PREVIEW March 2019 ĺlbr|ĺ1ol
THE FRENCH TOUCH FRANCE IS MIPTV COUNTRY OF HONOUR
WORLD PREMIERE TV SCREENING BEECHAM HOUSE
THE CANNES DRAMA CREATIVE FORUM
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Dear Friends, WELCOME to the MIPTV Preview, where you can discover in-depth articles on some of the major subjects we will be discussing in Cannes. As the entertainment industry evolves, so does MIPTV. The business of buying and selling programming at an international level remains as important as ever. Whatâ€™s new is that over the past two years we have added a clear focus on early-stage content development allowing GHOHJDWHV WR GLVFRYHU Ă€QDQFH DQG FRPPLVVLRQ QHZ projects. The most visible sign of this commitment was launched in 2018 with In Development â€” The Cannes Creative Drama Forum. This new programme, which returns in 2019 in partnership with CANNESERIES, is devoted to fast-tracking drama projects. Delegates attending In Development will have the opportunity to hear from creative leaders including the force behind such hit series as The Handmaidâ€™s Tale, Empire and The L Word, Ilene Chaiken and Ash Attala, managing director, Roughcut TV, UK. After great feedback last year, weâ€™re taking In Development to the next level with the launch of In Development Kids â€” a programme of events devoted to early stage live-action and pre-school animation for the kidsâ€™ market. Weâ€™ve also introduced a service designed to support the sales process â€” the MIP Buyers Exchange. This new matchmaking platform provides pre-scheduled curated meetings to supplement exhibitorâ€™s agendas. If you are operating within Franceâ€™s television industry or doing deals with French companies, MIPTV 2019 will be special as France is the MIPTV Country Of Honour. As a French company Reed MIDEM, supported by Television France International, is proud to promote the best of French programming, the countryâ€™s creativity and The French Touch to the rest of the world. As part of the busy schedule of events, top executives from leading French broadcasters, production and distribution companies will give keynote speeches on the French industry. And we hope that you will have time in Cannes to check out MIPTVâ€™s extensive conference programme which addresses the increasingly competitive and complex nature of the global industry today. When you arrive in Cannes you will see that high-end drama is still getting star billing and there will be many great shows being unveiled in the CANNESERIES festival, at our World Premiere TV Screenings and the MIPTV Market Screenings. The television content industry that comes together in Cannes is packed with inspirational leaders. In April, MIPTV will recognise four of them with its Medailles dâ€™Honneur presentations to Mosunmola â€œMoâ€? Abudu of EbonyLife Media (Nigeria); Ilene Chaiken, writer, showrunner and producer (USA); Stephane Courbit of Banijay Group (France) and Jane Millichip of Sky Vision (UK). As you prepare for what is going to be a buzzing edition of MIPTV, I encourage you to check out the Previewâ€™s articles which focus both on the event in Cannes and the global industry. Enjoy the read and we look forward to seeing you at MIPTV. Laurine GARAUDE Director, Television Division Reed MIDEM
MIPTV PREVIEW â€˘ 3
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France Country Of Honour; In Development; Game Changers keynote speakers; Medailles dâ€™Honneur; The MIPDrama Buyers Summit; 8k at MIPTV; |_;m|;um-ŕŚžom-Ń´llÂ‹b7v Â‰-u7vÄ¸vÂ†rrouŕŚžm]|_;& Sustainable Development Goals; and more....
