Mipcom 2016 news 4

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Thursday 20 October 2016

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PERSONALITY OF THE YEAR 3

Shonda Rhimes received the MIPCOM Personality Of The Year Award at a gala dinner in the Carlton hotel last night

MEDIA MASTERMIND 6

Showrunner Adi Hasak told MIPCOM delegates he is “the Uber driver” of the global TV business at his MIPCOM keynote

MIP CHINA HANGZHOU

11 MIP China Hangzhou was officially announced yesterday and the first company to sign up for the event was named

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TOGETHER TODAY TOMORROW

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IN PICTURES

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Shonda Rhimes and Reed MIDEM’s Paul Zilk

Personality Of The Year Friends, colleagues and industry luminaries gathered to honour MIPCOM Personality Of The Year Shonda Rhimes. Her company Shondaland’s new series The Catch was one of the MIPCOM World Premiere TV Screenings this week 267_ALL3_N3_COM

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What is MIPCOM speaking about?

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IN PICTURES

Aline Marrache (left) from Canal+, Zelda Stewart from Mediaset, and Marianne Behar and Pierre Langlais of the Association des Critiques de Series (A.C.S.)

Shondaland’s Betsy Beers (left) and Shonda Rhimes, Scandal star Tony Goldwyn and Mireille Enos star of The Catch

Disney’s Muriel Goor and Sven Van Lokeren of VRT

Francee Davine and Disney’s Howard Davine

Disney’s Ben Sherwood (left) and Bruce Rosenblum

Little Black Book Company’s Bunmi Akintonwa (left), EbonyLife TV’s Eunice Omole, Reed MIDEM’s Liliane Da Cruz and EbonyLife TV’s Mo Abudu

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Bunmi Akintonwa of Little Black Book (left), David Cornwall from Scorpion TV and Pact’s John McVay

Shondaland’s Betsy Beers (left), Janet Pyne and Disney’s Ben Pyne

Disney’s Ayo Davis (left), Amit Malhotra, Keli Lee, Kevin Brockman, Channing Dungey, Patrick Moran, The Catch actress Mireille Enos and Fox International’s Keertan Adyanthaya

Viacom’s Michael Armstrong (left), Sean Cohan of A&E Networks and Disney’s Morgan Hertzan

JMJ International Pictures’ Euzhan Palcy and Patrick Aglae

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NEWS PANEL: WISE UP TO MAKE CONTENT PAY Stan’s Mike Sneesby

THE INCREASING complexity of buying content was examined in depth at The Acquisitions Super Panel: Global Strategies in the Grand Auditorium yesterday afternoon. The overriding conclusion was that channels need to be smarter than ever to get the best out of shows.

“It’s not just about the shows you acquire, it’s about how you use them,” said Alexandra Finlay, head of acquisitions and co-production at UK-based pay-TV and free TV channel operator UKTV. “It’s also about the way you schedule and market them in order to punch through against the competition.”

This theme was echoed by Cathrine Wiernik, director of programmes at Bonnier Broadcasting, who described how the Sweden-based media giant carefully plots the journey of shows across its platforms to maximise their potential: “Take a show like The Night Manager, which was first given a short preview window on our pay-TV platform C-More,” she said. “The first four episodes were then stripped over four days on our free channel TV4 to build momentum and then the rest of the series was scheduled weekly on Thursday evenings. There was also catch-up on AVOD and the ability to see the entire series on C-More.”

Mike Sneesby, CEO of SVOD platform Stan in Australia, described how his company has done well with scripted originations like Wolf Creek, which it intersperses with acquisitions. “We aim to have a first run exclusive every 10 days. This has had a positive effect on converting our free 30-day triallists to paying subscribers, with around 75% of them deciding to stick with us.”

Zelda Stewart, head of acquisitions at Mediaset, Italy, is another who oversees a wide array of services. She said the company’s preference is to take all rights to shows so that it can assess the best way to exploit them. She admitted however that the pay back on SVOD rights is still often marginal.

All four buyers were presented with World Screen Trendsetter Awards after the session by World Screen group editorial director Anna Carugati-Guise.

Hasak returns with a guide to the art of creative disruption

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HREE years ago, showrunner Adi Hasak came to MIPCOM for the first time with a few good contacts and a decent drama script. This week he returns to Cannes as a MIPCOM Media Mastermind Keynote speaker with two US shows — NBC’s Shades Of Blue and USA Networks’ Eyewitness.

The transformation from wannabe writer to successful showrunner is, he told delegates, a reflection of the changes in the TV market.

“It’s a great time for creatives who get off on rejection,” he said. “But in reality, this is a small business. If you create material that speaks to buyers, and that you can walk into a room and defend, they will respond.”

Hasak’s disruptive approach to creative engagement also extends to his business approach. He dislikes the commercial terms offered to creators by US studios — so seeks to circumvent them: “I’m like the Uber of the TV business. What I do is not compatible with the way the studios operate.”

His ability to do this has been made possible by the growing importance of the international market. His second project, Eyewitness, was an NRK Norway format that he sold into USA Networks: “My approach is to start with international and sell into the US. That way you

Showrunner Adi Hasak

can create a deal that leaves enough skin in the game for both sides to be happy.”

His next project is progressing along similar lines to Eyewitness. “It’s a Finnish format called Black Widows that is like Desperate Housewives on acid. I’m also developing projects with Canal+ and Sony.”

The biggest challenge for any creative, he says, is cutting through. “My advice is to grab the audience by the throat in the first few minutes.”

THE IRISH deputy prime minister, Frances Fitzgerald (middle left), and the CEO of Enterprise Ireland, Julie Sinnamon (right), prepare to tour the Palais des Festivals with Reed MIDEM’s Paul Zilk and Laurine Garaude yesterday. The dignitaries were visiting the Irish Pavilion, which has been fostering Irish involvement at MIPCOM for almost 20 years. The visit was intended to “support the industry and the companies who are exhibiting, meet the market and position Ireland’s vibrant creative sector as an innovation and technological hub,” said Sinead Lonergan, Enterprise Ireland’s manager, France. Enterprise Ireland’s vision is that Ireland becomes known not only for its animation industry but becomes the “Hollywood of Europe”, renowned for its production support, technology and live-action production too.

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NEWS SESSION SPOTLIGHTS ARGENTINE TALENT

Instituto Nacional de Cine Y Artes Audiovisuals’ (INCAA) Ralph Haiek

ARGENTINA is open for business, the vice-president of the Instituto Nacional de Cine Y Artes Audiovisuals (INCAA) declared after a special event held at MIPCOM yesterday to highlight opportunities for international investors interested in Latin America.

