Deadline Hollywood - Special Issue: MIPCOM - 10/17/22

Page 1

O C TO B E R 1 7, 2 0 2 2 | M I P C O M S P EC I A L I S S U E

NEOM MEDIA INDUSTRIES

WE ARE OPEN FOR BUSINESS

MAKING IT HAPPEN AT NEOM PRODUCTION INCENTIVES

40%++ cash rebate for all TV, Film and TVCs

WORLD CLASS FACILITIES

4 sound stages with full production support spaces& backlots

DELIVERING RESULTS

25 productions in 18 months on time/on budget

EXPERIENCED TEAM

Supporting productions ensuring minimal friction

EASE OF ACCESS

Direct flights to NEOM airport and 5* crew accommodation

STUNNING LOCATIONS

Sweeping deserts & dunes,mountains, pristine coastline & beaches, amazing rock formations and lush valleys

SCAN FOR MORE

NEOM.COM



O C T O B E R 1 7, 2 0 2 2

|

D E A D L I N E .CO M

SPECIAL MIPCOM ISSUE DIEGO LONDONO on crafting Disney+ for Euro audiences How UKRAINE’S TV & FILM industries are fighting to stay on the map Why INTERNATIONAL TALENT is hot property for U.S. streamers

NEW HORIZONS From Attack the Block to The Woman King, JOHN BOYEGA reflects on his work, talks next steps & TV ambitions

THE HOT ONES Buzzy shows up for grabs at Mipcom this year SCENE SETTERS How Israel, Spain, PSBs & Warner Bros. Discovery are affecting the global market


6 x 45’ UHD

Boundless

R7.D 5

52 x 12’

Grisù

3 x 50’

Surviving Hothouse Earth

Meet us at MIPCOM stand no.

drama junior unscripted zdf-studios.com


EDITORS’ LETTER WELCOME TO THE FIRST EVER DEADLINE INTERNATIONAL MIPCOM EDITION It’s been quite the labor of love, but it comes in the nick of time as the tectonic plates that guide the global TV industry shift at a rate of knots. As we pondered how best to cover the market and hit the Croisette with a bang, we realized that one thing is for sure: everything is changing. Our debut issue reflects a world in which the deep-pocketed U.S. streamers have had their say locally and are now setting their sights on global domination. That string of launches over the past year has put pressure on Netflix and Amazon Prime Video, two offerings that now feel like they’ve been around forever. We sat down with one of the execs leading this charge, Disney+ EMEA’s Diego Londono, for our feature industry interview, and he spoke about the wild ride of setting up the growing streamer outside of the U.S. over the past two-and-a-half years during Covid and beyond, along with teasing what might come next. It’s been a year dominated by talk of the popularity of non-English language content, following the success of the likes of Netflix mega breakout Squid Game, and now we’re seeing streamers and studios looking to local markets to strike new talent deals and find the next global hit. We cover how the big players are approaching the world beyond U.S. borders. Meanwhile, with so many streamers

commissioning big-budget content— and as the walls that separate TV and film continue to break down—execs and fans alike could be seeing a bit more of our cover star, John Boyega, who spoke to Baz Bamigboye about his career and plans for the small screen. You won’t want to miss it. But it isn’t only the streaming services dominating the conversation. A look through our fantastic debut collection of Deadline’s The Hot Ones tells us that the mighty public broadcasters are still coming up with some of the globe’s best content, and keen eyes will be trained on where some of these shows head after they’re launched into the market. That said, public broadcasting is in peril in some nations, and our Scene Setters set out the state of play for the likes of the BBC, European streaming, the Warner Bros./Discovery megamerger and local production ecologies in Israel and Spain. All of this adds up to an overarching inspection of the shifting international ground; developments that matter so much to the buyers and sellers who will be out in force in Cannes at the first fully attended Mipcom since 2019. We’re hoping this one lives long in the memory. Read on. MAX GOLDBART & JESSE WHITTOCK International TV Co-Editors, Deadline

ON THE COVER John Boyega photographed exclusively for Deadline by Chris Chapman


D E A D L I N E .CO M

Breaking News Follow Deadline.com 24/7 for the latest breaking news in entertainment.

PRESIDENT

Stacey Farish

CO-EDITORS-IN-CHIEF Nellie Andreeva (Television) Mike Fleming Jr. (Film)

Sign up for Alerts & Newsletters Sign up for breaking news alerts and other Deadline newsletters at: deadline.com/newsletters

DEADLINE HOLLYWOOD IS OWNED AND PUBLISHED BY PENSKE MEDIA CORPORATION CHAIRMAN & CEO

Jay Penske

VICE CHAIRMAN

Gerry Byrne

CHIEF OPERATING OFFICER

George Grobar

CHIEF ACCOUNTING OFFICER

Sarlina See

CHIEF DIGITAL OFFICER

Craig Perreault

EXECUTIVE AWARDS EDITOR

Joe Utichi

AWARDS COLUMNIST & CHIEF FILM CRITIC

Pete Hammond

VIDEO SERIES

COLUMNIST & INTERNATIONAL EDITOR-AT-LARGE

The Actor’s Side Meet some of the biggest and hardest working actors of today, who discuss their passion for their work in film and television. deadline.com/vcategory/ the-actors-side/

VICE PRESIDENT, CREATIVE

Craig Edwards

Baz Bamigboye

SENIOR AWARDS EDITOR

Antonia Blyth

EXECUTIVE MANAGING EDITOR

Patrick Hipes

TELEVISION EDITOR

Lynette Rice

EDITORIAL DIRECTOR & BOX OFFICE EDITOR

Anthony D’Alessandro

FILM EDITOR

Damon Wise

SENIOR EDITOR, LEGAL & T V CRITIC

Dominic Patten

DOCUMENTARY EDITOR

Matthew Carey

SENIOR MANAGING EDITOR

Denise Petski

CRAFTS EDITOR

Ryan Fleming

MANAGING EDITOR

Erik Pedersen

PRODUCTION EDITOR

David Morgan

DEPUT Y MANAGING EDITOR

Tom Tapp

EDITORIAL ASSISTANT

Destiny Jackson

TELEVISION EDITOR

Peter White

DIRECTOR, SOCIAL MEDIA

Scott Shilstone

INTERNATIONAL EDITOR

Andreas Wiseman

DIRECTOR, EVENTS

Sophie Hertz

BUSINESS EDITOR

Dade Hayes

DIRECTOR, BRAND MARKETING

Laureen O’Brien

EDITOR-AT-LARGE

Peter Bart

VIDEO MANAGER

David Janove

FILM CRITIC & COLUMNIST

Todd McCarthy

EVENTS MANAGER

Allison DaQuila

EXECUTIVE EDITOR

Michael Cieply

VIDEO PRODUCERS

Benjamin Bloom Jade Collins Shane Whitaker

SENIOR FILM WRITER

Justin Kroll

CO-BUSINESS EDITOR DESIGNERS

Catalina Castro Grant Dehner

Jill Goldsmith

POLITICAL EDITOR

Ted Johnson

INTERNATIONAL TELEVISION EDITOR

Max Goldbart

DESIGN/PRODUCTION COORDINATOR

Paige Petersen

INTERNATIONAL FEATURES EDITOR

Diana Lodderhose

CHIEF PHOTOGRAPHER

Michael Buckner

INTERNATIONAL BOX OFFICE EDITOR & SENIOR CONTRIBUTOR

Nancy Tartaglione SENIOR VICE PRESIDENT, ASSOCIATE PUBLISHER

INTERNATIONAL TELEVISION CO-EDITOR

SENIOR VICE PRESIDENT, GLOBAL BUSINESS DEVELOPMENT & STRATEGIC PARTNERSHIPS

ASSOCIATE EDITOR & FILM WRITER

Kasey Champion

Céline Rotterman

Jesse Whittock

Valerie Complex

ASSOCIATE EDITORS VICE PRESIDENT, ENTERTAINMENT

Caren Gibbens

Greg Evans Bruce Haring

VICE PRESIDENT, INTERNATIONAL SALES

CONTRIBUTING EDITOR, ASIA

VICE PRESIDENT, SALES & EVENTS

SENIOR TELEVISION REPORTER

SENIOR DIRECTOR, ENTERTAINMENT

FILM REPORTER

DIRECTOR, ENTERTAINMENT

SENIOR INTERNATIONAL FILM CORRESPONDENT

DIRECTOR, DIGITAL SALES PLANNING

INTERNATIONAL FILM REPORTER

Patricia Arescy Tracy Kain

Brianna Corrado London Sanders Letitia Buchan

EXECUTIVE VICE PRESIDENT, OPERATIONS & FINANCE

Paul Rainey

EXECUTIVE VICE PRESIDENT, OPERATIONS & FINANCE

Tom Finn

EXECUTIVE VICE PRESIDENT, PRODUCT & ENGINEERING

Jenny Connelly

MANAGING DIRECTOR, INTERNATIONAL MARKETS

Debashish Ghosh

Behind the Lens Explore the art and craft of directors from first-timers to veterans, and take a unique look into the world of filmmakers and their films. deadline.com/vcategory/ behind-the-lens/ The Film That Lit My Fuse Get an insight into the creative ambitions, formative influences, and inspirations that fuelled today’s greatest screen artists. deadline.com/vcategory/ the-film-that-lit-my-fuse/

Judith R. Margolin

SENIOR VICE PRESIDENT, FINANCE

Ken DelAlcazar

SENIOR VICE PRESIDENT, HUMAN RESOURCES

Lauren Utecht

SENIOR VICE PRESIDENT, BUSINESS DEVELOPMENT

Marissa O’Hare

SENIOR VICE PRESIDENT, CREATIVE

Nelson Anderson

SENIOR VICE PRESIDENT, LICENSING & BRAND DEVELOPMENT

Rachel Terrace

VICE PRESIDENT & ASSOCIATE GENERAL COUNSEL

Adrian White

VICE PRESIDENT, HUMAN RESOURCES

Anne Doyle

VICE PRESIDENT, REVENUE OPERATIONS

Brian Levine

VICE PRESIDENT, PUBLIC AFFAIRS & STRATEGY

Brooke Jaffe

VICE PRESIDENT, SEO

David Robb

EVENTS COORDINATOR

Dena Nguyen

Todd Greene

SENIOR VICE PRESIDENT, DEPUT Y GENERAL COUNSEL

Constance Ejuma

LABOR EDITOR

SOCIAL MEDIA COORDINATOR

Natalie Sitek

EXECUTIVE VICE PRESIDENT, BUSINESS AFFAIRS & CHIEF LEGAL OFFICER

PODCASTS

Dan Feinberg

Crew Call Anthony D’Alessandro focuses on the contenders in the below-the-line categories. deadline.com/tag/ crew-call-podcast/

VICE PRESIDENT, E-COMMERCE

Liz Shackleton Rosy Cordero Matt Grobar

Melanie Goodfellow Zac Ntim

VICE PRESIDENT & ASSOCIATE GENERAL COUNSEL

Scene 2 Seen Valerie Complex offers a platform for up-and-comers and established voices. deadline.com/tag/ scene-2-seen-podcast/

VICE PRESIDENT, AUDIENCE MARKETING & SPECIAL PROJECTS

Ellen Deally

VICE PRESIDENT, GLOBAL TAX

Frank McCallick

VICE PRESIDENT, TECHNOLOGY

Gabriel Koen Jamie Miles

VICE PRESIDENT, ACQUISITIONS & OPERATIONS

Jerry Ruiz

VICE PRESIDENT, PRODUCTION OPERATIONS

Joni Antonacci

VICE PRESIDENT, FINANCE

Karen Reed

HEAD OF TALENT

Marquetta Moore

SOCIAL MEDIA

Follow Deadline Facebook.com/Deadline Instagram.com/Deadline Twitter.com/Deadline YouTube.com/Deadline

VICE PRESIDENT, STRATEGIC PLANNING & ACQUISITIONS

Mike Ye

VICE PRESIDENT, PRODUCT DELIVERY

Nici Catton

VICE PRESIDENT, CUSTOMER EXPERIENCE & MARKETING OPERATIONS

Noemi Lazo

VICE PRESIDENT, MARKETING & PORTFOLIO SALES SALES PLANNERS

Luke Licata Kristen Stephens SALES ASSISTANT

Daryl Jeffery

PRODUCTION DIRECTOR

Natalie Longman

DISTRIBUTION DIRECTOR

Michael Petre

PRODUCTION MANAGER

Andrea Wynnyk

Stephanie Parker

VICE PRESIDENT, ASSOCIATE GENERAL COUNSEL

Victor Hendrickson


CALL SHEET First Take 8 SCENE SETTERS: Deadline takes a close look at hot button topics affecting the global television space - Israel in Focus - Spain’s Production Boom - PSBs on the Brink - Warner Bros. Discovery 16 DIEGO LONDONO: The Disney+ exec talks local ambitions for the streamer 18 AMERICA LOOKS ABROAD: Why U.S. giants have their sights set on global talent 22 FIGHTING FOR SURVIVAL: How the local industry in Ukraine is adapting in the face of war 24 INDIAN TAKEAWAYS: How companies are boosting the drama boon in the sub-continent

Cover Story 26 JOHN BOYEGA: More than a decade on from Attack the Block, the Star Wars star opens up about his career and ambitions moving forward on screens big and small

The Hot Ones

P H OTO CR E D IT T K

36 Deadline profiles some of the buzziest titles up for sale at this year’s Mipcom




F

T

I

R

S

A

K

E

T M I P C O M

ISRAEL 10 | SPAIN 11 | PSB s 12 | WARNER BROS. DISCOVERY 13

SCENE DEADLINE IS HERE TO GIVE YO U A S P O T L I G H T O N T H E M A J O R TA L K I N G P O I N T S I N T H E G LO B A L T E L E V I S I O N S P H E R E

N E T FL IX

SETTERS



F T

M I PCO M

ISRAEL IN FOCUS By Max Goldbart Israel’s position as a global creative force has been quietly cementing across the last decade, but a new tax credit and ongoing government strife is bringing intense focus from the TV and film industries onto the Middle Eastern nation. The country that brought the likes of Fauda, Shtisel and the original Euphoria to the world is very much open for business, according to a government that recently rubberstamped a $13 million tax rebate in June aimed at incoming film and TV productions before collapsing in the same week. The initiative was restated by the new regime in August this year. An election has been set for November, the country’s fifth in four years, but meanwhile work has begun and at least 30 productions have applied to make use of the landmark rebate. The rebate is in effect for two years, is set to offer up to 30% of the budget for films and TV shows looking to shoot in the country with a cap of $4.8 million (16.6 million shekels). This sees Israel join a long list of nations to offer such incentives after previous measures failed to get off the ground in the country, in part due to a lack of interest fuelled by political difficulties in the region. Since the incentive opened for submissions, more than 250 Israeli filmmakers, including Oscar nominees Ari Folman, Guy Davidi and Oren Moverman, signed an open letter saying they refused to take part in or seek funding from the separate Shomron Film Fund, which they all accused of fuelling “a politics aimed at erasing the green line and the distinction between military and civilian regimes, normalizing the [Palestinian] settlements.” It’s perhaps no surprise that Israel has been on somewhat of a U.S. charm offensive. Last month, Netflix supported the Scripted Israel event in LA, which saw a slew of U.S. execs meet with 17 prominent Israeli producers, including Our Boys production outfit MoviePlus Productions, and Dori Media, which produced Apple TV+’s Losing Alice. On the formats side, all eyes at Mipcom will be on Avi Armoza’s Armoza Formats and ITV Studios’ new relationship, which saw the former become

Top: A scene from Fauda; below: Losing Alice.

the latter’s production arm in Israel earlier this year, producing a new season of Come Dine With Me for public broadcaster Kan 11. ITV Studios acquired Armoza in 2019 and buyers will undoubtedly be looking for other projects to emerge from the relationship as Israel looks to build the next generation of formats.

