be able to do this so quickly comes from. I lock my mind into a theme, and when I’m done, it’s the end of the day, and I’ve got

60 pages. It was born out of trauma and I don’t think it’s something that I necessarily crafted. It just was there.

WS: Do you have a preference for working in theater, film or television?

PERRY: I don’t. They all have their own place in my mind.

There are so many sides of my brain that need to be watered and satisfied. Theater has its place. Film has its place. Running a studio has its place. I need all sides of my brain working on all those things.

WS: Has your work as an actor informed your work as a writer and director, and vice versa? Do they all feed off of one another?

PERRY: They all feed off of one another. When I do films like Gone Girl, and Those Who Wish Me Dead for Taylor Sheridan, those kinds of roles fulfill the actor in me. But he’s the part of me that needs the least attention, if that makes sense.

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WS: What is the part that needs the most attention?

PERRY: I think it’s the person who is running the studio and having all of this to manage. That is very, very important—I know that sounds weird—to the one side of my brain that needs to have that attention. It needs to feed on that.

WS: Tell us about the studio. Give us a bit of the history of the facility: how you bought it, and the significance of you being there now.

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

WS: If you weren’t the first, you were among the very first studios to restart production in the U.S. in the time of COVID-19. You went through extensive preparation to come up with the safety protocols. How did you get ready?

PERRY: A person who worked for me—he was on the set of another movie in March or April, when it started to hit in the U.S., contracted it and died. We all knew him. The crew knew him, we knew him well, so I knew this virus was serious and much more of an issue than people were letting on. I had to come up with a plan that would allow me to sequester [people] and keep them safe. I had to come up with a housing situation and bring some 360 people into a camp and make sure they were all safe. That was the biggest objective—the safety of everyone while we were working. To have two shows that have filmed their entire seasons, and have that work, has been beyond a blessing.

WS: You use a quarantine bubble for your productions.

How does that work? And how do people come in if they don’t live in Atlanta, because transportation is a problem, too, isn’t it?

PERRY: Yes, if they are not in Atlanta, everybody is flown in on private [planes]. They are tested [for COVID-19] two weeks before and asked to sequester in their hometowns.

Then they are tested before they get on the plane, and once they land, they are tested again and self-isolate in their rooms until the results come back. Once cleared inside the bubble, then they are tested every four days during production.

What I have found is that masks and face shields actually work, and work well, to prevent the spread. Having testing is key in order to be able to do this—not only testing, but accurate testing that can get you results very quickly. We’ve been doing the PCR test on everyone, which is the most accurate. That speaks to being able to set up camp where there are no positive cases inside. All the actors were on board. The crew was on board. I’ve been working with some of these crew members for 15 years now, and they’re just amazing people.

Perry’s extensive television slate includes (from top) The Haves and the Have Nots for OWN, The Oval and Sistas for BET and Bruh for BET+, all shot at his studio facilities in Atlanta.

34 WORLD SCREEN 10/20

WS: And so far, how many shows have you shot?

PERRY: Sistas and The Oval have both been shot. Those are the top two shows for BET. [I’ve also finished] shooting

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Standing Tall

Grow Series / Crime + Suspense

8 x 42’

Series / Crime + Suspense

4 x 100’ / 8 x 45’

Meet stockbroker Adam as he dives ever deeper into Danish biker gangs.

Grow is a gripping thriller that tears us from monotonous everyday life and invites us into the exciting but vicious world of organized crime.

Follow Adam as he strives to become the new boss of the Danish underworld. Adam’s ruthless ambition to succeed is matched only by the efforts of his brother, a drug enforcement officer, to save him. But who will succeed?

Standing Tall tells the story of a father’s investigation into his son’s alleged suicide. Hunting for the truth about a death that isn’t at all what it might appear to be proves to be a veritable obstacle course for Valerio, who is dead set on obtaining justice, but it will also prove to be his last chance to come to terms with his troubled past, both as a man and a father. A painful redemption to reclaim a bond that not even death can break. A father and a son.

Produced by: SF Studios Productions and Rocket Road Pictures for TV2 Denmark Cast: Andreas Jessen, Sebastian Jessen, Sebastian Bull a. o.

Produced by: Publispei for RAI Italy Cast: Alessandro Gassman, Maya Sansa, Andrea Sartoretti, Luigi Fedele a. o.

Sløborn

Top Dog

Series / Crime + Suspense

4 x 90’/ 8 x 45’

Series / Crime + Suspense

8 x 45’

In Sløborn, a coming-of-age-drama and post-apocalyptic disaster thriller merge into a modern epic. Social workers Freja and Martin arrive on an island with a group of juvenile delinquents. When two bodies are discovered, growing signs indicate that they are carrying an epidemic.

At first, the islanders are too involved in their own personal problems to comprehend the grave danger. But the fatal virus invades the seemingly idyllic island deeper and deeper until law and order collapse.

From the acclaimed producers of Bron, Top Dog focuses primarily on the clash between Stockholm business attorney Emily Jansson and Södertälje ex-con Teddy Maksumic. In order to achieve her goal, Emily has to find Philip, who has been kidnapped. In order to leave his old life, Teddy has to find Philip’s kidnapper. Their paths cross on their respective missions, which is the beginning of an unorthodox collaboration and a highly unusual friendship. Together, they become an unstoppable duo.

Produced by: Syrreal Entertainment in co-production with ZDF, Tobis, Nordisk Film and ZDF Enterprises Cast: Alexander Scheer, Wotan Wilke Möhring, Laura Tonke, Lea van Acken, Emily Kusche, Annika Kuhl, Roland Møller, Marc Benjamin, Aaron Hilmer a. o.

Produced by: Gilmlance International in co-production with TV4 / C MORE Sweden, ZDF and ZDF Enterprises GmbH Cast: Josefin Asplund, Alexej Manvelov, Joel Spira, Christian Hillborg a. o.

.. 2 ..

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Ruthless and Bruh, which are the number one and number two shows on the BET+ streaming service.

WS: You have a deal with ViacomCBS, don’t you?

PERRY: Yes, and it’s been more than I could have ever imagined. Scott Mills [the president of BET Networks] and Bob Bakish [the president and CEO of ViacomCBS] have been incredible partners to work with.

WS: Are you discovering efficiencies at any point in the production process that you think might continue after the pandemic is over?

PERRY: We’ve always been streamlined, and we’ve always been about getting things done quickly and making it work, so no, there is nothing here that is different that I would keep. My crew is smaller, which can be stressful for people who need more help. But I allow them a lot more time to make their moves. Moves that would have taken 10 minutes to get to the next location are taking 30 or 35 minutes, and I’m OK with that in this situation.

WS: Are you limiting locations, which is what some producers in Europe are doing to simplify production, or are you shooting the way you have it in the script?

PERRY: I’m shooting the way I have it in the script. You have to understand that everything is written for what I have here at the studio. We’re inside these 330 acres. Every set is already here. I don’t write anything that would cause us to have to leave.

WS: Once the health and safety protocols are in place, is it more or less business as usual? Or are you doing extra things to keep everyone’s morale up?

PERRY: It feels like a summer camp! Everyone has their own rooms, and they are like hotel rooms. I have movies on the lawn. And I have church on the lawn on Sundays.

We have little music festivals out there, and we have food trucks—everything you need. It’s like being in your own safe Coachella or something! [Laughs] Without the drugs!

WS: Earlier, you mentioned the state of the U.S. today.

There’s the pandemic, the Black Lives Matter movement that has spread far beyond the U.S. and the country’s reckoning with systemic racism and economic inequality. Do you feel that films or television can play a role in fostering understanding, introducing viewers to different ways of thinking or lifestyles, or maybe even healing?

PERRY: For sure, that’s the power of film. That’s the power of television. That’s the power of our industry. We get to paint pictures and tell stories, and the most powerful stories are the ones that leave you different. I look at people like Ava DuVernay, who has done some amazing work that speaks on so many levels. Even when I think about some of the stuff I have done, I just tried to make people laugh and feel good, but also give them something to think about. It’s a medium that is so important in change.

WS: If television can change hearts and minds, is it especially important in children’s programming to feature the world the way it is? At what age do you start telling children the truth about the world?

PERRY: I’m struggling right now with a 5-year-old who will be 6 in November. I’m going to have this conversation about race with him. But the beauty about where he is now is that he is unaware of it. As long as I can hold [back] that conversation from him, I’m willing to do so. It’s very important that people are shown how they are, as they are, to everyone, so that it’s not like it was when I was growing up that everything that was beautiful was blue-eyed and blond. And everybody who was on television was blond or white. It was very rare to see a Black person on tele vision in my very early years. Then it got a little better into the mid-tolate ’70s, and I started to see more and more of us. It’s just important that we see people as we are.

WS: I’ve found that children retain that innocence until middle school unless they come from toxic families. The prejudice seems to kick in after middle school. But 6 is a beautiful age. Do you love seeing the world through your son’s eyes?

PERRY: For sure, it’s so beautiful. It’s so pure. He talks about all his friends at school and never mentions them by race.

WS: I’m lucky I have a job, a roof over my head and food in my fridge, but I’ve had difficult moments during these past months. Your book Higher Is Waiting has been a great deal of help. Is it fair to say you are a hopeful person, and your spirituality helps you? How do you see the future?

PERRY: Thank you for saying that. I appreciate that. I have to be hopeful. Given where I come from and what I’ve endured, if I didn’t have the hope of a better day, I wouldn’t be here—if I didn’t have the prayers of my mother, or if my mother didn’t take me to church, and I didn’t hear the pastors and the choirs singing of hope and joy, even in the middle of our despair and darkness. That is where [the hope] came from. And it’s a light that cannot be destroyed. That hope will always burn in me.

WS: How did Tyler Perry’s Young Dylan come about?

PERRY: That was Brian Robbins, who was at Paramount and is now running Nickelodeon. He called and said, “Listen, I found this kid, Dylan Gilmer. We’ve got to do something with him.” We put the show together, and it worked very well. My son loves it. I’m just excited for those kids.

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Tyler Perry established himself as a major player in Hollywood with the Madea franchise, which has spawned a slew of box-office hits and stage plays, among them Madea Goes to Jail.

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MILESTONES

WS: Over the years, what has Foxtel meant to its subscribers, and what have they come to expect from it?

WALSH: First, since its beginning, it has come to mean greater choice than ever before. Foxtel has unlocked a huge program supply of international content across a number of genres that audiences in Australia otherwise would not have necessarily benefited from. Second, we’ve had a very strong charter of producing and commissioning local content across lifestyle, factual, drama and, of course, sports, which is one of the great drivers of pay-TV businesses globally. That’s certainly been the case here for Foxtel; it’s been an industry leader in delivering Australian sports to customers.

Our customers are enjoying Foxtel more than ever.

We’ve tracked the changes in how viewers consume content, and we’re constantly improving our service to ensure they get the most value out of their subscription.

Foxtel GO on mobile lets customers take their viewing experiences on smartphones, tablets and laptops when they are on the move. We have also dramatically increased our on-demand library, which means that rather than watching our scheduled shows, customers can binge on a host of complete seasons of the best drama, lifestyle and comedy programs. And we’re [at the forefront] of Australia’s Ultra HD channels, with the Foxtel Movies Ultra HD and Foxtel Sports Ultra HD services. We are continually evolving and reinventing the product to keep ahead of the technology curve and [to improve] the portability and mobility of video, which is what customers are demanding these days.

Brian Walsh

Foxtel @ 25

By Anna Carugati

hen the Australian subscription TV service Foxtel debuted in 1995, it brought viewers an unprecedented amount of choice. It partnered with leading global brands to offer a diverse lineup of channels. It also secured rights to major sports and began investing in original productions. Subscribers have especially appreciated Foxtel’s vast range of programming since the outbreak of the coronavirus pandemic. Viewership has increased significantly across all of the service’s platforms.

Brian Walsh was part of the management team that launched Foxtel. Through the years, he has overseen acquisitions and the launch of entertainment channels. Today he is executive director of television. As Foxtel celebrates its 25th anniversary, and Walsh himself celebrates 25 years with the company, he talks to World Screen about offering subscribers the finest programming from around the world as well as highquality Australian stories, providing the best content available, all in one place and at the best value.

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WS: Has viewership increased since the outbreak of the coronavirus?

WALSH: Absolutely and significantly. Since the COVID-19 lockdown in Australia in March, linear viewing for the Foxtel platform is up 15 percent and Foxtel networks are up 20 percent. Foxtel GO and Foxtel Now are up a whopping 83 percent and VOD is up 65 percent, largely driven by movies and drama. Unsurprisingly, our major news service, Sky News, is up 40 percent!

WS: Foxtel launched FOX-branded channels at the end of 2019. What was the motivation behind that decision?

WALSH: There is so much content available now and it’s becoming a very crowded and cluttered marketplace, so brands now are more critical than ever. Here in Australia, we’ve had the launch of Disney+ and Apple TV+, of course Netflix and Amazon Prime, so we made a marketing and brand decision to embrace the fact that we are the home of FOX. Movies continue to be a strategically important part of the Foxtel offering, and we have further increased our commitment to the genre by introducing the Lifetime Movie Network. Almost none of the titles have been seen in this market, so this is a fresh innovation for our subscribers.

WS: Lifestyle programming also does very well with your viewers. Have you refreshed that channel lineup as well?

WALSH: Yes, it won’t come as any surprise that Australians love their homes. We have such a vast mass of earth that is surrounded by sea. Australians hug the coastline and are very proud of their homes. Sadly, many Australians in our rural communities have had

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Foxtel sealed a new multiyear pact with NBCUniversal last year that includes shows like Chicago Fire on FOX8.

homes destroyed or severely damaged by bushfires, so it’s given us a sobering reminder that this year, in particular, we will need to review our approach to our local property series. Our viewers love food and well-being and are very healthy and food-conscious. In the last year, we appointed a new head of our lifestyle brands, Wendy Moore, who comes from magazines and knows the Australian female voice and the lifestyle voice.

We’ve recently revamped our lifestyle offering. I have to say, aside from Game of Thrones, the most-watched shows on the Foxtel platform were all lifestyle shows, headed by Selling Houses Australia and Love It or List It Australia. The surprise hit of the last five years is a format we picked up out of the U.K. called Gogglebox.

WS: Tell us about the importance of telling Australian stories.

WALSH: It’s important for Australian viewers because Australians are very proud of their identity and are still somewhat discovering who they are as a people. We are a multicultural nation. We have people here from many different parts of the world, and the Australian identity is constantly being reshaped. It’s imperative, as a primary broadcaster, that we reflect the changing face of Australia and we tell Australian stories in our local voices.

Customers respond to that. They love the international content that we get from HBO and FX and the BBC, but the shows that perform best down here are those local stories. Of course, we have an industry that has produced some of the most acclaimed storytellers in the world, on and off camera. We have a robust production community that is producing television for all the local commercial networks and Foxtel. We believe at Foxtel that Australian content, particularly drama, is a key differentiator between us and our global competitors, like Netflix, Amazon and Disney+. They won’t be embracing Australian stories in the same way that we, as an Australian company, can. I’m very proud of our slate. We have a rich offering of local drama that has been recognized through many avenues, including the most prestigious: the Academy of Motion Picture Arts and Sciences, who have generously awarded and applauded Australian dramas for the last ten years.

WS: How did the coronavirus pandemic impact production and development?

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WALSH: We have been somewhat fortunate. A number of productions were hit during the first lockdown, but as Australia responded quickly to the pandemic, the authorities have allowed for some television shows to continue filming. We have continued shooting our acclaimed prison drama Wentworth and kept up preproduction of some other titles. I tip my hat to the extraordinary team at Fremantle, who managed a large team of actors and production personnel to keep the cameras rolling on Wentworth. You can imagine the challenges of ensuring that cast members practice “social distancing” in a show set in a correctional center!

WS: Across many different genres, imported programming is a mainstay of what Foxtel offers its customers.

WALSH: Australia is one of those rare English-language markets where viewers embrace content from Britain and the U.S. in equal measure. Australians love content from both sides of the Atlantic, and international programming has always performed incredibly well down here. So, for us, the completeness of the Foxtel offering is to have the best of Australian locally commissioned shows and then to have the pick of the international suppliers. With HBO and the BBC, we have the two principal premium drama suppliers from both sides of the Atlantic. Australians have taken to what’s on offer, particularly from those two suppliers, but also from [the Hollywood] studios. All of the shows that perform well globally, you’ll see at the top of the viewing lists here.

WS: With many U.S. series delayed, how have you been filling gaps in your schedules?

WALSH: So far, so good. There have been no significant gaps to speak of as yet. We’ve managed to skillfully reassemble the programming grids to ensure that there has been fresh content coming through on a regular basis. I think the real challenge will be early next year.

We are addressing what we believe will be a shortfall with more acquisitions from indie suppliers, and relying on our principal providers, who themselves are challenged in their respective markets.

We are well stocked with a solid bank of both local and international content, but 2021 will be the challenge, I think.

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Gogglebox Australia, based on the hit format, airs on Foxtel’s LifeStyle channel.

WS: Tell us about the Foxtel Experience.

WALSH: We launched it in November when we launched the new FOX-branded channels. Part of our commitment to customers is to provide the best content available, all in one place and at the best value.

While we continue to strengthen our broadcast service, we also recognize that more and more of our customers are turning to streaming our content on demand. The new Foxtel Experience is designed to simplify the discovery and streaming of our huge range of sports, movies and drama, while aggregating content from other providers, like Netflix, for instance. On the Foxtel Experience, you have the ease and simplicity of seeing any Netflix show, or any show provided by our domestic networks, ABC iview or SBS On Demand. Plus, we’re in discussions with other global streaming companies about coming on to the new Foxtel box. Being the principal aggregator in this market is imperative for our success. We want to be the place that customers can go to for ease of discovery, no matter which supplier we are talking about.

WALSH: Absolutely! It’s folly to suggest that linear television is dead. That’s proven in this market, where resoundingly our customers are telling us that they want both. I think it’s dependent on the genre. For those customers who want curation, they know when they go to a channel destination the sort of programming they are going to get. And they leave it up to the programmers to curate a schedule that they believe will work for customers. And then, when people want a good drama to watch or binge, they will go to ondemand. And they’ll do that for movies. Any successful pay-television business has to offer both. You have to offer curated channels, with clear navigation posts that tell people what’s on at 10 p.m. And you have to have a vast on-demand library of movies or dramas they can surf and offer them an unbelievable [array] of content from which to choose. Linear television is absolutely not dead.

WS: Is simplicity of message and clarity in explaining what Foxtel has to offer becoming more important nowadays?

WALSH: Absolutely. If there is one thing we want people to remember about Foxtel, it’s that it’s the best of television all in one place. Australians are being bombarded with messaging about new streaming services.

To know that with one subscription they can get all the best shows, all in one place and with the ease of navigation, is a very strong proposition.

WS: Do you believe, as I do, that there is room for linear channels, streaming services and on-demand?

Amanpour airs on CNN International, one of the WarnerMedia channels on Foxtel.

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Charging

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Behind the scenes of Sky Studios’ Britannia.

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A resilient and creative community of programmers and producers have found ways to restart shooting.

By Anna Carugati

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ow many times during the past few decades have we used the term “disruption” when talking about technologies that have shaken up the media industry? Just when we thought we had developed the resilience to adapt to the next upheaval, along came the coronavirus.

COVID-19 has spared no industry, business, country or segment of society. It certainly hasn’t bypassed the international television production community.

In mid-March, in the early days of the outbreak, production halted, studios shuttered, lights dimmed, cameras and equipment were put away and offices closed, as countries and communities around the globe went into lockdown. Films and TV series remained unfinished. Staff and crew members were furloughed, or worse. The industry suffered setbacks but was not defeated.

Executives and their teams quickly adjusted to working remotely. Zoom, Microsoft Teams or Skype meetings became the order of the day. There was an urgency to get back on set or in the studio to finish productions that had been interrupted. At the same time, channels and platforms had commissioned new shows that needed to move into prep. Projects were in development, and that process had to continue. Systems and protocols had to be devised to guarantee the safety of cast and crews—with cost structures that were not too onerous.

MADE FOR COVID The shows that could most easily return to production and presented the fewest risks to cast and crew were unscripted. As Lucas Green, the head of content at Banijay, explains, “Big Brother is a perfect COVID-friendly format because the house is like a biosphere. You have to do the classic precautions: all the housemates have to go into quarantine beforehand, do the tests and prove that they are in the clear, and once you’ve got the green light, they go into the house. You have protocols in place, and you have backups. But once you are in, it allows you to provide a huge number of hours of content in a safe environment, and there is no interaction with the production team. Big Brother could have been created for a pandemic environment.”

Other unscripted shows from Banijay were also able to head back into production. “If you’ve got those format engines, you can film them in blocks,” says Green.

“Once you’ve got your protocols in place, you can generate the shows very quickly because that’s the beauty of a format. You’ve got a system and a schedule, and it’s much easier to reproduce in numbers.”

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Iceland was among the first countries to resume production after the COVID-19 shutdowns in March, having managed the health crisis better than most.

While unscripted shows are often less complicated to shoot than scripted comedies or dramas, getting them back into production has posed challenges that required alternatives to the usual way of making them. For example, Red Arrow Studios’ Kinetic Content in the U.S. found creative ways of producing differently, creating the spin-off series Married at First Sight: Couples’ Cam. “The series, which is self-shot, follows the lives of nine fan-favorite couples from the U.S. series: the highs, lows, humor and drama of the couples’ everyday domestic lives,” says Joel Denton, the acting president of Red Arrow Studios International. “Each couple has access to their own camera equipment—using mounted cameras and diary cams—and they communicate remotely with producers to capture pivotal moments of their daily lives.”

Louise Pedersen, the CEO of all3media international, says the company has a number of shows that lend themselves to being produced with social distancing, among them Celebrity Call Centre and Gogglebox. “Producers are looking for ways of making big studio shows work with an audience, too—for example, our major new entertainment talent show with ModestTV and the BBC that stars the girl group Little Mix. Little Mix The Search produced the early audition episodes in lockdown, with live episodes to follow this autumn.”

At Red Arrow, Denton has seen a greater demand for studio-based shows, because “in this current climate, they are easier to shoot

safely with just a few adaptations to the gameplay and the studio setup,” he says. “For example, in many instances, you can strip back or do away with the live studio audience.”

Whatever the show, safety protocols are critical. “We are quite strict in Europe,” says Banijay’s Green. “You have to mitigate the risks.

It’s about collective responsibility, and our jobs depend on it. When you go to a studio now in Europe, everyone wears their masks. There are signs everywhere. We have one-way corridors.

There are hand-sanitizing stations everywhere.

You’re given a packed lunch. You bring your own coffee flask and water bottle. It’s a new way of working, but I think collectively you expect your colleagues and peers to abide by the rules, and you remind them. You help them get through it. That’s the only way we’ll get through it together, because nobody wants a second lockdown where a show has to be paused while you deal with an outbreak.”

SCRIPTED PRECAUTIONS Often shot on location, with bigger crews, more equipment, sophisticated hair and makeup requirements and the need to feed many people, scripted dramas and comedies are more complicated to produce than most unscripted shows. Immediately after lockdown, production teams began brainstorming safety protocols, limiting travel and the number of locations and devising flexible schedules. This planning had to be coordinated with health and government officials.

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The countries that had done the best job at containing the coronavirus early on were the first to restart production. Iceland was one of those countries, where shooting halted in March but for no more than three weeks.

WELCOME TO ICELAND Einar Tómasson, Iceland’s film commissioner, explains, “The biggest reason people are looking at Iceland is that we’ve been dealing well with COVID-19, and people know there are few inhabitants in the country. It is possible to work in beautiful locations. You fly into Iceland; you go to your hotel, and you can book the whole hotel if needed. From there, you go to the location to shoot, stay there, and go between the location and the hotel. You’re not putting your people at risk. You’re not putting the people of Iceland at risk. That’s the beauty of being in a location-driven place like Iceland. It’s more complicated on the big sets you have in London, Los Angeles and New York, where it is more crowded and harder to get to work.”

Canada is also managing the pandemic well, but producers still had numerous obstacles to overcome before restarting production.

“Like everyone, in mid-March we had to put quite a few of our productions on hiatus,” says Jocelyn Hamilton, the president of Entertainment One’s (eOne) television division in Canada. “We worked diligently from March until July on how to get back into production. While we watched what was happening with the virus, we were also working

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collaboratively with the government, unions and other producers, not only in Canada but also around the world, to gain information and collaborate on what [production would] look like. We spent months and tons of conversations, Zoom or otherwise, talking it out.

What do pods look like? How are we going to deal with craft services? We had a committee in the province of Ontario, and there was one in British Columbia, working on protocols that everyone would agree with. The unions and producers were on that committee, as were representatives of the city of Toronto and government on all levels, working diligently to figure out how to make this happen, with the number eOne, which produces Nurses in Canada with ICF Films, has developed a set of COVID-19 production guidelines. one priority being the health and safety production together—for example, living in of our cast and crew. Then there are complicaeach use. Hygiene officers and a consulting hotels near the set—so they don’t go home or tions. What is happening with insurance? How doctor are on hand to check that safety measout into the community and risk infection. can we go back in a way that is not only safe but ures are being implemented, and masks have Alternatively, people are grouped by jobs and also cost-effective? By the end of June, we had to be worn by every cast and crew member only associate with one another and not with come to protocols that were approved by the throughout the day and changed every four others in the production. These production government, and a committee called Section 21, hours. Regular testing of cast and crew will models have been called pods, pools or bubbles. and we had negotiations with unions. Then, also be carried out.” luckily, the government said the country was at “In Canada, we all collaborated quite carefully a stage that allowed production to restart.” to ensure that we put in place manageable and Two of the production companies in the common-sense protocols, both in execution As Red Arrow’s Denton explains, the systems all3media group have been shooting in New and cost,” explains eOne’s Hamilton. “We all used differ according to the production. “For a Zealand and Australia. Pedersen says that work together on maintaining those protocols, big scripted show like Vienna Blood, currently Hollyoaks is starting back up in the U.K., as is such as doing cleaning and craft services differin production in Austria, considerable modificaCall the Midwife, among other shows. She says, ently, where everyone has to have individual tions have had to be made,” he says. “The crew is “Things are beginning to get back to production meals. Hair and makeup are done differently. split into several operating groups and zones, with all the COVID-19 protocols and different We have a COVID-19 supervisor and nurse on which remain independent of each other, so if ways of doing things that I think everyone is every production. We have what some people an infection occurs, it can be contained within having to put in place. There is lots of regular call pods or teams so that there isn’t crossone zone and doesn’t shut down the whole protesting and nurses on set, keeping people in contamination—meaning, people who would duction. The kits and changing/makeup stations bubbles, etc.” have freely crossed through the set don’t. If you are individual to each cast member; only one One way to maintain the health and safety of don’t need to be on set, then don’t be. It is all just actor will be in makeup or costume at any one casts and crews is to keep all members of the common sense with a focus on the health and time, and the areas are regularly cleaned after safety of everyone, first and foremost.”

Sky Studios paused 29 productions across Europe in March, says Jane Millichip, the company’s chief content officer. “We then quite quickly went into the mode of how to restart production.

“We’ve got three categories of crew, and the first is the people who can maintain social distancing on-site as much as possible,” Millichip explains. “That group includes set designers and builders, lighting riggers, catering. Masks are required, everyone has their temperature taken, and they work staggered shifts. Teams will be provided designated positions. Category two are those who have to work in close proximity to each other, not necessarily on camera.

They are segregated in pools and keep to their pool. There is the use of PPE in circumstances where necessary. Category three is where people work much more closely together: camStudio entertainment, such as Banijay’s House of Games, has found innovative ways to resume filming. eras, lighting, sound, makeup and costume

INSIDE THE BUBBLE

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In August, Every Cloud Productions and Balloon Entertainment began filming Eden, a drama distributed by all3media international, for Stan in Australia. teams. These crews are expected to wear PPE, and there is more segregation. They work in pairs to reduce risk; for example, Actor A always works with Makeup Artist A. The use of screens and structures is considered, where necessary, to help keep social distancing. So it’s a mix of the increase in hygiene, distancing, enhanced PPE, segregation—separation by teams and separation on the set in terms of geography—and testing.”

Inevitably, complying with COVID-19 safety protocols is altering shooting schedules and production processes and inflating production budgets. On Red Arrow’s Vienna Blood, Denton explains, “The order of shooting has been amended a bit so that, wherever possible, scenes involving several cast members have been moved to the end. The locations have tended to drive the schedule more this time to ensure that movement of cast and crew can be minimized, and every location can be shot in one go. Whenever possible, the show will also use postproduction in order to enhance the results of the shoot through the use of green screen and digital crowd creation, for example. Of course, all this additional compliance comes at a cost; many series are having to absorb anywhere from 10 percent to 30 percent in additional production costs. It all depends on the sort of show and where you’re shooting.”

Pedersen at all3media international adds: “The main extra cost is that it takes you longer

to shoot, so you are adding extra days. All of that is a factor. There is a chance that we might see that come down a bit as people get used to this new way of working.”

“In Canada, we have more costs, don’t get me wrong, and we have figured out how to work with our broadcasters and/or our budgets and/or our systems to manage those costs,” notes eOne’s Hamilton. “When the shows were already in production, [we faced] additional costs because those budgets were locked, but we worked through managing that. In the case of new productions that were picked up during COVID-19, we put the costs into the budget, and we worked through the financing. Again, our broadcasters and the government funding that goes along with our financing, like the CMF [Canada Media Fund], were very helpful. But that’s a case-by-case negotiation, and we managed to work it out.”

SHOWSTOPPERS All productions require insurance—liability coverage if someone gets injured or equipment is damaged or stolen. However, the uncertainty created by COVID-19 has upped the unknowns to the point that most insurance companies do not want to take the risk.

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and jobs were at stake. Governments had to step in to help, and Austria was the first.

“The government had to do something, and we have been the first country in the world to come to producers with this kind of compensation,” says Arie Bohrer, the film commissioner at Location Austria, which serves as the Austrian Film Commission. “They set up a €25 million ($29 million) security package, which gives foreign producers €2.5 million ($3 million) in compensation per project, in case they have to interrupt [production due to the coronavirus].

Normally no insurance company would have [covered this].” Austria also offers foreign producers non-repayable grants for 30 percent of their Austrian expenses.

“In Iceland, insurance has not been a problem,” says Tómasson. “The main problem is with production from abroad, especially the U.S. It looks like the U.S. insurance companies are not willing to insure. But we have productions from the U.S. right now, and they will be able to get insurance. Of course, they are smaller in scale, not like the big-budget studio films, but they are able to get it.”

Tómasson believes that as more and more shows complete filming without outbreaks, insurance companies will be more willing to provide coverage. “We have shown in Iceland that productions can go very well without any problems. And if we have a number of those projects, we are a proof of concept to make insurance companies more relaxed about

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throughout the pandemic because most of it is writing,” says eOne’s Hamilton. “We continued to option properties, and we’ve been full-on in development. We have some amazing properties that are ready to go out, but like anything, timing is the key. We are mindful of that as we bring things out to the market.”

Millichip at Sky Studios has seen the same.

“Writers’ rooms and read-throughs have continued. Knowing now that protocols will need to be in place for some time has given us the kind of intelligence that is helpful for any show that hasn’t started production yet. For the shows in production, we’ve had to work out how to continue them, whereas for the shows going into production, we’ve had to think hard about how we will shoot them.

“It hasn’t changed our ambition at all; however, there is a logic to proceeding at pace with shows that are easier to shoot through lockdown. It might naturally be a smaller set, or the locations are considered safer. But that hasn’t stopped us from developing shows with big casts and multiple locations.”

A POST-COVID WORLD

Married at First Sight Australia was a strong seller for Red Arrow Studios International during lockdown.

Iceland. Of course, if you have an outbreak on set, and you have 450 people going into quarantine for two weeks, or let’s say an actor gets the coronavirus and is very ill and may be out for months, or even dies, that’s a big risk for the insurance company.

But we have now been able to shoot projects in Iceland, so I believe we have a strong proof of concept.”

In June, the Australian government announced it would provide a A$50 million ($36.1 million) Temporary Interruption Fund to help restart production. In July, it launched the COVID-19 Budget Support Fund.

The U.K. announced a £500 million ($637 million) Film and TV Production Restart Scheme to help productions that were halted or delayed because of an inability to secure insurance. It also supports producers in the event of future losses due to COVID-19. Eligible producers can claim up to 20 percent of the budget for a delay and 70 percent for the abandonment of production.

In Quebec, the French-speaking province in Canada, the government is providing support in the event that productions have to stop because of COVID-19, explains Nathalie Clermont, the VP of programs and business development at Canada Media Fund (CMF).

She says, “The Canadian government is looking at different options for English-language productions, to offer compensation to producers if the virus is spreading on their sets. They have not announced anything yet, but they are well aware of what is going on in Quebec and all over the world. They are developing an approach because it’s a big concern for producers, banks and other financers.”

LOOKING FORWARD For all the disruption that the pandemic has wrought on the TV industry, there is one area that has been almost business as usual, with the help of teleconferencing. “Development has been one of the things that all our slates, in the U.S., the U.K. and Canada, could continue 50 WORLD SCREEN 10/20

Producing during COVID-19 has been a steep learning curve for broadcasters, platforms, production companies and distributors. It is likely that some of the efficiencies and best practices emerging from this challenging time will continue post the pandemic.

“In a crisis, you do question old habits,” says Millichip. “Do we work with slightly smaller crews on set? But then you may transfer more resources to the planning stage. I’m definitely not saying we don’t need half the industry. But with the increase in the need for planning, scheduling and logistics, do you put more resources into that part of the process and work with smaller crews on set?” all3media’s Pedersen believes efficiencies are already showing up. “Over here, in terms of paying for these extra costs, broadcasters, distributors and other financiers have had to be very pragmatic and have had to say they will fund these costs in proportion to their financing plan. It feels like everyone is working together to get things moving again.”

Collaboration has been vital in managing the disruption caused by the pandemic. “Indie production is an incredibly resourceful, agile business—not just ours, but across the sector in the U.K.,” notes Millichip. “They have worked hard to help the broadcasters rather than get into a punch-up over budgets. How can we make this good enough for you and still be able to respond to the budget requirements? Clearly, the longterm concern for indies is how they will maintain their margins if those linear budgets have a permanent retraction of some kind. But we have to work our way through that.”

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GILLIAN FLYNN

By Mansha Daswani the idea of conspiracies. That the solution to this mysterious, possibly world-ending pandemic is hidden in, of all things, a comic book. It’s hidden in plain sight. We’ve only become more [interested in conspiracies] in the six years since I started writing, with QAnon and [everything on] social media. We are a world now where there’s no such thing as absolute truth anymore because you can always find a truth that will fit what you want.

I liked that idea. Dennis Kelly [creator of the original Utopia] was so gracious about letting me take over his world and make it my own. He kept saying, Why do a remake unless you’re going to re-make it? I took some of his DNA and some of my own. I watched his version, which I loved, once through, and then one more time and made notes and didn’t look at it again. I think [we used] only two lines of his dialogue. I wrote the rest and let it become its own thing; it breathes a little bit. He took his cues from Britpop—it was very bright, very color-saturated, very of the graphicnovel world, sleek and beautiful. I took my cues more from the ’70s conspiracy thrillers like The Parallax View and All the President’s Men. When I was trying to sell it again, I was pitching it as The Goonies meets

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roadcast on Channel 4 in the U.K. from 2013 to 2014, Kudos’ Utopia, a black-comedy conspiracy thriller, became a cult hit, earning rave reviews, an International Emmy and a raft of BAFTA nominations. For the last six years, celebrated author Gillian Flynn (Gone Girl, Sharp Objects, Dark Places) has been on a journey to bring her own spin to the beloved show, with the project finally landing at Amazon Prime Video. Produced by Endemol Shine North America, Kudos and Amazon Studios, Flynn’s Utopia, about a group of comic book fans who are drawn into a mission to save the world, premiered in September, with the show wrapping preproduction during the COVID-19 shutdown.

After working on the screenplays for the adaptations of two of her novels, Gone Girl and Sharp Objects, Gillian Flynn turned her attention to delivering her own take on the British hit Utopia for Amazon Prime Video.

Marathon Man. Who doesn’t want to see that? My version is very much an ode to those films. It does feel like the time is right for a really good conspiracy thriller, when we’re all watching each other so closely, and thinking everyone has hidden motives and [the idea that] there are secret societies and secret government branches. That felt really current.

WS: I understand you’ve had a long journey with Utopia. Take me back to the beginning.

FLYNN: It’s very strange. I started writing it for David Fincher. He was going to direct every episode and I was going to write every episode. He was still shooting Gone Girl, and he said, Let’s get the band back together! I had such an amazing experience working with him on Gone Girl, so I said, Let’s do it! I can trace how long it’s taken because I started writing and immediately got pregnant with my daughter, and she is today in her firstgrade online class. She’s a walking chronology of how long it’s taken to get this thing finally made. It came down to pure stubbornness on my part.

These episodes will be made! If I have to get out my iPhone and do it, we’ll do it that way. It started at HBO and it fell apart there, for budget reasons, and ultimately found a home at Amazon. I was really grateful.

WS: I know you finished filming pre-shutdown. How did you manage the postproduction process?

FLYNN: Timing-wise, we were really lucky. We had locked picture on all eight episodes and we were down to ADR and score. But most of the heavy lifting was done. I had been flying back and forth to L.A., since L.A. has all the best equipment and that’s where the editors were based. We’d crack on an episode for a week and get the bulk of it done and then tweak it remotely. We had heard about this virus that was way far away from us; it wasn’t going to reach us! I said, see you guys in a week, and then everything shut down. We were able to finish it remotely because it was all computer-based by then. It wasn’t too much of a transition.

WS: I know Channel 4’s Utopia is beloved. What was the approach to taking it and making it your own?

FLYNN: It was daunting, for sure, because you don’t ever want to mess with fan folks’ beloved classics. It’s dangerous territory! I watched it and thought there was so much there, so many different themes to play with and a lot of issues that felt very urgent. In particular, I liked playing with

WS: Given that we are living in the middle of an actual pandemic, do you think the show will resonate differently now compared to if it had launched last year?

FLYNN: All eyes on Dennis Kelly is all I can say. He is the Nostradamus of England. To me, it’s not a pandemic show, it’s not a procedural, it’s not Outbreak. The pandemic is part of a larger storyline. I don’t think too

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many people will be turned off by it. We don’t steep in it too much. With everything I do, I get it to a point where I’d like it, I’d watch it, I’d read it. If you feel that way, it’s about all you can ask for. Then you just hope for the best and send it out into the world.

WS: Do you have a preference as to whether shows are launched with all episodes or rolled out week to week?

FLYNN: When I first heard the term binge-watch, I was very snobby about it. TV is not supposed to be consumed like potato chips! And then I proceeded to consume everything like potato chips.

WS: Once you knew you had eight episodes to work with, how did you craft the overall arc of the season?

FLYNN: I’ll tell you, it started as ten episodes when it was at HBO, and then for budget reasons, it went to nine episodes, and at Amazon, it went from nine episodes to eight episodes. It’s an expensive [setup]: it’s basically a road picture. We’re moving from place to place, with no set to return to.

We were constantly building and finding places [to film in].

In a way, it was like writing a novel. You have to look at it as a whole picture and then tend to each individual episode to make sure those were satisfying in and of themselves. It was a lot of tweaking and a lot of rewriting, which I love.

WS: I’m fascinated by your career arc, from journalist to novelist to screenwriter and showrunner. What were some of the things you had to learn as you were making those transitions?

FLYNN: It was a very steep learning curve. And there’s something very humbling about pushing 50 and learning something totally new. I kept telling myself, This is a wonderful challenge. How many people are lucky enough that they are frightened to go to work every morning and figure out a whole new skill set? You’re so lucky! And then I’d cry in the shower for a while and clean myself up and go to work.

Sharp Objects [the novel] only got done because I was a journalist.

That was the key. I had started and stopped multiple novels and just

never finished them, for whatever reason. There’s something about working for a weekly magazine, where we had a lean staff, and you’re writing all the time, that demystified the whole process in a really useful way for me. You realize that the muse is not just going to come down and touch you on the crown of your head and give you all the gifts to write a novel. Sometimes writing a novel is pure stubbornness and will. I always tell people, there are a lot of talented novelists who you’ll never read because they just don’t have that stubbornness. You have to say, I’m going to finish this goddamn book, or it’s going to kill me! So I finished [Sharp Objects], and then Gone Girl was another really big learning curve. I had sold the rights with the insistence that I would get a crack at the first try at a screenplay. I was still in the middle of my author tour for the book while I was writing the screenplay. I was on a train from somewhere in Michigan [where I’d been] for a library event, back to Chicago, when I was able to write the end of the script. I bought myself a small, warm bottle of wine to celebrate! [David] Fincher liked it and we met and he was just the best mentor you could ask for. I learned so much from him. He works really hard and if you’re working as hard, he gives you that grace of space to figure everything else out.

My dad is a film professor, so I grew up watching movies. We’d have father-daughter dates every week where we’d go see a movie— usually one he wanted to see. He’d make up reasons for why he was taking me along: You’ll love The Elephant Man! He took me to see Alien when I was 6. I remember him saying, Gillian, do you know what the word “heroine” means? It’s a female hero, and this one has a female hero and it’s important you see it. I screamed my pants off for two hours.

WS: Are you already mapping out a second season of Utopia?

FLYNN: Absolutely. We’re already getting in gear. It seems strange since I feel like I signed off on it only a couple of weeks ago. Is it time to get back into the Utopia world? I never left! I’ve been in it for six and a half years!

Amazon Prime’s Utopia.

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TIM MINEAR

By Anna Carugati was that these first responders, these heroes, [form] three legs of the stool: the dispatchers, the firefighters/paramedics and the police. Those three elements together create a unique way into a procedural world.

Then Ryan, Brad and I [decided] that we wouldn’t have to have one plot driving an episode. What the viewers would have is almost the experience of going on YouTube and clicking on ultimate fail compilations or WTF compilations, the craziest things that happen in the world. Watching an episode would almost feel like that. You’d be going from a baby flushed down the toilet to nuclear material burning in a tunnel—from the sublime to the ridiculous. The tone could shift wildly and you’d be there [to hear] a 911 call, meet some people that needed to be saved, and watch these heroes running toward danger as opposed to what most of us would do, which would be run like hell in the other direction. With Ryan, you don’t have to go through the process that you would have to with a lot of shows, where you pitch, get notes, come up with a pilot idea, make a pilot, screen the pilot, they decide if they like the pilot, recast the pilot, start to make episodes. Everyone trusted us to create something and get it ready to go on

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he procedural has been a television staple for decades. FOX’s 9-1-1, however, has introduced a level of heart-stopping, nail-biting, highpressure situations seldom, if ever, seen in a network drama. Created

by Ryan Murphy, Brad Falchuk and Tim Minear, the series features the firefighters and police officers who spring into action after dispatchers receive an emergency call. Minear is the showrunner for 9-1-1 and its spin-off, 9-1-1: Lone Star. While he has worked on edgier, game-changing shows, like American Horror Story, Minear says he enjoys the storytelling challenges presented by 9-1-1, even in the time of COVID-19.

WS: How did 9-1-1 come about, and what did you, Ryan and Brad want to accomplish with the show?

MINEAR: It came about because Ryan was fixing to depart for Netflix. He felt a certain loyalty to Dana Walden [at the time co-chairman and CEO of the Fox Television Group] and thought, “You know what would be nice?

If I came up with an idea that would be a hit network show for my friend Dana.” I’ve never met a producer who could just decide to make a hit and then make a hit! Well, he did. He also wanted to create a vehicle that could showcase Angela Bassett on network TV, and he thought America wanted to see Angela Bassett in a uniform. That was the original thought. I remember taking a walk through the lot with Ryan, and he said, “I have this idea about a 911 operator. Wouldn’t it be great to call a show 9-1-1?” As is often the case with Ryan, it’s almost like he’s working from the subconscious part of his creative brain. There’s a thing that’s there, and he’ll grab it and spin it into something. Even in this instance where it’s very straightahead network popular entertainment, he knew exactly what would make it different from all the other procedurals on TV. I don’t think he was interested in creating a cop show or a firefighter show. Those things are standard, and you see them on TV all the time. What interested him was seeing that other element that I don’t even think you’ve seen that much of up until we did it, which is the dispatch center, the call center. The idea

Tim Minear frequently collaborates with Ryan Murphy and Brad Falchuk, working with them across broadcast, cable and streaming, including on American Horror Story, Feud: Bette and Joan, 9-1-1 and 9-1-1: Lone Star.

air. The network ordered 13 episodes straight to series, and we dug right in and started making the show and figured it out as we went along.

WS: How do you get the ideas for the rescue situations? Did the incident with the baby flushed down the toilet happen?

MINEAR: It actually happened. That was in the pilot, and that particular case was the template for everything that was to come after. That was something Ryan wanted to do. A lot of the cases you see on the show are the result of us digging on the internet, finding crazy cases, and, as I said, almost replicating the feel of some viral video that you may have seen.

That is the template for many of the cases, and a lot of the cases are based on real viral videos. That baby being flushed down the toilet happened in China. There is video footage of a baby in a pipe that has to be rescued because he got flushed down the toilet. The crazier the situation you see on the show, the more likely it actually happened. When we came up with the idea of the bouncy house at the birthday party flying a hundred feet into the air, you can go on YouTube and find many videos of bouncy houses that got caught in the Santa Ana winds or on a beach and flying a hundred feet into the air. In most cases, there aren’t people inside of them, so you take something that has a visual hook that feels like a viral video, and you try to place it into a relatable situation. That’s the other trick on the show: it’s not just insane things that happen, but usually, there should be an element that the audience can relate to. If you’re seeing somebody in a mall going up an escalator and that escalator fails, and they get sucked into the escalator, [that is a situation] you could relate to. That could be a

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typical day in your life, and then something goes terribly sideways. Those are the best cases. If I’ve frightened you off of stepping onto an escalator, then I’ve done my job.

WS: Was the plan to focus on the rescues and learn about the characters as the series progressed?

MINEAR: The DNA for that is right there in the pilot. When you first meet Peter Krause’s character, Bobby, he’s out on a ledge trying to talk a woman down who’s about to jump. Then you see him immediately after, sitting in a church talking to a priest, and we learn that he’s had a dark past of substance abuse. Later on in the show, we learn that he’s lost his entire family in a horrible fire that he feels responsible for. So yes, the idea from the very beginning is that there are emergencies that people deal with as first responders, but that everyone on some level—and this is the catastrophe that is life—has personal emergencies. We’re contrasting how people deal with personal emergencies and real-life emergencies when they have to confront physical danger head-on. And often, these people are better at saving a stranger than saving themselves, but in the end, they all save each other. I think that is also what has made the show a success. People want to see something positive on their screen. Not everything has to be some edgy anti-hero on a cable network. I’ve done that with Terriers and American Horror Story. But there’s something very [nutritious] about tuning in and seeing people who love each other, and who have each other’s backs and who are out there trying to do good—there is nothing ambiguous about that.

WS: Was the premise of 9-1-1: Lone Star different from that of 9-1-1?

MINEAR: Yes, I would say the biggest difference is that Lone Star began with a premise pilot, whereas 9-1-1 didn’t. In other words, when we came into 9-1-1, for the most part, the world was already in place. The new thing that would end up happening is Buck would meet Abby, and then Abby would meet the firefighters. After Abby left, Maddie came in, and she’s Buck’s sister, so that was a natural connection, but people weren’t coming into a new

environment. With Lone Star, there’s very much a premise there, which is there is a firefighter named Owen [played by Rob Lowe], who survived 9/11 and rebuilt his firehouse. He comes to Texas to rebuild a firehouse after a similar all-encompassing tragedy. It was told from Owen’s point of view, whereas 9-1-1 was a little more diverse. With Lone Star, there was a lot more world-building that had to take place over the course of the first ten episodes. I remember getting this note from the network a lot on Lone Star: Well, we just wish that they felt more like a family, like 9-1-1. I had to explain to them that you can’t say that people who just met are suddenly a family. You have to establish who they are, and then you have to put them through a crucible and bring them closer together, and by the time we get to season two, Lone Star is as much of a family as the crew on 9-1-1.

WS: Are you running virtual writers’ rooms? Are you writing scenes so that they comply with COVID-19 safety guidelines?

MINEAR: Yes, we’ve been doing virtual writers’ rooms for several months, on both Lone Star and 9-1-1. I’m working with new writers on both shows that I’ve never met personally. Our entire relationship has been on Zoom with a lot of these people, so that’s interesting. We haven’t shot yet, so I’m conscious of it in the writing of it, but COVID-19 has happened in the world, so when [the shows] come back, our characters will have been through everything the audience has been through. They’re living in the same world. When they go out on a call, when they get off those trucks, they’re putting on the masks, right? They’re social distancing the way we are in real life, so presumably, some of the protocols that the characters are observing on-screen are also protecting my actors. It’s going to be a challenge to see how that goes. But we are covering COVID-19 on the show, hopefully without having it subsume the show. It’s there, but, for me, the service that I can render to my audience is to show that these beloved characters they’ve come to know are not letting the pandemic make their lives come to an end. We have to see that they can balance real life with this pandemic, and that life does go on. So that’s my mission statement this year for both shows.

9-1-1 on FOX.

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SALLY WAINWRIGHT

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

WS: Were there things you discovered in reading the diary that surprised you about her?

WAINWRIGHT: Some of the sexual entries are a bit shocking, but you kind of get used to that; you expect them to be shocking after a while.

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rowing up in Yorkshire, Sally Wainwright frequently visited Shibden Hall, a historic estate best known for being home to Anne Lister in the early to mid-1800s. A prolific diarist, Lister—often referred to as “the first modern lesbian”—penned millions of words about her life, much of them written in a code that wasn’t deciphered until the 1930s. Wainwright has used those diaries as the basis for the BBC and HBO’s critically acclaimed Gentleman Jack, which is set to return for a second season. Wainwright, one of the U.K.’s most well-regarded television writers, talks to World Screen about writing during lockdown and preparing for Gentleman Jack to resume production.

WS: What was the appeal of Shibden Hall for you?

WAINWRIGHT: I grew up in Halifax. Shibden Hall was a place I always visited as a child. I always had a real bond with it. I was interested in history as a kid; I was probably quite nerdy! So Shibden Hall always had a real pull on me. It’s extraordinary. I think I’m not the only person who feels like that who grew up in Halifax.

I just always had an immense affection for the place. I’d defy anyone to visit Shibden Hall and not find it fascinating.

WS: When did you discover Anne Lister, and why has she become so important to you?

WAINWRIGHT: I can’t remember the first time I heard of Anne Lister.

I’ve thought about that a lot recently. I think it’s because I visited Shibden Hall since being small and I probably always heard about her—she was part of that knowledge. She was always present when you visited the Hall; there’s a big portrait of her there and people would talk about her, even though there were huge aspects of her life that were kept quiet about for a long, long time. I’ve read so much of the diaries to write the show, I’ve learned a huge amount about her. I knew a lot, but I know a lot more now.

Since starting her career as a playwright and then a writer on daily soaps, Sally Wainwright has won a string of awards and given audiences such beloved series as Happy Valley and Gentleman Jack.

What’s more shocking is the consistency—that she wrote so much every day over such a long period of time. She never fails to provide you with details. It’s not things that are shocking; it’s things that are just fascinating that you would never have known about the world in 1835 if you hadn’t read this diary. I’m working on a section at the moment where she goes to London in 1835 with [her partner] Ann Walker and they nearly bought a sketch by [J. M. W.] Turner. They knew he was famous and very important and it was about 17 shillings and they decided not to.

Things like that you couldn’t invent!

WS: What has it been like writing season two during the pandemic?

WAINWRIGHT: I’m very lucky I’m in the middle of nowhere. The pandemic hasn’t touched us much. I feel quite privileged. It affected my concentration quite badly at the beginning. I don’t know why.

You’d think this would be a writer’s dream, having time to get on with it, and it’s not too different from how you normally live as a writer. You tend to be reclusive anyway. But it affected my concentration early on. I kept going out into the garden and digging vegetable patches and sowing seeds! That felt more necessary than writing scripts at the time. [Laughs] WS: Are there particular types of stories or characters you are attracted to?