59 Language no barrier Â†|_;mŕŚž1v|oub;vÂ‰b|_lÂ†Ń´ŕŚž1Â†Ń´|Â†u-Ń´Äˇ lÂ†Ń´ŕŚžm-ŕŚžom-Ń´ÄˇlÂ†Ń´ŕŚžŃ´bm]Â†-Ń´1-v|v-u; in ever-greater demand
65 The real deal
The success of recent shows is ruoÂˆbm]|_-||_;ub]_|Ń´bÂˆ;ĹŠ-1ŕŚžom project can do great business
71 Analyse this ;Â‰7-|-ĹŠ]-|_;ubm]|;1_moŃ´o]Â‹bv allowing the entertainment industry |oÂ†m7;uv|-m7b|v-Â†7b;m1;v0;Â‚;u
From podcasts and short-form video to social media, mobile, blogs and &Äˇ|_;1om|;m|bm7Â†v|uÂ‹bvlbmbm] new territories for new ideas
84 From gimmick to gamechanger
WORLD PREMIERE TV SCREENING
89 Looking good
Africa, China and India are proving |_-||_;]Ń´o0-Ń´$(l-uh;|vŕŚžŃ´Ń´_-v plenty of room for growth
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MIPTV PREVIEW â€˘ 4
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TIPS & SERVICES
CONFERENCES & EVENTS PROGRAMME
â€˜Prepare to be overwhelmed!â€™ France is MIPTV Country Of Honour for 2019. The series of events marking the occasion is organised by MIPTV bmr-u|m;uv_brÂ‰b|_$( u-m1;m|;um-ŕŚžom-Ń´Ĺ‹$( Äş$_; 1olr-mÂ‹Ä˝v7bu;1|ou];m;u-Ń´"-u-_;l-uvroh;|oJulian Newby
UNDER the banner The French Touch, the France Country Of Honour programme of events is designed to showcase the â€œquality and diversity of French TV, and its producers and distributorsâ€?, according to TVFI director general Sarah Hemar. â€œMIPTV delegates should prepare to be overwhelmed!â€? Â´)URPDQLPDWLRQWRĂ€FWLRQIURP documentary to formats, France has champions in every genre,â€? she said. â€œBut surprisingly the French have been too modest and maybe too isolated to join forces and showcase this creative quality as one to the world. France was MIPCOM Country Of Honour way back in 2004, and a lot has changed in our industrial landscape since then. This year, from conferences and panels to programme showcases, networking opportunities and screenings, The French Touch will be everywhere.â€? So what has changed in the past 15 years? â€œThe same for France as for the rest of the world,â€? Hemar said. â€œMore screens, more diversiĂ€HGDXGLHQFHVDQGPRUHVHJPHQ tation. Altogether more of more! This, of course, is a great opportunity for business, but deals now are much more sophisticated and one needs to be everywhere.â€? In September TVFI reported imSUHVVLYH Ă€JXUHV IRU )UHQFK 79 programming in foreign markets for 2017, with a total revenue of â‚Ź325m â€” the countryâ€™s second-best performance in 20 years. French exports go well beyond Europe with a notable increase
in the US and Canada, up 16% last year. â€œSo we have very good reasons to be optimistic,â€? she said, but cautioned: â€œThe market continues to get more complex, DQGWKHFRPSHWLWLRQLVĂ€HUFHZLWK other countries so we have to stay focused and work on consolidating this trend in the long term.â€? And thereâ€™s help at hand for the industry. â€œWe are lucky to have a number of institutions that actively support French TV exports in a number of ways,â€? Hemar said. â€œTVFI is the centrepiece for the TV professional: for 25 years it has been working alongside French distributors and producers to help accelerate their business worldwide. Our mission is to put them in the best context to be HIĂ€FLHQW DQG WR KHOS WKHP UHDFK as many broadcasters worldwide as possible. This can mean being at markets such as MIPTV with a stand and visibility, or showcasing them online via the French content library Screenopsis.â€? Thereâ€™s also UniFrance, an organisation charged with promoting French content around the world; and Film France, which exists for local and international companies that want to shoot LQ)UDQFHWRKHOSWKHPĂ€QGWKH right locations, the right crews DQGDQ\Ă€QDQFLDOLQFHQWLYHVWKDW may be available to them. â€œInternational companies should also know about the network of cultural and audiovisual attaches, based in French embassies around the world,â€? Hemar said. â€œAny company interested in MIPTV PREVIEW â€˘ 6
working with the French audiovisual industry can contact them for information on how to work in France and who to contact. This network is one of a kind and we are very proud to work closely with them at TV France International. Itâ€™s an incredibly valuable source of business intelligence.â€? Laurine Garaude director of the television division at Reed MIDEM, said â€œit could not be better timing to celebrate Franceâ€™s
â€˘ March 2019
creativity and savoir-faire on the international content sceneâ€?. She added: â€œOver the years, French production has taken a growing share of the international market in every genre, from animation to documentary, formats and, of course, drama series. French creators and producers are developing more and more programmes with international appeal without sacULĂ€FLQJ WKDW LQGHĂ€QDEOH )UHQFK touch.â€?
I N V E S T I G AT I N G IN STYLE
Every Cloud Productions for Seven Network Australia, in association with all3media international, Screen Australia, Film Victoria and Fulcrum Media Finance
crime-fighting never looked so good
A QUIET VILLAGE LIFE CAN BE MURDER
A Free@Last and Company Pictures Production for Acorn TV produced in association with all3media international
MIPTV Stand No: P3.C10 @all3media_int all3mediainternational.com
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DELPHINE Ernotte Cunci was appointed CEO of French public national television broadcaster, France Televisions, in 2015. Previously she had spent 26 years at Orange â€” known for much of that time as France Telecom â€” where, in 2011, she was also appointed deputy general manager of the France Telecom Group. Other current roles include: director of the Suez Environnement Group; chairman of the board of directors of the Ecole Nationale Superieure de la Photographie, Arles; member of the board of directors of Ecole CentraleSupelec, Paris; and member of the board of directors of cultural centre Le Centquatre-Paris.