Additionally, production-distribution powerhouse Keshet will also be out in force at Cannes. The bustling company is taking advantage of the next wave of streamer wars by making shows for the likes of Apple TV+ and Peacock, along with launching its own platform, Free TV, which brings together streaming and fibre-based internet services. Highly respected Keshet International CEO Alon Shtruzman is on his way out after a decade and his successor will take advantage of an operation in rude health. ★

10

D E A D L I N E .CO M

N E T FL IX; A P P LE ; M E D I AP RO ; G E T T Y

“Some big legacy brands have been exhausted and there is a real need for new shows,” one senior Israeli exec told Deadline.


SPAIN’S PRODUCTION BOOM

Max, which has stopped commissioning in most of Europe, has commit-

By Jesse Whittock

ted to the territory.

Spain is in the midst of a production boom that has transformed the

“It’s a historical fact that we’ve always dreamed of having an industry

country into a powerhouse of global television. New producers continue

like the U.S., a place where the creative community is able to do what it

to pop up as streamers bed in. Netflix earmarked Madrid as its first Euro-

loves, and now we do,” says La Unidad co-creator and showrunner Dani de

pean hub and has doubled down on its commitment to Spanish content.

la Torre. “These days, everybody is working, and working on surprising and

This has, in turn, seen broadcasters up their games to compete, with pro-

ambitious projects. We feel we can produce work that can compete bril-

duction spend hitting unprecedented levels.

liantly with U.S. and Latin American fiction.”

Several incentive schemes add to the allure as well, with the national

While Money Heist (La Casa de Papel) has been the poster child for

tax rebate rate sitting at 30% of the first $1.1 milllion of spend on an inter-

high-end Spanish drama, Head of Movistar+ Internacional María Valenzu-

national shoot and 25% for further expenditure. The cap sits at $11 mil-

ela, whose unit opened earlier this year to sell Spanish titles globally, says

lion. Incentives are available for filming in Madrid, while generous schemes

there are many examples of shows that “demonstrate the production

exist in the Canary Islands and the province of Navarre.

levels here, and how internationally attractive they are.”

“It’s a very competitive moment, but very exciting and wonderful too,”

Notable upcoming streaming titles include Disney+’s biopic drama

says Laura Fernández Espeso, CEO of The Mediapro Studios, the com-

Balenciaga, Prime Video’s Spanish noir Reina Roja and Netflix’s psycho-

pany behind HBO Max’s Spanish drama The Head.

logical thriller El Silencio.

According to the Spanish producers’ association Profilm, overseas production was worth €263 million ($259 million) in 2021, double the prepandemic average. Pair this with the government’s wider AVS Hub plan,

Ignacio Corrales, CEO of La Unidad producer Buendía Estudios, says Spain’s moment in the sun has been a long time coming. “Of course, streamers have contributed to the explosion in the demand

announced in March, which will see $1.6 billion invested in Spain’s enter-

for content, but without the existing professionalisation and maturity of

tainment sector, and you can see why Netflix upped their investment in

the sector in Spain, this boom in talent would not have been possible, nor

the region, and why Amazon and Disney+ are targeting Spain. Even HBO

would we as an industry have been able to meet this demand.” ★

Clockwise from left: Laura Fernández Espeso, CEO The Mediapro Studios; Money Heist; Reina Roja star Vicky Luengo.

D E A D L I N E .CO M

11


M I PCO M

PUBLIC SERVICE BROADCASTERS ON THE BRINK

placed the corporation under “significant financial pressure,” according to

By Max Goldbart

Studios CEO Tom Fussell off of the back of a record year for the commer-

When buyers and commissioners from Europe’s major public service broadcasters (PSBs) descend on Cannes this week, they will do so with some trepidation. PSBs are the bedrock of TV in the continent and make up a sector that

Director General Tim Davie, who is set to appear at Mipcom alongside BBC cial subsidiary. The BBC is now faced with a potentially harrowing 24 months where it will become even more reliant on co-production funding and, at the same time, it has to navigate a review into the future of the license fee from 2027.

the European Broadcasting Union (EBU) says is worth more than $33 bil-

Former culture secretary Nadine Dorries, who resigned last month, is

lion (€35 billion) but the future of many of Europe’s major broadcasters

notoriously an arch-BBC sceptic but she has been replaced by Michelle

are under threat from existential forces.

Donelan, who has previously said the license fee is an “unfair tax that

European PSBs have a long and prized history. When countries get them

should be scrapped.”

right, they can have huge value and can produce programming one sim-

Meanwhile, the irreverent Channel 4, is on the verge of being sold and a

ply would not get on a commercial platform, especially in today’s uber-

change in UK government appears to have done little to stem this tide. The

competitive commercial TV world. As they do not prioritize profit above all

vast majority of the British public and entirety of the UK TV sector believe

else, pubcasters have the opportunity to commission shows in genres that

this to be a bad decision that will heavily disrupt the ecosystem.

are less commercially viable, such as arts, specialist factual or children’s

In France, things are a step further down the road on their license fee,

content, as well as gifting opportunities to creatives and producers who

with legislation recently introduced that will scrap the annual fee and

otherwise might struggle to get their projects off the ground.

instead see public broadcasters funded by VAT revenues.

With the competition fierce, PSBs have spent the past few years finding

There is real nervousness that this move will threaten broadcasting

ways in which to navigate the super-inflation caused by the entrance of

independence and leave itself open to being axed if a government that is

the streamers by forging alliances and relying on relationships with tradi-

more antagonistic to PSBs were to take charge in 2026.

tional producers. All the while, governments have been showing a propensity to be less

European Broadcasting Union Director General Noel Curran told Deadline changes in these major nations will have “big implications elsewhere.”

amenable towards public broadcasters than ever before. In the UK, for

While there are green shoots, like in Ireland, where the government

example, where the BBC is valued the world over, times are tougher than

decided to reinstate the license fee, these once thriving broadcasters are

ever. The country’s Conservative Party has been no friend to the national

going to be in peril if there is no serious financial or government aid in the

broadcaster, having frozen the annual license fee for two years. This has

very near future. ★

Tim Davie, Director General of the BBC.

12

D E A D L I N E .CO M

G E T T Y; WA RN E R B ROS. D I SCOV E RY

F T


WARNER BROS. DISCOVERY By Jesse Whittock With more players having entered the global streaming market, the competition for content and subscribers has never been fiercer. Netflix, which has historically been the dominant player in this space, was at the sharp end of this change when its disappointing first quarter earnings earlier this year saw it lose subscribers for the first time in more than a decade. One of the biggest questions for distributors and producers is what will be next for Warner Bros. Discovery now that the Discovery and WarnerMedia mega-merger is complete? The company shocked many industry players in Europe when it announced it would stop making original HBO Max shows on the continent, with wider cost savings and layoffs continuing as the U.S.-based giant moves away from a streaming-first model. It’s a deeply uncertain time for streaming in general, as Netflix’s subscriber losses earlier in the year forced everyone to question the economics behind these platforms and their insatiable hunt for new content. HBO Max will soon be no more as a standalone service—it is due to merge with Discovery+ in 2024—and content creators and sellers are wondering if further changes are on the horizon at the company. After the plan to kill off original program development in the Nordics, the Netherlands, Central and Eastern Europe and Turkey emerged over the summer, Warner Bros. Discovery made 29 HBO Max staffers redundant, and projects set for greenlight were stopped in their tracks. Shows already on the platform such as Umbre, One True Singer and Ruxx disappeared overnight, with heartbroken producers privately talking of their shock and receiving a stony silence when they questioned where their programs and films had gone. Deadline understands a handful of shows from the CEE region will still go ahead—espionage drama, Spy/Master was recently announced, but this was a legacy order from before the strategy shift. Warner Bros. Discovery is still developing original programs in Spain and France, but the latter never saw a standalone HBO Max launch. Commissioning has largely shifted to Warner Bros. Discovery’s new-look regional teams. This is all set to the backdrop of Warner Bros. Discovery CEO David Zaslav seeking at least $3 billion in cost savings after Discovery acquired Warner Bros. for $43 billion in April. Zaslav, known for his bullish, bottomline driven management style, has made clear he wants a much tighter ship. He’s stressed the need to make money over adding streaming subTop: Leslie Grace as Batgirl in the unreleased Warner Bros. Discovery film;

scriptions for the sake of it – a criticism levelled at all the global streamers

below: David Zaslav, President and CEO of Warner Bros. Discovery.

at one time or the other. This summer, he scrapped $90 million DC Comics pic Batgirl, emphasizing that he couldn’t “find an economic value” for expensive films going straight to streaming. On top of this was the new rumor in Hollywood: Warner Bros. Discovery could sell to rival Comcast further down the line. Zaslav shot down that notion at a digital town hall last month, insisting: “We are not for sale.” That provides some reassurances, but Mipcom will no doubt be awash with chatter about the future of the House of the Dragon owner and its onceflagship streaming service. ★

D E A D L I N E .CO M

13


FROM 72 Films (THE TRUMP SHOW, 9/11: ONE DAY IN AMERICA) PRODIGY TO PROVOCATEUR, BURNOUT TO BILLIONAIRE: THE DEFINITIVE STORY OF ELON MUSK

Visit us at La Croisette 11 | fremantlescreenings.com


3 x 1 HOUR


F T

F E AT U R E

The man responsible for the daunting task of guaranteeing Disney+’s EMEA content punches above its weight is all about the shows and has spent the past two-and-a-half years shepherding this perception-changing drive. However, he knows he has a lot more work to do. Recent Digital TV Research predicted the streamer will have nearly 50 million European subscribers by the start of 2027, not far off Netflix and Prime Video’s numbers. The low-profile Londono acknowledges the platform has inherited “amazing content from the U.S”, but he has helmed a fascinating journey, clearing the path for dozens of Disney+ originals that don’t necessarily come in the shape that traditional Disney fans would expect. He has overseen launches in multiple countries, setting up local commissioning teams, and the result ranges from irreverent action-comedy Wedding Season to devastating French mini-series Oussekine and a soon-to-launch non-scripted format featuring David Beckham returning to his hometown to train up a young soccer team. Londono, a self-confessed sports fanatic, was born in Columbia but grew up in L.A. and was working in a “boring job” in his early 20s when a friend urged him to apply for a job at Fox Sports, where he could marry his love for sports with entertainment. While he didn’t get that particular job, Londono was instead recommended to Fox Latin America and, he says, “that’s where it all began. “I didn’t necessarily wake up as a nine-year-old thinking I wanted to be the next big exec, but really fell into all this through love of sport.” It’s been 25 years since Londono joined Fox and rose through the ranks,

LONDONO GOES LOCAL Diego Londono is on a mission to leverage local EMEA content for Disney+. He explains just how he plans to do it

starting as Fox Networks Group's (FNG) Italy and Germany President, where he oversaw pay-TV channels, and eventually becoming Chief Operating Officer for FNG in Europe and Africa. Soon after the 2017 Disney/Fox acquisition, EMEA President Jan Koeppen put Londono in charge of Disney+ content in the region and, from there, some serious work began, around the time a global pandemic was slowing everything down. To Londono, forging a powerful aggregated content streamer like Disney+ has multiple parallels with what he was doing with Fox’s nascent pay-TV channels in the mid-2000s, and he constantly harks back to this era when seeking inspiration for the streaming service. “Back then, we started recognizing there was deeper interest either from a demo, perspective, or genre that went beyond our flagship channels,” he explains, pointing to the likes of Fox Life and the now-closed Italian linear

By Max Goldbart

channel Fox Retro. “Looking at content in terms of different taste-based segments, or through the eyes of different demos, is so important when you are faced

Diego Londono comes alive when reflecting on the success of Disney+’s Italian remake of The Ignorant Angels, one of the streamer’s first international originals that tells the story of an unexpected and moving friendship at a time of change.

with the daunting task of putting together a platform like Disney+.” Although the platform takes advantage of powerhouse Disney brands, local content has been the priority from the start. A major priority for his acquisitions team when they head to Mipcom is the 30% EU production quota that the platform must meet in some European territories. (A management retreat is preventing Londono from attending himself, but this quota sits at the forefront of his mind, he says.) He’s also been tasked with handling an international boost to adult-skew-

While Disney+ doesn’t report viewing figures for individual shows, Londono

ing vertical Star, which has swelled in priority across the last few months.

says it is this remake of 2001 film The Ignorant Fairies above all others that

Plus, he is still looking after linear channels, which he insists are “very impor-

has helped “change perceptions” of what a Disney show can be, bringing in a

tant to the overall portfolio.”

“This is strong local talent coming from known IP aimed at an older audi-

Leveraging local commissioning talent on the ground has been a key plank of his strategy and Londono points to some local people who have been

ence that has really resonated,” Londono explains enthusiastically, as the

managing Fox and Disney channels for years, who “know exactly what works

Executive Vice President, Media Networks and Content, EMEA, sits down

in their market”.

for an interview with Deadline on a rainy day in early September at Disney’s West London headquarters.

16

D E A D L I N E .CO M

To help with the local charge, he hired popular former BBC exec and commissioner Liam Keelan in 2019 as regional head, who now oversees a team

D I SN E Y +

broader audience and driving the day-to-day proposition.


featuring the likes of scripted execs Johanna Devereaux and Lee Mason, along with non-scripted boss Sean Doyle.

romance,” he says. “You’ve got to allow stories to come from anywhere.” The streamer is working with a range of creatives from well-known voices

There are boots on the ground in key territories such as France and Ger-

including Sally Wainwright and Deutschland 83 creator Jörg Winger to the

many, countries from which the streamer is looking to greenlight between 4

likes of Lyttelton and Moran and mixing these top auteurs with younger

and 10 shows per year as it bids to hit 60 international originals across the

voices is what his team set out to achieve from the beginning, says Londono.

next two years.

He acknowledges it is “competitive out there” as the wave of new stream-

The work started with a creative brief, one that focused on two areas:

ers rush to secure the best European creatives—especially during a non-

family content for Disney that “parents can watch with kids and ideally older

English language content boom—but says Disney is still able to have its pick

kids” (Londono stresses he is “not looking for kids’ content”), and general

of the best writers and directors.

entertainment shows for Star that “aren’t too prescriptive”.

On the non-scripted front, David Beckham’s Save Our Squad leads the

That brief was delivered to the continent’s booming production sector

pack. It will show the soccer superstar in a new light, according to Londono.

and Londono has been overjoyed with the result, although he believes it has

Meanwhile, at this year’s Edinburgh TV Festival, Doyle revealed that Disney+

worked a little too well.

had bought the highly prized doc on the "Wagatha Christie" case, a libel

When Deadline quizzes Londono on his biggest challenge, the executive pauses briefly before chuckling. “A lot of good ideas come to us that we have to turn down,” he says. “We were always concerned that those great new

trial between soccer wives Rebekah Vardy and Coleen Rooney, along with a Keanu Reeves-fronted series about the Brawn Formula 1 team. Taken together, the scripted and non-scripted offering packs a punch and,

general entertainment shows wouldn’t come to us and yet we’ve had so

as Disney+ plans more territory rollouts later this year, Londono is galvanized

much money.

by the original’s opportunity to expand in emerging territories such as Poland

“There’s that preconception of Disney being all about family entertain-

and Turkey.

ment, so we had to get out there and educate, and have ended up skewing the majority of our commissions towards general entertainment.” Londono says that it would be “too much” to describe himself as a taste-

MONITORING THE COMPETITION The past months have been tricky to navigate for the streamers thanks

maker for Disney+’s non-U.S. offering and he instead chooses to get involved

to Netflix’s well-publicized subscriber losses dominating headlines and an

at a later stage in the process, allowing Keelan’s team to handle the pitches

impending cost-of-living crisis fast approaching, which could impact peo-

and development.

ple’s appetite to subscribe to content.