Speaking to MIPCPOM News, INCAA vice-president Ralph Haiek said Argentine producers, writers and directors had moved with global trends and were offering an exciting range of TV-film hybrid dramas.

He said: “It’s happening worldwide that directors and writers and technicians are switching to TV because today each episode of a TV show is like a movie. It’s about storytelling, and to talk about TV or movies is like going back into the past; we’re encouraging the promotion of both.”

In a session arranged by INCAA and the Argentine Investment & Trade Promotion Agency, Haiek introduced a slate of new shows and pilots from Argentina and further afield in Latin America, from producers and directors seeking co-partnerships and investors to finalise the projects.

The packed audience was treated to previews of eight original shows and brief introductions from the writers, producers and directors behind them. The previews were followed by a networking event in which potential backers were invited to meet the shows’ creators.

Delegates seek reality check on monetising VR revolution

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“CONFUSED e cosyst em” ha s e m e r ge d i n t h e business of Virtual Reality production, leaving companies unsure about how to monetise the content and “who is going to win”, a leading VR producer has said.

Speaking at a packed session at MIPCOM yesterday, James Milward, president and executive producer of Canadian company Secret Location, said: “It’s still undefined right now; there’s confusion over who is taking the fees. In a sense everybody wants to be the etfli of V .

Also attending the session, Getting Real About VR: Where Is The Money?, Anthony Geffen, chief executive and executive producer of Atlantic Productions, said

Moderator Oliver Autumn (left); Atlantic Productions’ Anthony Geffen, Secret Location’s James Milward; and ARTE G.E.I.E’s Kay Meseberg

that for VR producers, sticking to the fundamentals of television should still be a key focus until a clear business model emerges.

He said: “We all have to go out and create really good, interesting VR. If producers keep doing that they will be masters of their own destiny. But I don’t think anybody should be forming long-term rela-

tionships at this point because the whole model keeps changing.”

Geffen pointed to Atlantic Productions’ work in installations such as museums as being a clear example of where VR has found its metier, and, he said, was providing comanies like his ith significant resources and intelligence into how viewers are responding.

Sykes shines a bright light on UHD PETER Sykes, strategic technology development manager, Sony Professional Solutions Europe, UK, revealed the eye-opening tech behind a bright future of high efinition broa casting at UHD: The Latest Developments in the Sony 4K Ultra HD Theatre on Wednesday.

Sykes said the future of television isn’t only pixels, but colour. Ultra HD offers four times the resolution of traditional HD displays and discussions have moved from pixels to high dynamic range (HDR) to engage with the differences in picture performance beyond resolution.

Sony Professional Solutions Europe’s Peter Sykes

“HDR is about luminescence levels and brightness and Ultra HD is a technology that can process a huge range of brightness — now matching the fantastic mechanism of the human eye — and this, in turn, means it can reproduce a much larger colour gamut

IN A NEW competition this year, producers attending MIPCOM were encouraged to pitch their ideas to a leading buyer — Red Arrow International’s Mike Timmermann (right). The twist: they had to do it startup-style, in the elevator of Cannes’ Le Cavendish hotel, in just 15 seconds; and via MIP Markets’ Instagram account, where you can still check out all the pitches.

Channel 20/Israel Hayom news anchor Lital Shemesh won with Last Chance To un a sho hich gives fiancees a last chance to change their min s before they get married. Her prize, a meeting with Timmermann in the Palais today, also gave her the opportunity to pitch a second idea, a talent show combining special technical elements and social media.

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and a near lifelike image.”

Advances in HD technology mean content creators are now offered brighter highlights, deeper blacks and richer colours, giving incredible amounts of scene detail.

“TVs and projectors that can handle the technology are now commercially available and post-production workflows are proven,” Sykes said, pointing to the latest Ultra HD content available through online streaming providers including ma on Vi eo an etfli .

“There has been a radical shift over the ast ear an the first live Ultra HD broadcast is imminent,” he added.

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NEWS Keeping the customer satisfied in a competitive OTT market

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IO e ecutives from streamers, cable and satellite o erators channels and content studios gathere in the Carlton hotel ester a morning for MIPCOM’ OTT an content istribution strateg summit s onsore b I M Clou Vi eo. fter an intro uction from I M Clou Vi eo’s vice resi ent of business evelo ment an strateg avi Mo re thought lea ers from com anies inclu ing ma-

on ionsgate Mo ern Times rou an esomeness TV le a i e ranging iscussion about the challenges an o ortunities of the ne me ia lan sca e. strong em hasis as lace on the im ortance of content ith ack avison irector of global tren s an insights at consultanc Vision sa ing: “There’s no ol er stor than using content to battle for our subscribers . avison resente ata hich sho e ho uickl the U ra-

ma market has gro n. rom to the number of original scri te series on U services rose from to . s eciall significant is the gro th in investment among online la ers such as etfli an ma on. or the first half of the backe ne sho s. or the same erio in this ouble to . im Packer resi ent orl i e TV an igital istribution at ionsgate share a stage ith esomenessTV chief igital office

ell a . Packer stresse the im ortance of istinctiveness getting the balance right bet een ac uire content an originals.

He sai eo le ante to kno “this is m service ou’re oing this for me . He also talke u the commercial and creative value of sho s that can get to four five or si seasons. “That’s going to be the bar but it’s getting har er he sai . a talke about the a that traitional TV has lost contact ith the outh au ience. “ roa cast left eo le age bet een an behin . e ante to buil a bran an content that s oke to them authenticall . he a e that multichannel net orks ere great for fin ing oung talent.

IBM Cloud Video’s David Mowrey

The scene at the Carlton Hotel

TV and the quest for Generation Z

YOUNG consumers born after the mid-Nineties look set to be the most influential grou of au iences on the future of TV content, accor ing to s eakers uring ester a ’s session calle tarmakers: Connecting en To TV. Organise b the etherlan s base oomin tu ios hich o erates uro ean multichannel net ork oomin.TV the session emonstrate h the global TV business shoul not ignore the eneration emogra hics.