WAINWRIGHT: It’s really about story and finding a vehicle for characters through whom you can tell a good story. Good stories don’t

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come along every day. They sneak up on you when you least expect it. It’s finding what’s in that story that excites you and developing ideas about characters for how you need to tell that story and what’s important in that story. You’re always looking for something new, something you haven’t quite done before. It’s not a formula.

WS: When and why did you start directing?

WAINWRIGHT: I started directing when I was at university. When I was about 20, I directed my first play, one by Barrie Keeffe. I had never directed a play before. I didn’t know how you did it. I asked someone if I could come to watch them direct. It was quite interesting because I wanted to make comments. I could see he wasn’t doing a lot. I think I must have had a thing for it back then, even though I didn’t quite know what I was doing. It’s a similar instinct I use to write. So, I watched this guy direct, and then I directed a play myself. And I just knew I could do it. I found it very rewarding.

[There is an] excitement you get from working in theater or working with actors or bringing something to life like that. And then when I left university, I got into television writing and that took off and the directing went by the wayside, but it never went away; it was still something I wanted to do. I got the idea that other directors had been trained—that there was some reason they had become directors, and I hadn’t done the things that you needed to do to be a director. The penny slowly dropped that that wasn’t necessarily true and I just needed to get on with it and do it. The problem was getting

someone to give me a break. So I did some GVs, general views, on Last Tango in Halifax, and I slowly built up doing a few bits and pieces. The first time I directed properly was episode four of Happy Valley.

WS: How do you manage the tasks of both writing and directing?

WAINWRIGHT: I’m not going to be directing Gentleman Jack season two for that reason. It just takes over your life. You literally can’t do anything else. It’s very rewarding but also very demanding. The logistics of Gentleman Jack season two meant that I couldn’t direct and write, because I couldn’t finish writing when I would have needed to start prepping. Ironically, I could now because of COVID-19 and lockdown, but we had to make decisions about directors early on. I will be overseeing it. The plus side is I can get on with Happy Valley season three. If I get the chance to direct again, I will. It’s choosing the right projects and making sure you have the time to do it justice. It is a logistical conundrum for me because there’s so much I want to write. It more than halves the amount of time I can spend writing. I’m sad I’m not going to direct Gentleman Jack season two. It was a really difficult decision to make, but I’ve made it now—it has to be the right one.

WS: So you’re wrapping up the second season of Gentleman Jack and working on the third season of Happy Valley. Does that leave you time to work on any other new projects?

WAINWRIGHT: I have four or five projects cooking away. This is the problem. The older I get, the more ideas I seem to get!

BBC Studios’ Happy Valley.

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HARRY AND JACK WILLIAMS

By Anna Carugati works—copycat shows don’t excite people. The shows that excite us are the ones that feel so different and unique you wonder if anyone will even want them.

HARRY: Or just put people who have special powers in it.

WS: Many of your shows are co-productions. Would you give some examples of how you work with the different partners involved in a co-produced project? Do you receive notes from all partners?

HARRY: Yes, most of them have been [co-productions]. We get notes from all our co-production partners throughout the process, and generally, it’s worked well. They’ll feed in notes at the same time as our U.K. broadcaster, and we’ll look at them all on a caseby-case basis. All notes are a way of looking at the script again and seeing if there are any holes or ways to improve it. It’s all about the specific project and the people working on it. Usually, if they’ve agreed to make it, they loved what we did about the show, so we’re all starting on the same page.

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rothers, business partners, co-creators and producers of some of the best and most innovative British television in the last decade, Jack and Harry Williams founded Two Brothers Pictures in 2014. The indie label, acquired by all3media in 2017, produced Phoebe Waller-Bridge’s award-winning Fleabag and the critically acclaimed The Missing, which the brothers also wrote. Many of their shows offer new twists—a story told in reverse order, as in Rellik, or from two points of view, as in Liar. They revisited The Missing’s difficult but brilliant investigator in Baptiste and have set their upcoming mystery The Tourist in the Australian outback. Despite the often dark subject matter of their TV shows, Jack and Harry are known for their humor—and for finishing each other’s sentences.

From running their own hit shows, among them The Missing and Liar, to executive producing breakout hits like Fleabag, Jack and Harry Williams have had a major impact on the U.K. TV landscape.

WS: In a co-produced show, how does a final script emerge ready to start production?

JACK: Final scripts emerge slowly and awkwardly and are constantly changing because of locations or schedules. But going into prep, we always have all the scripts written and the story clearly laid out. Then it’s a matter of trying not to make it worse.

WS: How did The Tourist come about? Is this show different from others you have written, and if so, how?

HARRY: The Tourist came about from a desire to do something new and something different. It’s a lot of different styles and types of shows mixed up in an oversized blender. It’s got the intensity and drama of one of our grittier thrillers, but there’s a dark kind of comedic tone in there too. We haven’t gone that way since our darker days of (very poorly received) comedies, so it’s oddly exciting to see how it comes out of said blender. It’ll be either a refined and delicate purée or just some lumpy sludgy stuff with something that looks like sweet corn in it.

WS: The Tourist was announced before the pandemic. How have you prepared for production so you can comply with COVID-19 safety protocols? What types of adjustments to scenes have you needed to make?

HARRY: There are protocols we’re working to, which our marvelous head of production has been on top of. Largely we’ve not had to make too many changes, but, of course, some have arisen—locations, extras, all these things are affected, but with plenty of time leading up to filming, there’s enough latitude to work out solutions that don’t compromise the script.

WS: With so much scripted drama in development, what does a story need to make commissioners feel they want the project?

JACK: Every story has been told in some form or another, so to get one away with so much out there, it should feel fresh. Like a version of that story you’ve not seen before. That can be the world it’s set in, the way it’s told, the characters who take us through it.

Trying to second-guess what people might want never really

WS: What other shows does Two Brothers have ready to start or resume production when it is safe to do so? In what countries are these shows scheduled to shoot?

JACK: We have a couple we’re filming. Baptiste had to shut down earlier this year, as people know, but we’re starting again soon, which is hugely exciting. And there is a new show, which should be shooting imminently.

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WS: Do you have a process when you write? How do you come up with ideas, and how do you share the writing?

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

WS: Would you give us examples of how you work with other writers?

HARRY: It’s completely different for each writer. Some will want more feedback or input; some we need to get out of their way and let them do their thing; some need to be tortured slowly and painfully until they squeal for mercy. As writers ourselves, we’re happy to sit and help break stories or work through characters, but we think the most important thing we do is advocate for the writers we work with. Production can so often be a process by which well-meaning groups of people can come to endless wellmeaning compromises and the show itself has the edges sanded off and somehow, the thing you loved in a script gets lost. So we’re very aware that everything comes from the script, and it’s our job to help protect that from start to finish.

WS: How have you seen British drama evolve during the last decade?

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

WS: Even before the pandemic, some people were saying there was too much drama. What is your view? What role might COVID-19 play in changing the volume of drama produced and consumed?

HARRY: To us, it doesn’t feel like too much, but when you’re in the middle of the bread factory every day, you don’t really stop to wonder about whether there’s too much bread. People certainly needed it during lockdown. It was a way out. And the great thing about there being so much choice is that there’s a much broader range of options for every demographic and taste. People can find the shows that speak to them.

JACK: COVID-19 will, in the short term, inevitably reduce the amount of drama produced. Things take longer to shoot, which means they cost more, which means there’s less money to go around. That may (hopefully) just be short-term, though. Now the lockdown is starting to have a visible effect on our screens—there’s not enough new content, and repeats are starting to appear on the schedules, and it feels like people continue to want to be entertained. At least we hope they will, or we’re out of a job.

HARRY: Unless we put people with special powers in it. Then we’re golden.

all3media international’s Liar.

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ANNA WINGER

By Anna Carugati WS: Is the process for adapting a book for the small screen significantly different from writing an original story?

WINGER: It’s not, but I had never adapted a book before. In the end, even with an adaptation, you have to make it your own. One thing that helped is that we changed everybody’s names because then we had more liberty with the characters. We had to figure out which parts of the book we were going to use and what would happen to Esty in Berlin that would be different from Deborah’s life in Berlin. We married the book with all these things we had [discussed] about being Jewish in Germany and Berlin and the many layers of history. We felt it made a lot of sense because there is this doubling back on history that happens when Esty returns to the origins of her community’s trauma in order to set herself free. That is true.

When you come here to work as a Jew, you think about the Holocaust a lot. To understand that it happened here, how and why, and not make your peace with it exactly but learn to live with the many dichotomies of Berlin history and life is very interesting because there are many ways in which Jewish culture comes from this part of the world. Many things feel

N

A photographer and novelist before co-creating Deutschland 83 with her husband, Anna Winger most recently co-created Unorthodox, which picked up a win for best directing in a limited series at this year’s Emmy Awards.

ovelist and screenwriter Anna Winger has often written about experiencing the world as an outsider. An American ex-pat in Berlin in her novel This Must Be the Place. A young, inexperienced East German man sent as an undercover spy to West Germany in Deutschland 83 and Deutschland 86. A teenager fleeing her Orthodox Jewish community in the miniseries Unorthodox, which was nominated for eight Emmy Awards. In juxtaposing cultures, belief systems and lifestyles, Winger highlights humanity’s common threads, which helps us understand others and ourselves.

like a homecoming when coming back here, but, of course, simultaneously, you have to deal with the history of the 20th century.

WS: How did Unorthodox come about, and how is the TV adaptation different from Deborah Feldman’s book?

WINGER: For a while, I had been interested in making something that spoke to the German Jewish experience or Jewishness here in Berlin. I had another project that I had been talking to Alexa Karolinski about.

She’s a documentary filmmaker who’s made movies that speak to the German Jewish experience—post-Holocaust life and love. [I know] Deborah—our kids go to school together. I told her I had read and loved her book, and she said, You should make a TV show of it. I’m used to making things up from scratch. The book is a memoir, and I felt it would have to be different to be a TV show. But she trusted us and gave us her blessing. Alexa and I broke it apart and put it back together. We made something different out of it. The best adaptations should become their own projects, and we were grateful that Deborah trusted us with the material. She loves the TV adaptation, and it’s very true to the spirit of the book, even though many things are different. Everything from the moment Esty leaves home is made up, including the activation of Yanky as a character. We invented Moishe. The book is about Deborah’s whole life. We used the story of the arranged marriage; its back story is from the book. Part of those choices had to do with protecting Deborah because she is a young woman and well known in Germany. We didn’t want to tread too close to her real post-Orthodox life.

WS: Tell us about writing the first episode of a series and finding an entry point for the viewer. Is that one of the most challenging things to do?

WINGER: Writing a pilot is always difficult. I’ve always written them by myself, even though I created both Unorthodox and Deutschland with other people. As a writer, or as the head writer of both shows, I need to find my way into the voice and rhythm of the show. That is why I’ve always written them by myself, which is weird because, in America, I now understand that the show’s creator is the person who writes the first episode. But I see creating a show as being more complex than that. I’ve never done it by myself. I’ve done it with my husband on Deutschland and with Alexa on Unorthodox. I’m a strong writer and head writer with both shows, but the conversation about what the show is about and who the characters are and the experience of breaking out a story is a collaborative process. I created Unorthodox with Alexa, and we had a pretty profound conversation about how to break it down and how these characters feel in the real world. You bring a group of people together to make a project. If you’re lucky enough to be in the position to choose who’s in the project with you, you want to invite people that you want to talk to about these themes and subjects. That part was really interesting with Alexa.

Once we had drafts of the scripts, we [gave them to] Eli Rosen, who was our Yiddish translator and cultural consultant. He wasn’t just the translator of the scripts; he also helped us understand how [people speaking

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Yiddish] use the language, how they use English, and what they mean when they say certain things. All that anthropology or linguistics is very interesting. He was very helpful to Alexa and me in terms of understanding what we were writing.

WS: Music is central in Unorthodox, but it was also important in Deutschland 83 and Deutschland 86. Is music a tool you use in your storytelling, or is it just coincidental that both use music?

WINGER: It’s not coincidental. It’s a huge part of the film experience for me.

I write to music. I listen to music a lot. I feel the way into a story through music. For what I’m writing now, I made extensive Spotify lists to get into the feeling of it. The funny part is that I often don’t end up using the same music I think I’m going to use while I’m writing. It evolves. It provides the impetus to the writing, but it’s not necessarily the music you ultimately choose. But music is a very big part of it, and one of the reasons that I liked the idea of making Esty a musician instead of a writer is because I’m a writer. I think just sitting at a computer is boring to watch on screen, whereas music is live. It’s shared; it’s an essential experience that is great on film. I also find it very mysterious. I love music, but I can’t play any!

There’s a school in Berlin called the Barenboim-Said Akademie, where Israelis and Arabs come together to play classical music. It’s funded by the German government. It was co-founded by Daniel Barenboim and is a utopia project. Frank Gehry designed their concert hall. It’s an amazing place in the middle of the city. Ever since I heard about it, I thought it was something that could exist only in Berlin. I always wanted to set something there, so we’re lucky that we got to use that in this show. It’s not the real place, but we used it as an inspiration.

WS: Unorthodox emphasizes common human experiences, and Deutschland brings back a moment in history that needs to be highlighted. What do you think about the power of drama series to entertain, to inform and illuminate issues that maybe we wouldn’t know otherwise?

WINGER: I’m always driven into these projects by curiosity and always looking for metaphors in stories that help us understand our lives. For me, the ultimate is to be transportive in that way, so people relate to the material. I was so amazed by that when I made Deutschland 83 because it was my first TV show. This is a mass medium, and it’s meant to entertain and reach a wide audience. It was so satisfying that people responded to it on different levels: some were history buffs, some thought Jonas [Nay, the actor] was hot, some were moved by it, or related to it, and thought they, too, had had a fish-out-of-water experience. Some people had a lot to say about the politics of it. It was interesting.

That’s what’s addictive about making [television series]. It’s different from writing a novel or working in the art world, which I’ve done in the past. TV is deliberately meant for a wide audience.

That is the pleasure of it, nowhere so much as on Netflix, where a show drops in some 190 countries at the same moment. When you combine that with social media, you have this global conversation about something that is moving. It was mind-blowing! I’ve never done that before. Deutschland rolls out slowly across the world on different broadcasters. It was an incredible thing having people respond to [Unorthodox], and it was incredible for the actors to get all that feedback.

Unorthodox on Netflix.

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PIV BERNTH

By Anna Carugati County. Plus, at the time, there were regulations in Sweden that you couldn’t move more than two hours away from your home. It was complicated. First, we thought of moving the shoot to this fall. But then all productions in Sweden were moving toward the fall, and we couldn’t get any crews or cast members. So we decided with SVT that we would postpone everything for one year. We are trying to save the quality of the show, not trying to get bits and pieces and stop and then ask what we can change.

WS: You also had Equinox in production.

BERNTH: We had two weeks of shooting left in Copenhagen when we were shut down. The producer, writer and director had to go through the remaining scenes, rewrite and take out some actors and bring in others who were already there. It took three weeks to do a two-week shoot because of these regulations.

WS: How have you seen Scandinavian drama evolve since the days of The Killing and The Bridge?

A

s an executive at the Danish public broadcaster, DR, Piv Bernth oversaw TV series that drew international attention to Nordic noir—the unique storytelling, subject matter, scenery and light that characterizes quality Scandinavian drama. In 2017, Bernth set up the indie label Apple Tree Productions with DR colleague Lars Hermann. Its first show, Equinox, is based on a popular podcast and was able to complete production despite the coronavirus outbreak. Another Apple Tree production, Blackwater—an adaptation of a bestselling novel—has had its shooting schedule postponed until 2021.

WS: Since so many people have read Kerstin Ekman’s Blackwater, how do you introduce new elements without disappointing them?

BERNTH: When you see a feature film or TV series based on a book you love, you are a tough audience because you have your own images in your head. It’s going to be the same with Blackwater. We open the series in the same way the book opens, so you will immediately recognize something you know. We had some ideas for another beginning, but then we realized if we start more or less the same way the book does, it helps people befriend it right away. Then again, the book is split up into three parts and two timelines, 1992 and 1970. In the book, they are separate: the present time, which is the ’90s, and the past. We cut it in a different way, the two levels of time follow each other. It’s quite nice; I hope it works. It works in the scripts, but until you get into the editing room, you never know.

WS: You were supposed to start production on Blackwater, but it was delayed because of COVID-19?

BERNTH: We are going to shoot in the very north of Sweden because the story takes place during Midsummer’s Eve. We need to be in the countryside where there is daylight for 24 hours during the summer. It’s magical.

It’s a bit weird because you can never know what time it is. Because of COVID-19, we couldn’t get up there—no infrastructure, no flights going there, and it’s a 10-hour drive from Stockholm and 18 hours from Skåne

A pioneer in the development of Nordic noir, Piv Bernth is working on a slate of new Scandinavian projects at Apple Tree, including Equinox, a Netflix original series, with a view to bringing them to global audiences.

BERNTH: I think there is absolutely demand for a lighter touch now.

Everyone is asking, Can we get a nice comedy? Scandinavian drama has evolved a lot in all genres. And I said years ago that we should leave Nordic noir and try to find a new path. Because the worst thing that can happen to Scandinavia is that we become a kind of museum for Nordic noir, which would be boring. We have to move on to something new.

There are a lot of good shows now in all genres from Norway, Sweden and Finland. Iceland has done shows as well. But the competition is crazy. There is so much out there. Ten or 15 years ago, you could say Nordic noir and people would say, Wow! But it’s not like that anymore.

There is so much good programming and a lot of not-so-good programming! The streamers have done a big job to help; people are learning a lot.

The environment is very competitive but very inspiring as well.

WS: Between linear channels and streaming services, do you have more outlets to work with that need product?

BERNTH: It’s one of the things that I enjoy. When I worked for DR, we had only one customer and that was DR. If they said, no, we don’t like this, you couldn’t go anywhere else to sell it because DR could not sell a project to someone else. The wonderful thing about being an independent producer is that you can choose from the whole world. We can choose co-production partners. If we think a company is good at doing something, we can try to get in touch with them and ask if they are interested in working with us. It’s interesting and encouraging.

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TVKIDS

WWW.TVKIDS.WS

OCTOBER 2020 EDITION

Windowing Strategies / Buyers / Mondo TV Special Report / ViacomCBS’s Jules Borkent Super RTL’s Claude Schmit / M6 Group’s Philippe Bony / Cyber Group’s Pierre Sissmann

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12 TV KIDS

CONTENTS

Time to Reflect

FEATURES

19 MONDO TV REPORT

A look at the new developments at the kids’ and family entertainment production and distribution company.

44

There has been a resounding declaration from within the global TV industry about just how much diversity and representation matter, both on- and off-screen, and it is perhaps even more imperative when it comes to children’s content.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan 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 ©2020 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.ws

Not only is it of paramount importance for young ones to identify with characters in the shows they’re watching and see themselves reflected back, but it’s also vital that they see characters who are nothing like them—of different races, physical abilities and family structures than their own.

A 2019 report from the children’s media company Hopster finds that the majority of the top preschool shows poorly represent those with different abilities, LGBTQ+ and the working class, and have high rates of gender stereotyping, pushing BAME (Black, Asian and minority ethnic) characters into the background. For example, none of the 50 most popular preschool shows in the U.K. had lead characters who are differently-abled. Also, many shows focus on “privileged” families, and there were negative depictions of working-class characters. According to the report, only 6 of the 50 top shows had lead BAME characters, and only 7 percent of the episodes alluded to an LGBTQ+ character, usually very fleetingly.

The good news is, things are changing; creators, producers, commissioners and buyers of children’s programming are all stepping up. In this issue of TV Kids, we surveyed various buyers, from linear and streaming platforms, about the types of shows they are looking for. Many of them pointed to inclusivity and diversity as issues they were looking to address in the programs they acquire or commission. Another feature in this edition tackles the challenges that distributors face with regard to rights and windowing, as IP owners look to fully maximize the value of their properties.

TV Kids hears from ViacomCBS Networks International’s Jules Borkent about serving audiences during lockdown, and Cyber Group Studios’ Pierre Sissmann on the company’s growth. This issue also celebrates the 25th anniversary of Super RTL, with CEO Claude Schmit reflecting on the channel’s history and his ambitious plans for its future.

M6 Group’s Philippe Bony discusses the company’s plans to invest in the market-leading kids’ portfolio that is home to Gulli, Canal J and TiJi, which are all marking milestone anniversaries this year. We also have a special report on Mondo TV Group.

—Kristin Brzoznowski

GET DAILY NEWS ON KIDS’ PROGRAMMING

36 CAN WE SHARE?

The business of distributing kids’ shows has become increasingly complex.

44 CATCHING A HIT

A range of buyers discuss the types of shows they are looking for.

INTERVIEWS

54 ViacomCBS’s Jules Borkent

56 Super RTL’s Claude Schmit

66 M6 Group’s Philippe Bony

74 Cyber Group Studios’ Pierre Sissmann

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14 TV KIDS

9 Story Distribution International Donkey Hodie / Guitar & Drum / Luo Bao Bei

Donkey Hodie

Inspired by Fred Rogers and his mission to help kids navigate childhood, the 9 Story Distribution International title Donkey Hodie follows the titular donkey and her pals.

The show “empowers preschoolers to dream big and overcome obstacles in their own lives,” says Alix Wiseman, senior VP of distribution and acquisitions. A band of instruments forges a community together in Guitar & Drum, a preschool series about diversity, music and friendship. The second season of Luo Bao Bei, from Magic Mall Entertainment and Cloth Cat Animation, “is a one-ofa-kind property, and we fell in love with the lead character’s irrepressible determination and the funny and touching storylines about growing up and being part of a family,” says Wiseman.

“9 Story’s distribution team is looking forward to exploring the digital space at MIPCOM this year.”

—Alix Wiseman

Acamar Films Bing The fourth season of the Acamar Films highlight Bing is currently rolling out around the world, as the company seeks out new linear and digital platform partners for the animated preschool show. “Bing reflects the universal highs and lows, joys and pitfalls of being a child,” says Eroulla Constantine, director of sales and distribution at Acamar Films. “Our stories are meaningful, timeless, authentic and globally relatable; we especially evaluated and developed locations and characters that would be identifiable to children everywhere.” The company credits the series’ quality animation and its multiplatform distribution strategy for Bing reaching kids across the globe. “To our audience, Bing is their friend, and at a time when many of us are separated, the show helps children to feel they’re connected,” says Constantine.

CAKE

Bing

“We remain as committed as ever to working with wonderful global partners and delivering great experiences for preschool audiences.”

—Eroulla Constantine

Jorel’s Brother

Jorel’s Brother / Tish Tash / Total Dramarama Among the series CAKE is spotlighting is Jorel’s Brother, which follows the adventures of an awkward and nameless 9-year-old boy who is overshadowed by his older brother. “Every child has, at some time, felt sidelined by a sibling, classmate or friend, which makes Jorel’s Brother very relatable, and we are thrilled to be introducing this series to the international market for the first time,” says Ed Galton, chief commercial officer and managing director at CAKE. The preschool series Tish Tash, which Galton notes was created through “a truly global approach,” takes its viewers out on adventures with a young bear, her bear family and her imaginary friend.

The third season of Total Dramarama, the prequel to the Total Drama franchise, is also available.

“Working in our industry has meant that we have been fortunate to have been less impacted by the COVID-19 crisis.”

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16 TV KIDS

CBC & Radio-Canada Distribution Amos, The Mask Hunter / ZamZoom’s Animal Adventures / Gary’s Magic Fort CBC & Radio-Canada Distribution’s kids’ slate includes Amos, The Mask Hunter, set in a medieval fantasy world where myths and legends come to life. ZamZoom’s Animal Adventures lets kids discover wildlife while zooming through space on an intergalactic expedition. Li’l Doc takes audiences on a journey through the world of medicine, while Gary’s Magic Fort helps preschool-aged viewers navigate the world of emotions. CBC & Radio-Canada Distribution has developed an expertise in working with and nurturing creative talent to produce unique and entertaining kids’ programming, says Mia Desroches, director of content distribution partnerships. “We are eager to extend this collaborative approach to the international community through financing, co-distribution and the development of new business models,” she adds.

Gary’s Magic Fort

“We have a lineup of great new kids’ programs this year, featuring some fantastic journeys, adventures and creatures, both real and imagined, that will delight and entertain.”

—Mia Desroches

Crunchyroll My Hero Academia / Captain Tsubasa / Tower of God Crunchyroll has positioned itself as the premier home for anime for over ten years. “Thanks to our unique position, we recently crossed a major milestone of 70 million registered users and 3 million subscribers, demonstrating that the growth around anime shows no sign of slowing down,” says Waell Oueslati, acquisition and licensing director. Crunchyroll’s top properties in 2021 will include My Hero Academia and Captain Tsubasa in Europe and the Crunchyroll original series Tower of God and The God of High School. “Anime continues to grow in popularity all over the world,” Oueslati says. “We see anime’s evolution from an exclusively Japanese category to a worldwide sensation as one of the most fascinating case studies in modern branding history and a testament to the power of anime’s ability to tell rich, captivating stories.”

“Anime has become a celebrated part of pop culture.”

—Waell Oueslati

Cyber Group Studios Droners / Orange Moo Cow / Bananimals Leading Cyber Group Studios’ list of highlights, Droners is an adventure-comedy series for 6- to 10-year-olds that follows Team Tikis’ quest to win the Whale Cup. “In this visually and narratively stunning show, we wanted to underline to kids in a fun way the great issues of our planet,” says Raphaelle Mathieu, senior VP of sales, acquisitions and new media at Cyber Group Studios. The series is co-produced by Cyber Group Studios, Supamonks Studios and La Chouette Compagnie. The animated preschool series Orange Moo Cow centers on 6-year-old cow Zoh, her little brother Boh and her loving family and friends, while Bananimals sees the animal inhabitants of a farm village regularly asking Gordon the Bull for help and advice.

Droners

“Let’s work together to bring kids fun, enthusiasm, discovery and self-confidence!”

—Raphaelle Mathieu 82 WORLD SCREEN 10/20

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18 TV KIDS

Dandelooo Royals Next Door / Pompon Little Bear / Billy the Cowboy Hamster Targeted for 7- to 12-year-olds, Royals Next Door is a 2D animated series on offer from Dandelooo about a princess and her family who move to the suburbs. Also in the company’s catalog, Pompon Little Bear is based on the picture books by renowned and much-loved French author and illustrator Benjamin Chaud. The 2D adventure-comedy series for preschoolers is a story of a mischievous, cheerful and playful little bear. Billy the Cowboy Hamster is based on a series of six books by Dutch author and illustrator Catharina Valckx. “We are quite demanding of the visual style, so these series show beautiful creative designs, which emphasize the characters and portray and highlight themes that will appeal to global audiences,” says Emmanuèle Pétry Sirvin, co-founder and partner at Dandelooo.

Pompon Little Bear

“We believe in fun stories based on good writing talent and strong development.”

—Emmanuèle Pétry Sirvin

eOne Family Brands My Little Pony: Pony Life / Ricky Zoom / Treehouse Detectives The combination of Entertainment One and Hasbro has created a powerful roster of kids’ programs for eOne Family Brands to present to the international marketplace, with a catalog that includes Peppa Pig, My Little Pony, Transformers, Power Rangers, PJ Masks, Ricky Zoom and more. There’s a new My Little Pony series rolling out, Pony Life. “The series explores the funny side of friendship, following the hilarious adventures of the world’s most famous ponies,” says Monica Candiani, executive VP of content sales. There’s also a second season of Ricky Zoom coming this fall. Meanwhile, Treehouse Detectives follows bear brother-and-sister amateur sleuths Toby and Teri along with their kind and curious animal friends.

“The series is a perfect fit for the 3-to-5 demographic as it brims with positivity, teamwork and humor,” says Candiani.

Ricky Zoom

“We are thrilled to have some of the most popular and recognizable family brands in the world today.”

—Monica Candiani

Squish

Federation Kids & Family Presto! School of Magic / Squish / Find Me in Paris Marking Federation Kids & Family’s first collaboration with TeamTO, Presto! School of Magic is based on STUDIOCANAL’s The House of Magic. The title features a group of curious kids who dream of becoming magicians.

Federation also has in its catalog a pair of series produced by its sister company Cottonwood Media: Squish and Find Me in Paris. The former is a science series set in a town inhabited by single-celled organisms, while the latter is a live-action tween drama about a time-traveling ballet dancer from 1905 Russia trapped in modern-day Paris.

“The timing of [Squish] is perfect, as it provides a lighthearted platform to potentially create conversations for children about viruses, bacteria and more,” says Monica Levy, head of sales at Federation Kids & Family.

“We have come up with some interesting ways of establishing a personal rapport with our buyers as if we were at the market this year.”

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The Dream Factory 360° Approach to Property Management

M

ondo TV began life as a widely admired third-

Paris and Mondo TV Suisse in Lugano are active in the pro-

party film distributor. Fifty years later, as a group

duction and distribution of animated television series.

of independent companies, it is one of the

The Mondo TV Group as a whole combines in-house pro-

largest European producers of animated content, both in-

ductions with a program of strategic alliances that allow it

house and as a production partner. It has a strong and

to co-produce successful series across the world and for the

growing licensing division. And it is still a major name in

world. Today, Mondo TV focuses on many opportunities—

distribution, with a library containing many thousands of

from animation to drama to reality TV for kids, teens and

hours of classic entertainment.

families—across a large number of media and business

The holding company, Mondo TV S.p.A., listed on the

channels, including linear TV, OTT and streaming.

Milan stock exchange, is headquartered in Rome and spe-

The licensing division opened in 2010 and works with

cializes in the international co-production, production and

the most prestigious brands in the business, notably in

distribution of animated content. Mondo TV Iberoamerica

Italy and Iberia, the group’s core markets. The opening of a

is listed on the Madrid stock exchange and manages

new CGI production center, with the aim of regularly cre-

the Tenerife-based preproduction hub Mondo TV

ating 3D productions, is another step on the road to

Producciones Canarias, which is now part of its ongoing

founder Orlando Corradi’s dream of creating a fully inte-

involvement in the production and distribution of anima-

grated company, one that can claim a global leadership

tion and also of live-action content. Mondo TV France in

position in the creation, distribution and licensing of IPs.

TV KIDS

3

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4 TV TVKIDS KIDS

time television and movie industry experts Ulli Stoef and Jo Daris. We plan to develop, co-produce and distribute eight series over the next four years, covering, between us, northern and southern Europe, as well as South America, the Middle East, Asia and Australia. This is an important development for both parties. For Mondo TV, it continues the group’s drive to develop high-quality partnerships with some of the finest talent the world has to offer. For both parties, this is an opportunity to build new, highquality and successful cross-media brands and take control of all distribution channels. We are delighted with the partnership’s progress to date and excited about its prospects.

TV KIDS: How have you evolved your business model and positioning given the changes in the landscape?

CORRADI: The group’s business model changed following the 2008 crisis. We knew that we needed a sound financial base and the listing on the stock exchange of

Matteo Corradi

By Mansha Daswani

ondo TV Group’s history dates back to 1965, when Orlando Corradi founded the operation to bring Japanese anime series into the Italian market. Today, the Mondo TV Group is a powerhouse in European kids’ and family entertainment, delivering a 360-degree approach to managing its extensive portfolio of IPs. Matteo Corradi, CEO of Mondo TV, tells TV Kids about the company’s strategy and ambitious plans for the future.

M

TV KIDS: How is Mondo TV positioned within the Italian and European animation sector today?

CORRADI: Mondo TV is a major European producer of content—from animation to drama to reality TV—for kids, teens and families, both in-house and as a production partner across TV, OTT and streaming. Mondo TV also distributes programming from its vast library of animated content. We are profitable, debt-free and have a major expansion plan. This includes building on the success of the group’s licensing division, Mondo TV Consumer Products, which was founded in 2010. With the expansion of the production capability of Mondo TV Producciones Canarias, we can now boast the potential for almost entirely European creative development of IPs, from the scripts to the final mixing: preproduction, visual development and 3D CGI animation in the Canaries and postproduction in Italy.

To strengthen our presence internationally—and with particular focus on growing our presence in German- and English-speaking territories—we have forged a strategic alliance with Toon2Tango. We are both honored and delighted to be working with Toon2Tango, the new kids’ and family entertainment venture headed up by long-

our subsidiaries (Mondo TV Suisse, Mondo TV France and Mondo TV Iberoamerica) gave us that. We also realized that we had to adapt to new OTT and streaming platforms and to the opportunity various forms of digital media represent for brand exposure. We also saw the need to strengthen efforts in merchandising and associated toy development. The production hub in the Canary Islands has been very important to this approach: it allows us to bring much of our international work closer to the European market without additional costs thanks to the region’s tax incentives.

This business model has also given us a measure of resilience during the unexpected challenges thrown up by the ongoing pandemic.

We plan to penetrate more European markets and to build on the growth of the licensing and merchandising business unit, while continuing to work with partners outside Europe to gain access to new markets, new skills and new ideas.

As you can see, we don’t waste time. That’s partly because, as a family-run group, we react quickly to change.

TV KIDS: Tell us about your 360-degree approach to brand management.

CORRADI: Our business model has evolved a great deal in the last 50 years. Today, we’re a leading proponent of the 360-degree approach to property management. We don’t just build TV series; we build franchises—right from ideas and early development through writing, funding and production to broadcast positioning and sales and licensing activities. Why?

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It’s mainly to do with timing. If we control all or most of the process, we can ensure the delivery of the finished product, timed to support broadcasting schedules and licensing programs.

TV KIDS: You have many partners globally. Tell us about the importance of these alliances. What has made for such successful partnerships across borders?

CORRADI: The Mondo TV Group as a whole combines inhouse productions with a program of strategic alliances.

This began four years ago when we started to take part in international co-productions, working on important IPs owned by third-party companies—all major players in the sector. The aim was to take our content distribution base worldwide, alongside a solid licensing program. Of course, this also means we work with regional leaders in their fields, all of which have a strong talent base. Our recent animated co-productions have included Robot Trains, a co-production with the Korean group CJ ENM, and Invention Story, co-produced with York Animation of China. And we don’t just pursue cross-border cooperation.

The recent MeteoHeroes project, launched in 2020, is a coproduction with the leading Italian weather forecasting authority MOPI—Meteo Expert.

As for the future, the alliance with Ulli Stoef and Toon2Tango, as I mentioned earlier, will combine the creative and business strengths of both companies to extend the reach of both into multiple markets. We are also in the process of building alliances in North America.

TV KIDS: What are your plans for the CGI division at Mondo TV Producciones Canarias? How will this new development help you to further your overall goals for the business?

CORRADI: We offer preproduction, visual development and 3D CGI animation from Mondo TV Producciones Canarias, our best-in-class European production studios in Tenerife owned by Mondo TV Iberoamerica.

In fact, the Canaries division was a dream of my father’s that this year became a reality when we bought the office in the center of Santa Cruz de Tenerife, where about 60 people will soon work. We have been there for about four years.

We learned about recent incentive programs approved by the Canary Islands government that could significantly bring down the cost of production in Europe and thus bring our work base closer to our European co-producers. We moved quickly to become the first foreign investors in Tenerife—further evidence that we react quickly to change.

The initial aim for the Canaries division will be to make one or two CGI productions a year. Of course, we will keep up our

collaborations with overseas partners, but now we also have a large animation studio in Europe.

TV KIDS: What are your overall priorities for Mondo TV in the 12 to 18 months ahead?

CORRADI: Firstly, to remain focused on being a strong player in the European animation market. The pandemic and its economic effects may mean that there are fewer resources available to this sector than before. We shall have to see.

However, I feel our size and reach will serve us well, as will our diverse portfolio, both in terms of content and target audience. This will continue; our projects will certainly remain in step with emerging trends, but they will also be innovative and engaging. But technology and new media won’t sit still, and neither will we. The challenges of digital for this sector will grow. We are therefore working to integrate new cross-platform IPs for tweens and teens into our output.

We will continue to develop our newer hits like MeteoHeroes, which deals with the highly topical issue of climate change. This is a 100-percent Italian co-production that is now rolling out in multiple territories. Invention Story is making its presence felt in Europe as well. Our work with Toon2Tango will see the arrival of a number of shows, notably Hey Fuzzy Yellow, an incredible combination of educational content with pure and crazy entertainment, and Agent 203, a funny and exciting new sci-fi (or better yet, spy-fi!) animated comedy-adventure series about a young girl who becomes an intergalactic secret agent. Grisù, an update of a kids’ classic, about a firebreathing dragon who wants to be a firefighter, is another property we feel will have enormous appeal. New IPs Masked Cinderella and Annie & Carola will engage and amuse kids—and broadcasters—everywhere in the coming years. We are also keen to build on established successes like Sissi the Young Empress and Robot Trains.

We have also successfully built a growing portfolio in recent years in areas such as live action (Heidi Bienvenida), cross-platform teen lifestyle TV (House of Talent) and more. We will continue to diversify when the right opportunities present themselves.

MeteoHeroes

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HIGHLIGHTS (Comedy adventure 2D, 52x7 min.) A Mondo TV co-production with Meteo Expert—Icona Meteo, a leading Italian weather forecasting group with a strong international reputation, MeteoHeroes addresses issues like climate change, ecology and respect for nature through the amazing adventures of six superpowered children. These are important messages delivered in a fun, engaging way in a series full of action and comedy that helps young viewers understand the issues and how they can help the planet, all while getting entertained! And of course, these kids also have to face the same challenges as their peers: handling friendships and differences, teaming up and growing up—all while trying to save Planet Earth!

(Comedy adventure 3D CGI, 52x11 min. coming soon) Following the international success of the second season of Robot Trains, the third series is on the way in 2021. In season three, the Railwatch team—trains that can become robots to defend Rail World and its natural energy sources—are finally ready to face the villainous Train X and his trio of mischievous sidekicks. When Train X takes control of the deadly dark energy, a mysterious Silver Railwatch comes to the rescue and joins forces with the Railwatch team.

Will they all be able to stop the lethal energy before it destroys Rail World?

(Comedy adventure 3D CGI, 26x22 min.) Presented by Mondo TV and Toon2Tango.

Zoe is a 13-year-old girl living with her dad in the suburbs. One day she meets an alien named Ulav, who drops an out-of-this-world secret: Zoe’s mom is a secret intergalactic agent gone MIA (missing in action). Zoe follows in her mother’s footsteps, pledging to protect the galaxy and find her lost parent. Together with her new alien friend and Quigley and Rock, her two best friends, Zoe’s mission is to protect the planet, protect Zoe‘s bracelet from falling into the wrong hands, save the galaxy—and try to have a normal teenage life.

(Edutainment/emotainment 2D/live-action hybrid, 52x11 min.) Presented by Mondo TV and Toon2Tango. Combines educational content with pure and crazy entertainment. A fiercely fun romp through infinite possibilities starring a group of extraordinary characters led by a fuzzy yellow ball and driven by a lot of music in various styles, this is a show that defies conventions and has its own set of rules. It’s about social and emotional storytelling, independent discovery, self-expression, exploration, confidencebuilding and learning through play. And it’s very, very funny.

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Guru Studio Pikwik Pack / Big Blue / True and the Rainbow Kingdom Pikwik Pack, a new Guru Studio preschool series that is set to launch on Disney Junior in the U.S., follows Suki the hedgehog, Axel the raccoon, Tibor the hippo and Hazel the cat as they deliver surprise-filled packages to their town’s residents. “Preschoolers are going to fall in love with Pikwik Pack’s adorable characters and stories packed with huge laughs, inspiring adventures and big beating hearts,” says Jonathan Abraham, VP of sales and business development at Guru Studio. True and the Rainbow Kingdom, which has built a large following since it was introduced to young viewers, centers on a kind heroine who is aspirational for girls and boys alike. In the 2D comedyadventure series Big Blue, Lettie and Lemo and their crew set out on underwater explorations.

Big Blue

“Big Blue is currently in production, and we look forward to sharing a sneak peek of this action-packed and hilariously funny show with buyers.”

—Jonathan Abraham

Jetpack Distribution

A Week to Beat the World

Master Moley / Chuggington / A Week to Beat the World Starring Warwick Davis, Julie Walters, Richard E. Grant and Gemma Arterton, the Jetpack Distribution highlight Master Moley features timeless animation. The property will appeal to kids and families globally, according to Dominic Gardiner, CEO. “James [Reatchlous, the creator] wrote and read the stories to his children 20 years ago,” he says. “He has shown incredible tenacity in bringing the moles to screen.” Also in Jetpack’s catalog is the preschool series Chuggington, which follows lovable animated trains. Hosted by CBBC presenter Karim Zeroual and comedian Camille Ucan, A Week to Beat the World is a live-action series that involves six sporty young stars who travel the world to compete in difficult and unusual games. “It’s been a brilliant addition to our live-action slate and has a truly global appeal,” says Gardiner.

“At Jetpack, we remain as committed as ever to blasting the best shows across the planet.”

—Dominic Gardiner

Kidoodle.TV Safe Streaming The Kidoodle.TV Safe Streaming AVOD channel is geared to families and kids aged 12 and below. With no barrier to entry, the platform serves low-, middle- and high-income homes. “Be it that you’re watching on the TV in the living room or on a tablet or phone, we are there for free,” says Brenda Bisner, Kidoodle.TV’s chief content officer.

Further, according to Bisner, Kidoodle.TV’s “standards of adhering to the highest letter of the law give relief to families looking for a better alternative.” This fall, Kidoodle.TV is on the lookout for new content. It also recently launched its first Kidoodle.TV original. This “sets a very important stage, and we are strategically looking at what makes the most sense to be part of as we grow the slate,” says Bisner.

“We will always be seeking great completed kids’ content to complement our large offering to families globally.”

—Brenda Bisner 10/20 WORLD SCREEN 93

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Magic Light Pictures Zog and the Flying Doctors / Pip and Posy / The Gruffalo Magic Light Pictures’ brand-new 30-minute Zog and the Flying Doctors special is set to premiere this Christmas on BBC One. Based on the book by author Julia Donaldson and illustrator Axel Scheffler, it goes on an adventure with the lovable dragon Zog and his loyal friends. A story of friendship and understanding that captures the emotional highs and lows of preschooler life is at the heart of Pip and Posy. The series “is packed with warmth, humor and sympathetic understanding of the little dramas of young children’s lives,” says Muriel Thomas, head of international distribution at Magic Light Pictures. The Gruffalo, a 30-minute special based on the popular book from Donaldson and Scheffler, is also on Magic Light’s fall slate.

Pip and Posy

“Despite the huge uncertainty that we have all faced this year during this unprecedented pandemic, Magic Light is very much open for business.”

—Muriel Thomas

Mattel Masters of the Universe / Thomas & Friends / Barbie Princess Adventure Mattel continues to focus on producing fresh TV content based on its iconic franchises. This includes new shows as well as additional seasons and specials tied to current programming. There are two new Masters of the Universe series premiering next year: Masters of the Universe: Revelation, a fan-driven anime show that will pick up the storyline from where the series from the ’80s left off, and HeMan and the Masters of the Universe, an animated adventure series that will introduce a new audience to the franchise.

“Thomas & Friends is another property that continues to offer new storytelling opportunities,” says Fred Soulie, senior VP and general manager of Mattel Television. “We are also premiering new Barbie content starting this fall,” he adds, highlighting the movie musical Barbie Princess Adventure.

“At Mattel, every property is built on a core purpose.”

Barbie Princess Adventure

—Fred Soulie

Sardine in Outer Space

Mediatoon Distribution Kid Lucky / Sardine in Outer Space / Tom & Lili Mediatoon Distribution has bolstered its slate of adventure series, with highlights that include Kid Lucky and Sardine in Outer Space. The former centers on a young slingshot champion who is destined to be the world’s greatest cowboy, while the latter portrays the adventures of a girl hero and her intrepid crew through the entire universe.

“Whether our heroes are riding rodeos in the Wild West or exploring the universe on interstellar missions, they always have to face a new, funny and unexpected experience,” says Jérôme Alby, managing director. Meanwhile, Tom & Lili features a brother and sister who are always making up new plans to joke around. The family dynamic between brothers and sisters is on full display. “It’s something that everyone can relate to,” says Alby.

“Traveling, laughing and succeeding as a team are strong and universal values that constitute the strength of our programs.”

—Jérôme Alby 94 WORLD SCREEN 10/20

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Mondo TV MeteoHeroes / Robot Trains 3 / Hey Fuzzy Yellow Aimed at kids 4 to 7, MeteoHeroes is a Mondo TV coproduction with Meteo Expert-Icona Meteo, a leading Italian weather-forecasting group. The series addresses issues such as climate change, ecology and respect for nature. The comedy adventure Robot Trains is targeted at 3- to 6-yearolds. Following the international success of season two, a 52x11-minute 3D CGI third season is currently in production and will launch in 2021. There’s already been a positive industry response for the Hey Fuzzy Yellow concept, a codevelopment between Mondo TV and Toon2Tango, according to Luana Perrero, head of content sales at Mondo TV. “It’s not surprising; it’s the only show in the market aimed at preschoolers that combines educational content with pure and crazy entertainment,” she says.

Hey Fuzzy Yellow

“Mondo TV is looking forward to a strong performance in the key fall/winter period and beyond.”

—Luana Perrero

NBCUniversal Global Distribution The Mighty Ones / TrollsTopia / Jurassic World: Camp Cretaceous DreamWorks Animation’s Trolls movies have been hits across the globe, and the fun continues in the series TrollsTopia. The show promotes positivity and celebrates diversity as Poppy invites delegates from every troll tribe in the forest to unite in Pop Village and live together in harmony. “Another draw for buyers is that the series is produced for Peacock, and we will have full rights utility, worldwide, from the start,” says Belinda Menendez, president and chief revenue officer for global distribution and international at NBCUniversal. Jurassic World: Camp Cretaceous is set against the timeline of Universal Pictures’ 2015 blockbuster film Jurassic World. The Mighty Ones, which is full of comedy, was also produced for Peacock, which means NBCUniversal Global Distribution will have full worldwide rights from the start.

TrollsTopia

“TrollsTopia is born from the beloved DreamWorks Animation Trolls film franchise, which was a boxoffice hit around the world.”

—Belinda Menendez

Studio 100 Media SeaBelievers / FriendZSpace / 100% Wolf—Legend of the Moonstone Representing the genre of ecotainment, SeaBelievers is a new animated series that Studio 100 Media is showcasing. The first season of 52 11-minute episodes will be ready for delivery in 2021. FriendZSpace, meanwhile, centers on three best friends who may seem like regular human kids, but behind their ordinary facades, they are risk-taking deep-space friendmakers. “FriendZSpace is all about kids and kid culture—alien and human,” says Dorian Bühr, head of global distribution at Studio 100 Media. “It’s about embracing our differences and getting into exciting trouble in the process.” The company’s highlights also include 100% Wolf—Legend of the Moonstone, which features as its main character a pink poodle trying to make it in a world of werewolves. Bühr describes the show as “a unique action-adventure best-friend comedy.”

“Our mission is to bring brands to life that are contentdriven and entertain kids and families.”

—Dorian Bühr 96 WORLD SCREEN 10/20

100% Wolf—Legend of the Moonstone

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Superights Pat the Dog / Clay Time / That’s Joey!

The comedic antics of a lovable pup named Pat continue in the third season of Pat the Dog, which Superights is showcasing for international buyers. The company also has a second season of Clay Time along with the series That’s Joey!

“These three highlights strengthen our strategy of offering a diversified selection of top-quality programming available on all linear and nonlinear media platforms,” says Nathalie Pinguet, deputy managing director of sales and acquisitions.

“They cover all topics a buyer could look for to complete its programming grid: action, comedy, humor, edutainment, creativity, tenderness and friendship.” Pinguet adds, “Pat the Dog is already an international IP, the modeling-clay activity with Clay Time is universal, and the humor with That’s Joey! is a common denominator of all the children in the world.”

Clay Time

“We are committed to constantly offering new shows to our customers.”

—Nathalie Pinguet

WildBrain Green Hornet / The Woods / Sheila HippoDreamer WildBrain is working with filmmaker, screenwriter and actor Kevin Smith on the 2D animated series Green Hornet, based on the classic superhero franchise. The new version follows the adventures of a reimagined Green Hornet and Kato—now the grown son of the original Green Hornet and the daughter of the original Kato—as they partner to battle crime in Century City. WildBrain is also showcasing the live-action teen drama The Woods and the animated preschool series Sheila HippoDreamer, with characters inspired by the picture books from David Walliams. “Sheila HippoDreamer brings the joy and irreverence of Walliams to preschoolers, showing them that it’s OK if things go wrong—if you stay hippo-positive, then anything is hippo-possible,” says Deirdre Brennan, executive VP of content partnerships.

Sheila HippoDreamer

“We’re committed to serving families around the world with creatively distinct animation and live-action storytelling.”

—Deirdre Brennan

Winsing Animation Team S.T.E.A.M.! / GOGOBUS / GG Bond: Dino Diary The kid characters in Winsing Animation’s Team S.T.E.A.M.! overcome problems using a STEM curriculum of science, technology, engineering and math, with athletics and the arts thrown in for good measure. “Young people all around the globe will enjoy seeing themselves reflected in our diverse group of characters with different cultural backgrounds,” says Ben Gu, CEO of Winsing. GOGOBUS, meanwhile, is rooted in social and emotional learning. Another highlight is GG Bond: Dino Diary. “GOGOBUS and Dino Diary embrace and celebrate the fascination that preschoolers have with dinosaurs and vehicles, with themes of adventure and rescue while encouraging basic scientific thinking skills as the audience learns about modern science technology, life science, natural history and paleontology,” says Gu.

GG Bond: Dino Diary

“We’ve been in deep dialogue with major broadcasters in every region and country in the world.”

—Ben Gu 98 WORLD SCREEN 10/20

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Xilam Animation Oggy and the Cockroaches—Next Gen / Tangranimals / Where’s Chicky?

Oggy and the Cockroaches has been entertaining audiences around the world for over 20 years, and Xilam Animation is now bringing to the marketplace Oggy and the Cockroaches—Next Gen. “This exciting new reboot will bring a fresh and modern look to the iconic series, which will appeal to both kids and grown-ups alike,” says Morgann Favennec, executive VP of distribution. From Xilam Animation’s specialist CGI studio Cube Creative comes Tangranimals, an animated adventure comedy for the 3-to-6 set. It features themes such as team spirit, solidarity and living harmoniously together. Also produced

by Cube Creative, Where’s Chicky? has one-minute episodes full of comedy. It follows a little chick who turns up in a new environment with every episode.

Oggy and the Cockroaches—Next Gen

“Alongside keeping our productions up and running, we have spent the lockdown period developing and getting new projects off the ground.”

—Morgann Favennec

ZDF Enterprises Heirs of the Night / Space Nova / Zoom—The White Dolphin ZDF Enterprises has a new season of its live-action series Heirs of the Night available in its ZDFE.junior catalog. The series is set in Europe in 1889, as the heirs of the five remaining vampire clans are brought together on the ship The Elisabetha to attend a newly created vampire school. The animated series Space Nova follows the adventures of the space-exploring Nova family in the year 2162. After being the hero of the 1970s cult series created by Vladimir Tartakovsky and Marc Bonnet, the most famous cetacean in cartoon history makes his comeback in the animated series Zoom—The White Dolphin. “Comedy and humor are central to the series, expressed through a host of colorful characters,” says Peter Lang, VP of ZDFE.junior.

“We have a lot of new programs in our catalog, and we are proud to present them to the industry.”

—Peter Lang Heirs of the Night

Zodiak Kids Super Agent Jon Le Bon! / Yellow Yeti / Rocket Robbins Zodiak Kids’ Super Agent Jon Le Bon! is billed as a fun and high-octane animated comedy, in which an intrepid superagent moose has to save the day against villains and a very clumsy super-agent colleague. On the presales front, the company is highlighting Yellow Yeti, a 2D comedy series that Zodiak Kids Studios is co-producing with Gigglebug Entertainment. On the development side, Zodiak Kids has partnered with Illuminated Films to present Rocket Robbins, based on a book property. “We have a huge range of international dubbed versions available for most of the series in our catalog and are encouraging broadcasters and platforms to get in touch with us to discuss what is available in their territories,” says Cécile Cau, VP of sales and co-productions.

