World Screen L.A. Screenings 2013

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THE MAGAZINE OF INTERNATIONAL MEDIA • MAY 2013

www.worldscreen.com

L.A. Screenings Edition

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contents MAY 2013/L.A. SCREENINGS EDITION

DEPARTMENTS WORLD VIEW

8

A note from the editor.

UPFRONTS

10

New shows on the market.

NETWORK SCORECARD 143

The top 50 shows on U.S. network television.

WORLD’S END

In the stars.

14 20 23 14 WHITE HOT HOLLYWOOD special report

146

Thanks to deep libraries and a constant flow of new product, the Hollywood studios are meeting the challenges presented by digital platforms.

—Anna Carugati

one-on-one

20 CBS’S ARMANDO NUÑEZ As the president and CEO of CBS Global Distribution Group, Nuñez is charged with overseeing both international and domestic distribution of product from CBS Television Studios, Showtime and more.

—Anna Carugati

on the record

23 WARNER BROS.’ JEFFREY SCHLESINGER The president of Warner Bros. International Television oversees what is considered to be the world’s leading distributor of programming, with some 61,000 hours available.

Publisher Ricardo Seguin Guise Editor Anna Carugati Executive Editor Mansha Daswani Managing Editor Kristin Brzoznowski Contributing Editor Elizabeth Guider Special Projects Editors Jay Stuart Bob Jenkins Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Associate Editor, Spanish-Language Publications Jessica Rodríguez Associate Editor Joanna Padovano Online Director Simon Weaver Production & Design Director Victor L. Cuevas Art Director Phyllis Q. Busell Sales & Marketing Director Cesar Suero Sales & Marketing Manager Vanessa Brand Business Affairs Manager Terry Acunzo Senior Editor Kate Norris Copy Editor Maddy Kloss

—Anna Carugati

These targeted magazines appear both inside World Screen and as separate publications.

BEST BUYS This annual media-buyers survey explores how brands and broadcasters are finding new ways to attract Latin American consumers 66…AMERICAN DREAM A look at the production and development processes used by the U.S. networks 74…INTERVIEW Univision’s Cesar Conde 93 #LOVE Social media is being widely used as a way to connect fans with a number of leading telenovelas 83…INTERVIEW Rebecca Jones

Ricardo Seguin Guise President Anna Carugati Executive VP & Group Editorial Director Mansha Daswani Associate Publisher & VP of Strategic Development WORLD SCREEN is a registered trademark of WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.worldscreen.com ©2013 WSN INC. Printed by Fry Communications No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

and Mónica Spear, the star s of Telemundo’s Forbidden Love 90

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HUNGRY FOR APPS Exploring the use of apps in building up successful kids’ brands 112…INTERVIEW DHX Media’s Steven DeNure 118…PROFILE The

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International Emmy Kids Awards 122 6 World Screen 5/13

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world milestones view

BY ANNA CARUGATI

Embracing Change Think back to the dawning of the year 2000. Remember how we woke up on January 1 in fear that Y2K or the Millennium bug had caused computers at home and at work to break down and created unimaginable havoc with banking systems, air traffic controllers, anything computerized?

Then, just as we thought we had averted digital Armageddon, on the morning of January 10, headlines screamed that AOL had acquired Time Warner. Say what?

An Internet company was going to buy the media behemoth that was home to Warner Bros.,Turner Broadcasting, HBO, Time Inc. and Time Warner Cable for more than $160 million. It was the largest merger in corporate history.

The thinking at the time was that “new” media—in this case the Internet—was deemed more valuable by investors for its potential for growth than “old” media: newspapers, magazines, film and television.

The word “convergence” was bandied about and the newly formed AOL Time Warner would lead the way:Time Warner’s prime assets would get access to digital platforms, while AOL would provide high-speed Internet to Time Warner’s cable systems. A new, better, converged world was at hand.

THE RELATIONSHIP Well, we all know what happened.The premise of the deal was woefully misguided, and in May BETWEEN VIEWERS, 2009 Time Warner announced it would split from AOL. But the attached to traditional TECHNOLOGY AND CONTENT stigma media companies persisted. Stock prices of all major media compaIS GETTING MORE AND nies remained grossly undervalued as Wall Street continued to be highly skeptical of traditional MORE INTERTWINED media’s ability to adapt to the digital world, monetize its conAND INTIMATE. tent on digital platforms and increase profits.

If we fast-forward to today, the stock prices of media companies are up and earnings are way up. What has caused this increase after a long spell of stock doldrums?

I am no financial analyst, nor am I an expert in technology, but I believe media companies’ ability to embrace digital platforms has made all the difference.What used to be an “us-versus-them” mentality, with content creators seeing technology and digital platforms as the enemy, the ultimate disruptors of business models, has changed.

Rights holders of movies and television shows are making significant strides in harnessing the possibilities that digital platforms offer.

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There is no question that the Internet brought the music industry to its knees. But lessons have been learned. Consumers have taken the driver’s seat, dictating how, when and on what screen they want to watch their favorite programming, and major media companies have answered in kind.What was at first a trial-and-error approach—what to provide for free and what to charge for—has given way to a number of established models that allow for decent remuneration of content. iTunes and other download-to-own sites work for consumers. Netflix definitely works, as do countless other such subscription sites. The success of HBO GO is proof that consumers will embrace the TV Everywhere or authentication model: subscribe to one service, such as cable TV, and then when you want to watch, say, Game of Thrones on your computer, you simply go through an authentication process to prove that you already subscribe to HBO to gain access to online episodes.

As we see in the main feature of this issue of World Screen, Hollywood studios have found many ways to carve out substantial revenues from digital platforms. What was a two-way battle of content owners versus disruptive technologies has morphed into a three-way minuet between consumers, technology and content owners.

Technology allowed TV episodes and films to be streamed online and consumers flocked to sites that offered this convenience. Content owners scrambled to get paid for what was being streamed, and now they are, often handsomely. Consumers are taking the convenience of watching wherever and whenever to new limits—namely, by binge viewing. We all do it, and what a pleasure it is to catch up on favorite series by watching episode after episode after episode. This works particularly well with serialized drama, and this new viewing habit has pushed digital platforms to pay more than decent prices for hot shows. In turn, that has given serialized dramas new life after their first broadcast, when not so long ago serialized fare was dead on arrival in the syndication market.

The relationship between viewers, technology and content is getting more and more intertwined and intimate. It seems every morning we wake up to a new screen, device or outlet for content. In this brave new digital world, smart companies spot opportunities through the disruption.

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upfronts

Bandeirantes Communication Group • Elite Police Force • Los Hermanos Lost in Brazil • I Hate My Boss Brazil takes center stage in a number of the current productions from Bandeirantes Communication Group. Across the genres of reality, fiction and documentary, Band is offering titles that “show the various realities in the country,” says Elisa Ayub, the company’s director of international contents. One of the series being presented is Elite Police Force, which follows four seasoned cops who are transferred to a suburban police station.There is also Los Hermanos Lost in Brazil, a reality show that watches as three men—an Argentine, Paraguayan and Uruguayan—navigate Brazil over the course of one month. Also in the way of factual programming, Brazil: Challenges of a Country You Don’t Know explores the most remote parts of the nation.Additional offerings from Band include Chef’s Favorite Choice and I Hate My Boss.