Com rising an estimate . billion eo le orl i e en consumers re resent about of the global o ulation have never kno n life ithout the internet an “eat slee an breathe the kno le ge the access via smart hone hours

a a accor ing to ack e mark hea of oomin tu ios. n no oomin tu ios hich orks ith a net ork of entertainment talent and video ournalists orl i e is co ro ucing ith TV com anies that ant to ta into the en market. “ e’re oing something s ecificall TV as o ose to remaking hat is alrea online e mark sai .

This inclu es creating a sho centred on daredevil freeclimber ames ingston ith Me ico’s Televisa rou . ll or renaline mins follo s ingston traveling the orl to meet like min e eole ho love the thrill of living on the e ge.

or ic broa cast giant MT hich ac uire a ma orit stake in oomin tu ios last ear is also contributing to ll or renaline hich is currentl in re ro uction.

Cinema movie distributor Focus Features also commissioned branded content from oomin tu ios to ro uce a trailer to romote Holl oo blockbuster on on Has allen. It feature ingston ho as arreste in ubai in after climbing its secon tallest sk scra er ithout an safet gear oing some free climbing stunts on HM elfast the former o al av shi .

“It as esigne to get the same en au ience to see the film e mark a e .

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Zoomin Studios’ Zack Newmark

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MIPCOM witnesses strong industry interest in new MIP market in China

Xia Jingge: government support for the event

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IP China Hangzhou was officiall launche at MIPCOM ester a ith ignitaries from China an the announcement of the first com an to sign u for the event taking lace in the he iang rovincial ca ital in e en ent ro uction grou all me ia International.

The international content summit is organise in artnershi ith ee MI M China agents CMM I an he iang rovincial avilion organiser MegaMe ia an ill run from Ma . The lakesi e cit of Hanghou escribe b Marco Polo as ara ise on arth’ as also the location of this ear’s ummit last month. ia ingge e ut secretar general of the Hang hou Munici al overnment ho as in charge of the ummit sai : “Hanghou is a hub for man creative com anies. or our government e ill make ever effort to su ort the event. ouise Pe ersen all me ia International

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Louise Pedersen: seizing opportunity for all3media to meet new partners

Zhejiang Department of Commerce’s Hu Weikang: “amazing event”

C O sai : “China is an essential market for us. e see this as an o ortunit to meet ne clients ne broa casters an ne artners. he a e that all me ia ha successfull sol formats to China an might no turn its focus to scri te . ll me ia recentl o ene an office in inga ore un erlining its commitment to the region.

The reaction to MIP China Hang hou from other com anies at MIPCOM has also been “e tremel ositive sai Hu eikang vice irector general of the he iang e artment of Commerce. “ ester a going roun the stan s in the Palais ever one I s oke to sho e great interest in MIP China Hang hou Hu sai . “ e’re ver confi ent this ill be an ama ing event that ill succee in bringing together he iang’s buo ant creative in ustr ith international ro uction com anies to the benefit of ever one.

Hu sai the choice of Hang hou reflecte the fact that he iang is home to China’s largest

ro uction communit . “Man of our ro ucers are MIP regulars an these markets have been ver fruitful for them in terms of creating international artnershi s he sai . “ ut there are man more enter rises in he iang that have not been in a osition to atten the Cannes markets so e ante to bring this great o ortunit to them.

The summit is being ositione as a content incubator rather than a commercial marketlace. ke as ect of the event the Partnershi orum ill be re arrange one to one meetings bet een high level international an Chinese e ecutives ith the aim of forging artnershi s for global content evelo ment an ro uction. The secon ke element of the event is a rofessional training conference to share the latest best ractices in content creation.

“It’s the most irect cost effective an eas a to fin Chinese artners Te aracos ee MI M irector of MIP China Hanghou sai .

The official MIPCOM daily newspaper Thursday 20 October 2016

Director of Publications Paul Zilk Director of Communication Mike Williams EDITORIAL DEPARTMENT Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editors Neil Churchman, Sarah Kovandzich, Nigel Wilmott Reporters Ben Cooper, Andy Fry, Emelia Jones, Juliana Koranteng, Max Leonard, Rachel Murrell, Gary Smith, Joanna Stephens, David Wood Editorial Management Boutique Editions Technical Editor in Chief Herve Traisnel Deputy Technical Editor in Chief Frederic Beauseigneur Graphic Designers Muriel Betrancourt, Gaelle Daireaux, Carole Peres Head of Photographers Yann Coatsaliou / 360 Medias Photographers Christian Alminana, Olivier Houeix, Patrick Frega, Michel Johner.

PRODUCTION DEPARTMENT Publishing Director Martin Screpel Publishing Co-ordinator Emilie Lambert Printer Riccobono Imprimeurs, Le Muy (France).

ADVERTISING CONTACT IN CANNES Sylvia Ferreira: +33 (0)6 22 18 53 68 Reed MIDEM, a joint stock company (SAS), with a capital of €310.000, 662 003 557 R.C.S. NANTERRE, having offices located at 27-33 Quai Alphonse Le Gallo - 92100 BOULOGNEBILLANCOURT (FRANCE), VAT number FR91 662 003 557. Contents © 2016, Reed MIDEM Market Publications. Publication registered 4th quarter 2016. Printed on FSC certified paper.

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NEWS

Panelists see the seriously funny side of TV comedy

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OM can rovide the perfect medium to explore “dark issues, like death and loneliness”, the proucer of a ritish rame ’ has said. eaking uring a Creative Masterclass ester a T o rothers Pictures’ Lydia Hampson, producer of Fleabag, said that the dramedy genre can tackle profoun an ifficult sub ects but that “you have to use the comedy to get there”.

Originally a solo stage show written by and starring Phoebe aller ri ge leabag e lores one woman’s journey through the emotional minefiel of single life.

Hampson said that while on the surface aller ri ge’s character appears to be strong and happy, partly due to the humour woven into her role, this pretence soon

Moderator Marianna Behar (left); TV2 Danmark’s Pernille Bech Christensen; Two Brothers Pictures’ Lydia Hampson; and deMensen’s Pieter Van Huyck

ultimate fallibility.”

Her comments came during a s ecial session Come ets erious iscussing the fine line

ears off. he sai : “ s e go on and the cracks start to show; we realise she’s reall not fine. he loses her bravado, and that is her

New era as docs learn from drama MOVE over, drama: the new golden age of documentary is just around the corner, said speakers at The Rise Of Factual In Programming’s Horizon session.

New technology, more authored docs, and storytelling techniques borro e from fiction are creating a paradigm shift.

