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PREVIEW March 2019

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Adverti e ent




Source: Gallup Live+SD, eps 2–5, premieres only.


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New Reality Format // 20 x 44’ MIPTV: Stand P4.C14

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e A o ve a or at e note he or at nternationa tch he or at ne nute tch h ne e for at on the ove rea ure o a an he a ed n er tor f A t ord c or at creen n eet the bu er and ore





u ti a or content fro around the or d on a e at or at and on ard at



16 In search of the next hit n



hat are for at bu er oo n for

20 Nice guys doing different things

reativ t beco n cruc a to ucce n the or d of for at

26 The old meets the new

he o er a e bet een ne and e ac a er n the un cr ted for at bu ne





• March 2019





6-7 April 2019, Palais des Festivals, Cannes

KEY SPEAKERS JEFF APPLOFF President and CEO Apploff Entertainment

PETER FINCHAM Co-CEO Expectation Entertainment


GENA MCCARTHY Executive Vice President, Head of Programming, Lifetime Unscripted & Head of Programming FYI


The MIPFormats International Pitch is open to all creators to present their new and original, non-scripted entertainment formats. 5000€ Pitch Prize offered by La Fabrique des Formats and Natixis.






A quick and efficient way to network and meet new partners

Network with influential players from the formats industry

9.00-9.30, ESTEREL, PALAIS 5




10.00-10.40, ESTEREL, PALAIS 5

Presented by Eurodata TV Worldwide


9.40-10.10, ESTEREL, PALAIS 5

9.40-10.10, AUDITORIUM A, PALAIS 3


10.50-11.30, ESTEREL, PALAIS 5



10.15-10.45, DEBUSSY, PALAIS 1


11.40-12.10, DEBUSSY, PALAIS 1





12.15-13.05, DEBUSSY, PALAIS 1





14.15–15:30, DEBUSSY, PALAIS 1


Pitch Prize offered by La Fabrique des Formats and Natixis



A quick and efficient way to network and meet new partners 15.45-16.30, DEBUSSY PALAIS 1

Sponsored by KOCCA Snack Lunch and Networking from 13.00 -14.00, Foyer Debussy 14.15-14.45, ESTEREL, PALAIS 5


14.30-15.00, AUDITORIUM A, PALAIS 3


Presented by CARFT, Shanghai Media Group, iFormats

Presented by Missing Link

16.10-16.40, FOYER DEBUSSY, PALAIS 1

15.00–15.40, ESTEREL, PALAIS 5


A quick and efficient way to network and meet new partners 16.45-17.15, DEBUSSY, PALAIS 1



From ‘Don’t forget the Lyrics’ to ‘Beat Shazam’ to ‘Mental Samurai’ 17.50-18.10, MIPFORMATS CASE STUDIES SERIES




15.15–16.00, AUDITORIUM A, PALAIS 3






17.45-18.15, ESTEREL, PALAIS 5


To be announced

19.30, CLUB C21





From Talkback to BBC, ITV and now Expectation 12.10- 13.00, DEBUSSY, PALAIS 1

15.30-16.00, FOYER DEBUSSY, PALAIS 1




18.30-20.30, MAJESTIC HOTEL


In association with C21Media, FRAPA, EMC and MIPFormats By Invitation

THE MIPFORMATS & MIPDOC HAPPY HOUR! Open to all registered participants

MIPFormats thanks its Sponsors & Partners

Programme as of February 22, 2019. Subject to change.

preview_mipformats.indd 1

Visit for regular updates 22/02/2019 16:19


‘ N o b o d y ’ s d o ne ti – and w e ’ re g o ing t o d o it !” Jeff Apploff is president and CEO of Apploff Entertainment, a production company that specialises in creating, developing and producing formats around the world. He spoke to J ul ia n N e w b y ahead of his MIPFormats keynote presentation WHAT do the formats Secret Admirer, Face The Family, Don’t Forget The Lyrics! And Let’s Ask America have in common? Answer: they were all created by Jeff Apploff., CEO of Apploff Entertainment. And they’re all hits too. Don’t Forget The Lyrics!, for example, re-named N’Oubliez Pas Les Paroles! for French audiences, is in its 10th season on France 2 and dominates in its time slot. So what’s the secret to creating a hit format? “A-ha! I don’t know — at least I think the secret keeps changing,” Apploff said. “And I think as format creators we need to be ahead of the game. I’ll give you an example: take the format that just came out, The Masked Singer. Everybody is now scrambling to make their shows like that. But if you look at the past, every time a copycat show comes out it doesn’t work as well.” One thing he does do when developing a new format is look at what people are doing in their day-to-day lives away from the television. Referring to another of his hits Beat Shazam, a music game show on Fox hosted by Jamie Foxx, he said: “Shazam has over 300 million users. That means that people want to know what the title of a song is. So it was a no-brainer. With Don’t Forget The Lyrics! It was the same thing. So the formats that I have created that have been successful have been things that are already in the ether. Then, how do you blow it up for television?” It’s also important to stress-test your idea. “Starting out on a new format, for me the first uestion is o have a great game Then it’s making sure that every single element, every mechanism, everything has been run through and that we’ve tried our best to perfect it. Build in all of the elements, put it up on its feet, test it, really

shake it up so that when we actually go to sell it to a network it’s hurricane-proof, it s earth uake-proof, it s built so it s really going to do well. And then we hope we have built something that is going to go across the world.” So do the ideas ever die before they get to the earth uake-proof stage t happens all the time. You think something’s going to be great and then you play through it and you think h my od, this is not going to work, I hate it!’ I’d say 50% of the things that I come up with I end up getting rid of because it doesn’t work for me, or it turns out there’s something else similar already on TV.” An example of something that eventually didn’t work out for Apploff is Quiz Up, which he developed with the people who created the app of the same name, sold to NBC and then came to MIPCOM and sold it to five countries. ut as you know some of these game apps run their course very uickly. ell that company ended up going bankrupt before we could actually make the television show. And it was such a great show that we were able to sell it all over! But it wouldn’t be the same without the app so we ended up not doing it.” And now here’s an exclusive: during his MIPFormats keynote Apploff plans to reveal the next big thing. “I am going to unveil a secret project that I’ve been working on, which I think will blow everybody’s mind. It’s a really, really cool format and MIPFormats will be its world premiere. It’s multiplatform, nobody’s seen it, nobody knows what it is, nobody’s done it — and we’re going to do it!” • Jeff Apploff ’s MIPFormats Keynote is on Saturday, April 6, at 17.25 in the Debussy Theatre MIPFORMATS PREVIEW • 7

• March 2019


J ru y o f co m m is s oi ner s o n the l o o k o tu f o r the ne x t b ig id e a

BicFormats Alex Fiacco at last year’s MIPFormats International Pitch

THE MIPFORMATS International Pitch is a competition for creators and producers of inno-

vative non-scripted entertainment formats. As in previous years, the competi-

tion will present five projects during a pitching session on Saturday, April 6 in the Debussy Theatre in the Palais des Festivals at 14.15. Selection of the five projects began back in February. The five finalists, announced mid-March, will now face a live jury that includes: Francois Tron, head of content, RTBF Group, Belgium; Jo Wallace, commissioning editor, BBC, UK; Thierry Ventouras, head of entertainment, RTS-Radio Television, Switzerland; Gena McCarthy, executive vice-president, head of programming, Lifetime Unscripted; and Craig Orr, vice-president, commissioning and development, MTV International. The jurors will be looking for creativity, originality, innovation and the capacity to return for multiple series. Other criteria include the format’s potential to travel internationally and the availability of international format rights.

The audience will also vote for its favourite pitch — which won’t necessarily match the choice of the Jury. Last year’s winner chosen by the five-strong Jury was Light My Fire!, a format from BicFormats in Italy, presented by Alex Fiacco. The prize for the company was a development deal with Israel’s Armoza Formats, which sponsored the event. In Light My Fire!, contestants must wear “love shirts” which light up to detect which contestant is most attracted to a potential partner. The audience-choice winner for 2018 was Future Astronauts, from Miroslaw Skowron of Poland’s Mediolia. The show follows a group of teenagers on an astronaut training course that leads up to a simulated mission to Mars. This year’s winner will receive a Pitch Prize of €5,000 to develop a trailer for the format. The prize is provided by MIPFormats partners in the International Pitch, investment bank Natixis and La Fabrique des Formats, a French organisation that promotes and funds the development of format ideas.

