Channel 21 International - Spring 2022

Industry outcry over Russia’s war on Ukraine

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C21 has created a suite of Ukrainian programming from a number of suppliers that are available for the international market.

Whether you are looking to put together a night of Ukrainian programming to support the country with a fundraising event, or just looking to see what’s available to support this devasted country, you will find a raft of shows here to help.

C21Media.net/C21ScreeningsUkraine C21 is donating to the following organisation on the advice of our Ukrainian friends.

You can too: withukraine.org #standwithukraine

Channel21 international | Spring 2022 | Issue #313

CONTENTS

UPFRONT

Is TV entering a new era of accountability?

T

he strong, though in some cases belated, reaction to Russia’s disgraceful invasion of Ukraine among industry players around the world is obvious from the reports in this issue.

Deals with Russian companies have been terminated and many firms are no longer doing business in the country while the war continues. Such moves prompted the Russian Animated Film Association to complain of “unfortunate and unfair” treatment in an open letter sent to C21 on March 21.

This was the day after Russian jets bombed an art school where around 400 Ukrainians were sheltering in the besieged eastern port city of Mariupol.

These are the true victims of Putin’s war. Not the Russian animation producers whose coproduction deals with Europe and North America have dissolved because of the actions of the Russian government.

The open letter’s failure to acknowledge this – nor even mention Ukraine once in 472 words – suggests its signatories would do well to read Olena Shkrobot’s powerful account of life in Ukraine since the invasion began (page 124).

Although not worth the 20KB it once took up in my inbox, the open letter does demonstrate a precedent that may have been set by swathes of the international TV industry deciding not to cooperate with a country that has unjustly invaded another.

There are numerous wars happening all over the world, in the Middle East, North-West Asia and Sub-Saharan Africa. But the geographical, and emotional, proximity of much of the industry to Ukraine – many execs will have attended Kyiv Media Week, for example – helps to explain the vehement reaction to Russia’s invasion.

Nevertheless, the outcry also contrasts with the

silence that often accompanies the actions of certain governments in the West that can themselves result in scores of refugees and displaced people.

Interrogating the deals we do and the people we work with is part and parcel of doing ethical business.

The war in Ukraine could mark the start of a new era of accountability in the industry. And not a moment too soon, as issues like the climate put the onus on businesses to prioritise sustainability over profit.

Of course, as I write this I’m preparing to fly to MipTV in April, before a long-haul flight to C21’s Content LA event in May. So perhaps I would do well to scale down the sanctimony and find other ways to reduce my own carbon footprint.

Meanwhile, for those in the industry lucky enough to be reading this in Cannes, our hope is the reports about Ukraine in this magazine are overtaken by events and the war comes to a swift end.

Nico Franks

CONTENTS

4 8

12

NEWS ANALYSIS: War in Ukraine How the TV industry is showing solidarity with the people of Ukraine as condemnation of Putin and his invasion is placed above commerce.

THOUGHT LEADERSHIP: Ukrainian TV companies We hear from Ukrainian execs after Russia’s invasion and bombing brought the country’s media and entertainment industry to a standstill.

THE C21 CONTENT BUSINESS TRENDS REPORT: Spring 2022 Our quarterly outline of the biggest content business trends starts with the growing interest in gaming leading to a race for IP and mega-mergers.

New production groups are springing up in Europe, largely led by France and prompted by a surge in M&As. An online toolkit has been launched to protect and improve the mental health of those working in film and TV.

19 24 29 30

AHEAD OF THE CURVE: Distribution BBCS, Fremantle and All3Media execs discuss the biggest issues facing the global distribution business.

CONTENT CONFIDENTIAL: Showmax The African SVoD service is seeking youthful drama and documentaries as it ramps up its local original commissions.

ANATOMY OF A DEAL: BritBox The service is billed as home to the best of UK drama, but the plot is becoming confused as it enters its latest act.

NEXT BIG THINGS: 21 on 21 A selection of the top shows to watch out for at MipTV, including a number reflecting the war in Ukraine.

FORMATS

38 40 42 45 49 50

THOUGHT LEADERSHIP: Wonwoo Park Int’l Format Awards Gold Award winner.

60 67 70 73 74

COUNTRYFILE: Thailand Is the country on course to achieve the same success in formats as Korea?

CONTENT CONFIDENTIAL: Amazon Studios Europe Commissioning hubs seek ideas and talent to feed Amazon’s ecosystem.

THREE-YEAR PLAN: Gramafilm

90 91 93 94

NEXT BIG THINGS: Premium fact ent New hybrid formats emerge as competition in the genre increases.

AHEAD OF THE CURVE: Premium factual Leading industry players name their favourite docs of the past year.

THOUGHT LEADERSHIP: Louis Theroux & Nancy Strang Inside Mindhouse Productions.

99 102 105 109 112 115

CONTENT CONFIDENTIAL: TV2 The pubcaster’s ‘Spotify-like’ strategy.

THREE-YEAR PLAN: Spirit Studios

118

DEVELOPMENT SLATE: Mercury Studios

AHEAD OF THE CURVE: Non-English-language drama What does its growth mean for the M&A market and remakes?

CONTENT CONFIDENTIAL: Netflix Nordics Jenny Stjernströmer Björk, original series.

NEXT BIG THINGS: UK comedy How is the genre’s global success affecting content back home?

DEVELOPMENT SLATE: Merman MY BIG BREAK: Jed Mercurio THREE-YEAR PLAN: Banijay Asia DEVELOPMENT SLATE: Emanata Studios

KIDS

THREE-YEAR PLAN: ITVSGE

DRAMA

77

85

AHEAD OF THE CURVE: South Korea

FACTUAL

54

82

122 123 124

THOUGHT LEADERSHIP: Veronica Pickett Head of Amazon Kids+ original series.

CONTENT CONFIDENTIAL: Disney Junior Kim Berglund, VP of development.

CONTENT CONFIDENTIAL: Super RTL Thorsten Braun, CEO. COUNTRYFILE: Portugal The challenges facing the country’s growing animation sector.

CONTENT CONFIDENTIAL: Milkshake!

Louise Bucknole, VP of kids programming.

NEXT BIG THINGS: Wunderbox How German firm Wonderz is aiming to revolutionise the D2C sector.

AHEAD OF THE CURVE: Age-appropriate What can be done to keep children safe in an era of proliferating platforms?

DEVELOPMENT SLATE: Moonbug THREE-YEAR PLAN: Lighthouse Studios PRESENT IMPERFECT FUTURE TENSE Olena Shkrobot of Ukrainian media group MKMG on living through an invasion.

3

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NEWS ANALYSIS: War in Ukraine

The international TV industry is showing solidarity with the people of Ukraine as condemnation of Vladimir Putin and his invasion of the th country is put above commerce. abo

By Nico Franks

Channel21 International | Spring 2022

Standing

Ukraine president Volodymyr Zelenskyy delivers an address in Kyiv (all Ukraine images from depositphotos.com)

The capital’s main TV tower after a bombing and missile attack

A

t the time of writing, Russia’s invasion of Ukraine continues. Millions of people have fled their homes, while thousands, including civilians as well as soldiers, have lost their lives during the conflict.

On February 24, Russia began a military invasion of its neighbouring nation, in a major escalation of the RussoUkrainian conflict that began in 2014. Internationally considered a war of aggression, it is the biggest assault on a European state since the Second World War. Against such a sickening backdrop, the daily affairs of the international TV industry are very much a sideshow.

But there’s no doubt television is playing a major role in this war, which in turn is having serious ramifications for the business.

More than ever, the media is a key battleground during war, and this one is no exception – be it in the savvy social media posts of Ukraine president and former TV star Volodymyr Zelenskyy or Russia president Vladimir Putin’s use of propaganda via Kremlin-backed broadcasters.

How specific content businesses have responded can be seen overleaf, with the situation highlighting the extent to which this business, like many other global industries, has become intertwined with Russia – and the extent to which it is willing to cut ties with the country.

This remains Putin’s war, not the Russian people’s, and thousands have been detained at protests in dozens of cities across Russia. Nevertheless, Ukrainians have urged producers and production companies to terminate any business/coproduction agreements with Russian companies and productions, regardless of how they feel about the war.

“Any support shown for Russia while its armed forces are occupying the territories of independent Ukraine is support for the criminal activities of the occupier. Maintaining neutrality at this point is also a silent consent to the destruction being done by the aggressor,” wrote Ukrainian

filmmaker Valeriya Golovina in a letter to her international colleagues.

In the weeks since Russia’s full-scale invasion of Ukraine began, C21 has published stories nearly every day covering the ramifications for the international TV industry. A week after the invasion, ITV Studios, All3Media International, Fremantle and Banijay followed BBC Studios in placing Russian trade on pause. Some companies were quick to put out statements condemning the actions of the Kremlin, while others have been more reticent.

And some have still to announce their suspension of business with Russia. Of course, this doesn’t necessarily mean they are continuing to work with Russian companies – they might not have had business with them in the first place. Regardless, choosing not to comment on a situation “due to its seriousness,” as one European production and distribution giant responded to C21’s request for comment, is not a good look in 2022.

But in most cases, Russian content, a smattering of which had been appearing on distribution slates in recent years following the rise of ‘Moscow noir,’ has been removed from company catalogues, while coproductions involving Russian firms look to be on hold across the industry. These include Netflix’s neo-noir detective drama ZATO, which is among numerous Russian-language commissions and acquisitions – such as thriller To the Lake, dramas Nothing Special and Anna K, plus an as-yet-untitled psychological drama – from the streamer in recent years.

Meanwhile, as we saw during the onset of the Covid-19 pandemic in 2020, in times of crisis, public service broadcasters come into their own. This has also been the case since the invasion began. Delphine Ernotte Cunci, president of the European Broadcasting Union (EBU) and CEO of France Télévisions, believes the war in Ukraine “shows to what extent communication is also a weapon.”

“We all stand in solidarity with our Ukrainian public service

NEWS ANALYSIS: War in Ukraine

Channel21 International | Spring 2022

with Ukraine media colleagues and we are doing our utmost to make their voices heard as well as to fight against disinformation in the name of press freedom for all Europeans,” Ernotte Cunci said in March.

So far, the EBU has excluded its Russian member RTR from participating in this year’s Eurovision Song Contest, and all three Russian Members (RTR, Channel One Russia and Radio House Ostankino) are currently suspended from its governance groups. The EBU told C21 it continues to monitor the situation with regard to its Russian members.

Noel Curran, director general at the EBU, says the body and its public service members have come together in a show of support for Ukrainian pubcaster UA:PBC and the Ukrainian people. “We are in daily contact with UA:PBC management, news and operational teams to see how we can help them to continue broadcasting vital news and information to Ukrainian citizens.