“I read scripts but don’t give notes,” he adds, contrasting with Amazon

Meanwhile, the likes of Paramount+ and SkyShowtime are swiftly rolling

Founder Jeff Bezos’ eyebrow-raising admission at the Lord of the Rings: The

out to more territories, while HBO Max is soon to combine with Discovery+

Rings of Power premiere that he had himself been a note-giver on the most

for a mega offering.

expensive show of all time.

Londono rejects any notion that he will be steering a “change of direction”, however, citing Bob Chapek’s recent earnings call declaration that Disney+

THE SHOWS

will maintain a “business as usual” face in the ever-shifting current climate.

So, what are the shows that have defined Disney+’s international efforts during Londono’s tenure?

He is instead laser-focused on widening the perception of what Disney can offer its subscribers and says this involves always keeping half an eye on

Alongside his beloved The Ignorant Angels from original creator Ferzan Özpetek, he is excited by Wedding Season and Extraordinary out of the UK,

the competition. HBO’s House of the Dragon has already been binged along with Amazon’s

two irreverent comedies that come from respective young writers Oliver

Lord of the Rings spin-off, and Londono says he also enjoyed the latter’s All or

Lyttelton and Emma Moran and feature budding stars including Rosa Salazar

Nothing: Arsenal doc series (his kids go to the same school as Arsenal man-

and Belfast’s Máiréad Tyers.

ager Mikel Arteta’s).

The former is described as an “action comedy romantic thriller” following

“We’d be irresponsible not to be monitoring the competition,” he adds.

a runaway pair after the main character’s fiancée’s entire family are killed at

“But it’s one thing to monitor and another thing to let them drive your day-

a wedding. Extraordinary is about a young, painfully self-aware woman who

to-day decision-making. We set out a strategy, which we can adjust when

lives in a world where everyone has a

necessary, and feel pretty confident in

superpower except her.

terms of what we set out as our plan.”

In France, Londono praises Ousse-

Looking to the near future, Londono

kine, the mini-series featuring Succes-

wants to keep unearthing more shows

sion star Hiam Abbass that tells the

like The Ignorant Angels, commission-

tragic story of the death of student

ing that strong, resonating IP that

Malik Oussekine and his family’s fight

shifts the dial in terms of audience

for justice, along with young adult sci-

expectation of the Mouse House.

fi Parallels from French-Vietnamese

“It takes time for a perception

writer Quoc Dang Tran.

change to happen,” he adds, mulling

Each of this quartet of shows has

what’s in store for the streamer over

a unique feel, feeding into Londono’s

the coming years.

desire to avoid being overly rigid and

“I want to ensure that we keep driv-

instead play with tone.

ing this change so that when people

“We would have turned down

sit down and ask themselves, ‘What

shows like Oussekine if we had

am I going to watch tonight?,’ they

been too prescriptive and thought people only wanted crime, thrillers or

know Disney+ has more to offer than The Ignorant Angels

they would expect.” ★

D E A D L I N E .CO M

17


F T

F E AT U R E

Emerging South African actor-producer Thuso Mbedu, whose breakout role was in Barry Jenkins’ Prime Video series The Underground Railroad, says the rise of global streaming has changed the picture for local creatives. “For a long time, the film and TV industry wasn't seen as a viable career choice in Africa,” she says. “There were pockets of successful projects, but as the world is getting smaller with the expansion of global platforms there is an increased appetite for diverse content everywhere.” In April, she signed a first-look deal with Paramount Global’s VIS Social Impact to create a suite of Paramount+ shows that focus on equity, climate and health—an agreement that gives her control over a slate but with the organizational and financial backing of a U.S.

TALENT BEYOND BORDERS

studio. “Traditionally it wasn’t always the creatives that ran with these types of projects,” she says. “The truth is that as creatives we need support to succeed in realising our creative visions. Fortunately, through streaming we now have easier access to these great stories.” For VIS Social Impact boss and Paramount Senior Vice President of International Social Responsibility Georgia Arnold—who first saw Mbedu in South

Why U.S. giants see international talent markets as the next frontier in the streaming age

African drama MTV Shuga and now calls her “the biggest talent to come out of Africa”—the deal represents how Paramount+ is trying to attract audiences. “Our remit is to think about our global audience, and what they want

By Jesse Whittock

to see,” she says. “And what they want to see is an authentic reflection of their lives. The VIS Social Impact studio gives us the opportunity to explore talent in parts of the world that have perhaps been overlooked to date.”

What do Idris Elba, Lupin superstar Omar Sy and emerging French-Vietnamese writer Quoc Dang Tran have in common? Other than their obvious creative skills, they are among a growing number of stars born outside the U.S. who have signed talent deals in the last year. Deadline estimates as many as 20 firstlook or multi-title deals have been struck by global streamers or LA-based studios since the beginning of 2021.

It’s been a similar story in Africa for Amazon, which recently struck an overall agreement with Gangs of Lagos creator Jáde Osiberu, and Netflix, which has multi-title agreements in place with Nigerian broadcast and production pioneer Mo Abudu, her compatriot Kunle Afolayan (Citation) and South Africa’s Mandlakayise Walter Dube (Tsotsi). Netflix’s push began in February 2020 when Ted Sarandos travelled through the continent ahead of the launch of the streamer’s first African original series, Kagiso Lediga’s Queen Soro, which starred Pearl Thusi (Quantico). Dube, who had directed an episode of that show, was in attendance in a packed room in South Africa, where Sarandos affirmed a commitment to local African production. “I literally pinched myself,” Dube recalls. “The door was open.” He soon made friends with Netflix Director of Content for Africa and the

Back in May, HBO Max announced it had locked in Sy into a first-look deal

Middle East Ben Amadasun, and has since struck a long-term agreement

to make international shows for the streamer, with the actor-producer

with the streamer to create films out of South Africa. His latest action flick,

developing and producing content out of his native France. It’s perhaps no

Silverton Siege, launched on Netflix on South Africa’s Freedom Day (April 27).

coincidence that France was one of only two European countries that will still

“Now we have to open more doors and not take our foot off the gas,” says

develop its HBO Max originals, following Warner Bros. Discovery’s decision to

Dube. “How far can this thing go?”

The deal was among the clearest indicators that creative partnerships

Dube, who teaches filmmaking, says the local activity of global content outfits has firmly put the “apathy of believing you’ll never make it” behind

with non-U.S. talent have become a key strategy for global streamers and

creatives in his country while dispatching the “self-pity of thinking you have

international studios. They are desperate to create local content in local mar-

to go all the way to Hollywood” to meet with agents and execs to get shows

kets that attracts subscribers, and builds their reputation.

and films made. While his rise has led to him signing with manager Steven

18

D E A D L I N E .CO M

P R IM E V ID EO

halt production in most of the continent.


New Scripted Series / Comedy Drama 5 x 30’

MIPCOM: Stand P4.C14 redarrowstudios.com/international


F T

F E AT U R E

Adams from Alta Global Media

are genres that can be difficult to access budget-wise, such as action/adven-

in the U.S., he always gives his

ture, sci-fi or fantasy. By giving me the opportunity to write English-language

students one piece of advice:

projects, Universal International Studios has stripped away all the existing

“Don’t go to Hollywood. Let

barriers and allowed me to roam in an open world of fiction. It is an incredibly

Hollywood come to you.”

invaluable experience.”

This all feeds into a wider

That ambition is set to grow even further. Deadline understands Dang Tran

narrative around how globally-

is currently working up a multiple language scripted project set in Europe

minded content companies

under the deal’s umbrella, as streaming services continue to break down bar-

are allowing international tal-

riers to entry and provide local creatives with new opportunities to tell local

ent to take more control of

stories in local markets.

their destinies in the stream-

Along with its deal with Dang Tran’s Daïmôn Films, Universal International

ing era. “Netflix is supporting

Studios owns several international production companies and this year also

the whole journey of being an

struck a partnership agreement with the Telefónica- and Atresmedia-backed

entrepreneur,” Dube explains.

Buendía Estudios to develop a bespoke slate of projects, and remake a num-

For them to agree to a multi-

ber of NBCUniversal formats in Spain, with an adaptation of Safe Harbour

year deal means that they’re

being the first.

invested in supporting one’s ongoing career. It’s a very

With all this opportunity, international talent is being forced to think busiQuoc Dang Tran

humbling thing.” At the same time, Dube connects Amadasun and Netflix’s African team

ness; while the narrative from both investors and talent is of collaboration and partnership, having a good agent protecting their interests is paramount. “First-look deals are not common in South Africa and when negotiating

with creatives and helps build its local network. “I remember Ben saying, ‘OK,

any deal, it is very important to have a good team, regardless of where they

man, can you stop sending emails now; there are just too many people to

are based,” says Mbedu. “They need to have experience in negotiating these

consider,’” he recalls with a laugh.

deals, and the industry knowledge and expertise on how they are structured

Parallels and Nox creator Dang Tran’s first-look deal with Universal International Studios has a similarly entrepreneurial bent. The international pro-

and how to protect you.” Dang Tran adds of his LA agent Jeff Barry, from Range Media Partners, and

duction arm of Universal Studios Group supports the French-Vietnamese

French rep Simon Rey, from Film Talents: “From the very beginning they were

writer’s creative endeavors, while he looks at local opportunities for the

both incredible and engaged in full cooperation mode, making the communi-

Comcast-owned business and uses his local contacts to explore opportuni-

cation seamless. I truly would not be where I am without them.”

ties. “We want the people we’re doing deals with to have great relationships

Fabian Haslob, of leading Germany-based talent agency Players, says

on the ground,” Universal International Studios President Beatrice Springborn

agents working in English-language content are now “excited to hear about

explains. “And part of that is their relationships with the buyers, for example.

international talent”.

We certainly don’t want the deal to be prohibitive when they get into business with us.” The wider strategic goal is for these local talent deals to open markets

“Since Netflix and the other streamers arrived, we’ve found it easier to bring our directors and writers to international agencies. Back in the day you had to send DVDs and no one was interested.”

organically, allowing Universal International Studios to identify potential new

However, one European agent warns U.S. companies are “not doing exclu-

business through “a combination of a referral network, whether that’s Quoc

sive deals in emerging markets”, even where prices are often very low, as they

telling us to look at a writer, or the producers that we have on the ground in

seek to mitigate risk should the content not break internationally. The theory

the UK recommending talent,” along with international agents and attending

is for every Squid Game or Money Heist, there are dozens of originals that go

markets such as Mipcom and MIA.

under the radar. “There is a big problem that so many things get produced

Earlier this year, Springborn’s boss, Universal Studios Group President Pearlena Igbokwe said the talent arms race in the U.S. appeared to be slow-

and there is so little time to watch them,” adds the agent. That may be true, but with the likes of Amazon, Netflix and Universal all

ing. This too has informed how Universal International Studios is approaching

upping spend on international creatives, those with something to say have

its dealmaking. “I agree with Pearlena’s assessment,” says Springborn. “Not

never had a better chance to have their voices heard. ★

everybody is looking for a big overall deal. There’s been a move away from it. Because of the way our international studio is structured, people aren’t just looking for money. They’re looking for how this studio is going to help move their career forward.” That’s a principle also held by Amazon Germany Head of Originals Philip Pratt, who says he assesses whether a talent deal is the right approach by asking: “Where is that person today in their life and what do they need? How can we help each other? I don’t want the talent to be unhappy and it also has to work for us, so we really have to be sure if we do one.” Amazon’s German arm has first-looks in place with Ziegler Film and author Sebastian Fitzek among others. Dang Tran, who has written for Netflix’s Call My Agent! and created hor“once in a lifetime” opportunity. “I just want to make the most out of it,” he notes. “Theoretically-speaking, imagination knows no boundaries. But when you are a writer in France—a market limited by its size and language—there

20

D E A D L I N E .CO M

Parallels

D I SN E Y +

ror Marianne for the streamer, calls his Universal International Studios deal a



F T

F E AT U R E

Left: President Volodymyr Zelenskyy in Servant of the People; below: Kateryna Vyshnevshka.

THE BATTLE FOR THE SMALL SCREEN How Ukraine’s film and television sectors are striving to rebuild their business in the face of war By Max Goldbart “When life gives you lemons, make lemonade,” declares Kateryna

and Ukraine,” he says. “We made our decisions quickly and with no limits,

Vyshnevska, with a small smile on her face. The FILM.UA exec Vyshnevska,

obligations or commitments.” The result was United News, a roundly praised 24/7 news service that has

old emails from that now history-defining week that started with the Rus-

brought together the might of 1+1, StarLight Media, Media Group Ukraine and

sian invasion of Ukraine on February 24.

Inter Media Group. It is still in operation today.

She is amazed to see that in just days she was already part of a taskforce focusing on how to get “significant and cultural” Ukrainian projects to screen. “There was a moment when all of us just froze,” Vyshnevska tells Deadline. “There was a lot of anger, but that anger was quickly channelled in the right direction. We realized that if we couldn’t tell the stories that matter, then [the Russians] have already won.” For many in the Ukrainian TV and film industry, it is hard to believe the devastating war has been raging for more than eight months. Key figures in a sector that was previously blossoming had their entire

For those first few weeks, the competitors cooperated without complaint, eschewing traditional competition to operate with a rotating roster of presenters from each of the four broadcast groups complemented by the work of international news services such as the BBC. United News delivers crucial information to those most in need, although Pakholchuk says Ukraine’s geographical enormity means viewers based thousands of miles from where the war is raging have grown frustrated with the round-the-clock content. Keeping audiences engaged beyond the news has been tricky and Pakhol-

lives turned upside down overnight. Some have left the embattled nation

chuk’s 1+1 has struggled financially, only starting to pick up some investment

and others have adapted to a new normal that has, for the moment,

from donors following a funding drive in July.

upended the way in which projects are funded and brought to screen. The swift action described by Vyshnevska is reflective of the innovation and out-of-the-box thinking that has characterized Ukrainian culture over the past months, with a slew of challenges needed to be overcome. “When war broke out, it felt like everyone was prepared and yet at the

This inability to attract domestic funding has been the biggest obstacle to rebuilding the industry, according to many Deadline heard from, including filmmaker and Series Mania 2022 Jury President Julia Sinkevych. “People are doing the best they can to maintain an industry that can’t really be called an industry at present,” says Sinkevych, who was in post-

same time not ready at all,” remembers Yaroslav Pakholchuk, CEO of 1+1

production on feature doc Lucky Girl when Russia invaded. “Everything feels

Media, Ukraine’s largest media group.

on hold,” she adds.

With only circa-10% to 15% of staff “completely dedicated to the job” in

Budgets have understandably been diverted from culture to the military,

the days after the invasion, 1+1 and a trio of other major broadcasters took

says Sinkevych, and, away from the small screen, the Ukrainian Film Agency

an approach akin to Maslow’s hierarchy of needs, says Pakholchuk, quickly

has struggled to raise funding as cinema numbers have dipped dramati-

pivoting their services in what would normally have taken weeks of planning.

cally, with citizens unwilling to return through fear of being hurt or caught in

“This was about how to survive, keep signal and deliver news to the West

22

D E A D L I N E .CO M

a raid. With the advertising sector collapsing and staff numbers down 25%,

KVA RTA L 9 5; K VYS H N E VS H KA ; G E T T Y

the architect behind the $20 million Ukrainian Content Club, is rifling through


Pakholchuk audited all of 1+1’s projects for a six-to-nine-month period and had to be extremely selective, with staff taking pay cuts for several months. Documentaries have been a focus and, to mark both Ukrainian Indepen-

when you have to figure out solutions to martial law, curfews and sirens.” Vyshnevska has been bowled over by global support and says the growing Ukrainian refugee population has made this support even more necessary.

dence Day and the six month anniversary of the war, the likes of Mariupol

Almost one-tenth of Poland’s population is currently comprised of Ukrainian

Unlost Hope aired across Ukrainian TV channels and abroad, while 1+1 has

refugees, while resettlement schemes have been implemented in the UK,

also hosted charity telethons and football matches.