“Due to the great worldwide events ahead, Brazil is attracting much interest from buyers all over the world.”

—Elisa Ayub I Hate My Boss

Dori Media Group • Family Restart • The Band • S.Y.P.D.

The reality show Family Restart, on offer from Dori Media Group, gives estranged families a chance to reconnect by pairing parents and their adult children with a life coach to mend their broken relationships.In another Dori Media reality show, The Band, aspiring young performers train, sing, dance and battle for their chance to be one of a five-member band that could potentially become the next big musical hit.The company is also presenting the teen series S.Y.P.D., in which a police department and ministry of education decide to create the first-ever teenage police station at a high school. “Our catalogue consists of content that travels worldwide,” says Nadav Palti, the president and CEO of Dori Media Group. “The idea, the concept, the story line and even the look of the cast in our dramas can be suitable all over the world.”

“Over the past year we have felt a growing interest in our Israeli content, which will continue at this L.A. Screenings.”

—Nadav Palti The Band

Global Agency • Don’t Say It, Bring It! • Rivals in Law • Talent Hunters Channels in search of formats that can easily be adapted for their local audiences can look to Global Agency for a host of new concepts. For example, there’s Don’t Say It, Bring It!, “a funny and fast-paced urban game show,” according to sales director Ivan Sanchez. In the format, contestants must present the host with an object that represents the answer to a question, to which they cannot respond verbally. “Don’t Say It, Bring It! has already sold to several territories, and there has been a lot of strong interest in Latin America,” says Sanchez.

The company is also offering the formats Rivals in Law, a cooking competition, and the singing-based Talent Hunters.

“We already have deals signed for Talent Hunters and Rivals in Law, and see a great future for them as well,” adds Sanchez.

“I am confident our latest titles will be a great fit for Latin America and other countries worldwide.”

—Ivan Sanchez Rivals in Law 10 World Screen 5/13

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Kanal D • Kuzey Güney • Time Goes By... • My Partner Knows The strong international interest in Turkish dramas has led Kanal D to head to the L.A. Screenings for the first time.

There, the company is presenting Kuzey Güney, a modernday drama, and Time Goes By..., a period drama. “Both series highlight hopes, passions, love stories, family dramas, communities and relationships,” says Ozlem Ozsumbul, the head of sales and acquisitions at Kanal D. “Having all these universal elements, we believe that these series will be very appealing to everyone around the world attending the market.” Kanal D is also presenting My Partner Knows, which is already a hit in Turkey. The format rights have been sold to Romania and Lebanon, “and there are several more deals to be confirmed soon,” says Ozsumbul.

“Time Goes By... is one the highestrated TV series ever produced in Turkey.”

—Ozlem Ozsumbul Time Goes By...

Keshet International • Master Class • Sure or Insure • Prisoners of War

This year marks the first time that Keshet International is participating in the L.A. Screenings. Leading the company’s slate is Prisoners of War, the drama that inspired the Emmy Awardwinning Homeland, which airs on Showtime in the U.S. The title is being sold as both a format and as a finished series. “The story of men taken captive during conflict is one that can be adapted to every region, whether the conflict is military, political, criminal or environmental,” says Keren Shahar, Keshet International’s head of distribution and acquisitions. On the unscripted side, the company is highlighting Master Class, a musical talent competition for children, and Sure or Insure, a new family game show that gives contestants the chance to take home $1 million.

“We’re excited to introduce our catalogue of content to the Latin American market for the first time.”

—Keren Shahar Sure or Insure

Lionsgate • Orange Is the New Black • Chasing Life • Saint George Launching on Netflix in the U.S. this summer, Orange Is the New Black is a new drama set in a women’s prison. Lionsgate will be discussing the title at the L.A. Screenings, alongside Chasing Life, a drama, and Saint George, a character-driven sitcom led by George Lopez. The company is also presenting the comedy Satisfaction and the docu-soap Tequila Sisters, as well as established hits such as Mad Men, Anger Management and Nashville. Peter Iacono, Lionsgate’s managing director for international television, says, “The May Screenings has to be the best time of the year to be in the content business. There is an incredible buzz and genuine excitement across the city as hosts of international buyers descend on L.A. to search for the next hit for their country.”

“We are very proud of our unique, highquality, highly eclectic mix of programs.”

—Peter Iacono Orange Is the New Black

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Multicom Entertainment Group • Gold Diggers • Family Pictures • Every Woman’s Dream One of Multicom Entertainment Group’s main focuses as of late has been on increasing its delivery to digital outlets, according to chairman Irv Holender. From its catalogue, the independent global distribution outfit is promoting miniseries such as Family Pictures, which stars Anjelica Huston, Sam Neill and Kyra Sedgwick. The drama, based on Sue Miller’s book of the same name, revolves around a family dealing with autism. There is also Every Woman’s Dream, a telefilm with a cast led by Jeff Fahey, Kim Cattrall and DeLane Matthews.

Adapted from a novel penned by Karen Kingsbury, the movie focuses on a woman’s marriage to a man leading a double life.

Multicom is also bringing to market the reality show Gold Diggers, among a number of other titles.

“It seems that the market is moving more and more towards the digital channels.”

—Irv Holender Every Woman’s Dream

Peace Point Rights • Film Catalogue • The DNA of GSP • Lifestyle Catalogue

Attending the L.A. Screenings for the first time, Peace Point Rights is putting forth The DNA of GSP, a documentary zeroing in on the life of UFC fighter Georges St-Pierre, a welterweight world champion. The production is available as a 90-minute theatrical movie and as a mini-series with two hour-long segments. “We expect a big reaction to the DNA of GSP film and mini-series since mixed martial arts originated in Latin America and we expect a big buyer presence from this region at the Screenings,” says Les Tomlin, the president and CEO of Peace Point Entertainment.The company is also launching titles from its movie catalogue, which contains nearly 50 features spanning a variety of genres, as well as new additions to its library of lifestyle content.

“Great quality content, whether it’s a film or lifestyle series, is always in high demand.”

The DNA of GSP

—Les Tomlin

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NBCUniversal’s Defiance.

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hink about how you watched movies and TV shows ten years ago. Now think about how many different ways you have to enjoy your favorite films and series—on TV, computers, tablets and even mobile phones.What unimaginable convenience technology has given us!

The very same platforms and devices that enhance our enjoyment have caused unforeseen disruption to the business models of rights holders and distributors.

“It’s like the Wild West!” says Marion Edwards, the president of international television at Twentieth Century Fox Television Distribution. “Everything we have known about windowing content has changed.We all know how to window film.We were always thought-

pose of windowing it should be.

Now we find ourselves doing some incredibly interesting and complicated things and experimenting in a way that was never possible with film. And it’s only possible with television because so many of these new interesting services are driven by television.”

“SVOD and over-the-top services have fundamentally altered the way that shows are distributed,” adds Jim Packer, the president of worldwide television and digital distribution at Lionsgate.