“On a logistical level, we are working with members and industry partners to ensure UA:PBC has the critical broadcasting and studio infrastructure they need to reach the populace. As we’ve seen from recent attacks on media installations such as TV towers, there is a targeted Russian offensive to prevent the dissemination of trusted news and information. The EBU has teams and crew on the ground in Ukraine to help our members continue to report on latest developments in the war and we are facilitating content sharing.

“The number of Eurovision News Exchange stories being broadcast is currently at its highest level ever – up 181% on this time last year – and views of our content on social media have run into the billions since the invasion began.

Our Eurovision Social Newswire team is also working hard to verify social content – since the war began, they have corroborated more than 200 videos from Ukraine and other regions. ”Meanwhile, public service broadcasters have joined together to show support and solidarity with the people of Ukraine since the invasion began. The EBU has been coordinating content proposals and sharing the many

initiatives it has seen from its members, including fundraising concerts, special performances of Ukrainian music and simultaneous broadcasts in support of the Ukrainian people.”

Curran adds that the organisation is doing numerous other things to prevent European broadcasters being used by governments to distribute propaganda: “We know that sometimes broadcasters can be pressurised by politicians who want them to adopt a particular line or position. When we see evidence of political interference that runs contrary to our fundamental principles, we work together as an association to help and guide the effected members.

“That might mean lobbying governments and civil society for better and more robust legal frameworks to safeguard independence, supporting our members in protecting their editorial independence or offering training, best practice and

We all stand in solidarity with our Ukrainian public service media colleagues and we are doing our utmost to make their voices heard as well as to fight against disinformation in the name of press freedom for all Europeans.

“

Delphine Ernotte Cunci, European Broadcasting Union peer-to-peer reviews. Access to trusted, independent news and information is essential to democratic societies and we will work with our members to ensure it is disseminated to all audiences throughout the continent.”

Well-funded and -resourced public service broadcasters are one tool in the mission to ensure democracy thrives.

Meanwhile, as the conflict continues and the prospect of a third world war edges perilously closer, the industry’s thoughts are with those in Ukraine who have lost loved ones and seen their lives ripped apart.

On the next two pages, we bring together statements from major firms across the content industry on how they are responding to this invasion.

X

Funerals for Ukrainian service members in Lviv

A journalist in the destroyed centre of Kharkiv

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NEWS ANALYSIS: War in Ukraine

Channel21 International | Spring 2022

Evacuees wait at the train station in the western city of Lviv

US studios Jason Kilar, CEO, WarnerMedia “Following the Russian invasion of Ukraine, WarnerMedia is pausing all new business in Russia. This includes ceasing broadcast of our channels, halting all new content licensing with Russian entities and pausing our planned theatrical and games releases. We are following this situation closely and future business decisions will be made with that context in mind. Our thoughts in this moment are with the people of Ukraine.”

Disney “After Russia’s unprovoked invasion of Ukraine, we announced we were pausing the release of theatrical films in Russia and reviewing the rest of our businesses there.

“Given the unrelenting assault on Ukraine and the escalating humanitarian crisis, we are taking steps to pause all other businesses in Russia. This includes content and product licensing, Disney Cruise Line activities, National Geographic magazine and tours, local content productions and linear channels.

“Some of those business activities we can and will pause immediately. Others – such as linear channels and some content and product licensing – will take time given contractual complexities.

“Even as we pause these businesses, we remain committed to our dedicated colleagues in Russia, who will remain employed. And we continue to work with our NGO partners to provide urgent aid and other much-needed assistance to refugees.”

From top: Jason Kilar, Tony Vinciquerra and Bob Bakish

Tony Vinciquerra, chairman and CEO, Sony Pictures Entertainment “We stand with many businesses around the world who have now paused their business operations in Russia, and in support of the humanitarian efforts currently underway in Ukraine and the surrounding region.

“We paused the theatrical release of Morbius in Russia.

Since then, we have also halted our planned home entertainment releases, including Spider-Man: No Way Home, and any future television distribution deals.

“Our thoughts and prayers remain with those who have been impacted, and it is our hope that a peaceful resolution can be found soon.”

Bob Bakish, president and CEO, Paramount “We are taking a series of steps to suspend our operations in Russia, including pausing the supply of Paramount Global content. We have announced that Paramount Pictures will pause the theatrical release of our upcoming films in Russia, including The Lost City and Sonic the

Hedgehog 2. Other activity, including the distribution of linear channels and some content licensing, will take more time to pause due to existing contractual, technical and partner complexities.

“In addition, we are using our content and capabilities to help those in need, including the power of our global platforms to ensure the world bears witness to this tragedy, as well as to support humanitarian relief efforts.”

Event organisers, publishers and industry bodies C21Media “In light of the invasion of Ukraine by Russia, C21Media has suspended all business with Russian companies with immediate effect. While we understand that many Russians do not support the actions of their government, we believe there is no alternative but to make this clear gesture in support of the people of Ukraine.

“These are hard decisions to make, but they are nothing compared with those our Ukrainian friends are being forced to make from bomb shelters beneath Kyiv. We look forward to reporting each and every sanction the TV business makes against Russia as part of peaceful attempts to end this war.”

Natpe “The Ukrainian people have our full support over the barbaric and horrific invasion of their homeland by the brutal dictator Putin and his surrogates. We wish we could provide more tangible assistance, but what we can do is join the world community and prevent Russian presence from conducting commerce.”

Brunico “While we understand that Russian companies operating within the media and entertainment communities we serve might not be supportive of this military campaign, we firmly believe that the collective sanctions imposed by various governments, including our leadership in Canada, can make a meaningful difference in helping to bring this war to a conclusion.”

Pact “Pact expresses our deepest sympathy for the people of Ukraine, and in particular our colleagues working in Ukraine’s film and television sector. Along with other industry organisations, Pact calls for a cessation of hostilities in Ukraine and for a resolution of conflict by diplomatic means respecting the rule of law and the rights of the Ukrainian people.

“International sanctions are being implemented against the Russian Government. While Pact sympathises with

NEWS ANALYSIS: War in Ukraine

Channel21 International | Spring 2022

A residential building in Kyiv after shelling

A man is rescued from the rubble in Kharkiv

Russian creatives who do not have the same freedoms and safeguards that we enjoy in the United Kingdom, Pact has removed all Russian production and business information from its website and calls on members to suspend all cooperation and trade with Russia for the time being.”

Distributors Banijay “We are utterly saddened by the horrendous situation in Ukraine and our thoughts go to all those affected.

“As a vast global content production and distribution business, we, like most of the industry, have long historically had deals in place across Russia. However, in light of recent events, we have taken the decision not to activate any new agreements in the region relating to production, distribution (sales and licensing) and general commercial matters, thereby freezing our activity there until further notice.”

sanctioned companies or individuals. Additionally, we have paused entering any new business transactions or deals with companies in Russia (whether sanctioned or unsanctioned).”

Michael MacMillan, CEO, Blue Ant Media “We are appalled at the Russian atrocity in Ukraine and we have suspended Blue Ant Media’s business dealings in Russia, including pulling our Love Nature offering from the Russian platforms that carry it, effectively immediately.”

Drive “Drive has been appalled by the ongoing Russian invasion of Ukraine and as a result we have paused any new sales, distribution or other commercial agreements with Russian media businesses until further notice. We stand with Ukraine and are supporting Film UA’s content licensing initiative.”

ITV Studios “While Russia is not a significant partner for ITV Studios, we have previously sold content to Russian clients which has included drama, formats and non-scripted content.

In light of the Russian invasion into Ukraine, we have stopped new sales to Russian clients.”

Cineflix Rights “Like other media groups, Cineflix Rights sympathises with Russian creatives who are caught in a very difficult situation. However, in the light of current circumstances, we have decided to put a pause on distributing Russian content.”

ZDF Enterprises “We have halted all business negotiations, sales and acquisitions with Russian clients and partners in light of the escalating situation in Ukraine.

“On the other hand, we are fully active in supporting the acquisition of Ukrainian content from our partner Film.

UA. The drama series Hide & Seek is a 100% Ukrainianfinanced show in our catalogue and we are working on the best way to increase awareness around it and continue to support its producers.”

Jason Thorp, CEO and co-founder, Global Series Network “In light of the situation in Ukraine, we have decided to suspend any new business with Russia at this time. This means we will not be acquiring any new Russian shows, nor will we release Russian shows on the Walter Presents platform until further notice.”

All3Media “Due to the present situation in Ukraine, All3Media has halted its business negotiations with Russian broadcasting clients.”

Boat Rocker Media “Like so many others throughout the world, we are horrified by the unjust invasion of Ukraine. We support the people of Ukraine and condemn this violent attack on their country and people. Our thoughts are with the Ukrainian community, including our colleagues of Ukrainian descent and those who have Ukrainian friends or family, and we hope for an immediate resolution to the conflict.

“Boat Rocker has a robust sanctions process in place that seeks to ensure we do not do business with any

Toonz Media Group “Toonz condemns all forms of violent conflict. The most vulnerable groups during such aggressions are always children and families. Coming from the kids and family entertainment industry, the welfare of this segment is of utmost importance to us. We strongly condemn the victimisation of innocent children and women who are caught in the middle of the ongoing war.”

Chris Knight, president and CEO, Gusto Worldwide Media “Gusto TV and its content are seen in over 160 countries including Russia. In light of recent events, we are cancelling our deal with Red Media. We are very proud of what we do but, at the end of the day, it’s just TV.” Additional reporting by Ruth Lawes, Jordan Pinto and Jonathan Webdale.

From top: Michael MacMillan, Jason Thorp and Chris Knight

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THOUGHT LEADERSHIP: Ukrainian TV companies

Channel21 International | Spring 2022

Uniting to The Russian invasion brought Ukraine’s media and entertainment industry to a standstill, with broadcasters nationalised, production studios bombed or housing refugees and employees evacuated, in shelters, or worse. C21 caught up with Ukrainian exe executives to find ou how they are out co coping.

B

By Ed Waller

I

n September, just five short months before Putin’s Z-daubed tanks rolled over the border to begin Europe’s first war in decades, C21 interviewed Volodymyr Zelenskyy as part of an online conference called Content Ukraine.

He spoke about his transition from TV producer and Mipcom regular to real-life president of his country, and he optimistically told Content Ukraine delegates how Ukraine was poised to go to the next level in the international TV sector.

“With the correct position and the correct motivation for business and the government, the potential of Ukraine is very high,” Zelenskyy said during his keynote.

“We are not in the European Union and we are not in the Schengen area. We do not share currency, so we are very competitive because of the inexpensive talent, in terms of cost. The economy in Ukraine is on the rise – it’s emerging, maybe not as quickly as we hoped, but vertically and steeply. There are some risks, of course, but there are more advantages.”

Fast-forward to today and those risks have been realised, courtesy of Vladimir Putin, and Ukrainian TV executives now literally cower in bomb shelters, fearing for their lives, or have managed to escape Kyiv after untold hardships and loss to wherever they can find safety.