“Ambulance (3 x 60 mins), made b ragonfl for C One as ifferent from the blue flashing light shows we’re used to,” said isa Perrin C O creative netorks at n emol hine. “The ro ucers ut fi e rig cameras inside the ambulances. The way it’s cut, and the use of a map of London with dynamic graphic overlays, give a new sense of scale.”

Authorial voice is also important. “Audiences are much more interested in people who have a strong point of view than those

Endemol Shine’s Lisa Perrin

who don’t,” said Marjorie Kaplan, president of content, Discovery Networks International.

Her clip from The Rise Of The Warrior Apes by Keo Films

shows the commitment of a researcher studying a large and violent troupe of chimpanzees.

Angela Neillis of FremantleMedia International agreed.

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that can exist between humour and suffering on screen.

Among the panelists was TV2 Danmark executive producer Pernille ech Christensen ho iscusse e re kilt n l rig litting U Together a ark comedy about a couple with children who decide to divorce but carry on living under the same roof. ech Christensen sai : “ e wanted everyone to be able to identify with the things in the show so we knew we had to fold some comedy in with the serious issues the ifficult thing is to get the balance right.”

Also taking part in the masterclass was Pieter Van Huyck, head of scri te at elgian ro uction company deMensen, which was behind dramedy series Tytgat Chocolate telling the stor of a oung man ith o n’s ndrome who travels to Kosovo after the woman he loves, a migrant, is deported.

Van Huyck said the show was not originally written with comedy in mind, but from early rehearsal sessions an unexpected and spontaneous comic theme emerged.

“Our ne series The Traffickers, from Lightbox, is about the black market world we all live in. It’s interesting because Nelufar Hedayat, the impassioned 28-year-old Afghan UK journalist who presents it, is a brilliant access point.” nan an hi C O of In ia’s Memes s Culture ab sa s India is moving from a consumer of factual programming to a supplier. “Indian documentarymakers are producing documentaries that have resonance around the world,” he said. “We have grown up on American drama, UK docs and Iranian features. We can tell stories for a global audience.”

“Good factual programming can come from anywhere,” agreed Perrin. “We’ve just launched a Korean reality show based on politics which has engaged eo le. It’s calle The ociet Game, and it feels like a real paradigm shift.”

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IN PICTURES

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There was an unprecedented number of international screenings and world premieres – and A-list stars – in Cannes this week. The MIPCOM News caught them on camera…

ill Cam bell left an arine Vanasse came to MIPCOM ith ntertainment One for their m ster thriller series Car inal about the mur er of a oung girl

The Shondaland team was in Cannes for The Catch, a drama about a female private investigator on the hunt for her e fiance ho efrau e her: icture are actor Ton ol n left hon alan ’s hon a himes an ets eers ith actor Mireille nos

Christo her ambert an Vahina iocante the stars of MIPCOM orl Premiere TV creening e rro International’s Mata Hari alke the Cannes re car et

come glam heav metal ban teel Panther star in a ne come series hich as brought to MIPCOM b ntertainment. fter facing the ress the gave a high octane erformance in the evening

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EXCEPTIONAL EXCEPTIONALCONTENT CONTENTFO F

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NT T FOR FORAUDIENCES AUDIENCESAROUND AROUNDTHE THEWORLD WORLD

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IN PICTURES

Fox Networks Group Content Distribution brought two of the stars of Turkish drama Wings Of Love to Cannes, e a akan left an a ir ogulu

ihae left en Cotton an Clementine Poi at star in e ic series Mars brought to the international market b o et orks rou Content istribution

Cast members from Col ar era rama The ame k brought to Cannes b erman ’s eta ilm face the cameras: rie erike echt left Tom chilling an ofia Helin

Celebrit chef Chuck Hughes as in Cannes to romote Chuck’s orl a series brought to Cannes b the U ’s Cinefli ights in hich he tracks o n some of the orl ’s most e otic ingre ients to create ishes t ical of the regions he visits

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ritish actor Ha le t ell stars in Conviction a series brought to market b ntertainment One about a brilliant but rebellious daughter of a former President, who is blackmaile into taking a ob as the hea of e ork’s ne l create Conviction Integrit Unit

ctor ennis uai left e ecutive ro ucer a e orn an actor ichar ormer ere in to n for k Vision’s secon series of rctic base thriller ortitu e hich sees another horrif ing mur er shock the communit

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IN PICTURES

Actor and executive producer Kiefer Sutherland is as comfortable in front of the cameras in Cannes as he is in his new drama series Designated Survivor, about a low-level politician catapulted to President and brought to Cannes by Entertainment One

et orks’ militar rama av Team i

MasterChef Australia winner Brent Owens was at MIPCOM with Beyond Distribution for his new show Brent Owens: Extreme, Authentic & Unwrapped, in which he explores South Africa on a culinary adventure

Murder thriller Midnight Sun, brought to MIPCOM by Studiocanal, is set in a small community in northern Sweden. The cast includes Leila Bekhti (left) as a visiting rench olice officer on a case ustaf Hammarsten an ofia annok

ttraction Images a io Cana a T an Telefilm Canada partnered on the suspenseful drama series Fatale-Station. In Cannes were leading actors Stephane Bourguignon (left) and Macha Limonchik

arr i

loane left an alton oggins star in mins set in the angerous orl of U

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annis ie oehner stars in Ma imilian n Marie e Bourgogne, an epic historical drama brought to the international market by Beta Film

Distributor Entertainment One brought the cast of Ransom, a drama series about hostage negotiation to Cannes. ining u to face the MIPCOM ress in Cannes are: a neen Contractor left ran on a Mc aren uke oberts arah reene an mma e Caunes

The second season of lavish period drama Versailles was showcased at MIPCOM this week and Zodiak Rights invited actors Anna Brewster and Tygh Runyan to Cannes

Turkish drama series This Is My Life was brought to MIPCOM by Fox et orks rou Content istribution. Members of the cast making the tri to Cannes included: Keremcem (left), Ezgi Asaroglu, Ceren Moray and Oya Basar

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Alexander Siddig was in Cannes representing the cast of mini-series The Kennedys: After Camelot, a sequel to The Kennedys, brought to MIPCOM by Muse Entertainment

Tcheky Karyo was in Cannes to promote the second series of all me ia International’s The Missing in hich he reprises his role as an enigmatic police detective, now retired, on the search for another missing child

NEWS Launch of 5 Golden Rings delivers solid gold result

Force Of Will Studio’s Asami Kamoshida: “a new form of animation”

A NEW FORCE FROM JAPAN MIPCOM newcomer Force Of Will Studio is in Cannes with Japanese animation feature film orce f ill The Movie, based on cross-cultural fairy tales and mythology. The omnibus features six individual stories, unified by their alternative interpretations of the ‘forces’ of human nature.