But within the chaos, Hollywood studios have been able to mine unprecedented opportunities in the digital world. There is no question that today’s international distribution business bears little resemblance to the way shows and movies were sold a decade ago. Not

dent of NBCUniversal International Television Distribution and Universal Networks International.

The production values and budgets of current television series are on a different level from 10 to 15 years ago, she explains. “Today, television is attracting the best writers, actors and producers creating incredible, high-concept series that are attracting global audiences.”

THE AMERICAN WAY

“For the most part, ten years ago, American series were not working internationally and there were very few of them in prime time,” says Jeffrey Schlesinger, the president of Warner Bros. International Television. “In most cases, programs would usually go directly to free television, and in most territories, especially the dubbed territories

Today, continues Schlesinger, things are very different. “First, U.S. programming is working in major markets in prime time and is thriving. Second, broadcasters, especially in [English-language] territories, are airing programming very close to the U.S. airdates. Third, in dubbed territories, there are many cases where, in conjunction with the broadcaster, we are making hit shows available ‘hot from the U.S.’ on a transactional basis, meaning a day or a week after an episode airs in America, it’s available in VOD or EST in English with subtitles.”

“High-speed broadband opened the door for new, innovative digital services that not only changed the landscape, but also put the consumer in the driver’s seat,” adds NBCUniversal’s Menendez.

“Nonlinear viewing overall, which

WHITE H0T HOLLYWOOD

By Anna Carugati

Thanks to deep libraries and a constant flow of new product, the Hollywood studios are meeting the challenges presented by digital platforms. ful about how we shortened the theatrical windows, shortened the home-entertainment windows, layered in EST [electronic sell through] and VOD day-and-date release with home entertainment, but television was like this child running wild and free in the world!

No one ever really thought about how to window it or what the pur-

only has technology added channels and services and altered viewing habits, but in response to today’s savvy viewers, shows have become far edgier and more sophisticated.

“Who we sell to and how we sell our content has changed, but equally, the quality of the content we are selling has also changed,” says Belinda Menendez, the presi-

[where programming is dubbed into a local language], the shows wouldn’t air until about a year after they premiered in America.

Oftentimes, after their run on free television, there was no place to go for a second cycle. So shows pretty much ran and then disappeared, with the exception of a few very successful shows.”

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includes everything from timeshifted viewing to OTT services to pirate sites, has put pressure on our linear clients’ ability to bring in the same audiences compared to 10 to 15 years ago. In turn, it has put pressure on our business as well.”

Studios have had to react to the rapidly evolving TV scene. Everyone in the content business is

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I spy: The FX original The Americans, distributed by Twentieth Century Fox, stars Keri Russell and Matthew Rhys as married undercover Soviet spies in the U.S. near the end of the Cold War.

keenly aware of what happed to the music industry, when online file sharing of songs demolished record labels’ businesses. Studio executives are determined not to let the Internet and new digital devices destroy the value of their content.

“Technology has created all these additional devices, and with them it’s created a desire for consumers to have what they want when they want it,” explains Fox’s Edwards.

“They want it for free and they want it on any device, and that is not a business model that can sustain the cost of production, which is currently several million dollars an hour for television. Every day we’re worried about the business models, concerned because we are starting to see greater and greater usage of our content even within the first window. Everyone knows that the library value is really where you

start to churn money to help compensate for the loss of all the shows that fail.When you have such heavy use in the first window, which covers broadcast and catch-up rights as well as EST for the people who want to watch without commercial interruptions, then people start to say, what happens next?”

OPEN WINDOWS

Digital platforms have certainly revolutionized the traditional sequencing of windows. “It used to be that at the end of the first season of a show, in theory, it would be renewed for another season and two seasons later you could sell it in syndication and hopefully make a lot of money,” continues Edwards. “But now, at the end of that first season, the series will go into the SVOD window, about concurrent with the home-entertainment window. And while we are absolutely

being compensated very well for that, it’s changing the long-term additional licensing activity that used to make up the very long tail of distribution.”

Studio executives have also noted a sense of uncertainty in the international market. Buyers are concerned that given the continued emergence of new devices and platforms, they are not acquiring sufficient rights.

“Trust me, trying to close deals in today’s environment is very difficult, because people are worried,” says Edwards. “Things are changing so quickly, people are very worried about stuff that doesn’t even exist yet and may exist during the term of their license.”

Despite the disruption and confusion caused by new platforms, studios have found ways to do business with them, get remunerated for their content, and find new audiences in the process. But first, they

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had to learn how to carve out windows for their programming in different ways, and be willing to keep adjusting those windows, depending on a given market’s circumstances.

OPPORTUNITIES ABOUND

“New digital services are an exciting development to our business because more players mean more opportunities to sell our content,” says NBCUniversal’s Menendez.

“We have the ability to reach different audiences with our content in the way they want to watch.

“Digital platforms allow us to implement creative windowing strategies that grow our overall business, and we have found new syndication cycles for our library content,” continues Menendez.

“Recent examples of this strategy paying off include Heroes, the U.S. version of The Office, Battlestar

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Galactica and Warehouse 13—all bringing in healthy revenues on SVOD services.”

“From our perspective, the issue isn’t doing business with [digital platforms], it’s doing business in a smart strategic way, which at the end of the day doesn’t hurt the value of the programming in the market, but adds value,” says Armando Nuñez, the president and CEO of the CBS Global Distribution Group.

In today’s world of international distribution, the key is to find the proper mix of outlets to maximize the revenue that can be derived from a show. A sales executive must know his or her product intimately, and studio product today is quite varied. It includes broad-audience procedurals, soap-type series on broadcast networks, edgier serialized shows on cable channels, and innovative, push-the-envelope fare that finds a home on premium services like Showtime or HBO.

“Each show has to be positioned a little bit differently,” explains Lionsgate’s Packer. “If you look at shows like Nashville, Mad Men and Weeds, each one has its own distribution story in terms of how we approach the market.With Mad Men, we first sold to a lot of cable platforms and slowly migrated it to free TV, and it became an international phenomenon. Now, many of the SVOD players are buying the show after it’s already been on the air on cable and broadcast, so in many markets we have three or four different partners for the show. The same thing happened with Weeds.”

NEW ROUTES

As Packer explains, the Nashville distribution path was a little different. “We pre-sold Nashville,” he says. “It’s a broadcast network show, but because it’s about country music, some people wondered how it would play internationally. So we

really focused on the soap nature of the show, since internationally soaps are very popular. And there is a week-to-week story line to Nash ville; there is a sexiness to it. The sexiness really plays well internationally and it’s been a very good show for us from that perspective.

“This goes back to where technology helps,” continues Packer.

“In one market we couldn’t get a broadcaster to sign upfront, so we put Nashville on iTunes as ‘hot from the U.S.’ and that stimulated interest in picking up the show because it was doing well on iTunes. That’s where digital gives you a new model…. You can put an episode up in English the day after it airs in the U.S., build a fan base, and then sell the show to the cable and broadcast world.”

Lionsgate was one of the very first studios to embrace digital platforms.

In its deal for Mad Men, Netflix paid nearly $1 million per episode to

stream seven seasons of the multipleaward-winning series.