A chance to have fun and be creative A BRAND new feature of MIPFormats this year is the One-Minute Pitch. The international community of producers and creatives attending MIPFormats will be asked to prepare a one-minute video on their smartphones in which they will pitch their format idea. They will send the video via WhatsApp to a number that will be announced during the event. The call for entries is on Saturday, April 6 between 10.00 and 20.00. The winning pitch will be announced at midday, following the MIPFormats keynote by Peter Fincham, co-CEO with Tim Hincks, of UK production indie Expectation Entertainment. The winner will receive a free registration for MIPFormats and MIPTV 2020.

Expectation Entertainment’s Peter Fincham


• March 2019

Expectation Entertainment’s Tim Hincks


ho case re eals am ition to o lo al ith hinese ormats THE CHINESE formats database, iFormats, is bringing seven new Chinese original formats to MIPDoc this year. “We want the international formats market to hear the real voice of China’s content industry,” iFormats founder Vincent Sun said. “We also hope that Chinese producers and directors will have the opportunity to meet face-to-face with their international counterparts share with them elements of Chinese traditional culture.” For years China had been inward-looking, creating formats principally for the local market. “It never occurred to Chinese producers to turn the TV programmes they produced into international formats and export them abroad,” Sun said. “But in the past decade, major Chinese TV stations and video platforms have been buying formats from the UK, US, Israel and South Ko-


n a ne

area o co operation

rea, and have been learning and improving their skills to create their own. We now pay more attention to creativity, concept and innovation, which lays a good foundation for our formats on the international market.” In China, the demand for largescale programmes and big studio-based singing and dancing

competitions and talent shows, is gradually shrinking, and it seems the same is happening in the international marketplace,” Sun said. “So we think that we need go with this trend and create low-cost, high-concept shows. I think factual entertainment programmes may fit well with the demands of the international market.”

Searching for the next ‘popera’ hit CHINA’s Hunan TV will introduce Super Vocal to the world during the Hunan TV Original Format Showcase. Super Vocal is a “revolutionary singing competition show and smash hit on social media in China”, according to Lester Hu, head of formats and international business at Hunan TV. Super Vocal is a singing competition show where 36 young male vocalists compete to win a place in the nation s first-ever ‘popera’ group. During the Showcase Super Vocal’s creator and chief producer, Yang Ren, will explain the format’s structure and share his production know-how with MIPFormats delegates. Delegates can also expect a taste of popera music during the Showcase. As China’s leading content producer and broadcaster, Hunan TV

has been shifting its focus from content acquisition to origination in recent years, Hu said. “We have built up an ecosystem for origi-

H nan T ’s

nal format development — the Biu Project, a monthly internal format incubation programme involving some 20 in-house pro-

• Wisdom In China: New Opportunities For Chinese Formats is on Saturday, April 6 at 15.45 in the Debussy Theatre

duction teams and studios.” The iu roject is hina s first-ever TV pilot production project, according to Hu. “In 2018, we received an astonishing 1,025 format ideas,” he said. “Lots of our big home-grown hits have come out of it.” Examples include The Sound, a celebrity voice-acting reality competition show that was showcased at MIPTV last year. “By combining our strong inhouse production unit with our unique pilot system, our goal is to roll out original formats to the world after they have been tested in the Chinese market,” Hu said. “We see this from a strategic point of view and from a long-term perspective,” he added. “Our goal is to be at the forefront of a new wave of content development.” • The Hunan TV Original Format Showcase: Super Vocal is on Sunday, April 7 at 17:00 in Auditorium A

per ocal


One of China’s biggest formats is National Treasure Museum, which challenges museums to come up with China’s most valuable relics. “The Chinese audience has really engaged with this programme, with more than 100 million of viewers and over 1.6 billion comments on social media,” Sun said. “After the programme was broadcast, the number of visitors of the museums increased greatly.” iFormats brought the title to MIPFormats last year and six months later Endemol Shine and CCTV had signed an agreement to develop and adapt it for the international market.” But the Chinese formats industry is still in its infancy, “ Sun said. “That’s why iFormats was founded, and why we come to Cannes every year. We hope to open a new area of co-operation with the international market and grow together.”

• March 2019


J apa nes e b ro ad cas t er s jo ni f o rces t o t ak e o n t he w o rl d THE NINTH Treasure Box Japan will present world premieres

of the latest formats from eight major Japanese terrestrial broad-

casters during MIPFormats. The presenting companies are Nip-

pon TV, Fuji TV, TV Tokyo, TBS, YTV, TV Asahi, ABC Japan and NHK/NEP. Treasure Box Japan (TBJ) is a joint project designed to promote Japan’s diverse range of unscripted formats destined for the international market — Dragon’s Den, Hole In The Wall and Ninja Warrior are among the global hits to have come out of the country. While Japanese broadcasters have individually been involved in international markets for over three decades, TBJ sees eight of them join forces to boost the country’s presence on the international formats market. TBJ has actively promoted Japanese TV formats at events for almost a decade. Speaker at this year’s event is Naoko Morioka, senior sales manager at TV Tokyo Corporation.

• Treasure Box Japan is on Saturday, April 6 at 12.15 in the Debussy Theatre, followed by a snack lunch and networking from 13.10 in the Debussy foyer

Be er to ether apanese companies oin orces or Treas re Box apan

U n- m as k ing the s ecrets of a hit form at THE MASKED Singer: Story Of A Hit And Its Future is the title of a MIPFormats session that will attempt to find out what makes a hit format. The success of the Korean format on Fox in the US reinforces the fact that Asia has a strong track record delivering entertainment formats to the world — American Ninja Warrior, Dragon’s Den, Hole In The Wall and Better Late Than Never just a handful of hits that have come from the region. Known in Korea as King Of Mask Singer, the series launched on Korea’s Munhwa Broadcasting Corporation (MBC) in 2015 and is still on air, with almost 200 episodes screened so far. In the Fox version — hosted by Nick Cannon, with panelists Ken Jeong, Jenny McCarthy, Nicole Scherzinger and Robin Thicke

— celebrities compete with each other while wearing elaborate costumes that hide their identity. Host, panelists, audience, viewers and the other contestants are left guessing who the singer is behind the mask. Each week, a singer is eliminated and then reveals his or her true identity. Behind the Fox version is Craig Plestis, president and executive producer at Smart Dog Media. As the former head of reality at NBC, he helped create and launch hits including America’s Got Talent; Deal Or No Deal; The Biggest Loser; The Apprentice; The Singing Bee and many more. As head of Smart Dog Media, he was executive producer of the NBC singing game show The Winner Is, in partnership with Talpa Media, producer of The Voice for NBC. Plestis is joined on stage for this

session by MBC managing director Damon Park, who for 21 years has been responsible for directing TV shows including M s agship music programme Show Music Core, which has played a key role in spreading K-Pop worldwide. He also produced Radio Star, a popular talk show, along with VR show We Got Married and music variety show I Am A Singer. • The Masked Singer: Story Of A Hit And Its Future is on Saturday, April 6 at 17:50 in the Debussy Theatre. And Korean formats will also come under the spotlight at K-Formats: The Next Big Thing, on Sunday, April 7 at 12.10 in the Debussy Theatre, followed by a one-hour snack lunch and networking session in the Debussy foyer


mart o Me ia’s rai Plestis

MB ’s amon Park


‘ C ho o s y ’ S al l ing o n l o o k o ut f o r ‘ f res h t w si t s ’ and n o co p y cat s THE NORDIC Formats Screening session has been a feature of MIPFormats for seven years. The brainchild of Missing Link Media’s CEO Jan Salling, the event launched while he was COO of sales and acquisitions at distribution company Nordic World. Three years later he formed Missing Link Media “with the simple business model of being ‘the missing link’ between IP owners and international distributors” — and the Nordic Screenings continued. In this, the event’s seventh year, Salling once again turns the spotlight on “the best, the most original and most representative formats from the Nordic region”. He added: “I think it’s my obligation to fight for the perception of the Nordics being a creative hotspot.” That creativity, he said, is born of the fact that Nordic audiences are both educated and “suckers for entertainment with a purpose. They like entertainment but don’t want a guilty conscience for having enjoyed it!” So big entertainment talent shows work in the region, as do factual entertainment shows, “and after that I’d say social-experiment shows. We’ve never been good at studio-based game shows like the US and the UK.” Early primetime, weekdays and weekends are the target slots. “One format that stands out for me is called Dictator, which locked people into an enclosed environment and there was a voice that spoke to the people living there, giving them instructions about what they should be doing. That was the voice of The Dictator — a fake dictatorship.” Launched in 2014 on SVT Sweden, it was produced by Sweden’s Art89 Television and distributed by Nordic World. “It was very successful, did very well in the Netherlands as well as a number of other countries,” Salling said. “That’s a typical Nordic format.” Another “typical Nordic format”

according to Salling is Married At First Sight, a Danish reality show created by Michael Von Wurden, managing director of Denmark’s Snowman Productions, a Red Arrow Studios company. A spinoff from that is Buying Blind, also from Snowman. “But it’s not about choosing a partner, it’s about buying a property,” he said. “A couple signs over all their money to a real estate agent and an interior designer and they and get as close to their dream home as they can find with the money — and they come in and break down in tears because it’s so far away from their expectations. Then they get a truck and take all the stuff from the couple’s old place, the designer goes in and puts it all in and designs around it — and then they go blindfold into their new home and this time they’re in tears of joy! It’s a typical Danish show that brings a fresh twist to a successful idea. We’re good at fresh twists.” In preparation for the Nordic Formats Screenings, Salling writes to all the producers, indies and startups in the region, “as well as the big super-indies, the producers’ associations and the broad-