Rocket Robbins

“We have amazing new projects on our development slate that we are hoping to finance this fall, and we cannot wait to pitch them to everyone.”

—Cécile Cau 100 WORLD SCREEN 10/20

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9 Story’s Guitar & Drum.

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Can We

Share?

Between the emergence of a raft of new AVOD platforms and linear broadcasters stepping up their requests for digital rights, the business of distributing kids’ shows has become increasingly complex.

By Mansha Daswani

T

hey say sharing is caring, but in some parts of the kids’ business, no one wants to share, creating complications for IP owners looking to fully maximize the value of their properties.

“You just don’t have those traditional windows like you used to, because people want exclusivity,” says Alix Wiseman, the senior VP of distribution and acquisitions at 9 Story Media Group. “The hardest part is extracting the value that is commensurate with what you’re making from the platforms that want to license it, given that you just don’t have as much scope in terms of windowing.”

Ed Galton, managing director and chief commercial officer at CAKE, agrees, stating, “While we will always push for nonexclusivity and a collapsing of as many windows as possible, the truth is that the traditional platforms have become more reticent about sharing than in the past. They don’t want to give any window of opportunity to work with the SVOD players and preserving AVOD rights has become a priority given that linear channels will ultimately migrate into that space.”

Morgann Favennec, the executive VP of distribution at Xilam Animation, notes that broadcasters’ needs have evolved alongside changes in viewing habits. “While it was not always easy, it used to be possible to satisfy all parties and have major

partners coming on board one after another. Over recent months, it has become increasingly difficult to reach outcomes that are fully satisfactory for all involved, as everybody is now looking for exclusivity, particularly on premium content.”

WHAT RULES? But, as Emmanuèle Pétry Sirvin, co-founder and partner at Dandelooo, points out, “if you have the right project that everybody wants, all the rules fall apart. If the show is so-so, they are going to say, I can’t take it because I don’t have this window or I can’t have exclusivity, etc. And it’s almost an excuse. We’re co-producing Mum Is Pouring Rain for Canal+— they have the first window. It’s a wonderful director and a very talented artist, so France Télévisions said, We’ll take a second window. If it’s a great show, they will bend the rules. Netflix first started to say they needed to have all first windows and all exclusivity. Now they’re saying, We’ll give it a think.”

Plus, “there’s less loyalty from the audience now for specific channels, and instead, kids or their parents will search for their favorite TV shows; they don’t mind where they are found,” observes Alison Taylor, the director of distribution and business development at Aardman. “The platforms and channels are becoming accepting of that, so it’s become increasingly 10/20 WORLD SCREEN 103

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Xilam is introducing Where’s Chicky?, a short-form series produced by Cube Creative.

important for windows, on the top brands in particular, so everyone has the ability to broadcast the most popular shows and have an exclusivity window to do so. Buyers need new IP as well as popular existing brands just as much as producers of the IP need the financing, the marketing, the brand support.

Windowing can sometimes be a neat solution for everyone, obviously while understanding the importance of the premiere, especially for the main commissioners as the financiers.

This is when windowing can be effective.”

Jérôme Alby, managing director of Mediatoon Distribution, echoes this point, observing, “When you are a distributor, you have to maximize the number of windows on which you put your content. The main evolution has been to open those windows, to open the holdbacks, to make sure at the end of the day the kids see the show—a lot—and that you make more or less the same amount of money. You have to have the windowing to make sure there is a viewership you are looking for and you can make money and get the exposure you need.”

As for crafting a windowing strategy, there are a range of factors to consider, from local regulations—such as those in France, Alby points out—to the broader needs of the property.

FREE FOR ALL “We always take into consideration all of our business departments,” reports Dorian Bühr, the head of global distribution at Studio 100 Media. “When we are talking to potential merchandising licensees, most of them want to know whether there will be free-TV coverage, and ideally, when and how often. This is still a very important parameter for the licensing business, especially for the introduction and brand development of a new IP. However, constant availability on streaming platforms ensures keeping kids connected, as for them, the most important thing is to get to see their favorite show, no matter where and when and how.

Therefore, a coexisting solution using a distinct windowing [strategy] is desirable—ideally on all available platforms.”

At Mediatoon, Alby says the factors that need to be considered—beyond the size of an offer— are visibility, your own cash flow and how a broadcaster or platform will curate your content.

“Typically, if you have the luxury of being able to choose between broadcaster A and broadcaster B who propose the same amount of [money], and your cash flow is good, what you will be looking for is who will best maximize the exposure of the show and help better roll out a possible L&M strategy. How do you make sure the show will be everlasting?”

CAKE’s Galton says the nature of a project will also help determine its preferred distribution model. “With a serialized show and a story arc that you have to follow, you are limited in who you can approach. The linear broadcasters are looking for snackable series that can be aired one episode at a time in any order, while VOD platforms look at viewing patterns differently. Secondly, there’s the level of ambition and size of the show, which is where the economics come into play. The traditional method of how we finance shows has evolved.

Some of the series we’re working on are more ambitious with higher budgets. Certain platforms can afford to commit to that additional amount of money and have those shows made.”

MASS EXPOSURE Galton also points to the importance of ancillary revenues, where a free-to-air broadcaster or platform may be a better route than an SVOD streamer. “Does it make more sense to be on the free-TV channels of the world, or is it more beneficial to have as many non-exclusive deals as you can so you can be visible on every platform?” says Galton. “In addition, one needs to consider that if you are being held to exclusivity by a platform that you cannot extract data from, it becomes very challenging when selling in your licensing program.”

Galton references CAKE’s approach on its Angry Birds shorts series, where the strategy was always to do non-exclusive deals.

“We found that the bigger the brand, the less exclusivity was an issue. In contrast, with a new show airing for the very first time, partners demand exclusivity as they want the show to be associated with their platform. There is a bit of an irony there; as long as it gets eyeballs and ratings, that’s what matters.”

Meanwhile, 9 Story’s Wiseman sees SVODs becoming “more proactive” in helping to support brands. “You generally need to have plenty of scope to be able to support a brand off the primary platform as much as possible. That does mean the YouTube world and so on. I think that’s where the conversation needs to be going. And the biggest challenge when it comes to consumer products with children’s content on the SVODs is simply how children, and we as adults, consume content now. We burn through it and we’re done with it in a period of time. It’s not being served up on a weekly basis, which would allow licensees to slowly launch programs. That’s an issue we’re all struggling with. I do think the SVODs are keen to see how they can play a part in maximizing that, which is to everyone’s benefit.”

Aardman has long managed its AVOD rights in-house, given its strong presence on YouTube, Taylor reports. “In some

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Cartoon Network is the global partner (outside of Canada) on CAKE’s Total Dramarama.

instances, we roll out content on AVOD platforms first.

We did that with Learning Time with Timmy, originally produced for YouTube [and developed with the British Council]. We’ve since been able to license the second window of this series to Netflix and public broadcasters globally, despite it already being on YouTube.”

CATCHING UP

extensive slate of catch-up rights today, which decreases the value of a show for digital exploitation. “On the other hand, the streamers have become important and lasting players in the market—so there is a slight movement towards a kind of coexistence with different window constellations, trying to find a way to crossfertilize each other and avoiding the complete exclusion of one platform.”

Taylor at Aardman reports that “some channels are more cautious than others when it comes to AVOD rights. It can be a sticking point in negotiations, whether it’s the number of episodes or even the number of clips agreed. Often a neat solution is to offer the broadcaster the same content for their AVOD channels that you produce for your own, which satisfies all partners on the show. In addition, if the channel or platform has a vested interest in the success of the show—for example, a share in the ancillary rights or a longterm partnership on the brand—then they will often be more flexible, so long as the premiere is on their channel.”

PANDEMIC PUSH

The COVID-19 pandemic may have facilitated some increased flexibility in the kids’ business as of late, as broadcasters and Catch-up rights have emerged as the most contentious battleplatforms alike clamored to serve the needs of kids stuck ground. Commercial broadcasters that may have once not worat home for hours at a time—amid a bruising impact on ried too much about digital rights want to hold onto them for as the ad market. long as possible as they build up their own VOD services.

“Until the beginning of 2020, sharing AVOD rights was not “You have to think about the massive role catch-up plays our standard approach to windowing, but with the recent and then what can be done with AVOD,” says Wiseman at decline of YouTube revenues, we have since adjusted our 9 Story. “What you want to do is not cut all your options out, strategy,” says Favennec at Xilam. “The pandemic provided us but it is difficult. I think one of the challenges is that with a with a lot of new AVOD collaborations with partners who lot of the linear platforms, they are now consolidating like were looking for new content on a non-exclusive basis. Our crazy, as we know, and they have their own SVOD platstrong [titles], including non-dialogue global hits such as Oggy forms, so they are reserving those rights for themselves. We and the Cockroaches and Zig & Sharko, were perfect for their need to see that they are going to cover the value of those needs. We quickly realized that these partnerships did not rights. That’s the challenge for us distributors. For us to be able to deliver top-notch programming with very high production values, if we’re not going to be able to extract that value out of a number of windows because one platform is going to exploit all those rights, it is really important for those platforms to understand the value of those different rights.”

Dandelooo’s Pétry Sirvin says that pubcasters in Europe are becoming particularly insistent on VOD rights, which blocks the company from doing global SVOD deals on some shows. “So now we’re much more careful. We reduce the window down to six months with them in order to possibly start the discussions with Netflix or others to make sure we have access to the dub and the rights cleared. We’ve been punished for not being careful enough with that before.”

Studio 100’s Bühr agrees that broadcasters are seeking out a far more Studio 100 is working on the rollout of the third-party property FriendZSpace.

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Dandelooo has a raft of pubcaster partners on Ernest and Celestine.

have an impact on our own digital views—we have 40 YouTube channels that are now generating billions of views annually—and are an effective way of reaching new audiences and generating extra revenue.”

9 Story’s Wiseman sees that budget concerns already have some broadcasters considering “more flexibility in terms of sharing. And we’re very open to that. When you look at the level of exclusivity that a lot of SVODs and linear require, there are cases where there are entire series available on YouTube that are also sitting on those platforms. They may not be as threatening or as problematic as some might have originally thought them to be. I think there is a lot more scope for sharing, where both platforms can live easily side by side. That’s a helpful way to move forward, especially for linear channels that are losing so much in terms of ad spend. If they can be a bit more flexible, pay a little bit less, then they will still get great value out of what they’re acquiring, even if it’s on another platform.”

NEW WORLD ORDER? Indeed, Mediatoon’s Alby sees this as a potentially ongoing trend—with or without the global health crisis. “Five years ago, it was very difficult, especially for pay television, to share some rights or open exclusivity toward AVOD. This is for obvious reasons. AVOD is free, pay TV is pay, so it wasn’t good for them to do it. Everyone tries to navigate this. We all have to find a way for the shows to be seen. The logic that many have adopted is to use AVOD as a tool to promote the broadcast. Let’s say you have a series made of 52 episodes.

You can agree to have 75 percent of the content only for pay TV, and 25 percent on AVOD as a sort of freemium content that will drive viewers towards the pay-TV offer of the series.

You can put the first 13 episodes on YouTube and say, Want to see the rest? Log onto pay-TV channel A or SVOD platform B. More and more networks are open to this, as it can be a win-win for both partners. There are so many offerings today, if you’re a channel and you want to stand out, you better optimize the cross-promotion between the different media and make sure you’re present on all at the same time.”

And with SVODs spending aggressively in the kids’ space, Favennec at Xilam says there are now opportunities for shows that premiered in a digital walled garden to have a second window on terrestrial channels. “Some traditional

broadcasters are open to this scenario and have found it to be a fruitful win-win collaboration, but others have closed that door. It’s uncertain what the distribution landscape will look like in the longer term and what models there will be when we deliver shows a couple of years from now. Will broadcasters want to air a show after Netflix then? It’s hard to say given how things are changing so dramatically and so quickly.”

FACING THE FUTURE As for the lingering impact of this year’s shutdowns and plunge in ad revenues, CAKE’s Galton says it’s too soon to tell. “There is no doubt that we have entered a global recession, but the immediate effect has not been too severe for us. Money was allocated, people had budgets and there was still a need to spend. At the very beginning of lockdown, we saw an urgent demand for content that was already versioned and immediately available and broadcasters were asking for educational content, given that kids were going to be off school for the next six months. We are more concerned about what next year will bring, as I don’t believe we’ll see a negative impact on the distribution industry for at least another six months. At this point, we’re still doing deals and while we’ve had some clients say they’re waiting or they’re on hold, we’re in a consumptionbased business and the need for content on platforms is not going to stop because of COVID-19. The advertising market is going to be negatively impacted and this will have an adverse effect on future programming budgets, but viewing patterns across all platforms have gone up. That’s only good for us and whether that will end is still to be determined.”

One thing is clear: the complexity of windowing today means that you need to have a fleshed-out plan at the outset, taking into account how much money you’ll make from your commissioning platform—and what else you’ll be able to generate one, two, five years down the line. Animation is both expensive and time-consuming, so flying by the seat of your pants on a financing model is just not an option.

“You have to understand, if I do this deal with this channel, how that is going to impact the rest of the sales moving forward,” says Galton. “You have to make a choice and you have to be aware of the path you’ve laid— or the roadblocks you’ve put in front of you by choosing those partners.”

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Mediatoon’s The Garfield Show.

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Catching a

HIT

Kristin Brzoznowski surveys a range of buyers about the types of shows they are looking for.

A

dapting to change is nothing new for those working in the kids’ programming industry.

Channels have been continuously reshaping their strategies as they face launch after launch of new streaming services, and within all this potential disruption, the industry as a whole has been strengthened and toned, made itself nimble and responsive. These attributes serve the buyers, programmers and commissioners at children’s platforms well as they grapple with the shifts in front of them (COVID-19 included) and those just around the corner.

“It’s always changing, but it’s critical to look at the different forms of emerging distribution platforms for kids’ and family content because it’s important for audience retention and acquisition,” says Adina Pitt, VP of content acquisitions and coproductions for Cartoon Network and Boomerang. Given the current challenges for live-action production due to the coronavirus pandemic, “the current state remains super competitive because, with more demand for animation in the space, it means more competition.”

Pitt’s colleague Cecilia Persson, VP of programming and content strategy for kids, acquisitions and co-productions for EMEA and international, describes the overall state of the

industry as positive, “as there is more demand and more outlets for kids’ content. We want a buoyant kids’ production industry, so the more players and partners, the better.”

And while the kids’ production and programming landscape was certainly impacted by COVID-19, it has fared relatively well. “Compared to other industries, we were all adapting quite fast to this very new and challenging situation,” says Sebastian Debertin, head of fiction, acquisitions and co-productions at KiKA. “It’s probably because all media businesses are, or have already been, in the process of adapting to the ‘new’ digital world and have learned their lesson about change management. Therefore, most of them were more or less in a good position to adapt also to the heavy challenges of today’s pandemic times.”

Marie McCann, senior director of children’s content at CBC Kids, agrees: “In Canada, we’re seeing animation production doing quite well, while kids’ live action is hampered by COVID-19 protocols and insurance issues,” she says. “Independent producers have shared with me that it is a tough time for them.”

Nevertheless, there seems to be a significant demand for high-quality content, McCann adds. “As part of our mandate as the national public broadcaster, CBC strives to play a 10/20 WORLD SCREEN 111

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watching. “The world has a lot of misplaced kids at the moment, and we at Kidoodle.TV have taken every measure to meet families where they are while ensuring that their kids will be Safe Streaming with us,” says Brenda Bisner, the platform’s chief content officer.

STREAM ON

Superights’ Pat the Dog has notched up sales across the globe, including to Cartoon Network in EMEA and AsiaPac.

meaningful role for young audiences across the country by providing content that inspires, entertains and educates. These past months during the ongoing pandemic, we’ve been able to mobilize quickly to produce a large volume of new, original and relevant material for kids across different platforms and pivot our approach depending on their needs.”

One of the big calls from the kids’ content industry, and the wider TV business at large, is for programming that more authentically represents the diverse, modern world. The importance of representation on-screen for young ones cannot be understated, and program makers and buyers are stepping up. “While looking for creators and projects that reflect the diversity of Canada has always been a priority at CBC Kids, the conversation around anti-Black racism that has been taking place here and around the world has definitely made us look at our programming, our teams and our partners to understand how we can make better content for all kids and families,” says McCann.

Ellen Solberg, head of content at the kids’ streaming app Hopster, is also keenly aware of this issue and says that, on the whole, the children’s programming industry is moving in the right direction. “There is more focus on important issues such as diversity and representation, combating stereotypes, mental health and the environment, and we’re seeing these changes reflected in new productions. Of course, there’s still a lot that can be done, and the important thing is to continue to raise awareness within the industry.”

According to Hopster’s report Is Kids TV Making Your Child Prejudiced?, terrestrial TV’s quality of content is generally better and stronger in terms of diversity, inclusivity and challenging stereotypes, largely due to regulations. “Kids’ platforms, buyers and commissioners need to work harder and regulate themselves to have stronger diverse and inclusive original content,” Solberg says.

Kidoodle.TV, meanwhile, has undertaken the mission of curating a Safe Streaming environment—even trademarking the term—where kids can find age-appropriate content, and parents can feel assured about what their little ones are

In terms of acquisitions, Kidoodle.TV is actively on the hunt for content. “We are looking at everything, all the time,” says Bisner. “We love data and want to bring fresh and relevant programming to our audiences globally. We love viral, established sensations and are looking to change the game across the board, not just with where and how families consume but what they see.”

The service is targeted to kids under 12, with a strong focus on programming that families can watch together. “Viewing data shows co-viewing through connected TVs has not only grown but is continuing as the new normal, and we are at the front lines of that,” says Bisner.

For the U.S. Cartoon Network and Boomerang channels, Pitt says that the team is currently looking for “genres that have been consistent with the past.” The aim is to target kids ages 6 to 11 for Cartoon Network and ages 4 to 8 for Boomerang. She lists as the qualities she’s looking for in a program: authenticity, immersive worlds and relatable characters and storylines. “We also want a show to have heart and humor while being inclusive, representative and relevant to our kids,” says Pitt. “For instance, race, gender, socioeconomics, physical disabilities and invisible diversity are all important qualities.”

For international, Persson is looking to target a younger, preschool demographic for Boomerang and HBO Go. She’s on the lookout for “creator-led stories that are genuine and reflective of our audience. Kids can see through things that are not authentic.”

When it comes to desired lengths and formats—once a somewhat more rigid requisite for linear buyers—the field is open, says Pitt. “We are flexible, and this is something that is constantly evolving. We try to encourage our partners to use formats that make sense for the particular IP. Each format should work with the narrative.”

Persson agrees: “We are open to all kinds of formats— whether an app, game, shorts or a long-form series. What’s important is to have great, creator-led content that connects with our audience.”

QUALITY COUNTS In the competitive German market, KiKA’s buying mandate has largely remained unchanged: “We are looking for content of high quality only,” says Debertin. “Premieres preferred.”

What’s new is that Debertin is scouting for more nonfiction programming from the international marketplace. “While we produce most of our nonfiction programming in Germany, we want even more to emphasize the need to understand the world’s diversity in these times,” he says. “Therefore, I am now also looking internationally for both fiction and nonfiction kids’ programming for our channel and our various platforms.”

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is an advantage, but only if kids are the focus of the storytelling,” he notes.

WISH LISTS

WildBrain’s Malory Towers has performed well for CBC Gem.

In particular, he is after docs and factual that cover issues relatable to kids’ lives. “Of course, it must be relevant for the different kids’ target groups and enhance their positive view on the world as well as give them orientation and deliver them strong, positive values,” Debertin adds.

When it comes to fiction, KiKA is currently looking for animated full-length feature films and specials, especially for bank holidays, Easter time and Christmas, with a length of up to 30 minutes and age-wise starting with 5-year-olds, 6-to10s and up to 10- to 13-year-olds. “Family co-watching on top

Live-action feature films for kids’ and family audiences are also on the shopping list. Depending on the story and characters, the target is for kids 5-plus, aging up to 10 to 13.

Debertin adds, “We have a strong slate for our youngest viewers, who love watching shows on KiKANiNCHEN,” KiKA’s linear preschool slot and online offer, so animated series for preschoolers are on his wish list as well.

For the bridge audience of kids 4 to 7, the channel is actively searching for “strong new additions to go along with successful series like Fireman Sam,” says Debertin. “Last but not least, [we’re looking for] series dedicated to the 6-to-9-plus demo and interesting live-action series for 10- to 13-year-olds, girls and boys.”

Canada’s CBC is targeting preschoolers with CBC TV and the CBC Gem streaming service and tweens (9 to 13) at CBC Gem. “Generally speaking, for preschool, we look at animation and live action, while for tweens, we gravitate to live-action scripted with some interest in unscripted formats,” says McCann.

“We are open to different lengths but generally look at 11-minutes or 22-minutes for preschool and 22s for tween acquisitions,” she adds. “Our digital tween originals tend to be shorter series of 11s, like Detention Adventure.”

Currently, the CBC on-air schedule is around 40 percent acquisitions for the CBC Kids preschool morning block, which

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Zoom—The White Dolphin, which is distributed by ZDF Enterprises, was prebought by KiKA.

is mirrored on CBC Gem. The tween strategy for CBC Gem is more acquisitions-focused.

“We look for content that is fun-forward and helps kids learn about themselves and the world around them without being overtly educational,” McCann says. “Above all, we look for characters and situations that are authentic, and we are open to all genres that are pro-social, non-violent and free of harmful stereotypes.”

There’s a similar content focus at Hopster, which is comprised of about 95 percent acquisitions at the moment. “We want to share stories that are diverse and inclusive and that kids can learn something from while also being fun and engaging,” Solberg says. “We have a curriculum that we use when acquiring and commissioning content that helps us ensure that we cover a wide range of topics and learning areas.”

Hopster is targeting 2- to 6-year-olds, and Solberg says she’s interested in all content that fits within that range. “We’re very flexible when it comes to lengths, formats and number of

episodes. We do see episode lengths perform differently depending on the platform they are viewed on: in our app, we see short-form content performing better; on TV platforms, longer shows get more views.”

Hopster has had success with a broad mix of programs, from well-recognized IP to more indie-type fare. The platform’s original content often appears in its topviewed series, with Saturday Club, Two Minute Tales and Hopster Jam all performing strongly.

“For next year, we’re looking forward to celebrating the Paralympics, Black History Month, International Women’s Day and International Men’s Day, and we’re also looking for content that encourages physical activity,” Solberg says. “We’re interested in engaging content that introduces kids to careers as well.”

KNOW YOUR RIGHTS Solberg is ideally looking for content that has worldwide rights for SVOD, generally non-exclusive. “We’re available in a few languages, so it’s a plus if there are other languages available or if dubbing is quite straightforward,” she adds.

The issue of rights is one that’s become ever more complicated in the streaming age, but it seems that exclusivity is now less of a make-or-break point than it was in the earlier digital days. “We are living in a non-exclusive world, and we seek non-exclusive AVOD rights globally,” says Kidoodle.TV’s Bisner. “Placing content in a safe place, with a great revenue opportunity, is a no-brainer for content owners.”

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very early in the editorial process and figuring out deals that make sense for both parties.”

“Our co-production focus is on Boomerang,” adds Persson. “We’re keen to get on board early and work collaboratively with production partners.”

TEAMING UP

Mondo TV licensed Invention Story to AVOD platform Kidoodle.TV.

With regard to Cartoon Network and Boomerang, Pitt says the issues surrounding rights are constantly evolving.

“Every time we pick something up, we are about two years out, so we try to predict what business will look like at the time that property launches. We are going to try to be as aggressive as possible with rights, but with that said, we can always revisit. We know that the business is ever-changing, and we want our deals to be reflective of those changes.”

Both Pitt and Persson are also keen on co-productions. “The co-production and prebuy models are important to us across our ecosystem,” says Pitt. “We like collaborating with creators

Co-productions are an important backbone for KiKA’s programming, according to Debertin, whether German or international. “They allow us, on the one hand, to produce shows that perfectly cover the channel’s and all our platforms’ profile as well as our various audiences’ demands,” he says. “We, therefore, do a good number of co-pros currently, in Germany and internationally.”

Hopster has worked on several co-productions so far and is open to more. “We love to work with and learn from others who are passionate about creating wholesome and quality content for preschool kids,” says Solberg. “An objective behind our productions has been to create content that we feel is missing in the kids’ content space.” For example, for Pride last year, when the platform couldn’t find enough relevant content to acquire, it created its own LGBT+ show called Rainbow Stories. For Earth Day this year, the platform wanted to support the school kids who were striking for positive environmental change, which led Hopster to commission Kids Who Save the World.

Solberg says, “We believe that when commissioning content, it’s important to hire and create with diversity and inclusivity in mind, and do what we can to contribute to more accurate representation on-screen.”

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TV KIDS: How did you approach serving viewers during lockdown? I imagine it differed across markets as shutdowns hit in countries at different times.

BORKENT: Absolutely. It all happened very quickly. Given that we work well in advance, a lot of our content was already produced. Launches went ahead as planned—we didn’t see an immediate impact on rollouts. Live action came to a sudden halt, though, and as most of it is produced out of the U.S., that did have an impact on new episode delivery. Internationally, we had one new production up and running in the U.K., the scripted series Goldie’s Oldies, and the fourth season of Hunter Street that was being filmed in Holland, so those had to go on hold for a couple of months. I am very happy to say that earlier this summer, we were able to start production again on both these two shows. So while there has been a delay, we’ve managed to catch up.

As far as animation is concerned, we had 11 shows in production when the pandemic hit and we managed to keep all of them going, without missing the delivery dates. Working remotely became the standard for our animation teams around the world during this time.

Also, as certain markets were opening earlier than others, we were working with animation companies around the world that were able to commence work on

Jules Borkent VCNI

By Mansha Daswani

L

ongtime Nickelodeon executive Jules Borkent was named executive VP for kids and family at ViacomCBS Networks International (VCNI) at the start of this year.

The move keeps him as the brand lead for Nickelodeon International—including content strategy, acquisitions, original development and co-productions—while also opening up opportunities for the kids’ outlet to work with sister assets like CBS All Access (soon to be rebranded as Paramount+).

Borkent talks to TV Kids about serving audiences during lockdown, launch strategies and new IP highlights.

TV KIDS: Tell us about the impact of the Viacom-CBS merger on your remit.

BORKENT: As CBS does not have a kids’ and family unit, there has not been an immediate impact as far as Nickelodeon is concerned. Where the opportunity is for Nickelodeon now is to work across the CBS portfolio.

Looking at CBS’s extensive IP, we’ve recently announced a CG-animated series, Star Trek: Prodigy, which is being produced for Nickelodeon, and The SpongeBob Movie: Sponge on the Run, which will premiere on CBS All Access in the U.S. next year. We’ll continue to explore further ways to partner with CBS on our kids’ content portfolios in the future. Other than that, the merger creates more opportunities to work across the different divisions, including production, consumer products and syndication.

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our productions sooner as they came out of lockdown and were ready to work again. So generally, while it’s impacted everybody, we have been able to keep our output to our audience pretty much intact.

We also produced some new shows that were shot during lockdown. One produced in the U.S. is called Group Chat, a nighttime talk show done from our talent’s homes, hosted by Annie LeBlanc and Jayden Bartels, the stars of our new sitcom Side Hustle. We also produced Nickelodeon’s Unfiltered, which is a new game show where celebrities hide behind 3D animated characters and the panel has to guess who the mystery guest is. We also recently restarted production on The Astronauts, which is shot in Canada and produced in partnership with Imagine Entertainment, and we’ll now hopefully very quickly be able to go back in production on our L.A.-based live-action shows as well.

TV KIDS: Were there trends that emerged during lockdown viewing that you think will continue, post the pandemic?

BORKENT: As expected, family viewing increased during lockdown. For us, being focused on international, we saw the rise of global platforms during this crisis and the popularity of international content has been quite phenomenal.

We saw a lot of engagement with content from different markets as kids were just exposed to a lot more. They were,

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of course, coming in for their favorite shows—PAW Patrol, SpongeBob SquarePants, etc.—but what we noticed was a powerful trend towards borderless storytelling, an expansion of subject and style that has enabled kids to embrace diversity on-screen and behind the camera. That was a big takeaway for us, and that will absolutely continue. We’re focused on having as diverse a voice as possible, and the appetite for international content has been shown during this time.

TV KIDS: How have your launch strategies evolved as more viewing has transitioned to on-demand?

BORKENT: Everyone says this: We want to be everywhere kids are. That means we have to be incredibly focused on ensuring that new content is seen by as broad an audience as possible. While we still have a lot of viewing happening on our linear services, as everywhere, the engagement on other platforms is growing and continues to grow. We have quite a sophisticated rollout plan for all our content, whether that is through short-form on YouTube, longform on our apps or VOD services, or our linear channels. It’s becoming a bigger puzzle to solve every year and my team is constantly working on ensuring our content is made available to our audience wherever they are and however they consume the content.

We’ve just announced the launch of our SVOD service internationally and that will be an additional opportunity for us to focus on. We are continuing to work closely with our free-to-air partners around the world to ensure our content reaches as wide an audience as possible.

acquisitions, and we recently announced the acquisition of the new series of The Smurfs.

Live action has also always been and continues to be a very big focus point. And we are also interested in new formats. During the COVID-19 pandemic, we noticed the engagement with talent through some of the shows we produced during lockdown, and we’re always on the lookout for new ideas and formats to keep our audience entertained.

The Twisted Timeline of Sammy & Raj is the first co-production between Nickelodeon International and Nick India.

TV KIDS: How are you and your teams around the world finding and nurturing new talent?

BORKENT: We have strong teams all over the world; they are constantly out in the market looking for new talent to work with. We currently have new projects coming out of India, Israel, Singapore, South Korea. Recently we announced The Twisted Timeline of Sammy & Raj, our first original co-production with Nickelodeon India, which will launch internationally in 2021.

We also have a very successful shorts program through which we have discovered new voices and talent. One of the shows that came out of this program was It’s Pony, which has been incredibly successful and was recently renewed for a second series.

I am also very excited about our new original series Deer Squad, a co-production with iQiyi that we produced in China but wrote out of the U.K. and it has successfully launched in China, with the international rollout planned for later this year. Our international slate is constantly growing.

TV KIDS: What are you looking for as we head into MIPJunior and MIPCOM? BORKENT: We aim to deliver shows with great characters, great storylines and relatable content that kids can enjoy and relate to wherever they are. Diversity is key; it has always been for Nickelodeon and we continue to do that.

We’re looking at animation to fill the pipeline, whether that’s through co-production models or prebuy

It’s Pony emerged out of Nickelodeon’s shorts program and has now been renewed for a second season.

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SCHMIT: Without sounding too boastful, we made commercial children’s television socially accepted in Germany. When we first started, we had to compete with the public channel, which had a very attractive offer as it was and still is advertising-free. Our approach was to have a better program than our colleagues from the public channel and to be financed through advertising. We spent quite some time and put a lot of effort into persuading people, especially parents, that ad breaks are not necessarily the work of the devil! Now, 25 years later, private children’s television is accepted in Germany.

TV KIDS: What have been some of Super RTL’s most significant milestones?

SCHMIT: The good thing is that there was never a dull moment here. We always had different challenges to face.

But I think we can divide the history of Super RTL into two parts, with the first one being pre-Disney and the second one post-Disney; Disney’s decision to launch their own free-TV channel in 2013 created the biggest impact so far on Super RTL in our long history. But there are other milestones—like the digital transformation that might have an even bigger impact long term considering that we are only at the very beginning of that change process. A couple of years ago, we realized that the world around us was

Super RTL @ 25

Claude Schmit

By Mansha Daswani

uper RTL has been the market leader in Germany’s ultra-competitive kids’ landscape for much of its history. Backed by RTL Group and The Walt Disney Company, the channel launched as Germany’s first commercial kids’ network in 1995 and by 1998 had become the country’s leading service for children. Claude Schmit has been with Super RTL since day one and has served as its CEO for two decades now, navigating the platform through a rapidly changing media ecosystem. As Super RTL turns 25, Schmit speaks with TV Kids about the channel’s history and his ambitious plans for its future.

S

TV KIDS: It’s quite a milestone anniversary for Super RTL and for you this year! The channel is turning 25, and you’ve been at the helm of the company for 20 years?

SCHMIT: That’s correct, and it makes me the longestserving CEO in German television.

TV KIDS: What has been the defining impact of Super RTL on the German media landscape?

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changing, with the internet taking off and all the big streaming services coming into the market. It fundamentally changed the way we had to do business. I think those were the two most significant impacts on our business.

TV KIDS: How has the channel’s performance been over the last year?

SCHMIT: In terms of market share, we are still number one.

We closed off last year with a 21.6 percent market share, which puts us ahead of our colleagues from the public channel—they had 17.7 percent. We have been the market leader since 1998, with one exception: when Disney launched in 2014. So we have a pretty long experience as the number one. Our prime time closed the year with 2.3 percent; that was one of the best prime-time shares we ever generated. In addition to the market share as one relevant figure, we nowadays have reach as another important benchmark that we need to consider. We are capable of constantly maintaining our overall market share, but we do lose reach in certain daytime slots. We lost about 7 percent

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Super RTL is eOne Family Brands’ broadcast and licensing partner for Peppa Pig in Germany.

ad block reach, which is not dramatic. With our prime-time program, we even gained about 7 percent. That also translates into another very important number: ad revenues.

Despite our decreasing reach in daytime, we still had the highest daytime advertising revenues ever in the history of Super RTL. And we had the highest advertising revenues in prime time ever. This means we had the highest advertising revenues all together ever. That’s a very good starting point.

it to us for exploitation on the linear business as well as on the merchandising side.

When we say we are aggregating the reach of all the platforms, YouTube is playing an extremely important role for us.

You can sell YouTube inventory either via YouTube or by yourself. We want to sell it ourselves.

We add it to the reach we generate over all our platforms. That business grew by more than 300 percent last year. We are benefiting from our huge reach in the YouTube sphere and the sales we generate with it.

TV KIDS: Are clients turning to trusted channel brands following the concerns about kids’ safety on YouTube?

SCHMIT: That is one of the reasons. Brand safety is one of our key sales arguments. With Super RTL and our brands TOGGO and Toggolino, our customers are 100 percent brand-safe. That is something YouTube cannot offer. But it’s more than that; it’s also reach. With Super RTL and all our platforms, we reach many more kids in Germany than YouTube does.

TV KIDS: What’s driven that success?

SCHMIT: I think it’s two-fold. Looking at the market shares I just mentioned, there are obviously two main players that are relevant for advertising customers: TV KIDS: In your consumer-products business, are you Disney Channel and Super RTL. Super RTL is the marfocusing mainly on third-party brands like PAW Patrol, ket leader and naturally gets the biggest part of the or are you also looking to develop licensing programs money in the advertising business. around some of your in-house productions?

The other part is that we offer a different approach to SCHMIT: We are trying to. We have a disadvantage comour advertising customers. That is something we are pared to Disney because they are the owners of their own going to improve further in the future. We are a onehappiness, so to speak—they own the IP. For us, it’s differstop shop, meaning that we offer a combined reach ent. We are a third-party agency and this is why we started where we add up all our different platforms, and we sell developing our own properties as well. We have Woozle that package to our advertising customers. They don’t Goozle, which is a blue puppet. That is something we will have to book their campaign through YouTube directly, focus on more in the future as well. But we are happy with for example, because they can get the same or even betwhat we call a near-IP strategy. IP would mean we are the ter reach just by stopping in one shop—us. And, we have 100 percent owner of the IP. But near IP is enough for us, a very strong internal business-relationship team, because we are covering only the German market, so we which has excellent insight into what our customers are have no interest in China, South America, North America, planning on the marketing side. I hired Thorsten Braun recently as a key member of my management team as chief revenue officer to make sure that this one-stop-shop concept with our advertising customers makes even more sense in the future. Thorsten used to be CEO of the Disney television activities in Germany. He’s also responsible for our consumer-products business, which is growing dramatically as well. We had our best CP results ever in the history of the company. We have big plans. We are going to multiply our CP business at least by two over the next years. The CP business makes up about 10 percent of our TV advertising business. It’s mainly driven

by PAW Patrol, which we have as an agency and a broadcaster. It’s a Nick property, and still, they prefer licensing TOGGO Show, airing weekly on Super RTL, started as a digital-only series.

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means it offers videos, games and audio to the user. We are trying to apply the success of the Toggolino app to our TOGGO app made for the older kids. We are going to integrate all of our digital businesses into one single TOGGO experience at the end of this year. I think the TOGGO app will then outperform the market as well.

Super RTL has a volume deal with DreamWorks Animation that includes Spirit Riding Free.

wherever. Other partners can join in and do the capitalization of those markets.

TV KIDS: You’ve been acquiring more from the open market since Disney pulled its content in 2013. What have been the major lessons for your content team since then?

SCHMIT: The first thing we learned is that you can live without Disney. When we lost the Disney programming, we lost about 33 percent of our supplied volume in daytime, which is huge. And we did not know whether we would be successful in sourcing that programming somewhere else. We found out that there are programs available in a quality absolutely comparable to the Walt Disney programs. The Walt Disney programs have one major deficit, though, as they are very expensive. We found comparable formats for less money, which I find is a good tradeoff! We learned to focus more on other partners. We also learned to not only focus on the big players in the market but also on smaller players where we can find exactly what we need with the set of rights that we need for our territories. We have our preferred partners and have established a good network in the industry supplying us with content. We evaluate everything produced for kids around the world, which also allowed us to diversify our sourcing business massively.

Also, we started developing and producing more and more in-house. We launched a weekly entertainment magazine show on Saturdays called TOGGO Show, which is an interesting case because it’s a format we tested in our digital businesses, and it worked so well that we decided to move it from digital to linear. Not everyone succeeds in doing that. And finally, in June we successfully launched our kids’ and family radio channel, TOGGO Radio.

TV KIDS: Tell us about your app investments.

SCHMIT: We are thrilled with the success of our Toggolino app, which is doing tremendously well.

The app, targeting small kids starting at the age of 2, combines different content categories, which

TV KIDS: What are the plans for SVOD? SCHMIT: Kividoo is doing OK. Again, we have huge plans. This summer we joined forces with TV Now, the SVOD platform of Mediengruppe RTL. We are already supplying a lot of their kids’ content. We have a very close cooperation with our shareholder RTL Group on the SVOD side and are now part of a much larger player than we could be as a stand-alone.

TV KIDS: How do data and analytics inform your programming and strategic decisions?

SCHMIT: Again, we are in an extremely good position.

Obviously, the Googles of this world invented the dataanalysis business. Fortunately for us, we have been and still are very strong in the old-fashioned type of research. We spend a lot of money every year on that.

We are one of the leading platforms for research analysis in the children’s business in Germany. We have now, for the 20th year in a row, organized what we call Kinderwelten (Kinder World), where we present to the advertising industry the latest research on kids. We have a very solid research background. Adding to that background—which Google doesn’t have—are the insights we generate through our data analysts. That is more like an optimization process, where we optimize our products based on the results from our data analyses. The classical research is much more fundamental.

By combining both forces, we can reach a knowledge level that no one else can.

TV KIDS: What are your other priorities for the year ahead?

SCHMIT: We have restructured our organization. We are now a content hub. Meaning we try to provide the

Daniel Tiger’s Neighborhood from 9 Story airs as part of Super RTL’s Toggolino block.

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Angelo Rules from CAKE has run on Super RTL since 2010.

best-possible kids’ content to our audience, anytime and anywhere. That is entirely different from linear television, so we had to adapt our business. We have three main pillars. One is content generation across all the platforms, which is run by Martin Gradl. Then we have Boris Bolz running all our platforms, including our linear business as well as YouTube. And we have Thorsten capitalizing on all that reach in an optimized fashion with our advertising customers. That transformation process from a traditional linear business into a content hub for kids is going to take some time. But we are wellpositioned. I have rejuvenated my management team.

That is the most important part: making sure we have the right people to be able to reach our strategic goals.

TV KIDS: How have you been serving your young audiences during the pandemic?

SCHMIT: The COVID-19 outbreak and the following lockdown changed quite a few things for us. Luckily, we were able to adapt to the new situation very fast in mid-March. Within days we made the necessary arrangements to have all employees work from

home. We also changed our daytime programming as soon as possible into a special holiday schedule as a reaction to schools and kindergartens being closed during spring and summer. With nearly all children being at home, we fortunately experienced a 20 to 30 percent rise in daytime reach—that helped to cushion the loss in advertising revenues. We held on to our original plan to launch TOGGO Radio despite the pandemic. We also had to put up with declining advertising revenues, just like everyone else. As we were able to cut costs, we are now more or less back to our actual budget forecast. So luckily, we have not been hit hard by the coronavirus crisis.

TV KIDS: What do you enjoy most about running Super RTL? SCHMIT: Coming to the office and hearing my colleagues laugh is the most thrilling moment of the day for me. It shows we have precisely the right type of cultural framework within which we can thrive on having the best content and being the best sellers and best platform provider. The more people I hear laughing, the better I feel. Naturally, I do also look at the numbers—they are a great source of joy as well every morning! But for me, it’s more important to see that my team loves their work; they love working here, they love coming to work every day. And honestly, we are quite proud of what we have achieved over the last 25 years. When we started 25 years ago, Super RTL was a piece of paper with a business plan with three items on it: revenue minus cost is result. That was the plan when we started! As a former Disney executive once said, “Super RTL was indeed one of the most profitable mistakes we ever made.”

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TV KIDS: Tell us about the acquisition of the Lagardère kids’ channels. Why did you feel they would be a valuable addition to the M6 Group?

BONY: We have three free-to-air, general-entertainment channels. They are already quite family- and womenoriented, especially with regard to M6 and 6ter. Gulli, as a free-to-air channel, was an opportunity to add a new type of programming to cover the whole family. The combination of Gulli with M6 and 6ter allows us to address the entire family with the very positive positioning we have. To be honest, at the time Gulli was selected to be the children’s free-to-air channel in France, M6 also had a proposal to the CSA [for DTT licenses]. We’ve had a couple of discussions in the last 10, 15 years, to try to [acquire] Gulli, so this was not our first try. [The acquisition] was a great opportunity to have these channels in our portfolio.

Philippe Bony

M6 Group

By Mansha Daswani

A

nnouncing M6 Group’s bid for much of Lagardère’s TV business last year, the French media company’s chairman, Nicolas de Tavernost, called it a “significant milestone” for the group, “cementing M6’s position in the audiovisual market, making it the leader among younger viewers, while bolstering its status in on-demand TV and providing it with international exposure.” The crown jewel in the acquisition was Gulli, the leading free-to-air digital channel for kids in France, which has been serving its audience with local originals and imported hits for 15 years. M6 also took control of two wellestablished pay-TV brands for kids: for the 6-to-12 set, Canal J, which is marking its 35th anniversary this year; and TiJi, which is celebrating 20 years of catering to French preschoolers. The acquisition also brought to M6 a popular catch-up service, Gulli Replay; the SVOD platform GulliMax; and an international presence with channels in French-speaking Africa. Philippe Bony, the head of thematic and youth channels at M6, talks to TV Kids about how the company is building on the success of this market-leading kids’ portfolio.

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TV KIDS: How has the integration process gone since announcing the deal last year?

BONY: It was quite simple. We closed the acquisition in September 2019. As of last December, we had moved all the teams to the M6 headquarters in Neuilly. Now all the teams are working together. It’s going well. What is interesting is that Gulli is really focused on children, so we are adding a specific block of programming and type of channel [to our free-TV offer]. Of course, we had kids’ programming on M6 in the morning, but only two hours a day, five days a week. We haven’t had any significant issues in terms of integration.

TV KIDS: This portfolio is very well established—Canal J has been in the market for 35 years, TiJi for 20 and Gulli for 15. How have they been able to maintain their leadership positions?

BONY: It’s a very competitive market. When Canal J launched 35 years ago, it was the first pay-TV children’s channel in France, maybe even in Europe. And now, there are 18 children’s channels on cable and satellite.

It’s fierce competition. What is [beneficial] is the fact that Canal J and TiJi are connected to Gulli, and, of course, to the M6 Group and all of our other pay-TV channels and digital services. That helps to try to create a [complete] offer for kids. Gulli is more a general entertainment kids’ channel, so it’s addressing all ages. With TiJi and Canal J, we have the opportunity to address more specific targets in children’s programming. The combination of all these services is doing well, and I think it helps to maintain Canal J and TiJi in the market.

TV KIDS: I know there are requirements to commission local programming for the channels. How crucial are French shows in strengthening the bond with your audiences?

BONY: It’s major for us. And it’s a real opportunity in France because we have great producers and great talents in terms of animation. For a long time, art schools have been focused on drawings and animation. We have a lot of creativity in France. We are also quite successful on the technological side, so we have been able to create a French touch in animation. We have a lot of French productions on our channels. They give a specific flavor that helps us in France and in our developments abroad.

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The COVID-19 crisis has gone through and disrupted audiovisual projects. The animation sector has suffered less from the crisis than the production of fiction. The studios have done everything possible to ensure continuity despite this exceptional situation.

At Gulli, we have maintained an ambitious program— a quality schedule. In May we launched Boy, Girl, etc., the new French series from Watch Next Media. Despite the increased competition during this period, and thanks to well-anchored values, the children remained faithful to their favorite channel. The audiences have been held and it continues! We had our best market shares for two years this summer.

We managed to maintain production to offer a rich and joyful comeback with around 15 new releases. The French studios with whom we are co-producing more than 20 series at the moment have been responsive and efficient despite the crisis. In September, we launched The Sisters [season two] on M6Kid, The Adventures of Paddington and Ricky Zoom season two on Gulli.

We still want to increase and enhance the level of production and diversify the programming we’ll have on all our channels and also on digital.

TV KIDS: The portfolio is also beloved by the international kids’ community because your channels have been great homes for some big brands over the years. What role do acquisitions continue to play on the channels?

BONY: We make a lot of acquisitions with great partners like Nickelodeon and DreamWorks. We have some great brands coming from international producers that are important for us on the channels. The new school year was also made with successful licenses like My Little Pony: Pony Life and the new seasons of The Loud House, The Amazing World of Gumball, Power Rangers and Pokémon.

TV KIDS: How are you keeping up with where and how kids are watching content today?

BONY: There have been a lot of major moves in kids’ consumption. We believe in the combination of both linear and nonlinear offers. That’s what we’re doing on our general-entertainment channels. M6 was the first channel in France to launch a catch-up service with 6play. That was 12 years ago. We’ve been developing a lot of great platforms and services. Of course, our channels will benefit from these platforms to enhance the look and feel of our services for children and families.

We think that on the linear side, there will be more and more co-viewing. That’s a trend for our linear channels.

We see more individual viewing on the digital side for kids.

On the linear channel, we also have a lot of single viewing, but there’s more and more co-viewing with the parents and families, or brothers and sisters watching the same programs at the same time. So it’s two different evolutions: first, more co-viewing, and at the same time, more individual viewing on the digital. With our various services, we can combine these two ways of viewing.

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TV KIDS: Tell us about GulliMax, your SVOD service.

BONY: The deployment of our SVOD offer has been a priority in 2020. Since this summer, we have been present with all the main distributors (SFR, Orange, Amazon,

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Canal+, Bouygues Telecom). With 3 million subscribers, GulliMax is the first French SVOD offer for children.

TV KIDS: That’s a lot of progress in a short space of time!

BONY: We had some competition arrive a few months ago with Disney+ and other services coming from abroad, so we thought it was necessary to go fast. The programming and the focus we have on the different targets is [advantageous].

We are in good shape to face the competition.

TV KIDS: What impact do you feel Netflix has had on the kids’ landscape in France?

BONY: In France, Netflix is important. It seems to be more aggressive [targeting] the youngsters than the kids. Of course, they have a big offer, but until now, we haven’t seen a significant impact on our viewing. It’s part of the competition. Disney+ launched in [April]. We see the competition moving a lot. This will also give us some opportunity [to increase our] ratings and viewing.

The landscape is changing quite quickly, so we have to adapt very quickly. We have to focus on local production because we have a lot of opportunities there. That’s why we have revamped and increased our investments in new programming. That’s the best way we can cope with this new competition coming.

TV KIDS: What international opportunities are you pursuing for these brands?

BONY: Maybe there will be some opportunities for GulliMax, in combination with our channels.

We also have a strong presence in Africa. Gulli Africa is the number one kids’ channel in French-speaking Africa. We will launch GulliMax in these territories

together with Canal+. During the summer, Gulli Africa became a member of the world coalition for education organized by UNESCO. We worked on a program promoting the return to school for young girls and supported the UNESCO campaign.

Finally, in order to strengthen our position as the first French youth animation channel in the world, we launched Gulli Brasil in early August.

TV KIDS: What are your other critical priorities for 2020?

BONY: Our main focus is on programs, programs, programs. That’s the main point. Of course, Gulli will benefit from all the technology investments that have been made by the M6 Group in digital services. Using all these assets helps to develop our digital offer. And we also have a lot of opportunities to develop our brand. Gulli is more than just a channel. It’s an entertainment channel with great shows, but it’s vital for us that Gulli is much more than that. It’s a brand that families and children can rely on. We need to be present everywhere the kids are.

There are all the developments we have made with the Gulli parks, for example. We have indoor parks all over France where kids can go to play or celebrate their birthday parties. The brand is also engaged to help children and families understand and feel confident in the world they are living in. That’s our main priority. The fact that we are local and close to our viewers is also a way to be stronger; I think all the families that are watching Gulli prefer TV channels [that are made for] French kids. It’s a reassuring brand for families. That’s important to us.

Moreover, we have been reelected by the parents as “favorite channel of families” for youth programs [according to L’étude Marques et Enseignes 2020].

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we made into a bigger brand. We are developing new ideas for kids. For example, 50/50 Heroes is in development with France Télévisions and has been acquired by Disney for Europe. We are in the process of getting huge brands to develop into series.

On the business side, we’ve kept hiring and creating new departments around our production, development and distribution areas. For instance, we started a digital department a couple of years ago. We now have over 40 YouTube channels with over a billion views. We created an interactive division. We also created a licensing-andmerchandising division.

We wanted to have great people, control our distribution and do a lot of developments that would fit our pipe. Right now, we are developing, between the U.S. team and the French team, 10 to 15 new projects.

We’ve never stopped challenging ourselves. We’re opening a big animation studio in the next couple of months in the north of France. We’re working with the best real-time animation software. They say real-time animation is the future, but for us, it’s the present.

Pierre Sissmann

Cyber Group Studios

By Mansha Daswani

ince its launch 15 years ago, Cyber Group Studios has remained focused on a few key principles: driving innovation in animation technology, partnering with the best creatives and assembling a team to grow the business across distribution, production and ancillary revenue streams. Pierre Sissmann, chairman and CEO, tells TV Kids about the outfit’s past, present and future.

S

TV KIDS: How did you structure the company to enable growth?

SISSMANN: We spent a lot of time setting up the distribution, setting up production with technology and looking at developing IPs that would fit our clients’ needs and that kids would like. Creating global entertainment [from Europe] takes a special effort. We started to put in that special effort very early on. I feel that’s the main reason for our success. Over the last 15 years, we’ve had 25 to 30 percent compound growth every year.

As we hired more people, we started doing different things. We had one of the first preschool CG series in the world. And then we went into kids and co-pros. We went into 2D and we developed our own systems. This desire to improve the image, to tell stories, is in the foundation of the company. We’re always trying to be better in terms of improving the storytelling and the production. We made Zou into a big brand, and Gigantosaurus, which was a book, 140 WORLD SCREEN 10/20

TV KIDS: How have you been able to ensure that this growth was sustainable, without overextending yourselves?

SISSMANN: We’ve put money in ourselves and we’ve raised money. One of our main shareholders is L-GAM. That’s fantastic because we know if we are successful, they will back us. At the same time, we’ve always reinvested. The most challenging thing is to schedule what the priorities need to be, knowing that you need to produce to make a living.