A MAD WORLD

“Looking back, it was a moment in time that was critical because it did two things,” says Packer. “First, it showed that Netflix would step up and is forward-looking enough to spend enough money to buy the back end of a show, and Mad Men was the first big one that they did.

Second, it showed that serialized shows, which had previously been viewed as not having a lot of backend value, could actually be incredibly valuable from a back-end perspective. A particular genre that once had a stigma attached to it suddenly became the belle of the ball.

“That one deal shifted the way shows were distributed. If you look at AMC or some of the other networks, they got a little bit more comfortable with doing high-quality serialized programming because they

Sign of the times: Following its massive success on AMC, the drama Mad Men was initially rolled out by Lionsgate to niche cable channels internationally, before eventually making its way to free-to-air and SVOD services.

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knew they now had a back end. It created a bit of a renaissance and, looking at the television landscape from basic cable to what Netflix is doing with product, there is now a lot of really good television available.”

One of the most lauded series on television now is Homeland. “Homeland is our miracle show and the show that flies in the face of everything you think” about serialized shows not working internationally, says Fox’s Edwards. “It’s such a good show and it has performed incredibly well.”

Fox has also been successful with many of its edgier basic-cable shows, although Edwards and her team have had to help international buyers understand that today, cable shows are certainly on par, qualitywise, with broadcast shows.

“It reminds me of when I first came to Fox and people said, ‘Well you know, FOX isn’t a real network.’

You had to go through the struggle of explaining, ‘No, The X-Files is a real show!’ Now some people say, ‘Cable shows, well, they’re not really like network shows.’ But the reality is that some of the biggest shows on television right now are cable shows.

I think people understand that the budgets are the same and that great television is great television, whoever you produce it for.”

NEW AVENUES

Once again, the digital world has offered new avenues for studio shows. Just as over-the-top platforms can help introduce shows to a broad audience, digital terrestrial channels can take shows that a free-to-air broadcaster would not consider appropriate for its audience.

“For our clients who have a big network channel and also a number of smaller channels, including digital terrestrial channels, cable programming can really create a lot of noise,” Edwards notes. “They may not have been able to use Sons of Anarchy on their main channel, but certainly they can find a home for it on one of their digital channels.

A show like The Americans really helps people recognize that a great show is a great show.”

Dream team: CBS Studios International has placed the mega-hit CSI, which airs on CBS in the U.S., with a number of international broadcasters.

Schlesinger has found that the cable shows produced and distributed

by Warner Bros. are well accepted by international buyers. “If you look at Dallas, Rizzoli & Isles, The Closer or Major Crimes, these are shows that buyers and the audience do not discriminate against because they originated on TNT instead of one of the major terrestrial networks,” he says.

“We have tended to produce mainstream generalist shows for cable as opposed to others who are producing narrow, targeted shows like Mad Men, Sons of Anarchy or The Walking Dead.

Those shows by and large are only going to appeal to certain networks in each country because they are very targeted. So the generalist shows that might be appearing on TNT or USA Network are looked at in exactly the same way as a similar program coming from the broadcast networks.”

Digital channels are also providing homes to comedies, which traditionally have not sold as well internationally as dramas.

“With the addition of channels like Comedy Central, we have some

broadcasters that are dedicated to comedy and are specifically looking to buy deep in the comedy vein,” Schlesinger says. “The great thing is we are seeing a lot of buyers coming back for second and third cycles of our comedies. In some cases, we are getting a higher license fee in the second cycle than what we got when we first sold the show. Of course, we are granting more runs, but once shows are perceived as successful and broadcasters can strip them, there is huge value to a hit sitcom.”

GOING LOCAL

Edwards, who has been selling The Simpsons and Modern Family, still thinks comedy doesn’t travel well— not as finished product anyway. Selling scripts of comedies and allowing broadcasters to make their own versions is much more effective.

“We produced a Russian version of How I Met Your Mother. We are looking at a version in the Middle East. We have a version of Modern Family that will begin shooting in Israel and Chile. Comedy is the one thing that’s really right for local ver-

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sioning because the original U.S. show is not going to work that well, whereas if you localize it, it does have the possibility of really becoming successful,” says Edwards.

In fact, the studios have been selling formats for a broad range of scripted series. Fox has licensed Prison Break, among several other formats, into Russia. Warner Bros. recently announced a version of Gossip Girl with Televisa and of Nip/Tuck with Caracol in Colombia.

CBS has licensed the format for Taxi in the Ukraine and Cheers in Spain.

The international distribution business has changed so much in the last decade, and as it continues to evolve, studios need to find a new breed of salespeople with a very special combination of abilities.

“So many different things need to be done now,” says Fox’s Edwards.

“There is the old-fashioned negotiation of license fees and terms and number of runs. That’s the easiest thing we do now and it happens the quickest.We need people who have a really good background in technology; content protection is something that every deal requires.”

“I’ve been running distribution operations for 28 years,” says Lionsgate’s Packer. “Ten years ago, I looked for pure sales skills when I hired someone. Fast-forward to today and sales skills are about half of what I look for. The other half consists of technical skills, knowing how to window product and being comfortable with change. If you’re not comfortable with changing windows, changing client dynamics, then you won’t bring value to the team.”

“We have a very stable team of industry veterans and that’s what enables us to do such a great job,” says Schlesinger. “But we’re also constantly looking for bright young people and bringing them in to our organization.

Basically you have to look for somebody who is passionate about our business, who has a strategic view, who understands technology, is culturally sensitive and, in the end, is able to tell a clear, persuasive story. Our product is all about storytelling; ultimately, so is sales.”

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on the one-on-one record

n October 2012, Armando Nuñez, who had been the president of CBS Studios International since 2004, was appointed president and CEO of the newly formed CBS Global Distribution Group and charged with overseeing both international and domestic distribution of programming from CBS Television Studios, CBS Television Distribution, Showtime and more.

The group includes CBS Studios International, which sells CBS programming—including hit shows like the CSI and NCIS franchises, Hawaii Five-0, the new series Elementary and Vegas, and the genre-defining shows Dexter, Californication and The Borgias that air on the pay service Showtime—to more than 200 markets across multiple media platforms. CBS Television Distribution is the leading domestic syndicator and producer of first-run and off-

network programming and boasts such titles as Judge Judy, the number one show in syndication, and Dr. Phil, the number one talk show, as well as Entertainment Tonight and Wheel of Fortune.

Beyond the distribution of finished product, Nuñez’s team also sells formats internationally and has formed joint ventures to launch CBS-branded channels around the world. CBS Studios International has already partnered with Chellomedia for channels in Europe, the Middle East and Africa; with Reliance Broadcast Network for channels in India; and with Network Ten to provide programming to a youth-targeted digital multichannel service, ELEVEN. CBS also has ownership interests in two pay-television channels in Australia: TV1 and SF. As Nuñez explains, there are many outlets around the world for CBS product.

ARMANDO NUÑEZ

CBS Global Distribution Group

WS: You now oversee both domestic

and international distribution. Where do you see potential for growth?