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casters. It goes as wide as possible but I am choosy,” he said. “I’m not looking for ‘the same thing but different’. That’s partly me being co-chair of FRAPA [the formats protection association]. I don’t want copycats. I want things that are fresh and that stand out. And they may risk struggling for

io n

MIPFORMATS PREVIEW • 11 • March 2019

sales abroad. But I want to break new ideas that have a hard time being noticed. That’s important in these times when so many people are just re-making old formats.” • The Nordic Formats Screening is on Sunday, April 7 at 14:15 in the Esterel, Palais 5


The formats and factual communities get together


The MIPFormats & MIPDoc

HAPPY HOUR! Sunday 7 April 2019

MAJESTIC Hotel, from 18:30 to 20:30

#MIPFORMATS #MIPDOC #HAPPYHOUR Open to all MIPFormats & MIPDoc delegates with badge


N o b arrier s t o s tr o gn co n t en t

Esta lished rands are nding new homes all over the world. A nd y F ry hears from uyers ahead of MIPFormatss

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t o G er m an y

THE WIDE range of territories that are buying — and watching — formats around the world is an indication of how sophisticated this marketplace has become. Banijay Group recently secured a deal for its iconic relationship format Wife Swap with Record TV in Brazil. Marcelo Silva, programming vice-president of Record TV, said: “Record TV is always looking for fresh reality show formats to surprise our viewers. We truly believe Wife Swap meets what we are looking for as it creates an unusual situation of changing the wives between two completely different families. The challenge of living together in the confinement of a reality show draws the attention of the Brazilian audience, especially the young people and those who are very connected to social networks. We believe there is a real identification and a constant interest in this type of programme, because it spawns daily conversations across all media.” After seven seasons on Mexico’s


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Televisa, Talpa’s hit format The Voice is switching to rival channel TV Azteca in 2019. As part of the deal, TV Azteca will be the first Latin merican broadcaster to also produce a local version of spin-off format The Voice Senior. Talpa licensed the format to Turkish production company Acun Medya, which will produce the show for TV Azteca — part of an ongoing collaboration between the two. Alberto Ciurana, chief content and distribution officer at T teca, announced the arrival of The Voice on Twitter. He followed up the tweet: “It’s been a great year for TV Azteca and part of our success has come due to our partnership with Acun Medya. We are very pleased to work with them and have high hopes on the amazing format The Voice on Azteca 1.” Armoza Formats has had a run of pick-ups for talent show format The Four in recent months, with Spain, Portugal, Colombia and India all climbing on board. The show is also due to launch MIPFORMATS PREVIEW • 13

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on Lithuania s L T in . L programme director Jurgis Jefremovas, said L group has broadcast the most popular music shows, based on the best global formats, every weekend for many years. ow it is time to introduce ‘the next big thing’. We believe The Four will be a trendsetter for many seasons. We are eager to offer this show to our Lithuanian viewers who e pect us to keep up the pace with fresh global trends.” Fremantle has just completed a deal with Philippines broadcaster Sfor the Fremantle and 19 Entertainment co-owned format dols. Sis already a partner of Fremantle on Pilipinas Got Talent and will launch the new series of Search For The Idol Philippines in 2019. Macie Imperial, vice-president for integrated acquisition and international sales and distribution, Sorporation, said Shas been the home to all mega brands of format franchises. With our production • March 2019

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expertise in formats adaptation combined with the world-class Filipino talent, we believe Search For The Idol Philippines can be an avenue to showcase new Filipino singers once again.” The erman adaptation of eshet’s studio-based competition format Masters Of Dance premiered to strong ratings in December last year, on commercial channel ProSieben (10.1% share among 14-49s, and 18.3% share among 14-29s). The 5 x 120 mins series is produced by Tresor, the Munich- and Cologne-based production company that acquired in 2017. Explaining why Pro7 was attracted to the format, general manager Daniel Rosemann, said: “Masters Of Dance for me is the most exciting dance format worldwide. It combines big talent with big emotions.” The original Hebrew version of the series was a hit on eshet . Other territories to pick up the show include orway to public broadcaster , ietnam, oland and Spain.

product news

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B ANIJ AY RIGHTS SHIPWRECKED (15 x 60 mins/format), from RDF Television and Motion Content Group for Channel 4/E4, features two remote islands and two rival tribes called The Tigers and The Sharks, who battle against each other for new recruits. In this competition, victory is for those who have the greatest numbers. In each episode new arrivals land ashore where they spend a day and night with each tribe. Both tribes must do whatever it takes to win them over in a bid to prove that they are on the better island. At the end of each episode the new arrivals must decide which tribe they want to join. However, sometimes new arrivals must duel against each other to stay, tribes compete with each other to win crucial advantages, and the rules of the game can change at any time. S hip w reck


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NEW 50-minute format My Big Day: Home Or Away features two top wedding planners who compete to convince a couple that they have the perfect vision for their big day. One plans a wedding at home, the other designs a wedding in an exotic location. A Coco TV production for RTE Television, distributed by BBC Studios, the show follows the couple as they consider all the options and choose between two different dream weddings.

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ORANGE SMARTY GOQ UEST MEDIA VENTURES MUMBAI-based GoQuest Media Ventures offers a new hidden-camera format What The F***?! (10 x 45 mins) in Cannes, produced by Amsterdam-based daVID & Co. In What The F***?! everyone gets the chance to surprise family and friends in a unique way. Candidates secretly learn a skill or stunt over a short period of time — including performing aerial acrobatics on a plane or hopping onto a dirt bike and chasing bikers. Once the skill or stunt is mastered, they surprise their friends and or family with the help of a hidden camera. Rights are available worldwide, excluding The Netherlands and Norway. W hat T he F* * * ? ! ( G o Q ues t M ed ia V en tur es )


THE UK’s Orange Smarty brings format Celebs On The Ranch (10 x 60 mins) to Cannes. Under the supervision of the Head Rancher, the celebrities learn the pressures involved in managing a ranch. Each celebrity is given a horse to look after as they absorb the ways of cowboy life, from learning to lasso to branding the cattle, all leading up to the final when they join experienced cowboys on a cattle drive. The celebrity who each day least impresses the rancher has to leave the ranch and head back to the city. Gradually, numbers dwindle until the ultimate cowboy or cowgirl is named.

DRG SMALL Fortune is a key title on DRG’s new format slate. The series was commissioned as a 6 x 60 mins primetime series by ITV in the UK and premiers this year with Dermot O’Leary (The X-Factor) as its host. Small Fortune sees teams of friends and family members compete in tiny games set in perfectly miniaturised worlds in order to win big money — up to £50,000 per game and £150,000 potentially for the winning team. Small Fortune has been created by Youngest Media, producer of dating series Game Of Clones. S m al l F o rtune (

PARADISE Hotel, brought to Cannes by the UK’s Passion Distribution, sees 11 young singles pair up and compete for a life-changing cash prize in a luxurious hotel on a tropical resort. Surrounded by sun, fun and romance, the singles vote off one of their fellow residents to make room for a new guest each episode. Viewers can play along at home, using social media to influence what happens on screen, including helping to decide who stays and who goes. Having first aired on Fox in 2003, Paradise Hotel has been produced in more than 12 countries, and has never been off air in Sweden, Denmark and Norway since its first broadcast. This year will see Paradise Hotel rebooted in the US, by Fox. MIPFORMATS PREVIEW • 14

• March 2019

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product news



AMSTERDAM-based L ineup I ndustries is bringing new format T he W eek ends (14 x 50 mins) to Cannes this year. From Radio Gaga and Emergency Call producers De chine en, The Weekends debuted on Canvas (Belgium) in December 201 with Lineup Industries on board for international distribution. With 14 episodes shared over seven weeks, The Weekends is a series that unites nine strangers, ov er sev en w eek ends, to share their stories in a support-group se ng, filmed remotely so no crew is present. E ach indiv idual is going through a v ery important and life-altering year, and throughout the preceding w eek they document their ow n liv es, w ith a small camera, to share in dialogue w ith their group.