France and Germany, among others.

“The most difficult thing is production,” explains Pakholchuk. “Before the

“There are 10 million Ukrainians spread across Europe and they have to be

war we could recover 50% to 60% of a $100,000 budget through advertis-

addressed,” she says. “Project financing has been helped by the appetite for

ing but now it’s virtually nothing. So, how do we cover that cost?”

Ukrainian stories from people who have welcomed refugees into their home.”

To solve this conundrum, the Ukrainian industry has turned to the west and, in many cases, the call has been answered.

Sinkevych is also Chairwoman of the Ukrainian Institute’s Supervisory Board, which is responsible for cultural diplomacy, and she says the Institute

Driven by a President who used to be the star of Servant of the People—a now globally-popular sitcom—the last few months have seen what could best be described as the speeding up of an ‘internationalization’ of the

has pivoted strategy recently to not only promote Ukrainian culture but also explain why it is so necessary to overcoming conflict. Russian activity at film events has been a consistently thorny issue, and

Ukrainian sector, one that Media Resources Management CEO Kateryna

the Ukrainian Institute has criticized festivals like Cannes for including Rus-

Udut says began with the 2014 annexation of Crimea.

sian titles like Kirill Serebrennikov’s Tchaikovksy’s Wife, which was funded by

“After 2014, the market changed dramatically as we stopped cooperating with the Russians,” she says. “We used to have one common market but that market has moved westwards and the whole world is now open to us.” This has conversely had a negative impact on the Russian TV and film industry, says Den Tolmor, Academy Award-nominated producer of Netflix’s Winter on Fire: Ukraine’s Fight For Freedom, who says that prior to 2013, Rus-

Russian oligarch Roman Abramovich. “There is no independent filmmaking in Russia, it’s that simple,” says Sinkevych. “We’ve been in conflict with Russia for eight years and I don’t recall any Russian films saying anything about the terrible acts being committed in Ukraine.” Meanwhile, the Ukrainian Institute recently slammed an emergency Ger-

sia was making roughly 25% to 30% of its projects in Ukraine and selling

man filmmaker program for “perpetuating an outdated Soviet perspective”

many into the territory.

by inviting Russians and Belarussians as well as Ukrainians, which Sinkevych

The likes of Udut, Vyshnevska and Sinkevych have led the charge in Ukraine’s mega international funding drive over the past months and have

says showed a “lack of understanding of historical context”. But despite these teething problems, Sinkevych believes international

attended multiple film festivals, TV markets and conferences extolling the

support is crucial at the very least until the war ends, while the brains behind

virtues of Ukrainian content and will be present with a pavillion at Mipcom.

the Ukrainian culture industry work out a longer-term strategy that will get

Leading the way has been the Ukrainian Content Club, a lofty initiative that Vyshnevska has been shopping in LA to the biggest global studios and

the sector back to something resembling the heady pre-war days. For self-described optimist Tolmor, one cannot underestimate the

streamers. The scripted, drama, animation and factual fund, which operates

importance of film and TV and, since the war broke out, he has overseen

as a charity, is seeking investment for projects early in the production pro-

Ukrainian-shot comedy From Ukraine with Love and started prepping a fea-

cess in order to get them to screen, and these projects will be unveiled in the

ture inspired by Canadian ‘lone wolf’ sniper Wali provisionally titled The Good

coming months.

Fight, who spent two months fighting Russia in Ukraine.

Vyshnevska, who is producing a series for Red Arrow Studios International

“Hospitals, roads and schools will take years to rebuild so we need the

about those who stayed in Kyiv at the start of the war, hopes the initiative

production of local TV shows and movies to lift people’s spirits up,” he says.

will show Ukraine as a nation where “adversity has led to creativity”.

“They need to feel they live in a normal society, so my biggest goal is to help

“Necessity is the mother of invention. You become better filmmakers

rebuild this industry [and put] it back on the map.” ★

THE VIEW FROM RUSSIAN DISSIDENT, AUTHOR, SCREENWRITER, AND JOURNALIST DMITRY GLUKHOVSKY

Russia’s real problems—authoritarian-

I was outside of Russia when war broke out and de-

pletely impossible. Moreover, the President’s

ciding to speak out took several seconds. I knew that

administration has blacklisted creatives

I was likely denying myself a route back home but I

who spoke up against the war, and they’re

was thinking of my friends in Ukraine, and pretending

being de facto banned from the profes-

that nothing happened would be a direct betrayal of

sion, fired from productions and denied

those who were sitting in their shelters in Kyiv under

new jobs unless they publicly atone for their

the Russian shelling. Now I am accused of “discredit-

anti-regime statements and endorse the

ing the Russian army” and am facing up to 15 years

regime’s policy and propaganda. Even before

in jail.

war broke out, I saw my film projects closed

ism, total corruption of the political elite, political murders, poverty of the population, growing ethnic tensions in Russia—is com-

In spite of the looming blockade and numer-

down in Russia for speaking in support of

ous sanctions imposed on Russia by the West, the

overcrowded, the pro-war symbols of ‘Z’ and ‘V’

biggest surprise to me after speaking with friends

have mostly vanished from the streets, and even the

in Russia is that life in Moscow and St. Peters-

police presence has thinned out.

burg is disguised in normalcy. The restaurants are

Any attempt to have an honest discussion of

opposition leader Alexei Navalny. Putin has tried to make the nation complicit in this war. But when he’s gone, there will be no reason to pursue. ★

D E A D L I N E .CO M

23


F T

F E AT U R E

PASSAGE TO INDIA How international companies are involved in India’s premium drama boom

remakes of U.S., UK and other international properties. Banijay Asia, a joint venture between Banijay and Indian TV veteran Deepak Dhar, recently worked with Sameer Nair’s Applause Entertainment on the Bollywood version of Call My Agent! for Netflix, and is currently producing Hindi-language remakes of both The Night Man-

By Liz Shackleton

ager and The Good Wife for Disney+ Hotstar.

Meet any high-profile Indian director or producer these days, and the talk is

Sister company Endemol Shine

Deepak Dhar

all about bibles, writers rooms and showrunners, rather than making films.

India, a joint venture between

Driving down Mumbai’s main artery, the Western Express Highway, most of

Banijay and CA Media, has also produced shows for Hotstar, including Aarya,

the billboards are promoting new premium drama series from Prime Video,

a Hindi remake of Dutch series Penoza.

Netflix and Disney+ Hotstar, rather than the latest Bollywood release. Of course, the shift of talent from film to episodic is happening every-

BBC Studios India is also active in this space, working with Applause on Hindi versions of Criminal Justice, Luther (Rudra: The Edge of Darkness) and

where in the world, but in the fast-paced, opportunistic environment of the

Guilt (Bloody Brothers). Separately from Applause, it has produced local

Hindi-language content industry, these trends have become supercharged.

remakes of Doctor Foster (Out of Love) for Hotstar and Press (The Broken

Netflix and Amazon moved in here around 2016, local broadcasters fought

News) for ZEE5.

back with their own streaming services—Hotstar (now Disney+ Hotstar),

The proliferation of remakes is not surprising, as both the streamers and

SonyLiv, Viacom18’s Voot and ZEE5—and the demand for premium drama

producers are currently focused on speed and volume. “There’s so much

series started to skyrocket, as competitors tried to differentiate themselves

demand for premium content, and everybody wants it fast, so formats

in an overcrowded field.

become an easy turnaround for the streamers,” explains Sameer Gogate,

Most of the big international TV producers and distributors have a pres-

head of BBC Studios India’s production business.

ence in India, producing Hindi versions of unscripted formats including The

In most cases, this means the potential for international distribution

Voice India, India’s Got Talent and Bigg Boss, but when the streamers started

of these shows is limited, due to holdbacks in markets where the original

raining budget on scripted series, they quickly moved into that space.

English-language or other language versions are still on air.

So far, a large proportion of these shows have been Hindi-language

“The U.S. is always a big challenge, although you want your Hindi content

D I SN E Y + H OTSTA R; D. D H AR

A still from Disney+ Hotstar’s Aarya

24

D E A D L I N E .CO M


in that market, because there’s a massive Indian diaspora sampling those shows,” says Dhar.

There are also issues on the buyer’s side. Creative

LIMITLESS LANGUAGES

executives at the streamers usually come from a Bol-

But even Indian shows based on original material

lywood or traditional television background, so tend to

As a result of India’s streaming boom,

are unlikely to be syndicated in the international mar-

be risk-averse. But more importantly, the Indian media

local audiences have become much more

ket, because their buyers—whether they’re global or

market is consolidating through a series of mergers, so

language agnostic. Not only are they

Indian steamers—all have a global footprint and scoop

the number of streamers is contracting, while at the

sampling content in Indian languages

up worldwide rights. This means that very few inde-

same time international parent companies are scaling

other than the one they grew up speaking,

pendent production companies have built a business

back costs. HBO Max is understood to be delaying its

they’re also more receptive to non-Indian

in this space as IP-owning producers, as opposed to

launch in the market and Disney+ Hotstar is moving

language shows.

producers-for-hire or basic content vendors.

towards ‘TV Plus’ rather than premium content, in an

Applause, backed by Aditya Birla Group, is the big exception as it has enough capital to finance its own shows and then shop them to the streamers. It made

Stanley Fernandes, BBC Studios’ VP

attempt to retain the mass audience after losing IPL

of distribution, South Asia, explains

cricket rights.

that while the market share of English-

“There’s still high demand for premium content, as

language content is still small, compared

a splash with Scam 1992: The Harshad Mehta Story,

the audience has tasted blood, but some level of con-

to Indian-language content, the growth of

which it financed then sold to SonyLiv, and has con-

solidation and price rationalization is likely to happen,”

streaming has made it more accessible.

tinued with this model. It’s understood that SK Global,

says Gogate. Indie producers and talent agents say

producers of the Emmy-winning show Delhi Crime,

there are only four buyers to pitch big-budget shows to:

lish audience that used to sit on linear

financed the show before selling global rights to Netflix.

Netflix, Amazon, Disney+ Hotstar and SonyLiv.

across to the digital space, and in the

But while these companies may be retaining some IP

Another issue is achieving scale when developing

“We’ve seen a transfer of that Eng-

past couple of years there’s been growth

or equity, they’re still not involved in exploiting interna-

one’s own slate. Says one veteran producer, “If you

for us amongst the digital platforms,” he

tional rights.

develop three or four shows, there is a high probability

says. “Whereas linear had to be generic

a few may not get sold, and the cost will not be bal-

viewing, because most households only

that work internationally, the next step would be for

For the market to mature, and export more shows

anced out by profits from all of the others. Even if you

have one television set, we’re now up on

producers to package and produce shows based on

sell them all, the markup is only around 10%, and that’s

Netflix, Hotstar or Discovery+, catering to

original material that they could then exploit them-

what you get without the risk of funding them. The IP

individuals rather than the whole family.”

selves, in markets outside of India. Applause is probably

might come back to you in 10 to 15 years, but is that

the closest to achieving this, but others are trying: SK

really worth the risk?”

Global, Lionsgate’s Indian outpost; LA and Mumbai-

All of this will sound familiar to producers in many

Earlier this year, BBC Studios sealed a content deal with AVOD service MX Player, which with 300 million users is

based Locomotive Global, which is partnered with

markets in the world. But those same issues that

considered mass market rather than a

Applause on Gurinder Chadha’s Seeker; Contiloe Pic-

increase risk, could also open up the market to outsid-

premium service. In August, Fernandes

tures, also working with Applause on historical epic Taj:

ers to come in and co-finance. “We may see some of

signed a TVOD deal with BookMyShow,

A Monument of Blood; and Ronnie Screwvala’s RSVP.

the big streamers back away from doing a global deal,”

for series including Sherwood, Ragdoll and

says Datta Dave, co-founder of talent management

Unforgotten, which will be available as

out the financing in India,” says Locomotive Global co-

company Tulsea. “They’ll be OK with paying 50% of the

part of a BBC branded space.

founder Sunder Aaron of the opportunity in the space.

budget and letting you keep some of the rights to sell

“But the banking sector is very conservative and we

around the world.”

“There’s room to do this, so long as you can figure

don’t have deficit finance.” The big formats companies are also starting to

Sameer Nair is already in pursuit of this strategy: “We

Meanwhile, Ganesh Rajaram, General Manager/EVP, Asia, at Fremantle International is seeing more acceptance

want to do more adventurous and ambitious projects,

of non-Indian content in languages other

develop shows based on original material. Banijay

and partner with more global co-producers, compa-

than English, selling Spanish-language

Asia has Donkey Route, a drama series about Indians

nies out of LA, London and Israel who are active in

thriller Senorita 89 to Lionsgate and

attempting to migrate to the U.S. on foot, along with

co-productions.”

Italian-language drama My Brilliant Friend

two unannounced shows based on historical incidents.

If this international participation ends up happen-

to Viacom18. “Of course English content

Says Dhar: “We’re building out a bunch of shows we

ing at all, it could be some time in the future. With

is still the most accepted [amongst

feel could really travel outside of India, because while

China now out of the picture, India is looking like the

‘foreign’ or non-Indian content], but with

we’re blessed with the Banijay catalogue, with the

next potentially huge media market, and has frontiers

streaming we’ve seen audiences more

growth of streaming, we think it’s time to start develop-

that have yet to be explored. Gogate points out that,

focused on the storytelling, the acting

ing Hindi IP.”

while the premium series space is booming in Mum-

and production values, rather than the

bai, it’s only just starting to take off in the four content

language,” Rajaram says.