NUÑEZ: I look at the businesses as different pods, if you will. I can see great growth opportunities internationally, and I see growth opportunities domestically as well. In the U.S., I think we are just starting to scratch the surface given how digital platforms are evolving and how content is going to be monetized on those platforms. Cable channels in the U.S. are always going to need both our library content and our hugely successful off-network content. When it comes to syndication, we are by far the number one syndication company in the U.S. with Entertainment Tonight and Dr. Phil and Judge Judy. These are big, big shows in the U.S. and in many places around the world as well.

WS: Some say Elementary and Vegas are new versions of traditional procedurals, because they have a mythology that runs behind the crimes solved in each episode. How have those shows sold internationally?

NUÑEZ: Hawaii Five-0 is also a procedural and it has a story line and continuity that goes through the entire season of production. They are still very easy shows to program and to schedule. If you go from the first episode of Elementary to the fifth, it’s not like a serialized drama where you would have no idea what’s going on 20 World Screen 5/13

in the story line if you jumped from episode one to five. Elementary has been very successful pretty much everywhere it has aired. Certainly it’s been successful on Sky Living in the U.K., Sat.1 in Germany, TEN in Australia, Cuatro in Spain and Global in Canada. And we’ve been very successful selling Vegas as well.

WS: Do you take a different sales

approach with Dexter or Californication or The Borgias than you would take with NCIS or Elementary?

NUÑEZ: Yes.The first question you have to ask yourself when you look at these properties is, how broad are the shows? Is the interest limited to the pay-television universe, or is it a show that can be telecast as well on free TV, or in many cases, both free TV and pay TV? It’s hard to generalize because it really depends on the territories and markets you are talking about, but we’ve been very, very successful with all of these properties. Dexter is not necessarily an 8 p.m. show on a terrestrial broadcaster; it may be more of a pay-TV show. In other markets, like France, Dexter airs on Canal+ and it airs late night on TF1. The good news about how we deal with Showtime content is that this premium pay content is, first off, in great demand, and secondly, it’s a limited commodity. There is just not that much of it in the marketplace.

We’ve been very successful with Showtime series, but they don’t necessarily fall into the category of NCIS and CSI because of the type of shows that they are.

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WS: Even though there is a lot of local production going on across the various territories, would you say that American programming is selling better today than it did ten years ago?

NUÑEZ: Yes. I don’t view local production and acquisitions of American shows as mutually exclusive. When you look at broadcasters around the world, there is a combination of local production that goes on along with acquisitions. From a broadcaster’s perspective, American content is relatively cost-efficient, particularly in the case of CBS; it’s a limited commodity with a certain probability of success built in to it. It all works together in the ecosystem.

WS: What opportunities are you finding with digital platforms internationally?

NUÑEZ: Incredible opportunities.

We have been very active with Netflix and Amazon and Hulu in Japan.

Those are the U.S. players everybody talks to, but we’ve also done deals with local digital players like BT and Vivendi in Germany and Avex Entertainment in Japan and mobile SVOD players. We’re in business with all these platforms. From our perspective, the issue isn’t doing business with them, it’s doing business in a smart strategic way, which at the end of the day doesn’t hurt the value of the programming in the market, but adds value. We’re not taking money from one pocket to the other; it’s incremental revenue to us. It’s a strategic view of windowed licensing.

WS: You’re making programming

available to multiple outlets without cannibalizing any of them.

NUÑEZ: Absolutely. Digital platforms are just another outlet now to sell content to. And where SVOD falls into the [entire sequence of windows] is a function of pricing. You want to look at it in a strategic and holistic way so that you are not just grabbing a few dollars here and forsaking the value of the programming.

Don’t forget, especially on new shows—you need the traditional platforms to create these brands for you.

By the book: CBS’s Elementary, a modern take on Sherlock Holmes, has been one of the breakout hits of the 2012–2013 season and has been sold widely by CBS Studios International.

WS: You need to get to the broadest audience first?

NUÑEZ: For the most part. It is the traditional platforms that promote, market and create the brands that then, in success, create all this other value for you. There is brand recognition for the shows you have sold as a result of that first exhibition.

WS: Your division also sells for-

mats and scripts of CBS shows.

NUÑEZ: Paul Gilbert runs our

format and production group. We license the formats to our shows.

The first ones people think about are our various versions of Wheel of Fortune and America’s Next Top Model that we have around the world. We’ve done 20-plus local versions of Next Top Model and we sell the American version in more than 100 markets.We just celebrated the 30th anniversary of Wheel of Fortune. As part of MIPTV’s 50th anniversary, Reed MIDEM did a list of the 50 most iconic shows that changed the landscape of global television, and Wheel of Fortune was one of those shows.

We have also been more active in the business of looking at some of the shows and scripts from our library and making local versions of some of them, including Taxi in Ukraine. We had Cheers a couple years ago in Spain. Currently, we are in preproduction on Charmed and The 4400 in Russia.

If you take a step back, we are a content-monetization machine. It’s all about monetizing the content and doing it in a coordinated fashion. In this case, we want to make sure that we are not doing anything that impacts the sales of the U.S. episodes.

WS: Are you also continuing with branded channels?

NUÑEZ: Our joint venture with Chello expanded into Eastern Europe and western Africa. And we have another joint venture for three channels called BIG CBS in India, with Reliance Broadcast Network. We now have 22 channels in 20 languages across 87 territories—more than 100 million international households.

5/13 World Screen 21

WS: When buyers are screening shows, even though they have to keep in mind all the platforms they are acquiring for, at some point doesn’t it all start with an emotional response to a show or a character?

NUÑEZ: At all points! It all starts with good programming—all of it.

Leslie Moonves [president and CEO of CBS Corporation] has a famous quote he uses: “A bad show doesn’t get better on a two-inch screen.” That reminds us that good programming generates great business. It doesn’t start with the technology; it all starts with the programming. Our buyers who come to the L.A. Screenings aren’t thinking about what the multiplatform exhibition is going to be for whatever the next new show is. They are thinking, How am I going to generate the most eyeballs to watch the show and what’s the financial model that is going to make this work? It’s all about the programming and that hasn’t changed. There are just a lot more pipes and places now to put all this programming.

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on the record

arner Bros. International Television is the world’s leading distributor of programming, with some 61,000 hours of television shows and movies available to sell to broadcasters, cable and satellite channels and digital platforms of all sorts.

This hefty amount of content comes from a variety of divisions, including Warner Bros. Pictures, Warner Bros. Television, Warner Horizon Television, Castle Rock Entertainment, Telepictures Productions, New Line Cinema, Warner Bros. Animation, Cartoon Network Studios, Shed Media, the Lorimar film and television library, and the Turner library, which contains Turner Pictures and the classic MGM library, among other titles.

As president of Warner Bros. International Television, Jeffrey Schlesinger oversees all this and more. In 2009, the company set up Warner Bros. International Television Production, with the aim of acquiring or setting up entities around the world to produce local versions of shows owned by the studio and as well as original content. Schlesinger spearheaded the acquisition of Shed Media in the U.K. and BlazHoffski in the Netherlands.