NO V Y T V channel, from U k raine, brings a number of its ow n non-scripted formats to C annes. E xes helps couples assess their relationship in order to understand w hether they need a restart or separate forev er. T rav el show T rav elE arners features 10 jo urnalists w ho hav e dared to sw ap their profession w ith others around the w orld, in order to understand how it feels w ork ing and liv ing abroad, as w ell as to see w hat k ind dangers can be R e viz o r ( N o vy T V ) hidden behind the most ordinary jo bs. T he R ev izor is a brand that has spurred changes in hotel and catering in U k raine, R ussia and A zerbaij an for many years, and has spawned format spin-offs that focus on retail, medicine and kids. Love Survival features couples whose relationships are in trouble and w ho try to understand, through a series of adv entures and extreme contests, w hether they should stay together or separate.

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RED ARROW STUDIOS INTERNATIONAL RENO V ATE D on’ t R elocate is a format brought to C annes by R ed A rrow Studios. P roduced by O utline Productions for UKTV, the format mixes smart technology, design and engaging stories to create a home mak eov er show that not only transforms homes, but the w ay they R eno v at e D o n ’ t R el o cat e ( R ed A rro w S tud io s International are used. A n expert host — in the UK version, property developer Sarah Beeny — comes to the aid of homeow ners liv ing in a property that no longer w ork s for them, show ing how a little design know-how can improve their lifestyle, save them money and prev ent them hav ing to go through the stress and cost of mov ing home. Special cameras are installed to monitor how people really use their homes, and the information collected helps create a life-si e floor plan that highlights problem areas and brings the design, layout and decor ideas to life. T he series w ill also be av ailable as a 2 0 x 4 3 mins tape v ersion.

HA T TRICK INTERNATIONAL HAT TRICK debuts The Drag Lab at MIPTV, an outrageous and emotional six-part series about one of the UK’s most fearless and fabulous drag collectives, The Family Gorgeous. Founded by drag queen Cheddar Gorgeous and Anna Phylactic, the group lives in Manchester where they host the monthly Cha Cha Boudoir and where they teach guests lacking in confidence how to dress, mak e up and unleash their inner div a. E ach show sees The Family Gorgeous w ork w ithin a community that will ultimately lead to a liv e performance in front of family, friends and locals from the tow n. T he series is available as a finished tape D rag L ab ( H at T rick ) and as a format. MIPFORMATS PREVIEW • 15

MANDARIN FILM CHINA’s Mandarin Film is highlighting its new format Breakout The ade M ask ( 10 x 2 0 / 3 0 mins) in C annes. T he series features a group of close college friends w ho trav el into the mountains during the summer break to explore a hidden w aterfall. T hey div e deep into the w ater and uncov er a jade mask. When they climb back out onto dry land they find the world they come back to is not the one they left. There’s something in the trees hunting them and the only refuge is an abandoned monastery. I nside they learn the secrets of the ade Mask and try to w ork out how to find their way back to safety. T he contestants in the show react honestly to the ev ents B rea k o ut – T he J ad e M as k ( Mand arin Fil m ) happening in real time.

SONY PICTURES NETWORK S INDIA IN CANNES Sony Pictures Networks India is presenting a variety of scripted formats, enabling successful I ndian stories to be adapted to w orldw ide audiences. T he range of long-running series includes one story that traces the di cult life of an independent, self-made w oman and her struggles for a better future another one explores the life of a couple w ho discov er lov e after marriage when they least expected it and another story is about a cold business mogul w ho falls in lov e, loses her sanity and turns into a dangerous sociopath. T he formats can be adapted to v arious episode lengths to suit broadcasters, and localised to suit different cultural R o m anc e a nd ps y cho l o gica l thr il l er B e y had h ( S o n y P ictur es N e tw o rk s I nd ia ) nuances. • March 2019


O per

acio n T riun

f o , a hit f o r R T V E

I n s e arch of the ne t hi t ri y and authentic or light and upli ing hat are format uyers looking for in Andy Fry asks si commissioners to share their MIPFormats wish lists


UXILIADORA Gallego Perona is responsible for content and formats at Spanish public broadcaster RTVE — a role that includes overseeing domestic agship channels L and LA 2, as well as the Spanish public broadcaster’s international channels and web channel Playz. Among the formats that have worked for RTVE are Operacion Triunfo, MasterChef, Bailando Con Las Estrellas (Dancing With The Stars), Maestros De La Costura (Sewing Bee) and Prodigios (Prodigies). In terms of long-running success stories, Perona singles out

Operacion Triunfo, which recently returned years after its initial premiere. “The format has been a phenomenon and has had a significant impact on social media,” she adds. “With the creation of the YouTube channel, it attracted million visits for its final gala. As for what she is looking for, Perona says: “We all want the best formats and the one that will be most viewed by the public. Moreover, as a public-broadcasting service, I want new projects that are unique and create a buzz in the market, increasing audience share. Creativity and good proposals can appear in many places. For example, there’s now greater interest in MIPFO MA


• 16

Korean productions. Already in , T launched a version of the Korean entertainment format Fantastic uo. n , there will also be our adaptation of The Masked Singer.” As for the disruption caused by the new platforms, Perona is not unduly worried: “When the radio appeared, everyone thought live theatre was going to disappear. When television appeared, everyone thought radio was going to disappear. Competition is hard, but each platform continues to create content that attracts an audience. Traditional networks have to keep giving their viewers compelling, risky and unique creations.” Perona believes RTVE is in a • March 2019

good position to succeed: “It’s a reference for other networks [in terms of] establishing new formats and new ways of watching content. For example, we are aware that the viewer wants to be in control of how and when to watch content. Through Playz, we provide innovative content, such as Una Nochevieja Inolvidable. More than the formats themselves, the key is content, narrative and presentation.” Nine Network Australia has ac uired several high-profile formats in recent years. “Key titles have included Married At First Sight, Ninja Warrior, Travel Guides, Love Island and Lego Masters,” Adrian Swift, Nine

FEATURE: FORMAT B UY ERS Network’s head of content, production and development, says. “But these come in addition to long-running series like The Voice and The Block.” Of these, only The Block originated in Australia, though Swift stresses that formats tend to get a serious makeover once they reach the country. “We have a reputation for blowing series up into something much bigger,” he says, pointing to Married At First Sight.

dri n


“We have a reputation for blowing series up into something much bigger”

A n A us

“That’s why the international market often looks to Australia for inspiration. We also prioritise stripped shows, so formats need to be able to work across a number of nights for us to be interested — though we do have capacity to ‘rehearse’ for-


A t F ir s t S igh t, a hit f o r A us

mats in a weekly slot.” This emphasis on stripped shows arrived in the market about years ago with MasterChef — and it’s a mixed blessing, according to Swift: “It’s great when you have a strong show that can sustain that level of airtime, but it’s tough when you need to replace it.” Swift says that Nine has pursued a light tone as it seeks to combat the on-demand services: “Some

tr al ia ’ s N ine N

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Israeli commercial broadcaster eshet has a strong track record of producing entertainment franchises that work at home and then travel widely — examples include talent shows Rising Star and Masters Of Dance, and game show Boom! ight now, eshet head of programmes and

o rk


mainstream networks make the mistake of trying to get dark and moody like et i . ut our approach is to focus more on nice, bright, uplifting content.” While stripped shows are a priority, Swift says Saturday night is a low viewing night in Australia. “We’re much more focused on Sunday to Wednesdays,” he says. In terms of what he is hunting for, it’s formats with a point of difference: “Lego Masters is an example of something we haven’t really seen before.” So would he pick up a paper format? “If we liked the idea and the provenance of the producers was good, then yes. We used to look mainly to the US and the UK but, these days, we look beyond that for great ideas.”