What is the next big focus? Is it the technology? Is it to extend the distribution? Is it partnerships? We try to do a little of all of this at the same time. We allocated resources at different times to different stages of our development. For instance, we invested a lot in the video game division three years ago and now we’re in production on 17 video games, which are going to fund another development. We’ve spent three years establishing ourselves in China. In Russia, we have this great partnership with Soyuzmultfilm, the first French and Russian joint label of animated programs, Cyber Soyuz Junior, targeting the preschool audience around the world. We have made a great deal in China. Gigantosaurus is airing for the third time on CCTV. We’re setting up our own company with Chinese partners. Just before that, we set up our company in the U.S. headed by Richard Goldsmith, who is a great asset. Part of the success of Cyber Group is enriching the culture all the time with new talent and exploring new directions.

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ince the 1980s, advances in technology and ensuing changes in viewing behavior have upended the media business time and time again. Jon Feltheimer has led more than one company through these upheavals, first at New World Entertainment, then at Sony Pictures Entertainment, and since 2000 as CEO of Lionsgate.

Feltheimer has steered his teams through several disruptive evolutions, transforming them from problems into potential, if not lucrative, revenue sources. Lionsgate developed game-changing shows that helped brand cable networks (like Mad Men for AMC), pay-TV services (like Weeds and Nurse Jackie for Showtime), or streaming services (like Orange Is the New Black for Netflix). As viewership fragmented across a changing landscape, Lionsgate stitched together innovative financing and distribution models.

This year’s coronavirus pandemic is arguably the most dangerous, disruptive and damaging change the media business has ever experienced. It caused production shutdowns on films and TV series, the closure of movie theaters and the loss of income for thousands.

Meanwhile, thanks to Feltheimer’s leadership, Lionsgate has maintained its employees, continued developing movies and TV series, started production on several shows and ridden the wave of increased at-home viewing. In the process, Feltheimer has kept his eye on trends that have been accelerated by the pandemic.

The motion picture group continues to feed its hit franchises The Hunger Games, John Wick and Now You

See Me. While the film industry grapples with releasing new films in movie theaters, Lionsgate has premiered several titles, including Antebellum, on PVOD and multiple windows.

The television division continues to supply programming to linear and nonlinear platforms, like Zoey’s Extraordinary Playlist, which was a surprise hit on NBC, and Love Life, the second most-watched series on HBO Max. The premium service Starz is home to several popular shows, including Power Book II: Ghost, the first of several planned Power spinoffs; Outlander and American Gods.

Its OTT service StarzPlay, already in 50 countries, continues its international expansion. Meanwhile, Pantaya, the Spanish-language premium service for Latinx viewers in the U.S., is also growing its subscriber base.

Lionsgate has a track record of catering to underserved audiences and providing a voice to diverse storytellers. Nowhere is this more apparent than in the company’s quick move to acquire the rights to The 1619 Project from the New York Times.

Lionsgate reported revenues of $3.9 billion for the fiscal year 2020. Throughout all the changes since the start of the pandemic, Lionsgate’s library of 17,000 film and TV titles continues to increase in value, reaching a record $219 million in the first quarter of fiscal 2021.

Feltheimer talks to World Screen about managing businesses and people through the uncertainty created by COVID-19, continuing to find new revenuegenerating opportunities and how the industry may change post-pandemic.

JON FELTHEIMER LIONSGATE

By Anna Carugati

WS: Lionsgate’s businesses had already been reaching consumers directly, even before the pandemic. How have you accelerated reaching people in their homes?

FELTHEIMER: We’ve been accelerating our direct-toconsumer business for years, and the pandemic accelerated it even further. Several years ago, we recognized that transitioning Starz from a primarily linear bundled network to an over-the-top digital and à la carte premium service was the right strategy. Increased SVOD viewership in the current stay-at-home environment has just put an exclamation mark on that. By the end of the fiscal year, Starz’s domestic business will be nearly 80 percent à la carte, and more than half of our subscribers will be digital.

In our other businesses, since Michael [Burns] and I started Lionsgate, we’ve always taken the approach that there are no sacred cows. We’ve reinvented different kinds of paradigms for feature film and television. In features, we were doing day-and-date movies such as Margin Call and Arbitrage ten years ago. We’ve been exploring premium video on demand (PVOD) and other windowing strategies for years. The recent Universal/AMC Theatres deal is propelling the next round of conversations about new windows in the theatrical business. We built our company to look at different ways that we can get entertainment to the consumer while remaining sensitive to the needs of our distribution partners, and what’s happening now is simply accelerating that process.

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Lionsgate and Starz have turned the hit series Power into a mega-franchise with several spin-off series, beginning with Power Book II: Ghost.

WS: Starz and StarzPlay have grown significantly. Tell us about their international rollout.

FELTHEIMER: StarzPlay has 58 different distribution partners across 50 countries. Our global growth strategy is to be a true premium—you might say “ultra-premium”—subscription service with edgy, provocative, grown-up content.

We know our brand, our audience and how to reach them, and we know our place in the ecosystem. Internationally, we use more thirdparty high-end series than we do in the U.S., where we focus primarily on Lionsgate and Starz original programming and movies. But our overall strategy is similar: to have the best of global SVOD content as part of a premium service that can be bundled with everyone and will sit as a premium layer on top of every platform.

I continue to be very bullish about StarzPlay’s international growth. The market opportunity is enormous, and with over 5 million international subscribers [as of the end of the fiscal year], most of them acquired within the past 12 months, we have charted our course, funded it out of our own free cash flow, kept our growth on schedule and now have outsized value creation within our sights.

WS: What was the strategy at Lionsgate’s film division before the pandemic, and how is that strategy being modified now because of it?

FELTHEIMER: Change doesn’t happen easily. We believe in the theatrical exhibition window. It makes watching a movie more of an event, and we want to preserve the economic strength of all of our exhibition partners. However, we also

see the opportunity to make the pie bigger for everyone with an earlier, premium VOD window. I believe that is going to happen, hopefully in such a way that our exhibition partners can share the benefit of a growing pie.

We recently released the films I Still Believe and The Secret: Dare to Dream in the PVOD window, where they performed well. We’re releasing the film Run straight to streamers domestically (and theatrically internationally).

[We released] the film Antebellum, initially planned for a theatrical release, on PVOD on September 18, with an earlier window than usual for our home-entertainment rights, such as EST and regular video on demand, as well as an earlier window for pay television.

At the same time, we continue to grow iconic film brands like The Hunger Games, John Wick and Now You See Me, moving toward production of fresh installments of each of those major franchises. We’re also renewing older properties like Dirty Dancing—with a nostalgic, romantic new movie starring Jennifer Grey—while incubating exciting new properties such as Borderlands, adapted from the blockbuster video-game franchise, and Are You There, God? It’s Me, Margaret, adapted from Judy Blume’s beloved bestseller.

We’re open to every kind of distribution model, and we have a film slate whose versatility and optionality allows us to embrace a wide range of different distribution strategies—from global theatrical rollouts to PVOD and SVOD releases. We’re all learning as we go, but I’m excited about our ability to maximize the value 144 WORLD SCREEN 10/20

of great content for consumers who are looking for immediacy and convenience when they see something they want to buy and watch.

WS: Lionsgate’s television output has been particularly strong. What factors have contributed to that?

FELTHEIMER: Our television business has a similar philosophy to our film group in terms of its portfolio approach and ability to create bespoke deals for every different series we make and every distribution platform with whom we partner. We were early in delivering premium scripted content to all of the new platforms, whether it was Weeds and Nurse Jackie for Showtime, Orange Is the New Black for Netflix or, most recently, Love Life, the most successful original series for HBO Max and their second most-watched series after Friends.

When I sit down with Kevin Beggs [the chairman of Lionsgate Television Group], Sandra Stern [the president of Lionsgate Television Group] and their team, we start by asking, “How do we do something that is a win-win for us and our partners?” We’re able to create different business models for every partner according to their needs and economics. This flexibility was critical to our success in a year in which we placed a record number of projects with network partners, launched multiple new series and, most importantly, in a business that is all about keeping shows on the air, had all five of our new series picked up for second seasons.

All of our shows are also driven by strong talent relationships. We invested in and partnered

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with 3 Arts Entertainment two years ago—a very successful collaboration—with three series already picked up and many more in the pipeline. They have become an important part of our television production business and a central pillar of our talent strategy.

WS: When and how do you foresee production starting up again?

FELTHEIMER: Pilgrim Media Group, which creates nonfiction programming, is already in various stages of production or on the air with 21 different shows. We finished the competition reality series Ultimate Surfer for ABC and Tyson vs Jaws: Rumble on the Reef for Discovery’s Shark Week, along with Dodgeball Thunderdome, also for Discovery.

In scripted television, we have Heels about to shoot in Atlanta; The Girlfriend Experience filming in the U.K.; Ghost, the first new series in the Power universe, resuming production in New York; and Zoey’s Extraordinary Playlist getting ready to return to production in Vancouver.

In our motion picture group, we have a film shooting in Eastern Europe with two more right behind it. Overall, our teams have done an amazing job in creating return-to-work and return-to-production protocols. That said, the situation will continue to change, and we will change with it as we learn more.

I would add that in our television business, our vertical integration benefits us in the current environment because most of our Starz series are produced by Lionsgate Television, allowing us to prioritize our own needs and keep our Starz shows on schedule. We’ll be able to further control our own destiny with the completion of

Zoey’s Extraordinary Playlist fared well for NBC in its debut season and is set to return next year. the modern entertainment complex we’re building in Yonkers, New York—brand-new, state-of-the-art sound stages that will allow us to exert even more control over our production operations and protocols moving forward.

WS: Are the COVID-19 safety protocols raising production budgets significantly? And who is sharing those increased costs?

FELTHEIMER: I would estimate [budgets are going up by] about 10 percent on scripted series, but significantly less on nonfiction. In terms of who is sharing these increased costs, that is where “the rubber meets the road,” as they say, but we are working closely with our platform partners on these issues and always want to do what is fair.

Lionsgate produces Love Life for HBO Max, which renewed the show shortly after its launch in May. 10/20 WORLD SCREEN 145

WS: Lionsgate has a long history of catering to underserved audiences and supporting diverse voices. With everything happening in the U.S. now, does your history benefit you when attracting and working with talent? I’m thinking of The 1619 Project.

FELTHEIMER: That has been a real priority of mine. Kevin Beggs first brought The 1619 Project to my attention when I was in Atlanta at the opening of Tyler Perry’s new studios. As soon as I [heard] the podcasts, I knew that we had to have that project. Our film, television and location-based entertainment executives did an amazing job working together to secure the rights. It’s an amazing piece of content. We’re thrilled to be collaborating with the New York Times, Nikole Hannah-Jones and our good friend Oprah Winfrey on it. We’re very excited about the ways we can adapt it across our entire portfolio of businesses.

We’ve been creating premium content for diverse audiences for years, going back to Monster’s Ball, Crash and Precious (where we first met Oprah); more than 20 Tyler Perry movies; television series such as Orange Is the New Black and Dear White People; and a market-leading vertical among Latinx audiences, with Pantelion Films and our streaming platform Pantaya. We were there early in serving African American and Latinx audiences, and we’re going to continue to make it a mission not only because it’s the right thing to do but because, quite frankly, it’s also good business to focus on large audiences who have historically been underserved.

WS: Lionsgate’s library has always been of significant value. How much more valuable is it now that so many broadcasters and outlets have gaps in their schedules?

FELTHEIMER: I learned an interesting lesson years ago from Barry Thurston when he worked

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The John Wick franchise continues with a new movie in the works and a TV spin-off set at Starz. for me at Sony Pictures. When he first took Seinfeld into syndication, he only let distributors buy one run. I asked him why, because we would make more money selling multiple runs.

He said, “Just wait.” And he was 100 percent right. The second syndication run of Seinfeld was far more lucrative than the first, something that had never happened before.

Today you’re seeing the same phenomenon repeated, as great libraries continue to grow in value because there are more people in the world, and more of them are watching TV or some other form of media than ever before. It’s a simple supply-and-demand equation.

The pandemic may be accelerating this trend, but as people become more mobile and their days become more flexible, the value of great content will continue to go up. There are more ways for people to consume it, more platforms, greater delivery speed, bigger screens and better technology. We just syndicated Mad Men for more revenue in half the license period than its original syndication eight years ago, reflecting a massive increase in value. Other studios have seen the same thing with titles like Friends and The Office. The bottom line is that as hundreds of millions of dollars are invested in new platforms and distribution vehicles around the world, that success story will be replicated over and over across the top titles in our library as great content continues to grow in value.

WS: In this world of mega-media companies and tech giants, how does a smaller company survive and thrive?

FELTHEIMER: Let’s start with the word “survive.” We have an amazing company with new cash-flow generation every year, even as we continue to invest in content and the global growth of Starz. In the past year and a half, we have reduced our net debt by

nearly $600 million. We just reported another quarter of strong financial results [for the period ended June 30, 2020], our businesses are performing well, and we’re a little better insulated against the pandemic headwinds than many of our peers, so I’d say that the word “survive” is off the table.

“Thrive” is a relative term. Some of the global media conglomerates need to build another $50 billion or $60 billion in value over the next three or four years just to pay off their acquisition costs, service their debt and be considered thriving. Our version of thriving is adding another $3 billion or $4 billion to our current enterprise value of around $4 billion. That would be crushing it for Lionsgate, and we can achieve that by adding another 10 million digital subscribers at Starz or a few more TV and film franchises.

We have to stick to our knitting and understand what we’re trying to accomplish for our shareholders. In terms of scale, in our space, we’re the biggest and strongest. We have the number one nonfiction business in Pilgrim Media. We have the number one talent management and production company in 3 Arts. We have one of the top two or three scripted studios in Lionsgate Television, and every year our film business has one of the top five or six domestic box office market shares of all the major studios.

We’ve assembled the largest portfolio of valuable brands and franchises in the independent media space.

And at Starz, as some of our direct competitors change their strategies and broaden their brands, we have the opportunity to be the number one premium, pure-play subscription service. So in our space, we’re a giant.

WS: How has COVID-19 affected Lionsgate’s location-based entertainment attractions?

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FELTHEIMER: They’re already resuming operations and showing evidence of a lot of pent-up consumer demand. Our state-of-the-art indoor theme park in China reopened in June to great attendance. In Dubai, we’ve drawn up plans to expand our Lionsgate zone [at Motiongate] with the addition of two new advanced technology rides. We’re planning new outdoor theme parks in the U.S. and Asia, and all of the smaller attractions like The Hunger Games: The Exhibition and the Official SAW Escape Room are open or reopening soon. We also have multiple film and television properties being adapted to the Broadway stage by world-class producers.

Location-based entertainment is a great extension of our intellectual property that provides a robust return because we invest very little incremental cash. We love these businesses, and Jen Brown [executive VP and head of global live, interactive and location-based entertainment] and her team are doing a great job growing them for us.

WS: How do you see the film and television business after the pandemic?

FELTHEIMER: Beginning with our work environment, we’ve learned that people can be very productive working from home. As long as we provide the right technology to support them, employees can work equally long hours but within the context of more flexible workdays that allow them to take care of their family obligations. We will continue to measure our productivity, but I believe that office space requirements may change in the future as we continue to become more efficient from our learnings.

Looking at our feature-film business, the new windows that are already emerging are likely a catalyst for more change to come. You talk about an issue, and then something happens that makes you say, “Now is the time.” We’ve hit that inflection point with windows for our films, and we have to be smart about it. We have to figure out the right way to service our motion picture product while continuing to support our exhibition partners.

In television, we love the continuing march toward more delivery systems and more places to consume content, some subscription-based, some ad-supported, but all leading us into an all-streaming world. And as we [move forward], we want to take care of all our constituents, including the cable and satellite partners who brought us to the party. Everyone should be participating in the benefits we’re discovering. People are going to be viewing more and consuming more, and a com pany like ours that is very prolific and not locked into a single way of doing business has a real opportunity to thrive.

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OCTOBER 2020 EDITION

True Tales / Blue-Sky Dramas / Walter Presents’ Walter Iuzzolino

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8 TV DRAMA

CONTENTS

The Waiting Game

FEATURES 20 TRUTH BE TOLD Producers and distributors weigh in on some of the keys to crafting successful dramas based on real-life stories.

On the evening of September 4, I settled in on my couch and tuned into Amazon Prime Video, all set to spend the next eight hours of my life devouring the latest installment of The Boys.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan 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 ©2020 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvdrama.ws

I had digested season one in one sitting last summer and could not wait to do the same for the second. And then the shock and horror set in—not inspired by the antics of the show’s evil “superheroes,” but instead because there were only three episodes available. I would have to wait until the following Friday for another one. I was honestly gutted, and apparently not the only one. Scroll through the reviews section on Amazon and you’ll see plenty of fans complaining about not being able to satisfy a binge need. I had suspected that this was a ploy by Amazon to stagger its new content slate amid COVID-19 production delays, but it turns out it was the intent of the producers, who wanted that week-to-week intensity that we perhaps don’t get enough of in this on-demand world. I remember talking to rapper/producer/actor/showrunner RZA about this last year when Hulu released his show Wu-Tang: An American Saga with weekly episodes rather than as a binge. “We’re a little bit old school,” he told me. “We think it served a good purpose for telling the story and setting the stage.” As for what happens for season two, he said, “maybe decisions will change.”

Perhaps all streamers should move to weekly drops.

There is something to be said for marinating over an episode, letting it sit before diving into the next one (maybe—ask me again when the new seasons of Stranger Things or Warrior Nun come out). Thanks to COVID-19, we do all need to develop new patience thresholds. Producers of high-end scripted content are facing delays of 12 months or more due to the pandemic. As production slowly resumes, there is actually a lot of completed content available, and we profile many great new and library shows in this edition of TV Drama. Home-confined audiences are taking solace in blue-sky dramas and digging deep into true stories, as we reveal in the features in this edition. Viewers are also exploring the wealth of gripping foreign-language series on Walter Presents; co-founder and curator Walter Iuzzolino shares the platform’s acquisition strategy with TV Drama.

—Mansha Daswani

GET DAILY NEWS ON TELEVISION DRAMA

20 28 BLUE SKIES AHEAD Amid uncertain times, uplifting, escapist series with compelling characters and virtual trips abroad are giving audiences a much-needed break from reality.

28 INTERVIEW

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10 TV DRAMA

all3media international Roadkill / Des / All Creatures Great and Small Roadkill, starring Hugh Laurie and Helen McCrory and produced by The Forge, is a four-part political thriller for BBC One and Masterpiece on PBS that all3media international is highlighting. All Creatures Great and Small, based on the James Herriot novels and produced by Playground for Channel 5 and Masterpiece on PBS, “is the perfect antidote to our challenging times, with beautiful scenery, heartfelt stories and fantastic performances that bring 1930s Yorkshire to life on-screen,” says David Swetman, senior VP of scripted content at all3media international.

David Tennant plays serial killer Dennis Nilsen in the threepart true-crime drama Des from New Pictures for ITV. “We’re excited to have a full slate for MIPCOM despite the disruption the industry has faced this year,” says Swetman.

Roadkill

“Like any other year, all3media international has an extensive and varied scripted slate, which we are excited to share with buyers.”

—David Swetman

Maria and Mustafa

ATV Maria and Mustafa / The Ottoman / Hercai ATV’s brand-new title Maria and Mustafa tells an international love story, set in Cappadocia’s fairy-tale scenery. In the series, Maria travels from her motherland, Colombia, to Turkey to trace her father’s roots. She falls in love with a handsome local landlord, Mustafa, who is technically married, and his wife is not giving up on him easily. “Maria and Mustafa is a classic Turkish drama with a strong love story, supported by well-made character-building,” says Müge Akar, content sales deputy manager. “One of the leading characters is from Colombia, which makes the title more appealing for international buyers.” She also highlights the cinematography of the series in showcasing the landscape of Cappadocia. A second season of the ratings hit The Ottoman is also on offer, alongside a third season of Hercai.

“ATV’s strong library and variety of TV series have helped us overcome all the obstacles that COVID-19 has brought.”

—Müge Akar

Banijay Rights The Hunt for a Killer / RFDS: Royal Flying Doctor Service / Viewpoint Based on a true story, the Banijay Rights series The Hunt for a Killer follows the journey of two detectives who lead an investigation, solving numerous homicides in Sweden during the 1980s. The Hunt for a Killer comes from Banijay’s Yellow Bird for SVT. Real-life stories are at the heart of RFDS: Royal Flying Doctor Service, while Viewpoint follows a tense policesurveillance investigation into a tight-knit community. “Out of the U.K. is a series of shorts for ITV from Greenacre Films called Unsaid Stories, which explores stories around the Black Lives Matter movement,” says Matt Creasey, executive VP of sales, co-productions and acquisitions at Banijay Rights for the rest of the world outside of EMEA. “It’s important and pertinent to the times and shows the great level of talent that was able to jump in, especially with all the shooting restrictions.”

The Hunt for a Killer

“The catalog of new and returning series on the drama and comedy sides is unprecedented.”

—Matt Creasey 156 WORLD SCREEN 10/20

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CBC & Radio-Canada Distribution Cerebrum / Trop / Conversations with My Parents CBC & Radio-Canada Distribution is shining a light on three new drama series that delve into the challenges of coping with the world today. Cerebrum deals with the topic of mental health care, transporting audiences into a world of psychological suspense and Nordic intensity. Trop takes a lighter and comedic but also serious look at coping with life in the 21st century through the eyes of two sisters.

Conversations with My Parents goes in a slightly different direction, examining family relationships and generational differences. Mia Desroches, director of content distribution partnerships for CBC & Radio-Canada, says, “These are great stories told from the point of view of strong characters who make us think and laugh, and more than anything else, make us see the world in a different light.”

Trop

“In our scripted content, we’re seeing themes of survival and coping in the world of this new decade emerge.”

—Mia Desroches

Mr. Wrong

Global Agency Mr. Wrong / Aleph / Rise of Empires: Ottoman Bitter Sweet stars Can Yaman and Özge Gürel reunite in the Global Agency highlight Mr. Wrong, which tells the story of Ezgi, whose lifetime of betrayal destroys her hopes of ever finding Mr. Right, and the womanizer Ozgur. “It seems a recipe for disaster, but fate and nagging mothers conspire to seek a happy ending,” says Izzet Pinto, founder and CEO of Global Agency. The Turkish crime series Aleph follows a young police detective named Kemal (played by Kenan İmirzalıoğlu) and his veteran partner Settar (Ahmet Mümtaz Taylan) in their pursuit of a serial killer. Rise of Empires: Ottoman chronicles Mehmed II’s journey from a child Sultan to ruler of the Ottoman Empire and the founder of Istanbul. “The docudrama miniseries unfolds like a real-life Game of Thrones,” says Pinto.

“The interest in Turkish drama is continuously increasing in the world.”

—Izzet Pinto

Global Screen Ferdinand von Schirach: Enemies / Turbulent Skies / Dark Woods In the Global Screen highlight Ferdinand von Schirach: Enemies, the story of a 12-year-old girl’s kidnapping is told from the perspectives of an inspector racing against time and the accused’s defense attorney. The eight-part period drama Turbulent Skies is based on true events and centers on the flight pioneers Albert Plesman and Anthony Fokker.

Dark Woods is a true-crime drama about a painful family tragedy. It tells the story of a police officer searching for his missing sister for more than 30 years. “Regardless of whether a viewer prefers crime stories, sci-fi or thrillers, the key is to always offer good, high-quality storytelling,” says Alexandra Heidrich, Global Screen’s head of acquisitions and sales for international TV and SVOD. “And that is what we focus on when choosing our programs.”

Dark Woods

“We want to offer good entertainment; this means something different for everyone.”

—Alexandra Heidrich 158 WORLD SCREEN 10/20

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A Love Yarn

Incendo A Love Yarn / You May Kiss the Bridesmaid / One of a Kind Love Leading Incendo’s slate of new romantic comedies is A Love Yarn, starring Anna Hutchison and co-produced with Screentime New Zealand. It centers on a yarn-shop owner who finds herself at a crossroads of business and romance after learning that her top yarn supplier is halting production. Tori Anderson leads the cast of You May Kiss the Bridesmaid, which was filmed in Montreal. Also shot in Montreal is One of a Kind Love with Jocelyn Hudon. Despite the challenging times, Incendo has managed to “keep producing high-quality movies both locally and internationally,” says Gavin Reardon, the company’s head of international sales and co-productions. “We are producing eight romantic comedies in 2020, and 11 in 2021.”

“These new titles demonstrate that we have been able to meet the challenges of 2020.”

—Gavin Reardon

The Ambassador’s Daughter

Inter Medya The Ambassador’s Daughter / Ramo / The Light of Hope The Ambassador’s Daughter, among the newest titles in Inter Medya’s catalog, is a love story about a wealthy and educated ambassador’s daughter and a poor boy from a small Aegean town. Produced by Turkey’s BKM, Ramo is inspired by real events and follows a man warring with enemies, family, friends and even himself, with his biggest test revolving around love. The Light of Hope, from the producers of Elif, sees a family torn into pieces.

“This universal story is about a mother, father and child overcoming obstacles to find each other and become a family again,” says Can Okan, founder and CEO of Inter Medya. “We are certain that these new titles, in addition to our existing products, will appeal to all our clients across the globe.”

“Our aim is to always extend our library and our reach to new territories.”

—Can Okan

Romance Next Door

Kanal D International Hekimoğlu / New Life / Romance Next Door Produced by Ojo Pictures, Hekimoğlu and New Life lead Kanal D International’s drama slate for the fall.

Hekimoğlu, a remake of the hit medical drama House, topped ratings in Turkey with its first season. Timuçin Esen stars in the series. “According to social media feedback, we see that even the fans of the original Dr. House in Turkey are watching the series, and they have turned into Hekimoğlu fans now,” says Kerim Emrah Turna, executive director of Kanal D International. New Life, starring Serkan Çayoğlu and Melisa Aslı Pamuk, “is a captivating story with action and love,” says Turna. For those interested in rom-coms, there’s Romance Next Door, produced by Mia Yapım. Turna says the show provides “hope and joy for people in these hard times.”

“Kanal D International is and will continue to be the top content supplier with the greatest number of hours and diversified products.”

—Kerim Emrah Turna 160 WORLD SCREEN 10/20

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Manhunt: Deadly Games

Lionsgate Love Life / Zoey’s Extraordinary Playlist / Manhunt: Deadly Games Lionsgate is providing a fresh take on the romantic-comedy anthology with Love Life, a series starring Academy Award nominee Anna Kendrick (Pitch Perfect) about the journey from first love to last love. Lionsgate is also presenting the Emmy Award-winning Zoey’s Extraordinary Playlist and Manhunt: Deadly Games. In Zoey’s Extraordinary Playlist, a female computer coder, played by Jane Levy (Suburgatory), is able to hear the innermost wants and desires of the people around her through songs. “Zoey’s Extraordinary Playlist is a heartfelt drama that is also a lot of fun,” says Agapy Kapouranis, president of international television and digital distribution.

She calls Manhunt: Deadly Games a “suspenseful and thrilling classic of the true-crime genre,” as it follows the search for the 1996 Atlanta Olympic Park bomber.

“All of our newest series have received second seasons, demonstrating the strength of our scripted television business and how we continue to be a partner of choice.”

—Agapy Kapouranis

Russia Television and Radio/Sovtelexport Zuleikha Opens Her Eyes / The Blood Widow / On the Edge Russia Television and Radio is launching three new series based on real-life events: Zuleikha Opens Her Eyes, The Blood Widow and On the Edge. Zuleikha Opens Her Eyes is based on a multi-award-winning novel by Guzel Yakhina inspired by her grandmother’s dramatic life. “The book became a bestseller, translated into 34 languages,” says Julia Matyash, director of Sovtelexport, which distributes programming from Russia Television and Radio. “It is a touching story about a woman who finally finds her own voice and starts building a life for herself.” The Blood Widow is a thriller based on the story of the most notorious female serial killer in Russia. On the Edge is an action series about three strong young women who fight for their lives and freedom, overcoming challenges under very hard circumstances.

On the Edge

“We introduce the best Russian TV products to the world.”

—Julia Matyash

ZDF Enterprises Standing Tall / Grow / Sløborn Directed by Gianluca Maria Tavarelli (The Young Montalbano, Maltese), Standing Tall is a crime series from the ZDFE.drama slate that follows a former policeman’s unofficial investigation into the death of his son, whom he hadn’t seen for years. Written, directed and produced by the Danish Avaz brothers, Grow is a crime series about self-discovery and morale set in a multi-plot story. From the showrunner of Netflix’s Dogs of Berlin, Sløborn mixes a coming-of-age drama with a pandemic thriller into a modern epic to tell the story of a group of islanders confronted with a fatal virus. “We have been busy the last year to add more genres and more quality drama from all over the world,” says Robert Franke, VP of ZDFE.drama.

“We work with renowned producers, co-producers, authors and popular actors.”

—Robert Franke 162 WORLD SCREEN 10/20

Grow

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Global Screen’s Turbulent Skies.

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Truth

Be Told

Producers and distributors weigh in on some of the keys to crafting successful dramas based on real-life stories. By Kristin Brzoznowski

A

scan of the recent news headlines returns stories brimming with plot, just begging to be scripted for TV in the years to come. Think of the possibilities for a pandemic thriller of global scale, a TV movie about cross-border political meddling, a limited series centered on the social upswells from the Black Lives Matter movement.

Real-life events and people have long served as the inspiration for successful dramas, and in today’s environment, which in many ways feels like the strangest of times, audiences are even more hungry for stories from the past that can either help them escape the harsh realities or perhaps make sense of them.

“People naturally have an easier connection with topics with a real-life background since they can relate to them and engage even more if they know that there is a true story behind it,” says Robert Franke, VP of ZDFE.drama at ZDF Enterprises.

“With many real-life and true-event stories, people can remember parts of the story or a specific incident,” says Alexandra Heidrich, head of acquisitions and sales for international TV and SVOD at Global Screen. “They have either learned something at school, read about it or heard about it in the news. But they don’t have the full story. This arouses curiosity within the audience. True-event series seem familiar because the viewer thinks he or she already knows the protagonists, as they still have vague memories of the story.”

Even though there has been a steady flow of real-life stories worthy of screen treatment, it hasn’t always been easy to get these projects off the ground. “In many cases, those stories were harder to get produced because of the higher cost

inherent in telling period stories, particularly for stories emerging from non-English-speaking territories,” says Christian Gabela, creative executive, head of Latin America and Spain at Gaumont. “With the advent of streaming platforms, however, a greater emphasis has been placed on finding local stories, and with it has come a need to produce higher-budget shows. This has allowed for some of these real-life local stories to get produced at the budget levels the stories deserve.”

SIGN OF THE TIMES Jimmy George, VP of sales and acquisitions at GoQuest Media, agrees that streaming services have helped to spur this already-in-demand genre. “Because of the boom of digital platforms, there is a requirement for original content in a lot of territories. Be it key territories like the U.S. and U.K., but even in developing ones, they all need content. With real-life events, these provide available, authentic, ready material [from which] to craft a good, compelling story.”

George says that it’s easy for audiences to get inspired by the true-life tales of real people from the past. “In the times that we’re living in, we need to be inspired to carry on and keep going ahead in life. At the same time, there are some great personalities whose stories need to be told; the world needs to see them. These stories are authentic, relatable and relevant. They work because they talk about human triumph.”

GoQuest is currently highlighting two dramas that are inspired by or based on real people: Queen and Ek Thi Begum, both from India. Queen has a theme of female empowerment, set against the backdrop of a vibrant India in the 1960s to 1990s. It’s a biopic inspired by a famous figure: a movie star

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ZDF Enterprises’ Ottilie von FaberCastell is about a German baroness in the 19th century.

who went on to become a political icon. “It’s a story of a woman who starts from nothing and achieves a lot,” says George. “Don’t we all want to see that? A fact-based story that truly inspires viewers during these very trying times.”

There’s also an inspirational female-empowerment story at the center of Russia Television and Radio’s Zuleikha Opens Her Eyes, based on the novel by Guzel Yakhina recounting her grandmother’s dramatic life. Meanwhile, striking a more sinister tone, The Blood Widow is about the most notorious female serial killer in Russian history.

Ekaterina Efanova, drama producer at Russia Television and Radio, says that these types of stories play off of people’s innate curiosity. “They want to know how it happened, who is to blame and what was really going on,” she says. “True stories also give the audience a chance to live through happy and tragic events along with the character; it’s an opportunity for them to gain experience and skills. They can dive into the story and find it very exciting.”

HISTORY COMES ALIVE Efanova adds that in terms of historical context, these kinds of stories “help viewers not only identify themselves with a historical character, but they provide education as well.” Their appeal comes down to what she calls “the timeless truth: that life itself is an incredible scriptwriter. No one has succeeded in topping the plot twists of real-life stories.”

A more recent historical event, the 2015 FIFA corruption case, commonly known as FIFA Gate, comes to light in El Presidente from Gaumont for Amazon Prime Video. The series, which was showrun by Oscar-winning filmmaker Armando Bó, recounts the unlikely rise of Sergio Jadue, the former president of the National Association of Professional Football of Chile, and his central role in the global scandal.

“While most of the characters are real and serious research was performed to ascertain the facts of the events, Armando and his writing team did take creative liberties in

order to fill the gaps where information was lacking and reach the ironic tone of the series that makes it so much fun to watch,” says Gabela.

The ZDF Enterprises catalog has a number of dramas based on historical events, among them Munich ’72 and Ship of No Return—The Final Voyage of the ‘Gustloff.’ There are also those inspired by real people (Beate Uhse: A Lust for Life and Love, Ottilie von Faber-Castel, Freud).

CRIME TIME While historical events and biographies of famous or extraordinary individuals are certainly fertile ground for dramas, Global Screen’s Heidrich sees another type of tale coming to the forefront. “The subgenre of true crime is probably one of the most popular of all, and not just on TV or [digital] platforms, but also increasingly in podcasts,” she says.

“Often, true crime deals with particularly bizarre cases, stories that evoke horror in us,” Heidrich continues. “I think people love this horror factor and the view through the keyhole. You can observe everything from a distance; you can look into the lives of other people and feel that justice has been served when the guilty party is punished. Secretly, you act as the jury yourself. This lets you reassess your own value system.”

In this vein, the company’s fall slate features Dark Woods, which follows the disappearance of a woman who went missing in Lower Saxony. Inspired by real events that took place in the late 1980s, the miniseries tells the story of a family tragedy and of a brother searching for his missing sister for more than 30 years. “It is a story that leaves you both shocked and speechless,” says Heidrich.

Global Screen is also presenting Turbulent Skies, a historical adventure drama from the Netherlands inspired by true events. The story, set from 1919 to 1930, portrays the feud between KLM’s Albert Plesman and aircraft manufacturer Anthony Fokker.

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From Gaumont, El Presidente for Amazon Prime Video is about the 2015 FIFA corruption scandal.

For Turbulent Skies, producer Topkapi Films stuck to the facts as much as possible, Heidrich says. “Almost everything in the series happened in reality. The writers concluded that the lives of both Plesman and Fokker were so rich with drama, and their personalities so different, that they didn’t need to add too much fiction to it, apart from a few instances.”

ASK AN EXPERT

With Russia Television and Radio’s inspired-by dramas, Efanova says the producers were striving to re-create the periods as accurately as possible. “We examined archive documents, diaries and letters. We had historians, archive and museum professionals, costume and household advisers to consult us during our work. Some of the episodes were shot on the historical sites protected by the government, so we needed to get special permission for shooting there.”

ZDF Enterprises’ Franke is of the opinion that the level of creative liberties that can be taken “depends very much on the individual production and the creativity and intentions of the makers and creators. If you want a high level of authenticity, you will work with consultants and may also require permission to make a story as close to the real story behind it as possible—in terms of the characters described, the locations, props, manners, historical accuracy and so on.”

Topkapi Films used the biography of Fokker for the series, with the permission of author Marc Dierikx. “Luckily, he happened to know a lot about Plesman’s life, too,” says Heidrich.

“In this way, Dierikx became a fact-checker for the story.”

The script of Dark Woods was inspired by one of the most mysterious criminal cases in German post-war history.

The plot follows the same course of action as the original case, “aligned according to dramatic requirements, without claiming to exactly reproduce real events,” Heidrich notes. “Individual characters in the series, namely the family and the perpetrator, are inspired by the life story of the protagonists in the original case. Many characters, especially those from the investigating authorities and the public prosecutor’s office, are typified fictional characters. Others are completely fictional characters.”

Wolfgang Sielaff, the missing woman’s brother and former head of the Hamburg State Criminal Police Office and chief of police in Hamburg, consulted on the series. “For Bavaria Fiction, the producers behind Dark Woods, it was very important to involve Sielaff and his family as well as his private team of investigators in the production because they wanted to treat the victims with the utmost respect,” says Heidrich.

Inspired by a true story, GoQuest’s Queen is about a movie star who became a politician.

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because they have a universal relevance that transcends the interests of the local audience,” he says. “This is typically achieved by showcasing a captivating universe and a set of characters whose personal conflicts and motivations feel grounded in basic human emotions.”

Global notoriety of a historical figure can certainly help give a show international legs, but it’s not a requirement, says ZDF Enterprises’ Franke, so long as the audience can connect to the character and the story. “The character in a drama production may even be easier to sympathize with than the real person portrayed might have been,” he adds.

GoQuest’s George believes that the current political and social climate will propel a wave of interest in inspired-by dramas, perhaps in some unexpected ways. “Uplifting and motivational stories will give audiences positive inspiration during these tough times,” George says. “More and more of the audience needs to escape into these real stories, which can inspire them and give them hope, and most of all, keep them engaged and entertained. Plus, with the expansion of digital platforms commissioning their own originals, this is going to fuel a lot of the stories that appear in the content market.”

UP NEXT

Available from Sovtelexport, Russia Television and Radio’s The Blood Widow is about a notorious serial killer.

In his overall take on historical and factual accuracy versus creative license, Franke likens it to the experience of watching a movie after you’ve already read the book, in that there will always be critics. “Some will be enthusiastic about the film; some will say it should have been closer to the book and dislike it. Personally, I think that the outcome is what matters in drama productions. If you want a 90 percent accurate description of a person or event, you have to watch a documentary about it. A drama made based on the same event might still be excellent and enjoyable, even if there is only 10 percent reality in it. The only thing that matters is that the audience enjoys it, either for authenticity or for pure entertainment.”

FACT FROM FICTION Gaumont’s Gabela says the balance of fact and fiction is best left to the discretion of the writer, “who ultimately is looking to squeeze the greatest narrative value out of the factual foundation of the story.”

The story in Gaumont’s El Presidente has its roots in Chile, but the event had global resonance, and Gabela says that it’s these types of true-life stories that are primed to travel. “Local stories often travel well

Global Screen’s Heidrich is also enthused by the prospects for heartening and inspirational shows to spring from the roots of real life. “True crime and historical events will surely stay with us for a long time to come, but perhaps this preference for true stories will spill over into other areas,” she says. “I would like to see stories of people who have achieved something extraordinary, stories that encourage and inspire. I think we could all use uplifting stories at this unusual time.”

The fact remains that reality can often be more captivating, or twisted, than what even the most imaginative of fiction storytellers could come up with—which means there’s plenty of real-life material ripe for TV treatment.

“Sometimes we are surprised by reality,” says ZDF Enterprises’ Franke. “Just look at this year. There have already been movies about viruses, etc., but we took this as something coming from the imagination of a scriptwriter. Something that might occasionally happen in a faraway country but never on our doorstep. And then COVID-19 hit us, and the world still has not defeated it. Just before this happened, we were in the middle of producing our coming-of-age drama and post-apocalyptic disaster thriller Sløborn, which tells the story of a group of islanders confronted with a fatal virus. In a radical, uncompromising manner, the series raises the question of what happens to us modern people when the thin varnish of our civilization collapses and reminds us that reality can sometimes be tougher than anything that could be imagined.”

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Eccho Rights’ Maria Wern.

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Blue Skies

Ahead

Audiences are seeking out escapist series with compelling characters and virtual trips abroad. By Chelsea Regan

E

ven before a pandemic upended the lives of people across the globe and fundamentally shifted the way they consume media, viewers were showing fatigue for darker drama. A bit of blue sky was what the international mood wanted; now it’s what it needs. And not only do blue-sky dramas serve as a curative on darker days in uncertain times and a figurative escape to lower-stakes intrigue—but they also transport audiences around the world to scenic locales that travel restrictions would make difficult to visit in person.

“Audiences are showing an emotional need for passive viewing that enables them to sit back and relax, giving them a break from the news,” says Katie Benbow, director of sales planning at BBC Studios. “There is also a need for uplifting stories that allow audiences to come out the other side feeling happier, boosted and more confident about the world.”

BRINGING SUNSHINE Nicola Söderlund, managing partner at Eccho Rights, also finds that viewers’ appetite for escapism has grown in the years since gritty dramas, with their gripping storylines and pulsing plots, began to dominate much of the drama landscape. “After a while it can feel a little heavy,” says Söderlund. “Not just with the current year and the pandemic, but in general the past few years, we have had almost a sense of impending doom around the world, with the Trump administration and political and economic uncertainty often around the corner. Coupled with the sense now that people have been trapped inside of their homes for so long, a bit of blue sky is literally what people need.”

Jan Bennemann, senior VP of acquisitions and coproductions at Dynamic Television, explains, “Like most things in life, these trends come in cycles. In recent years, there was a period with dark drama, a period of elaborate serialized shows, a period with many damaged lead characters. This period of blue-sky drama is the counterbalance of people fed up with what they’ve seen in the last few years.”

In keeping with the idea of giving people a window out of both the darker drama and the confines of their homes, Söderlund believes that a couple of blue sky’s key ingredients— location and environment—enable the shows to pull double duty as travel programs. Maria Wern, a crime drama on Eccho Rights’ slate set on the island of Gotland off the Swedish Baltic coast, is one example of such a program. Viewers “can get lost, not just in the stories, but in the beautiful scenery and the fabulous locations,” says Söderlund.

Bennemann, too, recognizes blue-sky drama’s transportive potential—and why it’s incredibly valuable at present. “Visually, there are plenty of stunning sets and sceneries used as backdrops for a series, which becomes a real asset for the show. It’s something that makes it globally appealing because the audience can travel the world with a show. Especially in these times, when traveling has become a complicated thing.”

Bennemann adds, “Sitting down on a Sunday night to watch a blue-sky drama that takes you to beautiful places is something that many people crave.”

Of course, the scenery alone is not enough to win the hearts of audiences. Characters that provide viewers reasons to become invested in them, and the interpersonal drama that swirls around them, are essential. “Compelling characters are hugely important for grounding the drama in stories in these

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All Creatures Great and Small, on offer from all3media international, is adapted from James Herriot’s beloved memoirs.

types of shows and sucking you into the narrative,” says Maartje Horchner, executive VP of content at all3media international.

“Once you’re engrossed in the characters, you just have such an appetite for watching their stories unfold, despite the sometimes lighter sensibility.”

These characters, their relationships and the emotional aspect they bring “sets a blue-sky offering apart,” according to BBC Studios’ Benbow. “It’s about finding authentic characters that feel relatable for an audience and putting them in an environment where they have some sort of soft challenge they can resolve by the end of the episode,” she says. “The situation doesn’t have to be familiar, but if the audience can recognize themselves in characters, and their reactions and feelings, then the language is universal.”

MIND YOUR LANGUAGE Further boosting a series’ ability to travel is audiences’ increased openness to watching foreign-language titles, either with subtitles or dubbing. “An element of blue sky is the importance of being authentic to where the story takes place; the central aspect of that is language,” says Dynamic’s Bennemann. “The fact that foreign-language drama has in the last couple of years picked up in terms of marketability enables us to take grounded drama to interesting places across the world and have them in the original language. The international appeal and acceptance of watching a drama set, filmed and spoken within the location and society faithful to the original storyline are invaluable and open immense creative opportunities to the world.”

Söderlund of Eccho Rights agrees, pointing to how Nordic noir helped to crack through the language barrier to reach English-speaking audiences. “As with many other genres, we see the market becoming more open to non-U.S. and nonEnglish-language content. The Nordic noir movement has opened people’s eyes to the amazing creative talents in our region, for example, but we have no doubt that some lighter fare from a Swedish fishing village, with light comic and romantic touches, can work just as well internationally.”

Unsurprisingly, literary adaptations remain popular with viewers and broadcasters alike, as they come with built-in fans and a story that’s already proven its ability to enrapture. “Book IP and true-life narratives are really fertile material for TV

adaptation,” says Horchner, who points to All Creatures Great and Small as the type of blue-sky drama that provides “lighter, warmer, escapist worlds to truly get immersed in,” set against the wonders of the Yorkshire countryside.

Eccho Rights, meanwhile, is launching Hammarvik, a series created by the Swedish novelist Camilla Läckberg, who has sold over 20 million books worldwide that have been translated into 40 languages.

“With that kind of a track record, it is easier to get a commission and subsequently make an impact on the international market,” says Söderlund. The Viaplay original centers on an unsolved missing persons case, a family feud and a romance that rocks a fictional seaside community.

At BBC Studios, Benbow says, “Our customers are still really hungry for literary adaptations,” adding that the company has gone into production on The Pursuit of Love, an adaptation of the Nancy Mitford novel from Emily Mortimer, which has Amazon on board. “There is still really high demand for literary IP from both a commissioning and acquisition point of view.” Also in demand is fantasy, which, as Benbow points out, “has endless possibilities when compelling new worlds are created.” BBC Studios is soon to roll out The Watch, inspired by Terry Pratchett’s Discworld series, which “weaves together fantasy and crime, with a great deal of humanity and humor about it too,” Benbow says.

MIXING IT UP Blue-sky drama procedurals are natural hybrid series, according to Dynamic’s Bennemann. “It takes a recipe that has worked for years, like The Sommerdahl Murders, which we built on the back of Nordic noir’s success,” he says. “We turned it into a ‘Nordic blue.’ Blue-sky procedurals are hybrids and very successful.”

And these blue-sky shows can find success whether they are long-running staples or event pieces. “Shows like Death in Paradise, Gavin & Stacey, The Vicar of Dibley and Call the Midwife are all doing incredibly well due to their long-term value,” says BBC Studios’ Benbow. But, adds Benbow, “you only have to look at the success of I May Destroy You to see how an event piece that connects so personally with viewers can reach phenomenal success with an international platform, in this case, HBO.” Bennemann adds, “It all comes down to finding an arena and finding a place to set the drama that is close to home.”

In agreement is all3media international’s Horchner, who says that universal subject matters like relationships, friendship, family dynamics and love are really important in a blue-sky drama. Referring to Ackley Bridge, one such series on all3media international’s slate, she says, “You’ll laugh, you’ll cry—and you’ll certainly engage as real life collides with dreams and aspirations.”

“Blue-sky drama enables that little moment of respite,” explains BBC Studios’ Benbow. “That is what people are looking for.”

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TV DRAMA: What are your criteria for choosing series?

IUZZOLINO: When I started Walter Presents almost seven years ago, I set myself three criteria, and they’ve never changed. I found them very useful as an initial tool to approach content that comes from abroad.

First, I wanted pieces that were big, successful, commercial hits in their country of origin. When we launched Walter Presents in the U.K., [watching programming with] subtitles was considered a snobbish, non-mainstream activity. I didn’t believe that, and I didn’t like that. Because I was raised in Italy, I was used to dubbed television, although I don’t like dubbing. But what was good about dubbing in Italy when I was growing up was that you had access to content from all over the world. Language was never a barrier to the appreciation of a piece of content because for us, everything was in Italian. We would watch American drama, Italian drama, French drama and have those open windows on the rest of the world. When I came to London, it was quite clear that everything was very Anglophile and Anglo-American. International content that was dubbed and subtitled was not cutting through. So, my ambition was to create a brand that would be mainstream, broad and commercially successful. I liked the idea of shows that are watched by millions of people in their country of origin. I found that very appealing because it went against the snobbery or perceived elitism of the idea. Success in the country of origin was always a very important piece.

Second, I looked at the overall quality of the piece. The writing, acting and directing needed to be of the highest caliber, the kind of standard that was set by HBO in the ’90s, from The Sopranos onward. The crafting that used to be happening in independent cinema in America and has moved to television.

Walter Iuzzolino Walter Presents

By Anna Carugati

O

ver his career, Walter Iuzzolino has developed a keen eye for quality prime-time programming. He was a commissioning editor at Channel 4, where he developed numerous successful factual formats, and later the creative director at the factual-entertainment and formats outfit betty. Iuzzolino then decided to follow his dream of creating a streaming service dedicated to foreign-language drama. He spent hundreds of hours watching series from around the world before founding Walter Presents in 2014 with partners Jason Thorp and Jo McGrath. The OTT service launched first in the U.K., then the U.S., Australia, New Zealand, Italy, Belgium, Russia and Canada, with more countries to follow. Iuzzolino talks to TV Drama about his criteria for choosing series, the uptick in subscribers since the onset of the pandemic, and setting up a production arm, Eagle Eye Drama.

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And the third point was critical acclaim. I was interested in pieces that were winning awards on the international festival circuit. I remember saying to myself, If two out of three of these criteria are met, then I should seriously consider the piece. The quality of execution was always the top criteria.

However, it is either wonderfully made and successful in its country of origin or wonderfully made and critically acclaimed.

The type of series I look for hasn’t changed. When we started, it was almost 100 percent crime thrillers, with the very odd exception. I would say 60 percent to 65 percent of what we buy is crime thrillers, but we’ve broadened because we’ve launched in so many countries. We have learned from every territory where we have launched, and we’ve enlarged the scope, scale and taste palette of the offering. We have family sagas. We are starting to open up

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Walter Presents acquired The Berlin Dance School (Ku'damm 56) from ZDF Enterprises.

to historical costume dramas. We have some pieces that are strongly younger-skewing. We had a vampire piece for the U.K. and acquired something that is YA. We don’t do comedy. We can do a bit of comedy-drama, but it’s very rare because I’ve found that these pieces struggle.

TV DRAMA: How do you curate the offering for each individual territory?

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

TV DRAMA: Since the pandemic, have you noticed any changes in viewing habits?

IUZZOLINO: Yes and no. The viewing patterns have changed significantly. The pandemic has been almost a cultural earthquake for our industry. I was talking to a couple of friends who work in linear television and they were saying this will probably be remembered as a very interesting moment of transition, where streaming has become incredibly mainstream. All the channels that have well-crafted streaming offerings have done well because, during the lockdown, people had a lot more time at home and they’ve been digging deeper into the archives. The advantage of streaming at this difficult time in our lives has been that we’ve all been able to access great stories.

We have never done better at Walter Presents. Our streaming figures in the U.K., the U.S. and across the world are skyrocketing.

What is interesting about that, again, is because people have more time to view, they have been going beyond the 180 WORLD SCREEN 10/20

poster lineup, so to speak. Often, when you don’t have much time, you dip in and out of what is heavily promoted and marketed. But I have noticed that people dip into the archive, and when they discover the offering, they have gone much more vertical. So there is consumption of a lot of titles, even older ones that we launched a while ago, that people maybe hadn’t had the time or the patience or the circumstances to go through yet.

In terms of genres, not much has changed. If you are a lover of historical costume drama, you will have dug deeper into that vein. I’ve also seen that a lot of disaster movies have done really well. I don’t think the pandemic changed the genres we are watching. The change was more in our viewing habits and when and how we want content.

The streaming world fully benefited from the pandemic.

TV DRAMA: What motivated setting up Eagle Eye Drama?

IUZZOLINO: From the moment we started Walter Presents, it became clear that there were wonderful stories around the world and great IP. Our job was always to enhance and increase the popularity and success of original content with subtitles around the world. But there is also a capacity issue, in the sense that it fundamentally remains a slightly niche proposition because subtitles are still subtitles. This is changing every year. But we always thought it would be exciting for us, as the curator of this content, to also be able to identify content that is ripe for reinvention and reimagine it for an Anglo-American audience. That has worked incredibly well. We started last November; we optioned a number of titles, and we have several projects we are working on. We’re in production on a few things.

We are very close to filming the crime drama Professor T, a show for ITV. It’s been cast with Ben Miller and Frances de la Tour as the main protagonists. It’s a procedural in the sense that it’s self-concluding, but it has a great arc and story about an obsessive-compulsive criminologist. We have two more projects [including Before We Die for Channel 4, adapted from the Swedish crime thriller].

It’s an exciting time because I think great ideas travel.