He also oversees a bouquet of channels and digital services around the world, which are grouped under the heading of Warner Bros. International Branded Services. He talks to World Screen about the continued appeal of Warner Bros. programming regardless of the platform and despite economic crises.

JEFFREY SCHLESINGER

Warner Bros. International Television

WS: Broadcasters in South-

ern Europe have been severely impacted by their countries’ economic woes.

How has that affected your business in those territories?

SCHLESINGER: On a macro level, we had, from 2011 to 2012, one of our biggest growth years in the last ten years. So to us, the total macro marketplace is very healthy. Having said that, yes, in some territories like Greece and Portugal, there has been a contraction and we’ve had to help some of our broadcast partners.

Some countries in Eastern Europe have also been hit particularly hard by the fiscal crisis and the downturn in advertising.

In places like Italy and Spain, because we normally do multi-year volume deals, the ups and downs on a yearby-year basis don’t affect us as much, because we might be in the middle of a multiyear deal.When a deal comes up for renewal, the health of the market has an impact.

But the one thing that we see is that in times of fiscal crisis and pressure on programming budgets, the first place the reductions usually 5/13 World Screen 23

hit are the expensive local productions. Product that broadcasters buy from us is really a very good value because it’s high-quality, professionally produced and reasonably priced compared to what it costs a broadcaster in Italy, France, Germany or Spain to produce a show locally.

Normally a broadcaster will get multiple runs on a U.S. show and it becomes a sustaining asset. So even in the height of the worst part of the fiscal crisis, when our deals came up for renewal in some of the major territories, we had strong bidding and competition and were able to increase our pricing, even though the overall marketplace was under pressure.

WS: And what about the British market?

SCHLESINGER: In the U.K. market, advertising is flat or down, but they still have a strong need for keystone shows. This year, for example, shows like The Following, Arrow and Revolution, which were licensed to Sky, had multiple bidders and the prices for those shows were very competitive. The year before that, 2 Broke Girls had multiple bids and ended up on Channel 4 at a very healthy license fee. So, despite the challenging advertising market, the U.K. is still a very significant market for U.S. series. We have not seen a reduction in pricing for the shows

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Cult classic: The Warner Bros. series The Following, renewed by FOX for a second season, is the first television series for Kevin Bacon, who portrays a troubled former FBI agent on the hunt for a serial killer, depicted by James Purefoy, and his cult of murderous followers.

that broadcasters really want.Whatever shows are perceived to be the hit shows at the L.A. Screenings will go for more money than ever before. But what has happened in the U.K. is the broadcasters have become more selective, so there is a stratification: you have some shows going for very high prices, some shows going at moderate prices and some at lower prices. Because many of the shows that are produced today are original series produced for cable, they target a very specific demographic. So those shows may only be suited to one or two broadcasters. Therefore, you don’t have the same competition you would see from a broad-based general-audience show. The U.K. is one market where there are no volume deals for series, so every series that comes out is a “jump ball” and when the buyers perceive something to be a hit, the bidding can go into the stratosphere.

WS: Tell us about Warner Bros.

International Television Production. Are you looking to acquire more production companies?

SCHLESINGER: In 2010, we

acquired Shed Media and then last year we acquired a company in Holland called BlazHoffski. We are continuing to look for complementary companies, mostly in the major territories. What we are already seeing, in the short time since we have acquired these companies, is a triangulation of IP flow from one country to another.

Whether it’s a BlazHoffski format like Food CIA that Shed is now producing for Channel 4, whether it’s The Bachelor that comes over to the U.K. that Ricochet is producing for Channel 5, or whether it’s the Shed show World’s Strictest Parents that BlazHoffski is producing in Holland and Belgium, we’re seeing a nice movement of creativity across borders amongst three countries. We also have a very strong format sales group that is taking all these formats internationally and licensing them either to broadcasters or production companies in many countries.

We’ve also seen a real growth in the demand for formats for a number of our scripted products. We

announced recently a version of Gossip Girl with Televisa, and a version of Nip/Tuck with Caracol in Colombia. We did a version of Without a Trace in France with TF1.

And we’ve done Without a Trace and Cold Case in Russia. We’ve seen a resurgence of The Bachelor, which is doing fantastically well for RTL in Germany in prime time, and it just finished its run in France on NT1 and will most likely be renewed. So this group is pretty vibrant and we are seeing a lot of activity.

WS: What about the Branded Services unit? Technology is offering new platforms and screens every day. How do you decide where to place your product?

SCHLESINGER: That’s a good question. With Branded Services we have two linear channels. We have the Warner Channel in Latin America, which is doing phenomenally well, and we have the Warner Channel in Asia, which has been on the air since 2010 and is growing. And we still have a number of branded services that are SVOD zones that we’ve done with many

5/13 World Screen 25

digital platforms. But what’s really changed things is the entrance of big multinational SVOD players like Netflix and Amazon. The money that is being paid for our product on an exclusive basis in SVOD is so compelling that our strategy has been changing from one of creating and scheduling branded SVOD areas with our product to licensing our product to these major players for very significant amounts of money. So the Branded Services agenda is really in a state of change because of technology, competition and deep pockets.

WS: So while a linear channel may feel that Netflix is a competitor, for you it’s another outlet for your product.

SCHLESINGER: Yes, Netflix is absolutely a new buyer in the chain of buyers. In some cases they are going to be at the back end of the line, but in other cases they are going to be at the front end. In Scandinavia, when our first-window pay deal with C More came up for renewal, we had very frothy bid-

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ding between Netflix and C More and in the end Netflix won. So our films in their first pay window in Scandinavia are going to be on Netflix, not on C More. In that case Netflix has become a competitive force. Certainly the entrance of Netflix and LOVEFiLM in the U.K., as a competitive force to Sky, has been very good for us as sellers of content because until that point Sky was our only pay outlet. Now both Netflix and Amazon [LOVEFiLM’s parent company] have acquired first-paywindow product. So we see them as a very healthy addition to the marketplace; in some cases they will be first window and in some cases they will be second window.

In some cases they will be the last stop, but the interesting thing is they are willing to play in all positions in the value chain.

The entrance of the SVOD players has really shaken up what was a very clear chain of windowing. Because they are inserting themselves at different points, it’s created a lot of confusion but also a lot of opportunity and vibrancy in the market.

Every five years you tend to see a change in our business, either due to technology or regulation, and each time it allows new players to enter into the marketplace.

When new players enter into the marketplace there is increased competition. And when you are a company that has a strong output and a large library, you love seeing new players come in because they all have to buy their initial inventory of product and then compete for a slice of what’s new that they can market and promote to create points of differentiation. We are at one of those inflection points where we are seeing a rush of well-financed, multinational new players come in who are shaking up the landscape and causing the traditional rules to be rewritten.

Where that all shakes out will be very interesting. We’ve seen many times when the competition cre-

ates a broadening of players, which is usually followed by consolidation—and only the strong survive.

It’s a pretty good time to be in this business with great output. There are a lot of places to sell it and there is a lot of appreciation for high-quality American programming all over the world. It’s very, very different now than it was 10 or 15 years ago.

WS: What kind of input does

Warner Bros. Television want from your division?