“We wanted to reinterpret Japanese animation for the international market,” said Asami Kamoshida, executive manager of Force Of Will Studio. “We are also targeting a more mature audience. This is quite mainstream now in Japan, but not in other territories. We are here to introduce a new form of animation in a globally friendly feature format.”

Force Of Will Studio was established in June s ecifically for this film ro ect. orce f ill The Movie is now in production with a completion date set for December 2017.

“We came to MIPCOM because we are fully financed, amoshida said.

“We know this is particularly attractive at this market.

Our aim is to roll out an omnibus feature annually.” orce f ill The ovie s six animation stories are directed by different Japanese directors, but overseen by general project director, Shuhei Morita.

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ALPA has been testing out its play-along app for new game-show format, 5 Golden Rings, at MIPCOM, presenting the delegate — K7 Media communications manager David Ciaramella — who won the general-knowledge quiz with a real gold ring as a prize.

The game show, which airs on the UK’s ITV and SBS6 in the Netherlands early next year, is played out on an interactive floor of a stu io. Cou les are given five rings, which they use to answer five uestions base on an image ro ecte on to the floor. s they progress through the game, the rings become smaller and, consequently, the game becomes harder because the players have to be more accurate in terms of where they decide to place their rings on the floor.

Using the accompanying app,

which Talpa has created, viewers will also be able to play along with the game on their mobile phones, placing their own rings on an image on the screen.

Talpa Global strategy manager Charlotte van Bochove said: “It’s important to have that connected element to a format these days to really engage the viewers at home and make them become part of the experience.”

ITV is understood to still be building the app for the show.

However, when it launches in the Netherlands, viewers will be able to play along to win cash prizes.

Talpa Global launched 5 Golden Rings internationally this week.

ITV Studios will produce versions in those countries in which it has local offices. It is also e ecte that a production hub, co-ordinated by Talpa Productions, will be established in the Netherlands.

The Talpa Global promotional team presents a gold ring to quiz winner, K7 Media’s David Ciaramella

ARMAN Oner of Digital Media Rights (DMR) (left), Breakthrough Entertainment’s Jodi Mackie and DMR’s David Chu celebrate the signing of a major tie-up, inked at MIPCOM. The deal sees New York distributor and OTT channel creator DMR enter into a partnership with Toronto-based Breakthrough to jointly promote more than 500 hours of the latter’s documentary, factual, kids and lifestyle content on digital platforms in North America. DMR CEO and co-founder Michael Hong said: “We are very excited to partner with Breakthrough to release its award-winning programmes to a wider audience in North America.”

Germany’s Autentic wheels in deals

GERMAN distributor Autentic Distribution is celebrating a string of sales to broadcasters across Europe, all of which were signed at MIPCOM. Autentic Distribution, a joint venture between Autentic and WDR mediagroup, has successfully sold hit German motor series Grip to Polish broadcaster Polsat, to be shown on its male-orientated Polsat Play channel. The show will also appear on Estonia’s AS Kanal 2, which has also acquired

Hot Roads: The World’s Most Dangerous Roads.

Autentic has also closed a deal that will see two historical documentaries, Great War Of Nations and More Than Just Enemies, shown on ZDF Enterprises’ digital channels. Both documentaries were made by INA. Other MIPCOM deals include a package of 20-plus hours of nature, wildlife and cultural programming to Swiss channel SRF; and an arts package to Sky Arts

Grip motors into Poland

in Germany, which includes the Academy Award-winning show Inocente and NHK’s Samuari Architect Tadao Ando.

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TURKISH distributor and formats specialist Global Agency held an exclusive launch event for drama series Mother at Nikki Beach Monte Carlo, where guests were transferred by helicopters from Cannes for cocktails and dinner. Buyers, executives from producer Medyapim & MF Productions and broadcaster Star TV, international journalists and other guests were able to meet actress Cansu Dere, who takes a leading role in the drama. Mother is an emotional rama about ho an unfulfille teacher fin s her mission in life when she saves a young child from misery. “I am sure that its intriguing story and the main character Cansu Dere’s popularity globally will make Mother another Global Agency hit rama I et Pinto C O of lobal genc sai .

THE TEAMS from Hi-5 and Nine in Australia celebrate the announcement that the long-running hit show will be once again shown on the Australian free-to-air network. Hi-5, which features songs and active la for ki s ha its ebut on ine in but is coming back after five years’ absence. “It’s like the return of the prodigal child to its spiritual home sai ulie reene the sho ’s e ecutive creative irector an executive producer. The production team and Nine are working together on a ne set ith ne cast an a ne focus on t o to five ear ol s the lower end of its original age-group audience

Pictured arriving in Monte Carlo are: TVBIZZ’s Iliyan Stoychev (left); Vatan’s Oya Dogan; Global Agency’s Izzet Pinto; CEETV and TVBIZZ’s Georgi Chakarov; and Media Hub’s Victoria Elmacioglu

Magine all the people sharing all the world

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WEDISH tech company Magine’s CEO, Ambuj Goyal, said a raft of international content partnership deals “mark significant roof oints in the development of the company’s “TV su erhigh a global istribution strategy.

In a bid to “fully democratise content distribution, providing a global network of content rovi ers an istributors an move into more than 35 markets, Magine partners with beIN, the media group and owner of Miramax; Yaddo, the new documentary streaming service headed by former head of the BBC’s documentary division, Nick Fraser; AfricaXP; and, a step into China with a Beijing-based digital TV system operator.

The global OTT platform and TV Superhighway ecosystem aim to empower content creators.

It permits them to use Magine’s cloud technology and distribution network, and to tap into realtime data and industry expertise

Sneaker Battle gives Global Screen a fairy tale ending New Global Screen drama The Sneaker Battle

Magine’s CEO Ambuj Goyal

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HETHER it is real-life drama or fairy tales, G er m a n d istributor Global Screen will leave Cannes with successful international sales of its titles.

The Sneaker Battle, available as a 2 x 90 mins event drama or a four-part 45-mins mini-series, is inspired by the true story of the embittered sibling rivalry that took place during the rise of Nazi Germany and led to the launch of two global sports brands: Adidas and Puma.