While there is plenty to say about the response of Western media and entertainment companies to Russia’s invasion of Ukraine (see page 4), how the Ukrainian companies are bearing up has received fewer headlines, as information is scarce and business seemingly grinds to a halt.

“Business as we knew it stopped in a single day,” Oleksandr Bohutskyi, president of Kyiv-based StarLight Media (SLM), tells C21. “Our employees were spending their time either at home or in bomb shelters. We were half preparing and

discussing different scenarios, but everything that has happened is truly the worst situation anybody could ever think of.”

But Bohutskyi, whose company owns major broadcasters such as ICTV, Novy, STB and M1, knew he couldn’t just let screens go dark. “We knew we had an important role to play in providing factual and trustworthy information on what is happening in our country. On the first day of war, we merged our channels’ capabilities to allow us to broadcast news around the clock,” he says.

Days later, in an unprecedented display of unity, all Ukraine’s main commercial broadcasters – SLM, 1+1 Media Group, Inter Media Group and Media Group Ukraine (MGU) – began working together with the public broadcaster UA:PBC (aka Suspilne)

do if their homes are bombed, and we inform people about their personal safety.”

The strategy of airing ad-free rolling news soon changed, however.

“We realised it is our duty not only to keep our fellow Ukrainians informed but also to support them emotionally,” says Bohutskyi.

“We decided to keep streaming news on several channels 24/7 but to use other channels to broadcast films for children and families to distract our most vulnerable viewers from the devastation that comes with war. We are grateful to all our partners who allowed us to run their movies free of charge.”

Likewise, 1+1 Media has also boosted animated and educational content for kids via its PlusPlus TV channel and resumed audience

Our employees were spending their time either at home or in bomb shelters. We were half preparing and discussing different scenarios, but everything that has happened is truly the worst situation anybody could ever think of.

“

Oleksandr Bohutskyi StarLight Media

to broadcast a rolling news service called United News.

“We are now working as part of one big media group,” Mykola Chernotytskyi, head of the managing board at UA:PBC, told the European Broadcasting Union, of which his channel is a member. “Every broadcaster produces five hours of content every day and it is broadcast one by one.

“We are all united on one big channel, we have united to be strong.

We’ve been broadcasting only news.

It is also about the safety of the people. We provide instructions for survival. We explain to people what to

favourite Breakfast Online on its TET TV channel. “We understand that people are gradually getting tired of uninterrupted news, that’s why we are helping to fight stress together,” explains Yaroslav Pakholchuk, CEO of 1+1 Media.

“We have also joined the project from the leading Ukrainian media groups titled FreeDom, an information service aimed at the Russian-speaking audience during the war, including the occupation forces.”

This voluntary cooperation between Ukraine’s broadcasters was eventually cemented into law on

THOUGHT LEADERSHIP: Ukrainian TV companies

Channel21 International | Spring 2022

fight March 20 after Zelenskyy issued a decree that combines all national TV channels into one platform, citing the need for a “unified information policy” under martial law. The move sees the end of privately owned Ukrainian TV channels for the foreseeable future.

Other strategies adopted to keep Ukrainian channels on-air included moving headquarters to western parts of Ukraine, with UA:PBC now working from Lviv, for example, and also enlisting help from broadcasters outside Ukraine to broadcast their signals to the Ukrainian diaspora and refugees.

“We have good relations with Poland’s TVP,” says Chernotytskyi.

“They were the first to take our signal and broadcast it, followed by RTVSLO in Slovenia and LRT in Lithuania.

Telegram channel,” continues Chernotytskyi. “Telegram is very popular in Ukraine and our Telegram channel is getting really very strong.

Before the war, we had 12,000 subscribers. Today, we have 230,000.

It offers very succinct and short information and is very useful.”

The importance of social media is being felt across the board: “The struggle is also being carried out in the digital space,” says 1+1’s Pakholchuk. “We have launched Instagram, Facebook, Twitter and TikTok accounts in English and Russian, a series of flash mobs and other initiatives. We are joining various volunteer movements and creating educational cartoons about the situation in our country.”

To counter Putin’s notorious troll army, Pakholchuk says 1+1 has also

We are all united on one big channel, we have united to be strong. We’ve been broadcasting only news. It is also about the safety of the people. We provide instructions for survival. We explain to people what to do if their homes are bombed.

“

Mykola Chernotytskyi UA:PBC

TVP has also offered us one of their studios if we want to broadcast from there. I hope that soon we will go back to Kyiv. We all want to go back to Kyiv.”

Another aspect of Ukraine’s new media landscape is the growth of social networks, especially as TV and radio masts are regularly bombed, and digital multiplexes are jammed or switched to pro-Russian channels.

The internet, it’s worth remembering, was originally designed during the Cold War as a communications platform to withstand nuclear attack and is now fulfilling that role.

“We have strengthened our

created “our own information army, and we are also involving celebrities, influencers and trying to reach everyone.”

While TV production has been halted, as with the pandemic of the past two years, development and post-production of Ukrainian content has been continuing. “We are doing our best to finish all of the projects that are already in the postproduction stages and will return to our other projects after the war,” says Bohutskyi.

“Naturally, most of the projects in coproduction have been put on hold. At the same time, we have X

A defiant Ukraine under siege (photos: depositphotos.com)

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THOUGHT LEADERSHIP: Ukrainian TV companies

partners who even in these difficult times have proposed to continue developing and writing scripts. We are incredibly grateful to them as well.”

With all film and non-news TV production halted due to the war and many studios converted into refugee shelters or food distribution centres – as happened at Ukraine’s biggest independent producer, Film.UA – it’s obvious that Ukraine’s production sector will take some time to rebuild itself. And with the ad market now non-existent, Ukrainian media companies are leaning heavily on their distribution arms for survival.

“Today, we don’t have our regular income sources,” says SLM’s Bohutskyi. “We’re unable to work with advertisers. We can only keep going with the support of our international community. We are more actively selling content on the international markets. International media groups understand the situation we are in; they support us financially by purchasing our content.”

But even on the distribution side of the business, things are happening very slowly, with staff displaced and working from cellars and bomb shelters between air-raid sirens, or from temporary accommodation outside Ukraine. “The team is doing its best to keep the business afloat,” Olena Shkrobot, director of Kyivbased content studio MKMG, tells C21 in an article that’s published in full on page 124. “We cannot produce content but the company continues to distribute.”

In a brave attempt to maintain business as usual, several Ukrainian content companies are also planning to attend MipTV under a combined Ukrainian stand at R7.L19, provided free by RX France, along with free digital passes. Film.UA, SLM, 1+1 Media and MGU will be sharing the stand and there will be a showcase of Ukrainian content on the Monday.

“The fact that the Ukrainian delegation will be present at MipTV in

At any moment, a missile can fly into our homes or offices and destroy everything. But we hope for the best and will hold out for as long as we can.

“

Olena Shkrobot MKMG

Channel21 International | Spring 2022

Our country now has the mission to prove to the world Ukraine is a home for outstanding stories, Ukraine is a home for highly professional creative teams and producers, and when the war comes to an end, Ukraine will take its rightful place in the European media landscape.

“

Victoria Yarmoshchuk Film.UA Group

Cannes, despite being frustrated and scared about our current situation, proves our morale is high and we are ready to work even harder than ever before,” says Victoria Yarmoshchuk, CEO at Film.UA Group.

“Our country now has the mission to prove to the world that Ukraine is a home for outstanding stories, Ukraine is a home for highly professional creative teams and producers, and when the war comes to an end, Ukraine will take its rightful place in the European media landscape.”

Regarding the kinds of content Film.UA has on offer, the company’s animation arms – Animagrad and Brave Bunnies producer Glowberry – are still producing from bomb shelters. “We are now offering our animation and family content to buyers around the globe, with proceeds going to support Ukrainian war and humanitarian efforts,” says Yarmoshchuk.

“But this is not charity. There is now a tangible demand for Ukrainian content as millions of Ukrainians have relocated to countries throughout Europe and beyond.

These kids, these families would love to watch Ukrainian toons.”

However, even with such measures, Ukrainian TV execs are realistic about the future if the war doesn’t end soon. “It’s a tough question because it is difficult to predict even tomorrow,” says Shkrobot. “At any moment, a missile can fly into our homes or offices and destroy everything. But we hope for the best and will hold out for as long as we can. Due to the upheavals of recent years, including the pandemic, we have managed to build a flexible system that can adapt to difficult conditions.”

“The very existence of the media [in Ukraine] is now under threat because we have no reliable income except content distribution and YouTube monetisation, which simply isn’t a realistic way to cover the expenses of a large media group,” says Bohutskyi at SLM. But even if the war ends tomorrow,

Ukraine will be “in a deep stagnation and deep depression for the next half-a-year or even longer,” says Yarmoshchuk. Extensive damage to the country’s infrastructure will mean the country won’t be able to attract any international productions and the Film.UA chief has concerns about retaining production talent.

“Our challenge is to do whatever we can to help professionals to survive through the war, so they don’t have to leave Ukraine to find work.”

But these are concerns for another day. For now, it’s about getting the truth out. History is written by the winners, they say, and Ukrainian broadcasters and producers are fully aware of what is needed to counter Putin’s sizeable propaganda machine.

At 1+1, Pakholchuk says the company’s news outlets have seen enormous growth and a huge effort has gone into ensuring international media companies have what they need to see what’s really happening in Ukraine.

“At the same time, we record and collect all the crimes committed in Ukraine by the Russian Federation in the special website section titled Materials for The Hague,” he says.

At Film.UA, Yarmoshchuk puts it another way: “Storytelling is our biggest weapon and we are masters at using it,” she says.

“Our country is fighting for freedom, for democracy, for the future of Ukraine and other European countries,” adds SLM’s Bohutskyi. “We understand the great responsibility that our teams are faced with, who are covering the conflict and speaking to millions of Ukrainian citizens. We are becoming even more creative, more productive, more professional.

“We are optimistic as we know that the truth is on our side. When the war ends – and we truly believe that it will end with Ukraine coming out victorious – it is imperative that all countries convey to each and every one of their citizens that this must never happen again.”

IT WAS ALMOST A PERFECT PLAN

BY THE CREATORS OF THE BREAK

7 X 52’ 6 X 52’

New stand at MIPTV R.7 H-2

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THE C21 CONTENT BUSINESS TRENDS REPORT: Spring 2022

Channel21 International | Spring 2022

Getting into the game N

etflix took over the Finnish company behind its mobile game Stranger Things: Puzzle Tales, spun-off from the popular Duffer Brothers fantasy drama, at the beginning of March, marking its second acquisition in the video games space in under six months.

The US streamer paid US$72m for the Helsinkibased outfit, which is also responsible for similar extensions to AMC drama The Walking Dead, having purchased California’s Night School Studio last September for an undisclosed sum. Night School is another mobile-focused developer, known for titles like Oxenfree, which is currently being turned into a movie by Walking Dead creator Robert Kirkham’s Skybound Entertainment, while the firm has also worked on games tied to USA Network’s Mr Robot.