Fremantle and BBC Studios India say they also have shows based on original material in the pipeline, while

industries (Tamil, Telugu, Kannada and Malayalam) in

Endemol India recently wrapped a series based on the

the south. There’s also growth in original Indian con-

now being produced across multiple

book Trial by Fire: The Tragic Tale of the Uphaar Fire Trag-

tent, rather than remakes, across docu-series and

Indian languages. “We were probably

edy, co-produced by former Hotstar executive Sidharth

unscripted shows.

the first to realise the potential when

Jain, who is now active in the book adaptation space. But even these producers acknowledge there are

Dhar points to the development of the Korean TV

Additionally, unscripted formats are

Viacom18 didn’t pick up the Tamil rights

market as something that could eventually happen in

for Big Brother, then [Tamil star] Kamal

many obstacles to overcome. India’s film and TV

India: “They’ve matured over 10 to 15 years of making

Haasan came on board and it became

industries have always worked on fast turnarounds, so

premium dramas, while our market is just four to five

such a big hit for Star Vijay,” says Rashmi

don’t have much of a development culture, and while a

years old. We have to give it time, but there are already

Bajpai, Executive Vice President, Asia at

showrunner and writers room culture is developing, it’s

a bunch of ambitious producers who are starting to

Banijay Rights. ★

still early days.

think about how Indian content can evolve.” ★

D E A D L I N E .CO M

25




John Boyega is busy mapping out his television ambitions. Baz Bamigboye learns more... Photos by Chris Chapman



30

D E A D L I N E .C O M /AWA R D S L I N E


JOHN BOYEGA is one of a diminishing number of Hollywood film stars that hasn’t yet dived properly into the world of high-end TV drama. The 30-year-old actor has made several appearances on television—most notably winning plaudits for his searing portrait of a London policeman in Steve McQueen’s multi-award-winning BBC/Prime Video anthology Small Axe—but his career has largely been defined by roles in movies like Attack the Block and the third Star Wars trilogy. This may all be about to change if closely held plans come to fruition: Boyega’s production company, UpperRoom Productions, has, in his words, “something potentially big brewing”. “The project has got a big commercial footprint—I mean that in the best way—and I’m circling it now,” he hints. “It’s something as secretive as hell, but it’s something that’s a potential project if we can pull it off. All I can say is that it’s at the development stage.” It’s a teasing prospect, but no doubt producers, distributors and streamers will be desperate to hear more as it emerges. Boyega himself has plenty of homework to do and he openly admits he hasn’t done enough small screen work to pinpoint exactly the fundamental differences between television and cinema. “To a certain extent, I don’t know because I’ve never been the lead of an ongoing TV series,” he says. “I’ve never done a season of a show. The spot in 24 doesn’t count in that respect because I was just a guest for four episodes.” Interestingly, it is that role in Fox’s 24: Live Another Day, the 2014 limited series that resurrected Kiefer Sutherland’s Jack Bauer character, that Boyega is most grateful for as it helped him out of a spot of financial bother. He chuckles as he recounts the “glorious spin” he had back in 2014 working with Sutherland on the four-part season, set four years after the original 24 storyline ended. “I came in as guest as a young drone pilot who got into a jam and gets locked up. Jack Bauer bails him out. It was so cool.” Not so cool was the fact that Boyega’s car had been placed in a police car pound in London. “It was going to cost £600 ($680) to get it out and I didn’t have the money. I started shooting 24, and I got the car out. Result.” By that point, Boyega had already starred in Joe Cornish’s horror satire Attack the Block, which became an international cult hit after its SXSW premiere, as well as Star Wars Episode VII: The Force Awakens where he stars as reluctant stormtrooper Finn. While he’s increasingly keen to explore the TV world,

the London-born star is adamant that he will continue with work that ends up on a big screen. On that front, he has recently starred in director Gina Prince-Bythewood’s scorching, kick-ass movie The Woman King (released last month) and Breaking, which sees him summon up the internal grief and scars of a Marine veteran who served his country in foreign wars but finds himself facing the threat of homelessness when he’s back home on U.S. soil. Notably, it was the film’s co-writer Kwame Kwei-Armah, an actor, playwright and artistic director of London’s Young Vic Theatre, who gave him his first big break as a teenager in the UK back in 2009. Kwei-Armah cast him in a trilogy of plays under the umbrella title of Not Black and White at the then Tricycle Theatre, now known as The Kiln, in Kilburn, north-west London. (I personally played a miniscule role in this story, signing off on the Not Black and White season as a trustee and board member of the Tricycle.) On the day we talk via Zoom, Boyega is holed up in Brooklyn and has been following the news from London about the killing of Chris Kaba, an unarmed 24-year-old Black man shot dead by an officer of London’s Metropolitan Police. The actor sighs. “This hits a deep chord for people because there have been stories of Black men killed at the hands of the police while in custody, behind closed doors, that have gone unanswered for years.” At the time of writing, the officer has been suspended from duty while a thorough investigation of the shooting takes place. Boyega is cautious in his response. “You don’t want to get caught up in the crescendo of the media frenzy. We sometimes know how the British press can be to a certain extent. I want everyone to just listen to the facts as much as possible so we can reach a more nuanced and detailed reaction that can be about solutions rather than danger, or anything that’s going to distract from getting answers to a very serious situation.” Black lives matter to Boyega, on and off screen. He was notably filmed giving an impassioned speech at a George Floyd protest in London, which he has said cost him friends, and was critical of how Disney marketed his Star Wars Boyega with the team behind The Woman King.

D E A D L I N E .C O M /AWA R D S L I N E

31


character. However, he says, there is evidence of more diversity in the industry. “There’s been steady growth, and each time we grow and get the opportunity to get into more [important] positions, we learn about those positions and about more opportunities for diversity.” Learning what each position of responsibility means equals more experience and understanding, especially as an actor, he adds. “When you get to that stage you learn of the opportunities you have: that you develop certain roles, that you now have access to producers and directors. Then it’s an individual choice of how you spread that knowledge and those opportunities.” Boyega speaks like a man who has chewed over this topic many times. Warming to the theme, he adds, “It’s a good thing that it’s happening to us, especially people of my generation who say, ‘We don’t want to leave this industry the same way we found it and we don’t want to exist in this industry being anything other than ourselves.’ We have to make it work. We must.”

NEXT STEPS Boyega can be seen next in The Woman King, in which he plays an African monarch protected by an elite, all-women force including Viola Davis (How to Get Away with Murder), Lashana Lynch (No Time to Die), Sheila Atim (Bruised) and Thuso Mbedu (The Underground Railroad). Other upcoming projects include Netflix’s They Cloned Tyrone and a sequel to Attack the Block. The actor believes prestige TV shows are competing with their film counterparts on an artistic level. Indeed, his starring role in the Small Axe episode Red, White and Blue, appeared on several critics’ top 10 movies of 2020 lists. “They’re not single episodes anymore, they’re one-hour movies,” he says. “That’s about the scope of what’s put into a TV show on television. It could be the CGI, the story or epic quality. These one-hour movies definitely have cinematic elements, but I definitely feel at the same time that there’s nothing like going to the movie theater, for sure. Now we have two ways to experience one thing.” Boyega acknowledges the “creative opportunity” TV offers and observes long running series give actors the “opportunity of being able to stretch out a character over a certain amount of time”, creating a level of familiarity “you can’t always create with one movie”. He muses this could be why feature film producers are increasingly seeking to create franchises out of characters. In that sense, Red, White and Blue ticks both boxes. Director McQueen, making his first TV series, was adamant that his creations were films to be shown on both large and small screens, with Boyega’s film debuting at the New York Film Festival before its TV bow. However it’s watched, Small Axe stands as a landmark production. Boyega says he would have happily auditioned for the role of police officer Leroy Logan but McQueen had invited him to a lunch to talk through the job. “We ate and we spoke, and he explained to me the message of the story, about what he wanted to do as a director, and how he wanted to look into the elements of Black British history that we don’t normally explore. It felt so good that he even thought of me for something like that.” Red, White and Blue began shooting in September 2019, almost a year before the global reckoning that was Black

32

D E A D L I N E .C O M /AWA R D S L I N E

We don’t want to leave this industry the same way we found it


D E A D L I N E .C O M /AWA R D S L I N E

33


Lives Matter. “A lot of people thought it was shot after the BLM summer, like it was shot because of that, but it was down to crazy timing,” he recalls. Another seminal TV show documenting the Black experience first drew him to possibilities of prestige television when he was still a teenager: David Simon’s Baltimore-based crime drama masterpiece The Wire. He noted British actors Idris Elba and Dominic West in their starring roles as Stringer Bell and Detective Jimmy McNulty. “I saw an opportunity, man. I saw all different types of actors putting on these American accents and getting out to the States—and getting at that money,” he says gleefully. Always savvy, Boyega started to look for opportunities to study and hone his chosen craft. “I knew how to do those over-the-top fake American accents, but I didn’t know how to do one that would hold an audience and convince them consistently for two hours where your voice is enhanced by Dolby,” he says. He’d soon enrolled at drama school and essentially watched everything he could, whether it be on stage, TV, or cinema to improve his skillset. Around a decade later, he is appearing opposite Michael K. Williams, the actor he’d seen playing stick-up man Omar Little on The Wire, in Breaking. Williams tragically passed in September last year, having left an indelible mark on his younger counterpart. Boyega chuckles as he recalls first entering the business. “I loved it,” he says. “I didn’t fully understand what was

Above: Boyega as Moses in Attack the Block. Left, from top: Nicole Benarie, Boyega and Selenis Leyva at a

going on as I was picked up off the stage, but that energy was dope. I was still living in Peckham at home and I was still getting used to being in the professional working environment. Now I had to be professional.” The catalyst for Boyega was being plucked from the Tricycle Theatre to be the star of director Cornish’s cult classic Attack the Block, in which he played a teenager who defends his housing estate from aliens. “That was my first professional gig,” he says with pride, recalling how he would study the script backstage in between scenes during the Not Black and White season in Kilburn. Attack the Block 2’s production timestamps how far he has come: his UpperRoom production company is now among the producers, alongside Cornish’s Complete Fiction Pictures, Studiocanal and Film4. The film will pick up the story of Boyega’s Moses as he nears 30. Boyega observes London has “changed between the first movie and now”, citing the London Riots that happened the same year the original movie landed, and widespread gentrification of the UK’s capital. “We go back and look at the locations where we shot the first movie [Southwark and Walworth in south London]—once dodgy areas—and we find that it’s all gleaming, high-end apartments and Starbucks. There’s a whole world that we’re about to explore here with a whole new take on that universe, building and revisiting those characters.” As we continue the interview, Boyega is prompted to remember his first television appearance, which he recalls was 2011’s BBC3 supernatural teen drama Becoming Human, a spin-off of Being Human. “I didn’t know what I was doing,” he confesses. “I was probably trying to pay some bills.” Having zero interest in joining the Marvel Universe as recently rumored, Boyega says he and his executive team at UpperRoom are more focused on developing their TV and film projects. “I want to see how that goes for me. I would like to have a schedule that makes me work with Gina Prince-Bythewood, Juel Taylor [They Cloned Tyrone] and Steve McQueen all in the space of two to three years. You can’t do that necessarily when you’re stuck to a franchise, unfortunately enough.” No doubt, the TV and films worlds will be looking on at his next moves with the utmost interest. ★

34

D E A D L I N E .C O M /AWA R D S L I N E

P R IM E V ID EO; F IL M4

screening of Breaking; and as Leroy Logan in Small Axe.


D E A D L I N E .C O M /AWA R D S L I N E

35



When you’re deep in among the cocktail parties and dinners or meeting up with much missed contacts at Mipcom, it might be easy to forget why we’re all here: the shows. To help you remember, we bring you Deadline’s The Hot Ones, our guide to some of the best TV being sold in Cannes in 2022. You may hear whispers along the Croisette about the next big global hit, and The Hot Ones is our pick of a wealth of programing, featuring some of the biggest names in television, from the top players in distribution. From a Tim Roth-starring Australian drama about a clubbing kingpin, to cheeky mystery formats and one of the most powerful tell-all docs of our generation, featuring Olympic star Mo Farah, the next few pages will ensure you have your finger on the pulse when sniffing out the big deals at the market.

explains Spyro Markesinis, eOne’s EVP and Head of Sales, EMEA and Asia. He adds that the show will see NashBetts “help solve high-profile crimes all around the United States, and will include some enjoyable crossover moments with Nathan Fillion’s Nolan [from the main Rookie series] when her investigations take her to LA.” The Rookie: Feds was created by Terence Paul and Alexi Hawley, who also serve as co-showrunners. Executive producers are Mark Gordon, Fillion,

SCRIPTED

Nash-Betts, Michelle Chapman, Corey Miller, and Bill Norcross.

The Following Events Are Based on a Pack of Lies

excluding those initially granted to ABC

BBC Studios

in the U.S., and is therefore pushing the

Length: 5 x 60’

show with gusto at Mipcom.

eOne owns all rights to the series

Running for five seasons, the original

Producer: Sister As the cameras were preparing to roll

Rookie series has become one of

for BBC drama The Following Events Are

eOne’s most successful titles, selling

Based on a Pack of Lies, a plethora of

in more than 180 territories, a large

jaw-dropping conman docs dropped on

audience that Markesinis believes will

Netflix to much acclaim. The timing of the release of the likes

exhibits themes of lying, weakness

Master and Inventing Anna was purely

and the rapid ascent of the modern

looked to the thrillers of the 1980s and

those same territories,” he says. “We

coincidental, says Following Events exec

fraudster, amongst others.

1990s for inspiration, as well as playfully

anticipate it traveling every bit as well,

skewering the genre for introducing

so we’re pushing it for everywhere.”

Scripts arrived at Petrie’s house just

The writers and producers also

“With a similar broad appeal, The

of The Tinder Swindler, The Puppet

Alice Tyler, but should lend the five-part

Rookie: Feds has a built-in audience in

series a lot of interest from audiences

an hour after he’d finished watching

colorful terms such as ‘bunny boiler’

when it debuts next year.

Netflix’s The Puppet Master, about

into the everyday lexicon.

is aiming to land the show on both linear

British conman Robert Hendy-Freegard.

—Max Goldbart

and SVoD clients.

“The pathology and psychopathy

And as with the original series, eOne

of conmen is out there in all shapes

Petrie says that doc “opened up this

and sizes,” she says. “We’re all just so

world of identifying individuals and

The Rookie: Feds

show leans towards pay TV and SVoD

interested in what makes someone do

spotting whether they had appeared in

Entertainment One

slightly more than free TV, but it does

it and in what makes someone fall for

one’s own life at some point.”

Length: 13 x 60’

appeal to broadcasters and platforms

Producers: Entertainment One and ABC

alike,” he adds.

it. We have all encountered one of these

He also read Minna Lyons’ The

“Given the volume of episodes, the

people or we have been conned in some

Dark Triad of Personality: Narcissism,

Signature

way before.”

Machiavellianism, and Psychopathy in

Entertainment One (eOne) is taking

linear services are building in VoD, so we

Everyday Life to prepare and was given

The Rookie: Feds to Mipcom, the latest

can imagine plenty of clients would look

Tyler hope that the show will perform

an enormous background document

instalment from The Rookie universe,

to take a mix of rights.” —Zac Ntim

well outside of the UK and she is

penned by the Skinners on his

starring Niecy Nash-Betts.

particularly confident that buyers in the

character’s past.

This “universal experience” gives

U.S. will bite. Along with Blue Lights, Six

Having worked on an eclectic mix

“With every year that passes, more

Clark (Nash-Betts), who has traded

El Hijo Zurdo (The Left-Handed Son)

The 13-part series follows Simone

Four and The Consul, distributor BBC

of Sister projects, the show came

in her job as a guidance counselor in

Movistar Plus+ Internacional

Studios is pushing The Following Events

about through the company’s desire to

Washington D.C. to become a Special

Length: 6 x 30’

Are Based on a Pack of Lies hard at this

work with the Skinners, says Tyler, and

Agent in the FBI. Simone sets her sights

Producers: Movistar Plus+; Atípica Films

year’s Mipcom.

their image-driven, graphic novel-led

on joining a new special unit being

Spanish SVoD operator Movistar Plus+’s international arm is heading to its first Mipcom with the Seville-set drama El Hijo Zurdo (The Left-Handed Son). Based on the novel by Rosario Izquierdo, the show follows Lola, an upper-class mother who impotently watches the drift of her youngest child, Lorenzo, towards the darkness of a neo-Nazi group. In an attempt to understand and

From the minds of playwright

approach comes at a time when similar

created by Supervisory Special Agent

Penelope Skinner and her sister, the

shows such as Netflix’s Heartstopper

Matthew Garza (Felix Solis), a band of

graphic novelist Ginny Skinner, the show

are garnering worldwide acclaim.

so-called ‘misfit toys’ who will break

stars Sex Education’s Alistair Petrie as

BBC ST U D IOS

help propel Feds to global success. The Following Events Are Based on a Pack of Lies

“So much of what you see on screen

from the Bureau’s rigid tradition to take

Rob, a conman who traps two women,

is visual and that all started in the

on unique cases and solve them with

Cheryl (Marianne Jean-Baptiste) and

writing process,” adds Tyler. “We’re

unorthodox methods.

Alice (Rebekah Staton), in a triangle of

constantly looking for new sources

epic proportions.

and amazing shows come from these

instalment in the franchise was

worlds. A visual world can really set

introduced as a two-part event during

uniqueness and tone.”

the fourth season of The Rookie,”

The show is produced by Chernobyl and The Power outfit Sister and it

“Like its predecessor, this new

D E A D L I N E .CO M

37


As Long As We Live

but not through the usual Nordic prism

adult dramas including Skins and BBC

Eccho Rights

of a murder or a conspiracy plot.”