Options have already been picked up in France, Benelux,

to quickly access and monetise new markets and audiences globally.

Craig Kelly, CEO, AfricaXP, said: “Magine gives our channels global reach affordably and offers our operator partner’s instant OTT deployment of our channel bouquet in their markets — this expands our footprint and revenue generation potential exonentiall .

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Denmark, the Czech Republic and Lithuania. HBO Europe has clinched the pay-TV and VOD rights for Eastern Europe.

“It is a rare gem when a universal topic like the true story behind Adidas and Puma meets fantastic actors and high production value sai le an ra Hei rich Global Screen’s head of TV sales and acquisitions.

Simultaneously, Global Screen’s catalogue of Finest Fairy Tales, a package of movie classics based on the celebrated stories by the Brothers Grimm and Hans Christian Andersen, has been sold to Gulli, Lagardere Active’s children’s channel.

NEWS REED MIDEM TO LAUNCH ESPORTS BAR NEXT YEAR REED MIDEM, organiser of leading international entertainment markets MIPTV and MIPCOM, is extending its expertise into the rapidly growing global business of esports next year with the launch of Esports BAR. Playing on the concept of sports-themed bars, Esports BAR will be the orld s first es orts marketplace when it is unveiled from February - , .

Esports is the fast-emerging new entertainment format that has millions of young, mostly male, millennials worldwide watching professional video-gamers battle it out on large screens at live venues or on online video networks.

With the excitement generated from combining audiovisual entertainment, professional competitors, broadcast and other transmission rights, live audiences and sponsors, experts forecast $1bn-plus in revenues from this new form of digitally created entertainment by .

“Esports is more about professional sports for millennials than it is about gaming,” said Stephane Gambetta, Reed MIDEM’s strategy and business development director, entertainment division.

Sarah Hemar, Reed MIDEM’s new development manager, entertainment, added: “People know esports is going to be huge.

It’s capturing an audience that traditional media channels do not have. If participants want to structure the industry, someone has to start the conversation and that’s what we’re doing.”

Esports BAR will take place at the Radisson Blu in Cannes.

Women decision-makers must take more risks – Euzhan Palcy

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HE TV industry has made “good progress” in increasing gender equality, but there is still work to do, director, screenwriter and producer Euzhan Palcy has said.

Speaking exclusively to MIPCOM News, Palcy — whose career includes creative projects with Nelson Mandela, Marlon Brando, and Robert Redford — said that women are graduall gaining more influence “behind the camera.”

“Things have changed, but not that much. There are more women decisionmakers now than there ever have been, but it’s really important that women in high positions have a true sense of what their role is.

We have women in key positions but often they don’t change things; they don’t want to take risks.”

Praising her grandmother when she was growing up

in Martinique and her father, hom she escribe as “the first feminist I met”, Palcy said that she ha ha to fight against stereotypes and social hurdles ever since she first reame of being a

filmmaker at the age of .

Supported by her father, against the wishes of family and friends around her, Palcy traveled to Paris as a young woman to learn the art of filmmaking. Her illustrious career in film and television includes a number of groundbreaking moments, including a special screening of Ruby Bridges, the film she irecte about civil rights in the south of the US, at the White House during the Clinton presidency.

At a special MIPCOM event on Monday, the Women In Global Entertainment Power Lunch, Palcy showed a short clip from an interview she did with former South African president Nelson Mandela, in which he spoke of his dream to educate women.

Euzhan Palcy addressing the Women in Global Entertainment Power Lunch

Opening Japan’s TV Treasure Box TREASURE Box Japan this week showcased a varied set of programmes from the major broadcasters of this year’s MIPCOM Country Of Honour.

“Treasure o inclu es both flagship formats and new ones,” said Virginia Mouseler, CEO of programme consultancy The Wit, who presented the selection.

“Hide-And-Seek With Drones from TV Asahi brings cuttingedge technology to the classic quest. And Fairy Tales In Court, from NHK/ NEP, is a kids’ courtroom drama that cross-examines fictional ba ies to sho chil ren that the difference between right and wrong isn’t always clear.”

Treasure Box Japan also presented Who Wants To Come To Japan? (TV Tokyo), The Pyramid

Derby (TBS), Detective Knight Scoop (ABC Japan), Birdman Rally (YTV), The Quick Cut Quiz (YTV), Sabi Sabi Karaoke

(TV Asahi), Hole In The Road (Fuji TV), Custom-Made Format (Fuji TV) and Burning Questions! (Nippon TV)

Broadcasters present their wares at Treasure Box Japan

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VIMEO STOREFRONT OFFERS PORTAL TO PREMIUM CONTENT USING MIPCOM as the launch pad, Vimeo has unveiled a global television storefront — vimeo.com/tvstore — in partnership with Hollywood heavyweight Lionsgate, which is the first ma or studio to provide content to the new venture. A separate licensing deal between Vimeo and Starz will see Starz Original series The Girlfriend Experience, Ash Vs Evil Dead and Black ails oin Lions ate hits including Orange Is The New Black, Casual, The Royals, Mad Men and Weeds in the new service.

Vimeo’s storefront, which claims to be the first to deliver high-end premium scripted US content to consumers in more than 150 countries simultaneously, is already operational.

Sam Toles, Vimeo’s senior vice-president of programming, said that, as audiences across the world continue to migrate towards online viewing, Vimeo’s on-demand storefront was leading the way in offering “premium content on a truly global basis”. He added that the new transaction service “marks a huge expansion for our offering of premium programming”.

Jeffrey Hirsch, chief o eratin officer at tar , said that, in agreeing to provide content to Vimeo’s storefront, his company was making available for purchase “three of its most powerful and compelling Starz Original series for consumers around the world”.

Bloomberg has the scoop on digital content from Hollywood Reporter

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LOOM BERG Media Distribution has sealed a major multilateral partnership deal, which will see the company deliver new content from a raft of publishers alongside its own business and current-affairs output.

As part of the partnership, inked at this year’s MIPCOM, Bloomberg will begin distributing digital content from world-renowned entertainment industry title The Hollywood Reporter and its sister publication, music industry bible Billboard.

Bloomberg has also teamed up with Boston Globe Group-owned STAT, the US national healthcare, medical and pharmaceuticals industry news site described by the Columbia Journalism Review as the “media startup to envy”, and El Financiero — the Spanish-language Mexican economics, business and financial news outlet.