They travel in their original form and also as original IP that can be reconfigured. But the one difference to our approach is that we source the talent truly internationally.

As curator of Walter Presents, I get to know great writers, directors and costume directors from all over the world. I have this privilege of buying shows from Belgium, Brazil, Central Europe, Eastern Europe, Italy and so on.

We’ve created a contact book of great talent behind the screen; talent that normally doesn’t have access to the world of making drama in English. We bring them together and configure these teams with superb talent, which makes me hope that the tone of our productions will be interesting and different. We’re not cloning anything. We are putting together phenomenal teams to reimagine pieces of IP and make them distinctive.

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ON THE RECORD

asey Bloys joined HBO in 2004 and worked his way up from director of development at HBO Independent Productions to the president of HBO programming in 2016.

He has overseen the development and production of many of the pay-TV service’s most popular series, such as Veep, Silicon Valley, Insecure and Barry, and launched Big Little Lies, Westworld, Succession, Watchmen and Lovecraft Country. Several of these have shaped popular culture, in addition to earning multiple awards.

AT&T closed its $85.4 billion acquisition of HBO’s parent company, Time Warner, in 2018, forming WarnerMedia. HBO had a streaming service, HBO Now, available to consumers who did not subscribe to a cable bundle. The telecom giant, however, wanted to become a significant player in the directto-consumer business and create a supersized SVOD offering. AT&T already had a hefty mobile phone customer base to which it wanted to offer content.

When then-CEO of WarnerMedia John Stankey announced that HBO had to significantly increase its output to feed the upcoming streaming service, legions of loyal HBO fans worried that a greater volume of programming would adversely impact its quality. HBO was recognized for premium, high-end, often cutting-edge programming that redefined what a TV drama could be.

WarnerMedia management named the new SVOD service HBO Max, relying on the attributes of the HBO brand to attract

subscribers that already had numerous choices, including Netflix, Amazon Prime Video and Hulu, with more to come.

Bob Greenblatt and Kevin Reilly were among the executives placed in charge of HBO Max. The service would consist of library product from across WarnerMedia assets—but mainly Warner Bros., including Friends—and high-profile acquisitions, such as Doctor Who. But the emphasis was on originals, with a varied roster of A-list talent—including J.J. Abrams, Ridley Scott, Nicole Kidman and Reese Witherspoon—on board.

HBO Max launched in the U.S. on May 27, but COVID-19 halted many of the originals that were in production. Then, in early August, an unexpected announcement stunned the media industry. Jason Kilar, who was named WarnerMedia CEO in April, reshuffled management.

Ann Sarnoff was appointed head of studios and networks, and Andy Forssell was named the head of HBO Max. Greenblatt and Reilly were out.

Bloys was promoted to chief content officer of HBO and HBO Max. In this role, he is responsible for HBO and HBO Max original series, documentaries, unscripted programming and specials.

While the coronavirus pandemic has delayed production of many announced shows, there are new titles on HBO and HBO Max. Bloys talks to World Screen about maintaining quality and HBO’s mission, working with talent, upcoming originals, the value of co-productions and the post–Game of Thrones era.

CASEY BLOYS

WARNERMEDIA

By Anna Carugati

WS: Following AT&T’s acquisition of WarnerMedia, the company announced that it was increasing HBO’s output. Many fans of HBO wondered if that increase would negatively affect the quality of the programming. How are you able to up the volume and maintain the quality level?

BLOYS: Are you asking whether we did keep it up, or are you asking how we do keep it up? [Laughs] WS: I think you have so far! But how will you continue to maintain quality?

BLOYS: I didn’t know if I had to make the case that we did! [Laughs] We made a big jump; we increased our scripted programming by 50 percent from 2018 to 2019.

That’s when everybody had questions about the quality of the programming. It usually takes about two years’ turnaround time from when you say you want to increase programming to when you have the programming. It takes time to develop and produce and finally get these shows to air. So probably around 2017, it started to get much busier within the programming and production groups at HBO, and then, by extension, in all the other departments. For a little while, people would say, “Wow, we are so busy.” I’d say, “You’re not just busy now; this is our new normal. This is the level we are operating at.” We added staff in all departments to deal with the increased output. But I think the important thing is we did it slowly. We didn’t go overboard in terms of the amount of programming we were targeting and the number of people we were adding. It was a big increase, but we were able to manage it carefully.

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A critically acclaimed hit for HBO, Insecure—created by star Issa Rae and Larry Wilmore—wrapped its fourth season this spring and is returning for a fifth.

WS: The country is going through a very difficult time, even setting aside COVID-19. The Black Lives Matter movement has spread beyond the U.S. Watchmen and Lovecraft Country were planned and made before this summer. Why have these shows been important to make?

BLOYS: Not just Watchmen and Lovecraft Country but also I May Destroy You, Insecure and A Black Lady Sketch Show—these were all planned years in advance. That was the happy result of focusing on more diverse shows across the board. Even among Watchmen, Lovecraft Country, Insecure, I May Destroy You and A Black Lady Sketch Show, think about how different they are. Issa [Rae, co-creator and star of Insecure] shows a distinct picture of being single and dating in Los Angeles. Michaela [Coel, creator and star of I May Destroy You] is dealing with sexual trauma. Watchmen and Lovecraft are huge shows but different in their genres and tones. It just demonstrates what happens when you try to seek out diverse storytellers and stories. It’s the very happy end result of consciously trying to broaden the slate.

WS: And will inclusion and diversity continue to be part of the programming strategy?

BLOYS: Yes, of course. I May Destroy You and Lovecraft Country were two of the buzziest shows of the summer. They are delivering.

Diversity is not just important because it’s the right thing to do; it’s also the right thing for the business. Audiences want to see more representation on-screen.

WS: What has HBO historically offered talent?

How are HBO and HBO Max attracting talent when there is so much scripted product in development and production?

BLOYS: At HBO, what we’ve had for a very long time, and why we continue to have people who want to work with us, is a direct relationship [between talent and] our executives. In other words, there are no studio layers. It’s a very direct [line] to the decision-makers. We usually start the relationship by making it clear that the show is their show. We’re very conscious about the notes we give, very thoughtful about what goes into them. They are never commands; they are always recommendations. We try to have a collaborative approach to working with talent on the production side.

We usually ask, How do we execute the creator’s vision? It’s never about the easiest way to do something. A lot of times when you go into production and you say, Hey, we want to do something that looks like this, the answer will be no. But with HBO, when we go to production for a huge show, like a Lovecraft or a Watchmen or Game of Thrones, the answer is never no. It’s, “How do we achieve that?”

That’s a very important distinction—that willingness to try to deliver on the showrunner’s vision. That goes across the board in all areas— in publicity and marketing also. It’s a very collaborative approach. When we do a campaign, it has to be something that not only we’re proud of, but the showrunners are proud of.

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idea with Max is to broaden the appeal, but my hope is that we can offer creative writers and producers a similar experience where they get the same kind of individualized support, so it doesn’t feel like they’re just on an assembly line.

WS: What are some of the HBO originals that will be coming up when they are ready? And, in general, is an HBO original going to be different from an HBO Max original?

BLOYS: HBO will continue to be HBO. There is no change in its mission. By that, I mean we will continue to offer shows that we’ve done in the past. You can look at the last five years that I have been in charge to see what the future will look like, as to the kinds of shows and the diversity of the slate. What we are trying to do at Max is provide a broader offering. There will be reality shows and broader comedies, and we’ll probably be looking at big, broader dramas based on underlying IP like Green Lantern, which is coming. There will be younger-skewing shows like the new generation of Gossip Girl. With broader dramas and comedies, reality, adult animation and a kids’ offering, the idea is that HBO surrounded by this wider offering is even more compelling than HBO on its own. So, the goal is to offer shows that you wouldn’t necessarily find on HBO but would still like to watch.

WS: You mentioned development. Looking at the impact of COVID-19, is that one area that has remained relatively the same?

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BLOYS: Yes, writers can write during COVID-19, so that has happily gone on.

Until we get production going again, there is a bit of a logjam. There is a lot of writing going on, but not as much production, so we need that to even out. That’s why it would be great to get shooting again in a way that is safe and doesn’t put anybody at risk. It would really be great for the entire industry if we could figure that out.

WS: When do you see production starting up?

In the fall?

BLOYS: We have either resumed or are about to resume production on some HBO Max shows. We are in prep on a few HBO shows. Even with all the safety guidelines and protocols, someone could get sick. And if they do, we’re going to have to shut down. Like everyone else in the industry, we are trying to find a way to work safely and build in enough systems so that we can respond quickly and responsibly.

WS: HBO has participated in many international co-productions. Chernobyl comes to mind, as does Gentleman Jack. Will coproductions continue?

BLOYS: We have a long history of collaborating with both Sky and the BBC, obviously Englishlanguage programs. We had Chernobyl and brought Sky on as producers. They had The Third Day with Jude Law. We do His Dark Materials with the BBC. We’ve got a long history of collaborating with lots of U.K. outlets, and we will continue to do that. We’ve got My Brilliant Friend, a show I love, the adaptation

HBO’s BAFTA-, Golden Globe- and Emmy–winning Succession has been renewed for a third season. of the Elena Ferrante novels. We continue to do things we think our subscribers will be interested in.

You’ll see in the first quarter we’ll be airing some HBO international shows.

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

When I talk about the diversity of our slate, co-productions will always be a part of the offering. Gentleman Jack is a good example. It’s a story that you wouldn’t necessarily know about Anne Lister, who is often known as the first modern lesbian.

To put that story in a beautiful period

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piece, with a character that bold, the show is a great offering. When you think about putting it in the same slate as Lovecraft Country or I May Destroy You, the voices can come in all sorts of packaging. International co-productions will continue to do that for us.

WS: Are people coming to HBO Max for HBO content and originals and staying for their favorites like Friends or The Big Bang Theory?

Or do they come for their favorites and discover the originals?

BLOYS: I think it goes both ways, because Max is a combination of great library product like you mentioned—Friends and Big Bang—HBO originals and Max originals. Anything fresh gets viewed very quickly. So, it’s been a nice cross-section, and that is the promise of the whole offering.

WS: What can you tell us about the muchtalked-about Friends reunion? And now I understand there is a West Wing reunion.

BLOYS: The Friends reunion is something everyone wants to do and one of the things that COVID-19 has impacted. We are hopeful about getting that produced and on the platform as soon as we can.

We reunited the cast of The Fresh Prince of Bel-Air to celebrate the series’ 30th anniversary, with the entire Banks family back together. We will have that on HBO Max around Thanksgiving.

People are also excited about the West Wing event, which will be a special to benefit [the non-profit group] When We All Vote ahead of the November election.

We will be bringing together Aaron Sorkin and the original cast for the first time in 17 years to do a theatrical stage presentation of an episode from the third season.

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Nicole Kidman and Hugh Grant star in The Undoing, a miniseries based on the 2014 novel You Should Have Known that launches on HBO in October.

WS: Has the pitching process been negatively impacted by COVID-19 because the person pitching needs to feel and see the reaction of the people in the room?

BLOYS: If you accept that nothing about this is ideal, I will say that at first, I wondered what a Zoom pitch would be like. But people have adapted to it. I have heard plenty of pitches via Zoom that we have ended up buying. Human contact and seeing people’s reaction in the room is certainly nice. It has gone much better than I would have predicted when we started this in March. It is possible to have a successful Zoom pitch.

WS: It will be interesting to see if the planning procedures and efficiencies that have come up during COVID-19 might be kept even afterward.

BLOYS: My guess is that people will want to be in rooms again pitching and all that stuff, but from my own life, just in terms of travel, now that we’ve seen what can be done with video conferences, I don’t know that I would hop on a plane to New York as quickly as I would have before.

WS: What does HBO Max have for children and families? That’s an important demographic for the service.

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BLOYS: We’ve got all 50 seasons of Sesame Street, animated series Tig n’ Seek and Looney Tunes Cartoons and some great originals, including specials from Cartoon Network and Mo Willems.

WS: What can you tell us about HBO Max’s international rollout?

BLOYS: Right now, we’re focusing on the domestic market, but international is going to be a very important piece of this. I believe Latin America will be the first area of concentration, but the goal is to eventually have a fully international platform.

WS: I remember speaking to Richard Plepler and Mike Lombardo years ago after The Sopranos had finished airing. That show was so seminal and raised the bar so high that many people were thinking, Oh my God, how does HBO go on after that kind of success? Game of Thrones also changed the way we experience shows by bringing cinematic qualities to television. How are you approaching the post–Game of Thrones era?

BLOYS: What was nice about the timing of that was that it coincided with the increase in programming in 2019. After Game of Thrones went off the air, there was some of that “Oh my God, what is HBO going to do?” thinking. And then we were able to say, Here’s Chernobyl. Here’s Big Little Lies season two. Here’s Euphoria.

Here’s Succession season two. Here’s Watchmen. That pretty much put an end to the “What’s HBO going to do?” questions! [Laughs] We were able to show you what we were going to do. And that was only possible because of the increase in programming and resources.

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TVREAL

WWW.TVREAL.WS

OCTOBER 2020 EDITION

Crime Docs / Food Shows / Terra Mater’s Walter Köhler & Sabine Holzer Trafficked’s Mariana van Zeller

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CONTENTS

Facing the Facts

FEATURES 18 WHODUNIT?

The true-crime genre is evolving amid the changing needs of broadcasters, platforms and audiences.

The level of new content available in the non-scripted space has already resumed to pre-COVID-19 levels, according to recent Ampere Analysis data.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan 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 ©2020 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvreal.ws

This segment of the content business is indeed well versed in dealing with real-life issues, so it makes sense that it has been the fastest to return to “normal,” whatever normal is these days. It’s also been incredibly adept at adapting to new circumstances, be it setting up celebrity-focused series filmed remotely from stars’ homes or rushing fast-turnaround docs on the seemingly unending consequences of the pandemic. In the wake of the Black Lives Matter movement this summer, there has also been a broader reckoning in the business about diversity; about whose stories are told and how; about who is making the decisions and who is being exploited in the process. The cancellation of the police reality shows Cops and Live PD this summer began a muchneeded conversation about how interactions between law enforcement and civilians are recorded, edited and used. As I found out in my discussions with several distributors of true-crime shows for a feature in this edition of TV Real, the genre as a whole is evolving, employing new narrative techniques, shifting the focus from the perpetrators to the victims, finding unique perspectives on famously fiendish deeds and uncovering brand-new stories of injustice.

This issue also checks in on the food content space, which is enjoying a boom now that everyone has decided, during quarantine, that they want to be better home cooks. The genre, which includes elements of travel and adventure, is also allowing audiences a bit of escapism as getting on a plane and going someplace you’ve never been before feels like a distant luxury right now.

Terra Mater Factual Studios didn’t let COVID-19 shutdowns slow down its prolific output of high-end docs, working with on-the-ground teams across the globe on several of its titles.

We hear from Walter Köhler and Sabine Holzer about how the outfit has committed to protecting Earth’s natural wonders, from the stories it chooses to tell to its methods of production. This issue also includes a Q&A with journalist Mariana van Zeller about her new National Geographic show Trafficked. Borrowing from scripted production techniques, the show, about black markets, feels at times like a fast-paced thriller (I kept expecting Charlize Theron to show up as a committed investigative reporter uncovering criminal syndicates worldwide). It’s no wonder broadcasters and platforms are looking to docs to fill their drama gaps. —Mansha Daswani

GET DAILY NEWS ON FACTUAL PROGRAMMING

18 24 HUNGRY FOR MORE

The appeal of culinary shows is soaring among casual foodies and practiced home chefs alike.

24 INTERVIEWS

30

Terra Mater’s Walter Köhler & Sabine Holzer

32

Trafficked’s Mariana van Zeller

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A+E Networks International Surviving Jeffrey Epstein / History’s Greatest Mysteries / The Cars That Made the World Leading A+E Networks International’s slate, Surviving Jeffrey Epstein explains his sex-trafficking network through the voices of survivors and details the role of Ghislaine Maxwell. “Her arrest, which we cover, was incredibly important to all the survivors, and as her trial in July 2021 approaches, this story is sure to stay in the press for a long time to come,” says Robyn Hurd, VP of international content sales for EMEA. Following the success of The Cars That Made America comes The Cars That Made the World, which dramatizes the launches of Toyota, Mercedes, Porsche and Rolls Royce. Presented by Laurence Fishburne, there’s the new documentary strand History’s Greatest Mysteries. “Here at A+E, we understand the insatiable appetite of the global audience for a well-told mystery,” says Hurd.

The Cars That Made the World

“Throughout the COVID-19 crisis, A+E has been fortunate enough to stay in production, which means we are bringing hundreds of hours of brand-new premium factual content to the market.”

—Robyn Hurd

Albatross World Sales On Thin Ice / Grizzly Encounters / Banquet of the Beasts Climate change’s effects on the Russian Arctic are explored in the Albatross World Sales highlight On Thin Ice. Grizzly Encounters gets up close to grizzly bears, showing their gruesome and sometimes quirky life from a bear’s point of view. “We realize that in many ways they are just like us with their different personalities and that life as a bear revolves around similar essentials as our own,” says Anne Olzmann, managing director. Uncovering the science behind decomposition, Banquet of the Beasts shows an often-ignored side of ecosystems. “With its many images of maggots, flies and dead animals, it is the perfect programming for the holiday of the macabre: Halloween,” says Olzmann. She adds: “Our brand-new content includes blue-chip wildlife programs, high-end science titles and inspiring travel and lifestyle series.”

On Thin Ice

“We are privileged to be able to offer brand-new, high-quality documentary films from the awardwinning production companies we represent.”

—Anne Olzmann

Autentic Distribution Hope and Fear: How Pandemics Changed the World / The Animal Within / Love Around the World Autentic Distribution is presenting a diverse set of highlights that includes a historical three-parter, an indie two-parter with love at its center and a six-part natural-history series. Hope and Fear: How Pandemics Changed the World examines the history of pandemics. As the world is currently coping with COVID-19, Mirjam Strasser, head of sales and acquisitions, says, “Today, unfortunately, this topic has a shockingly high actuality.” In Love Around the World, a young married couple turns their honeymoon into an exploration of love that spans the globe. The Animal Within reveals the special features animals have developed to help them survive and how humankind can learn from them. “It’s a great science show that combines amazing animal shots with scientific knowledge,” says Strasser.

“Autentic brings terrific television to the world’s living rooms.”

—Mirjam Strasser Love Around the World

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Edges Unknown

Beyond Rights Pooch Perfect / Sex Unlimited / Edges Unknown Hosted by Rebel Wilson, Pooch Perfect follows professional pet stylists and their assistants as they compete in themed challenges. The series is “great fun, highly visual, has big reveals and is packed full of cute pups, amazing characters–both human and canine–as well as useful breed information and top tips for dog owners,” says Kate Llewellyn-Jones, CEO of Beyond Rights. Sex Unlimited is comprised of a series of films that delve into the unconventional side of sex. In the survival genre, Edges Unknown sees survival experts Brett Rogers and Cliff Quinn travel back in time to take on tough jobs of past eras.

“The main premise for this show–has modern man gone too soft?–is definitely one that will resonate with buyers,” says Llewellyn-Jones.

“We are very excited about the future and invite people to get in touch to find out more.”

—Kate Llewellyn-Jones

Blue Ant International Stormborn / Hotel Paranormal / After the Wildfires Ewan McGregor narrates Stormborn, a three-part series on Blue Ant International’s slate that explores remote wildlife in the northern regions of Scotland, Norway and Iceland. “It’s one of several nature and wildlife titles on our slate that draw in audiences with a popular celebrity voice, while also providing breathtaking blue-chip cinematographic viewpoints, and in this series, never-before-seen animal behavior through storyled drama,” says Ludo Dufour, senior VP of international coproductions and sales at Blue Ant International. Hotel Paranormal zeroes in on creepy, otherworldly encounters in hotels, highway motels and short-term rentals, narrated by “Ghostbuster” Dan Aykroyd. A one-off special documentary, After the Wildfires was shot last year amid Australia’s worst fire season in recorded history.

“Blue Ant International has a growing slate of over 4,000 hours of premium content.”

After the Wildfires

—Ludo Dufour

Escapade Media Back to Nature / BIG vs SMALL / Devolution: A Devo Theory Back to Nature, which Escapade Media offers as both a series and format, explores the need to reconnect with the land around us for our physical, emotional and spiritual well-being. “The timely creation of this series speaks to our global need to care and connect with the world around us but also highlights the benefits of taking this action,” says Natalie Lawley, managing director. The documentary BIG vs SMALL is billed as a modern-day fairy tale, stretching from monster waves in Portugal to the dark stillness of a far-north frozen Finnish lake. It tells the story of a female champion big wave surfer who seeks support from another female champion freediver. The band Devo and their de-evolution theory take the spotlight in the doc Devolution: A Devo Theory.

Devolution: A Devo Theory

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

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Living by Design

GRB Studios Living by Design / Dons of Disco / On the Case One of GRB Studios’ highlights this fall, Dons of Disco is a documentary about a lip-syncing scandal involving the Italo disco star Den Harrow. A design series featuring brother and sister duo Jake and Jazz Smollett, Living by Design sees them transform living, work and play spaces.

There’s also the tenth season of the true-crime series On the Case, which explores murder mysteries through those closest to the case while examining the forensic evidence. “We understand that audiences—now more than ever due to the COVID-19 situation—are seeking ever more captivating, quality programming with compelling storylines, which is exactly what we deliver,” says Hud Woodle, GRB Studios’ executive VP of international sales and operations.

“Our portfolio is comprised of nearly 4,000 hours of premium and varied content that offers something for everyone around the world.”

—Hud Woodle I Am Invincible

Insight TV Epic Exploring: Going Local / I Am Invincible / Modern Day Gladiators On offer from Insight TV, Epic Exploring: Going Local features YouTube stars Josh and Cody, urban explorers with millions of fans and followers, as they explore abandoned sites, buildings and locations around the world to unlock their buried histories and mysteries. I Am Invincible follows the veterans participating in the Invictus Games, the Olympic-style competition for disabled war veterans, founded and championed by Prince Harry. “This is an extraordinary look into what these individuals have overcome and how sport and these games have helped them recover physically, mentally and spiritually,” says Jack Solesbury, head of content and format sales at Insight TV. The docuseries Modern Day Gladiators is about the phenomenon known as esports and the gamers who have risen through the ranks to reach rock-star status.

“Each one of these titles is unique and yet universally appealing and topical.”

—Jack Solesbury

Rive Gauche Television The Killer Truth / Disaster Déjà Vu / The Beer Jesus from America Each episode of Rive Gauche Television’s The Killer Truth tells the story of a single murder through the eyes of five people most intimately connected to the case. “The stories are told in a fresh, unique way, with multiple perspectives from the key individuals connected to the case,” says Marine Ksadzhikyan, COO and executive VP of sales. Meanwhile, Disaster Déjà Vu is an action-packed series that showcases cities that have been hit by the craziest disasters—not once, but twice. The documentary The Beer Jesus from America follows a man who is risking millions on a dream to become the first American to build, own and operate a craft beer brewery in Europe. “The Beer Jesus from America is a fun, lighthearted feature doc that is sure to inspire and motivate more than the avid beer drinkers around the world,” Ksadzhikyan says.

The Beer Jesus from America

“Rive Gauche is committed to expanding its catalog by broadening out our genre offerings and continuing to bring the highest-quality content to the market.”

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Ruptly Documentary Collection Journalism on Trial / Exporting Homophobia / Dyatlov Group’s Journal: The Last Page Ruptly Documentary Collection features Journalism on Trial, which explores an alternative perspective on the U.K. media freedoms in the context of the charges against Julian Assange.

Alongside it is Exporting Homophobia, another humancentric story, this one unpacking Africa’s American evangelical networks and how far their adherents will go to spread their anti-LGBTQ+ rhetoric across the globe. “We are pleased to present our first-ever Ruptly-produced documentary to the market: the award-winning Dyatlov Group’s Journal: The Last Page,” says Olivia Cole, development manager for Ruptly Documentary Collection.

The doc revisits the notorious Soviet-era mystery of the Dyatlov Pass incident, in which nine student hikers perished under unexplained circumstances in the Ural Mountains.

Journalism on Trial

Terra Mater Factual Studios

—Sabine Holzer

The Alps

The Return of the Bears

ZDF Enterprises Anthropocene—The Rise of Humans / Frontlines / The Return of the Bears From ZDF Enterprises’ ZDFE.unscripted catalog, the three-part series Anthropocene—The Rise of Humans puts the spotlight on the human impact and thirst for innovation and technology that turned us into the most influential life form on Earth. The portfolio also features Frontlines, which takes audiences deep into the heart of battlefield action to reveal the turning points in some of the most decisive confrontations in modern wars.

The documentary The Return of the Bears looks at a controversial rewilding program in Europe that scientists hope will have a positive impact on the ecosystem. “In a neverending effort to acquire, co-produce and sell the best programs around the world, ZDFE.unscripted’s aim is to enhance the genre and deliver best-quality factual programs,” says Ralf Rückauer, VP of ZDFE.unscripted.

—Olivia Cole

“Despite the pandemic, we’re very much on time with our productions, thanks to our fantastic partners adjusting accordingly and taking all necessary safety measures and precautions.”

The Secret Whale / The Alps / Magic Moments—The Spell of Nature On offer from Terra Mater Factual Studios, The Secret Whale is a natural-history thriller focused on the importance of whales to our planet’s ecosystem. With exclusive insights into Russian archives, stories about illegal fishing fleets, cover-ups and secret deals emerge. The Alps is a two-part documentary that explores the most inhospitable regions of the upper mountains and examines how conditions in the Alps change when the spring crocus push through the melting snows. Sabine Holzer, head of specialist factual at Terra Mater Factual Studios, describes Magic Moments—The Spell of Nature as a “tour de force of magical moments that nature presents us with. From natural fireworks to mysterious ghost bears roaming the forests, unexpected symbiotic partnerships and encounters, let us convince you that our world out there is pure magic!”

“Ruptly prides itself on a catalog of documentaries with a uniquely inquisitive approach, providing important insight into less-explored stories and under-represented communities.”

“These programs use the latest scientific knowledge, provide deep insights and tell fact-based stories in an entertaining manner.”

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Rive Gauche’s Homicide’s Elite.

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TV REAL 19

Whodunit?

True-crime series remain a staple on schedules across the world, but the genre is evolving amid the changing needs of broadcasters, platforms and audiences.

By Mansha Daswani he cancellation of two giant franchises in the true-crime space—Cops on Paramount Network and Live PD on A&E—sent shockwaves through the factual business this summer. The moves came as people across the U.S.—and, for that matter, worldwide—were protesting acts of police brutality, sparked by the killing of George Floyd, an unarmed Black man, in May. Cops had been on the air since the late 1980s, moving from FOX to Spike TV to Paramount and becoming arguably the best-known crime TV franchise in the world. Live PD, meanwhile, had been one of A&E’s biggest hits since its 2016 launch, and among the top-rated shows on basic cable in the U.S. Whether there’s room—or appetite—for either show to return is unclear, but it is apparent that in light of recent events, police reality shows are far too polarizing to serve as primetime entertainment, at least in the U.S. And there is indeed a broader conversation within the factual business as a whole about the true-crime genre and how it can be continually refreshed to meet the expectations of viewers.

“The needs of the broadcasters and streamers are evolving with the understanding and sensitivity of the audiences they cater to,” observes Ludo Dufour, the senior VP of international co-productions and sales at Blue Ant International. “We’re going to see more complex stories. It’s no longer going to be just good and evil. It will have to be much more three-dimensional, deeper, more personal. Rather than just looking at the crime itself, we’re going to see shows that look at the societal impact of those crimes and the emotional burden they created.

Or the cultural reverberations of those big iconic crimes.

Police corruption is also something that will be addressed more and more in those shows, and the reform of the criminal justice system and prisons. Maybe also shows about combating wrongful convictions.”

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Jon Kramer, the CEO of Rive Gauche Television, also sees a need to make sure “crime stories are diverse. We’ve actually been trying to diversify our crime offerings over the past few years,” referencing the addition of Homicide’s Elite to the company’s slate as an example.

The genre also continues to evolve since The Jinx and Making a Murderer, on HBO and Netflix, respectively, upped the game on audience expectations. Those titles “led to a massive thirst for high-quality true-crime docs that cover unique crimes,” says Liz Soriano, the VP of international programming at A+E Networks.

Stefanie Fischer, the managing director of sales at Off the Fence, also sees true crime moving from the fringes of late night into prime time and daytime, with “families sometimes sitting around and watching together. Therefore, we find that although cases need to be explosive and somewhat wellknown, they also need to be very story-driven and more open for wider audiences at different times of the day. We’re also seeing crime emerging beyond just murder stories to fraud and other scandals, such as Fyre Festival and Jeffrey Epstein.”

CRIME PAYS Whatever form true crime takes, it remains an incredibly popular programming genre, filling weekly slots and entire networks. “Everyone loves a good mystery, and that’s what these true-crime shows are at heart,” says Hud Woodle, the executive VP of international sales and operations at GRB Studios. “Frankly, it also feels good, perhaps, these days more than ever, to see the bad guy (or gal) get caught!”

“There is a high level of demand because the genre is very diverse,” adds Ralf Rückauer, the VP of ZDFE.unscripted at ZDF Enterprises. “True crime can be made like ZDF does with Crime Watch XY or as documentaries or factual entertainment from different narrative angles: the perspective of the victims, the perpetrators, celebrities involved, famous cases, etc. There

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need to tell these stories with new angles.

Blue Ant-owned Saloon Media, for example, produced the Amazon original Ted Bundy: Falling for a Killer. “He’s a serial killer who everyone in the world knows about,” Dufour says. “But rather than glamorizing him and once again giving him a voice, there was a conscious decision from the producers not to let him speak, but to have his story told by the women who were his victims and are still alive.”

PUMP UP THE VOLUME

A+E Networks’ Surviving Jeffrey Epstein puts its focus on hearing from the victims of the convicted sex offender.

While true-crime event specials and series are very much in vogue, the staple of the business remains long-running shows that can become brands in and of themselves.

A+E Networks’ Soriano cites the company’s “megafranchises” such as The First 48. “We have over 390 hours of the original show alone available in our catalog, and we’ve continued to grow The First 48 brand to keep it fresh over the years via spinoffs. This year we’re coming to market with 20 hours of a new spinoff called The First 48: Critical Minutes, which we’re confident this built-in audience will love. We’re also bringing back an old series titled I Survived with a fresh new spin—it’s now I Survived a Crime, and features victims telling the stories of their neardeath experiences; how they overcame what would have been the last moment of their lives. Each story is accentuated with actual footage of the victims fighting back.”

Rive Gauche boasts such offerings as Homicide Hunter, Sins & Secrets, Evil Twins and Ice Cold Killers. “These are the types of series that we consider ‘bread-and-butter’ programming that keeps going on and on because the audience can’t get enough,” Kramer says. “We also have diversified and acquired crime series that are different from the traditional Discovery-type crime shows—which are terrific, but sometimes you have to vary it up. We partnered on a show with CBS Reality in the U.K. called Trace of Evil, and it’s getting very high ratings. It’s in its third season and there are 78 episodes to date. I see this series becoming a longrunning brand.”

are so many possibilities for formats, production companies and broadcasters.”

Crime Watch XY is one of ZDF Enterprises’ main highlights this fall. The show has run on the German pubcaster for more than five decades. In it, unsolved cases are reenacted and surveillance footage and other evidence presented before the home audience is asked to call or e-mail in potential leads.

Crime Watch XY was adapted in the U.K. and has recently been optioned in France, Rückauer says.

Crimes involving celebrities are also must-watch events, as evidenced by the tremendous success Lifetime had with its Surviving franchise, consisting of series on R. Kelly and Jeffrey Epstein. Surviving Jeffrey Epstein, a key international highlight for A+E Networks this fall, “features the survivors of his horrific crimes telling their own stories in their own voices,” says Soriano. “It also features interviews with those who were directly in Epstein’s orbit, giving our series the unique opportunity to uncover the complexity and scale of Epstein’s global sex-trafficking operation. We also cover the arrest of Ghislaine Maxwell, whose trial is pending for July 2021, which is an element the other Epstein projects on the market do not have.”

While Epstein is still very much in the news, there are several projects on the market at present that explore historical crimes. Off the Fence, for example, is showcasing Who Killed Malcolm X?, an Emmy-nominated Netflix original that “investigates the perplexing details surrounding the assassination of the civil rights leader, bringing startling new evidence to light,” says Loren Syer-Willoughby, head of acquisitions at the distribution outfit.

Blue Ant, meanwhile, is unveiling Fred & Rose West: House of Horrors, which was broadcast on ITV to mark the 25th anniversary of the gruesome discovery of bodies buried under the house of the now notorious serial-killing couple. “It provides lots of new details about the role of Rose within the couple,” says Dufour. “The host of the show, Trevor McDonald, also reported on the story 25 years ago, so he brings an interesting perspective.”

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on the Force. The former, which delivers exclusive insider access to a men’s prison, is “both a crime show and a high-impact documentary that has the potential to influence legislation,” says Dufour.

Meanwhile, of Women on the Force, Dufour says there are “lessons to be learned from this show that could be implemented in real life.”

STREAM ON

ZDF Enterprises is offering the international market its longrunning series Crime Watch XY.

Off the Fence is showcasing two titles that recently came out of their Netflix holdbacks: the previously mentioned Who Killed Malcolm X? and Murder Mountain. According to Fischer, there are clear differences in the needs of channels and streamers in the true-crime space.

“Generally speaking, linear broadcasters prefer cases that are closed, and the story can unravel with a beginning, middle and end rather than an investigation into a cold case. Streamers, however, are slightly more open to different styles, so there’s more creativity and flexibility for this genre. Celebrities can attract the attention of most broadVolume is important for broadcasters who air true-crime casters regardless of the genre, but especially if they’ve shows, Kramer adds, “Volume allows a broadcaster the best done something illegal!” chance to give the series some time to get the audience to A+E Networks’ Soriano has a different take, observing, “On catch on. Homicide Hunter was a good example of this.” linear television, we’ve found that viewers want those preHowever, in catering to the loyal base of true-crime viewmium, blue-chip true-crime stories. What we call sensaers (mostly women 25 to 54, Kramer says), it’s important to tional crime—scandalous, true cautionary-tale types of showcase a varied mix. “If you are programming crime, you programming—has moved towards streaming. When you put have to mix it up and keep offering it.” all platforms together, you can see how all of the crime [shows] In speaking to the breadth of Rive Gauche’s slate, Kramer can coexist.” references Very Scary People, “an in-depth way of looking at Whatever the platform, the most critical element is finding famous serial killers,” and the more recent The Killer Truth, in which each episode looks at a murder case from the perspeca way to stand out. tive of five people who are close to it.

Soriano mentions the need for a “unique lens” and refGRB Studios, meanwhile, has ten seasons of ID’s On the erences the approach employed at A+E Networks that Case to offer international buyers, as well as flagship shows has seen true-crime stories covered in both scripted and such as Executed, For My Man and It Happened Here. non-scripted mediums. For example, the company slated At Blue Ant, See No Evil is up to six seasons of looking at a Beyond the Headlines companion doc to the Lifetime how CCTV camera footage has been used to solve crimes.

TV movie Stolen by My Mother: The Kamiyah Mobley “It’s a long-running series with closed-ended episodes,” Story, produced under the Robin Roberts Presents label. In says Dufour. it, the famed journalist “was able to sit down with the But, echoing Kramer’s point about variety, Blue Ant is also real Mobley and others in her life. We have more Beyond offering up shorter-run productions such as Prison and Women the Headlines events, as well as plenty of projects with A-list talent and production companies, coming down the pipeline in the truecrime space.”

The diversity in the genre speaks to its durability, says Fischer at Off the Fence.

“It’s quite a versatile genre, so it can depend on the nature of the style, being either story- or character-driven or latenight gruesome cases.”

“It always comes back to good storytelling,” concludes GRB’s Woodle. “The GRB lineup features over 900 hours of masterfully crafted crime stories, told in a way that keeps the audience glued to the screen, asking ‘Who done it?’ till the very end. Often, viewers will rewatch crime content even though they know how it ends, proving that nothing beats a great story.”

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all3media international’s Eddie Eats America.

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Hungry for

MORE The appeal of culinary shows is soaring among casual foodies and practiced home chefs alike. By Chelsea Regan

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n the earliest days of the coronavirus pandemic, as lockdown measures were enacted in cities, states and countries across the planet, people headed to the kitchen. Not only was this collective embrace of the culinary a necessity, with dining out practically impossible and daily deliveries unsustainable, it was also a way to productively use the extra time spent at home— whether as a solo pursuit or one that could be shared with the whole family. Those who had long struggled to so much as boil an egg were preparing to get their hands dirty while honing the basics, and those already accustomed to whipping up tasty eats were eager to up their game with a range of new techniques and dishes. Of course, aside from providing instruction and inspiration, food shows entertain and can bring world cultures to the comfort— and safety—of your home.

QUARANTINE BITES “Two things people are doing now more than ever before is watching content and cooking,” says Chris Knight, the president and CEO at Gusto Worldwide Media, who notes that the cookery platform Gusto TV’s numbers are way up. “We’ve tapped into a zeitgeist; we’re in a sweet spot where entertainment meets necessity.”

Boat Rocker Rights is seeing a similar taste for its many cooking shows. “Our clients are constantly sniffing out what’s new in the space,” says Natalie Vinet, VP of global sales for

factual at the company, which represents the likes of Mary’s Kitchen Crush with Mary Berg and Anna’s Occasions.

Vinet, who believes it’s vital to have accessible and engaging hosts who can radiate their passion for food through the screen, adds: “I think that the COVID-19 situation has revived the more traditional-style cooking shows, particularly amateur cooking and instructional formats, and with more people staying at home, everyone is embracing their inner chef.”

Escapade Media has seen an increase in the demand over the past nine months, according to Natalie Lawley, managing director. “This genre provides inspiring options for viewers to create new types of dishes or learn new skills during this difficult time, and who doesn’t want to be a better cook?”

Stephen Driscoll, executive VP of EMEA sales at all3media international, says that while culinary titles have always been popular, buyers and their audiences have been looking for more home cooking inspiration and food shows with a travel element this year. He mentions the 15th season of the BBC Two series Great British Menu, which “tapped into the audiences’ need for an entertaining distraction from events outside and a celebration of great cuisine in a competitive but fun setting. Every season has a theme, and this year it was children’s literature and their authors. I suspect that families were spending a lot more time together this year, [making] that season really work well for the audience.”

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MasterChef Canada winner Mary Berg demonstrates her culinary skills in Mary’s Kitchen Crush, on offer from Boat Rocker Rights.

Like everyone else, celebrities, too, have found themselves fending for themselves in the kitchen more than usual, inspiring a raft of celebrity-led cookery shows filmed from within their own homes. On HBO Max, for instance, there’s the Selena Gomez-led Selena + Chef, which sees the singer and actress learning how to cook from a new esteemed chef in each episode.

Gordon Ramsay, the star of Kitchen Nightmares; 24 Hours to Hell and Back; Uncharted; Gordon, Gino and Fred’s Road Trip and Hotel Hell, is “a global name who commands an audience in any market,” says all3media international’s Driscoll. “He has a global reputation and career engaging audiences everywhere. And every year, he and Studio Ramsay are looking at ways to bring something new to the audience that will stand out from the crowd.”

Of course, not every company can have someone as famous around the world as Ramsay top-lining multiple series across their slate. And as far as Gusto’s Knight is concerned, star power is not the only way to strike a chord

with viewers—especially when among the main goals is reaching an international audience.

“We designed Gusto, from the very first day six years ago, to be a global brand,” says Knight. “If you look at our hosts, our content, there is tremendous cultural diversity. Our existence is based on celebrating global culture, so we have young, articulate, passionate millennial hosts from all over the world, speaking of love and passion and family.”

These themes are proving to be particularly important with the global community trying to adjust to life during this pandemic. “These are incredibly challenging times, and food series of all types can offer the opportunity for families to come together over cooking,” says Escapade’s Lawley. “This is an activity that can be done in and around the home while also being a platform to provide care for neighbors that may be struggling. The creation of a meal not only provides nutrition but can also be the way in which we reach out to care for our wider communities.”

UNIVERSAL FLAVOR The evolving vertical of cooking programs offers something for everyone. “Some people just watch food shows for entertainment, knowing they will never cook what they see, and they gravitate toward the competition format,” says Boat Rocker’s Vinet. “However, others who are foodies and home cooks have their taste buds tickled by the more instructionalstyle series or those that celebrate the origins of food flavor and food travel.”

And amid COVID-19, those involved in food programming (and most other industries) are in search of new ways of appealing to consumers. “This could be with new formats that reflect how things have changed during the pandemic or

Gusto Worldwide Media’s lineup includes the series One World Kitchen.

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Like a Chef, a series that recently wrapped filming. Gusto currently has in the works a new global fusion cuisine show called CombiNATION Plates. In it, chef-host Bianca Osbourne is aided by visual storytelling to show how cultures can be combined. The recipes feature combinations like Greek and Canadian cuisines and Chinese and Italian cuisines.

Over at all3media international, Driscoll takes pride in the company’s offering of shows in the “travel/food/feats of strength” subcategory, such as Eddie Eats America, produced

by North One TV for UKTV. “The producers certainly found a fresh and engaging host and format in which to bring someone new to the food and travel genre. It follows former World’s Strongest Man Eddie ‘The Beast’ Hall traveling across the U.S. and performing feats of strength while learning about local food hotspots and trying to win local food challenges.

“We are very fortunate to work with some of the best producers around,” Driscoll adds. “They are constantly finding new and interesting ways to look at these subjects and engage an audience.”

TAKING FLIGHT

Escapade is showcasing Slice, fronted by popular food personality Adam Richman.

shows that explore how the restaurant industry is reinventing itself and how virtual and ghost kitchens can work in new show formats,” says Vinet.

One subcategory that enjoys some difference of opinion among the surveyed execs is competition cooking series.

Escapade’s Lawley finds that they can claim continued popularity across all media, while Gusto’s Knight isn’t confident that the category has what it takes to endure. “I think competition shows are dying,” he says, while conceding that the big shiny-floor shows will likely stick around because of their entertainment and high production values. “It’s the other competition shows that, as a genre, have pretty much run their course. Listen, when you have the words ‘Christmas’ and ‘wars’ in the title of your show, you know you’ve jumped the shark.

The problem with those shows, of course, is that they have no shelf life. There’s no repeat viewing. You run out of things to compete about, and then it just becomes redundant.”

RECIPE REBOOTS Gusto prides itself on offering food and cooking programming for a new generation. “We’re reinventing the genre,” says Knight. “It’s not about the linear assembly of ingredients and the application of a heat source. If you watch our shows, even the ones in the studio, nobody ever mentions a quantity—a half a liter of this or a cup of that or a 350-degree oven. Nothing is ever talked about in terms of assembling the dish. What our talent talks about is joy and passion and love and culture and aromas and textures.”

This ethos can be seen in Gusto titles like Flour Power, which continues to do well for the company, and Cook

The travel element in Eddie Eats America is an important one in food series. It’s “good for attracting an international audience, but the producer has to think outside the box to find a way to present that in new, engaging ways on-screen,” says Boat Rocker’s Vinet. “Late Nite Eats is a great example of this sort of show, which sees Jordan Andino traveling various cities to find the ultimate in after-hours cuisine.”

“There’s an opportunity to live vicariously through the programming,” says Gusto’s Knight, who finds that these sorts of shows represent achievable luxuries. “In this time, when nobody can go anywhere and nobody can do anything, and everybody is deathly afraid and we have small bubbles, experiencing the world through food is an affordable luxury that pretty much anybody can avail themselves of.”

Part of traveling—virtual or otherwise—is encountering local eats. And food shows are often able to be on the ground to give a look at how and what locals around the world are eating. At Escapade, Lawley says, “Sourcing our ingredients locally has become a huge part of our shows as well as being conscious about how ingredients are grown and sourced.” She adds: “We have especially looked for food varieties that have not been covered before.” Slice with Adam Richman, for example, “takes us all over the globe exploring how flatbreads and pizzas have become one of our most-loved food.”

Boat Rocker’s Food Pop also covers popular foods consumed worldwide, showing how recipes change in each region or country. “From hot dogs to popcorn, from chocolate to tacos, the series highlights how these famous creations were born and evolved to what we know and how they impact our culture as inspiration for art, jewelry and even amusement parks,” says Vinet.

Knight, who notes that Gusto shoots everything in 4K, further believes that a key separator when it comes to food programming, in these times or at any time, is that it can reach viewers on a physiological level: “It can make your pupils dilate, and your mouth water and your tummy rumble. It can make you hungry. And that’s a very powerful emotional connection with the viewer that you can’t get from virtually any other type of television.”

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TV REAL: Were any of your productions impacted as a result of the COVID-19 shutdown and subsequent travel restrictions?

HOLZER: COVID-19 principally prevented us from traveling, but in the spring, we were lucky enough to have finished all the principal shooting for a couple of products, so we could go right into postproduction and editing. Also, I’m working on a lot of films with local teams—in the U.S., the U.K., South Africa. That works well.

KÖHLER: We have a lot of green initiatives running at Terra Mater. One of these initiatives—which helped us a lot during lockdown—is the reduction of travel activity to keep CO2 emissions low. So, we’ve established quite a big network around the world, working with local teams who are in the place of the event, who have the best expertise in the region, and we just travel with directors and producers. [During COVID-19], contact with the teams was more or less virtual. It worked out. One of our big feature docs is expecting its last shot hopefully soon in Russia. We postponed the start of one production about primates—not because of traveling but because the whole shoot would have been harmful to the great apes we wanted to film in Africa. And we had to evacuate one team out of India.

That was more or less where we were hit.

TV REAL: The SVODs have seen their businesses grow during the pandemic. How is the proliferating digital landscape impacting your business? Are they creating opportunities for new kinds of stories to be told?

HOLZER: The OTT platforms have been there since before the binge-watching and lockdown period. It’s not a surprise they grew subscriptions. We are working with all the different outlets for our productions, be it public broadcasters, pay-TV or OTT platforms. For us, they are great complementary outlets.

We are developing our products for all of them.

Sabine Holzer & Walter Köhler

Terra Mater Factual Studios

By Mansha Daswani

erra Mater Factual Studios doesn’t just make beautiful documentaries about the Earth’s natural wonders; the company, founded by Walter Köhler almost a decade ago, is actively working to protect the planet’s precious resources. From campaign-driven feature docs like Sea of Shadows and The Ivory Game to developing a green strategy that can be implemented at other production houses to a series of videos on its own YouTube channel, Terra Mater Factual Studios has made fighting the devastating effects of climate change a key part of its business model. In the process, it has become a well-respected fixture in the global documentary production sector with titles commissioned by and sold to free, pay and OTT platforms across the globe. Köhler, the company’s CEO, and Sabine Holzer, head of specialist factual, share with TV Real what’s new at the company and reflect on trends in the factual business.

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KÖHLER: Especially on the feature-film side, which I’m handling, [the SVODs] are getting more and more important. We will see how cinema will compete. This will be a key issue in making these big films possible. At the moment, we are also experimenting with different types of storytelling. We just finished a film in co-production with our French friends Bonne Pioche called The Bastard King, which is about a lion hero. It’s made with real documentary footage but telling a fictionalized story, with some political backgrounds. We’ll see how this works. It will premiere on Canal+. We are [selling] the worldwide rights. I would not be surprised if some of the platforms would be interested in this new way of storytelling.

TV REAL: Do you think COVID-19 has opened people’s eyes to what we are doing to the environment—and how we can change it?

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KÖHLER: My feeling is we have to develop much more awareness. At the moment, the world is just interested in a vaccine and not eliminating the reasons for this virus. My feeling is, our society is living a very unnatural life. The wet markets in China, the bushmeat trade in Africa, the industrialized animal farming we have in our Western-dominated civilization. This is the reason for COVID-19. If you do not fight that, the vaccine will maybe help against COVID-19, but the next disease is just around the corner. We have to harmonize our life toward nature; otherwise, we are doomed.

TV REAL: How do you put these important messages of conservation in your storytelling so that these films can have a real-world impact?

KÖHLER: On the feature doc front, when we do these big films like The Ivory Game or Sea of Shadows—which was nominated for a Primetime Emmy—there’s a political target area. When we start the project, we single out one political target we want to reach. With The Ivory Game, it was to help bring down the Chinese market for ivory, which we succeeded in, just two months after the film was released. It won at the Beijing International Film Festival and two months later, the Chinese administration publicized that they would stop every legal trade of ivory. On Sea of Shadows, we took a lot of initiatives to get the Mexican government working on that issue [the poaching of fish in the Sea of Cortez that is endangering vaquita porpoises]. And although it’s not solved, the situation is better than before, and we do hope they will find a solution to this complex environmental problem. This is what we try to do in these campaign-driven films. At the moment, we are also finishing a big project on ANWR [Arctic National Wildlife Refuge] and the attempts to legalize oil drilling there. We’re finishing our first IMAX movie [America’s Arctic]. There will be a television version where we show the audience through the beauty of the place how significant the threats are and how easily this natural treasure chest can be destroyed. Especially in Sabine’s department, we try to hint at what people can do to protect the beauty of nature through its own beauty.

And since the fall of last year, we have a new, direct and immediate way to create awareness for endangered species or regions: our own Terra Mater YouTube channel, which has already reached more than 125,000 subscribers.

Committed to our conviction that #terramatters, we create weekly videos about, for example, the origins of pandemics, the consequences of the sale of Alaska’s last wilderness, the deadly threat of ship strikes to whales or any other environment- and conservationrelated issues.

TV REAL: What are some of the other projects you’re working on that you’d like to talk about?

HOLZER: For the fall season, we have quite a lot of films coming up. One is a big international co-production on the European Alps, with partners all around Europe and PBS in the States. I have two films on China: one is about Himalayan wildlife, starring the snow leopards, and the second production is showcasing the most beautiful animals of China.

TV REAL: What else is coming up for Terra Mater?

KÖHLER: Next year, we are ten years old. We will also publicize our green strategy. We hope that a lot of national and international production friends will find our recommendations appealing and try to help green the production business further and further. We need that. We are producing regulations for the whole production industry: how you should behave on set, how you should handle waste, what is the best way to reduce electricity, gas bills, how you can compensate for flights you have to take. Things like that give the industry perspective on how green a production can be. We are even going so far as to say by the end of the year, we will have our own CO2 calculator that you can pin down what the effect of the production is on the planet.

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Snow Leopards and Friends is among Terra Mater’s slate of new high-end wildlife productions.

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Mariana van Zeller

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s you watch journalist Mariana van Zeller chase down a lead on the counterfeiting business in Peru or interview a masked con artist in Jamaica in the upcoming series Trafficked, it’s easy to feel like you’re screening a new Hollywood movie or edgy OTT thriller. The new National Geographic series— already renewed for a second season before its January 2021 premiere—takes audiences deep into black markets across the globe. It reveals how these underground trades work and offers some surprising insights into the people who are responsible for the illicit trade in money, drugs, weapons and more. The Portugueseborn Peabody Award-winning journalist has spent much of her career exploring the business of trafficking and its impact on the sellers, buyers and everyone else caught in the crosshairs. As she tells TV Real, the opportunity to do a series like Trafficked was a dream come true.

By Mansha Daswani

TV REAL: How did the series come about?

VAN ZELLER: I’ve been covering black markets and the underworld for over 15 years. It’s always been the type of reporting I was attracted to. When I was at Nat Geo working for Explorer as a correspondent, I kept pitching ideas about the underworld, because it’s what I’m passionate about. I ended up doing a couple: one was about a drug war in Mexico, the other about tunnels in Gaza that goods are trafficked into. I think [Nat Geo] liked those two stories and I went back to them and said, I want to do a show about this world, where in every single episode we try to penetrate one of these trafficking networks.

They liked the idea, and within a few months, we were in production, which was incredible. It was a dream come true for me. I can’t think of a better place to do this for than Nat Geo. TV REAL: How did you come up with the initial list of the trafficking networks you wanted to explore?