• 17

• March 2019

tr al ia n o


l : T he B

l o ck

acquisitions, Ilanit Siman TovHirsch, says the channel is also in development on an ambitious new reality show called . Although details are currently sparse, it is reported to be a Truman Show-style production that involves the construction of an entire town. “We also have a new dating show called How Far, which looks at how far Israelis are willing to travel in search of true love,” Siman Tov-Hirsch says. Despite this, there is still scope for the right entertainment formats, she adds, noting that Keshet recently saw its airtime expand from half a week to a full week following a regulatory shake-up. “Our target audience, which is mainly women aged between and , didn t change, but clearly we have more slots to fill. Shows that have worked well include local versions of Red Arrow’s Married At First Sight, TBS Japan’s Sasuke/Ninja Warrior and My Restaurant Rules, which first aired on Seven etwork in Australia. “The latter has worked really well for us, because it taps into a really powerful area of Israeli culture and lifestyle,” Siman Tov-Hirsch

FEATURE: FORMAT B UY ERS says. Ninja Warrior was introduced last summer, “but in a different way to in the US, where it’s a weekly primetime show,” she adds. “In Israel, we felt it would be more effective if we aired it more frequently. So we doubled the number of episodes and scheduled it twice a week, which helped it build up real momentum with our audience.” In terms of shows that work for eshet , Siman Tov- irsch says they need to be “different, bold, stylish and authentic”. She adds: “We’re looking for innovative subjects that no one has really built up until now.” T has a portfolio of channels, though the current focal points of its entertainment-commissioning activities are W, Dave and Gold, according to UKTV’s deputy director of commissioning Hilary osen. igh-profile originations on entertainment channel W include Inside The Ambulance and Emma Willis: Delivering Babies, while key franchises on comedy channel Dave are Judge Romesh, Taskmaster and Jon

T as k m as t er a hit o


K co m ed

y channel

R is ing S

ta r, s uc ces s f ul

ho m e- gr o w n c o n t en

Richardson: Ultimate Worrier. Typical commissions are an hour in length, with first runs varying from three to episodes. For a fi ed-rig show like nside The Ambulance, we’d look at a minimum commission of episodes but, for new untried ideas, we’d generally start out with three or six,” Rosen says. “Once we re confident about a show s

t f o r K es he t 1 2

performance, then we look to increase our episode order.” A case in point is Taskmaster, which has expanded from six episodes per season to over the course of its lifetime. igh-profile talent plays a big part in UKTV’s mix, with Stacey Dooley signed up for a new sixpart show called Stacey Dooley Sleeps Over. “Typically, we talk

to talent about the show they’d love to make and then try to accommodate them because, if you have their buy in, you get a better show,” Rosen says.

i ry osen

“Typically, we talk to talent about the show they’d love to make” “The key for us, because of the competition, is to place bets on ideas that are really strong. We work extremely hard to lure audiences to our channels and then seek to maximise the impact of our most successful franchises. For example, we’ve turned Inside The… into a franchise, with Inside The Operating Theatre coming up.” UKTV’s channels do not generally adapt international formats, instead focusing their investment on originations — most, but not all, talent-led. One exception, Rosen says, is Storage Wars UK, a local version

D av e



• 18

• March 2019

FEATURE: FORMAT B UY ERS of the US format, which was created for Dave. Conversely, Taskmaster, produced by Avalon Television, has been remade in Belgium, Sweden, Spain and the US. Andreas Bakka Hjerto is programme director at Norwegain commercial channel TV3, which is part of the Nordic Entertainment Group (NENT). However, he also oversees commissioning across sister channels iasat and T , as well as related AVOD and SVOD platforms. s T s orwegian agship, TV3 is home to key acquisitions, Bakka Hjerto says, with titles including Banijay’s Paradise otel, now in its th season, and Endemol Shine’s The Luxury Trap, which has clocked up an impressive 20 seasons. He puts these formats’ longevity down to “the strength of their main premises, and the fact we work hard to keep evolving both productions each season”. More recent additions to the TV3 line-up include Camp Kulinaris, a local version of

L a V o ix , a hit f o r C ana d a’ s Q ueb

DRG format Culinary Camp, which is stripped on weekdays — “an area of the schedule where we are strong”, Bakka Hjerto says. TV3 has also recently introduced Love Island as a companion to Paradise Hotel, with additional content available on digital platforms Viaplay and Viafree. In terms of what he is looking for, Bakka Hjerto says: “We see a lot of great stuff in all genres. But what we are really eager for are shows that are completely different to what is already out there. Shows really need to be controversial or explosive in some way if they are to attract the attention of Norway’s audience.”

ndre s


“What we are really eager for are shows that are completely different to what is already out there”

ec o r C o n t en

Although, with a population of only five million, orway is a relatively small market, TV3’s commissioning clout is strengthened by having sister channels in the other Nordic markets. “We meet regularly with our counterparts in Sweden, Denmark and Finland to co-ordinate pitching and development,” Bakka Hjerto says. e also benefit from having distributor DRG as part of the group, and we recently agreed a co-commissioning relationship with them. Working more closely with DRG is a creative and cost-effective way for us to secure a pipeline of attractive content for our channels, and gives us an opportunity to create new brands and IP together.” A leading player in French-speaking Canada, Quebecor Content provides programming through acquisitions and original production to TVA, the number-one commercial channel in Quebec, as well as seven speciality channels and the largest French-speaking

SVOD platform in Canada, Club illico. “Quebec is unique,” says senior director, acquisitions, Christine Maestracci, adding that it not only speaks French but has its own star system. “We launched lub illico more than five years ago and it ties in well with our channels.” According to Maestracci, hit formats include The Voice: t s a agship show and has been going strong for seven seasons, bringing in a share of over , thus placing our local edition as one of the best-ranking worldwide.” Explaining The Voice’s strong performance, she adds: “The key to success in any format is to adapt it to the local market. Quebecor Content knows how to make formats stay true to the brand, but have a local avour. When assessing a new format, Maestracci says Quebecor Content is completely open to ideas: “We’re always on the lookout for new formats in all genres and from all countries at any stage, whether a paper format or more. Although our grid delivers great audiences for all of our shows, we would certainly make space for a new hit.” Key to her company’s success, Maestracci says, is getting the right balance between formats and original ideas. “We adapt formats, but Quebec also has a lot of creative talent and Quebecor Content has successfully launched its own formats internationally,” she says. A case in point is Dance Revolution, distributed internationally on TVA’s behalf by Israel’s Armoza Formats. CONFERENCES & EVENTS Get The Commissioners Brief, Sunday, April 7 at 15.50 in the Esterel




• 19 • March 2019


N ic e gu


y s

i erent thin s

As the formats industry continues to grow in si e, sophistication and glo al reach, so creativity ecomes crucial to success. J o anna S t ephens r e p or t s IT IS a truth universally acknowledged in format circles that all genres come and go. It is also universally held that the Next Big Thing is just around the corner, waiting to make the fortune of whoever’s lucky enough to discover it. Or at least it was. These days, the old ideas are increasingly being questioned by format executives and observers, among them Nathalie Wogue, partner at French consultancy Ascendo. tv. “I’m not looking for the Next Big Thing any more, but the next big little things,” she says. “These days, I tell my clients to stop searching for Prince Charming and start looking instead for nice guys — ideally, lots of nice guys doing different things. Viewers may still love the big old format brands but they also love the new and surprising, and the best, most economical way to give them that is to offer a variety of smaller shows.”

Nathalie Wogu e:

“I t el l m y c l i en t s t o s t o p s ear c hi n g f o r P r i n c e C har m i n g an d s t ar t l o o k i n g i n s t ead f o r n i c e guy s — i d eal l y , l o t s o f n i c e g uy s d o i n g different things” And if you’re lucky, “one of your nice guys will turn into a handsome prince”, Wogue adds. “Formats that start small can, and do, end up big,” she adds, citing TBS’ Ninja Warrior, which started its international career as cult viewing on the now-defunct G4 before morphing into NBC’s unstoppable American Ninja Warrior.

Wogue also cautions against obsessing about genre, pointing out that viewers don’t care what label the industry slaps on a format, only that it’s fresh, original and, above all, authentic. This, she believes, is behind the growing trend for giving classic format genres “a real-life makeover”. The latest generation of talent shows, for example, are far more grounded in the real world of showbiz than their predecessors, giving as much focus to the mechanics of the business as the contestants’ journey from wannabe to winner. Examples include The Launch, repped internationally by Sony Pictures Television, and NBC’s Songland, exec-produced by Eurythmics’ co-founder and producer Dave Stewart. Also mining the same territory is et i s first foray into music competitions, Rhythm + Flow, a 10-part hip-hop talent search


exec-produced by John Legend; and Global Agency’s The Remix, in which DJs and artists pair up to compete for the chance to cut their own album with a top label. “Viewers are increasingly looking for more purpose in their entertainment,” Wogue adds. “In this troubled period, people either want escapism — Love Island is the perfect example of a format that delivers that — or they want a show that teaches

J an Salling:

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oices electri yin scale an harmony

them something, opens a window on a new world or makes them think.” Wogue’s analysis is echoed by Jan Salling, founder and CEO of Nordic format consultancy Missing Link Media, co-chair of global formats association FRAPA and long-time champion of social-purpose content: “In recent years, the Nordic region’s most successful exports,

both in terms of generating sales and creating conversations, have been formats that get up really close and personal to real people with real problems — young people dealing with eating disorders, addiction or panic attacks, for example, or struggling with the pressure of social media. In fact, I’d go so far as to say that ‘entertainment with a purpose’ has become a distinct Nordic brand.” He MIPFORMATS PREVIEW •

references Norwegian format True Selfie, produced by slo-based Anti TV and distributed by Magnify Media, which follows eight troubled young people through eight weeks of intensive therapy. Now in its second season on NRK Norway, True Selfie has spawned successful Dutch and Canadian iterations. “It’s basically group therapy on TV,” Salling says. On the scripted front, too, Nor• March