Netflix announced its expansion into gaming last summer, building on success enjoyed with interactivity around such shows as Black Mirror with its Bandersnatch episode. “We view gaming as another new content category for us, similar to our expansion into original films, animation and unscripted TV,” the company said in its secondquarter letter to investors in 2021.

Games are going to be included in members’ Netflix subscription at no additional cost, similar to films and series, with an initial primary focus on games for mobile devices. Having begun its push into original programming a decade ago, Netflix is now keen to see how its members value games.

Michael Verdu, VP of games, Netflix We are excited for Next Games to join Netflix as a core studio in a strategic region and key talent market, expanding our internal game studio capabilities. While we’re just getting started in games, I am confident that together with Next Games we will be able to build a portfolio of world-class games that will delight our members around the world.

Teemu Huuhtanen, CEO, Next Games Joining forces with the world’s largest streaming service presents an opportunity for a logical and exciting continuation of our strategy to craft interactive experiences for the world to enjoy. Our

The C21 Content Business Trends Report, a quarterly outline of some of the biggest trends in the business, continues with a look at how Netflix has expanded into gaming while recent mega-mergers indicate h tthe race for IP and deeper consumer engagement is speeding up.

B

By Jonathan Webdale This mission is being led by former Oculus, Electronic Arts and Zynga executive Mike Verdu, who serves as Netflix’s VP of game development.

While some analysts see such moves as a response to faltering subscriber numbers in the wake of the pandemic boom, Netflix positions them as a natural progression designed to drive engagement and reduce churn rate.

They also come at a time of growing interest in the video games sector with several considerably larger acquisitions having completed at the start of this year – notably Take-Two Interactive’s US$12.7bn buyout of Verdu’s former employer Zynga in January, far out-trumped just a week later by Microsoft’s US$68.7bn purchase of Activision Blizzard.

Take-Two counts among its titles Grand Theft Auto, Red Dead Redemption and Civilization, while Zynga’s portfolio includes FarmVille, Harry Potter: Puzzles & Spells, Toy Blast and Words With Friends.

For Microsoft, meanwhile, the massive Activision Blizzard deal brings it franchises like Call of Duty, Candy Crush, Warcraft, Diablo and Overwatch.

The worldwide gaming market is estimated to

close collaboration with Netflix on Stranger Things: Puzzle Tales has already proven that together we create a strong partnership.

This is a unique opportunity to level up the studio on all fronts and continue on our mission together.

Sean Krankel, co-founder, Night School Studio Netflix gives film, TV and now game makers an unprecedented canvas to create and deliver excellent entertainment to millions of people. Our explorations in narrative gameplay and Netflix’s

be worth upwards of US$170bn today with some projections putting the figure as high as US$500bn within the next five years. Small wonder then that such sizeable translations should be taking place, nor that those in one part of the entertainment space see rich opportunities for expansion into others.

The scramble for popular IP that can attract eyeballs in whatever ways has never been more fierce but Netflix certainly isn’t the first to make such a strategic move and not all previous efforts by others have ended well. Perhaps the greatest example of an about-face in this space was the closure of Disney Interactive Studios in 2016 following many years of investment in software companies plus developers like GameStar, Wideload Games, Propaganda Games, Black Rock Studio and Junction Point Studios.

Disney also bought and later shut down the massively multiplayer online (MMO) game Club Penguin – a property like many others of its era perhaps ahead of their time, with excitement now around the ‘metaverse’ reminiscent of the frenzy such MMOs inspired 15 years ago.

track record of supporting diverse storytellers was such a natural pairing. It felt like both teams came to this conclusion instinctively.

Geetha Ranganathan, media analyst, Bloomberg Intelligence This is a natural extension of Netflix’s content strategy, allowing it to mine intellectual property from popular shows like Stranger Things. Though it may not generate much additional revenue, it will help deepen engagement and increase the service’s appeal and pricing power. Don’t expect this to be a turning point, but it shows that the company will explore new formats to increase time spent on the platform.

Channel21 International | Spring 2022

THE C21 CONTENT BUSINESS TRENDS REPORT: Spring 2022

Call of Duty

Stranger Things: Puzzle Tales

Grand Theft Auto

Satya Nadella, chairman and CEO, Microsoft Gaming is the most dynamic and exciting category in entertainment across all platforms today and will play a key role in the development of metaverse platforms. We’re investing deeply in world-class content, community and the cloud to usher in a new era of gaming that puts players and creators first and makes gaming safe, inclusive and accessible to all.

Frank Gibeau, CEO, Zynga Combining Zynga’s expertise in mobile and nextgeneration platforms with Take-Two’s best-in-class capabilities and intellectual property will enable us

Oxenfree

to further advance our mission to connect the world through games while achieving significant growth and synergies together. We begin a new journey which will allow us to create even better games, reach larger audiences and achieve significant growth as a leader in the next era of gaming.

Strauss Zelnick, chairman and CEO, Take-Two Interactive Our transformative transaction with Zynga significantly diversifies our business and establishes our leadership position in mobile, the fastest growing segment of the

interactive entertainment industry. This strategic combination brings together our best-in-class console and PC franchises, with a market-leading, diversified mobile publishing platform that has a rich history of innovation and creativity.

Bobby Kotick, CEO, Activision Blizzard The combination of Activision Blizzard’s world-class talent and extraordinary franchises with Microsoft’s technology, distribution, access to talent, ambitious vision and shared commitment to gaming and inclusion will help ensure our continued success in an increasingly competitive industry.

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The changing face of Europe A

s one door closes, another one opens, or, in the case of the European TV business, one mega-merger completes and a string of others follow. This, despite Covid, has been a developing theme for the continent in the wake of Banijay’s US$2.2bn acquisition of Endemol Shine in the summer of 2020. And the narrative has gained momentum ever since.

New, ambitious production groups have sprung up, while existing entities have embarked on their own land grabs in a bid to shore up position, scale and stay relevant in the face of a new TV behemoth and opportunities opening up as the sector continues to boom.

First on the scene, just before the aforementioned transaction, was Asacha Media Group, a panEuropean outfit co-founded by former Zodiak Media and Endemol Shine execs Gaspard de Chavagnac, Marina Williams and Marc-Antoine d’Halluin. With backing from Oaktree Capital Management, Asacha set about snaffling stakes in Italy’s Picomedia and Stand By Me, Mintee Studio and Kabo Family in France, plus Wag Entertainment and Death in Paradise maker Red Planet Pictures in the UK. The company kicked off 2022 by raising around US$50m from French asset management specialist Tikehau Capital and hired M&A strategist Alban de Noirmont to supercharge its efforts.

Paris-headquartered Asacha is among a swathe of French players shaking up the market in Banijay’s wake, with mergers among the nation’s broadcasters and the growing influence of streamers also acting as major catalysts. Should the combination of Bertelsmann/RTL Group’s M6 and Bouygues’ TF1 win approval, Altice Media will acquire certain assets from the pair. Meanwhile, Netflix has recently committed another US$220m to originals in the country.

Vincent Bolloré’s Vivendi, meanwhile, owner of French pay TV operator Canal+ and a stakeholder in Banijay, inceased its share in Lagardère six months ago and took a stake in Pernel Media.

The former deal came some time after compatriot Mediawan acquired the Lagardère Studios division, which has 25 production labels, including Atlantique Productions in France, Boomerang in Spain and Italy’s Palomar. These joined other existing businesses within the portfolio, including Call My Agent maker Mon Voisin Productions.

A swathe of new production groups is springing up in Europe, largely led by France, and triggered by high-level consolidation as well as seemingly insatiable demand for content from streamers.

Find Me in Paris

Last year, Mediawan, founded by Xavier Niel, Matthieu Pigasse and Pierre-Antoine Capton, built on a 2020 alliance with Kohlberg Kravis Robertsbacked Leonine (formerly Tele München Group) to take a majority stake in UK indie Drama Republic.

Mediawan has been around since 2015, debuting as a special purposes acquisition company (SPAC) the same year TF1 took majority control of Parisbased production group Newen, and most recently forged a strategic partnership with Paris- and New York-based Good Hero.

With TF1 behind it, Newen has been in an expansive mood. Led by MD Romain Bessi it has bought up businesses including Canada’s Reel One, Denmark’s Nimbus Film, Pupkin and Tuvalu in the Netherlands, Belgium’s De Mensen, iZen and Kubik Films in Spain and Flare Film in Germany. Newen established Ringside Studios in the UK in 2020 with former Channel 4 drama chief Gub Neal and an appended investment arm, which has since taken stakes in smaller entities such as Fictionhouse, Further South and, in February, B-Side Film & TV. Newen has also this year strengthened a partnership with Sébastien Raybaud-led French financier Anton, which linked up with StudioCanal for Paddington and with BBC Studios for His Dark Materials, plus also provides backing to another Parisian production group in the ascendancy: Federation Entertainment.

Founded by ex-Marathon Entertainment chief Pascal Breton and former M6 exec Lionel Uzan, the

Find Me in Paris producer came out of the gate in 2014 with Marseille, Netflix’s first French original.

The capital US streamers have injected into European producers in recent years has been key to their growth – even more so now given rules requiring minimum local commissions.

As well as benefitting from Anton’s support, Federation last year raised US$60m from French private equity firm Montefiore to help fund further expansion and has this year taken majority stakes in compatriot production outfits Robin & Co and Bonne Pioche. The firm is also backing new German production and talent management company Glisk, set up by former RTL drama chief Philipp Steffens and his wife, ex-Splendid Studios MD Julie Link. Last August, it formed a UK operation with Entertainment One alumni Polly Williams and Arielle Gottlieb, launched a joint venture with Anonymous Content in the US and formed a new management and production group in LA. While much of the story of recent European consolidation has centred on France, it’s also worth noting the transformation this year of Germany’s Telepool – owner of distributor Global Screen – with its acquisition by Will Smith and Jada Pinkett Smith’s Westbrook. The move, which took place in January, came shortly after the company secured backing from former Disney execs Kevin Mayer and Tom Staggs’ Candle Media and saw former Red Arrow Studios chief Jan Frouman installed as president of Westbrook International.

Bertelsmann/RTL Group’s Fremantle, meanwhile, picked up Nordic Entertainment Group’s 12 unscripted businesses in Norway, Sweden, Finland and Denmark last year, and has secured a majority stake in Medici, Devils and Leonardo producer Lux Vide, bolstering an Italian operation already housing My Brilliant Friend maker Wildside and nascent outfit The Apartment.

With former WarnerMedia high-flyer Iris Knobloch’s SPAC, dubbed I2PO and listed on the Paris Euronext last year, having yet to make its move and her former employer’s US$43bn merger with Discovery on the cards, the story of Europe’s consolidation game is far from over.