VAN ZELLER: Choosing the topics is complicated. There are lots of things we are fascinated by, but we know it’s going to be almost impossible to penetrate. There were a lot of times we thought there was no way we’d be able to get the access we needed to tell the story from the inside. But we hired an incredible team of people and Nat Geo allowed us to spend months in preproduction on these stories. The hardest part is getting access, so it’s months and months of trying to find a way into these worlds. In 99 percent of the cases, we’ve been able to penetrate them.

One thing that is different from the past reporting I’ve done on this is, we wanted to make it feel premium. I’ve done a lot of very raw reporting. With this, we wanted to elevate the look and feel. The crew is bigger than what I’m used to working

with. I was worried about that, given the kind of reporting we do. Usually, the smaller the crew, the smaller the footprint, the easier it is. We had six people on the ground, two cameras, one sound person, but it worked. We combined these two worlds of access and beautiful cinematography. I wasn’t sure if it was going to work, but it has. That’s what makes it special.

TV REAL: For the traffickers who let you into their criminal lives, what is their motivation?

VAN ZELLER: It’s super fascinating. I think it’s a combination of factors. I’ve worked a lot in Mexico, where there are many splinter groups. So even though I’m talking to the Sinaloa cartel, there are different groups within that. [Talking to] an international organization like National Geographic, which is known all around the world, and an American crew with big cameras who are interested in their stories and their business and what they do, it’s very much an ego-driven thing. And they’re showing off to their competitors, and ultimately to the government itself: “We have this power and we’re doing this right under your noses.” In the counterfeiting story we did in Peru, you had these people who have spent years and years of their lives honing their craft. They have enormous pride in the work they do. And they have no one to talk to about it. For a lot of them, their families don’t know what they do. We’re giving them a chance to talk about something they are very passionate about and very good at. And then there are cases where it’s a mix of ego and not giving a damn. They also really trust that we will protect their identity. It’s an opportunity to tell the world, I’m the best at this, I don’t care what anyone thinks, but my identity will be protected so law enforcement will never actually catch me.

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TV REAL

Nat Geo’s Trafficked with Mariana van Zeller explores, among other trades, the gun smuggling business.

TV REAL: How does your relationship with law enforcement work? I imagine they are eager to hear what you have learned from your own investigative work.

VAN ZELLER: My job as a journalist is to report the facts. A lot of the access I get into this world comes with an absolute obligation on my part to protect my sources. When we’re working with law enforcement, we’re not telling them what we’re seeing on the other side. There have been cases where law enforcement has asked us for details, and that’s just not something we feel comfortable doing. Not only could this harm the people who spoke to us, but when you’re talking about Mexican cartels, it could harm us. If they find out we’re disclosing information after we promised them we wouldn’t, they wouldn’t be happy and the consequences of that are scary.

TV REAL: The Nat Geo name doesn’t carry the baggage that a news network like CNN or Fox News would. Does that help you as you’re convincing people to speak to you?

VAN ZELLER: Absolutely. Not only does it not come with baggage, but it also is known all around the world. Whether we are in Thailand or Israel or Laos, people recognize it, they trust it, which is very important when we’re doing this kind of work. They tend to trust us as a team—if we’re employed

by National Geographic, then we have to be serious journalists and have to be telling the truth about what we intend to do here. It has helped us open doors all around the world. I can’t think of another place that would do that.

TV REAL: I know you can turn the cameras off or disguise their identities, but how do you get these traffickers to trust you enough to show you how they work?

VAN ZELLER: There are a lot of things we’ve learned along the way. One of the big concerns always when we try to get access to these groups is that they don’t know who we are and they immediately suspect we are law enforcement. Who are these people who want to see our drug labs and our counterfeiting factories? A huge part of it is trying to convince them, and that involves sending links to my past work so they can verify and trust we’re journalists. We’ve hit the ground on several occasions and thought we were going to get access and everything changed and we had to start from scratch. We’ve learned that once we hit the ground, that first encounter is crucial. We can be talking for months and weeks, but then there’s that first encounter. Sometimes that happens with just me. We had situations in Mexico like that. It was the middle of the night and we were trying to get access for the gun smuggling story. A person was going to give us access to this transaction happening on an island in the Gulf of Mexico. In order to give us access, he wanted to meet me first—just me, not my crew. It was the middle of the night and I went out to meet this guy. The fixer I worked with came with me. It was nerve-racking. I wasn’t sure if it was the right thing to do. And then I got there and he said, Why should I trust you? I showed him my profile, my Instagram account showing photos of me with armed, masked men all around the world! He went and spoke to his boss and the next day we were told to meet at a port and a boat was there to pick us up and they took us to the island. At the end of being able to film the whole operation, where they were selling guns to someone, I said, Do you trust us? He said, “No, I still don’t, I’m not 100 percent sure you are who you say you are. That’s why I have several gunmen around us right now, in case things go south.” It’s certainly been a learning curve.

We’ve managed to stay safe. And at the end of the day, it’s not in their interest to harm us. In many cases, once we get that access, we are under their protection. Honesty is so important: disclosing why we’re there, what we’re doing, and then trying to understand [them]. The most fascinating thing about this series is that even though it is about criminals, it has taught me, and I hope it shows, that the world isn’t so black and white. These people, who we think of as criminals, are moms and dads and sons and daughters and are a lot more like us than we’d like to think. Once I start asking questions about their lives and their motivations, I think they sense that there’s a connection between us.

TV REAL: Witnessing some of those stories about the devastation these underworlds can wreak on lives, how do you cope with it?

VAN ZELLER: It’s hard. It’s especially hard because I’m a mother.

I was following a woman crossing the border into the United States with five kilos of fentanyl. I’ve spent a big part of my career doing stories about the opioid crisis and talking to mothers who lost their kids. This woman crossing with fentanyl was herself a mother. She said she was just trying to provide for her kid. For me, it was a hard spot to be in. On the one hand, I had gotten to know her and I didn’t want something bad to happen to her. At the same time, she was carrying fentanyl and I knew where it was going to end up and the consequences of that. I have a 10-year-old son. That afternoon I went straight to watch my son play soccer. And there’s this moral battle going on inside of me. It’s complicated. We carry a lot of baggage in these stories, for sure. There’s no way I can come home and forget this has all happened.

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WORLDSCREENINGS

Brain Power Studio

Shines On creative entertainment company based in Canada, Brain Power Studio makes the kind of feel-good scripted liveaction films that never seem to be lacking in demand. So while the coronavirus pandemic has introduced unprecedented challenges and complications for the international content industry, the company has found itself uniquely positioned to thrive amid the global health crisis.

“Having our own exclusive facilities and crews allowed us to return to filming safely very early this summer,” explains Beth Stevenson, Brain Power Studio’s founder and executive producer. “We are starting our fourth film since the shutdown. We have also kept all of our 50 employees full-time over that period.

This allowed us to prepare our COVID-19-compliant plans and safely produce our films. We are very optimistic that our success will continue during these times of uncertainty.”

A

From family drama series like The Wedding Planners, which homes in on the loving dynamic between three siblings seeking to keep their mother’s legacy alive; to holiday love stories like Christmas with a Prince and its sequel, Brain Power Studio’s catalog leads with heart and follows through with its efficiency. “Being swept off your feet by a prince is a love story that never gets old,” says Stevenson. “Christmas with a Prince was so well received globally, it has branched out with a sequel, Christmas with a Prince: Becoming Royal.” Another romance on Brain Power’s slate is Love By Accident, “which shows that you can find love even when you least expect it; a love story that can be watched all year round.”

Brain Power is keen to bring inclusive content to the marketplace, with diversity both on- and off-camera. The company has brought onboard differently-abled actors, featured same-sex romance and has in the works a film with an LGBTQ+ adoption storyline. “Brain Power has always been a

By Chelsea Regan

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leading advocate for diversity and inclusion,” says Stevenson. “It’s in our DNA to spend time ensuring gender and racial parity in front of and behind the camera. Our storytelling reflects contemporary society.”

Putting together this portfolio of affecting evergreen titles, Brain Power is able to oversee just about

she adds. “It also allows us to work with networks and digital platforms on multiple projects where they can be assured consistency over a long filming period because the locations are always available to us.”

As Stevenson looks ahead to what the next couple of years will hold for Brain Power, she expresses confidence in

“We are very optimistic that our success will continue during these times of uncertainty.”

—Beth Stevenson

The Brain Power slate includes a number of romance movies, among them Art of Falling in Love.

every aspect of the process with its vertical integration and robust global distribution team. “We own and control filming facilities and equipment,” Stevenson explains. “We also have all key creatives full-time on staff, including postproduction and VFX teams. This allows us to creatively develop, produce and deliver consistent high-quality films. It works like a movie machine.”

“Having our own Hollywood-style backlot allows us to push the boundaries of locations and art direction,”

the company’s ability to broaden its reach by conquering the ever-expanding world of streaming platforms.

“We have been a true and trusted supplier to a wide selection of global broadcasters and OTT outlets,” says Stevenson. “Our catalog has really stood the test of time, and we can see that our films have been widely sought-after by both buyers and audiences alike. We are excited to use our tech-savviness to increase our abilities to transport viewers to other worlds! Watch this space.”

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*LIST_1020.qxp_LIS_1006_LISTINGS 9/24/20 1:52 PM Page 1

IN THIS EDITION 1

8

9 Story Media Group

Guru Studio

A+E Networks

Gusto Worldwide Media

Aardman

Incendo

2

Insight TV

ABS-CBN Corporation Acamar Films ADK Emotions NY Albatross World Sales all3media international AMC Studios APC Kids

Jetpack Distribution Kanal D International

9 Korea Creative Content Agency (KOCCA) Lionsgate Entertainment Madd Entertainment

3

Mattel

Atlantyca Entertainment

10

Australian Children’s Television Foundation

Mediatoon Distribution

Autentic Distribution

MISTCO

Banijay Rights

Mondo TV Group

Beyond Rights

NHK Enterprises

Blue Ant International

Nicely Entertainment

4

Nippon TV

CAKE Calinos Entertainment Caracol Televisión CBC & Radio-Canada Distribution

Donkey Hodie

Magic Light Pictures MarVista Entertainment

Brain Power Studio

11 NTV Broadcasting Company Off the Fence ORF-Enterprise pocket.watch Portfolio Entertainment Rainbow

5

12

Constantin Entertainment

Red Arrow Studios International

Crown Media International Distribution

Rive Gauche Television

Crunchyroll

Ruptly

Cyber Group Studios

Russia Television and Radio/Sovtelexport

Dandelooo

Serious Lunch

Dori Media Group

Sixteen South Rights

6

13

Eccho Rights Electric Entertainment eOne eOne Family Brands Escapade Media FilmRise foo entertainment Gaumont

7

9 STORY MEDIA GROUP w www.9story.com Donkey Hodie (Kids 3-5, puppet comedy, 80x11 min.) In the land of Someplace Else, Donkey Hodie and her pals empower preschoolers to dream big and overcome obstacles, work hard and persevere, be resourceful and discover they can solve programs on their own.

Inter Medya

Armoza Formats

Boat Rocker Studios

TV LISTINGS

Soho Formats

Guitar & Drum (Kids 3-5 CG, 52x5 min.) Follows the adventures of two musical instruments who are also best friends.

Luo Bao Bei (Kids 4-7 2D, 104x11 min.) Luo Bao Bei is a bright and spirited 7-year-old girl with a vivid imagination, on a quest to understand the world around her.

Bad Nature (Kids 6-11 live-action comedy, 25x5 min.) Marv the Mandrill, Gloria the Puma and their roving animal reporters answer weird questions about the amazingly revolting and delightfully disgusting world of animals you never knew existed.

Dr. Panda (Kids 3-6 3D, 39x7 min.) Welcome to the wonderful world of Panda City, where every day Dr. Panda tries out a new job working together with his friends.

Book Hungry Bears (Kids 3-5 3D, 52x11 min.)

Join Crystal, Boomer, Melody and Scout as they play and explore together, learning lessons from the books that flit and flutter like birds amid the paper trees.

Moon and Me (Kids 2-5 stop-motion, 50x22 min.)

Inspired by well-loved tales of toys that come to life, the story of a special friendship between two characters from completely different worlds.

Clifford the Big Red Dog (Kids 2-5 2D, 78x11 min.) Join Emily Elizabeth and her big red dog, Clifford, as they explore their island home and go on big new adventures.

Xavier Riddle and the Secret Museum (Kids 4-7 2D adventure comedy, 74x11 min. & 1x55 min.) Follow the adventures of Xavier, Yadina and Brad, as they travel back in time to meet famous heroes of the past and learn how to be their own heroes of the present.

The Magic School Bus: Rides Again (Kids 4-8 2D adventure, 26x22 min. & 4x44 min.)

Follow eccentric teacher Ms. Frizzle and her eager students on a new set of science-based adventures aboard the magical school bus.

A+E NETWORKS

m intl.sales@aenetworks.com

Studio 100 Media

w sales.aenetworks.com

STUDIOCANAL Superights Terra Mater Factual Studios The Story Lab

14 Toon2Tango TVF International

Surviving Jeffrey Epstein (Factual crime & investigation, 4x60 min.) Investigates how the elusive Epstein built a global network that preyed on young girls and women.

The Cars That Made the World (History, 4x60 min.) Exploring over a century of innovation, the series tells the story of a group rival engineers who created a revolution in transportation and forever changed the world in the process.

ViacomCBS

Genius Brands International

ViacomCBS International Studios (Americas)

Global Agency

WildBrain

Global Screen

Winsing Animation

GMA Network

15

GoQuest Media

Xilam Animation

GRB Studios

ZDF Enterprises

The Cars That Made the World

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History’s Greatest Mysteries Featuring Laurence Fishburne (History, 1x120 min. & 3x120 min./6x60 min.) Investigates a wide range of historically compelling topics and mysteries surrounding each, including the Titanic, D.B. Cooper, Roswell, John Wilkes Booth and more.

Nine Lives of Ozzy Osbourne (Bio., 1x120 min.) Who is the real Ozzy Osbourne? The heavy metal madman, rocking out with Black Sabbath and biting heads off bats, or the befuddled patriarch of a reality sitcom family?

Wendy Williams: Hot Topic (Biopic., 1x120 min.) This authorized special lets the talk show star tell her story.

Tim Allen’s Hardware Games (Reality competition, 10x60 min.) Home Improvement stars Tim Allen and Richard Karn reunite for a new competition series that spotlights the country’s best and brightest builders in their home workshops.

A Murder to Remember (Ann Rule) (TV movie, 1x120 min.) A woman finds herself in grave danger when she accepts help from a seemingly friendly camper.

Sleeping with Danger (Ann Rule) (TV movie, 1x120 min.) Kate Jewell must go into hiding when the man of her dreams becomes increasingly jealous and violent.

Once Upon a Mainstreet (TV movie, 1x120 min.) A budding entrepreneur who tries to buy a storefront finds herself in competition with a handsome local merchant—and vying for the favor of the kind elderly seller.

AARDMAN

m hello@aardman.com

w www.aardman.com

Brave Bunnies (2D edutainment, 52x7 min.)

Follows a family of courageous and curious bunnies as they meet new friends and make discoveries while traveling on the Bunny Bus.

Brave Bunnies

The Snowman and the Snowdog (2D Christmas special, 1x24 min.) Aired 30 years after the first transmission of The Snowman, also distributed

by Aardman, this story introduces viewers to a new puppy friend.

Pop Paper City (CGI view-and-do adventure, 52x11 min.) A craft show with adventure focusing on a group of friends who live at Pop Paper City, the capital of a stunning paper world.

Digby Dragon (CGI comedy, 52x11 min. & 26x11 min.) Every day is an adventure for Digby and his friends in Applecross Wood.

Numberblocks (CGI educational, 90x5 min.)

Uses humor, music, delightful characters and engaging storylines to show children how numbers really work.

Two Minute Tales (2D comedy, 30x2 min. & 1x6 min.) Tells classic stories in a creative way, encouraging kids to learn about key morals while retaining a sense of wonder and surprise.

The Epic Adventures of Morph (Stop-frame comedy, 15x5 min.) Morph, one of Aardman’s first creations, is back with his gang for a brand-new series of action-packed slapstick adventures.

Timmy Time (Stop-frame comedy, 78x5 min. & 2x22 min.) Timmy is the littlest lamb in Shaun the Sheep’s flock, and star of his own awardwinning series.

Shaun the Sheep (Stop-frame comedy, 170x7 min. & 2x28 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.

Wallace & Gromit (Stop-frame comedy, 10x1.5 min., 1x23 min., 2x29 min. & 1x30 min., specials)

1

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2

TV LISTINGS

Wallace and Gromit, Aardman’s most loved and iconic duo, have been delighting family audiences around the world for over 30 years with four award-winning half-hour specials.

ALL3MEDIA INTERNATIONAL

m international@all3media.com

w www.all3mediainternational.com

ABS-CBN CORPORATION

m internationalsales@abs-cbn.com

w www.internationalsales.abs-cbn.com ©Hiro Morita, BBBProject, TV Tokyo ©Hiro Morita, BBBProject

Love Thy Woman (Family drama, 60x45 min.)

Dana and Jia are stepsisters of half-Chinese, half-Filipino descent being groomed to work and someday head the multi-million real-estate business their father established.

Love Thy Woman

I Am U (Suspense drama, 7x25 min.) Elise realizes that letting her doppelganger Rose into her life was a big mistake. After a twisted game turns into a tragic accident for Rose, mysterious deaths begin.

A Soldier’s Heart (Action drama, 65x45 min.)

In the era of modern warfare, seven individuals, each with their own story to tell, choose to walk the path of a soldier.

Fists of Fate (Action drama, 80x45 min.) Fraternal twins JC and Aris are separated in childhood and end up on two very different paths: one becomes a moral law enforcement agent, the other the head of a crime syndicate.

Our Home (Family drama, 60x45 min.) A shocking secret threatens to split the very foundation of the Mabunga family apart.

The Law of Revenge (Drama, 45x45 min.)

Marissa is paid by the wealthy family of her friend Ellice to take the fall for a crime she didn’t commit.

Upon her release she is hell-bent on revenge.

Irreplaceable (Romance/family/suspense drama, 120x45 min.) Emman and Celine work together after their son is kidnapped by a suspected child trafficking syndicate, leading them to a more sinister enemy involving both the police and the military.

ACAMAR FILMS

m sales@acamarfilms.com

w www.acamarfilms.com

Bing (Preschool 2-5 animation, S1: 26x7 min., S2: 26x7 min., S3: 26x7 min., S4: 26x7 min.)

Bing is 3 years old and like all 3-year-olds is energetic, playful and engaged with the world around him.

Bing

ADK EMOTIONS NY

m info@adkemotions.com

w adkemotions.com

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

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 Koryu is ready to take on the world with his new Bey, Ace Dragon.

Beyblade Burst Surge (Kids action/adventure, 26x22 min.) Brother Bladers Hikaru and Hyuga Asahi vow to topple the ruling class of the Blading elite with their Solar Beys.

ALBATROSS WORLD SALES

m info@albatrossworldsales.com

w www.albatrossworldsales.com

On Thin Ice (Nature/science, 1x52 min.) In the Russian Arctic, climate change is happening now and at a worrying pace. The fate of people and wildlife is at stake, as is the entire Arctic.

Grizzly Encounters

Grizzly Encounters (Nature/wildlife, 2x52 min.) One of the few places where grizzly bears still roam free is the National Parks of Alaska.

(Nonhosted version.)

Africa’s Wild Roommates—How Animals Share Bed and Board (Nature/wildlife, 1x52 min.) Weaver birds, aardvarks and termites don’t live alone in their spectacular buildings—all kinds of roommates from insects to large mammals protect the flat, provide food or clean up.

Banquet of the Beasts—The Cycle of Life (Nature/science, 1x52 min.) Science is on the trail of a macabre challenge: to dissect in detail what happens to dead animals in the wild.

Land of the Far North (Nature/wildlife, 2x52 min.) Above the Arctic Circle eternal light and everlasting darkness take turns to challenge all animal and plant life, making this region one of the most extreme, yet remarkable, environments on the planet.

The Meadow—Paradise Lost? (Nature/ wildlife, 1x44 min./1x90 min.) What at first glance seems like an untended pasture is revealed through the lens of a camera as a vibrant and colorful universe: the meadow.

Herders—Guardians of the Earth (Nature/adventure, 5x26 min.) We visit five pastoral communities around the world to pay homage to their sustainable way of life.

Wild Horses—A Tale from the Puszta (Nature/science, 1x52 min.) The story of a beautiful wild Przewalski horse foal born on the Hungarian plains called the Puszta, home of the largest herd of this rare wild horse species.

The Danube (Travel/adventure, 4x45 min.)

Presents nature and people along the Danube and gives insights into different life worlds that are shaped by the river.

Vltava—River of Gold (Nature/travel, 1x52 min.) Follows the course of Bohemia’s lifeline and discovers the treasures of nature and culture that can be found on its riversides.

All Creatures Great and Small (Drama, 7x60 min.) Based on the books of James Herriot, the series transports us to the beautiful Yorkshire Dales in the 1930s and introduces us to a host of compelling characters, both human and animal.

Des

Des (True-crime drama, 3x60 min.) A true-crime drama from the producers of White House Farm focusing on the one of the U.K.’s most infamous serial killers, Dennis Nilsen.

Eden (Thriller, 8x60 min.) In the idyllic coastal town of Eden in Australia, the disappearance of a young woman triggers a devastating chain of events which lays bare the dark, hidden heart of the community.

Roadkill (Drama, 4x60 min.) Hugh Laurie stars as a charismatic politician who expertly walks the high wire between glory and catastrophe as he seeks to further his own agenda while others plot to bring him down.

Gordon Ramsay: Uncharted (Fact-ent., 6x60 min.) Culinary expedition series follows the chef on a globetrotting adventure.

The Savoy (Doc., 5x60 min.) Takes a behind-thescenes look at London’s most iconic hotel; with exclusive access it provides a unique and intimate portrait of the prestigious establishment.

Escape to the Chateau: Make Do & Mend (Doc., 4x60 min.) Dick and Angel Strawbridge help families across the U.K. tackle their DIY and design dilemmas with the help of their children Dorothy and Arthur.

The Search (Format, 60 min. eps.) Brand-new talent show with global superstars Little Mix, who will be creating a new band to support them on their upcoming tour.

The Hustler (Format, 60 min. eps.) From the makers of Gogglebox and Undercover Boss, a high-stakes game show where everyone is under suspicion and contestants and viewers must turn detective.

Lingo (Format, 30 min. eps.) The classic studio wordplay quiz where players race against the clock to solve as many words as they can.

AMC STUDIOS

m amcstudiossales@amcnetworks.com

w www.amcstudiosinternational.com

Soulmates (Episodic anthology, S1: 6x60 min., S2: 6x60 min.) Set 15 years into the future, when science has made a discovery that changes the lives of everyone on the planet—a test that unequivocally tells you who your soulmate is.

Soulmates

The Walking Dead: World Beyond (Horror/thriller, S1: 10x60 min., S2: 10x60 min.)

A new mythology and story that follows the first generation raised in a surviving civilization of the post-apocalyptic world.

Cursed Films (Doc., S1: 5x30 min., S2: 5x30 min.)

Explores the myths and legends behind some of Hollywood’s notoriously “cursed” horror productions,

224 WORLD SCREEN 10/20

including The Exorcist, The Omen, Poltergeist, The Crow and Twilight Zone: The Movie.

The Divide (Drama, 8x60 min.) Explores the personal cost of morality, ambition, ethics, politics and race in today’s justice system.

Sherman’s Showcase (Variety sketch comedy, S1: 8x30 min., S2: 1x60 min. & 6x30 min.) Each episode is hosted by Sherman McDaniels as he takes viewers through time, via music and comedy drawn from the 40-year library of a (fictional) musical variety show.

Dispatches From Elsewhere (Mystery drama anthology, 10x60 min.) Four ordinary people feel there’s something missing in their lives, but they can’t quite put their finger on what it is.

Primal Screen (Horror doc., 1x30 min.)

Acclaimed filmmaker Rodney Ascher (Room 237, The Nightmare) explores the pop culture that left dark impressions on us as children.

Slasher (Anthology horror thriller, S4: 8x60 min.)

Raging serial killers leave carnage in their wake as each character fights to stay alive or meet their fate.

APC KIDS

m lionel.marty@apckids.com

w www.aboutpremiumcontent.com Kid-E-Cats (Preschool 2D, 156x5 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.

Tinka

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, 52x7 min.) Five princesses arrive from faraway lands to study wizardry on the mysterious island of Wondermont.

Tinka (Live-action family, 48x26 min.) When 15-year-old Tinka discovers she is half pixie, half human, she 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 forest friends: Fox, with a taste for the finer things in life, and Hare, who is more responsible and gentle.

Huggleboo (Preschool 2D, 26x7 min.) A wayward little girl lives small adventures in and around her house, exploring things that seem normal to us but 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. But with freaky creatures and oddities, nothing ever goes as expected.

Hello Maestro (2D educational, 7x26x26 min.) The cult series to learn about the human body, the history of humankind, the discoverers and explorers of the world, sustainable development and more.

The Wish (Family live action, 24x26 min.) A young angel is sent to Earth to help 12-year-old July make her wish come true: to spend Christmas with her whole, rather dysfunctional, family.

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.

ARMOZA FORMATS

m info@armozaformats.com

w www.armozaformats.com

Shirt Off Your Back (Lifestyle, 60 min. eps.) Three experts help one candidate put together a stylish and efficient wardrobe. The catch? They must get rid of all of their clothes—even the shirt off their back.

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TV LISTINGS

AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION

m roberta.divito@actf.com.au

w www.actf.com.au

Shirt Off Your Back

The Senseless Dating Show (In-studio dating, 60 min. eps.) One single will have to rely on her senses as five suitors compete to date her—using smell, sound, touch, taste and her “sixth sense.”

The Moves (Dance makeover, 60-90 min. eps.)

Four all-star coaches go head-to-head to prove who can give the best dance makeover of the night.

Beat the Grid (Game show, 30 min. eps.) The studio game show where one contestant fights against millions of viewers to find the answers on a giant grid.

Queens of Love (Dating, 60 min. eps.) Three fabulous drag queens come to the rescue of one hopeless single as they audition four potential suitors together.

Singerella (Factual, 60 min. eps.) Each week, one girl with unfulfilled musical dreams will get a fairytale surprise that could change her life forever.

Babushka (Game show, 60 min. eps.) Presented with ten giant Russian “babushka” dolls, contestants must open eight of them for the chance to win up to $500,000.

Who’s Asking? (Game show, 30-60 min. eps.)

Instead of picking the type of questions to be asked, the two pairs of contestants must select an “asker” from the faces on the screen in front of them.

ATLANTYCA ENTERTAINMENT

m distribution@atlantyca.it

w www.atlantyca.com

Berry Bees (Kids 5-9 2D action, 52x12 min.)

Bobby, Lola and Juliette, three ordinary girls with the most extraordinary talents, have been recruited by the B.I.A. to become spies and solve missions in which only child agents can be involved.

Bat Pat (Kids 5-9 2D sitcom, 104x11 min.) Bat Pat and his friends Martin, Leo and Rebecca unravel mysteries and cross paths with supernatural creatures who don’t really want to hurt anyone. In fact, what they need is help.

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.

Nutri Ventures (Kids 6+ 2D action, 52x23 min.)

Four brave kids have a mission: saving the food in order to save the world in the seven kingdoms.

Because only food can give them Nutri-Powers.

Toy Cop (Kids 3-7 CGI action, 52x13 min.)

When the kid Dori leaves his room, the toy world comes to life, and the Toy Cop crew is there to keep the peace.

Dive Olly Dive (CGI, 104x11 min.) The fun-filled underwater escapades of two research submarinesin-training who, under the guidance of Diver Doug, discover the marvels of Safe Harbour.

ZDFE.junior Catalog Atlantyca distributes programs from ZDF Enterprises’ Junior catalog in Italy.

Bat Pat

First Day (Live-action drama, 4x24 min. & 1x17 min.) Twelve-year-old Hannah Bradford experiences all the excitement and fear associated with the transition to high school, but her first day is even more significant: it’s the first day she will wear a girl’s uniform to school and go by her chosen name.

Life from Space (Science/tech., 2x52 min.)

Looks at the latest findings concerning cosmic events in relation to the origin of life, providing a grandiose perspective of what makes life possible.

Animal Within (Science/tech., 6x52 min.) With 4K material, we examine the extraordinary abilities of animals and give a scientific insight into the world of nature and the fight for survival.

The Huntsman (Sports/adventure, 4x52 min.)

A new generation of hunters is rising. This series follows young hunters through the woods uncovering the art of hunting.

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Edges Unknown (Adventure/reality, 7x60 min.)

Brett Rogers and Cliff Quinn head back in time to try the original toughest jobs, including logging.

World’s Greatest Paintings (Arts doc., 10x60 min.) Andrew Marr unlocks the secrets behind ten iconic masterpieces, created by artists such as Picasso, Turner, Van Gogh and Velazquez.

BANIJAY RIGHTS

m sales@banijayrights.com

w banijayrights.com

First Day

Little J & Big Cuz (Preschool, S2: 13x12 min., S1: 13x12 min.) Five-year-old Little J and his 9-year-old cousin Big Cuz are a couple of Indigenous Australian kids living with their Nanna and Old Dog, exploring their world.

Are You Tougher than Your Ancestors?

(Live-action adventure, 10x24 min.) Living history series that pits the skills of today’s kids against the exploits of children from Australia’s past, to find out how they measure up.

The Hunt for a Killer (Drama, 6x45 min.)

Based on a true story, this series follows the unwavering journey of the two detectives who led an investigation, solving numerous homicides in Sweden during the 1980s.

RFDS: Royal Flying Doctor Service (Drama, 8x60 min.) Real-life stories of the Royal Flying Doctor Service fuel this contemporary series.

Viewpoint (Drama, 5x60 min.) Follows a tense police surveillance investigation into a tight-knit community, exploring if it is ever possible to observe the lives of others with true objectivity and zero effect.

AUTENTIC DISTRIBUTION

m sales@autentic.com

w www.autentic-distribution.com D-Day: Wings of Victory (History, 1x52 min.)

Could the Allies have won the war without an aerial offensive in Normandy? We discover what went on behind the scenes of the historical battle and relive one of the first aerial attacks.

Sacrifice Cassino!—The Hidden Truth (History, 2x52 min./1x120 min.) With never-beforeseen imagery, unpublished documents and CGI reconstructions, we reveal the shocking truth and tragic fate of the bombing of Monte Cassino.

Hope and Fear: How Pandemics Changed the World (History, 3x30 min./1x60 min./1x70 min.) We look back at the world’s largest pandemics; analyze their symptoms, the actions taken against them and their global impact.

Love Around the World

Druids—Mysterious Priests of the Celtics (History, 1x52 min.) Druids, mysterious wizards of the Celtics, have always fascinated the world. New archaeological finds draw a detailed picture of their life and work.

Love Around the World (People/places, 2x52 min./1x75 min.) A young couple decided to turn their honeymoon into a journey around the world, exploring the subject of love through the prism of different cultures, customs and beliefs.

Botswana—Africa’s Last Wildlife Paradise (People/places, 1x52 min.) Explore the highlights of the wild in Botswana. Filmed in 4K, the wildlife footage takes the viewer on an exhilarating safari to the Okavango Delta.

On Sisi’s Traces in Venice (People/places, 1x45 min./1x52 min.) We set off on a journey to follow the traces of the empress in Venice and witness the cliché-labeled young Sisi from an entirely new perspective.

Pooch Perfect

Race to Victory (History doc., 6x60 min.) The thrilling story of how the allies raced to win, and end, WW2 while also seeking to gain territory and power advantages from each other.

Can We Cure Kids’ Cancer? (Doc., 1x60 min.)

Follows three children and their families as they undergo both cutting-edge and traditional cancer treatments at London’s Royal Marsden hospital.

Inside Crime (True crime, S2: 10x60 min.)

Journalist Leila McKinnon and leading criminologist Garner Clancey dissect high-profile brutal crimes, confront the perpetrators and expose the true stories behind the headlines.

Undercut: Wooden Treasure (Reality/ob-doc., 9x60 min.) Cameras follow the work of highly qualified lumberjacks in Italy clearing millions of fallen trees and transforming them into cash.

Bangers & Cash (Reality/fact-ent., S3: 10x60 min.) A family of car-crazy petrol-heads cruises Britain’s back lanes looking for superannuated sports cars, long-lost limos and retired runabouts to bring back to life.

London’s Greatest Bridges

Agatha and the Midnight Murders (Drama, 1x120 min.) As the blitz rages and her future is threatened, Agatha Christie makes the decision to kill off her most famous creation.

Two Weeks to Live (Comedy/drama, 6x30 min.)

A darkly comic tale of love and revenge born from a seemingly harmless prank that goes terribly wrong.

The Other One (Comedy, 7x30 min.) What happens when you discover your dead dad had a secret family?

Your Garden Made Perfect (Ent., 6x60 min.)

Groundbreaking garden renovations from the team behind the hit show Your Home Made Perfect.

Sue Perkins: Along the US-Mexico Border (Factual, 2x60 min.) Sue Perkins brings her unique blend of humor and compassion to this extraordinary journey along one of the most contentious borders in the world.

Michael Palin’s Travels (Factual, 4x60 min.)

Michael Palin revisits his TV travels in intimate conversations. Palin reflects on how he got addicted to travel and reveals the challenges he faced.

London’s Greatest Bridges (Factual, 4x60 min.) Rob Bell explores the extraordinary story of four of London’s most iconic bridges, uncovering not just how they were built, but why they were built.

BEYOND RIGHTS

m sales@beyondrights.tv

w www.beyondrights.tv

Pooch Perfect (Ent./competition, 8x60 min. & format) Rebel Wilson hosts this prime-time series featuring professional pet stylists competing in a series of “pawsome” themed challenges to create epic “transfurmations” of family pets.

Sex Unlimited (Doc., 5x60 min.) From BDSM to threesomes, this look at the unconventional side of sex shows how it can enhance people’s lives, increase wealth and complement relationships.

Embarrassing Sex Stories (Reality/ent., 1x90 min.) Using interviews and comedic drama reconstruction, people share their sexy escapades.

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BLUE ANT INTERNATIONAL

m ludo.dufour@blueantmedia.com

w blueantmedia.com/international/titles/ After the Wildfires (Factual, 1x60 min.) A year after Australia’s catastrophic bushfires, this special charts the long-term recovery of the environment and wildlife through stories of hope, human intervention and resilience.

Stormborn (Nature/wildlife, 3x60 min.) Ewan McGregor narrates this epic, story-led drama, filmed in Norway, Scotland and Iceland, capturing some of the world’s most hardy animal characters.

Hotel Paranormal

Hotel Paranormal (Factual, 10x60 min.) Narrated by actor and ghost enthusiast Dan Aykroyd, follows the true stories of those who have encountered otherworldly hotel guests.

The Weather Files: Total Impact (Factual, 8x60 min.) Examines aspects of natural disasters that most people have never heard about, including the unexpected and surprising ripple effects of disasters.

Legends vs. Modern Icons (Factual, 6x60 min.) A look at how the world’s latest engineering achievements, high-tech vehicles and superlative constructions stack up against their legendary, world-famous equivalents.

The Royal Documentaries (Factual, 20x60 min./9x90 min./1x75 min.) A collection of documentaries providing an inside peek of the Royals, offering a look at their lives through historical context and cultural significance.

David Rocco’s Dolce Southeast Asia (Factual, 13x30 min.) Traveling to Vietnam, Cambodia,

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TV LISTINGS

Thailand, Malaysia and Singapore, David learns traditional dishes and samples the food he’s heard about from foodies all over the world.

Detention Adventure (Kids/family, S2: 10x11 min.) The now famous “Detention Adventure Four” team up on a new adventure to hunt for the legendary lost fortune of Ignatius Cockshutt.

Christmas at Chatsworth House (Factual, 1x60 min.) Experience the work behind the scenes transforming Chatsworth House into a truly magical and enchanting place for over 200,000 visitors over the Christmas season.

Aging Well Suzuki Style (Doc., 1x60 min.) Science and nature presenter David Suzuki explores what it takes to achieve a longer health span.

BOAT ROCKER STUDIOS

m sales@boatrocker.com

w www.boatrocker.com

Uprooted with Sarah Sharratt (Lifestyle/ food, 12x30 min.) Follows the adventures of North American mom and food lover Sarah Sharratt as she navigates her way through her new life in rural France.

Uprooted with Sarah Sharratt

Anna’s Occasions (Lifestyle/food, 10x30 min.)

Globally noted chef and baker Anna Olson seeks out any opportunity to celebrate so that she can bake a dessert.

Cottagers and Indians (Factual, 1x60 min.) Follows humorist Drew Hayden Taylor on a crossCanada exploration of the hotspots, historic conflicts, and peaceful co-existence that can occur when it comes to indigenous water and land rights.

Secrets in the Ice (History/science/tech., 6x60 min.) Goes to the most remote, cold and inhospitable places on the planet to reveal great mysteries that were once frozen in time.

Coded World (Science/tech., 4x60 min.) Algorithms are the building blocks for almost all advanced technology today. Anjan Sundaram, author, journalist and mathematician, travels the world meeting people designing this code and people affected by this algorithmic revolution.

Dino Ranch (Preschool 2-5 comedy/adventure, 52x11 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam.

Remy & Boo (Preschool 2-5 adventure, 52x11 min.) Remy is an adventurous 6-year-old girl with a unique best friend Boo, a big, squishy, pink robot.

Love Monster (Preschool 2-5 comedy/adventure, 54x7 min.) Love Monster happens to be the only monster amongst a sea of cute baby animals.

Kingdom Force (Preschool 3-6 action, 52x11 min.) Follows the fast-paced exploits of five mighty animal heroes as they serve and protect the citizens of five unique animal kingdoms.

The Strange Chores (Kids 6-11 comedy/adventure, 52x11 min.) Two teenage wannabe warrior heroes and a 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.

BRAIN POWER STUDIO

m info@brainpowerstudio.com

w www.brainpowerstudio.com

The Wedding Planners (Drama, 8x44 min.)

When the Clarkson siblings inherit their mother’s wedding business, they quickly become passionate about planning beautiful, one-of-a-kind weddings.

The Wedding Planners

A Very Country Christmas (Romance, 1x84 min.) A country music star leaves it all behind to connect with his roots and to find his way back to what he really loves. What he doesn’t expect to find is true love.

A Very Country Wedding (Romance, 1x120 min.) A country music star’s wedding is put on hold while his fans push for a new romance.

A Very Country Christmas Homecoming (Romance, 1x85 min.) Newlyweds Zane and Jeannette’s first Christmas together is upset by an unexpected guest, and when the paparazzi get involved, things get even more complicated.

Christmas with a Prince (Romance, 1x90 min.) A petulant prince who suffers a broken leg receives some tough medical love and a lot of Christmas spirit that turns this royal pain into a knight in shining armor.

Christmas with a Prince: Becoming Royal (Romance, 1x93 min.) A jealous princess concocts a plan to put a halt to this fairy-tale wedding.

Christmas in Paris (Romance, 1x90 min.) A wealthy French entrepreneur whisks his American love, who he meets on a business trip, away to Paris on a whirlwind Christmas adventure.

Love in Harmony Valley (Romance, 1x88 min.) An unlikely duo must come together to restore a historic winery.

Love By Accident (Romance, 1x84 min.) A road trip pit stop detours a family adventure into a romantic rendezvous.

Art of Falling in Love (Romance, 1x90 min.) An artist painting a mural on a new hospital wing falls for the project’s architect but worries he may not want to be with her if she reveals her secret.

CAKE

m info@cakeentertainment.com

w www.cakeentertainment.com

Jorel’s Brother (Kids 8-11 animation, 104x11 min. & 18x2 min.) Brazilian comedy follows the adventures of a shy and nameless 9-year-old boy, who is overshadowed by his more infamous sibling.

Mush-Mush & the Mushables

Mush-Mush & the Mushables (Animation, 48x11 min./2x22 min.) Follows the exciting outdoor adventures of the Mushable community, pocket-sized Guardians of the Forest, as they embark on a fun journey of self-discovery.

Legend Quest (Kids 8-12 animation, 26x25 min.) Twelve-year old Leo and an intrepid crew of ghosts defend the world against evil forces in this Mexican-folklore-inspired fantasy adventure series available in 18 languages.

Angry Birds Slingshot Stories (Kids 8-12 & family animation, 10x1 min.) A behind-the-scenes look that gives us some answers to all the big questions from the Angry Birds games. Non-dialogue.

Olobob Top (Preschool animation, 78x5 min./39x11 min., S2 available) Tib, Lalloo and Bobble combine shapes, colors and patterns to create a new character who joins in their fun.

Pablo (Preschool animation, 104x11 min., S2 available) 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, 52x5 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.)

Non-dialogue slapstick comedy featuring a refined pug who longs for a quiet life but is instead forced to defend his house from a bunch of furry intruders.

Space Chickens in Space (Kids 6-12 animation, 52x11 min.) Surreal sci-fi comedy in which a trio of chicken siblings are mistakenly taken from their homes and enrolled in an elite intergalactic academy.

Total Dramarama (Kids 6-12 animation, 156x11 min., S3 available) The prequel to the multi-award-winning franchise reintroduces favorite cast members and ages them down from teenagers to toddlers with hilarious results.

CALINOS ENTERTAINMENT

m info@calinosentertainment.com

w www.calinosentertainment.com

Forbidden Fruit (Drama, ongoing) Yıldız and Zeynep are two sisters who are very close but have very different life goals: Zeynep wants a successful career while Yıldız is looking for a rich man who would save her from her low-income life.

Cherry Season

Our Story (Drama/romance) In one of the poorest neighborhoods in Istanbul, Filiz has become the mother of the family, looking after her five younger siblings and her useless alcoholic father.

Woman (Drama, ongoing) After the sudden death of her husband, Bahar, living alone with her children, is surprised by the sudden appearance of her mother—who abandoned her as a child—and her extremely eclectic sisters.

That’s My Life (Drama, 401 eps.) Bahar has a modest existence in Istanbul with her adoptive parents and jealous sister. Unbeknown to her, she is the secret daughter of a rich businessman and a wealthy young woman who died in childbirth.

Second Chance (Drama, 218 eps.) Deniz has everything in life that she could wish for, until her husband disappears without a trace. After losing everything she has ever owned, she is left in dire straits and faces a daily struggle for survival.

Relationship Status: It’s Complicated (Drama) A struggling scriptwriter owes a debt to a famous actor; to pay him back she must become a maid in his home.

Cherry Season (Drama) An amusing tale of unrequited love, rivalries, jealousy, flirtation and some naughty behavior among a group of young people.

No: 309 (Drama) Mistaking each other for their expected blind dates, Onur and Lale get drunk and have fun all night long, finally falling asleep in room number 309 of a hotel.

King Shakir (Animated movie) A brand-new animation feature from Grafi 2000 and BKM. Kiddo the Hacker Umut, a clever little boy, decides to find his mother before his 10th birthday.

CARACOL TELEVISIÓN

m sales@caracoltv.com.co

w www.caracolinternacional.com/en Anna’s Revenge (Series, 56x60 min.) Analía is a beautiful young woman who decides to take revenge against her mother’s murderer, the candidate for the Presidency of the Republic.

Bolivar (Series, 70x60 min.) Bolivar gave his life for his people, crossing borders and leaving an

226 WORLD SCREEN 10/20

indelible legacy in the hearts of all those who believe in union, fraternity and freedom.

Pablo Escobar, The Drug Lord (Series, 74x60 min.) Based on complete journalistic facts and real-life testimonies of the people that were involved with his evil genius, this series portrays the life of Pablo Escobar.

The Queen and the Conqueror

Surviving Escobar, Alias JJ (Series, 60x60 min.) After Pablo Escobar’s decline, Alias JJ turns himself in; in prison, he must face his enemies and use all of his tactics not only to survive, but to regain his status of main capo in prison.

The Queen and the Conqueror (Series, 60x60 min.) The story of Catalina, the indigenous woman who gave away her soul, her heart and her life to a conqueror.

Living to Love (Series, 60x60 min.) Irene, a singer, meets Joaquin, a mechanic. As they fight for their dreams, they will soon realize they can’t live without each other.

One Way Out (Series, 80x60 min.) Parallel stories that take place in the Bronx neighborhood, a dangerous sector of town with a mixture of failure, disappointment and despair, interspersed with love, faith and strong fraternity links.

The Queen of Flow (Telenovela, 86x60 min.)

Yeimy Montoya, a talented young woman, wants revenge against all those who destroyed her life, including Charly Flow, a famous reggaeton singer.

The White Slave (Series, 62x60 min.) Victoria, a woman who everyone knows as a marchioness who arrived in America to marry a prosperous merchant, was raised in secret by slaves. She is determined to free her loved ones from slavery.

Mariana & Scarlett (Telenovela, 112x60 min.)

Love, envy and betrayal are the ingredients of this new soap opera about two sisters who unknowingly fall for the same man.

CBC & RADIO-CANADA DISTRIBUTION

m mia.desroches@cbc.ca,

gwen.jones.mccauley@cbc.ca

w distribution.cbcrc.ca

Fridge Wars (Competition format, 6x44 min.) Two top chefs are pitted against one another with a challenge to create extraordinary meals using only the ingredients taken from the fridges of ordinary families.

Conversations with My Parents

Murder on the Fringe (Crime, 3x96 min./6x48 min.) Films exploring some of the 21st century’s most fascinating homicides committed in society’s most marginalized communities.

Rebellion (Doc., 1x52 min.) From the streets of Delhi to the steps of Congress, experience the momentum of a new generation’s fight for the survival of our planet.

Gary’s Magic Fort (Kids live-action, 13x11 min.)

CBC Kids’ show centered around Gary the Unicorn, who goes through adventures that help preschoolers navigate through the world of emotions.

Amos, The Mask Hunter (Kids 6-10 animation, S1: 13x22 min., S2: 23x22 min. in dvpmt.) Adventure comedy that plunges the young audience into a

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TV LISTINGS medieval-fantastic universe full of magic in a world where myths and legends come to life.

Li’l Doc (Kids 6-9 animated shorts, 52x2.5 min.) A series of medical capsules, practical and humorous, explain, through animation, the reasons and the symptoms of small and big diseases.

ZamZoom’s Animal Adventures (Kids 6-9 animation & live action, 21x4 min.) The original series brings kids to zoom through space on an uproarious intergalactic expedition to discover Planet Earth’s most strange and extraordinary creatures.

Trop (Comedy, S1: 13x30 min., S2: 13x30 min., S3: 13x30 min.) Three seasons of a realistic dramatic comedy that celebrates friendship, sisterly love and the foibles of human nature.

Conversations with My Parents (Comedy, S1: 13x30 min., S2: 13x30 min., S3: 13x30 min. in prod.) One of the most watched shows in Quebec, examining family relationships and generational differences in a hilarious treatment.

Cerebrum (Police investigation, S1: 10x60 min., S2: 10x60 min. in prod., S3: 10x60 min. in dvpmt.) Transports audiences into the unexplored world of mental health care, offering a skillful blend of psychological suspense and Nordic intensity.

CONSTANTIN ENTERTAINMENT

m international@constantin-entertainment.de

w www.constantin-entertainment.de

M.O.M (Reality dating, 11x50 min.) Twisting the question of the age gap—what role does age play in love?

M.O.M

Quarantine Comedy Conference (Live comedy, 1x120 min.) Brings in real time and under the same roof the shared fun of nine stuck-at-homecomedians.

Phobias (Factual infotainment, 20 min. pilot) Explores the topic of phobia so everyone gets clarity and understanding about how it reveals itself and arms our own and others’ lives.

For My Parents (Reality makeover, 10x45 min.) Grown-up children show gratitude to their parents by redesigning a room in their home.

Free of Debt (Fact-ent., 45 min. eps.) Three specialists in finance, law and emotions support indebted families to figure how big the debt is and how to get out of it.

Hidden Truth (Scripted doc., 2,000+x45 min.)

Most families seem to be very harmonious and peaceful on the outside. But what actually happens behind closed doors?

Home Makeover (Fact-ent., 2,000+x45 min.)

For 16 seasons, the show has been helping families in need, turning dreams into reality by making over their homes.

Police in Action (Scripted doc., 575x45 min.)

Real policemen are confronted with scripted situations but their actions are authentic.

The Ambulance (Reality doc., 120x50 min.)

Real paramedics and emergency doctors are confronted with realistic medical cases. They never know what to expect, they “act” like they work in real-life situations.

CROWN MEDIA INTERNATIONAL DISTRIBUTION

m franciscogonzalez@crownmedia.com

w crownmediainternational.com

Love on Iceland (Romantic comedy, 1x90 min.)

Seeking inspiration for work, Chloe gathers her college travel group back together for a trip to Iceland.

When her ex shows up uninvited, sparks fly.

Christmas in Vienna

Christmas in Vienna (Christmas, 1x90 min.) A concert violinist goes to Vienna for a performance. While there, she finds the inspiration she has been missing, and a new love.

A New Year’s Resolution (Holiday, 1x90 min.)

When a morning show producer makes a New Year’s resolution to say yes more, she crosses paths with a man who just might hold the key to her biggest story.

Love in Store (Romantic comedy, 1x90 min.) Two rival home shopping hosts are forced together while competing for a promotion. Along the way they find their on-air chemistry kindles an off-air spark.

Mystery 101 (Mystery, 5x90 min.) English professor Amy uses her crime fiction expertise to unravel cases faster than detective Travis, who ends up working with Amy to catch the killers.

Fashionably Yours (Romantic comedy, 1x90 min.) After years organizing fashion in the city, Lauren decides to move home. But mover Rob makes it his mission to help her see the beauty of Seattle once again.

Ruby Herring Mysteries (Mystery, 3x90 min.)

With the help of the local detective, a news reporter finds a new career solving crime.

Picture Perfect Mysteries (Mystery, 3x90 min.) A professional photographer teams up with the newest detective on the force to solve the latest murder in their New England small town.

Christmas at the Plaza (Christmas, 1x90 min.) Jessica, a historian in a declining romantic relationship, is hired to create a Christmas exhibition at The Plaza Hotel. There, she meets Nick, a handsome decorator who’s been commissioned to deck out the iconic landmark.

Just My Type (Romantic comedy, 1x90 min.) A pop culture writer lands the interview of a lifetime with an illustrious, elusive and reclusive mystery author in his quaint rural town.

CRUNCHYROLL

m business@crunchyroll.com

w www.crunchyroll.com/about/fr/index.html Captain Tsubasa (Kids, 52x26 min.) Tsubasa dreams of becoming the best football player in the world. New in town, he will discover many other young talents with whom he can make progress.

My Hero Academia (Kids, 90x26 min.) Middle school student Izuku Midoriya wants to be a hero more than anything, but he hasn’t got an ounce of power in him. Then an encounter with All Might, the greatest hero of them all, gives him a chance to change his destiny.

Dr Stone

OPM (Anime, 24x26 min.) Saitama’s life suddenly turns upside down when he discovers he has a super power: he can bring down any enemy with just one punch.

Dr Stone (24x26 min.) One day, every human being turns into stone. As two boys awaken thousands of years later, they must rebuild humanity from the ground up, starting all over again in the Stone Age. Black Clover (133x24 min.) In a world where magic is everything, Asta and Yuno are both found abandoned at a church on the same day. While

Yuno is gifted with exceptional magical powers, Asta is the only one in this world without any.

Tower of God (13x26 min.) This is the story of the beginning and the end of Rachel, the girl who climbed the tower so she could see the stars, and Bam, the boy who needed nothing but her.

The God of High School (13x26 min.) A high schooler and his friends compete in an epic tournament, borrowing power directly from the gods and uncovering a mysterious organization along the way.

Bananya (26x3 min.) A short series about the secret life of kitties who live in bananas.

Yashahime Princess Half Demon (24x24 min.)

In feudal Japan, half-demon twins Towa and Setsuna are separated from each other during a forest fire. While desperately searching for her younger sister, Towa wanders into a mysterious tunnel that sends her into present-day Japan.

CYBER GROUP STUDIOS

m sales@cybergroupstudios.com

w www.cybergroupstudios.com

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 craziest drone race of all time.

Gigantosaurus (Kids 4-6 2D-CGI comedy adventure, 52x11 min.) Stars four young dinosaur friends who are about to leave the family and explore a world full of mysteries and danger.