“I n r ec en t y ear s , t he N o r d i c r eg i o n ’ s m o s t s u c c es s f u l ex p o r t s have b een f o r m at s t hat g et u p r eal l y c l o s e an d p er s o n al t o r eal p eo p l e w i t h r eal problems”


Ascen o t ’s athalie o e lookin or the next i li le thin s

Missin ink Me ia’s an allin entertainment ith a p rpose

dic format-makers are using authenticity to engage the elusive youth audience. Breakout examples include another Magnify title, YLE Finland’s dark comedy format Mental, based on the real-life stories of four teenagers in a secure psychiatric unit; NRK’s cult teen drama Skam (Shame), local versions of which have now been produced in seven territories; and pre-teen drama The Class, produced by STV Production, which has been a massive hit across Scandinavia, outperforming Skam on catch-up and online by a factor of 10. “The Class is astonishing,” Salling says. “It’s a drama but it doesn’t feel like a drama, because it’s so raw and rough and honest. One reason is that it doesn’t use actors but young people with acting talent from its eight-to-12 target group. That gives it real authority with kids.” Nordic producers are also reaching for raw emotion to help refresh old and over-used genres — and never more successfully than Red Arrow Studios’ Snowman Productions. The Danish prod-co’s social-ex-

periment format Married At First Sight, which has now sold into more than 25 territories, has taking dating shows to provocative new heights — or lows, depending on your view of marriage and commitment. Buying Blind, meanwhile, has pulled off the same trick in the home-makeover genre by asking young couples struggling to get on the property ladder to sign away their life savings to an estate agent and interior designer. As a genre, game shows tend not to lend themselves to intimate journeys of self-discovery, which calls for a different approach. There’s recently been a spate of visually spectacular game shows — The Wall, Hardball, Ultimate Beastmaster, Big Bounce Battle — that rely on whizzy props and technology rather than innovations in gameplay. Indeed, this is a trend that Wogue has observed across several genres: in entertainment, with Fox’s ratings-busting The Masked Singer, with its mesmerizingly surreal costumes, or BBC’s 1 The Greatest Dancer,

with its enormous mirror wall; even in dating with E4’s Game Of Clones or Zig Zag/BBC Studios Distribution’s Dating Detectives. While game shows with highvisual impact tend to pull in impressive ratings for their early episodes, the jury is out as to whether they will keep viewers interested in the long run. Wogue suggests that scheduling changes may be the answer — shorter runs, say, of multiple series in a year. However, Tim Crescenti, president of Small World IFT, believes that what audiences like about game shows is that they are... well, game shows. “Some of the most successful shows in history — Wheel Of Fortune, Jeopardy!, The Price Is Right — are simple question-and-answer formats,” says Los Angeles-based Crescenti, who believes that game shows are about to have another moment. And it’s not just viewers who feel comfortable with the familiar. Given that “television is a business of failure and that 90% of shows are cancelled af-

A i Armo a li e interaction ill e the key to s ccess

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ter the first season , it is no surprise that broadcasters also continue to be drawn to the tried and tested. The secret with game shows, Crescenti adds, is to “keep it simple, stupid”. This is at the

lo al hit Be er

heart of his latest game-show venture, Win Your Country!, which generated headlines back in November when it was announced that Whoopi Goldberg’s One Hoe Productions and 44 Blue Productions were

partnering with Small World to make a US version of the Zucchero Media/TVR2 Romania format. Currently in development in Canada and under option in France, Germany, India, Israel, the UK and Czech Republic, the studio-based show challenges contestants to answer questions about their home countries, battling it out state-by-state, region-by-region and city-by-city. “Win Your Country!’s secret sauce is that it plugs into patriotism,” Crescenti says, adding that it was the format’s “positive focus on civic pride, unity and identity” that appealed to Goldberg. “It’s a fun and entertaining way to look at your country and be proud of it. We Americans may have a divisive president, but we still love America.” Crescenti, too, says genre is largely irrelevant in today’s “Wild West market” where, between the heritage broadcasters, the digital platforms and the FAANGS, “we’re simultaneous-

Armo a Formats’ in erella a ery clear clean str ct re


• March

ly cursed and blessed with too many opportunities”. That said, he predicts a rise in social-experiment formats — a trend he hopes to bottle at MIPTV with a new paper format called My Life According To The Bible, which challenges contestants to live for 100 days by the sacred scripture of their choice — and an end to the “nonsense” of scripted reality. “That was just bad TV,” he adds. “Why would you want to watch real cops playing TV cops? Why not just hire actors?” One of Small World’s standout successes in recent years is Better Late Than Never, which started life as South Korean show called Grandpas Over Flowers. Originally produced by Korean content powerhouse CJ ENM for tvN, the show accompanies four veteran celebrities on a heart-warming road trip. In the US, Better Late was a two-season hit for NBC, which cast William Shatner, Henry Winkler, George Fore-

FEATURE: MIPFORMATS man and Terry Bradshaw as the silver-haired backpackers. Small World has now sold the format into 15 territories, making it one of the most successful formats to have come out of Korea. Echoing Wogue and Salling, Jihee Kim, head of global content development at CJ ENM, believes Better Late’s cross-border, cross-generational appeal lies in its “authenticity and sincerity”. She adds that a show featuring “grandpas well past their prime” also makes a refreshing change in a market saturated with youth-centric entertainment. CJ ENM’s other best-selling international format, I Can See Your Voice, also breaks with convention by challenging the judges to guess which contestants can sing and which can’t — based

solely on physical appearance. “It combines deduction with music to create an entertaining show that’s very different from existing competition and talent formats,” Kim says. Another CJ ENM show that has succeeded in injecting new life into not just one, but two genres is Love At First Song, a hybrid music-dating format that matches people through their musical taste. “It’s been a huge success in Vietnam, which is ooded with music and dating shows,” Kim adds. “By combining perhaps the two most universal, entertaining and relatable genres, it’s been possible to revitalise both.” According to Kim, the traditional talent show is all but dead in Korea, the two exceptions being CJ ENM’s rap competition Show Me The Money and

K-pop talent search Produce 101. Not only were production budgets spiralling out of control, she adds, but the well of candidates was running dry: “The same people were appearing on different talent shows, since there’s a limited number of ordinary people who are talented in singing.” But if old-school talent shows are struggling, Kim believes studio-based music formats will live on — as long as they are “visually unique, grand in scale and have a new and different approach to the music genre”. Fitting this description to the letter is CJ ENM’s latest contribution to the genre, 300: War Of United Voices, in which top artists and 300 of their fans join forces to give performances of “electrifying scale and harmony”.

This chimes with Avi Armoza, founder and CEO of Armoza Formats, who knows a bit about electrifying talent shows, having created arguably the most successful singing competition since Talpa’s The Voice. Launched in 2016, The Four has two hit seasons on Fox in the US under its belt, has spawned 13 local iterations and, according to Armoza, has also “created a new a new language of storytelling” in the process. Its success has now inspired the Israeli format specialist’s latest foray into music formats, Singerella, which debuted at MIPCOM and was instantly snapped up in the UK and Thailand. “When we launched The Four, we found there’s a real need for stand-alone, close-ended episodes that have a connection

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• March

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FEATURE: MIPFORMATS to talent and music,” Armoza says. The result was Singerella, which has “a very clear, clean structure” and an archetypal narrative a woman with unfilled musical dreams is given her moment in the spotlight with a big-name artist — all in an emotion-packed three-day time frame. For Armoza, it’s always about storytelling, whatever the genre. Whereas Singeralla is a feelgood fairytale, Armoza also does gritty and un inching, re ecting the current preoccupation with authenticity. A case in point is Sex Tape, set to air on the UK’s Channel 4, in which unhappy couples film themselves — including having sex — in an effort to save their relationships. “Sex Tape is a so-

REMIX ING IT A A enc uc rea t ho he e erve a an e a e of the oba nature of toda for at ndu tr o e e ht ear a o the ur h d tr butor a o ered a a er for at b nd a re a er nterta n ent t a ba ca a one a e ord doc a oba A enc foun-