Three’s Clique, and says All3 felt the

Length: 6 x 60’

The international version includes

young adult market was underserved,

Producer: Glassriver

more English than the Icelandic version,

It’s a sign of the times that Mr. Robot

with the split coming out at about

unique and different, this is the one

actor Martin Wallström has taken

70/30 thanks to wide use of internal

experiences of young women in the

for you,” says Domingo Corral, Director

on a role in a thoughtful, dramatic

monologue that’s easily recorded in

gymnastics sporting arena would have

of Original Fiction at Movistar Plus+.

Icelandic drama series. The actor will

both languages. As such, several buyers

broad appeal,” he adds.

“We don’t like formulas, so we don’t do

star opposite creator Aníta Briem in As

are understood to be in the closing

formulaic stuff, but at the same time,

Long As We Live, which Iceland-based

stages of deals, though Barth assures

headlines in recent years for all the

our approach to storytelling is really

producer Glassriver is making for

buyers there will be still plenty to

wrong reasons after U.S. team doctor

very universal.”

local broadcaster Stod 2 and Swedish

discuss in Cannes. ­—Jesse Whittock

Larry Nassar was convicted of sexually

“If you’re looking for something

Written, created, and co-directed by La Peste scribe Rafael Cobos, the show began production in Seville in

streamer C More. Production began in the summer. Another Swedish partner, Eccho

especially in local broadcasting. “We felt the focus on the

Women’s gymnastics has hit the

assaulting hundreds of children and

The Gymnasts

young women, but Driscoll says

All3Media International

the focus is more on young women

July and wrapped shooting last month.

Rights, will be in Cannes with early

Length: 6 x 60’

competing in sport, which has also been

Paco Baños (The Plague) directed four

rushes of episode one for buyers.

Producer: Indigo Film

popular of late.

episodes, Daniela Cajías (Schoolgirls) is

Its participation in the series comes

Oscar-nominated producer Indigo

the series cinematographer, and María

through its London-based Director

Film and All3Media International were

power dynamics and these will play out

León (The Sleeping Voice) stars.

of Co-Productions, Acquisitions and

seeking a zeitgeisty young adult show

in the drama.”

Development, Adam Barth.

to hit the market and the world of

Movistar Plus+ Internacional, the streamer’s in-house global sales

“Even though it’s loosely based on

division, is handling international

Aníta’s life and experiences, it’s quite an

distribution on the project. Corral

international story,” he says.

says that despite the show’s local

With her writing variously described

gymnastics sprung out at them. Coming-of-age thriller The Gymnasts

“People are incredibly interested in

The show has an interesting coproduction model, having been financed by Paramount+ for territories including

centers on a team of elite teenage

Italy, France, Canada, South Korea,

athletes as they compete at an

Australia and Latin America, along with

scope, he believes it will prove popular

as “immaculate and sensual”,

international tournament high up in the

public broadcasters Rai and ZDFneo,

with international audiences thanks

“outstanding” and “engaging” by the

snowy, atmospheric Italian mountains.

who take second window.

to its high production value and

program bosses behind As Long As

So far so good, but as tensions and

“The SVoDs have been great on

performances. “You’re going to see a

We Live’s order, Briem has penned a

obsessions begin to escalate within

YA but traditional broadcasters have

Seville that you would never see if you

script that describes the condition

a team desperate for victory, a

been caught on the backfoot, so it’s

visited like a tourist,” he says.

of Beta, a former pop queen who is

competitor suddenly dies, and the

great that we’ve managed this funding

now struggling in a stale marriage and

police suspect murder.

model,” says Driscoll.

However, Corral adds that while pre-sales are important, he will be most

longing for the thrills of her previous life.

focused on finding an international

Unhappily married, she and husband

Spender (Palio, SanPa: Sins of the

in numerous territories, All3 is mainly

partner that he believes compliments

Thomas (Wallström) are introduced

Savior) and the writing team includes

targeting the U.S., Scandinavia and

Movistar Plus+’s creative ambitions.

to dangerous sexually-charged games

Chiara Barzini (Arianna), Ilaria Bernardini

Iberia, with buyers set to be shown the

“We want to do business with

when a young man enters their home.

and Ludovica Rampoldi (Exterior Night,

first two episodes at Mipcom.

people who share the same vision

Though their relationship is rekindled, it

The Traitor, Gomorrah), the author of the

and understand what we are trying to

is placed under great strain.

novel from which the show is adapted.

achieve—that’s the most important

Eccho Rights’ recently retired

The Gymnasts’ director is Cosima

The thriller comes just a few months

thing,” he says, citing HBO, Canal+, Arte

Managing Partner Nicola Söderlund has

after a translated version of the book

and Sky as ambitious companies that

taken to calling the genre Briem has

is due to be released in the UK and this

make “high-quality” television.

created ‘Nordic Love’, as companies in

will no doubt help drum up interest.

“Business is important, but I’d rather

the region try to shake off the ‘Nordic

Stephen Driscoll, All3Media

As Paramount+ already holds rights

Given its co-production model, Driscoll believes the show will work equally well on a linear broadcaster, SVoD platform or pay-TV network. All3 is set for a busy Mipcom and is also taking high-end Emily Bluntstarring Hugo Blick Western The English

make less money and be in the right

Noir’ association that has both helped

International EVP, EMEA, compares the

and psychological adventure reality The

place than make more money and not

and hindered shows launched over the

tone of The Gymnasts to popular young

Unknown to the Croisette. —MG

be in the right place,” he adds. “If you’re

past decade.

in the right place, then your show is

Barth explains Söderlund was

going to be treated in a different way.

referring to the liberal and straight-

It’s going to get more love.”

talking sensibilities of Scandinavian

Movistar Internacional Plus+ GM

broadcasters and streamers that mean

Maria Valenzuela adds that the Spanish

the show is quite unlike romantic or

company’s growing reputation as a high-

relationship stories available from other

end content creator will help aid sales.

parts of Europe and the U.S.

“Six years ago, people did not have

“Anita’s script asks what drives us to

the storyline references they do now

make the choices we make,” he adds.

from us,” she says. “It’s been a beautiful

“Martin caught that when he met her.

trip and now it’s easy to communicate

This is her story and it’s from a place of

what we’re doing.” —ZN

self-reflection, looking at gender roles

38

D E A D L I N E .CO M

The Gymnasts

AL L3M E D I A

help her son, Lola befriends Maru, another mother of a different social class, whose situation is similar to her own.



marriage of real-life circus impresario

considerable buzz back home

Angel Cristo, a flamboyant figure who

where a teaser was released in early

lived life in the fast lane, and his second

September. A launch date has yet to be

wife Bárbara Rey, a former Miss Spain

set, with the shoot only just wrapping

who went on to carve a career as a

in the middle of last month.

popular film and TV actress. Their showy lifestyle and turbulent

Dark Hearts

“We are very pleased with the expectation it sparked. It’s a true story,

relationship regularly made it onto the

related to the recent culture of our

pages of the local Spanish tabloid papers

country, and we’re extremely lucky

throughout their eight-year marriage,

to feature two of the most important

which spanned most of the 1980s.

actors in Spain,” says Écija.

The eight-episode drama packs star

—Melanie Goodfellow

power with Money Heist cast members “There are lots of shows about elite

Jaime Lorente and Belén Cuesta in the

The Swarm

titular lead roles.

ZDF Studios/Beta

Newen Connect

units operating in the field, but this is

Length: 5 x 52’

the first time there has been a series

Producer: Mandarin Télévision

specifically about French Special

Mediawan subsidiary Good Mood—

Producers: Schwarm TV Productions

Action-thriller Dark Hearts follows

Forces,” she says. “They have a more

whose credits include supernatural

(JV of Intaglio Film & ndF International

the exploits of French Special Forces

immersive approach, which connects

crime drama Estoy Vivo—is the creator

Production), Bravado (co-producer), in

deployed to Iraq on the eve of the

them to the local people. There’s also

and showrunner on the drama, which

association with Viola Film

2016 Battle of Mosul, in which Iraqi

the fact that Ziad understands both

has been commissioned by the

Two German distributors are headed

government troops and Kurdish fighters

French and Arab culture.”

production arm of Spanish media group

to Cannes with one major European

Atresmedia for Antena 3. Écija also

drama project: Indie vendor Beta and

Daniel Écija at Madrid-based

Length: 8 x 45’

supported by an international coalition

Prior to the shoot in Morocco, the

took back control of the city from the

cast spent a week living with a Special

takes executive producer credits on the

ZDF Studios, part of public broadcaster

Islamic State.

Forces unit and Connell says this

show alongside Montse Garcia, head

ZDF, have pooled resources on The

“anchors” the show in reality. “You can

of fiction at Atresmedia Studios. David

Swarm, the first project from Game

leader of an elite French commando

Nicolas Duvauchelle stars as the

see a tremendous amount of research

Molina Encinas (Paradise, Paco’s Men,

of Thrones executive producer and

unit who captures a high-ranking jihadi

has been done,” she adds.

Estoy Vivo) and Manu Gomez (Once

director Frank Doelger and his Intaglio

Upon A Time In Euskadi) co-direct.

Film, which is co-producing with Eric

in the build-up to the campaign. The latter cuts a deal offering

The show marks the first collaboration between Prime Video

Écija says the initial idea had been to

Welbers’ ndF International via a joint

intelligence in return for the safe

and state French broadcaster France

focus on Cristo, until a close associate

venture, Schwarm TV. (Intaglio itself is a

passage of his daughter and grandson.

Télévisions.

of the circus owner highlighted the

JV between Beta and ZDF Studios.)

The catch is that her location is

Under this structure, the platform

importance of Rey in his life. “An

Doelger created the English-language

unknown, leading to a dangerous

will launch in France as well as Belgium,

assistant director brought us a lot of

eco-thriller series with Oscar-

reconnaissance and extraction mission

Switzerland and Luxembourg later

documentation on Ángel Cristo and we

nominated producer Mark Huffam (The

with an open-ended conclusion that

this year and France Télévisions will

soon discovered how fascinating his

Martian, Saving Private Ryan) and Ute

leaves the door open for more seasons

premiere nine months later in France.

life was. We started to work and having

Leonhardt (Killing Eve). It stars Cecile

of the show.

Newen Connect is handling world

talked to his close friend, Payasito, we

de France, Alexander Karim and Leonie

rights excluding France and is also selling

realized that Bárbara Rey was also an

Benesch, is directed by Barbara Eder,

whose credits include The Bureau,

the second window in French-speaking

extraordinary character in the story.”

Luke Watson and Philipp Stolzl and is

co-created the six-part drama, which is

Belgium and Switzerland after the

lead-produced by Paris-based Mandarin

Amazon launch but has not revealed the

Marbella, the producers were convinced

Television, a subsidiary of Eric and

window duration for those territories.

they needed to show both characters.

Dang Thai Duong and Corinne Garfin,

Nicolas Altmayer’s cinema-focused

After traveling to meet Rey in

based on Frank Schätzing’s book. A host of overseas broadcasters and streamers have already snapped

Connell believes the show has broad

Cristo was not high profile outside

worldwide appeal but deals out of the UK

of Spain, although he was well known

producers but Oliver Bachert, Beta’s

Lebanese filmmaker Ziad Doueiri

and the U.S. are high on the priority list.

in France where he travelled with

Chief Distribution Officer, says this

directs. He began his career in feature

Ahead of Mipcom, recent Newen

his show, but Écija still believes the

won’t impact the editorial: “There’s a

company Mandarin.

up local rights as pre-buying co-

film with award-winning, Arab-language

hire Phil Sequeira was due to shop Dark

Spanish-language drama has strong

big advantage here, in fact: we have

classics such as West Beirut and The

Hearts in New York and LA and, heading

international potential.

preset IP, not an original storyline for TV,

Insult and has successfully branched

into the market, Connell expects to

into serialized drama in recent years,

have one episode available in English for

violence, sex, drugs, and the king of

with credits including Canal+’s Baron

buyers. —Melanie Goodfellow

Spain,” he says. “I really think it has

Noir and Arte’s Inhuman Resources.

“Cristo y Rey is a story about love,

and Frank as the key showrunner with a creative vision everyone supports.” The story begins with a series of

the perfect ingredients to travel. We

strange happenings around the world’s

Cristo y Rey

hope it will resonate with Lat-Am

various oceans that culminate in a

at Newen Connect, suggests the

Mediawan/All3Media

audiences and those who are close to

species of ice worms emerging from

combination of Doueiri’s sensitivity

Length: 8 x 52’

our understanding of the story, but the

the sea. The United Nations decides

to Arab culture and the different

Producer: Good Mood for Atresmedia

series has the intention of reaching an

to make a preemptive strike against

operational style of France’s Special

Studios

international audience.”

whatever is conducting the occurrences

Forces makes for a fresh take.

Spanish drama Cristo y Rey explores the

Leona Connell, EVP of Distribution

40

D E A D L I N E .CO M

The show is already generating

deep in the water, though scientists

M AN DAR IN

Dark Hearts


Q{¤­ I1 BY KARIN FAHLÉN

MARKET PREMIERE

MIPCOM LINE-UP 2022

MUNICH ’72 BY ROMAN SHUMUNOV

MARKET PREMIERE

Drama Mini-Series, 6 × 45 min.

THE NIGHT Usɺ ³1¤­U{s BY BETTINA OBERLI

IN POST-PRODUCTION

Documentary, Political Drama 6HULHV ΂ ΂ PLQ PLQ

MELCHIOR – THE APOTHECARY BY ELMO NÜGANEN

IN POST-PRODUCTION

Family Drama Mini-Series, 6 × 45 min.

Medieval Crime 0LQL 6HULHV PLQ RU PLQ

ÉU¤U­ ³¤ ­ Ʌɚ ɀ


the gangster thriller to, in what looks set

Colin From Accounts

non-American dialect seem to work but

to appeal to a wide range of buyers.

Paramount Global

we felt like Australia didn't have that.

Length: 8 x 30’

The nation didn’t have a piece that was

McShane as lead Ezra Shipman for

Producers: CBS Studios and Easy Tiger

hitting a global market.”

the show, which is inspired by John

Svelte romcom Colin From Accounts

Ibrahim’s bestselling autobiography

arrives at Mipcom with the aim of

Accounts has left her feeling “blessed

about how the author rose from being

offering a new slice of Aussie life.

and humbled”.

a poverty-stricken immigrant with no

Produced by CBS Studios in

Tim Roth recently replaced Ian

Last King of the Cross

“We’re always focused on quality and name alone doesn’t sell a show, but Frank Doelger gives us the whole package

“We didn’t know if this would work,

education to Australia’s most infamous

association with Easy Tiger Productions,

but we thought we’d give it a go. There

nightclub mogul. Kieran Darcy-Smith is

the show follows Ashley and Gordon,

are more sales coming and we’re just

writer/director and Mark Fennessy is

two single(ish), complex people who

pinching ourselves because we truly

producer for Helium Pictures.

are brought together by a nipple flash

made something that makes us laugh.”

Last King of the Cross starts with believe it is a suicide mission.

Dyer said the response to ColinFrom

and a wounded dog.

Directors are Matt Moore and

the arrival in Australia of two Lebanese

The series was created by and

Madeleine Dyer with Trent O’Donnell,

teenagers, John (Lincoln Younes) and

stars Patrick Brammall (No Activity)

Alison Hurbert-Burns and Brian Walsh

Sam (Claude Jabbour).

and Harriet Dyer (Wakefield), and

serving as exec producers.