Commenting on the deal, Bloomberg Media Distribution general manager Josh Rucci said: “As the media landscape continues to evolve, so has content creation and syndication. More companies are looking to license

Bloomberg Media Distribution’s Josh Rucci: adding breadth and depth

content to add breadth and depth for their audiences. By partnering with a diverse group of publishers, loomberg can no offer significant capabilities to deliver a range of content easily and at scale.”

John Amato, co-president of The Hollywood Reporter-Billboard Media Group, the parent company which owns both titles, said

that the deal with Bloomberg will mean both publications being exposed to a “new, highly engaged and global audience”.

Bloomberg Professional — the company’s flagship current affairs service aimed at leaders ithin the finance econom an commerce sectors — counts over 325,000 subscribers globally.

Africa looks set to get the Love Bugs LOVE Bugs, the scripted comedy format series that topped The Wit’s stats as the bestselling scripted format in the history of television is sche ule to fin a new home in Africa following MIPCOM — a target territory for Avanti Cine Video’s Love Bug consultant, Arabelle Pouliot-Di Crescenzo.

“We want to keep our numberone position,” Pouliot-Di Crecenzo said. “We are also keen to develop relationships in Asia; we very much encourage local adaptation so the show is true to each culture. Local versions have been produced in 28 countries and I

Avanti Cine Video’s Arabelle Pouliot-Di Crescenzo: “slices of life”

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believe it will hit 30 by the end of 2017.”

What began as a French-Canadian Nineties scripted comedy series, titled Un Gars, Une Fille, has since tapped into universal truths that have proved to transcend geographical borders: “The sketches are really slices of life exploring the eternal malefemale conundrum in relationships,” Pouliot-Di Crescenzo said. “The different scenes can be reassembled easily to make programmes of different lengths for different platforms. Like all great comedy, Love Bugs series have a long life in re-run.”

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NEWS

BBC Earth to put Cine Group’s Brazil: DNA Africa on the map

L A scene from Look Me In The Eye

EYE-CONTACT SHOW GRABS ATTENTION OF BROADCASTERS RED ARROW International’s new social experiment format Look Me In The Eye has already attracted the attention of broadcasters in France and Australia. The format, created by UK-based CPL Productions, was originally commissioned by German broadcaster ProSiebenSat.1, Red Arrow International’s sister company.

Now, following deals sealed at MIPCOM, the format has also been sold to the TF1 Group in France, and Endemol Shine has picked up the format for Australian public broadcaster SBS. The format’s emotionally charged theme of trying to reconcile estranged loved ones via only eye contact is a strong factor in the show’s international appeal.

Like Red Arrow International, CPL Productions is a subsidiary of Red Arrow Entertainment Group.

CANADA CGI DEAL STUDIO 100 Media, the Munichbased production and distribution company, has signed a deal giving broadcaster Radio-Canada exclusive free-to-air rights for its CGI series Nils Holgersson (52 x 12 mins) and The Wild Adventures Of Blinky Bill, as well as non-exclusive SVOD rights.

Studio 100’s Martin Krieger commented: ‘We are confident that these high-quality CGI series will capture kids’ attention in Canada.”

EADING Brazilian production company Cine Group this week licensed its five art ocumentar series razil: DNA Africa to BBC Worldwide for transmission on BBC Earth in Latin America and Caribbean.

“We tested 300 Brazilians using new DNA testing techniques, and found that they all came from frica an e coul even sho which region or city they came from,” said Cine Group CEO Monica Monteiro. “In Brazil, we don’t talk about our African heritage.

Partl because the Portuguese slave tra ers forced Africans to change their names and forget their homes and their faith.”

“DNA testing can now identify the subject’s s ecific to n or region of origin sai Monteiro. “ o e took five ra ilians back to their cities of origin, so they could see where they come from, and talk to the descendants of the people who had traded their ancestors. It was a ver emotional ourne .

Cine Group has been coming to MIPCOM with the Brazilian TV Producers (BTVP) delegation for seven ears an has man hours of documentaries and features to offer.

Cine Group’s Monica Monteiro: emotional journey

Ultra Cookery shares recipe for success

INDIAN content disfood. It goes into lots tributor and producer of detail about the reciUltra Media and Enpes so you don’t need tertainment has been to worry that you’re in Cannes with a doing it wrong.” wealth of content to Ultra is also offering offer the international a docu-drama to the market including a markets for the first new concept cooktime. The show, Rustery show that it says ed Postbox, presents has already attracted an unusual perspecwidespread internative on ma or historitional appeal. cal events b looking The show, Ultra Cookat the commemorative ery, is already on air coins, stamps and bank in India, and offers notes that have been isvie ers an in e th Ultra’s Sushilkumar Agrawal sued to mark them. step-by-step guide to As part of this, Ultra cooking Indian food has also launched an and other cuisines from around the world. interactive site hich gra al escribe as Ultra chairman and managing director Sush- the “Wikipedia of stamps, coins and notes”, ilkumar Agrawal said that the show has gath- and is encouraging collectors and experts to ered a lot of interest at MIPCOM, spurred artici ate in ocumenting the vast numbers artl b a gro ing love of In ian foo in- of memorabilia in existence. ternationally.

Ultra has over titles an in recent ears He said: “We’re being approached by chan- it has successfully sold TV drama content to nels from all over the orl . The sho gives overseas markets in outheast sia uro e ou each an ever as ect of ho to cook the and Africa.

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NEWS CANDY CRUSH LIVE ACTION ‘RUSH’ FOR CBS CBS HAS ordered a new one-hour, liveaction game show series based on mobile game franchise Candy Crush. CBS, Lionsgate and the game’s developer, King, will work together on the format, which will be distributed domestically

by CBS TV Distribution and internationally by Lionsgate.

In Candy Crush Saga, players match colourful candies in combinations of three or more to win points, overcome obstacles and progress through more than 2,000 levels.

Glenn Geller, president, CBS Entertainment, said: “We are huge fans of Candy Crush and we know the ‘rush’ of advancing to the next level. We’re excited to work with Lionsgate and King to make it available to its massive fan base.”

“When the head of our interactive and games division, Peter Levin, brought this IP to Lionsgate, we instantly knew it would make an incredibly visual, physical and fun programme,” added Lionsgate TV chairman Kevin Beggs.

“The Candy Crush franchise lends itself perfectly to the kind of larger-than-life, physical game shows that I love to produce and CBS is the perfect home for it,” said Matt Kunitz (Wipeout, Fear Factor), who will executive produce the show.