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cial experiment that pushes the boundaries by focusing on an aspect that has never been dealt with on TV before: the impact that people’s intimate life has on their emotions and day-to-day relationship,” Armoza adds. And then there’s the all-important question of cost in a market that remains cash-strapped and risk-averse. “We’re seeing a global trend of trying to find cost-effective solutions to primetime television,” Armoza says. “Television in general just doesn’t have the money it once had to invest in productions, so it’s sticking to what it knows works. Now, when you’re launching a new show to the world, on top of creativity and storytelling, you also need cost-effectiveness.” der and et nto e ere the on d tr butor ho be eved n t o e ut u the one for a fa r ba c tra er t too u t o ear to nd our r t c ent h ch a n etna and t too another t o ear to et the ho on a r hen to our a a e ent t beat he o ce and he actor n the ratin and ti one of the b e t ho ever n etna hat a hen e rea ed e had a h t on our hand n the bac of he e ucce n etna the forat a c ed u n around terr tor e nc ud n ndone a a a a h na and outh Afr ca hen a t ear A a on entered nd a and a oo n for a u c rea t ho nto a he ent for he e h ch aunched on A a on r e a t arch and ha been a b ucce o the ho tarted n nd a


Armo a Formats’ ex Tape a social experiment that p shes the o n aries

As to where the formats industry will look next to refresh its offer, Armoza says: “No one has yet been able to crack real-time interactive with viewers and I think this will be the Next

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• March

Big Thing. We’ll most likely see it first in the game-show genre, but it will move into other genres. I think live interaction will be the key to success across all genres in the future.”

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L et i s premium subscription model has largely been built on scripted originals, there has long been a view that the S platforms would eventually turn their attention to unscripted entertainment. The lower cost of the latter, combined with uick • March 2019

turnaround, localisation potential and an ability to hit large, cross-generational audiences, made such a shift seem inevitable. t the same time, unscripted entertainment also makes sense for platforms like Facebook and Snapchat, which have built their businesses on social media, shortform content and . ere,

T he o l d

m e e ts t he ne

the introduction of T -style entertainment content is a way to e tend engagement with audiences and encourage repeat visits, both of which feed positively into their advertiser-led models. These business drivers are why we have seen et i invest in shows such as The ircle and ltimate eastmaster. nd over at Facebook there have been


shows like Make p or reak p, onfetti and a reboot of The eal orld. Snapchat also has a slate of unscripted entertainment shows. This according to founder athalie ogue. ctivity like this has undermined the thesis that the on-demand streaming model might not be compatible with unMIPFORMATS PREVIEW • 27

scripted entertainment. nd more e amples are coming. et i s hythm Flow, which is all about finding merica s ne t great rapper, is due this year. n addition, et i has launched culinary competition The Final Table e treme magic show eath y Magic and comedy game show Flinch. ll of which prompts uestions both for traditional broadcasters and content creators the legacy players have to decide how they will respond to this new power game. o broadcasters become more risk-averse, relying on established formats, or go for more original ideas For producers there are new opportunities to supply shows to the new platforms, while the terms of engagement will be different from those that e ist with the traditional broadcasters. Mike eale, managing director ordics and global creative network, T Studios, says he is seeing evidence of traditional broadcasters taking both these paths. e re still seeing demand for our tried-and-tested formats like ome ine ith Me and ell s itchen. nd m elebrity et Me ut f ere is returning to France after a long absence. ut there is also evidence of risk-taking among buyers, and that has allowed newer formats like Love sland, The all and ll Together ow the latter two distributed by ndemol Shine to establish themselves. Love sland, in particular, has proved popular with networks as they try to attract a young demographic, eale says. ew versions for S S elgium and olsat in oland mean the show has now been commissioned in countries. erhaps surprisingly the S networks are among the biggest risk-takers, according to eale although this may be a re ection of the fact that the • March 2019

S is also heavily-penetrated by the big S players s The Titan ames and Fo s The Masked Singer are both performing well. nd there is now talk of ndemol Shine preparing a blown-up version of format Lego Masters for the S market.

Mik e B eale:

“We’re still seeing demand for our tried and tested formats ut there is also evidence of risk taking among buyers” More than risk-taking, eale says the real emphasis among linear channels is on dissuading viewers from switching to on-demand This is where live helps, he says. e recently did a deal that will see hannel s peration Live go to etwork ustralia. This view is endorsed by llen Lovejoy, vice-president, head of sales, mericas and Formats at etworks. fter achieving a breakout success with Live , the company s headline property in the run-up to M T is My reat ig Live edding This is a show in which couples with remarkable stories are given their dream wedding, and the whole world is invited to watch. n our view it taps into a trend towards positivity and nostalgia. t s about creating watercooler moments, ayley abcock, head of formats, international programming and production at etworks. ut our thinking is that it won t just work in real time. udiences looking for wish fulfilment T will also be drawn to repeats of this in-the-


T he M as k ed

S ing

er ( F o x )

moment format. nother property coming out of the stable is The Tower, developed in partnership with ig ag. This one, says Lovejoy, is a back-to-basics game show that focuses on being inclusive, humorous and positive in tone. t s a show that all the family can watch together, another strength of linear channels. roduction-wise, abcock says, the show re ects a trend towards studio sets with big set-pieces for e ample The all. ontestants answer uestions to take control of The Tower, which is a giant glass cylinder pierced by rods holding up coloured balls. articipants pull rods out of the tower so as to allow valuable pri e balls to fall, while avoiding penalty balls. T S eale also has a new show with a core physical concept atchpoint sees contestants standing in front of one of large screens that contains the answer to a uestion they ve just been asked. hen they answer, a ball drops from above the correct answer and they get money if they catch it. So the key is getting as close to the ball as possible. More generally, abcock says formats that provide insights into relationships continue to do well on traditional T . Seven ear Switch and ride

rejudice have been working well on Seven etwork ustralia, she says. This point is backed by the news that anijay ights has just licensed its long-running ife Swap format to T ecord ra il, with further adaptations coming in ustralia, the S and Finland. lliott halkley, vice-president, sales, says The show s success, and portfolio of international versions, is driven by its simple yet adaptable premise and real-life setting. The series guarantees drama-packed primetime entertainment. ed rrow Studios nternational vice-president, non-scripted, arry amsu believes that a growing number of broadcasters are willing to take creative risks. They recognise the need for noisy shows that have the wow factor audiences crave. ed rrow has enjoyed success in recent years with eye-catching social e periments and shows that contain entertainment with a purpose. For us, standout shows have included titles like Married t First Sight, uying t lind and ld eople s ome For Four ear lds a hannel L title that has now been picked up in several territories including ustralia, France, ermany, Spain, oland and the ordics, amsu says. ld eople s ome is a show MIPFORMATS PREVIEW • 28

that buyers take time to think about before committing, amsu says. ut once they do it works well because it is the kind of inter-generational show that linear T audiences love. t is proving to be a returnable franchise, and has been recommissioned by Movistar Spain. Like the team, amsu says broadcasters are turning to positive feel-good programming. nother great e ample is on t Stop The Music, which is about reversing the disappearance of music from the school curriculum. n , the company is also pushing enovate on t elocate and very Family as Secret, a new take on the genealogy genre that has been created for S S ustralia by rtemis Media. lin Thomas, e ecutive vice-president, sales, at says her company has identi-

O l d P eo

pl e ’ s H o m e F

• March 2019

fied non-scripted formats as a growth opportunity, in part because of the increased number of buyers in the market. e have formats owing through from our sister companies within the ordic ntertainment T roup and we have also started investing in third-party formats. e have one very well established format, The Farm Stri , and two new ones that we will be bringing to M T . These are game show Small Fortunes oungest Media for T and culinary show The rigade pectation for . Small Fortunes reverses the race towards super-si ed sets, says Thomas. ontestants attempt to complete a miniaturised task, such as moving tiny storage containers with chopsticks or throwing hoops over models of ig en or any other local landmark. t s a very funny

o r F o ur Y ea r O l d s ( C hannel

4 / C P L )