Taffy

Taffy (Kids 6-10 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.

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. Each episode will tell one of their great adventures, escapades or explorations.

Sadie Sparks (Kids 6-12 2D-CGI comedy, 52x11 min.) A teenage girl discovers she has extraordinary powers—which can only be harnessed in partnership with an ancient and extremely grumpy magical rabbit who just wants to retire.

Orange Moo Cow (Kids 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.

Ernest and Rebecca (Kids 5-8 2D comedy, 52x13 min.) Tells the story of Rebecca and her adventures with her “microbe” Ernest, which she caught on a rainy day.

Purple Turtle (Kids 3-6 CGI comedy/edutainment, 52x7 min.) Purple Turtle and his friends celebrate the joy of childhood, curiosity and discovery.

Mini Ninjas 2 (Kids 6-12 CGI-2D adventure comedy, 104x11 min.) Discover a new generation of 12-year-old ninjas, trained by the wise (and rather eccentric) Ninja Master to defend the Land below the Clouds from the warlord Ashida.

DANDELOOO

m contact@dandelooo.com

w www.dandelooo.com

Stinky Dog (Kids comedy, 52x13 min.) Based on books by Marc Boutavant, presents the adventures of a maverick mutt and a flattened cat.

10/20 WORLD SCREEN 227

5

Pompon Little Bear (Preschool, 39x7 min.)

Pompon is a 6-year-old, in bear years. He is mischievous, cheerful and playful, and he can make extra out of the ordinary.

Royals Next Door

Billy the Hamster Cowboy (Kids 4-7, 52x11 min.)

Billy has his cowboy outfit and, more than that, a burning desire to explore the fabulous playground that beckons to him every morning: the Wild West.

Shooom’s Odyssey (Kids drama, 1x26 min.)

Shooom, a baby owl, hatches just as a storm turns the bayou surrounding her tree upside down.

She’s determined to find a mother, even if that mom turns out to be an alligator or a raccoon.

Taina (Preschool, 26x11 min.) When the forest is in distress, the “Cru-Cru” call echoes all the way to the Great Tress, where Taina and the Guardians of the Amazon are always ready to help.

The Upside Down River (Kids, 9x26 min.) The story of two quests: Hannah wants to collect a drop of water from the Qjar River to save her bird; Tomek wants to conquer Hannah’s love.

Petit (Preschool, 39x7 min.) Discover Petit’s unique and imaginative perspective about daily situations, which become fantasy adventures he will have to face, along with his friends.

Cubs (Preschool, 26x2 min.) Did you ever wonder how baby animals go to sleep? This collection of creator-driven short films will reveal their secrets.

Royals Next Door (Kids, 52x11 min.) A comedy series about a royal family that lives in a regular house. Due to extensive refurbishment of their castle, they were forced to move out.

Mum Is Pouring Rain (Kids drama, 1x26 min.)

Eight-year-old Jane is sent to spend Christmas with her grandmother. When she meets Cloclo the gigantic hobo who lives in the forest and two local kids, she learns to open herself to others and will inspire her mother to get back on her feet.

DORI MEDIA GROUP

m sales@dorimedia.com

w www.dorimedia.com

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.

In Treatment

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.

Dumb (Crime drama, S1-3: 75x35 min.) In season three, after Shiri and Assaf escaped abroad with millions of stolen euros, they are finally free to fulfill their love, but instead reality rears its ugly head.

AHA! Experience (Studio game show) An entertainment quiz show that wants to find out not what you know but what you see.

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 one person’s answer? This game will test that theory.

El Buscador (The Browser) (Interviews) A TV format centered on face-to-face interviews triggered by web contents that anyone can easily access online.

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TV LISTINGS

Esau (Drama, 4x60 min.) Follows a 40-yearold writer who returns to his family home after half a lifetime to face the brother who stole both his love and livelihood.

The New Black (Comedy, 12x30 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.

La Entrega (The Drop) (Crime thriller, 10x50 min.) A series about the huge number of people disappearing daily in Bolivia, revealing a world of power games, sex cravings and violence.

In Treatment (Weekly drama, 45x30 min.) A groundbreaking daily drama that takes viewers on a journey through the intriguing and fascinating world of psychotherapy, following five ongoing treatments of five different patients.

ECCHO RIGHTS

m info@ecchorights.com

w www.ecchorights.com

The Red Room (Drama, 95x45 min.) A hardhitting psychological drama series, tackling reallife issues as seen through the eyes of a team of therapists at an Istanbul clinic.

power of team building through rescue missions that highlight the importance of heroism, teamwork and, most importantly, friendship.

Transformers: Cyberverse (Animation action/ adventure/sci-fi, 62x11 min. & 2x44 min.)

Bumblebee, with the help of the stowaway Dinobots Sludge, Snarl, Swoop and Slug, and the Autobots set up a plan to take down Megatron-X.

FILMRISE

Almost Paradise

Who We Are Now (Drama, 1x95 min.) Former con woman Beth is released from prison. Upon her return, she recruits a young defense lawyer, Jess, to reacquire custody of her son. (Select territories) The Short History of the Long Road (Drama, 1x94 min.) Receiver of the Jury Mention for Best Screenplay at Tribeca 2019, the film follows teenager Nola, confronted with the choice to live as an outsider or within society.

Southern Comfort (Thriller, 1x106 min.) When a squad of National Guardsmen participate in a routine military training exercise in the swamps of Louisiana, they soon find themselves being hunted by the locals.

EONE

m tvinfo@entonegroup.com

w www.entertainmentone.com Feudal (Drama, 8x60 min.) Follows six dysfunctional half-siblings battling for control of the ancestral business, a ramshackle summer resort on the South Shore of Nova Scotia.

Family Law (Drama, 10x60 min.) Suspended personal injury lawyer and recovering alcoholic Abigail “Abby” Bianchi finds herself working at her estranged father’s law firm.

m sales@filmrise.com

w www.filmrise.com

Peppa Pig

Power Rangers (Action/CGI, 44x22 min.) In season two of Power Rangers Beast Morphers, the Power Rangers will gain access to all new power upgrades, powerful new weapons, and epic new Megazords in order to protect the Morphin Grid and save the world.

Treehouse Detectives (Preschool CGI, 40x11 min.)

Follows a brother and sister detective team, Toby and Teri, as they explore the world around them.

Ben and Holly’s Little Kingdom (Preschool 2D, 104x11 min.) Little Kingdom, a tiny land where flowers and grass rise above the tallest towers, is home to Princess Holly, a young fairy still learning how to do magic properly, and her elf best friend, Ben. Cupcake and Dino: General Services (2D comedy, 52x11 min.) Follows the exploits of Cupcake, a pastry with a Napoleon complex, and his fun-loving brother, Dino, as they strive to make a name for themselves in the General Services business.

The Red Room

My Home My Destiny (Drama, 95x45 min.) A record-breaking hit starring Turkish megastars Demet Özdemir and İbrahim Çelikkol, the romantic drama returns for a second season this autumn.

Love Me (Drama, 12x45 min.) The award-winning drama comedy about love and relationships in different stages of life returns this autumn for a second season.

Legacy (Drama, 255x45 min.) The latest daily drama sensation from the producer of international hit series The Promise and Prisoner of Love, brand new for autumn 2020.

Hammarvik (Drama, 16x45 min.) Created by international best-selling author Camilla Läckberg, a brand-new, blue-sky drama where unsolved crime, a family feud and scandalous romance rock a sunny tourist retreat.

The Promise (Drama, 620x45 min.) What does the future hold for Emir after the heartwrenching end to season two?

Honour (Drama, 16x45 min.) The crime drama following four female lawyers with their own legal troubles broke records for Viaplay in Sweden, and now returns for a highly anticipated second season.

ELECTRIC ENTERTAINMENT

m sales@electricentertainment.com

w www.electricentertainment.com

Leverage 2.0 (Action/crime, 16x60 min.) Hitter, Hacker, Grifter and Thief have reunited. Together again, they take down the powerful and help the powerless in a world far more dangerous than the one they faced before.

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 Outpost (Fantasy/adventure, S1-4: 49x60 min.) Talon avenges the destruction of her village.

She discovers she has supernatural powers she must learn to control to defend the Outpost.

The Cat and the Moon (Drama, 1x108 min.)

Nick comes to NYC to stay with Cal, an old friend of his late father’s, and makes friends who show him the city.

Damaged (Drama, 12x8 min. & 1x90 min.) A psychological thriller about a young student, Michael Craven, who suffers a head injury in an attack by the Braithwaite Brothers, who have a connection to the serial killer, The Wolf.

Slice (Lifestyle, 13x30 min.) A journey in 4K all over this amazing world, hosted by Adam Richman.

Deep in Vogue (Doc., 1x63 min.) Synonymous with the black, gay ballrooms of 1980s NY, the film celebrates the stories of Northern Vogue and its people. (U.S./Canada rights) State of Texas Vs. Melissa (True-crime doc., 1x98 min.) The story of a death row inmate, Melissa Lucio, who was convicted of beating and murdering her 2-year-old daughter. (U.S./Canada rights) Icon: Music Through the Lens (Music doc., 6x60 min.) An electric journey with some of music’s biggest stars from yesterday and today as seen by legendary photographers who were there to record it all. (U.S./Canada rights) Bloodline Detectives (True-crime doc., 20x60 min.) Hosted by legal analyst and former prosecutor Nancy Grace, explores the advanced form of familial DNA testing. (U.S./Canada rights)

State of Texas Vs. Melissa

ESCAPADE MEDIA

m natalie@escapademedia.com.au

w www.escapademedia.com.au

Feudal

Cruel Summer (Drama, 10x60 min.) Mystery suspense drama executive-produced by Jessica Biel and Michelle Purple that takes place over three summers in the 1990s.

London Zoo: An Extraordinary Year (Factual, 2x60 min.) Uniquely shot in the midst of a nationwide lockdown, revealing how the zoo has adapted to crisis throughout the last 100 years.

Lost Worlds and Hidden Treasures (Factual, 3x60 min.) Returns for a second season to explore the world’s most loved sites and treasures that have transformed our understanding of civilizations.

EONE FAMILY BRANDS

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.

Back to Nature Finland (Factual/lifestyle, S1: 9x30 min., S2: 6x30 min.) The series that launched the format, set across stunning Nordic locations as it explores our need to reconnect with the land around us for our physical, emotional and spiritual wellbeing.

Big V Small (Factual, 1x60 min.) A modern-day fairytale stretching from monster waves in Portugal to the dark stillness of a far-north, frozen Finnish lake—it’s about power and strength on top of the water and facing demons under it.

m tseagers@entonegroup.com

Driveways (Drama, 1x83 min.) Two-time 2020 Spirit Award nominee follows Kathy, who travels with her 8-year-old son to her late sister’s house, which she plans to sell. (U.S./Canada rights) The Dog Doc (Doc., 1x101 min.) Follows the founding father of integrative veterinary medicine, who created a mecca for holistic care, offering hope to scores of hopeless animals (and their owners).

The Short History of the Long Road (Drama, 1x94 min.) Receiver of the Jury Mention for Best Screenplay at Tribeca 2019, follows teenager Nola, confronted with the choice to live as an outsider or within society. (U.S./Canada rights)

FOO ENTERTAINMENT

m oliver@foo-entertainment.ch

w www.foo-entertainment.ch

Miss Bellyfoo (Kids 3-9, 52x13 min.) Accompany special agent and Supergirl Miss Bellyfoo on her adventurous way through the Land of Music, supported by faithful friends and a crazy professor— always fighting the evil Mastermoll and his helpers.

w entertainmentone.com

Peppa Pig (Preschool 2D, 312x5 min. & 4 specials) Peppa is a lovable, cheeky little piggy who lives with her younger brother George, Mummy Pig and Daddy Pig. Ricky Zoom (Preschool CGI, 52x11 min.) Ricky, a rescue bike, lives in Wheelford, where he shares his experiences with his enthusiastic bike buddies Loop, Scootio and DJ. PJ Masks (Preschool CGI, 156x11 min.) Follows the thrilling nighttime exploits of three young friends who transform into their dynamic superhero alter egos when they put their pajamas on at night and activate their animal amulets.

Pony Life (Preschool 2D, 52x11 min.) The My Little Pony series explores the funny side of friendship, following the hilarious adventures of the ponies as they spend most of their time at Sugarcube Corner.

Transformers: Rescue Bots Academy (Preschool animation adventure/sci-fi, 104x11 min.)

At the Rescue Bots Academy, new recruits learn the

Crash Test World

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.

The Tharu Evolution (Factual, 1x60 min.)

Offers a rare and intimate insight into the Tharu people and explores their culture and looks at how they are striving to evolve while trying to remain true to their indigenous history.

Cloudy River (Drama, 6x8 min. & 1x47 min.) Asks whether you can truly be there for each other in an open relationship while pursuing the individual freedoms the relationship is founded on.

228 WORLD SCREEN 10/20

Miss Bellyfoo

GAUMONT

m tvsales@gaumont.com

w www.gaumonttelevision.com 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

*LIST_1020.qxp_LIS_1006_LISTINGS 9/25/20 2:05 PM Page 7

TV LISTINGS focuses on Mexico’s cannabis trade and the rise of the Guadalajara Cartel.

El Chapo (Action/drama, 34x60 min.) A look at the life of notorious drug kingpin El Chapo, from his early days to his rise to power.

Hannibal (Psychological thriller, 39x60 min.)

Hannibal Lecter was a brilliant psychiatrist in the employ of the FBI. His task was to help an unusually gifted criminal profiler, Will Graham, solve horrible crimes.

GLOBAL AGENCY

m info@theglobalagency.tv

w www.theglobalagency.tv

Mr. Wrong (Dramedy, ongoing) A lifetime of betrayal destroys Ezgi’s hopes of ever finding Mr. Right, and when she meets the womanizer Ozgur it seems a recipe for disaster, but fate, and nagging mothers, conspire to seek a happy ending.

Aleph (Crime drama, 8x60 min.) Detectives Kemal and Settar pursue a dervish serial killer who sets a series of clues, launching them on a quest that will make them confront their pasts in a series enriched with traces of Ottoman and Islamic history.

Rise of Empires: Ottoman (Historical epic/docudrama, 6x60 min.) This co-pro from Hollywood and Turkey chronicles Mehmed II’s fabled rise from 12-year-old child Sultan to ruler of the Ottoman Empire and the founder of Istanbul.

Hetty Feather

Hemlock Grove (Thriller/drama, 33x60 min.) As a town’s secrets unravel, Hemlock Grove forces us to ask: what is the true nature of a monster?

The Art of Crime (Procedural drama, 20x60 min.) A hot-headed Paris cop teams up with a Louvre art historian to solve crimes across storied French museums and landmarks.

Relationship Status (Dramedy, 13x22 min.)

Starring Milo Ventimiglia, this interweaving cast of 20- and 30-somethings navigate the complexities of dating and relationships in the modern age of social media.

Hetty Feather (Family/kids drama, 53x30 min. & 2x30 min.) Hetty Feather lives in a children’s home where she faces daily challenges, makes friends and discovers untold truths as she searches for her mother.

Bionic Max (Kids 6-11 2D buddy comedy, 52x11 min.) A malfunctioning bionic guinea pig and his goldfish buddy escape from their laboratory into Woodchuck Woods and must learn to adapt in this urban jungle.

Furiki Wheels (Kids 6-11 2D slapstick action/buddy comedy, 52x11 min.) André Furiki is a hyperactive young sloth with oodles of drive to become a racecar driver.

GENIUS BRANDS INTERNATIONAL

m info@gnusbrands.com

w www.gnusbrands.com

Stan Lee’s Superhero Kindergarten (Preschool animation, 26x22 min.) Created by Stan Lee, this comedy-adventure series starring Arnold Schwarzenegger features superhero-driven stories with valuable lessons about health, exercise, anti-bullying and using talents for good.

Rise of Empires: Ottoman

Gulperi (Drama, 93x60 min.) A woman struggles to fulfill her dreams in the face of a tyrannical family determined to control her every step, battling alone to win the hearts of children turned against her and carve out the loving life she craves.

The Boy (Drama, 62x60 min.) The life of Akça is turned upside down when she goes in search of the son she gave up for adoption and is drawn into the turmoil of a powerful family that is about to be confronted by its arch enemy Hasan, her former lover.

Good Singers (Singing ent. format) Talented and untalented singers are going to try to impress our celebrities without actually singing in the first place.

Home Quiz (Game show, 45 min. eps.) Celebrities take part from the safety of their homes, competing with each other to win the grand prize, which will be donated to an organization battling COVID-19.

Cleaning Masters (Reality competition) Five meticulous and sharp contestants who claim they “clean best” will compete against each other in cleaning some very messy and dirty houses.

Glam Squad (Reality competition) Four teams consisting of a hair designer and makeup artist race against time to bring out the best in their models, win over the judges and earn a weekly cash prize.

Who Knows Best (Family game show) This game tests how well wives know their husbands, but there is a twist: they will go against someone who knows their husband better than anyone else: his mother.

GLOBAL SCREEN

m info@globalscreen.de

w www.globalscreen.de

Turbulent Skies (Drama, 8x50 min.) Portrays the feud fought between the pioneers of civil aviation in Europe, Albert Plesman and Anthony Fokker.

Ferdinand von Schirach: Enemies (TV movie, 2x90 min.) The kidnapping of a 12-yearold girl is told in two parallel films. One follows the inspector in his race against time, the other follows the accused’s attorney.

Stan Lee’s Superhero Kindergarten

Rainbow Rangers (Preschool animation, 26x22 min.) An empowering adventure following the lives of Earth’s first responders, whose mission is to help protect the planet’s environment and its animal inhabitants.

Llama Llama (Preschool animation, 25x22 min.) Starring Jennifer Garner, the series tells heartwarming tales of life in a safe, friendly town, seen through the eyes of Llama as he interacts with the amazing world around him.

Dark Woods (Crime miniseries, 6x45 min.)

Inspired by real-life events, this miniseries tells the story of a police officer searching for his missing sister for more than 30 years.

A Good Year (Crime, 8x45 min.) A disgraced engineer and a down-on-his-luck small-time crook hope to strike it rich by claiming to have found Hitler’s wine cellar.

Amber Alert (Drama, 10x45 min.) Jonathan and Valerie are living out the worst nightmare that a family can experience: the disappearance of their 13-year-old autistic son, Eliot.

Sky Raiders (Family ent., 1x100 min.) Thirteenyear-old Yotam and Noa find an antique plane.

Together with Morris, an elderly loner, they bring the plane back to life for the grand air show.

Petronella Applewitch (Animation, 39x11 min.) Offers a world of friendship, imagination and a love of nature. A series for children aged from 4 to 8, full of comedy and action.

Buried Truth (Crime, 18x60 min.) Prime-time crime series combining off-beat locations and gripping psychological profiles.

Copykiller (Thriller, 1x89 min.) During the investigation of horrific murders, young detective Ria gets into a dangerous game with a ritual killer who destroyed the life of her predecessor.

Mountain Murders (Crime, 16x48 min.) The stories of a mismatched pair of detectives and their family entanglements provide a blend of incidental humor, family life and a varied array of criminal.

Ferdinand von Schirach: Enemies

GMA NETWORK

m gwi@gmanetwork.com

w www.gmanetwork.com

A Place in Your Heart (Rivalry drama, 45x45 min.) A good stepmother battles against the evil ex-wife of the man she loves and the mother of the children she has learned to love.

For Love or Money

Beautiful Justice (Crime drama, 50x45 min.) A common grief brings together three ladies to team up and infiltrate a drug syndicate responsible for the death of their loved ones.

Descendants of the Sun (Drama, 35x45 min.)

Adapted from the hit series from South Korea, tells the story of Lucas and Maxine, two people brought together by destiny.

For Love or Money (Drama, 45x45 min.) Will a devoted wife let her fidelity be shaken and give in to an indecent proposal if it is the only way to save her husband’s life?

One Heartbeat Away (Web drama, 4x10 min.)

The anthology features emotionally-charged and relatable stories that are meant to make the viewers’ hearts flutter.

Love You Two (Romantic comedy, 45x45 min.)

Sisters Raffy and Sam had a perfect relationship until they unintentionally fell in love with the same guy.

The Silent Thief (Crime drama, 45x45 min.) In Jessie’s quest to find her abducted son, she uncovers secrets that will point to unlikely suspects and push her to the limit.

Obsession (Thriller, 35x45 min.) Yvie faces off with a strange rival—the vengeful spirit of her husband’s dead ex-girlfriend, who will stop at nothing to wreak havoc in her life.

The Gift (Contemporary drama, 53x45 min.)

Joseph may be blind, but he sees what ordinary eyes cannot see—glimpses of past and future events.

Sahaya (Drama/fantasy, 60x45 min.) Will a young woman’s new world bring her happiness and peace? Or will she return to her roots to find her purpose and destiny?

10/20 WORLD SCREEN 229

GOQUEST MEDIA

m contact@goquestmedia.com

w www.goquestmedia.com

RATS (Crime thriller, 6x55 min.) A series about what happens when bad people play happy families, set in the new world of drugs in the Czech Republic.

Mother’s Choice (Drama, 16x45 min.) After learning that her student Inna is suffering at the hands of her mother and her deadbeat boyfriend, schoolteacher Elena decides to protect her.

RATS

Behind the Shop Window (Drama/romance, 16x45 min.) Eligible bachelor Andrey Vetrov can’t stop thinking about little, ugly, poorly dressed provincial girl Galya, a saleswoman.

Three Days Before Love (Drama/romance, 16x45 min.) Dana’s loneliness and Pavel’s despair lead to an unusual dilemma—she offered to pay off his debts in exchange for three days of his life.

Queen (Biopic drama, 11x50 min.) Inspired by true events, follows the life of Shakti Sheshadri from her days as a diligent student to her rise as a film star, all the way through to her ascent to political prominence.

Ek Thi Begum (Action/crime/thriller, 14x30 min.)

Based on real-life events, unravels the untold story of a resolute woman who turns into a femme fatale and goes after the most dangerous underworld gangsters to avenge her husband’s murder.

Markuss (Crime drama, 8x45 min.) Polina Klochko’s son Mark is kidnapped from kindergarten. Five years later, in a newscast, she accidentally spots him in the crowd.

Ruby Ring (Drama/romance/thriller, 95x45 min.) A fatal accident disfigured their faces and altered their destiny, putting two sisters at a crossroad in their lives in conflict with each other for the perfect life.

Paper Pusher (Crime drama, 16x48 min.) Detective Sergey Tumanov is a police archives dweller who doesn’t know how to fight or use fire weapons, but he is determined to stop the criminals.

The Policeman’s Wife (Crime drama, 16x48 min.) A seemingly frail woman has to protect her family and her police officer husband, who is strong on the surface but rotten inside.

GRB STUDIOS

m sales@grbtv.com

w grbtv.com

On the Case (Crime, 257x60 min.) Explore murder mysteries through in-depth interviews with those closest to the case and examine the evidence that helped unravel the mystery.

Living by Design

Untold Stories of the ER (Health, 150x60 min.)

These true stories demonstrate the dramatic nature of medicine practiced under pressure, where every moment can be a turning point.

Living by Design (Lifestyle, 32x30 min.) Brother and sister duo Jake and Jazz Smollett transform living, work and play spaces from drab to fab.

7

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8

TV LISTINGS

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.

Turquoise Fever (Docuseries, 7x60 min.) Follow the Otteson family as they hunt for the most sought-after turquoise in the world.

Family Pictures (Docuseries, 3x60 min.) Participants share photos with historians who help to unearth rich personal stories.

Jim Gaffigan: Quality Time (Stand-up comedy, 1x75 min.) Jim Gaffigan is in top form for his seventh comedy special.

Close Up with The Hollywood Reporter (Docuseries, 56x60 min.) This roundtable interview series features the hottest A-list stars and directors from the year’s most acclaimed films and television series.

Handcrafted America (Docuseries, 35x30 min.) Meet talented artisans who create products with their own two hands.

Merry Ex-mas (Christmas movie, 1x120 min.)

After selfishly breaking up her ex-husband and his fiancé, Katrina’s new mission is to reunite the couple for a Christmas wedding.

GURU STUDIO

m sales@gurustudio.com

w gurustudio.com

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.

Pikwik Pack

True and the Rainbow Kingdom (Preschool 3D, 30x22 min., 5x22 min. seasonal specials, 1x44 min. holiday special & bonus content) True, our bright and fearless heroine, and her hilarious best friend, 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.

Justin Time (Preschool 2D, 74x11 min. & 2x22 min.) Justin’s imagination catapults him into largerthan-life adventures set in different points in history.

GUSTO WORLDWIDE MEDIA

m sales@gustotv.com

w www.gustoworldwidemedia.com Cook Like a Chef (Food/cooking, UHD: 20x30 min., SD: 152x30 min.) The modern, live-to-tape reboot is improved by modernist innovations, diverse cultural influences and connecting good food and good health.

DNA Dinners (Food/cooking, 16x32 min.) Takes viewers on an emotional roller coaster ride of selfdiscovery, with delicious dishes along the way.

Bonacini’s Italy (Food/cooking, 30x30 min.)

Features celebrity chef Michael Bonacini as he cooks sumptuous Italian fare.

Cook Like a Chef

Flour Power (Food/cooking, 26x30 min.) Set in a retro-style kitchen, host Jessica McGovern inspires viewers with simple to extravagant baked treats.

Fish the Dish (Food/cooking, 30x30 min.) Follow Chef Spencer Watts as he celebrates sustainability while demystifying how to cook some of his favorite seafood dishes.

One World Kitchen (Food/cooking, 82x30 min.)

A high-style cooking series featuring nine cuisines: Argentinian, Italian, Thai, Japanese, Indian, Lebanese, Vietnamese, Cantonese and Greek.

The Urban Vegetarian (Food/cooking, 15x30 min., 4K) Set in an upscale kitchen, urbanite host Desiree Nielsen transforms everyday veggies into delightful dishes and bakes up decadent desserts.

Spencer’s BIG 30 (Food/cooking, 34x30 min.)

Features healthy, family-style meals made in around 30 minutes, for around 30 dollars.

Watts on the Grill (Food/cooking, 25x30 min.)

Spencer Watts teaches viewers unique tips, tricks and techniques for mastering the art of grilling.

The Latin Kitchen (Food/cooking, 15x30 min.)

Exploring three Latin cuisines (Mexican, Venezuelan and Spanish) with three charming hosts, showcases entertaining cooking techniques and irresistible dishes.

INCENDO

m greardon@incendo.ca

w www.incendo.ca

Ice (Drama/mystery, 60 min. eps.) A dozen people spend the harsh winter together in a British Antarctic Research Station. The landscape is both beautiful and treacherous—and even more deadly when one of your team is a murderer.

The Unfound (Drama procedural, 60 min. eps.)

The head of an elite man-tracker unit risks destroying her team and exposing her darkest secrets when she abuses her power to covertly investigate her own abduction.

Next of Kin (Drama mystery, 60 min. eps.) A teenage girl becomes the prime suspect in her best friend’s murder, only to discover some shocking secrets about her past.

INSIGHT TV

m info@insight.tv

w www.insight.tv

Epic Exploring: Going Local (Fact-ent., 20x22 min.) YouTubers Josh and Cody hook up with a local from a major city to show them their favorite places and the best urbex-worthy locations.

JETPACK DISTRIBUTION w www.jetpackdistribution.tv

Epic Exploring: Going Local

Ghost Chasers: Exploring the Other Side (Fact-ent., 5x22 min.) YouTubers Josh and Cody are on a new mission to find answers to the question: “Do ghosts really exist?”

I Am Invincible (Fact-ent., 4x44 min.) At the Invictus Games, veterans become heroes again.

Streetkings in Jail (Fact-ent., 5x44 min.) Football legends Ruud Gullit, Juan Pablo Angel, Gilberto Silva and Kevin Kuranyi visit tough prisons around the world searching for lost football talent.

Story of Masters (Lifestyle, 3x60 min.) Dan Fogler examines the roots of martial arts and the impact it has made on cultures around the globe.

Secrets of the Brain (Fact-ent., 10x48 min.)

Neuroscientist Dr. Jack Lewis goes in search of people with unusual neurological conditions.

Modern Day Gladiators (Lifestyle, 4x44 min.)

In South Korea, the U.S. and Brazil, discover the superstars who fight battles in a digital arena under the watchful eye of thousands of fans.

Living Stone (Fact-ent., 10x48 min.) Five couples are dropped into the African wilderness.

They must survive the elements without luxury and comfort and make it to Livingstone, Zambia.

Car Crews with Supercar Blondie (Lifestyle, 6x43 min.) Alex Hirschi travels across the U.S. to uncover the biggest, loudest, richest and most unique cars, drivers and motoring cultures.

INTER MEDYA

m info@intermedya.tv

w www.intermedya.tv

A Love Yarn

High Life (Drama, 60 min. eps.) Two Canadian sisters leave the comfort of their city lives behind when they inherit a sheep farm in New Zealand.

Rule of 3 (MOW, 1x90 min.) Alison’s world is turned upside down when her husband dies in a car accident. First it’s revealed that he was murdered and then it becomes clear that Alison was not the only one mourning him.

Glass Houses (MOW, 1x90 min.) Teenage babysitter Carrie has a chip on her shoulder on the heels of a humiliating family scandal. When she finds out that the neighborhood queen bee may be to blame, she is determined to exact revenge.

No Good Deed (MOW, 1x90 min.) When Karen saves Jeremy’s life during a drug store robbery, she quickly discovers that the young man is intent on paying her back at any cost.

Within These Walls (MOW, 1x90 min.) Single mother Mel breaks up with her boyfriend. After he moves out, strange things start happening in her house that threaten her safety and wellbeing.

A Love Yarn (MOW, 1x90 min.) Sophie, the owner of a quaint New Zealand yarn shop, learns that her top supplier is stopping production.

When U.S. auditor Samuel comes to town, she has two weeks to learn about yarn spinning and raise enough money to buy the mill.

You May Kiss the Bridesmaid (MOW, 1x90 min.) NYC food influencer Scarlett’s life is put on hold when she returns home for her sister’s wedding and learns that her family’s B&B has been sold to her childhood flame, Liam.

Miracle in Cell No. 7 (Drama, 1x132 min.) In 1983, Memo, a shepherd with a mental deficiency, is framed for the murder of the martial law commander’s daughter and sentenced to death. He needs a miracle to get back to his life and his daughter Ova. Money Monster (Game-show format, 60 min. eps.) Contestants win the money they manage to count correctly after each right answer.

Mother In Style (Daily format, 60 min. eps.)

Five women and their daughters-in-law compete together in this reality fashion show.

The Ambassador’s Daughter (Drama) Nare, an ambassador’s daughter, disappeared the night she was due to marry Sancar, the son of a poor woodchopper. On another wedding night, she reappears.

Ramo (Drama) Inspired by a real person, tells the extraordinary story of a man who goes against a ruthless crime boss, and falls in love with the daughter of his arch nemesis.

Master Moley (Kids 4-8 CGI, 52x11 min. & 1x30 min.) Follows adventurous mole Master Moley, who uncovers a magical book that has the power to bring peace between humans and moles.

Clangers (Preschool stop-motion, S1: 52x11 min., S2: 26x11 min., S3: 26x11 min.)

CBeebies’ timeless preschool classic.

Clangers

Rainbow Butterfly Unicorn Kitty (Kids 6-11 2D, 52x11 min.) Centers around a spirited and adorable kitty named Felicity who acquires magical and majestic powers.

Oswaldo (Kids 6-11 2D, 52x11 min.) Follows the misadventures of a school-aged penguin, Oswaldo, who was adopted and raised by human parents and who faces his biggest challenge—surviving school.

The Cul de Sac (Kids 9+ live-action, 18x23 min.)

Rose wakes one day to find all technology has turned on its head and the adults have vanished.

Dennis & Gnasher Unleashed (Kids 6-11 3D, S1: 52x11 min., S2: 52x11 min.) Features 10year-old Dennis and his pet dog Gnasher in Beanotown, a world full of imagination, comedy and adventure.

Kitty is Not a Cat (Kids 6-11 2D, S1: 52x11 min., S2: 52x11 min., S3: 26x11 min.) The party is over when a young girl arrives on the doorstep of a household of cats.

Talking Tom & Friends (Kids 6+ 3D, 156x11 min.) Based on the global app sensation, the TV series follows the gang’s adventures as they make their own show.

Wolf (Kids 4-6 2D, 156x7 min.) Wolf is friendly, endearing and always up for adventure. He wants to try everything and anything and has a new idea every minute.

Emmy & GooRoo (Kids 3-5 2D, 52x11 min. & 104x7 min.) In the Magical Forest, whether helping little lilies to grow or finding the magical elf, Emmy will solve it all with GooRoo and her friends.

KANAL D INTERNATIONAL

m sales@kanald.international

w kanald.international Miracle in Cell No. 7

The Light of Hope (Drama) A mother, father and child must overcome obstacles to find each other and become a family again.

Bitter Lands (Drama) The story of a legendary love that begins in Istanbul during the 1970s and continues in the fertile lands of Çukurova in southern Turkey through the trials of evil, ambition and tyranny.

Interrupted (Drama/mystery/romance) Ozan, a young and idealistic journalist, dies in a traffic accident but is given a second chance and comes back to life in the body of Kadir.

230 WORLD SCREEN 10/20

New Life (Drama) A chain of events happens when two very different families cross paths, beginning with a business opportunity.

Hekimoğlu (Medical drama, S1: 44 commercial hrs., S2: in prod.) 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, 136 commercial hrs.)

Seher’s family’s life changes dramatically when her mother-in-law makes a deal to sell one of her daughters to a wealthy man from her hometown.

*LIST_1020.qxp_LIS_1006_LISTINGS 9/25/20 2:06 PM Page 9

TV LISTINGS Romance Next Door (Romantic comedy, in prod.) A love story and also the story of friendship between four young people from different social classes and cultures, whose characters are opposite to each other.

Open to Love (Dating show, 1x90 min. & online stream) The participants will open up their lives 24 hours a day on the romantic server (online) so that other participants and their supporters can watch. From IMTV: twista07@naver.com.

B.I.B (Battle in the Box) (Reality/game show, 8x50 min.) Two pairs of celebrities enter into a box made of two rooms. They must battle each other to secure a bigger space and more cash. From Something Special: sspecial@sspecial.co.kr.

BCWW BCWW has been the most efficient content acquisition and networking event in Asia, introducing outstanding content in the world. bcww@bcww.kr.

LIONSGATE ENTERTAINMENT

m general-inquiries@lionsgate.com

New Life

Love Trap (Romantic comedy, 136 commercial hrs.) Ayse, a poor girl, forces Kerem, the son of one of the wealthiest families in Istanbul, to marry her.

Price of Passion (Romance drama, 95 commercial hrs.) Ferhat is a hit man working for his criminal uncle. Asli is a young and idealistic doctor. Their paths cross in the most unexpected way.

Wounded Love (Period drama, 168 commercial hrs.) This is the story of one of the most tragic heroes of his times. A hero who is condemned to face the ruination of his family while he can do nothing to stop it.

Flames of Desire (Drama) In an effort to become friends again after a huge dispute, Bayram and his blood brother Salih plan to marry their children to one another. However, the children have established lives of their own.

War of the Roses (Drama) Gülru, who grew up in the servants’ quarters of a mansion where her father worked as a gardener, crosses paths with Omer Hekimoglu, the former lover of Gulfem, the daughter of the mansion owner.

Meryem (Drama, 94 commercial hrs.) An accident changes the lives of a woman who undertakes a crime for the man she loves, a prosecutor who will do anything for his career and a man whose eye darkened with revenge after he lost his lover.

KOREA CREATIVE CONTENT AGENCY (KOCCA)

m jhseon@kocca.kr

w www.kocca.kr

Zombie Detective (Horror/fantasy/romance, 12x70 min.) A man born again as a zombie, without any memory of his previous life as a human being, disguises his identity and starts to avenge corrupt humans. From KBS Media: global.kbsmedia.co.kr, blackhany@kbsmedia.co.kr.

When I Was the Most Beautiful (Melodrama) A man faces the horrible situation of becoming the brother-in-law of his first crush. When his brother goes missing, the feelings and desires he had suppressed start surfacing. From Munhwa Broadcasting Corp. (MBC): content.mbc.co.kr, poee@mbc.co.kr.

Do You Like Brahms? (Melodrama, 16x70 min.)

The story of a wavering dream and love of a 29year-old classical music student. From SBS: programs.sbs.co.kr/special/sbscontentshub/main.

I Can See Your Voice (Mystery music game show, 12x70 min.) The audience and the singers have to use their “sixth sense” to figure out who is the terrible singer among the contestants.

From CJ ENM: watch.cjenm.com.

More Than Friends (Fantasy/romance/comedy, 16x70 min.) An exciting and sometimes thrilling rom-com between two friends as they shift to lovers.

From JTBC Studios: www.jtbcworldwide.com.

Heart Signal (Romance reality, S1: 12x80 min., S2: 13x80 min., S3: 16x80 min.) Follows the lives of ten housemates living together in a “signal house” for a month. The “predictors,” who are watching the housemates, will try to guess their secret crushes.

From Channel A: www.ichannela.com.

Toilet (Teen hip-hop competition) Teenagers can audition as easily as going to the toilet during recess. From Di Turn: parkwowo@hanmail.net.

w www.lionsgate.com

Zoey’s Extraordinary Playlist (Drama, 25x60 min.) Zoey Clarke is a whip-smart computer coder forging her way in San Francisco. After an unusual event, she starts to hear the innermost wants and desires of the people around her through songs.

MARVISTA ENTERTAINMENT

m sales@marvista.net

w www.marvista.net

Nehir

Kuzgun (Drama) This improbable love story puts Kuzgun and Dila on a dangerous path, as the forces of love and revenge transform them both.

Love is in the Air (Drama) When the media mistakenly links her with the heir to a major holding company, Eda couldn’t be more horrified. But the unlikely pair come to an arrangement.

My Little Girl (Drama) The story of an 8-year-old girl, Öykü, who suffers from a rare genetic disease, and a man, Demir, who one day finds out that he is her father and his extraordinary fight to save her life.

Nehir (Drama) A white lie will lead to a variety of issues as two men constantly struggle to assume each other’s roles, while Nehir attempts to escape a dark past that seems to not want to let her get away.

The Choice (Drama) The life of İrfan, an idealistic professor of economics in a state university, is turned upside down when he wrongfully gets fired and his 7-year-old son becomes ill.

The Teacher (Drama) Akif Erdem, a physics teacher, takes the 12A class of Küçükkuyu High School hostage in his final lecture to find out who was responsible for the death of student Rüya Örnek.

MAGIC LIGHT PICTURES Zoey’s Extraordinary Playlist

Manhunt: Deadly Games (Drama, 18x60 min.) FBI agents hunt for an elusive serial bomber after a deadly terrorist attack at the 1996 Olympic Games, while a wrongly accused innocent man fights to clear his name.

Manhunt: Unabomber (Drama, 18x60 min.) The first installment of the true-crime anthology series tells the story of the FBI’s hunt for the Unabomber, the deadliest serial bomber in history.

Cold Courage (Drama, 8x60 min.) Two determined women collide during a series of murders in present-day London.

Power Book II: Ghost (Drama, 10x60 min.) Tariq St. Patrick grapples with a new world order: his father dead and his mother, Tasha, facing charges for the murder her son committed.

Love Life (Dramedy, 20x30 min.) The romantic comedy anthology will follow a different protagonist’s quest for love each season.

Ramy (Comedy, 30x30 min.) Ramy Hassan is a first-generation Egyptian-American who is on a spiritual journey in his politically-divided New Jersey neighborhood.

House of Ho (Unscripted, 7x30 min.) Binh Ho and his wife immigrated from Vietnam to the U.S. They had little money and relied on hard work to establish the ultimate American dream: a multi-million-dollar bank, a real estate development company and a new generation of American Ho’s.

The Goes Wrong Show (Comedy, 6x30 min.)

Follows the fictitious Cornley Drama Society undertaking yet another overly-ambitious endeavor that is destined to be undermined by several over-acting screen-hogging actors.

The Spanish Princess Part 2 (Event, 16x60 min.) Continues the story of Queen Catherine and King Henry VIII.

MADD ENTERTAINMENT

m info@madd.tv

w www.madd.tv

A Miracle (Drama) Ali, an autistic savant medical school graduate, is quite the genius, but has trouble communicating with people because of his condition. His biggest dream is to become a surgeon.

9

m muriel@magiclightpictures.com

w magiclightpictures.com

Pip and Posy (Preschool animation, 52x7 min.) An animated series about two best friends, based on the popular picture books by Axel Scheffler.

Pip and Posy

Zog and the Flying Doctors (Family/children, 1x26 min.) Zog is back for another adventure with his friends Gadabout and Pearl, also known as the “Flying Doctors.”

The Snail and the Whale (Family/children, 1x26 min.) A tiny snail longs to see the world and hitches a ride on the tail of a humpback whale.

Zog (Family/children, 1x26 min.) An animated comedy about a keen but accident-prone young dragon who learns to fly, roar and breathe fire in Dragon School.

The Highway Rat (Family/children, 1x26 min.)

A swashbuckling tale of a greedy rat whose desire for buns and biscuits and all things sweet leads him to a sticky end.

Revolting Rhymes (Family/children, 2x26 min.)

Based on the celebrated children’s book written by Roald Dahl and illustrated by Quentin Blake, serves up a mischievous take on classic fairytales.

Stick Man (Family/children, 1x26 min.) A tale of a happy-go-lucky father’s epic journey to make it home to his family in time for Christmas.

Room on the Broom (Family/children, 1x26 min.) A kind witch invites a surprising collection of animals to join her on her broom.

The Gruffalo’s Child (Family/children, 1x26 min.)

One wild and windy night, the Gruffalo’s child ignores her father’s warnings and bravely tiptoes out into the snow in search of the Big Bad Mouse.

The Gruffalo (Family/children, 1x26 min.) Tells the magical tale of a mouse who takes a walk through the woods and encounters some curious creatures along the way.

10/20 WORLD SCREEN 231

My Best Friend’s Bouquet (Romantic comedy, 1x90 min.) A woman unlucky in love finds herself in a love triangle after catching the bouquet at her best friend’s wedding.

Christmas at Maple Creek (Holiday/romance, 1x90 min.) A romance novelist rallies her family and friends to save a beloved town by Christmas and finds love in the process.

My Best Friend’s Bouquet

The Christmas Ball (Holiday/romance, 1x90 min.) A struggling dancer heads across the world to help her aunt plan a Christmas ball and finds her true life’s purpose—and love.

Christmas Unwrapped (Holiday/romance, 1x90 min.) When a journalist profiles a man who claims his charity is funded by Santa, she rediscovers the magic of Christmas—and falls in love.

A New York Christmas Wedding (Holiday/ romance, 1x90 min.) A woman is given the chance to experience her dream life and must decide if her current life is the one she wants.

Brutal Bridesmaids (Thriller/drama, 1x90 min.) When strange events threaten their lives, a woman suspects one of her bridesmaids wants to ruin her wedding day and end her life.

Designs for Revenge (Thriller/drama, 1x90 min.) A former architect is excited to move into her new home, but she must fight for survival when a past mistake catches up with her.

An Organized Killer (Thriller/drama, 1x90 min.) A single mother hires a professional organizer but soon realizes her new friend might not have the best intentions.

Ruthless Renegades (Thriller/drama, 1x90 min.) A woman is thrilled to join a pro dance team but must fight for her life as she uncovers a dark web of team lies.

A Secret to Keep (Thriller/drama, 1x90 min.)

When her daughter becomes increasingly secretive, a mother fights to stop her daughter from making a terrible mistake with lasting consequences.

MATTEL

m content_sales@mattel.com

w www.mattel.com

Barbie Princess Adventure (Animation, 1x72 min.) In this all-new musical, 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 Dreamhouse Adventures (Animation, S2: 22x22 min.) Follow the everyday life of Barbie as she embarks upon exciting adventures with her family and friends (including Ken), from fun road trips to sister shenanigans.

Barbie Princess Adventure

*LIST_1020.qxp_LIS_1006_LISTINGS 9/24/20 1:52 PM Page 10

10

TV LISTINGS

Barbie Vlogger (Animation, 60x5 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.

Enchantimals Spring into Harvest Hills (Animation, 1x44 min.) After a magical accident, the Enchantimals mount an epic quest for Harvest Hills, where they must ask the heart of nature to restart spring before Everwilde and everyone in it ceases to exist.

Enchantimals Secrets of Snowy Valley (Animation, 1x44 min.) Pristina Polar Bear embarks on a harrowing search for her missing bestie, Glacier, that leads her to Snowy Valley, where a freak hot cocoa factory accident threatens to destroy the endangered Key Glacier and Snowy Valley.

Thomas & Friends (Animation, S24: 20x11 min.)

Adventure and excitement abound for Thomas and the Steam Team on the island of Sodor. Thomas’ new friend Ruth shakes things up with exciting new intentions and technology. Thomas also makes time for adventures around the world.

Thomas & Friends The Royal Engine (Animation, 1x22 min.) Thomas is selected to take The Fat Controller to London for a Royal Appointment, but with no knowledge of how to get there, their journey is filled with confusion and delay.

Thomas & Friends Marvellous Machinery (Animation, 2x22 min.) When the Earl and his inventor friend Ruth host a Technology Fair, amazing inventions find their way to Sodor. As two sneaky thieves and their engine try to make off with one of the inventions, it will be up to the Steam Team to stop them.

MEDIATOON DISTRIBUTION

m aude.rimbault-joffard@mediatoon.com

w www.mediatoon-distribution.com

Kid Lucky (Comedy, 52x12 min.) Kid is a slingshot ace destined to be a great cowboy. Wherever Kid and his friends go, adventure is sure to follow.

Tom and Lili (Comedy, 52x7 min.) Creative, unstoppable and clumsy, this explosive sibling duo takes dynamism everywhere they go and disaster is never far away.

Kid Lucky

Sardine in Outer Space (Adventure, 52x12 min.) Follow Sardine, Little Louie and The Captain Yellow Shoulder’s intrepid crew in their neverending fight in space against super villain Supermuscleman and his evil sidekick Dr. Krok.

Martin Morning (Adventure, S4: 52x13 min.)

Our young ginger hero Martin continues to wake up each morning in the shoes of a new character.

The Fox-Badger Family (Adventure/comedy, 52x12 min.) It was love at first sight between the parents and a new family was born: the Fox-Badgers.

Garfield Originals (Comedy, 24x3 min.) This non-dialogue series sees Garfield return to his roots of the famous Sunday strips. He’s still as irritating, as lazy and as funny as ever.

Little Furry (Adventure/edutainment, 78x7 min.) Little Furry is an endearing character that all children can relate to. He is playful, sometimes quirky, and above all curious and creative.

Yakari (Adventure/edutainment, 156x13 min.)

Yakari is a mischievous, courageous and generous Sioux child who lives in harmony with nature and has the power to talk to animals.

The Minimighty Kids (Action/comedy, S3: 52x12 min.) A feel-good program that teaches, in a funny way, children to accept themselves for who they are.

SamSam (Adventure, S3: 78x8 min.) As soon as the school bell rings, he rushes off to explore the galaxy on board his SamSaucer with his teddy bear.

MISTCO

m info@mistco.tv

w www.mistco.tv

Golden Cage (Drama, 100x45 min.) Zuluf and Kenan are the children of two rival families. This is the story of a love born out of revenge.

Hold My Hand (Drama, 206x45 min.) A love story between a well-educated girl and a reckless boy starts with a tragedy but later becomes fortune.

The Circle

Melek “A Mother’s Struggle” (Drama, 120x45 min.) Melek leaves the house because of conflicts with her father. When she is forced to return home, she will sacrifice everything for her children and fight to protect them.

My Champion (Drama, 100x45 min.) After his wife passed away as a result of an incurable disease, a boxer named Kafkas decided to give up everything.

When he learns that his son has the same disease, he decides it’s time to come back for one last round.

The Circle (Drama, 61x45 min.) Kaan is a prisoner and Cihangir is the son of a big mafia member. Both young men are fighting against a criminal organization named The Circle.

Surprise Marriage (Drama, 129x45 min.) Itir and Tarik were born and raised in the same neighborhood, fell in love and secretly married in university.

How long can they keep this from their parents?

Beloved (Drama, 149x45 min.) In order to ignite flames of this love, Aziz sets traps for Feride to get fired from her job and start working for him.

Feride’s hate turns into love at the same intensity.

Resurrection: Ertugrul (Drama, 448x45 min.) In this story from the 13th century, our hero Ertugrul, the father of Osman, is struggling to find a home for his tribe and the woman he is in love with.

The Last Emperor (Drama, on air) Sheds light on the real-life story of the last, strongest Ottoman Emperor, Abdulhamid Han, the most modern and innovative Sultan of the Ottoman Empire.

Prisoner of Love (Drama, 227x45 min.) The story of Ömer and Zehra, whose personalities are like night and day, black and white, will green in an impossible climate.

MONDO TV GROUP

m silvia.darchivio@mondotvgroup.com

w www.mondotvgroup.com

MeteoHeroes (2D comedy adventure educational, 52x7 min.) Addresses issues like fighting pollution and climate change through the adventures of six children who transform into superheroes with powers over the weather.

Grisù

Robot Trains (CGI comedy adventure, S3: 52x11 min.) Railwatch—trains that can become robots to defend Rail World—face their toughest challenge when Train X takes control of a deadly source of energy.

Sissi the Young Empress (CGI comedy adventure, S3: 26x11 min.) Sissi and Franz are

now married. Sissi is still a free-spirited girl and doesn’t hesitate to help her human and animal friends around Shobrunn estate.

Invention Story (CGI comedy, 52x11 min.) The tale of a creative young fox, whose brilliant and eccentric inventions delight the inhabitants of Carrot Town and infuriate the angry, jealous mayor.

Grisù (CGI comedy, 52x11 min.) Grisù dreams of becoming a firefighter, even if he is a little firebreathing dragon.

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.

Masked Cinderella (2D comedy adventure, 26x22 min.) Fairy tale characters have changed.

The wolf has gone vegan, the princesses are influencers and Cinderella is a masked heroine disguised as a quiet student.

Hey Fuzzy Yellow (Preschool 2D/live-action edutainment/emotainment, 52x11 min.) An unconventional curriculum-designed show to equip children with 21st century skills using an approach that mirrors the parenting values of millennials. (Presented

by Mondo TV and Toon2Tango)

NHK ENTERPRISES

m info-w@nhk-ep.co.jp

w pf.nhk-ep.co.jp

COVID-19: Battle on the Cruise Ship (Doc., 1x50 min.) Japan’s first cluster of COVID-19 occurred aboard the Diamond Princess. An indepth investigation into what happened inside, offering important clues for managing the crisis.

COVID-19: Battle on the Cruise Ship

We’re in This Together: Life with the Pandemic (Doc., 1x57 min.) Self-recorded stories of everyday people overlap with ours, offering examples of human compassion, resilience and hope.

The Frankenstein Temptation (Science/ history doc., 8x44 min.) Incidents buried in history’s shadows presented in a thrilling, intelligent way, revealing the irresistible temptations of science.

Awaiting Kirin (Historical drama, 1x73 min. & 43x44 min.) Sixteenth-century civil-war fragmented Japan. In this era of unceasing battle and betrayals, peace-seeking military commander Mitsuhide becomes a hero in his own right.

Yell (Drama, 120x15 min.) The story of a husband and wife whose timeless yet timely music gave courage to the ordinary people before, during and after a world war.

LIKES! Mr. Genji (Drama, 8x29 min.) Saori’s roommate is a handsome aristocrat from fiction written in another era. A millennium-bending romantic comedy based on a popular manga series.

Accident Investigator Amano (Drama, 10x49 min.) A maverick engineering professor untangles the mystery behind “accidents,” in the process healing human relations strained by modern times.

Have a Nice Stay! (Travelogue, 8x15 min.)

Discover the charms of Japan through local hotels, inns and ryokans whose history, new ideas and sensitivities have been handed down for generations.

Design Ah! (Children & education, S4: 20x15 min.) This fresh and stylish educational series provides children and adults the first steps for cultivating “design thinking.”