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Mon Voisin’s Call My Agent

Marina Williams, founding partner and co-CEO, Asacha Media Group Tikehau Capital’s investment is an important step in the growth and development of Asacha Media Group and will provide us with the resources to pursue our international expansion strategy further. This transaction is testament to the successful launch of AMG’s industrial model in the fast-growing international audiovisual content production sector.

Pierre-Antoine Capton, chairman, Mediawan We created Mediawan with the intention to create a European audiovisual champion to respond to the demand for premium content, and these operations are unprecedented steps to continue our growth in new European geographies, new formats and with new partners.

Laura Scolan, head of France private debt, Tikehau Capital We are delighted to be supporting Asacha Media Group over the long term to support its future growth plans.

We share the management team’s ambitious vision and believe that with our support and expertise, Asacha Media Group is well positioned to become a leading player in Europe.

Lionel Uzan, co-founder and group CEO, Federation Entertainment We feel that the European market is at the beginning of its growth and it’s growing really fast as American companies now want to invest in Europe, but it’s not as easy for them because of cultural differences and regulations, among other things. We feel we have a competitive advantage: we are European, so let’s play to our strengths.

Arnaud de Puyfontaine, CEO, Vivendi I admire Disney and what I wish Vivendi would become is a kind of European Disney. We want to keep on investing in the development of our series and movie operations and grow organically as well as by being extraordinarily agile to opportunities.

Romain Bessi, CEO, Newen Studios The last few years have witnessed the transformation of Newen Studios into a dynamic, major established player with a diversified mix of genres, geographies and activities. Our talents and their complementarity are our strength and provide the

perfect mix for us to continue to develop. Together we will further develop the group with ambition and kindness, while staying true to our authentic European roots and our core mission: create the best stories and bring them to the rest of the world.

Ko Yada, CEO, Westbrook Westbrook’s acquisition of Telepool and the launch of Westbrook International Holdings enables us to truly reach a global community, furthering our mission to empower artists to tell stories that connect the world. By aligning with best-in-market creative teams, financing development and expanding distribution, we will accelerate our ability to share universal stories that resonate with a global audience.

Andrea Scrosati, group chief operating officer, CEO for continental Europe, Fremantle We are proud and honoured that the incredible talent at Lux Vide have chosen to be part of our family. I have no doubt that together we will deliver many extraordinary shows to a global stage, continuing to make the Fremantle slate even stronger. This deal underlines Fremantle’s strategic plan to invest and grow in scripted.

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THE C21 CONTENT BUSINESS TRENDS REPORT: Spring 2022

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flurry of developments and commissions in recent months highlight how attitudes towards mental health and working conditions for under-represented communities are, hopefully, set to change for the better.

UK-based The Film & TV Charity has created a ‘toolkit’ to support and enable healthy working practices as part of its campaign to destigmatise the causes of poor mental health in film and TV. The Whole Picture Toolkit: For Mentally Healthy Productions, has been developed in collaboration with industry partners and bodies, individuals, mental health experts and sector practitioners.

Among those are senior leaders from Amazon, Banijay, BBC, BBC Studios, BFI, Channel 4, Disney, IMG, ITV Studios, Sky, Sky Studios, Sony Pictures Entertainment, Paramount and WarnerMedia.

An easy-to-use, free online resource, it breaks down into pre-production, production and postproduction sections to provide practical help and templates to make sure that a production is mentally healthy.

The Film & TV Charity is seeking to get 100 productions on board and using the toolkit by the end of 2022, marking the next phase of its 12-month behaviour-change campaign to redefine working culture in the film and TV industry in the aftermath of the peak of the Covid-19 pandemic, dubbed ‘Let’s Reset.’

The campaign began in October 2021 and calls on leaders across the industry to commit to the action needed to improve wellbeing and to destigmatise the conversation about mental health.

Earlier on this year the charity published its Looking Glass ’21 report, which found that long hours and well-documented skills gaps are challenging the

Channel21 International al | Spring 2022

States of mind A recently launched online toolkit designed to protect and d improve atest the mental health of those working in film and TV is the latest development in the push for industry-wide change. By Nico ico Franks mental health and wellbeing of many working behind the scenes in film and TV. Fifty-seven percent of the survey’s 2,097 respondents revealed they experienced bullying, sexual or racial harassment or discrimination, or other harassment or discrimination over the past year alone.

Thirty-nine percent of black, Asian and minority ethnic respondents had experienced racialised harassment or discrimination, causing 43% of them to consider leaving the industry.

The number of respondents who said the industry’s culture and values are having a negative

impact on mental health has risen from 29% in i 2019 to 51% in 2021, while 74% of disabled respondents considered leaving the industry altogether in the last year due to concerns about their mental health.

Communicating with and creating a safe space for disabled people are two practical steps television professionals can take in an effort to boost inclusion on screen and behind the camera, delegates taking part in an online session during Berlinale in February heard.

Writer and director Kyla Harris, who is a member of the Disability Screen Advisory Group for the British Film Institute in the UK, urged industry professionals

Photo: Pexels

Channel21 International | Spring 2022

THE C21 C CONTENT BUSINESS TRENDS REPORT: Spring 2022

Alex Pumfrey, P The Film & CEO, T Charity TV Cha Looking Glass ’21 Lookin shows us that, despite stability and remarkable rem resilience in resilien some areas, there is still much more that we must do – and the when urgency is especially acute ac we consider the strain being placed on the mental health of people in the indus industry from under-represented communities, comm including our disabled workforce w and black, Asian and minority m ethnic workforce. In particular, the pa mental health impacts of o individual experiences of racial harassment and haras discrimination have been brought to br the fore.

MixMups

t communicate to i t more with ith disabled di bl d people l and d create roles that will help provide access for them.

Harris encouraged industry professionals to read the Documentary Filmmakers With Disabilities (FWD-Doc) Toolkit and the FWD-Doc Engagement Pack, which provide steps on how to make the film sector more accessible to disabled people and are free to download.

Meanwhile, pressure groups such as Underlying Health Condition (UHC), set up in 2021 by leading names in the UK drama industry Jack Thorne, Genevieve Barr, Katie Player and Holly Luban, are leading the charge when it comes to demanding more accessible working conditions.

UHC has highlighted television’s failings in representation of the disabled community both onand off-screen and revealed damning research into the state of accessibility at UK filming facilities towards the end of 2021, exposing some of the horrors that are experienced by those with disabilities working in the industry today.

UHC added that if buildings and spaces become accessible, better inclusion and representation can follow. It has subsequently set out four key recommendations to improve accessibility and inclusivity within the TV industry, and has invited broadcasters and production companies to pledge their commitment to change.

The key recommendations include featuring a line in every high-end television budget for reasonable adjustments to make their productions more accessible in offices, on sets and locations and at unit bases.

Elsewhere, recent commissions such as MixMups on Paramount-owned Channel 5’s preschool strand Milkshake! demonstrate that buyers are growing more aware of the need to increase and improve portrayals of disability on screen.

Created by Rebecca Atkinson, the show is produced by Raydar Media and Mackinnon & Saunders and the core MixMups team all have lived experience of disability, either personally or through a close family member.

Adeel Amini, series producer an and founder off C Coalition Change liti ffor Ch Speaking as a [member of a] minority in the industry, I think knowing there are tools that will safeguard me and other people I work with is already a comfort blanket going into production.

If I know that a production is using The Whole Picture Toolkit, I will already feel reassured and confident that I’m going to work in a safe space.

Caroline O’Neill, series producer and co-director of Deaf & Disabled People in TV Being proactive about protecting people’s mental health opens up the door to a diverse workforce, which then leads to better output, robust new ideas, formats and concepts and exciting new talent. This is the value that deaf, disabled and neurodivergent people provide, and this toolkit will

help ensure we are retaining and nurturing this talent and celebrating what we bring to the table.

Karl Liegis, line producer I believe the Whole Picture Toolkit provides a uniform foundation for broadcasters, companies and productions to build on and then add their own initiatives as well. Key issues within the industry won’t be properly addressed without conversation, engagement and action across the board.

Sam Joly, head of marketing and publicity, See-Saw Films It should be really easy for companies and productions to put mental health support in place for their teams, whether it’s a huge company or a small independent film production. The toolkit is a simple way to show people it’s inexpensive and very easy.

Seetha Kumar, CEO, ScreenSkills What’s been absolutely brilliant is the power of collaboration, the power of partnership, the power of acknowledging, yes, there is a problem. We’ve acknowledged this problem and, as an industry, we are all collectively working together to try to do something about it. To me, that is very powerful.

Louise Bucknole, VP of children’s programming at Paramount UK and Ireland MixMups is our first commission that, from its very genesis, has been entirely inspired and created with the experiences of disabled children in mind. Working with Rebecca [Atkinson] and a core production team that has lived experience of disability, we are confident we can bring a level of authenticity, understanding and commitment to the show, unlike any other.

Jack Thorne, Genevieve Barr, Katie Player and Holly Lubran of Underlying Health Condition The Social Model states that disabled people are not disabled by their impairments but rather by the attitude and geography of the society in which they live. It is society itself that’s disabling, when it makes transport impossible to share, when it shows little flexibility in the workplace, when it is built around the needs of certain people rather than the needs of all.

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AHEAD OF THE CURVE: Distribution trends

Channel21 International | Spring 2022

Shop till you drop Bosses at BBC Studios, Fremantle International, All3Media International, ITV Studios and Banijay Rights discuss the biggest issues facing the issue glob distribution global busi business.

By Nico Franks

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peak to an exec at any distribution company these days and it’s only a matter of time before free adsupported TV (FAST) channels come up. These are posing a conundrum to large distributors: whether or not to set up own-branded OTT channels and pocket some welcome revenue but risk competing with their clients.

Ruth Berry, MD of global distribution at ITV Studios (ITVS), says this year she wants her company to continue its push into the AVoD and FAST sectors, but does point out that sellers tend not to earn the same revenues as they would from traditional players.

“AVoD is one of the fastest growing spaces in the industry at the moment, but that doesn’t mean it’s generating the sort of licence fees that an SVoD platform or the traditional buyers would have. But it is certainly proving itself to be a part of an ecosystem of windowing content, licensing library catalogue or putting out singlebrand channels,” Berry says.

All3Media International CEO Louise Pedersen sees FAST channels and deals with AVoD service providers as a huge growth area for her company too. “AVoD and FAST revenues grew 72% for us last year, which is a massive increase, and we’re projecting a 40% increase again this year,” says Pedersen. “It’s a different business for us

as a distributor because you’re having to deliver those channels, programme them and work with the platforms to promote them. It’s quite a different skill set, but it’s really exciting. What we’re going to see over the next 18 months in that space will also be a move from some of those platforms into coproductions and pre-buys.”