FremantleMedia renews content deal with Youku.com in China

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REMANTLEMEDIA International has announced that it has extended its multi-year digital deal with the Chinese online video giant Youku.

The original deal was signed in 2013 and has now been extended for another three years.

The deal provides more than 100 hours of FMI’s premium entertainment and drama, such as America’s Got Talent and Project Runway, continues to be available to Chinese audiences on Youku.com.

The platform currently averages 130 million unique users a day.

Youku also has 240 million mobile users.

MI as one of the first in e en ent distributors to strike a deal with the platform and is a major contributor to Youku’s line-up.

FremantleMedia International executive vice-president, Asia, Ganesh Rajaram, said: “While

FMI’s Project Runway

local content is a big thing in China, Youku has managed to build a loyal base of video enthusiasts who will be able to enjoy some of our best-known shows for another three years.”

Yang Weidong, president of Heyi

Group (Youku Tudou), said: “We will make joint efforts to bring high-quality content to young users in China through constant collaboration and Youku will endeavor to introduce successful series to China from the world.”

IN A DEAL conceived at MIPTV and closed at MIPCOM, Korean animation company Tak Toon nter rise has sol the first t o series of stop-motion animation Galaxy Kids (52 x 11 mins) to New York-based Janson Media. The comedy adventure, which centres on the antics of a team of space satellites and a comical villain called Space Monkey, will air on Amazon from November. Sophia Lee, Tak Toon’s managing director, pictured here sealing the deal with Janson’s acquisitions director Jesse Janson, said the KBS series is targeted at early elementary-aged children. “The second season of Galaxy Kids has just started to air in Korea and is delivering good ratings,” she said.

“At MIPCOM, we are looking for a partner to help us develop a third season of the show.”

Who Is The Real Celebrity? Asia deal NBCUniversal International Formats has acquired the Asian rights for Japanese format Who Is The Real Celebrity? from ABC International (the format sales division of Osaka-based Asahi Broadcasting Corporation).

Who Is The Real Celebrity? is a

comedy quiz show that has so far aired for more than 70 episodes in Japan.

Yvonne Pilkington, senior vicepresident, format sales & production, NBCUniversal International Formats, called it “a brilliantly entertaining format,

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which has potential to make an impact across Asia”.

Shusaku Inoue, ABC International managing director, added: “We have confidence that NBCUniversal International Formats will make this format travel successfully throughout Asia.”

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Fozi Mozi & Tuti eager to entertain Arabic-speakers across the globe

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OZI Saeid, star and creator of Arabic children’s YouTube show Fozi Mozi & Tuti has been at MIPCOM to seek broadcast partners to take his original concept show to international audiences.

From humble origins as a children’s ‘banana clown’ entertainer in Haifa, Saeid launched his own children’s entertainment YouTube channel in 2014. The Fozi Mozi & Tuti channel has now achieved 30 million views every month with a subscriber base of 165,000.

“I sa there as a eficit of original Arabic content for children — they were all watching foreign programming,” Saeid said.

“I also saw there was a high demand for original ‘native’ characters that spoke Arabic and really understood our local way of

o i Saeid sketches from family life

life and culture.”

Fozi Mozi & Tuti is a family affair. Saeid’s sister stars as Tuti

(Strawberry) and Saeid as Fozi Mozi (Banana).

“We perform sketches that are derived from our own family life, from real life stories — there are no barriers. Our content is completely clean — it’s pure comedy and entertainment. It’s even educational as we now understand children are starting to eat more healthily as a consequence of relating our characters to fruit in the bowl.”

With two two- to six-minute episode sketch clips produced per week, Saeid is looking to expand: “I would like to become the first original chil ren’s rabic show for the Arabic world.

Whether they are living in times of war or simply experiencing a day of bad weather, I want our show to reach out and entertain Arab-speaking children everywhere.”

Canaries lures TV and film producers MONDO TV has launched a new animation production studio located in Santa Cruz de Tenerife in the Canary Islands, underlying the Spanish archipelago of seven islan ’s gro ing status as a film and TV production hub.

Matteo Corradi, Mondo TV Group CEO, said that the aim is for Mondo TV Producciones Canarias to take care of pre-production of most of the animation for the entire group, which at the moment has 27 projects under way.

“The conditions in Tenerife are right for making great productions,” Corradi said, citing the high professional quality on offer in the audiovisual sector, as well as the tax incentives the island can offer.

Another Canary Islands-based producer Jugoplastika echoes this point. At MIPCOM it is urging companies to make use of the attractive incentives available for film an TV ro uctions vali ated by Spanish national and EU

Canary Islands ased production company ugoplastika on location

regulations, offering up to 35% ta refun s for foreign film an TV scripted formats.

Nuria Guinnot from the Gran Canaria Film Commission added that along with the production incentives, year-round favourable weather conditions and diverse landscapes that offer their own beauty and the ability to dou-

ble for many areas in the world: “The local film commissions and qualified and experienced crew will provide all the help you need. The islands have eight international airports with direct flights from over cities an as they are part of the EU, enjoy the highest standards in terms of infrastructure and services.”

NEWSTAG CREATES AUDIENCE-LED NEWS AGENDA STOCKHOLM-based Newstag is to launch a business-tobusiness news service designed to offer online publishers and telcos bespoke, broadcast-quality news.

The Newsreel service will provide tailored news bulletins targeted at different geographical markets and demographics, using professionally produced video curated by audiences.

Newstag co-founder Henrik Eklund said: “When you let the crowd curate the news agenda, audiences around the world build a picture of themselves through what they choose to watch and share.”

According to Eklund, the production cost of the news is a fraction of traditional news, providing a sustainable solution to providers who are looking for content but are unable to fund their own news operation.

The platform’s innovative approach saw it shortlisted at this year’s MIPCOM Content Innovation Awards.

QUEBECOR AND DHX FEED THE KIDS NEW SHOWS QUEBECOR Contenu has struck a content agreement with DHX Media, consolidating the two companies’ relationship and boosting Quebecor’s kids’ content offering.

The Quebec-based company will now show titles including action shows The Other Kingdom And Hank Zipzer, and teenage series Degrassi: Next Generation on its multiple platforms for kids. New animations include Johnny Test, Strawberry Shortcake: Berry Bitty Adventures and Little People, while new episodes of properties already available on Quebecor Contenu – The Doozers and Caillou – mean that there will be almost 300 episodes of DHX Media content available.

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