Chiko’s Challenge (Non-scripted format, 45 min. eps.) A comedy panel where a little girl named Chiko challenges celebrities with simple child-like questions. Japan’s favorite megahit program is now available as a format.

232 WORLD SCREEN 10/20

NICELY ENTERTAINMENT

m info@nicelytv.com

w www.nicelytv.com

Lonestar Christmas (Holiday, 1x90 min.) When a single mom takes her daughters to spend Christmas with her estranged dad on his Texas ranch, she unexpectedly falls in love with a local restaurateur, Matteo, while learning to forgive her father.

The Christmas Listing

Christmas on the Menu (Holiday, 1x90 min.)

Josie, a celebrated chef, heads home for the holidays and creates a special menu for her mom’s new restaurant, where she meets Tanner, a famous food critic.

Save the Wedding (Romance, 1x90 min.) As they work together to save the wedding of their best friends, Meg and Tyler begin to realize they’re a good team and that maybe there’s room at this wedding for a little romance of their own.

His Killer Fan (Thriller, 1x90 min.) Up-andcoming musician Ariana Kent’s obsession with rock superstar Josh Halliday turns deadly when Josh falls in love with her best friend Kaylee.

This Little Love of Mine (Romance, 1x90 min.)

Laura, a successful big city lawyer, is sent to her hometown to convince her childhood best friend Chip to take over his grandfather’s company.

A Very Charming Christmas Town (Holiday, 1x90 min.) City girl and lifestyle blogger Aubrey Lang goes to the little town of Solvang and meets Sawyer Larsen, a local community coordinator and chocolate shop owner who shows her around the small Danish village.

The Christmas Listing (Holiday, 1x90 min.) Julia Rogers is an uptight and hardworking realtor who has lost her Christmas spirit. When Julia and her competitor are stuck at a listing they’re both competing for, sparks fly until they realize what’s important and embrace each other and the spirit of Christmas.

Merry Christmas Match (Holiday, 1x90 min.)

A chance encounter with a handsome stranger causes Corey to question her decision to stay in her hometown.

Christmas a la Mode (Holiday, 1x90 min.)

Emily’s plans to keep her family’s dairy farm are threatened by a visit from her sister and a handsome stranger at Christmastime.

A Date by Christmas Eve (Holiday, 1x90 min.)

When Chelsea Simms discovers the app she created has granted her magical powers, she uses her newfound ability to make all of the “naughty” people in her life learn how to be good again.

NIPPON TV

m intlprog@ntv.co.jp

w www.ntv.co.jp/english Double Booking (Comedy/thriller scripted format, 60 min. eps.) One man makes the mistake of double booking a date with two different women while on his computer screen.

Piggyback Challenge (Game-show format, 30-60 min. eps.) Couples compete against others while piggybacking their partner as they clear tasks such as shopping, jogging or dining within a time limit, in pursuit of their dream prize.

Your Home is My Business! (Drama scripted format, 60 min. eps.) She is a real-estate saleswoman who is known for closing the deal no matter who the client is.

Your Turn to Kill (Mystery scripted format, 60 min. eps.) A newly-married couple, having just bought their first home, are convinced that a happy and peaceful life is about to begin until people in their building suddenly start dying.

*LIST_1020.qxp_LIS_1006_LISTINGS 9/24/20 1:52 PM Page 11

TV LISTINGS In Pursuit (Crime drama, S2: 24x48 min.) Actionpacked and masterfully filmed set of crime investigations, with a main character who investigates them while trying to stay out of trouble.

OFF THE FENCE

m info@offthefence.com

Piggyback Challenge

Mr. Hiiragi’s Homeroom (Drama scripted format, 60 min. eps.) Holding 29 students captive, a teacher will do anything to find out the truth behind the suicide of a classmate.

Abandoned (Drama scripted format, 60 min. eps.) A drama seen through the eyes of children facing the harsh reality of life in an orphanage.

I’m Mita, Your Housekeeper (Drama scripted format, 60 min. eps.) A housekeeper perfectly completes everything she is asked to do. However, she never smiles or tries to gain someone’s favor.

Mute it! (Game-show format, 30-120 min. eps.)

A game with a simple rule: don’t make a sound.

Block Out (Ent./game-show format, 60 min. eps.)

Two teams of four players, each with their backs literally against a wall, battle it out in a variety of physical games, combining trivia, strategy, and chance. Created with Red Arrow Studios.

Red Carpet Survival (Game-show format, 60 min. eps.) Contestants act as bodyguards who must safely escort a VIP. The boss gives the bodyguards a mission; to make the VIP stay on the red carpet that stretches out to their destination no matter what.

NTV BROADCASTING COMPANY

m sales@ntv.ru

w sales.ntv.ru

Missing (Crime drama, 16x48 min.) Dedicated policemen and members of a volunteer search-andrescue team work together to find missing people.

Treacherous Path (Thriller drama, 10x48 min.)

A journalist enters the corrupted government system to make things right, but the situation quickly spins out of control.

Beyond Death

Beyond Death (Thriller drama, S1: 16x48 min., S2: in prod.) An elderly detective and a young neuroscientist solve cases on the verge of the traditional science and the paranormal.

Sunshine Investigations (Crime/comedy, 12x48 min.) A reckless motorcycle-loving police officer from a small beach town and a Moscow investigator have to catch the killer and determine the reason behind his atrocities.

Noble Detective (Historical crime drama, 20x48 min.) The story of a Russian Sherlock Holmes who starts his career as a police clerk but quickly advances to solving mysterious and complex cases.

Wolf Trap (Crime drama, 16x50 min.) Notorious ex-gangster Wolf returns to his hometown 20 years later to avenge his family and fight local crime.

Shepherd (Crime comedy/drama, 48x48 min.)

A classic police procedural featuring a detective and his dog duo.

Savage (Historical thriller/crime, 12x48 min.)

True story of a post-war hunt for a Nazi collaborator nicknamed Savage, who sadistically tortured and killed hundreds of innocent people.

Secret for a Million (147x90 min.) The show where celebrities reveal their personal secrets for a cash prize.

Victims of the Vikings (History, 1x52 min.) Why did the Vikings hunt humans? The docudrama seeks answers to this and other questions and illuminates the history of the Vikings and their slaves.

The Salt Saga—White Gold of the Alps (History, 1x52 min.) A journey investigating the lives of the people of Hallstatt and exploring the central role of the women in the prehistoric salt mines.

11

Dollar Toy Squad (Stop-motion animation, 13x9 min.) A ragtag team of plastic bootleg action figures thwart the evil-doings of Rust-OTina and her band of maniacal, metal toys.

PORTFOLIO ENTERTAINMENT

m sales@portfolio-ent.com

w www.offthefence.com

w www.portfolioentertainment.com

Disruptive Nature (Science, 10x60 min.)

Explores the world’s worst natural disasters of the last 20 years and their disastrous effect on economies and civilizations.

Innocent Behind Bars (Crime, 8x60 min.)

Reveals the true experience of being wrongfully convicted and the impact that lasts well beyond the prison bars.

Hero Elementary (Preschool animation, 40x22 min./80x11 min.) At Hero Elementary, young superheroes learn to master their unique abilities and take on some day-saving action.

Doomsday Brothers (Comedy, 18x22 min.) In a mutation-riddled apocalypse, two dysfunctional survivalist brothers are hired to become protectors of their rural hometown.

Disruptive Nature

Beyond the Pole (Lifestyle, 7x60 min. & 1x90 min.) Explores the world of Atlanta’s famous strippers. Do these women see life beyond the pole?

She the People: Votes for Women (History, 1x60 min.) Through rarely seen footage, expert opinions and historical objects, the Smithsonian Institute shows the 70-year fight for women to claim their right to vote.

Dehesa: Forest of the Iberian Lynx (Nature/wildlife, 2x60 min./1x90 min.) Sometimes called the Spanish Serengeti, an ancient wild grassland dotted with the trees, this is the Dehesa.

Costa Rica: The Rise of Nature (Nature/wildlife, 3x60 min.) Journey to Costa Rica, a unique treasure on our planet, and discover Eden-like biotopes and the efforts being made to preserve and restore this exceptional natural heritage.

The World in Slow Motion (Travel/adventure, 52x15 min.) Join Gabriele and Ludovico, friends and modern-day explorers, searching for the best possible experiences while traveling the world using any kind of unconventional vehicle.

Humboldt: The New Season (Doc., 1x80 min.) Discover how families, survivors and a community all pull together to heal after the devastating bus crash of their local hockey team, the Humboldt Broncos.

Pass the Salt (Science, 1x60 min.) Investigates the mysteries of salt and searches for the answers to the debate about the benefits and dangers of sodium chloride.

Ghost Fleet (People/culture, 1x90 min.) Thai activists risk their lives to help free enslaved fishermen, revealing a devastating and corrupt conspiracy at the heart of the seafood industry.

ORF-ENTERPRISE

m contentsales@orf.at

w contentsales.orf.at

Bears of the Karawank Mountains (Wildlife, 1x52 min.) After virtually disappearing in the 20th century, now the quiet giants are returning, padding through the mountain forests of central Europe.

Big Bend—America’s Wildest Frontier (Wildlife, 1x52 min.) The world’s most talkedabout frontier is a vast wonderland of serene beauty and epic desert landscapes—home to some of America’a most glorious wildlife.

Leopard Legacy (Wildlife, 1x52 min.) Follows Olimba and her cubs over three years in Zambezi and captures the life of the leopardess in her prime.

Charles V—The Emperor (History, 1x52 min.)

Shows the king’s life as a holy warrior and a humanist with lavishly reenacted scenes and newly rediscovered archival material.

Leopard Legacy

Last Will (Series, 8x45 min.) Paul delves deep into the life stories of people who have died, rummaging through their private lives.

Soko Kitzbuehel (Series, S1-19: 257x45 min.)

A young team of CID officers constantly encounters extremely baffling murder cases in the picturesque Alps.

Rookie Robot Explores the World (Kids 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.

1000 Tricks (Kids, 13x15 min.) Introduces young audiences to the world of magic and gives insights into how magic is performed. Children are inspired to imitate the tricks themselves.

POCKET.WATCH

m thanda.belker@pocket.watch

w pocket.watch

Ryan’s Mystery Playdate (Live action, 60x22 min.) Join Ryan, his parents and animated friends as they complete challenges and unlock mystery boxes to help him discover who his mystery playdate is.

Ryan’s World Specials: Toon Tales (Animation, 12x22 min.) This series features all of your favorite Ryan’s World characters, Ryan, Gus the Gummy Gator and Combo Panda.

Ryan’s World Specials: Learn & Play (Live action, 15x22 min.) Join Ryan, Gus the Gummy Gator and Combo Panda from Ryan ToysReview as they answer questions only science can solve by performing kid-friendly experiments.

Hero Elementary

Project Pay Day (Family adventure/comedy, 1x90 min.) A coming-of-age comedy about a group of teenage friends who will do whatever it takes to avoid growing up for one last summer.

Archons (Horror/thriller 1x90 min.) A group of young adults are being stalked by unseen creatures in the wilderness.

Cyberchase (Educational animation, 114x30 min.) In a classic good-versus-evil battle, kids go on a wild ride through cyberspace, where they are challenged to use the power of math.

Freaktown (Comedy animation, 52x11 min./26x30 min.) Best friends Ben Bones and Lenny are living “la vida Freaky” in Freaktown, a crazy place where ghouls, mutants, misfits and oddities are welcome.

Do You Know? (Preschool, 75x15 min.) YouTube sensation Maddie Moate makes the leap from the internet to TV to answer some of the world’s most pressing questions from preschoolers.

The Cat in the Hat Knows a Lot About That!

(Preschool animation, 80x30 min./160x15 min. & 4x60 min. movies) Dr. Seuss’ beloved Cat in the Hat and his friends are back for a STEM-focused season three as they embark on brand-new adventures fueled by curiosity and imagination.

Addison (Preschool animation, 50x11 min.) At only 7 years old, Addison, a determined and resilient inventor, heads on comical yet brainteasing adventures in her neighborhood.

You Gotta Eat Here! (Food/travel, 150x30 min.) Comedian John Catucci is on a quest to find the most delicious, mouthwatering and over-the-top comfort foods.

Love, Diana Adventures

Ryan’s World Specials (Live action, 60x22 min.)

Join Ryan, Gus the Gummy Gator and Combo Panda as they review toys, open surprise eggs, and perform kid-friendly science experiments.

Love, Diana Adventures (Animated, 40x5.5 min.) Diana protects her friends and the Land of Play from Boris the Baron of Boredom and his minions of the mundane.

Diana Show Ultimate Mishmash (Live action, 15x22 min.) Features the 5-year-old Ukrainian darling and her family making learning fun through songs, games and creative visual effects.

Jason Vlog’s The Do Crew (Animated, 24x11 min.) When Jason and his brother Alex need something fixed, built or repaired, they call their friends the Do Crew for help.

Jillian’s Mystery Craft Box (Live action, 10x10 min.) With the help of her adorable crafting buddies, Jillian must create a craft using only the items given to her in a mystery box.

Onyx Monster Mysteries (Animated, 12x7 min.)

With great compassion and super cool gadgets, the brave Onyx Family works to save the planet’s most endangered species—monsters.

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RAINBOW

m info@rbw.it

w www.rbw.it

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.

Summer & Todd Happy Farmers

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12

TV LISTINGS

44 Cats Season 2 (CGI comedy, 52x12 min.)

The Buffycats are back with new funny missions along with their furry fellows, always ready to find creative ways to save the day.

Winx Club Season 8 (2D adventure/action, 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.

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 among music, dance, friendship and incredible time leaps.

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.

Pinocchio and Friends (CGI adventure comedy, 52x11 min.) A fresh adaptation of timeless Pinocchio’s adventures set in our day, a bridge target show combining fantasy, friendship and big adventures.

Regal Academy (Toonshade CGI comedy, S12: 52x23 min.) Fairytale 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 (Liveaction 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.

Diary of a Nerd (Comedy, 20x22 min.) Based on a chapter book series, this sitcom is 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 10 seconds but is a disaster at practical stuff.

World of Winx (Action/mystery 2D, 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

m sales@redarrowstudios.com

w redarrowstudios.com/international The Weekly: Special Edition (Factual, 8x60 min.) A new collection of standalone, premium documentaries, driven by the unparalleled journalism and insight of The New York Times.

Renovate Don’t Relocate (Fact-ent., S2: 20x43 min.) Mixes smart technology, design and engaging stories to create a home-makeover show that transforms homes and the way they are used.

RIVE GAUCHE TELEVISION

m marine@rgitv.com

w www.rgitv.com

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.

Disaster Déjà Vu (Doc., 13x60 min.) Showcases cities that have been hit by disasters, not once but twice. Using cutting-edge GFX, film footage and archival photos, step inside each of these disasters as they struck in both historical and modern times.

The Beer Jesus from America (Doc., 1x90 min.)

Greg Koch risks millions on a dream to become the first American to build, own and operate a craft beer brewery in Europe.

The Beer Jesus from America

Very Scary People (Crime, 24x60 min.) Chronicles the lives of some of the most frightening, diabolical characters in recent history. Each individual is chronicled in two-hour-long episodes tracing their criminal acts and the eventual road to justice.

Something’s Killing Me (Medical doc., 18x60 min.) Examines puzzling behaviors and diseases that result in near-death struggles. Each episode chronicles a race against time to discover what, or who, is killing the patient.

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.

Genius Factory (Doc., 1x90 min.) In the 1980’s, an eccentric billionaire named Robert Graham wanted to create the world’s smartest kids, so he funded the largest legal genetic experiment in human history.

Trace of Evil (Crime, 52x60 min.) Explores and reconstructs 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.

Cholitas: The Women Transforming Bolivia

Europe’s Trapped Child Refugees (Doc., 1x24 min.) In Melilla, Spain, there are thousands of child refugees facing neglect, danger and even sexual assault—our team investigates why they’ve slipped through the cracks.

Oury Jalloh: Death in Cell #5 (Doc., 1x26 min.) Speculation abounds surrounding the death by burning of asylum seeker Oury Jalloh in police custody 14 years ago. Police negligence?

State cover-up? Our team investigates.

Cholitas: The Women Transforming Bolivia (Doc., 1x26 min.) Meet the indigenous Bolivian women spearheading societal change to end gender discrimination.

No Way Back: Water (Doc., 1x27 min.) A look at the water crisis that is overcoming our planet, and the action required to stop it before time runs out.

Grave Games (Doc., 1x13 min.) Meet the Hungarian Undertakers’ Association, a collective of gravediggers determined to earn their misunderstood craft the admiration it deserves.

No Way Back: The Animal Kingdom (Doc., 1x26 min.) A third of the world’s species may be extinct in 50 years thanks to the actions of mankind. Meet those determined to prevent this catastrophe.

How to Become Superhuman (Fact-ent./ format) A group of celebrities seek to unlock their own superpowers and achieve the impossible in this extreme new adventure format.

Dieting with My Dog (Fact-ent./format) The new reality format that sees overweight owners and their pudgy pets join forces to lose weight together.

TV Movies Romcom Package (TV movies, 8x90 min.) A package of new TV movie rom-coms, produced by leading North American producers for U.S. broadcasters Hallmark and Lifetime.

Married at First Sight Australia (Fact-ent./ format, S7: 36x90 min.) Season seven of the hit Australian version of Married at First Sight, the world’s leading relationship show.

Married at First Sight USA (Fact-ent./format, S11: 17x120 min.) Season 11 of the supersized, hit U.S. version of Married at First Sight.

m sales@seriouslunch.co.uk

w www.seriouslunch.co.uk

Art Ninja (40x26 min. & 15x20 min.) A top-fiverating, new-look art show for kids interested in experimenting with modern art techniques.

Bo & To’s Family (54x5 min./54x3.5 min.)

Brand-new stop-motion series starring Bori, Toto and Mochi, three eccentric rescue cats living above a café with their barista “servant”.

Gigglebug (52x5 min.) Based on the awardwinning mobile app of the same title, this series is set in an enchanted forest with a little bug with an irresistible laugh.

Horrible Science (10x26 min.) Based on the famous Scholastic books, this scripted “show within a show” comedy stars Ben Miller.

m ref.ste@vgtrk.com

w sales.vgtrk.com

Zuleikha Opens Her Eyes (Historical drama, 8x53-55 min.) In the aftermath of the Russian Revolution, when her husband is murdered by communist soldiers for hiding grain, Zuleikha is arrested and sent to Siberia.

On the Edge (Adventure drama, 8x49-52 min.)

Three completely different young women ended up hopeless prisoners of the Caliphate. There is only one chance of survival—to escape, risking their lives.

The Blood Widow (Historical drama/thriller, 16x51-53 min.) Series about the most notorious female serial killer in Russian history, who tortured and murdered tens of innocent serfs.

m ocole@ruptly.tv

w docs.ruptly.tv

Dyatlov Group’s Journal: The Last Page (Doc., 1x24 min.) An immersive unpicking of the infamous Dyatlov Pass mystery, retracing the final steps of the group who inexplicably perished in the Ural Mountains in 1959.

Journalism on Trial (Doc., 1x25 min.) An exploration of the U.K. media freedoms, uncovering an alternative perspective on the disparity between the national myth and the reality.

Exporting Homophobia (Doc., 1x25 min.) A look at the history of homophobia in Kenya and Uganda, and the American evangelicals who remain at the core of its lingering legacy.

Culinary Colonisation (Doc., 1x25 min.) An exposé on the health crisis that’s won India the title of “diabetes capital of the world”—thanks to fast food and big pharma.

SERIOUS LUNCH

RUSSIA TELEVISION AND RADIO/SOVTELEXPORT

RUPTLY Married at First Sight Australia

given after the pandemic decline. He talks about Russia’s past, present and future and his own role in the country’s fate.

The Great Unknown War (History, 1x110 min.)

Declassified documents and new irrefutable facts reveal how the most destructive war of the 20th century became possible.

Who Are We? (Travel/psychology, 1x54 min.)

A young Parisian of Russian origin goes to the distant Solovetsky Islands to trace his ancestors.

Antarctica: 200 Years of Peace (Nature/ current affairs, 1x47 min.) To protect and preserve this region’s valuable biological resources, peaceful cooperation is a task of crucial importance for all countries.

On the Edge

Ekaterina. Pretenders (Historical drama, 16x5253 min.) 1774. The rule of Ekaterina is threatened.

Numerous pretenders appear with claims to the throne. Her personal life also is troubled.

Godunov (Historical drama, 17x42-57 min.)

Sixteenth century. The mysterious death of the heir to the throne ends the rule of an ancient dynasty. For the first time, the Russian people elect a Tsar. It is Boris Godunov.

Anna Karenina (Drama, 8x42-47 min.) The late 19th century. Russian high society. St. Petersburg aristocrat Anna Karenina enters into a reckless love affair with the dashing count Alexey Vronsky.

Russia.Kremlin.Putin (Current affairs, 1x51 min.) Putin’s most recent and exclusive interview

234 WORLD SCREEN 10/20

Art Ninja

Monty & Co (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! (100x26 min.) This ongoing, double BAFTA-winning, Emmy-nominated factualentertainment show helps kids combat their fear of hospitals by showing them how amazing the human body is at fixing itself.

Ronja, the Robber’s Daughter (26x26 min.)

The International Emmy Award-winning animated series from Studio Ghibli, based on the book by Astrid Lindgren.

The New Legends of Monkey (20x26 min.)

Live-action adventure 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.

Tik Tak (104x5 min.) Toddler show that stimulates children’s cognitive development in a relaxed, simple way.

SIXTEEN SOUTH RIGHTS

m alexandros@sixteensouthrights.tv

w www.sixteensouth.tv

Odo (Kids 3-5 2D, 52x7 min.) Odo is a little owl with a huge amount of self-belief. This is a comedy series about a little owl’s refusal to be what society expects them to be.

Claude (Kids 4-6 2D, 50x12 min. & 11x2 min.)

Claude is a very helpful little dog who, together with his best friend Sir Bobblysock, goes on madcap adventures in the town of Pawhaven.

WildWoods (Kids 4-7 live-action, 26x11 min.)

A live-action comedy featuring Poppy and Cooper, an odd couple in a laugh-out-loud series with a lot of heart.

*LIST_1020.qxp_LIS_1006_LISTINGS 9/24/20 1:53 PM Page 13

TV LISTINGS 13

Odo

FriendZSpace (Comedy/adventure, 52x11 min.) Alice, Leo and Kim may seem like regular human kids, but behind their normal facade their mission is simple and wonderfully weird: locate planets, find alien kids, introduce themselves and make friends.

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.

Lily’s Driftwood Bay (Kids 4-6 2D mixed media, 96x7 min. & 4x14 min.) Five-year-old Lily lives in a beach hut with her Dad. Every day, the sea washes up a curious new treasure which sparks Lily’s imagination and takes her across the way to Driftwood Bay. Big City Park (Kids 4-6 live-action, 26x11 min.)

Features Billy the badger, Dara the fox and Ruairi, who live in a park with their human friend and park-keeper May where unscripted kids come to visit every day.

SOHO FORMATS

m info@sohoformats.com, sales@sohoformats.com w www.sohoformats.com Love Is in the Air (Dating show, 90-120 min. eps.) A live dating/marriage show that brings people together from different ages, lifestyles and backgrounds.

Momzilla (Reality cooking competition, 90 min. eps.) Brides and their mothers-in-law compete as a team to win a cash prize in this brand-new studio show.

Love Is in the Air

Intruders (Reality competition, 60-90 min. eps.)

Each week five duos will compete against each other, but there’s a catch. One of the duos is only pretending: they don’t even know each other in real life.

Say Yes (Reality competition, 60 min. eps.) The dreamiest wedding proposals will compete against each other.

Fashion Wars (Style competition, 90 min. eps.) Thirteen aspiring stylists and thirteen models get to compete in teams of two as they try to impress the judges, who are popular fashion icons and celebrities.

You’ve Got Message (Weekly ent., 60 min. eps.) People on the street will be sent a message and those selected will get a chance to compete.

Mother-In-Love (Cooking competition, 90 min. eps.) Five teams consisting of a bride and her mother-in-law compete against each other to flaunt their personalities and cooking skills.

My Husband Does It Better (Reality competition, 90 min. eps.) Five married couples compete, with husbands taking on all the housework for a week.

Crime Folders (Reality, 90 min. eps.) A docureality series aimed at finding missing persons and shedding light on unsolved murder cases.

STUDIO 100 MEDIA

m distribution@studio100media.com

w www.studio100group.com

SeaBelievers (CGI eco-tainment, 52x11 min.)

Each episode leads kids on an eco-adventure, as the SeaBelievers characters problem-solve and take action around key environmental issues.

Spiral (Crime drama, S8: 10x60 min.) The emblematic Canal+ Creation Originale is back for a final season.

Pros and Cons (Drama, S2: 8x60 min.) Family life as we know it meets the high-stake playgrounds of the con artist.

UFOs (Comedy, 12x30 min.) A series about a fiasco and second chances, supported by a gallery of zany and endearing characters.

La Flamme (Comedy, 9x26 min.) Adapted from the TV series Burning Love produced by Ben Stiller, a hilarious parody of dating reality shows such as The Bachelor.

About Last Night… (Comedy, 8x13 min.) The new Canal+ Creation Decalee that highlights the art of storytelling through a light and comical tone.

snow leopard cubs, Tibetan wolves, Bharal sheep and bears. Spectacular wildlife against a stunning backdrop.

The Alps (Nature, 2x50 min.) Astonishing nature and wildlife in mesmerizing images: this series tells a dramatic story of survival in an ever-changing world.

SUPERIGHTS

m sales@superights.net

w www.superights.net

FriendZSpace

Tip the Mouse (CGI preschool comedy, S1-3: 104x7 min.) Tip must go through all the adventures that each child faces while walking the extraordinary path to growing up.

Wissper (CGI preschool adventure/comedy, S1-2: 104x7 min.) Wissper is a little girl who was born 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.

Maya the Bee (CGI preschool adventure, S1-2: 130x13 min.) New adventures with Maya and her very best friends.

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 kind.

Ghost Rockers (Live-action mystery, 209x12 min. & 1x92 min.) Five teens with big dreams and raw musical talent discover that the school’s basement is haunted by spirits of an old rock band.

STUDIOCANAL

m manon.dulauroy@studiocanal.com

w www.studiocanal.com

Finding Alice (Family drama, 6x60 min.)

Focuses upon Alice’s honest, blackly comic journey of grief, love and life.

Paris Police 1900 (Period crime drama, 8x60 min.) The new Canal+ Creation Originale, offering a modern and gritty representation of the (not so) Belle Epoque, served by a strong ensemble cast.

Pat the Dog (Kids cartoon comedy 3D, 141x7 min., 10x1.5 min. & 4x22 min.) Tells the daily adventures of an ordinary little dog, Pat, and his owner, Lola.

That’s Joey (Kids comedy 3D, 52x11 min.) Faster than the speed of light when it comes to quick jokes and snappy comebacks, bursting with imagination, this little boy is simply irresistible.

Koumi’s Animated Picture Book

Koumi’s Animated Picture Book (Preschool 2D & live-action 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.

Clay Time (Preschool edutainment 2D, 60x3 min. & 60 live tutorials) Young viewers are invited to develop their imagination with a universal activity: modeling clay.

Handico (2D comedy, 12x3 min.) Using amusing terms, Will explains the most common handicaps to children, including their causes and the effect they have on a person’s daily life.

Anna & Friends (Preschool 3D comedy, 78x7 min.) Features five inseparable friends celebrating the power of friendship, imaginative play and backyard “grown-up” adventures.

Zibilla (Preschool 2D, 1x26 min.) Zibilla is different and children at school don’t accept her.

When she unintentionally falls into an exciting adventure and meets a wild lion, she gains the self-confidence to roar back.

Helen’s Little School (Preschool comedy 3D, 52x11 min.) Helen, a 5-year-old girl, walks into her imaginary school where her dream to be a teacher comes true. But her class is made of her own toys.

Percy (Preschool 3D adventure comedy, 52x11 min.) Percy and his friends make up their own imaginary worlds, and have the opportunity to travel from one world to another.

Doopie (Live-action preschool, 26x7 min.)

Doopie, a toy living in a store, goes out into the world, full of enthusiasm. In each episode he meets a child with a different personality.

TERRA MATER FACTUAL STUDIOS

Finding Alice

Shadowplay (Thriller, 8x60 min.) Created and written by award-winning Måns Mårlind, a gritty thriller set in post-WWII Berlin.

Possessions (Psychological thriller, 6x60 min.)

A powerful psychological thriller set against the backdrop of the wild Negev desert.

The King of Warsaw (Drama, 8x60 min.) This gangster drama is set at a powerful turning point in history rarely seen on-screen—right before the onset of WWII and the Holocaust.

m office@terramater.at,

sven.westphal@terramater.at

w www.terramater.at

China! (Nature, 1x50 min.) This emotional program is told with unique footage of the world’s most iconic animals.

Snow Leopards and Friends (Nature, 1x50 min.) We discover a harsh world together with

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China!

Born in the Rockies (Nature, 2x50 min.) We follow the lives of three courageous animal families as they struggle to survive in one of the most challenging habitats on Earth—North America’s Rocky Mountains.

The New Forest (Nature, 2x50 min.) A wild and magical forest, once the Crown’s hunting grounds, is the scene for a remarkable year.

Critical Kingdoms (Nature, 3x50 min.) We travel to Australia, Africa and Indonesia to discover stories of hope of how we can revitalize the natural environments of these critical kingdoms.

The Secret Whale (Nature, 1x50 min.) A naturalhistory thriller on the importance of whales in our planet’s ecosystem.

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 Miami (Nature, 1x50 min.) Miami is a fascinating melting pot of wildlife from around the globe.

Giant blue landcrabs meet Indian peafowls meet manatees, alligators, vervet monkeys and raccoons.

Planet California (Nature, 2x50 min.) It’s the home of Hollywood, Disneyland and the Golden Gate Bridge—and a place of refuge for wildlife.

THE STORY LAB

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w www.storylab.com

Nine Windows (Ent./talent game-show format, 30/60 min. eps.) Fresh from Japan, a game show-meets-talent contest that celebrates ordinary people with outlandish skills, set it an iconic, interactive studio setting.

Nine Windows

All Together at the Table (Fact-ent. format, 30/60 min. eps.) Brand-new factual-entertainment cooking show, where a celebrity chef cooks live from their kitchen.

Making Sense of Love (Dating/fact-ent., 8x30 min. & format) A scientific dating experiment where our cast of singletons are led by their senses in their search for true love.

Game of Clones (Reality/dating, 20x30 min. & 30/60 min. eps. format) One singleton uses the latest technology to create an avatar of their ideal partner, before we find them eight dates who look exactly the same.

Ninja Warrior (Physical game-show format, 60 min. eps.) Hundreds of competitors attempt to complete a four-stage obstacle course to become the last one standing.

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TV LISTINGS

You Are Not a Loan (Fact-ent. format, 30/60 min. eps.) This life-changing social experiment gets to the heart of our addiction to debt. Can 30 people wipe out £500,000 debt in 12 months?

National Folk Star (Talent format, 60/90/120 min. eps.) Showcases participants who perform traditional folk songs and dances, competing for the National Folk Star crown.

Undercover Twins (Dating/reality, 7x60 min. & 30/60 min. eps. format) Identical twin sisters pretend to be the same person, but will their perfect match spot the difference?

The Fast and The Farmer-ish (Fact-ent. format, 30/60 min. eps.) In each self-contained episode, two groups of young farmers go head to head in a series of challenges to see whose machinery comes out on top.

Soccerstars (Reality format, 30/60 min. eps.)

Combines the world’s most loved sport with the highs and lows of reality elimination.

story of the six forgotten Chinese survivors of the Titanic. Join a team of international researchers to uncover their story for the first time.

Frontier Sumatra (Wildlife, 1x52 min.) Follow heroic rangers and scientists as they battle to protect one of Earth’s most important, yet least understood, ecosystems: the last great peat forest of Southeast Asia.

TOON2TANGO

Deciphering Japan

m info@toon2tango.com

w www.toon2tango.com

Hey Fuzzy Yellow (Preschool hybrid edutainment/ emotainment, 52x11 min.) An unconventional curriculum-designed show to equip children with 21st century skills, with an approach that mirrors the parenting values of millennials. (Presented

by Toon2Tango and Mondo TV)

Suit Up

Agent 203 (Kids 6-10 CGI action comedy, 26x22 min.) Sci-fi for girls, featuring a strong and independent female lead on a quest to save the universe, find her father and have a normal teenage life. (Presented

by Toon2Tango and Mondo TV) Monster Loving Maniacs (Kids 6-10 comedy adventure, 52x11 min.) Three kids help their grandfather with his monster-hunting business.

But rather than just catching them, they decide to get to know them first.

Aliens vs Cavemen (Kids 6+ 2D slapstick comedy, 78x7 min.) A fish-out-of-water, buddies with little in common, slapstick chase, weird alien zoo comedy: uptight clean-freak alien culture vs booger-loving anything-goes cavemen.

(Presented by Toon2Tango and Mondo TV) Bek and the Bunnies (Kids 5-8 CGI adventure comedy, 52x11 min.) A 7-year-old girl, not having any friends living nearby, invents the most adorable, fun-loving robot bunny friends you could ask for.

(Presented by Toon2Tango and Mondo TV) Trailrangers vs the Galaxy (Kids 6-10 2D action comedy, 52x11 min.) An unruly ranger team and an extraterrestrial girl battle a secret alien plot to take over the world.

Suit Up (Kids 6-10 CGI action comedy, 52x11 min.) The old battered suit of Armour Boy comes into the possession of an ordinary kid next door.

The Wee Littles (Preschool simulated stopmotion, 52x5 min.) A tiny family of four, living in the forest, handle their compact size with their own unique and inventive flair.

TVF INTERNATIONAL

m international@tvf.co.uk

w www.tvfinternational.com David Foster: Off the Record (Bio., 1x44 min./1x89 min./1x106 min.) Go behind the scenes of the career and life of one of the most influential record producers in pop music history.

The Six: Titanic’s Last Secret (History, 1x60 min./1x72 min./1x97 min.) The extraordinary

Thailand’s Wild Side (Wildlife, 2x44 min.) Look on as some of Thailand’s most charismatic wild creatures’ face the biggest challenges of their lives, the hunting game and the mating game.

Deciphering Japan (Travel, 4x48 min.) Join journalist Yumi Araki as she returns to her homeland ahead of the summer Olympics and meets some of the people redefining the country’s stereotypes.

E-Sports Revolution (Lifestyle, 5x48 min.)

With sold-out stadium tournaments, more than 380 million followers and an economic value of over one billion dollars, this series is a guide to the revolution.

Inside Edinburgh Zoo (Ent., 8x60 min.) Follow the dedicated staff behind one of the world’s best zoos as they face the logistical challenges and downright unpredictable in caring for over 1,000 animal residents.

Me & My Penis (Sex/relationships, 1x47 min.)

Sees men bare and reveal all to British artist Ajamu to discuss and redefine our understanding of masculinity and the male body.

Mark of Empire: Asia’s Ancient Kingdoms (History, 4x48 min.) Travel across the most spectacular sights of Southeast Asia to explore the rise and fall of four ancient empires that changed the course of world history.

Searching for Light (Science, 1x60 min.) Join astronomer Gary Fildes on a journey across Chile in search of the darkest skies on earth, discovering the most advanced technologies along the way.

VIACOMCBS

m visemea@viacom.com

w b2b.viacom.com

Young Dylan (Kids, 28x30 min.) Dylan’s grandmother sends him to live with her son Myles Wilson and his family. Suddenly, lifestyles clash between hip-hop star Young Dylan and his cousins.

Young Dylan

Twenties (Ent., S1: 8x30 min., S2: 10x30 min.)

From executive producer Lena Waithe, centers around Hattie and her girlfriends as they pursue their dreams, while testing the diversity and inclusion in Los Angeles.

Awkwafina (Comedy, S1: 10x30 min., S2: greenlit) Creator, writer and Golden Globe winner Awkwafina stars as Nora Lin in the scripted comedy inspired by her life growing up in Queens, NY. It’s Pony (Kids, S1: 20x30 min., S2: 20x30 min.)

The story of a city-living girl named Annie and her loving, impulsive, talking best friend, who’s a pony.

Secrets of the Royals (Doc., 5x60 min.) A glimpse into the world of the British Royal Family, from royal traditions, priceless jewels, grand palaces and more.

Diana in Her Own Words (Doc., 1x60 min.) A tale of a woman transforming herself from exRoyal wife to a global humanitarian, told by the woman herself.

America’s Most Musical Family (Format, 60 min. eps.) Singing siblings, rocking parents and harmonizing cousins get together to show off their abilities in front of a live studio audience and a panel of three famous judges.

True Life Crime (Factual) Investigates the most harrowing true-crime mysteries. These victims were young, the crimes against them were shocking and haunting questions remain.

Ana (Comedy, 13x30 min.) The daughter of a Mexican beauty queen attempts to become a Hollywood star as she struggles against aging and her own mothers unaccomplished dreams.

The Hood (Kids, 150x30 min.) Follows the Davids (single dad Ben and his five kids), and their fascinating journey to discover treasure and save their family.

Homens (Comedy, S2: 8x30 min.) Four thirtysomething friends who always talk about women, drink and brag about their glories face a real problem for the first time: one of them is powerless. He needs help from his “stud” friends.

WILDBRAIN

m sales@wildbrain.com

w distribution.wildbrain.com Green Hornet (Kids) Developed with Kevin Smith, this animated series will follow the adventures of the grown son of the original Green Hornet and the daughter of the original Kato as they partner to battle crime in Century City.

VIACOMCBS INTERNATIONAL STUDIOS (AMERICAS)

m vis-americas@vimn.com

w www.viacominternationalstudios.com PH—Time to Talk (Talk show) Six guests who would never come together in normal life find out that they have more in common than not.

Blue’s Clues and You! (Preschool, 20x30 min.) A remake of Blue’s Clues, featuring brandnew elements alongside refreshed iconic items from the original series.

The Internationals... Connection Buenos Aires

The Internationals… Connection Buenos Aires (Drama, 8x60 min.) Formerly a member of Colombia’s best band of thieves, Fausto landed in jail for a crime he didn’t commit. Now he is free and decides to put together a new band of internationals.

R (Dramedy, 10x60 min.) For Franco Barron, every day is a boring chore, until a routine medical checkup leads to a diagnosis of terminal cancer. Shocked by the news, he decides to free himself to enjoy to the fullest extent the little time he has left.

Backdoor (Comedy, S1: 20x30 min., S2: 20x30 min.) An adaptation for the Mexican market of the Brazilian comedy channel “Porta dos Fundos,” a format with short sketches that showcase different social situations in a satirical, over-the-top and very funny way.

Entangled (Drama, 13x60 min.) Daniel has emergency surgery after a car accident. He pulls through but is still critical. His wife Rebeca finds out that Daniel had a woman with him, who’s disappeared without a trace.

Noobees (Teen telenovela, S2: 60x60 min.)

Silvia decided to leave the Noobees’ team and go back to playing basketball and spending time with David. What they don’t know is that the A.I. “Game Over” wants a rematch.

Ana (Comedy, 10x30 min.) The daughter of a Mexican beauty queen attempts to become a Hollywood star as she struggles against aging and her own mother’s unaccomplished dreams.

Victoria Small (Dramedy, 52x60 min.) The lives of four women are intertwined when Victoria is born.

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Green Hornet

The Woods (Young teen, 10x60 min.) Setting out on a dangerous search for their missing grandfather in the remote woods of Halloran County, Noah, his sister Viv and his best friend Flip must learn to survive in the wilderness.

Sheila HippoDreamer (Preschool, 40x11 min.)

An ambitious, joyful, headstrong, single-minded, clumsy, big-hearted, hilarious hippo, Sheila is full of big dreams—and big ideas that rarely go to plan.

Alva (wt) (Kids 5+, 52x11 min.) Our pint-sized heroine is pitted against the plots of three duplicitous dunderheads—the Trolls of Gizmo.

The Brilliant World of Tom Gates (Kids, 20x11 min.) This animated story is interwoven with live-action crafts and drawing, stop-motion games and music videos. Also features author/illustrator Liz Pichon.

Summer Memories (Kids, 40x11 min.) Based on creator Adam Yaniv’s actual summer experiences growing up in Israel with his friends and family, chronicles the sweet, fun-filled friendship of Jason and Ronnie.

Dorg Van Dango (Kids, 52x11 min.) Dorg Van Dango is a normal teenager growing up in Normill, when four magical beings crash-land in his backyard and turn his life upside down.

Fireman Sam (Preschool, S12: 13x11 min. & 1x60min., S13: 26x11 min.) Series 12 follows the adventures of Fireman Sam and newcomer to Pontypandy, Police Constable Malcom Williams.

Chip & Potato (Preschool, 40x11 min.) Chip, a 4-year-old pug puppy, takes her first steps towards independence at kindergarten with secret friend Potato—a teensy tiny mouse—at her side.

Polly Pocket (Kids, S2: 26x11 min.) When Polly Pocket inherits a magic heirloom locket that allows her to shrink to four inches tall, she embraces her pocket-sized powers and finds the upside of shrinking is big fun for her and her best friends.

WINSING ANIMATION

m sophie@winsing.net

w en.winsing.net

Team S.T.E.A.M.! (Kids 4-8 3D edutainment, 104x15 min.) The kids overcome problems using STEM curriculum for good measure.

GOGOBUS (Kids 2-5 3D edutainment, 156x13 min.) A series based on social and emotional learning, revolving around an artificial school bus with the capability of transforming into the shape of different vehicles.

GG Bond: Undersea Wonders (Kids 4-8 action adventure, 104x15 min.) GG Bond will lead his team members to explore a world

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TV LISTINGS 15 underwater. They will meet the trapped Tina and the brave Princess Coral.

GG Bond: Dino Diary (Kids 3-6 3D comedy/adventure/action, 104x13 min.) GG Bond and his fellows travel back to the Mesozoic Era to collect information on different dinosaurs.

Diary of Dinosaurs (Comedy/adventure/ action, 1x90 min.) Yaya overcomes her inborn fear and makes a decision to firmly stand her ground, just like her father, when the carnivores invade next time.

Moka’s Fabulous Adventures! (Kids animated comedy adventure, 78x7 min.) Moka’s curiosity and impulsive behavior often get him into trouble.

Coach Me If You Can (Kids animated comedy, 52x13 min.) In order to go back to being human, the world’s greatest soccer player, Erico Platana, has to seriously deflate his ego and help clumsy Daniel become a champ.

ZDF ENTERPRISES

m info@zdf-enterprises.de

w www.zdf-enterprises.de

Team S.T.E.A.M.!

GG Bond: Racing (Kids 4-8 action/adventure, 104x15 min.) GG Bond enters into an unknown space accidentally and has to participate in speed races to find his fellows and find a way back home.

XILAM ANIMATION

m sales@xilam.com

w www.xilam.com

Oggy and the Cockroaches—Next Gen (Kids animated comedy, 78x7 min.) The reboot brings a fresh and modern look to the iconic series that will appeal to both kids and grown-ups alike.

Heirs of the Night (Kids live action, S1-2: 26x26 min.) In 1889, the children of the five remaining European vampire clans come together to join forces and learn from each other, as each child has powers unique to their clan. Now in its second season.

Space Nova (Kids animation, 26x22 min.)

The year 2162 has been a blast for the Aussie space-exploring Nova family. During a routine research mission, the Novas stumble across an abandoned alien space craft trapped in a celestial butterfly.

Zoom—The White Dolphin (Kids animation, 104x12 min.) After being the hero of the 1970s cult series created by Vladimir Tartakovsky and Marc Bonnet, the most famous cetacean in cartoon history makes his comeback.

Ziggy and the Zootram (Kids animation, 52x11 min.) A group of animals live in a small zoo and have a very special secret: they go home at night.

Grow (Crime/suspense, 8x42 min.) A story that changes between a breathless thriller, deep development of character and an at times dissident reflection on what happiness is in an apathetic society.

Standing Tall (Crime/suspense, 4x100 min./8x50 min.) Valerio is an ex-cop who, after losing his job and the affection of his only son Ettore, had isolated himself. In the middle of this shunning of the world, he receives the news that Ettore is dead.

Oggy and the Cockroaches—Next Gen

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.

Where’s Chicky? (Animated comedy, S1-2: 104x1 min.) Chicky, an adorable little chick, turns up in a new place and an unknown object to discover each of our hero’s adventures.

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.

Lupin’s Tales (Upper preschool animated comedy, 78x7 min.) Lupin, an impetuous wolf-cub, reinvents worldwide traditional tales from Asia to Amazonia. Each episode takes place in extraordinary pop-up book backgrounds.

Grow

Sløborn (Crime/suspense, 4x90 min./8x45 min.) A coming-of-age drama meets pandemic thriller tells the story of a group of islanders confronted with a fatal virus.

Anthropocene (Science/knowledge, 3x50 min.) The elements of fire, water and air formed the earth over billions of years—until humans severely transformed the planet within a short time.

Frontlines (Science/knowledge, 8x50 min.)

Takes you deep into the heart of battle to reveal the critical turning points in some of World War II’s most decisive confrontations.

The Return of the Bears (Science/knowledge, 1x50 min.) The return of the brown bears is the most exciting and most controversial rewilding program in the history of Europe.

ADVERTISERS’ INDEX 9 Story Media Group 99, 131 Acamar Films 97 Albatross World Sales 209 all3media international 1, 6, 7, 192, 193 AMC Studios 22, 23 ATV 161 Autentic Distribution 197 Banijay Rights 147 Beyond Rights 15, 115, 190, 191 Blue Ant International 215 Brightcove 164, 165 Busan Contents Market 65 CAKE 127 Calinos Entertainment 2, 3 CBC & Radio-Canada Distribution 107, 163 Crunchyroll 79 Cyber Group Studios 68, 69, 119, 124, 125, 134, 135, 142 Dori Media Group 179 Electric Entertainment 47 eOne Family Brands 70, 71, 113, 129, 137 Escapade Media 199, 201 Federation Kids & Family 133 FilmRise 49 Foxtel 31 Fremantle 19 Gaumont 139, 240 Global Agency 150, 151, 152, 153, 188, 189 Global Screen - A Brand of TELEPOOL 155 GRB Studios 45, 53, 173, 221 Guru Studio 72, 73 Incendo 171 Insight TV 203 Inter Medya 16, 17 Jetpack Distribution 76, 77 Jill Goldstein Public Relations 63 Kanal D International 182 Kidoodle.TV 109 Lionsgate Entertainment 148, 149 Magic Light Pictures 83 MarVista Entertainment 4, 5, 239 Mattel 130, 138 Mediatoon Distribution 114, 116, 118 Mondo TV Group 93, 141 NBCUniversal Global Distribution 37 NBCUniversal Global Distribution – Kids & Family 123 Nicely Entertainment 27 NTV Broadcasting Company 222 ORF-Enterprise 25 Red Arrow Studios International 13 Rive Gauche Television 39, 207 RTVE 157 Ruptly 213 Russia Television and Radio/Sovtelexport 169 Series Mania 181 Studio 100 Media 101 STUDIOCANAL 8, 9 Superights 67 Terra Mater Factual Studios 187 The Story Lab 51 Universal Cinergia Dubbing 55 ViacomCBS 11 Voxx Studios 177 WarnerMedia 41 WildBrain 105 Winsing Animation 117 Xilam Animation 74, 75, 95 29, 35, 81, 159, 195 ZDF Enterprises

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WORLD’S END

IN THE STARS Almost every national constitution forbids the establishment of an official state religion. But this secular bent doesn’t stop people from looking to the heavens for answers to life’s most troublesome questions: Will I succeed? Will I find love?

Will I accidentally share an explicit photo on Instagram?

Every day, papers, magazines and websites worldwide print horoscopes— projections for people born in a specific month, based on the positions of the stars and planets. While many people rely on these daily, weekly or monthly messages for guidance in their lives, some readers skip over them entirely.

The editors of WS recognize that these little pearls of random foresight occasionally prove pro phetic.

But rather than poring over charts of the zodiac to predict world events, our staff prefers to use past horoscopes in an attempt to legitimize the science.

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

Kristen Bell

Ramy Youssef

Brad Pitt

Tyra Banks

CHRIS EVANS

RAMY YOUSSEF

Global distinction: “Captain America.”

Sign: Gemini (b. June 13, 1981) Significant date: September 12, 2020 Noteworthy activity: While playing a game of “Heads

Global distinction: Creator & star of Ramy.

Sign: Aries (b. March 26, 1991) Significant date: September 20, 2020 Noteworthy activity: The comedian, actor and writer

Up!,” the actor shares a video with his 6.5 million Instagram followers without editing the clip, revealing a gallery of recordings and photos, including one featuring a picture of an erect penis. Though he quickly deletes the clip, screenshots hit Twitter immediately and social media ignites in a frenzy.

Horoscope: “Make a concerted effort to be open, but don’t overshare.” (bedfordgazette.com)

won a Golden Globe for playing the titular role in Hulu’s Ramy—but isn’t so fortunate at this year’s virtual Emmys. When it’s determined that Youssef lost out on the honor, a Television Academy intern, decked out in a hazmat suit, waves him a goodbye, his would-be statue in hand. Youssef succinctly captions a video of the surreal rejection on Twitter, “When you lose the Emmy.”

Horoscope: “Sometimes we must accept defeat—we can’t win every time.” (bustle.com)

KRISTEN BELL Global distinction: The Good Place actress.

Sign: Cancer (b. July 18, 1980) Significant date: September 15, 2020 Noteworthy activity: The Frozen star reveals on the podcast Say Yes! with Carla Hall that she walked in on her and Dax Shepard’s daughters drinking nonalcoholic beer while in class on Zoom. “I’m going to get a lot of flak for this, and let me start by saying I don’t care,” she prefaces the story, going on to explain that her husband has been sober for 16 years and the girls, ages 7 and 5, were just enjoying some of the six-pack he brought home. “It’s just essentially a bubbly juice. Right? There’s nothing in it,” Bell says.

Horoscope: “Do what’s best for you this week, and don’t worry about what other people think.” (weeklycitizen.com)

BRAD PITT Global distinction: American movie star.

Sign: Sagittarius (b. December 18, 1963) Significant date: September 17, 2020 Noteworthy activity: The actor participates in a table read for Fast Times at Ridgemont High orchestrated

by Dane Cook—and also featuring Pitt’s ex-wife Jennifer Aniston. As the Friends star reads her flirty and sexually suggestive lines to her former partner, he struggles to keep from blushing. Fellow participants, including Julia Roberts, Matthew McConaughey and Jimmy Kimmel, struggle to keep a straight face.

Horoscope: “Don’t be embarrassed to admit it if you’ve made a mistake.” (scmp.com)

TYRA BANKS CANDACE CAMERON BURE Global distinction: Fuller House star.

Sign: Aries (b. April 6, 1976) Significant date: September 10, 2020 Noteworthy activity: The 44-year-old actress posts a playful pic of her husband with his hand on her breast, which she deletes after a storm of social media backlash.

She later addresses the critics on her Instagram stories: “For all of the Christians that are questioning my post with my husband’s hand on my boob—my husband of 24 years—thinking it was inappropriate, it makes me laugh because it’s my husband. We have so much fun together.”

Horoscope: “You don’t owe anyone an explanation for how you live your life. After all, it’s your life.” (gallupsun.com)

Global distinction: Model & TV host.

Sign: Sagittarius (b. December 4, 1973) Significant date: September 14, 2020 Noteworthy activity: After several seasons leading America’s Next Top Model, Banks makes her debut hosting the U.S. version of Dancing with the Stars, taking over from Tom Bergeron and Erin Andrews. Before calling on the judges to give their scores for rapper Nelly and his pro partner Daniella Karagach, Banks reveals she suffered a minor wardrobe malfunction, losing her statement earring. “I promised everybody that I’m going to keep it real real,” she says.

Horoscope: “A few bumps along the way cannot derail you.” (marconews.com)

Photo credits: Kristen Bell (Mike Smith/NBC), Ramy Youssef (Paul Drinkwater/NBC), Brad Pitt (Todd Williamson/NBC), Tyra Banks (Nathan Congleton/NBC).

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