But are discussions with existing buyers changing as a result of these moves, given that titles they might have traditionally acquired are now available for free somewhere on the internet?

“Not at the moment, because it’s about managing the rights, the windows and the exclusivity,” says Pedersen.

“It’s going to be interesting to see how that develops over the coming years. If either partner wants exclusivity, then there’ll have to be conversations around price points. But at that moment, it’s helpful because a lot of the AVoD and FAST deals are non-exclusive.”

Cathy Payne, CEO at Banijay Rights, offers some tips for a successful FAST channel: “As they’re ad-supported and ad revenue-driven, you’re looking for those that can drive a solid CPM. We’ve learnt so much from all the publishing we’ve done over two years. Really strong, recognisable franchises will do well. You have to use a third party to programme the channel and the refresh rates.

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Silverback Films’ Our Planet. Inset: Louise Pedersen of All3Media

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AHEAD OF THE CURVE: Distribution ution trends

Channel21 Cha anne ne elll21 21 21 In IInternational nte ternational | Spring 2022

BBC One crime drama Inside Man

AVoD is one of the fastest growing spaces in the industry at the moment, but that doesn’t mean it’s generating the sort of licence fees that an SVoD platform or the traditional buyers would have.

“

Ruth Berry ITV Studios

“Once you set up a channel, you can then publish it on many different platforms, because all the FAST channels are really non-exclusive. So we are launching a number of new FAST channels. But we’re not commissioning new products for FAST,” says Payne.

Another recurring theme in any conversation with a distribution exec in 2022 is the continuing rise of premium factual.

BBC Studios (BBCS) is a leader in the space via its world-beating Natural History Unit and BBCS director of unscripted indies Suzanne McKenna agrees it is a growing programming trend. “Audiences are becoming more discerning but also more time-poor,” she says.

“There’s also so much choice, which is why you have to be more premium if you want to attract audiences, because, frankly, they could be consuming content from anywhere now.”

A series like The Green Planet, with a host of coproducers in PBS, Bilibili, ZDF, CCTV, France Télévisions, NHK and the Open University, is the norm for a Sir David Attenborough-fronted series from BBCS, but this model is increasingly being seen elsewhere in the factual space.

ITVS’s Berry says this is being driven by deep-pocketed streamers, leading to the funding models for high-end drama being applied to premium factual.

Berry says funding a premium factual series like you would a drama is one solution to its sky-high production costs, predicting that more shows will be financed in this way. The exec adds that the Stephen Fry-narrated natural history series A Year on Planet Earth, produced by Plimsoll Productions in association with ITVS, was the first time in her career she financed an unscripted show like a drama.

“We put together financing around the world for A Year on Planet Earth and we found partners in Fox Nation in the US, Tencent in China and ARD in Germany, as well as, obviously, ITV in the UK,” she says. “They’ve all come in as co-financing partners and then ITVS has also picked up some deficit to have that show made. And then we’ll have the rest of the world to sell into.”

“Premium factual has been a very big growth area for us,” adds Pedersen. The exec concedes the influence of All3Media co-owner Discovery is a driver, typified by the 2020 acquisition of blue-chip natural history specialist Silverback Films, maker of Netflix’s Our Planet. “But the primary factor is just increased demand across the board for premium factual content,” she says.

Pedersen cites the hiring of former A+E Networks exec Rachel Job as senior VP of non-scripted content towards the end of 2019 and a major investment in her team as indicating how All3Media International is responding.

The result has been coproductions such as David Beckham-fronted Fever Pitch! The Rise of the Premier League from All3-backed Story Films and the soccer star’s Studio 99. Who is Ghislaine Maxwell?, a documentary from Roast Beef Productions about the disgraced Jeffrey Epstein fixer, also falls into this category, with Starz having the project in the US. Fremantle has also been pushing further into premium factual, with series such as BBC/Hulu copro Planet Sex and Sky/HBO Max fashion series Kingdom of Dreams.

In an ever-changing industry where content from all corners of the planet is booming, Fremantle International CEO Jen Richter’s key predictions are that budgets will remain high, demand will stay strong and more platforms will enter the market while becoming more mainstream, as linear broadcasters increase their focus on streaming.

“Mediocre programming is challenged; that will be even more true in the future. You have to aim really high in terms of quality, talent, IP and branding of your show because of the simple fact that there’s so much out there,” he says.

“During the production process, we then have to think even more about who our perfect audience for the show is.

The big question is, does it sit with local broadcasters, with regional platforms or with global platforms? If you don’t have a good thought process on sales strategy and you just start selling, yes, you might have a deal opportunity in France and another in Poland or wherever, but you X

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AHEAD OF THE CURVE: Distribution trends

might end up selling to individual territories a show that might sit much better on Disney+ Europe or HBO Max. “The whole sales process has changed drastically because you have to think about where a programme sits and who you want to address first in terms of buyers. It’s a more orchestrated process, and for people like us, with 10 sales offices on the ground, we decide this kind of sales strategy on each and every individual show.”

The prospect of selling a show to a global streamer may raise some concerns about distributors wanting to retain certain rights, but Richter insists that these international players can be flexible.

“If you have a commission with a platform, very often they demand the global rights, but very often they don’t.

It really depends on the show and whether they believe it would have a huge impact in a specific region. Very often there’s a situation where they are on board from the beginning as commissioning partners, but are only interested in Latin America or some parts of Europe, or only the US, and then it’s down to us to build the model for the rest of the world,” the exec says.

McKenna at BBCS agrees that the streamers are now more open-minded when it comes to rights. “They are becoming more up for windowing, which creates a lot of opportunity in the market,” she says. “The reason for that is that financing of projects, such as premium factual, is getting more and more expensive. Streamers are realising that it can be advantageous to work with a distributor that can put some cash in.”

Heavyweight streamers, such as Netflix, are valuable partners, says BBCS’s director of independent drama Caroline Stone, and do not necessarily require worldwide rights for every project. This includes the upcoming BBC One crime drama Inside Man, which stars David Tennant and Stanley Tucci. Netflix boarded the drama, which is produced by Hartswood Films and written by Steven Moffat (Dracula, Sherlock, Doctor Who), last year.

Stone says the SVoD platform is taking worldwide rights to Inside Man, excluding the UK, for “a number of years,” after which BBCS will be free to sell it to other clients.

“We’ve worked with Netflix since they started their streaming platform and they value their relationship with the BBC group,” Stone says. “Much of the talent they work with, and the people who work there, came through the BBC ecosystem. They have traditionally taken our catalogue shows but also, like for Inside Man, have been coproduction partners.”

ITVS’s Berry sayss global production partnerships in scripted are becoming ing less desirable for buyers because commissioning oning strategies have changed. “We’ve got ot lots of clients and

Audiences are becoming more discerning but also more time-poor. There’s also so much choice, which is why you have to be more premium if you want to attract audiences.

“

Suzanne McKenna BBC Studios

Channel21 International | Spring 2022

there’s lots of hunger for content, and therefore the idea of taking just one bite of the show isn’t always attractive,” she explains. “Lots of streamers have also built their own original pipelines, so they coproduce less and their buying strategies are becoming more localised. They are buying specific dramas for the Scandi market or the southern European market or something similar.”

Berry adds that ITVS will “work with anyone,” whether they’re a traditional broadcaster or a global streamer.

“For example, public service broadcasters in Scandinavia have been partners with us for a very long time and are as important to us as streamers, and vice versa,” she says.

“There isn’t a thought process around whether I would prefer to sell a show this way or the other; it is quite showspecific. Some shows lend themselves to a big, global sale, with others we get a big US streaming deal and then we sell to the rest of the world separately. It’s a patchwork quilt and it comes down to whatever works best for the show.”

This means that selling to global streamers that want full ownership of rights is far from off-limits, according to Berry. “The pure original streaming deals, where ITVS is making a show that is effectively bought out by the streamer and the distribution rights don’t fall to us, are a huge area of growth for the studio and a really important one,” she explains. “I don’t see it as something being taken away from us. [Those deals] aren’t substituting our incremental to it.” pipeline, they are increm All3Media’s Pedersen notes local format deals with U studio-owned SVoD players, such as soon-to-be US bedfellows b be dfellows Discovery+ Discovery and HBO Max, have come under over the past six months. Whereas u nder the spotlight o rregional, re gional, rather than central, commissioning decisions already happening in the scripted d de cisions were alr sspace, pace, this has now shifted to non-scripted too, she ssays. sa ys. developments mean dealClearly, all these t as it’s ever been. But with making is as complex co to shop to than ever more buyers available a distributor is going to object to the before, no dist industry being a seller’s market in 2022 beyond. and bey With additional reporting by Ruth Lawes, Karolina Kaminska and Law Jonathan Webdale.

Jona

Plimsoll Productions’ natural history series A Year on Planet Earth found funding in the US, China and Germany

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CONTENT CONFIDENTIAL: Showmax

Channel21 Cha Ch C ha han nn nne n ne nel21 ell2 2 International | Sp Spring 2022

Sex In Afrikaans

Max effort for Africa L

aunched in 2015, SVoD service Showmax is part of African pay TV group MultiChoice. Like its parent company, the streamer serves all of Africa but targets audiences in South Africa, Ghana, Kenya and Nigeria in particular, according to Showmax’s head of content, Candice Fangueiro.

While there is some content crossover, Showmax and MultiChoice Group largely commission independently of one another.

However, acquired international content tends to be picked up on a group level and shared between the linear channels and Showmax, says Fangueiro.

While it has exclusive streaming rights to shows from the likes of HBO, Showmax is driven by local content, which allows it to remain competitive in an overcrowded streaming market and cater to audiences that may have been “maligned” by more global platforms, Fangueiro says. The exec is also conscious that a growing number of US studios are ring-fencing their own

Af African SVoD platform Showmax is on the hunt fo youthful drama and documentaries as it for ramps up its local original commissions. ra

By Ruth Lawes

content for their direct-to-consumer offerings, such as Disney+, and local shows can plug this widening content gap.

Top of Showmax’s commissioning wish list is a local medical drama aimed at young audiences in a tone and style similar to The Good Karma Hospital, which was produced by Tiger Aspect Productions for the UK’s ITV. “It would be interesting to shine a light on what our African doctors are doing and their incredible stories.

Medical dramas, from the likes of Grey’s Anatomy to the more recent New Amsterdam, have always done really well, but in Africa the [medical industry] is very different, and working conditions are very different. It’s incredibly stressful but the commitment from the doctors is

phenomenal and it would be great to base a story on that,” says Fangueiro.

Showmax’s shopping list does not include very niche programming such as anime. Fangueiro says it is not suitable for Showmax, which is trying to attract “the middle and mass market, so content needs to be commercially appealing.”

“There are also some topics, such as holistic healing and lifestyle, that potentially work in the YouTube space or on a linear channel, but we need programming that is punchier, hardhitting and that resonates across audiences,” she adds.