SCHLESINGER: Money! First of all, I think Peter Roth [the president of Warner Bros. Television] is the most talented television executive that I have ever worked with.

He is a magnet for talent and delivers us high-quality, globally appealing shows every year. But, let’s remember that first and foremost Peter is making programming for the needs of the U.S. networks.

However, there is a recognition of the international market, and while it’s not that a show will or will not get made because we think it will

or will not be successful internationally, the attractiveness of the show internationally will have an impact on the amount of money we are willing to spend to cover the deficit. Where we come in is mainly in the financial structuring of the show, which may impact the casting or how much action can be done. We are always looking to put as much money on the screen as we can, so if we feel confident [about the sales potential of a show], Peter will then have more ability to create a bigger, better, stronger show by enhancing the casting or action sequences.

WS: Your division also sells ani-

mated programming from Cartoon Network. Many companies are struggling in the children’s market.

What is your view?

SCHLESINGER: I would say children’s animation is a challenged marketplace because many of the traditional terrestrial broadcasters who would run animation on their channels have now shifted it over to their digital channels. In

a number of territories we see animation not airing on main channels very much, so that presents a challenge in terms of getting broad exposure, which is necessary to drive your consumerproducts business. We make very high-quality animation and while we still do get it on the air, it does not air as much on traditional terrestrial television. However, between Cartoon Network, the terrestrials who still run it on a limited basis and their digital channels, we see a fair amount of exposure. There’s also been compression of license fees because there are many [distributors] who will give away programming just to have it exposed. We are in a unique position in that we produce high-quality animation based on proven franchises such as Looney Tunes, Batman and ScoobyDoo. But admittedly, it’s a challenge to get that balance between recouping the production costs and getting the exposure you need to drive your consumer products.

Horsing around: One of the bright spots on the NBC schedule in the 2012–2013 season, Revolution, which is executive produced by J.J. Abrams, has been licensed by Warner Bros. to Sky, among a host of other broadcasters.

26 World Screen 5/13

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network scorecard Source: The Nielsen Company, September 24, 2012, to April 14, 2013 A rating point represents one percent of the estimated 1,142,000 TV households; shares are the percentage of sets tuned to a particular program or station.

Courtesy of ABC.

Rank Program

Network

Distributor

1 2 3 4 5 6 6 8 9 10 11 12 12 12 15 16 17 17 19 20 20 22 22 22 25 26 26 28 28 28 31 32 33 34 35 36 37 38 39 39 39 42 42 44 44 46 46 48 48 48

CBS CBS CBS CBS ABC FOX ABC FOX CBS NBC CBS CBS CBS NBC CBS CBS ABC ABC ABC CBS CBS CBS CBS CBS FOX CBS CBS ABC CBS NBC CBS CBS CBS ABC ABC ABC CBS CBS FOX ABC FOX CBS FOX CBS CBS NBC ABC ABC ABC CBS

CBS Studios Intl.

Warner Bros. Intl. TV Dist.

CBS Studios Intl.

Warner Bros. Intl. TV Dist.

BBC Worldwide FremantleMedia Intl.

BBC Worldwide FremantleMedia Intl.

Warner Bros. Intl. TV Dist.

Talpa Media CBS Studios Intl.

CBS Studios Intl.

CBS Studios Intl.

Talpa Media Disney Media Distribution CBS Studios Intl.

Disney Media Distribution Disney Media Distribution Twentieth Century Fox CBS Studios Intl.

Warner Bros. Intl. TV Dist.

CBS Studios Intl.

CBS Studios Intl.

CBS Studios Intl.

Warner Bros. Intl. TV Dist.

Warner Bros. Intl. TV Dist.

CBS Studios Intl.

Disney Media Distribution Warner Bros. Intl. TV Dist.

Warner Bros. Intl. TV Dist.

Warner Bros. Intl. TV Dist.

Disney Media Distribution CBS Studios Intl.

Warner Bros. Intl. TV Dist.

Disney Media Distribution Disney Media Distribution Disney Media Distribution Twentieth Century Fox Twentieth Century Fox Disney Media Distribution FremantleMedia Intl.

CBS Studios Intl.

FremantleMedia Intl.

Sony Pictures Television ALL3MEDIA Intl.

NBCUniversal Intl. TV Dist.

Warner Bros. Intl. TV Dist.

Sony Pictures Television Disney Media Distribution CBS Studios Intl.

NCIS The Big Bang Theory NCIS: Los Angeles Person of Interest Dancing with the Stars American Idol Wednesday Dancing with the Stars: Results American Idol Thursday Two and a Half Men The Voice Monday Blue Bloods 60 Minutes Elementary The Voice Tuesday Criminal Minds Vegas Castle Grey’s Anatomy Modern Family CSI The Mentalist CSI: NY Survivor: Philippines The Good Wife The Following 2 Broke Girls Hawaii Five-0 Body of Proof Mike & Molly Revolution Golden Boy The Amazing Race 21 Survivor: Caramoan The Bachelor Once Upon a Time Revenge The Amazing Race 22 How I Met Your Mother Bones Scandal The X Factor Wednesday 60 Minutes Presents The X Factor Thursday Made in Jersey Undercover Boss Chicago Fire The Middle Last Resort Private Practice Rules of Engagement

Average Share

Kids

Teens

M18–49

F18–49

M25–54

F25–54

M50+

F50+

13.4/21 11.4/18 11.1/17 9.9/15 9.8/15 9.3/15 9.3/14 9.0/14 8.7/14 8.4/12 8.3/15 8.1/13 8.1/14 8.1/13 8.0/12 7.9/13 7.8/13 7.8/12 7.7/12 7.6/13 7.6/13 7.3/12 7.3/11 7.3/11 7.0/10 6.9/10 6.9/11 6.7/11 6.7/10 6.7/11 6.6/11 6.5/10 6.4/10 6.3/9 6.2/9 6.1/9 6.0/9 5.9/9 5.8/9 5.8/10 5.8/9 5.7/10 5.7/9 5.4/9 5.4/9 5.3/9 5.3/9 5.1/8 5.1/8 5.1/8

1.2 2.0 0.9 0.9 1.2 2.7 1.2 2.7 1.2 2.4 0.6 0.7 0.6 2.2 0.8 0.4 0.5 0.9 1.5 0.6 0.5 0.7 1.2 0.4 0.7 1.0 0.6 0.4 0.8 1.2 0.3 1.1 1.1 0.8 1.7 0.6 1.1 1.0 0.9 0.5 1.7 0.4 1.9 0.4 0.7 0.6 1.4 0.6 0.4 0.7

1.5 3.0 1.3 1.4 1.1 3.2 1.1 3.3 1.8 3.2 0.7 0.8 1.1 2.5 1.3 0.6 1.1 1.2 2.8 1.0 0.7 0.7 1.5 0.5 1.4 1.6 1.1 0.6 1.2 2.2 0.8 1.4 1.5 1.5 2.5 0.9 1.2 1.5 1.1 0.6 2.6 0.6 2.8 0.3 0.6 0.8 2.1 0.8 0.6 1.0