They quickly enter an underworld

received funding from Screen Australia

Paramount is hoping for a busy

and we’ve been stunned by what we’ve

and make a name for themselves as the

and Screen NSW. The real-life couple

Mipcom and is also taking Rian

received so far,” says ZDF Studios Vice

cocaine wave hits Sydney’s Kings Cross

portrayed may have writing credits on

Johnson’s TV debut Poker Face starring

President of Drama Robert Franke.

nightclub scene, spinning the region

the show, but the real inspiration came

Natasha Lyonne, Adrien Brody and

ZDF Studios and Beta are jointly

into chaos. The brothers are forced to

from a blindspot they identified within

Chloe Sevigny, which launches on

distributing the show and have each

battle the reigning King of the Cross,

the Australian TV industry.

Peacock next year, along with the Max

taken on specific territories. Buyers

Shipman, played by Academy Award-

have been tracking the slowly-

nominee Roth, along with motorcycle

that brings two people together,”

gestating show’s progress since its

gangs and corrupt police, for control of

says Dyer, who is also exec producing

Gray

announcement in 2019, so a slew of

Kings Cross.

the project. “[It’s] a sort of romantic

Lionsgate

comedy set up because Australia has

Length: 8 x 60’

zero romcoms.

Producers: AGC Television, Lionsgate

deals are likely to follow soon. Both

James Durie, Cineflix Rights Head of

sides are working to maximize revenues

Scripted, says the show’s global selling

and have unified their marketing efforts

points include being “epic in scope and

at Mipcom, but they have been careful

operatic in tone”.

“I had this idea about an accident

“We sat and thought about it more and found that Australia is really good

Thieriot-starring Fire Country. —ZN

Television With Killing Eve having completed its

not to work anti-competitively.

“There are so many elements that

at drama, it’s pretty good at workplace

final mission, buyers will be eager to see

“On a production level, the

make it an incredibly rich story,” he adds.

stuff, but we just don't have a romcom

what the world of espionage might bring

partnership is about scale and

“From the brilliantly diverse characters

culture. It makes us excited to create

them next. Lionsgate is hoping Gray will

translating that to international sales,”

to the thrilling and multi-layered

something of that ilk.”

be the answer as it brings the project to

adds Bachert.

plotline, to the period its set in and the

“It’s hands down the biggest package

Paramount Global Content

Cannes for the first time.

world... Kings Cross, a character in itself,

Distribution is distributing the series

we’ve been involved in,” says Franke.

is barely half a mile long but has every

outside Australia and New Zealand, and

originated the project, is handling U.S.

“Buyers can expect a thrilling drama

form of criminality on offer.”

Dyer says the response from the global

distribution, represented by CAA, in

market has been incredibly positive,

tandem with co-financier Lionsgate.

show that keeps you on your toes. It’s

Durie lists a plethora of other

Producer AGC Television, which

wrapped in a topical theme—climate

intriguing themes that will catch buyers’

with some international sales already

change and the global ecosystem

eyes, including the ‘rags to riches’

lined up.

in danger—but this approaches it in

nature of the tale, being a “classical

an entertaining way that uses genre

crime story of gangs” and the bringing

international in the world right

Orange is the New Black and the Power

to make concepts about complex

together of “crooked cops and a broken

now. Shows like Fleabag and Derry

companion series and AGC behind

interconnected ecosystems digestible.”

justice system.”

Girls made such a splash. All these

Epix’s War of the Worlds and Australian

idiosyncratic pieces that belong to a

drama Troppo among others.

—JW

Cineflix is already pitching the script

She adds, “Everything is so

The drama represents a highquality coming together of partners, with Lionsgate known for the likes of

in certain key territories and “exciting Cineflix

deals” will be unveiled soon, adds Durie. He believes the show, which “takes

Length: 10 x 60’

risks and is realistic in its depiction

Producer: Helium Pictures

of gangster life”, would work best on

Paramount+ has made much of its

an SVoD or pay-TV platform, as it is

international prowess and this buzzy

bingeable and could be converted into

Australian drama is testament to what the

a franchise.

streamer is trying to do outside the U.S., with some serious star power to boot. While landing on Paramount+

It fits neatly alongside a bulging Cineflix scripted catalog that includes the BritBox /ITVX adaptation of Irvine

Australia soon, distributor Cineflix

Welsh’s Crime, Apple TV+ hit Tehran

Rights has the rest of the world to pitch

and CBC’s Coroner. —MG

42

D E A D L I N E .CO M

Colin From Accounts

C IN E FL IX; PAR AM O U N T

Last King of the Cross


Explore French TV programmes in all their diversity during MIPCOM Come meet over 40 French TV content distributors at the Unifrance stand: R7.E2 Check out our MIPCOM dedicated Screening Room on screeningroom.unifrance.org

With the support of:


They’ll be selling the drama series

Blowing LA was commissioned out

starring Emmy winner and Oscar

of Paramount+’s UK office, with British

nominee Patricia Clarkson (The Station

outfit Fulwell 73 (which counts James

Agent, Sharp Objects) as CIA spy

Corden as a co-owner), attached

Cornelia Gray, who comes in from the

to create as part of a wider push

cold when a mole in her former spy

into reality TV that also includes The

network is discovered, 20 years after

Kardashians for Disney+. “Buyers know

she escaped from captivity when her

they’re in a safe pair of production

peers wrongly accused her of a crime.

hands,” says Tang.

It’s a Sin breakout Lydia West, who

The show, which also launches Fifth

replaced Game of Thrones actress Gray

formats, has several key beats: jeopardy

clashes, and Rupert Everett (My Best Friend’s Wedding, My Policeman) will

and drama between the stylists, big M6’s Le Plus Grand Karaoké de

Banijay is targeting Europe and Latin

reveals of high-end beauty makeovers

also star as part of what Lionsgate

France starts with a whopping 6,000

America in particular, with versions

and sweeping drone shots of sunny

President of International Television and

contestants, each of whom belt out a

of Your Face Sounds Familiar and All

LA adding glamor. “It’s the escapism

Digital Distribution Agapy Kapouranis

song at the same time, leading to some

Together Now (Canta Comigo) working

everyone is currently seeking,” says Tang.

calls a “diverse and fantastic cast of

amusing moments.

well in the latter, and Townley believes

likeable characters”. Wendy Crewson (Pretty Hard Cases),

Only 1,000 will be equipped with

Buyers concerned the show is

the format could work on both linear

all drama and no heart shouldn’t

headsets and microphones and this is

broadcasters and streamers, serving the

worry either, she says. “Against this

Shawn Doyle (Star Trek: Discovery), Tim

where it gets interesting, as behind-

latter’s desire for entertainment content.

competitive backdrop, there’s a lovely

Rozon (Wynonna Earp), Jamaal Grant

the-scenes experts judge the budding

(Chucky) and Benjamin Sutherland (Billy

singers’ ability over four rounds.

the Kid) are among that set, with John

The stakes get higher throughout,

The distributor is also pushing Dutch

element of comradery between the

balloon format Blow Up and ITV’s Stars

cast. They are competitors, but they are

in Their Eyes-style Starstruck.

friends and peers, too.” She also notes

McLaughlin (Black Swan) writing, based

with finalists performing a duet on stage

On the scripted side, hopes are

on an idea from author David Baldacci.

with a music star before one contestant

high for Canal+’s Marie Antoinette,

significant roles, giving the content a

is named the best karaoke singer.

Steven Knight’s British SAS drama

“very warm, watchable and real angle”.

Tonally, Lionsgate is positioning Gray as a “cat and mouse” format, with anti-

Filmed by producer DMLS TV in

hero and murder mystery undertones.

France’s prestigious Roman Theatre

Kapouranis adds it is “not as severe as

of Orange, Le Plus Grand Karaoké de

traditional espionage; this is more fast-

France recently debuted and won the

Blowing LA

two salons are iconic and the celebrity

paced, almost like a Killing Eve.”

slot for 25-49 year olds, becoming M6’s

Fifth Season (Formerly Endeavor

clientele is on tap, but we could totally

Herbert L. Kloiber’s Night Train

third best music entertainment show

Content)

envision Blowing London, Blowing Sydney

Media was unveiled as a distribution

since January 2018 behind The Secret

Length 8 x 60’

and Blowing Dubai down the line.”

partner earlier this year, but Deadline

Song and Mystery Duets, according to

Producers: Fulwell 73 in association

understands it has since stepped back.

Banijay Rights.

with Fifth Season

part of Fifth Season’s first slate since

Blowing LA is part of the resurgence

rebranding from Endeavor Content last

Production is now close to wrapping

The distributor has worldwide

Rogue Heroes and Australia’s Bali 2002,

Vo and Gibson’s real-life partners play

amongst others. —MG

To boot, Tang says the concept is “very international,” adding: “LA is an obvious first choice because these

The show will be sold in Cannes as

in Toronto and, as a result, Kapouranis

rights outside of France and the show

in interest in glossy reality TV typified

month. That followed South Korean firm

says Mipcom comes just too soon for

is one of its flagship Mipcom titles,

by shows such as Selling Sunset.

CJ ENM acquiring 80% of Endeavor’s

a pilot episode to be available, though

with Banijay’s Global Head of Content

“Aspirational, glamorous and fun, with

scripted business for $775 million. —JW

she expects to have a sizzle. However,

Development James Townley saying it

incredible talent in front of and behind

she says it will be “front and center in

takes advantage of the renaissance for

the camera,” is how Liz Tang, Executive

Now What

Cannes this year”.

uplifting entertainment as audiences

Director of Acquisitions at distributor

Warner Bros. International

seek upbeat shows, and buyers strive

Fifth Season, describes the concept.

Length: 90 x 10’

“It’s going to be a premium, starstudded show,” she adds. “You want escapism that keeps you on the edge of your seat.” —JW

FORMATS

to attract broad, co-viewing audiences. “Le Plus Grand Karaoké de France

The show follows the professional

Producer: Warner Bros. International

and personal lives of Ted Gibson

Television Production Belgium

taps into this trend as it is fun, high-

and Kim Vo, two of LA’s best-known

Now What is social experiment TV for

energy, and sees audience members get

celebrity hairdressers. Their businesses

Gen-Z. Aimed at young adult audiences

on their feet and belt out songs beloved

thrive on styling the stars, where they

who’ve completely turned their

by the nation,” he says. “The sheer

can charge up to $2,500 per cut. Each

backs on linear television, the show’s

Le Plus Grand Karaoké de France

number of those joining together to sing

of their stores comes with a cast of

unusual format is “a trojan horse for

creates a unifying atmosphere, which we

colorful characters adding value.

getting those people on to streaming

Banijay Rights

certainly missed during the lockdowns.”

platforms at a very appealing

as it looks at two of California’s hottest

price”, says Ed Levan, Warner Bros.

Producer: DMLS TV

and family-friendly” approach, Townley

rival salons—both home to the top

International Television Production’s

In these difficult times, fun, playalong

believes the format has international

stylists in LA—and they are very much

Vice President of Creative, Format

formats are all the rave and Banijay

potential and can easily be adapted to a

aware of one another,” says Tang. “The

Development and Production.

Rights has tapped into the zeitgeist with

particular territory’s needs by choosing

rivalry is fierce and the desire to be on

this French event series.

locally relevant songs and presenters.

top is even fiercer.”

Length: 2 x 120’

44

D E A D L I N E .CO M

With its “warm tone, high energy

“The show is naturally full of jeopardy

The concept is simple enough: seven people aged 18-22 will move in

LI O N SG AT E

Nathalie Emmanuel due to scheduling

Season’s push into luxury lifestyle


E X C I T I N G B O L D F O R M AT S

OPEN HOUSE: T H E G R E AT S E X EXPERIMENT

SEND NUDES: B O DY S O S

LOV E I N THE FLESH

S T I TC H , PLEASE!

V I S I T U S AT M I P C O M S TA N D P 4 . C 1 8


As with the best reality shows, Exchange is part entertainment, part

of The Mole and social experiment

social experiment, posing questions

isolationism of a Bear Grylls show and

to contestants and the public over

packages them up in a high-octane

whether they will find new love

challenge to win $100,000 by surviving

amongst old flames or reunite with

36 hours in the wild.

ex-partners. “Exchange is unique in its story and

In the USA Network format, four contestants are dropped in the middle

how it is told,” says CJ ENM Head of

of a Central American jungle, where

Format Sales Diane Min. “There have

they must face a series of gruelling and

been dating shows where ex-couples

mindtwisting challenges, while trying to

meet but this is the first that tells the

figure out which of them is the saboteur

story by hiding who the ex-couples are.”

trying to undermine them every step of

It is this uniqueness, believes Min,

the way. ‘The Snake’ will attempt to hide

together for three months. However,

base on TV and binge-watching

unlike Big Brother and other reality

younger viewers online. “This made

that has piqued global buyers’ interest

their identity to win the cash, but each

series set in similar precincts, the

us think there must be something

since launch and already led to a

successful game provides the players

characters are free to come and go as

we could do for 20-somethings,”

number of deals being closed.

with a clue to who the cheater is—if

they choose, with cameras following

says De Baerdemaeker. After initial

them on the streets and in their

development of a scripted series

an as-yet-unannounced U.S. studio

The games include retrieving game

lives away from the group. Only the

format was dropped, the producers

and is being developed in another 15

pieces suspended on high wires over

communal living spaces will be rigged.

turned their attention to a reality

countries as part of a deal struck with

a 500 ft canyon as well as scaling cliff

format and Now What (previously

Banijay, including the Nordics, Spain,

faces and solving puzzles.

Eighteen+) emerged.

Portugal, Germany, and Australia. It

Furthermore, there is no competition element or prizes. Instead, personal stories create the narrative

Levan says WBITVP will be targeting

The show is in development with

they’re not caught, they bag the cash.

Ana Langenberg, Senior Vice

is therefore one of the more mature

President of Format Distribution and

formats traveling to Cannes.

Production at distributor NBCUniversal

and the jeopardy necessary to hook

format sales to all streaming platforms,

the audience, whether they involve

convinced the unusual format will

achieving a career goal or relationships

provide a key USP. “If you have a hit—

which Exchange fits within the bulging

action-packed and fast-paced, and

with outsiders.

and I believe this will be a hit—people

CJ ENM catalog.

not for the faint-hearted,” challenging

In Belgium, the series goes into

will find space for it on their platforms,”

Min is also pleased with the way in

While this catalog is replete with

Formats, says the show is “intense,

viewers to find The Snake for

production in late September, with

he says. “It’s a program budget sliced

singing and dancing formats, in which

themselves. Each episode provides a

10-minute episodes releasing daily on

in 90 ways rather than nine. We have

Korea specializes, it is rare for CJ to

quick introduction to the contestants

broadcaster SBS’s GoPlay streaming

to show streamers what this can do.”

push a dating format and Min partly

before the action immediately takes

platform for the following three

—JW

credits this expansion with the show’s

hold. “The obvious thing that sets

early success in the market.

this apart from other espionage and

months. The shows will lag about a week behind the actual date, providing

Exchange

a sense of familiarity and immediacy and

CJ ENM

on OTT platforms, as this gifts producers

conclusion. There’s a pay-off for the

creating what Tom De Baerdemaeker,

Length: 15 x 60’

the flexibility to play around with episode

viewers. This element of deceit is one

Managing Director, WBITVP Belgium,

Producer: CJ ENM

length, duration and how much they

that is fascinating.”

calls a “feedback loop”.