For both scripted and unscripted, Fangueiro says Showmax is committed to ordering shows based on themes and ideas already popular with African audiences, as well X

There are also some topics, such as holistic healing and lifestyle, that potentially work in the YouTube space or on a linear channel, but we need programming that is punchier, hard-hitting and that resonates across audiences.

“

Candice Fangueiro Showmax

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CONTENT CONFIDENTIAL: Showmax

Top: Showmax’s first original telenovela The Wife. Above: Record breaker The Real Housewives of Durban. Inset: Reality show Life With Kelly Khumalo is set for a third season

as pushing into new genres like epic fantasy drama.

One subject area that always proves a rating hit with African viewers, particularly those in South Africa, according to Fangueiro, is local celebrities. Falling within this bracket is Life With Kelly Khumalo, a reality show about the South African singer that has now been commissioned for a third season on the back of its success on Showmax. Made by prodco BarLeader, also the producer of Being Bonang, the show follows single mother Khumalo as she juggles parenting with her music career.

A new area Fangueiro is keen to explore further for Showmax is true crime documentary. For the past few years, true crime has not been a commissioning priority for Showmax but that is changing due to the positive reaction to Devilsdorp, Showmax’s first original crime docuseries.

Produced by South African production company IdeaCandy, the four-parter investigates a spate of killings, known as the Satanic Murders, that took place in Krugersdorp between 2012 and 2016.

“We found audiences were fascinated by the investigation and

Channel21 International | Spring 2022

the fact that it took place on their back doorsteps,” says Fangueiro. “As it latched on, we’re exploring that space a little more and are interested in commissioning other local true crime stories.”

Another show that breaks new ground for Showmax is Sex in Afrikaans, launched on Valentine’s Day this year. Produced by media personality Rian van Heerden through his Pretoria-based prodco Provoco, the show follows clinical psychologist Bradley R Daniels as he helps four couples and two singles have frank discussions about their sex lives.

Due to the subject matter, which is taboo in the Afrikaans community, Fangueiro says the show nearly wasn’t commissioned. “When it was first pitched to us, it was like, ‘Do we or don’t we?’, because it is quite controversial. The Afrikaans audience is typically quite traditional and does not speak about sex,” Fangueiro says. “But it is very new and different and hasn’t been done before, and we really want to buy shows that aren’t already available elsewhere.” If Sex in Afrikaans is successful, Fangueiro says she will look to remake the show for other African audiences.

In the formats and franchises space, Showmax has ordered a South African version of Banijay dating format Temptation Island, which Fangueiro says is popular. In addition, Showmax has made three local

versions of NBCUniversal’s franchise The Real Housewives, namely The Real Housewives of Lagos, The Real Housewives of Johannesburg and The Real Housewives of Durban.

According to Fangueiro, when Durban was released it broke Showmax’s streaming records.

As for scripted, Fangueiro says “audiences are eating up” Showmax’s first original telenovela, The Wife.

The series is based on Dudu Busani-Dube’s bestselling novels Hlomu the Wife, Zandile the Resolute and Naledi His Love, all of which tell the story of a Zulu crime family through the eyes of the criminals’ wives.

“It’s working really well for us because there are gripping storylines and audiences are hooked, so they return weekly to catch the next episode,” Fangueiro says. “We expected it to do well but not as well as it has done – it has broken every single streaming record from a content perspective that we’ve ever seen.”

Meanwhile, survival horror series Pulse is an example of Showmax venturing into a new genre, according to Fangueiro. The drama centres on a group of young game creators who must put their survival skills to the test when an electromagnetic pulse bomb explodes in their office.

Pulse is an international collaboration between global production and finance company Media Musketeers, UK-based ForLan Films and South Africa’s Red Mirror, coproduced with MediaPro. “It’s something different for our English-speaking market,” Fangueiro says of the show.

As well as survival horror, Showmax has commissioned its first epic fantasy drama. A coproduction with French pay TV broadcaster Canal+, Blood Psalms tells the story of the ascent to power of a teenage princess whose world is threatened by the gods. South Africa’s Yellowbone Entertainment is producing.

Fangueiro says Showmax looks for coproduction partners now more than ever. “It’s a case of finding the right story and the right coproduction partner to bring these projects to our screens,” she says. “The world is looking to Africa, and they’re looking to Africa to tell new stories. We’d love to partner with people who want to tell these stories, but we want to be authentic and tell local stores from an African perspective.”

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Explore French TV programmes in all their diversity during MIPTV! > Come meet over 40 French TV content distributors at the Unifrance stand: R7.E2 > Check out our MIPTV dedicated Screening Room on SCREENOPSIS.COM

With the support of:

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Anatomy

of a deal

BritBox BritBox is billed as home to the best of British drama, but the plot is becoming confused as it enters its latest act. By Jonathan Webdale

I

t’s five years since BritBox – a joint- in terms of technology, original content venture SVoD service from the UK’s and perhaps the degree to which UK BBC and ITV, with US cable outfit consumers already paying an annual AMC Networks initially investing as BBC licence fee would tolerate: ITV a minority partner – debuted in North holding 90% of the venture and the BBC 10% with an option to raise its America.

Promoted as home to the best of stake to 25% over an unspecified time British television, the service featured frame.

As of March, that agreement came classics like Pride & Prejudice, Inspector Morse and Fawlty Towers to an end as ITV bought out the BBC’s alongside stateside premieres 10% share for a “nominal” sum and of dramas including New Blood, unveiled a hybrid AVoD/SVoD service called ITVX to replace ITV Hub, Tutankhamun and The Moonstone.

The March 2017 launch marked wrapping BritBox UK into the premium the culmination of convoluted tier of the new offering that will debut machinations dating back more than later this year. “We are supercharging a decade when the BBC’s commercial our streaming business, fundamentally arm and ITV joined with compatriot shifting our focus to think digital-first, public broadcaster Channel 4 in an as well as optimising our broadcast channels, by continuing to attract ultimately thwarted effort to unrivalled mass audiences,” come up with something said McCall. similar. Then came The announcement the short-lived BBC came alongside ITV’s Global iPlayer in annual results, which 2011, itself snuffed ITV’s planned despite reporting a 24% out four years later. content spend for increase in revenue to The Global iPlayer 2023, including an all-time high of £3.4bn was always billed as BritBox (US$4.5bn) and operating a ‘pilot’, a placeholder profit of £519m (just short of in some ways, while pre-pandemic levels) saw a share ITV refocused its online strategy, introducing domestic service price slump of almost 20%. Investors ITV Hub as a replacement for the ITV were concerned at a projected £1.23bn Player in 2015 and at the same time content spend earmarked for 2022, reconvening with the BBC on the rising to £1.35bn the following year and including budget for BritBox. blueprint for BritBox. Some were bemused by ITVX and Following the US launch came Canada in 2018 and then – in the the implied relegation of ITV’s linear face of growing competition back networks in this new “digital-first” home from Netflix and Amazon – the universe. New drama series such as A UK in 2019. The move was hailed as Spy Among Friends, starring Damian a “milestone” by ITV CEO Carolyn Lewis and Guy Pearce, and Litvinenko McCall, with C4 and Paramount’s with David Tennant will premiere on Channel 5 and Comedy Central also ITVX as both free to view with ads or ad-free through a subscription. Yet on board as content partners.

The ownership structure reflected some shows may not air via broadcast ITV’s greater investment in the project, until up to a year later.

£1.35bn

A Spy Among Friends

ITV is effectively catering to three audiences – those that get their entertainment over the internet and are either willing or unwilling to pay, and those still wedded to traditional television. The company is convinced it knows where the sweet spots are in this Venn diagram and, indeed, where they lie for the advertisers on which ITV in part relies.

As for the place of BritBox UK within all this, it will remain available to ITVX subscribers as a separate entity within the app, continuing to offer exclusives like Spitting Image but no longer commissioning originals of its own. Tellingly, BritBox UK MD Will Harrison stepped down shortly after the announcement and will not be replaced, though BritBox International will continue to commission originals such as Hugh Laurie’s Why Didn’t They Ask Evans?.

The drama comes courtesy of Agatha Christie Ltd, majority shareholder in RLJ Entertainment, which in turn is majority-owned by former BritBox International investor AMC Networks.

BritBox International – currently available in the US, Canada, Australia and South Africa, with 25 territories targeted by 2025 including the Nordics this year – is still described as a 50/50 joint venture between the BBC and ITV. But AMC is no longer involved as an investor, perhaps because it also operates competing ‘best of British’ SVoD service Acorn TV. How all parties carve up the complex mesh of rights to the considerable BBC and ITV back catalogues is also another conundrum, as the BritBox drama continues.

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Spring arrivals Cur Current world events, empowering stories and fresh perspectives are among the big programming trends as MipTV returns as a physical event. By Nico Franks ph

Zelenskyy: The Man Who Took On Putin (1x30’) Producer: ITN Productions Distributor: PBS International They say: “Explores the phenomenal rise of President Zelenskyy, from Ukrainian comedian and alleged political lightweight, to heroic national wartime leader.”

We say: One of two programmes on the war in Ukraine being distributed by the sales arm of PBS at MipTV, alongside Putin’s Road to War, this profile looks at Volodymyr Zelenskyy’s youth, his life before his presidency and then his position as the leader of a Ukraine under siege.

Astrid & Lilly Save the World (10x45’)

Magpie Murders (6x60’)

Producers: Mini High Five Productions, Take the Shot Productions, Blue Ice Pictures, Bell Media, STX Television Distributor: STX Television They say: “High school is hard enough when you’re different, but when two outcast BFFs accidentally crack open a portal to a terrifyingly quirky monster dimension, it gets a lot more complicated.”

We say: This show drew praise for the way it caters to underserved audiences by putting feminism, body positivity and an LGBTQ+ lead centre stage when it launched on Syfy in the US earlier this year.

Producer: Eleventh Hour Films Distributor: Sony Pictures Television They say: “A beguiling murder mystery with a solution that will both astonish and shock viewers.”

We say: The plot of this BritBox UK and PBS Masterpiece US collaboration revolves around the character played by Lesley Manville (The Crown, Phantom Thread), an editor who is given an unfinished manuscript of an author’s latest novel, with little idea it will change her life.

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How I Got Here (10x60’) Producer and distributor: Boat Rocker Media They say: “Sons ask fathers, daughters ask mothers and grandchildren ask grandparents to travel back together to the homeland that was left behind on an emotional and transformational journey connecting people to their roots, their culture and their family.”

We say: Part documentary, part intimate home movie, this series sees second-generation children accompany their parents back to their country of origin, to relive the sacrifice, struggle and dramatic circumstances that led to their families moving to North America.

The End of a Superpower: The Collapse of the Soviet Union (1x52/75’) Producer: Hoferichter & Jacobs Distributor: Autentic Distribution They say: “Search for traces of the former multiethnic empire in Kyrgyzstan, Ukraine, Chechnya and Lithuania and hear from experts, contemporary witnesses and politicians about a period of gigantic historic upheaval.”