FEATURE: MIPFORMATS series with big cash pri es, so there is a lot of jeopardy as people attempt the tasks. From our point of view, we are interested in formats that are scaleable, can be tailored and have the potential to keep returning, Thomas says. For broadcasters, think the key is finding something that differentiates them from rivals that doesn t just follow what has gone before. also think the success of The Farm speaks to a desire among audiences for a simpler lifestyle away from the pressures of modern living. n risk-taking, Thomas says so much depends on the territory and broadcaster in uestion. There are markets like Scandinavia, where broadcasters are trail-bla ers. ut there are also places where channels want a show to have been in five territories and been renewed before they commit. iacom nternational Media etworks M head of global formats Laura urrell agrees that the new platforms are really shaking up the market hen see titles like aradise otel coming back, it makes me think that broadcasters are looking for known brands that they can e periment with. So they are prioritising proven shows but taking risks within them. For urrell, the impact of the new platforms is not just about subject matter but also how it is viewed by audiences. t the development stage, content creators need to think about whether a show can be binged. nd that also links to how a show is released all at once or week-by-week. Social engagement is particularly important to young audiences, so casting is key to the success of many format-based shows. n , M is targeting two

key areas kids and relationship formats. n the first arena, urrell cites a reboot of ouble are and the launch of The iral Factory, a competition-based show in which social media inuencers work with unknown talent to create ne t-gen ouTube stars. n relationships programming, the focus is on True Love r True Lies and Make r reak, to go alongside e isting hit n The each. n the former, viewers guess as to whether couples on the show are genuine or faking it. n the latter, the focus is on relationships that have hit the rocks with participants making a final decision about whether to stay together or part company. My aired Make r reak as a -day event in the run up to alentine s ay, urrell says. t was then followed by a standard linear transmission, which is what mean by channels looking at how they launch content. hile traditional broadcasters continue to be the biggest buyers of unscripted formats, how do our content creators and distributors view et i s entry into the market For ed rrow s amsu, t s another buyer in the market. t s great to

T he F


see big unscripted commissions by the S market. ou get a similar response from Lovejoy and abcock, even though their division is part of a global network of channels e have an ama ing archive of that wouldn t necessarily be a fit for our channels anymore, says Lovejoy. ut it could be reimagined in a big way for other channels or platforms.

H arry Gamsu :

“ t’s another buyer in the market t’s great to see big unscripted commissions by the market” Thomas also sees the new players as good news for the format business , though she adds that it raises a uestion about rights. s with scripted series, working with et i might involve assigning global rights for a format, so you need to assess whether that makes sense. ossibly if it s about rebooting a classic format then it becomes

( S tr ix )

MIPFORMATS PREVIEW • 29 • March 2019

an attractive option, as we ve seen with ueer ye For Straight uy. ueer ye is a particularly timely e ample, since et i has just unveiled plans to shoot four episodes in Japan. This is a reminder that the streamers, while global in reach, are not necessarily looking to create global versions of shows. aving secured the rights, ogue says, they are able to create as many local versions as they want, tailored towards the local audience . urrell agrees, noting that The eal orld is being made for Facebook by MT Studios in three versions. Facebook s onfetti is another good e ample, since this has been adapted for five territories at time of writing by Fremantle. ommenting on that partnership, Fremantle s director of global entertainment ob lark says ur family of producers gives us the reach and ability to customise the show for local audiences. n other words, the streamer opportunity is not just about licensing the format globally. For companies with international production capabilities, there is also the potentially lucrative task of making multiple local versions.

your mipformats experience

6-7 APRIL 2019

Palais des Festivals, Cannes, France • Debussy Theatre, Palais 1 MIPFORMATS OPENING TIMES Opening hours Registration hours 5 April: 16.00-19.00 6 April: 09.00-18.30 6 April: 08.00-19.00 7 April: 08.30-18.30 7 April: 08.00-19.00

We look forward to welcoming you in Cannes, but first here are some tips to prepare your journey to MIPFormats

Prepare for MIPFormats Visit the MIPFormats website to organise your travel and benefit from: • reduced rates on your transportation with our partners Air France and KLM Global Meetings with discount code: 34497AF. • the best deals on accommodation with our partner hotels and agencies. • fixed rate taxi bookings of €80 from the airport to Cannes (incl. motorway tax).

Prepare your agenda and meetings in advance

Your badge: your key to getting into MIPFormats

Visit for easy access to all the MyMIP Database features: • Fill out your profile and personalise your agenda • Browse the list of attending participants and companies • Get meeting recommendations based on your business preferences • Send one-to-one messages to other delegates and organise business meetings • Browse the conferences and networking events

• Did you receive it by post? Don’t forget to bring it with you. Your MIPFormats badge also provides access to MIPDoc conferences. • Why not save time with an e-ticket? Sent to you by email, simply print it out to collect your badge at a self check-in point at registration. • Do you only have your confirmation email? Collect your badge at the registration area, located at C22. Registration hours can be found above. Please carry your badge at all times. It is strictly personal and non-transferable

Onsite: meet decision makers and get an overview of the market trends Connect, learn & share

Japanese Formats Showcase Treasure Box Japan: World Premiere - Brand New Formats & More!

Wake Me Up: Mentoring Breakfast Saturday 6 April, 09.00-10.00, Foyer Debussy

Saturday 6 April, 12.15-13.05, Debussy

Network with influencial players from the formats industry

Snack Lunch & Networking from 13.10-14.10, Foyer Debussy

Meet-ups, Foyer Debussy - Saturday 6 April, 15.30-16.00: Entertainment - Saturday 6 April, 16.10-16.40: Gameshow - Sunday 7 April, 08.30-09.00: Reality Series


Breakfast served

MIPFormats International Pitch Pitch Prize offered by and Saturday 6 April, 14.15-15.30, Debussy

The MIPFormats & MIPDoc Happy Hour! Sunday 7 April, 18.30-20.30, Majestic Hotel Open to all registered participants

Nordic Format Screening Presented by Sunday 7 April, 14.15-14.45, Esterel

K-Formats: The Next Big Hits from Korea

WISDOM in China: New Opportunities for Chinese Formats

Sponsored by

Presented by

Sunday 7 April 12.10-13.00, Debussy

Saturday 6 April 15.45-16.30, Debussy

Snack Lunch & Networking from 13.00-14.00, Foyer Debussy

Followed by a tea and coffee break, Foyer Debussy

MIPFORMATS PREVIEW • 30 • March 2019

See the programme page 6 and plan your journey

Riviera 8 tra n



Riviera 7



your mipformats experience C15 Riviera 9


How to access MIPFormats Entrance No. 1

Access to Riviera 7, 8 & 9

MIPTV Perimeter Security Checkpoint


Left Luggage


Organiser’s office

nc tra En


Entrance Palais Riviera 7





Access to Riviera 7, 8 & 9

Entrance No. 1


Debussy Theatre

Palais 5

Organiser’s office



Entrance Canneseries

Entrance No. 2


Palais 4 rium dito Au ère i nd Gra Lum


Palais -1 to 5

Majestic Hotel



The Grand Hyatt Cannes Hotel Martinez

Palais -1

Entrance No. 3


Carlton Hotel

Palais 0

Riviera 9


Palais 3

a Cr oiset


Palais 0


Entrance Palais

Palais Station -1

Entrance No. 3



Carlton Hotel

Harbour L

Entrance No. 5 Access to MIPFormats Debussy Theatre

Palais 1

Debussy Theatre

La Croisette

Entrance No. 5 Access to MIPFormats Debussy Theatre

Majestic Hotel


In association with

MIPTV shuttle

La C roise




The Grand Hyatt Cannes Hotel Martinez

Train Station

Onsite services

MIPDoc Screenings library

MIPFormats Lounge

• Coffee bar & Seaview Terrace

MIPFormats buyers can equally access the MIPDoc Screenings Library to screen Factual and Documentary programmes (on presentation of MIPFormats badge).

• A comfortable lounge for meetings


In association with

JW Marriott Hotel 50 boulevard de la Croisette, Cannes

Foyer Debussy Theatre (Palais 1)

Screening hours

Coffee bar & charging stations.

• Saturday 6 April: 08.30 -19.00 • Sunday 7 April: 08.30 -19.00

(Palais 5)

Open to all participants.

See you in Cannes!


Palais 1

Riviera 8



riu dito Au ère i nd Gra Lum

Entrance Canneseries

Entrance No. 2

La Croisette

Debussy Theatre: Palais 1 Foyer Debussy Palais 5 Theatre: Palais 1 Auditorium A: Palais 3 Palais 4 Palais 5 Esterel Theatre: MIPFormats Lounge: Palais 5 Palais 3



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PalaisConference -1 to 5 & Content Zones

Screening Reports

Review the screening reports from dedicated stations available at MIPDoc. As a buyer, you can get your reports directly from the Screenings Library. To access the reports, please log in using the login & password indicated on your badge. These reports will be sent to your email inbox (if you selected this in your contract) at the end of each day.

For further information: • Help desk: +33 (0)1 79 71 99 99

MIPFORMATS PREVIEW • 31 • March 2019


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MIPFORMATS 2019 PREVIEW MAGAZINE; Jeff Apploff's MIPFormats keynote; The MIPFormats International Pitch; France country of Honor The MIPForm...


MIPFORMATS 2019 PREVIEW MAGAZINE; Jeff Apploff's MIPFormats keynote; The MIPFormats International Pitch; France country of Honor The MIPForm...