South Korea pumps out formats faster

decide to include from the edit.

than Squid Game kills off competitors,

Elsewhere at Mipcom, CJ is

“This is daily appointment TV on

She believes Exchange will work best

mystery formats is there is an episodic

Langenberg says the competitors need to be “adventurous, up for a

a non-linear platform, which is new,”

and this year’s Mipcom haul is no

shopping My Boyfriend is Better, a

challenge, and physical,” but notes

adds co-creator De Baerdemaeker.

exception. The nation that brought

singing contest with a twist which is

there’s no survivalist element, and that

“Co-habiting is very big for this

the world the now globally-recognized

the latest format from Masked Singer

the format works better if there isn’t

generation, as it’s too expensive to live

Masked Singer and I Can See Your

creator Park Won-woo.

a male skew. “It can also lend itself to

alone, and the only thing the characters

Voice will have a strong presence

get from us is accommodation. All

in Cannes this year, with CJ ENM’s

girlfriends who want to show off their

other expenses are their own, so they

Exchange leading the charge.

boyfriend’s singing skills, placing bets

new launch in two years, according

to see who is the best singer. —MG

to Langenberg, whose company

continue to live their lives. It’s very far from Big Brother.” De Baerdemaeker and Belgian indie Authentic Fiction developed the format through a scripted show,

The 15-part show from Lee

My Boyfriend is Better follows five

Jin-ju aired last year on the Korean

celebrity episodes,” she adds. The show was USA Network’s biggest

NBCUniversal developed the format

broadcaster and is already attracting

Snake in the Grass

alongside Naked & Afraid producer

serious global attention.

NBCUniversal Formats

Renegade 83, which worked up the

Length: 6 x 60’

initial idea.

Reminiscent of Big Brother but

Thirtysomethings, which they created

with a juicy twist, eight men and

Producer: Renegade 83

together for public broadcaster VRT.

women with their own stories gather

Espionage-themed reality shows are all

cameras for certain games, with roving

While it had been created for linear

in a house to reunite with past lovers.

the rage in global unscripted TV right

cameras following the contestants

broadcast at 24 episodes, VRT chose

Without revealing who their ex is, the

now and NBCUniversal Formats brings

around the vast jungle area. USA’s

to put it all online and carved out

contestants spend their days taking

another twist on the genre to Cannes

show has been produced out of a hub

two distinctive audiences: what De

part in challenges, while hosts keep an

this year. Snake in the Grass takes

two hours from where the action takes

Baerdemaeker calls an older “soap”

eye on them from the studio.

the athleticism and action of Ninja

place in more luscious scenery. Cost-

46

D E A D L I N E .CO M

Structurally, the format uses fixed-rig

F IFT H S E ASO N

Blowing LA

Warrior, the underhanded scheming



for their lavish lifestyle in the Golden

even launched a promo last month to

State, are now turning their heads to

whet buyers’ appetites in advance of

a new UK-based, luxury space-meets-

the market.

competition program. Selling Super Prime is a six-part series in which PK and his wife team up with

the kind of show that she would pre-sell

Rokstone estate agent owner Becky

too much ahead of time.

Fatemi to open a London-based real

Snake in the Grass

Olsen is holding out to sell the series on the Croisette, noting that this isn’t

“People will want to see what it is

estate agency. The trio will mentor eight

first and now that we’re in production,

wannabe brokers, who will compete

we can talk about the fact that it’s

against each other to juggle clients,

happening, and we can talk about the

utilize sales tactics and make deals in the

characters and talk about them as a

world of multi-million pound property.

driving force,” she says. “This is so new

Dorit Kemsley, who is known on

and it’s coming up in a time where there

wise, Langenberg describes Snake in

and we know that he is someone who

the Grass as “not ridiculously expensive

generates a lot of media attention,” she

RHOBH for her bold and, at times,

seems to be this bubble of property

but also not cheap”.

says. “There are so many perceptions

outlandish fashion sense, will style

shows in the ether.” —Diana Lodderhose

about Musk: Is he a tech genius? A self-

the brokers while PK will train them

for NBCUniversal in Cannes, with

important provocateur? An internet

to handle some of the most exclusive

Langenberg’s team already fielding

pioneer? This film delves into who the

properties in the UK.

several offers and many more buyers

real Elon Musk is and will encourage

reaching out to learn more. —JW

viewers to make up their own mind

space having built a $2 billion empire

Length: 2 x 60’ (1 x 90’ feature also

about the billionaire.”

between 1995 and 2009, which

available)

spanned more than 750 buildings

Producer: BriteSpark Films

and thinks the indie’s involvement will

including The Ned Hotel and the

Following on from the global success of

The Elon Musk Show

be a boon when shopping the show to

Burberry Building in London.

the Michael Jackson docuseries Leaving

Fremantle

potential buyers.

DOCS

Neillis is full of praise for 72 Films

PK is no stranger to the property

“This is absolute escapism,” says

Porn King: The Rise & Fall of Ron Jeremy Abacus Media Rights

Neverland and the acclaim of political

Over the past few years, the

Cecile Olsen, ITV Studios’ SVP of Global

doc Four Hours at the Capitol, Abacus

Producer: 72 Films

company has nursed a reputation

Content, Non-Scripted. “It’s aspirational

Media Rights is bringing a new two-part

Barely a week goes by without Elon Musk

for producing thoughtful and award-

television viewing at its very best with a

documentary series on the life, career

dominating the world’s media coverage.

winning documentaries such as BBC’s

sprinkling of Hollywood.”

and alleged misdemeanors of infamous

Length: 3 x 60’

The world’s richest man continues to intrigue the public and with The Elon Musk Show, 72 Films, the prolific

Rise of the Murdoch Dynasty and A Dangerous Dynasty: House of Assad. “Few producers make documentaries

London and Cardiff-based indie South Shore, the company behind non-scripted

porn star Ron Jeremy to Mipcom. Titled Porn King: The Rise & Fall of

offerings such as Freddie Flintoff’s Field

Ron Jeremy, the docuseries charts

producer behind the likes of The Trump

that are as authoritative and compelling

of Dreams and Worst House on the

the life of Jeremy, a former leading

Show and Netflix’s Jimmy Savile: A Very

as 72, who are also known for bringing a

Street, is producing Selling Super Prime.

performer in the American porn

British Horror Story, has honed in on

bit of fun to their shows,” she says.

The series is exec produced by Melanie

industry who successfully crossed

Leach, Andrew Mackenzie and Caroline

over into the mainstream. Despite

this fascination. BAFTA Craft-winning

Fremantle holds worldwide rights and

Defending Digga D director Marian

has already struck an “armful of sales

Davies and is set to air on Channel 4 in

his diminutive frame, he became a

Mohamed is directing with A&E in the

across Europe and Asia”, with the U.S.

the UK next year.

porn icon who rubbed shoulders with

War Zone’s Jeremy Llewellyn Jones.

now the key focus, according to Neillis.

Fremantle is distributing the three-

She believes the show’s “journalistic

Given the recent boom of luxury

Hollywood stars and performed in over

property shows such as Selling Sunset,

2,500 films. In June 2020, however,

parter, which promises to “get to the

integrity and completely universal

Olsen is confident the project will sell

Jeremy was arrested in Los Angeles

heart of who Elon Musk really is”. It’s

targets” will make it work on either

“really well” in Mipcom. She’s keen

and charged with 35 counts of rape and

set to air on the BBC next year, telling

linear or streaming platforms, many of

to point out how different it is from a

sexual assault against 23 women.

the intimate story of his journey to

whom will be aware of 72’s reputation.

scripted reality show and notes “it’s

becoming the globe’s richest person... and one of its most controversial.

Fremantle is also shopping CTV drama

got all the ingredients for success”. ITV

As he awaits trial, the series digs deeper and reveals the inside story

Sullivan’s Crossing and BBC celebrity

of Jeremy’s time in the industry with

reality show Unbreakable in Cannes.

access to alleged victims, key players

—MG

and archive footage.

the Tesla founder’s time in Silicon Valley,

Selling Super Prime

of the shock doc space, looking at

analyzing key moments including, most

ITV Studios

the dark side of a dark industry,” says

recently, the botched Twitter buyout, a

Length: 6 x 60’

Jonathan Ford, Managing Director at

saga that the producers swiftly folded

Producer: South Shore

Abacus. “This is very much a story

into the documentary.

Fans of the Real Housewives of Beverly

about a man who has walked across

Hills are sure to be aware of British

the boundaries of his industry and

Scripted Content, is bullish about the

property tycoon Paul “PK” Kemsley

celebrity and become known as a major

show’s prospects globally.

and his wife—and main cast member—

Revealed exclusively by Deadline earlier this year, The Elon Musk Show uses extensive and unseen archive from

Angela Neillis, Fremantle’s SVP, Non-

“Elon Musk is undeniably fascinating,

48

D E A D L I N E .CO M

“Porn King falls into this category

Dorit. The duo, who are well-known

star: He’s appeared in everything from The Elon Musk Show

the Swedish Celebrity Big Brother to

N BCU N IVE RSAL; F RE E M AN T LE

The format will be a big focus


For all the latest happenings on the international film and television scene, Deadline is your source. From box office numbers, to television premieres, to renewals and festival coverage, and everything in between!

DEADLINE.COM


EVEN MORE OF THE HOT ONES So many great shows are heading to Mipcom this year that we thought it cruel to stop at 20. Below are even more of the best being pitched at the Croisette The Real Mo Farah

CHARLES: THE NEW KING (Beyond Rights) This timely doc series is being taken to Mipcom at an opportune moment

Hollywood films. And while you might

and then kept the shocking secret for

for Beyond Rights, with global buyers seeking shows about Britain’s recently

already think porn is a dark industry,

more than 30 years.

appointed King Charles III. The two-hour series is told through ITN Productions’

was going on.” Through Jeremy’s story, the doc also

“We immediately knew this would be

exclusive collection of royal archive footage, featuring interviews with those

the film to lead Red Bull Studios’ slate of

closest to the former Prince of Wales. It speaks to pivotal moments in his life that

feature documentaries and unscripted

have shaped him from infant to King. Charles became king after Queen Elizabeth

charts how the internet has transformed

series, which we will be rolling out

II’s death and her funeral has since become one of the biggest UK TV broadcasts

the porn industry from the Boogie Nights

throughout 2022 and into 2023,”

of all time, making now the perfect time to sell docs on the monarch.

era of the 1980s to the contemporary

says Red Bull Media House Head of

world of Pornhub and OnlyFans.

Partnerships and Commercial Strategy

CLAIM TO FAME (Red Arrow Studios International)

Sebastian Burkhardt.

ABC’s latest format asks intriguing questions about the nature of fame and

Abacus holds worldwide rights on the doc, which screened on Channel 4 in the

The show documents the traumatic

people’s curiosity. In Claim to Fame, from Kinetic Content, 12 ‘ordinary’ people with

UK in August and averaged 530,000 over

period when Farah, who spoke no

famous relatives are challenged to keep their identities a secret while exposing

two nights, with further viewing likely

English at the time, was forced into

others. They live together in a house, surrounded by hints and red herrings all over

added through streaming service All4.

domestic servitude before being

the place, giving the show a Big Brother feel with a twist. Guessing game shows are

Sales have already been struck in the

spotted for his incredible running talent.

all the rave at present and this one will no doubt spark intrigue after the success of

U.S., Canada, Israel and the Nordics and

He visits his family village in Somaliland,

the likes of This House and Rat in the Kitchen.

Abacus is next targeting key European

where he bravely interviews his mother

territories, Australia, New Zealand and

and twin brother.

FASTEST FINGER FIRST (Sony Pictures Television)

Latin America. “The deals we've done

Back in the UK, he meets several

Who Wants to be a Millionaire? has consistently proved a hit for British broadcaster

so far have been a good mix of linear

people who have kept his secret safe

ITV over two decades and the network has come up with a way to showcase in full

television, including some in the free

over the years, and returns to London’s

how contestants get to that hotseat. In Fastest Finger First, which is played at the

environment and SVoD platforms,” says

Somali community.

start of all Millionaire rounds but now turned into a separate show, contestants

Ford. —ZN

Producing the film delicately, and

face off in a general knowledge buzzer round. Whoever wins moves up the ladder,

keeping it a secret before broadcast,

ending in a head-to-head before winning the ultimate prize, a place on Who Wants

The Real Mo Farah

was objectively an incredible task, and

to be a Millionaire? Stellify Media’s show-within-a-show format will no doubt be

Red Bull Studios

Burkhardt notes only three people on

able to play off the success of its predecessor.

Length: 1 x 60’

his team knew of its content before it

Producers: Atomized Studios; Red Bull

aired in July. BBC commissioner Emma

KRAPOPOLIS (Fox Entertainment Global)

Studios

Loach was forced to sign an NDA to just

Fox’s return to the international distribution game will no doubt be the talk of

Most people will know the name Mo

hear Atomized Studios’ original pitch,

the market, with the new sales unit’s launch coming at Mipcom under MarVista

Farah, but virtually none will have heard

while Farah was talked through the

Entertainment boss Fernando Szew after three years out. Fox is bringing three

of Hussein Abdi Kahin. They are, in fact,

potential legal ramifications of admitting

shows to Cannes, with Jon Hamm’s Grimsburg and midseason comedy Animal

the same person, and this BBC and

his actions. Several contributors came

Control joining animated comedy Krapopolis, the latest big hitter from Rick and

Red Bull Studios documentary tells the

forwards late in production, meaning

Morty creator Dan Harmon. Krapopolis follows King Tyrannis, who is trying to build

extraordinary story of how that’s the case.

editing continued until just weeks

one of the first cities from scratch. Set in mythical ancient Greece, the show is

before it aired.

centered on a flawed family of humans, gods and monsters and will air next year.

Farah—among Britain’s finest ever long-distance runners, a knight of

The resulting show performed well

Certain to keep the Cannes crowd interested.

the realm and a multiple Olympic and

on BBC Two, taking 4.3 million (live +7),

World champion—will use the program

making it a top-five doc across all UK

THE NIGHT LOGAN WOKE UP (Studiocanal)

to reveal how he was trafficked to the

channels in the first half of the year. It

Xavier Dolan’s debut TV series sits somewhere in between psychological thriller

UK from Somaliland aged nine and

attracted a healthy 370,000 16 to 34s

and drama and will likely turn heads on the Croisette. Canal+’s show is set 30 years

forced into child labor, years before he

and currently has 7 million views overall.

after protagonist Mimi is raped by her best friend Logan, when she was just 14. She

became a beloved household name in

Red Bull has secured 36 deals in an

travels home to take care of her mother’s corpse and is sent on an unstoppable

the country. After escaping, he had applied for British citizenship under a false name

50

D E A D L I N E .CO M

initial batch of sales, meaning those

pursuit of reconciliation and truth. Dolan also stars, writes and produces this five-

interested at Mipcom should jump in

parter, which comes from Productions Nanoby for the French streamer.

quickly or risk missing out. —JW

RE D B U LL ST U D I OS

you learn about the further abuse that



FILM

A COMPOSER SHOWCASE OF ORIGINAL MUSIC FOR FILM

THURSDAY NOVEMBE R 10, 2022 LIVE IN-PERSON EVENT ROYCE HALL, UCLA LOS ANGELES

A musical showcase featuring composers and filmmakers from the year’s most celebrated films. This in-person event features a live 50-piece orchestra performing original tracks from the films, plus discussions with the composers and songwriters.

FOR MORE INFO VISIT:

S O UNDSC REENFILM.D E AD LINE .CO M


A Series of Exclusive Events Designed to Give AMPAS, BAFTA and Guild Members an Overview of This Year’s Awards Season Films N E W YO R K

LOS A N G E L E S

Saturday NOVEMBER 5, 2022

Saturday NOVEMBER 19, 2022

I N T E R N AT I O N A L

D O C U M E N TA RY

Saturday DECEMBER 3, 2022

Sunday DECEMBER 4, 2022

THE FINAL ROUND

THE NOMINEES

Saturday DECEMBER 10, 2022

Saturday FEBRUARY 18, 2023

FOR MORE INFO VISIT: CO N T E ND E R S F I L M . D E A D L I N E .CO M


Brand New Originals

Visit us at MIPCOM stand R7.F6 www.viaplaycontentdistribution.com