We say: Those looking for context when it comes to the world today may find it here in this MDR and Arte documentary that looks at events since December 21, 1991 when the Soviet Union collapsed.

The Porter (8x60’) Producers: Sienna Films, Inferno Pictures Distributor: Abacus Media Rights They say: “A stirring, fast-paced exploration of black empowerment and self-determination, offering a dramatic and compelling look at the lives of porters, their families and a community striving for success and equality.”

We say: An explosive story about the Civil Rights movement on the railroads that cross America for CBC in Canada and BET+, The Porter follows a group of railway workers who unite to form the world’s first black union.

Art & Pep (1x88’) Producer: Daisy May Films Distributor: Espresso Media International They say: “Art & Pep is a look back at the long struggle for equality and their fight to love freely – and a look ahead at the work being carried on by a new generation of activists.”

We say: This profile of Art Johnston and José Pepe Peña looks at h ow the Civil Rights leaders have been at the forefront of LGBTQ+ activism since the 1980s via their Chicago gay bar.

Servant of the People (51x30’) Producer: Studio Kvartal 95 Distributor: Eccho Rights They say: “A fascinating, important and historic piece of television.”

We say: Channel 4 in the UK and MBC in the Middle East are among the broadcasters to have recently picked up the series that launched the real-life political career of creator and actor Volodymyr Zelenskyy, now president of Ukraine.

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Preppers (6x30’) Producer: Porchlight Films Distributor: APC They say: “After she experiences her own personal apocalypse, an Aboriginal morning TV host escapes the fallout and finds herself at the centre of a ragtag community of doomsday preppers settled on her grandma’s land.”

We say: This comedy from ABC in Australia couldn’t be more timely and has been garnering rave reviews down under for its clever and witty depictions of microaggressions, allyship and community.

My Boyfriend is Better (format) Producer and distributor: CJ ENM They say: “Elements like competition, thrills and love for singing are the ingredients for a good music format. But there are two more ingredients in this format that makes a big difference: the snackable easiness and comedy.”

We say: This music entertainment format comes from The Masked Singer creator Wonwoo Park and features various boyfriends facing off in a singing competition as part of a strategic betting game orchestrated by their girlfriends.

Marriage (4x60’) Yorkshire Born (5x60’)

Producers: The Money Men, The Forge Distributor: All3Media International They say: “Explores the insecurities, ambiguities, hopes and fears that are part of the risks and the gifts of a longterm partnership.”

We say: Led by the major talents of Nicola Walker and Sean Bean, this BBC One drama from writer and director Stefan Golaszewski reveals a closeup portrait of a 30-year marriage as a couple negotiate the ups and downs of their long-term relationship.

Producer: Candour Productions Distributor: Beyond Rights They say: “Warm-hearted, celebratory, and intimate, it follows the incredible work of a group of midwives in Bradford, Yorkshire, who help parentsto-be prepare for a home birth and then ease the new arrivals into the world.”

We say: Featuring unprecedented access to the Bradford Hospital Home Birth Team, this local BBC Two show with global appeal sensitively captures the emotional highs and lows of having a baby.

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Two Years & One Day ATRESMEDIA

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Then You Run (8x60’) Producers: Kudos, Sky Studios, MadeFor Distributor: Banijay Rights They say: “A vibrant, genre-clashing story that gleefully writes its own rules.

The four young womens’ hilarious relatability is the perfect antidote to the gritty absurdity of the gangster lifestyle and killing sprees peppered throughout the series.”

We say: This Sky drama follows four friends whose dreams of the perfect summer holiday spiral into a dark and perilous adventure after they inadvertently cross paths with some of the most dangerous people in Europe.

There Will Be People: Our History (12x46’)

Tales of the Underwear Dragon (52x11’) Producer and distributor: Mercury Filmworks They say: “A fun and adventurous comedy in which kids will recognise themselves as our pint-sized hero overcomes all kinds of obstacles to become a true hero, or assistant hero.”

We say: Based on Scott Rothman’s children’s picture book Attack of the Underwear Dragon, this series will feature an original song in every episode written by Tony-, Emmy- and Grammy-winning composer, producer, arranger and orchestrator Bill Sherman (Sesame Street, In the Heights, Hamilton).

The Fast & The Farmer-ish (7x30’)

Producer and distributor: Film UA They say: “A story of dramatic change, passionate love and the value of human life. It is about people who lived one hundred years ago but are so similar to us.”

We say: This epic drama tells the human stories behind major events in Ukrainian history and is one of numerous titles being offered to buyers for free

by Film UA to promote Ukrainian culture.

Reginald the Vampire (10x60’) Producers: Great Pacific Media, Modern Story, December Films, Cineflix Studios Distributor: Cineflix Rights They say: “Turns traditional vampire tropes on their head while draining the blood from modern-day beauty standards.”

We say: Inspired by Johnny Truant’s Fat Vampire novels, this Syfy series stars Jacob Batalon (Spider-Man: No Way Home) as an unlikely hero living in a world populated by beautiful, fit and vain vampires, where he can’t be with the girl he loves, he’s bullied at work and the vampire chieftain wants him dead.

Producer: Alleycats TV Distributor: Entertainment One They say: “Teams of tractor-mad young farmers and their machines from across the UK battle it out in a series of highly entertaining agricultural challenges.”

We say: Described as Top Gear with tractors and already renewed for a second season by BBC Three, this entertainment show is hosted by farmer and social media personality Tom Pemberton and spotlights a side to rural UK life rarely seen on TV.

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The Ocean’s Greatest Feast (1x50’) Producers: Earth Touch, Love Nature, The WNET Group Distributor: Blue Ant International They say: “Harnesses an array of new filming technology to bring a renowned phenomenon vividly to life in full 4K, giving audiences an immersive dive into the magic and chaos of this natural wonder.”

We say: At the start of every winter, the coast of South Africa sees billions of little fish converge in the biggest biomass migration on the planet: the annual sardine run – a literal force of nature that feeds an entire coastline. PBS, Sky Nature, France Télévisions and SVT have all gobbled it up already.

Black West (1x60/90’) Producer: CAPA Distributor: Drive They say: “It is one of the Western world’s most powerful myths: the story of how the American West was won – by great heroes and white men. Black West tells the flip side of that myth.”

We say: This Arte documentary looks at how Hollywood ignored the fact that in 1875 one in four American cowboys was black and helped inspire many Western movies, effectively erasing them from the silver screen.

Lucas the Spider (78x7’) Producers: Fresh TV, Wexworks Media Distributor: Cake They say: “Lucas is a happy, inquisitive, impossibly cute little jumping spider, who spreads love, lives in the now and explores with friends including a tiny housefly, a French bulldog puppy, a chilled-out chameleon, a busy bee and a fluffy owl.”

We say: A CGI animated series for the whole family following the adventures of a spider based on the worldwide viral YouTube hit created by Joshua Slice, set to debut on Cartoon Network and HBO Max in the US.

Year Zero (3x60’) Producers: Endeavor Content, Smuggler Entertainment Distributor: Endeavor Content They say: “Documents the experiences of wildly different people since early 2020, weaving together stories of adaptability and perseverance in a dramatic and swiftly changing world.”

We say: Filmed in 10 countries by 11 different filmmakers, this documentary series reveals the unexpected, humanising connections between a sex worker, a poacher-hunter, a speakeasy owner, a modern monk, a revolutionary, a migrant family and a tribal elder since the Covid-19 pandemic began.

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PRESENT IMPERFECT FUTURE TENSE: Olena Shkrobot

Channel21 International | Spring 2022

Life during wartime

T

oday Ukraine lives with war. War means Olena Shkrobot, death, pain, fear, destruction and director of Ukrainian bereavement. It is also the uncertainty media group of tomorrow. This uncertainty has affected all MKMG, reveals the industries, and the media is no exception. Our employees have to work in shelters, cellars realities of life in Ukraine since and in between air raid sirens. However, the the invasion and what the MKMG team is brave and heroic; I admire international TV industry can daily their courage and determination. do to support its people.

The company continues to distribute, focusing on content about Ukraine. Our commission on this content will go to the propaganda channels around the world and armed forces of Ukraine. In addition to military banning russia’s participation in international topics, there are series about outstanding exhibitions has been a great support. Covering modern Ukrainians in the fields of art, cinema, the truth about the war that russia started in Ukraine on February 24 is a significant literature, music, fashion and dance.

A few days before February 24, when contribution to the fight against the aggressor. russian (here and furthermore intentionally The attention paid to our country is very lowercase) tanks entered the occupied important for us.

The fact that news about Ukraine does not Donetsk and Luhansk regions, MKMG decided to break all relations with russia. Since the war leave the front pages of the world’s leading started, we have been sending out information media strengthens the coalition around us to our former clients from russia and belarus and inspires faith in our victory. We really feel with the truth about events here. They must that we are not alone in this struggle between know the truth. Like no one else they can, good and evil. We are grateful to all the media in the TV industry from within, influence the which contribute to that quality of the news that the It is important and support Ukraine and population receives. for us the world Ukrainian media.

Some of our staff have understands any Currently, thousands had to leave the country, of Ukrainian civilians some went to a safer place cooperation with this are dying from russian in other regions of Ukraine, bloody regime, every shelling of Ukrainian cities. and there are those who rouble paid into the Yesterday, a 500kg bomb stayed in Kyiv. The sound territory of the russian was dropped on the drama of sirens and explosions federation, is tainted theatre in Mariupol. About will remain in our minds 1,000 people remained for a long time to come. with Ukrainian blood. under the rubble, including Unfortunately, we and our children are now going through terrible but children. We cannot close the sky without global support. very important survival lessons. russia is an aggressor that the world has not But even in such conditions, we do not lose hope and courage. We do everything to save seen since Hitler’s time. It is important that for lives, our mental health and our jobs and to us the world understands any cooperation with help the country as much as possible. We this bloody regime, every rouble paid into the really appreciate the partners who have stayed territory of the russian federation, is tainted with Ukrainian blood. with us and care about our situation.

The global television industry is an incredible It is hard to know how long MKMG will be able to stay in business if the war continues. weapon in the 21st century, trusted by millions Because it is difficult to predict even tomorrow. of people. We ask for your support: cover At any moment, a missile can fly into our our news, help us stop russia on the military, homes or offices and destroy everything that information and economic fronts. In Ukraine, has been built for so long. But we hope for the russia is more often written in lowercase, best and will hold out as long as we can! Due and we dream that for the whole world it to the upheavals of recent years, including the will become a lowercased country. Crimes of pandemic, we have managed to build a flexible such magnitude must be condemned! Glory to Ukraine! system that adapts to difficult conditions.

On the international TV industry’s response to the invasion so far, blocking russian Written on March 17, 2022

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