3.6 5.7 3.1 3.2 1.5 3.6 1.5 3.3 3.9 3.6 1.4 2.5 2.7 3.3 2.4 2.0 1.9 2.0 4.3 2.1 2.0 1.3 3.0 1.4 3.7 3.2 2.2 1.2 2.6 4.1 1.6 2.6 2.6 1.6 2.4 1.9 2.3 3.5 2.1 1.4 2.6 1.5 2.4 0.8 1.5 1.7 2.0 2.1 1.0 2.6

4.5 6.8 3.8 3.7 3.6 6.2 3.4 5.9 4.5 6.6 2.3 2.1 3.3 6.0 4.5 2.1 3.3 6.4 5.9 3.5 2.7 2.4 3.9 2.6 4.4 4.6 3.0 2.5 4.1 4.6 2.0 3.5 3.4 4.9 4.9 4.3 3.1 4.0 3.3 4.1 4.4 1.2 4.1 1.4 2.0 3.0 3.0 2.0 3.8 2.9

5.0 7.5 4.3 4.7 2.1 4.6 2.0 4.3 5.4 4.4 2.3 3.6 3.7 4.0 3.2 3.0 2.5 2.5 5.2 2.9 2.7 2.0 4.2 2.0 4.6 4.4 3.2 1.7 3.8 4.9 2.4 3.5 3.7 1.9 3.0 2.2 3.2 4.1 2.7 1.8 3.1 2.3 3.0 1.1 2.1 2.2 2.6 2.8 1.3 3.8

6.5 8.4 5.3 5.1 5.1 7.4 4.8 7.0 5.7 7.6 3.4 3.0 4.4 7.0 5.5 3.0 4.5 7.5 6.7 4.4 3.7 3.3 5.2 3.7 5.2 5.6 4.0 3.6 5.3 5.4 2.9 4.7 4.5 5.3 5.3 5.1 4.2 4.5 3.9 4.9 4.8 1.9 4.5 2.0 2.9 3.7 3.8 2.6 4.7 3.7

14.3 9.3 11.9 11.0 6.4 6.1 6.1 6.0 7.9 4.6 8.8 9.3 8.0 4.4 6.3 9.5 5.7 2.8 4.0 6.4 6.9 6.8 6.1 6.3 5.2 5.3 6.3 4.9 5.4 4.5 7.2 5.0 5.4 2.5 3.6 3.4 5.1 3.8 4.4 2.6 3.1 7.3 3.2 5.1 4.8 3.6 3.3 5.0 1.7 4.5

16.8 9.6 13.4 11.0 15.0 8.9 13.9 8.7 7.7 7.1 11.7 9.4 9.1 7.1 8.8 9.5 10.4 7.6 5.9 8.8 9.7 10.0 7.1 9.7 6.2 5.4 7.6 9.4 6.3 4.8 7.8 7.0 6.5 6.6 5.4 6.3 6.6 3.8 6.1 6.1 4.6 6.6 4.7 7.7 6.7 5.7 5.3 5.3 5.4 3.9

For a complete list of the top U.S. network shows, visit www.worldscreen.com.

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on the world’s end record 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 go to North Korea with Dennis Rodman?

Jon Hamm

Hugh Jackman

Eva Longoria

Reese Witherspoon

Jon Hamm

Eva Longoria

Global distinction: Mad Men’s main man.

Sign: Pisces (b. March 10, 1971) Significant date: March 19, 2013 Noteworthy activity: An AMC insider reportedly tells

Global distinction: Small-framed actress.

Sign: Pisces (b. March 15, 1975) Significant date: April 6, 2013 Noteworthy activity: While lounging on a beach in

Puerto Rico, the former Desperate Housewives star suffers one of the much dreaded “nip slips” that plague many a celebrity.This particular type of wardrobe malfunction is not a first for the petite beauty, whose nipple also made an appearance on the red carpet at a Golden Globes after-party.

Horoscope: “If you will be photographed or filmed, or otherwise profiled, make allowances for delays, changes or mistakes....” (jessicaadams.com)

these little pearls of random fore-

the New York Daily News that the well-endowed actor has been instructed to wear underwear while filming certain scenes on Mad Men, due to the tightfitting clothing. Allegedly, Hamm’s “impressive anatomy” has also required the network to Photoshop certain promotional shots throughout the series’ run.

Horoscope: “You have the chance to shine, largely because you are projecting yourself with self-respect and modesty at once.You are especially appealing and charming during this transit just by being yourself.” (cafeastrology.com)

sight occasionally prove prophetic.

Hugh Jackman

Every day, papers and magazines 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

But rather than poring over charts of the zodiac to predict world events, our staff prefers to use past horoscopes in an attempt to legitimate the science.

As you can see here, had some of these media figures remembered to consult their horoscopes on significant days, they could have avoided a few surprises.

Global distinction: Australian heartthrob.

Sign: Libra (b. October 12, 1968) Significant date: April 13, 2013 Noteworthy activity: The Les Misérables actor is

accosted at a NewYork City gym by a woman declaring her love for him. According to reports, she also throws a used razor at Jackman, one that is allegedly filled with pubic hairs.The accused female is arrested shortly afterwards and charged with stalking.

Horoscope: “Turn on those coquettish charms, but take care not to get entangled into the slippery slope of obsession. Be aware that this transit could bring you the love of your life or a tricky entanglement with hints of Fatal Attraction sewn in.” (astrostyle.com)

Reese Witherspoon Global distinction: Hollywood darling.

Sign: Aries (b. March 22, 1976) Significant date: April 19, 2013 Noteworthy activity: After her husband gets pulled

over for drunk driving, the leading lady, who is rather intoxicated herself, gets arrested for disorderly conduct.

She even plays the “Do you know my name?” celebrity card. The Legally Blonde star later issues a statement apologizing for her embarrassing behavior, admitting, “I clearly had one drink too many.”

Horoscope: “It is possible that you may face humiliation.

You should try to avoid such a situation in which you may feel embarrassed or you may face defeat. For this, it is essential that you should not make an issue of anything that concerns your status and prestige.” (dailyzodiac.c53.org)

Selena Gomez Gordon Ramsay Global distinction: Hot-tempered chef.

Sign: Scorpio (b. November 8, 1966) Significant date: April 8, 2013 Noteworthy activity: No stranger to litigation, the 46-

year-old millionaire is being sued by a New York City accounting firm for old invoices that add up to $75,000.

According to the lawsuit, the Hell’s Kitchen host and his businesses have “breached their contractual obligations by failing to make payment.”

Horoscope: “Try to repay your debts or due if any, before they lead you to unfavorable situations.” (astroved.com) 146 World Screen 5/13

Global distinction: Spring Breakers star.

Sign: Cancer (b. July 22, 1992) Significant date: April 14, 2013 Noteworthy activity: Gomez stirs up controversy by

wearing a bindi to complement her Bollywood-style getup during a performance at the MTV Movie Awards. Afterwards, a Hindu statesman requests that the star apologizes for sporting the traditional religious symbol as a fashion accessory.

Horoscope: “You may need to deal with disapproval....

No matter what you do, someone will disapprove of something!” (glo.msn.com)

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