REGINE Hatchondo joined ARTE in August 2018 as director-general of ARTE France; in November of that year she also became vice-president of Strasbourg-based European Economic Interest Grouping ARTE GEIE. ARTE France produces, co-produces and purchases programmes for ARTE, focusing primarily on promoting original, high-quality audiovisual work. From January 2016 to July 2018, Hatchondo was head of artistic creation for the French Ministry of Culture and Communication and before that, culture and media advisor for French Prime Minister Manuel Valls, following four years as managing director of UniFrance Films.
MAXIME Saada is chairman and CEO of Canal+ Group, which he joined in 2004 as senior vice-president, strategy. He is also president of Studiocanal; chairman and CEO of Dailymotion; and sits on the board of Gameloft, the Vivendi-owned video game developer and publisher. Canal+ Group is the number-one French media group, a pay-TV distributor in Europe, Africa and Asia and a producer of high-quality content. Studiocanal is Canal+ Groupâ€™s movies studio; Dailymotion is a global premium video platform. Saada began his career as a civil servant for DATAR, a French state government RIĂ€FHIRUDWWUDFWLQJIRUHLJQLQYHV tors to France.
â€˘ Delphine Ernotte Cunciâ€™s keynote is on Monday, April 8 at 11.00 in the Debussy Theatre
â€˘ Regine Hatchondoâ€™s keynote is on Monday, April 8 at 11.20 in the Debussy Theatre
â€˘ Maxime Saadaâ€™s keynote is on Monday, April 8 at 12.00 in the Debussy Theatre
FRENCH TOUCH EVENTS ALSO INCLUDE:
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MIPTV PREVIEW â€˘ 8
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â€˘ March 2019
STEPHANE Courbit, Banijay Group chairman, is joined by Marco Bassetti and Francois de Brugada for a Game Changers keynote during which they will outline current and future strategies. Bassetti is CEO of the Banijay Group, the worldâ€™s largest independent content producer and distributor, operating across 16 territories with a portfolio 62 production entities. De Brugada is CEO of Banijay France and oversees all of Banijay Groupâ€™s unscripted business in the territory and its six production labels. â€˘ Banijay Group joint keynote is on Monday, April 8 at 16.20 in the Debussy Theatre. om$Â†;v7-Â‹ÄˇrubŃ´Ć–bm|_;v|;u;Ń´Äˇ -Ń´-bv7;v ;vŕŚžÂˆ-Ń´v â€˘ Ń´o0-Ń´Âˆ;uÂˆb;Â‰ 0Â‹Â†uo7-|-$()ouŃ´7Â‰b7;ÄˇĆ?Ć“ÄşĆ?Ć” â€˘ o1Â†vmb7vÄˇĆ?Ć“ÄşĆ’Ć? â€˘ o1Â†vm u-l-ÄˇĆ?Ć”ÄşĆ“Ć”
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news: IN DEVELOPMENT
Content development at heart of MIPTV
Pitching at the inaugural In Development
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N DEVELOPMENT â€“ The Cannes Drama Creative Forum â€” is a key element of the content development offer at MIPTV. Giving sigQLĂ€FDQW RSSRUWXQLWLHV WR 79 executives looking to pitch their
concepts or on the look-out for new ideas, In Development is establishing itself as the place to discover new trends, to connect with the right partners and to greenlight new projects. Co-organised by MIPTV and in-
IN DEVELOPMENT COMEDY MASTERCLASS &!o=_b]_ĹŠruoCŃ´; ;ÂŠ;1Â†ŕŚžÂˆ;v=uol-uoÂ†m7 |_;Â‰ouŃ´7-u;-|m ;Âˆ;Ń´orl;m||or-vvom|_;bu ;ÂŠr;ub;m1;-m7;ÂŠr;uŕŚžv; |o7;Ń´;]-|;vÄşm;o=|_;l bvv_|-Ń´Ń´-Äˇ|_;llÂ‹ĹŠÄˇ oŃ´7;mŃ´o0;ĹŠ-m7CÂˆ; ŕŚžl;v $ĹŠÂ‰bmmbm] ruo7Â†1;uÄˇ0;v|hmoÂ‰m=ou lÂ†Ń´ŕŚžĹŠ-Â‰-u7ĹŠÂ‰bmmbm]v;ub;v $_;L1;Ĺ?Ĺ‘Äˇ$_;$ uoÂ‰7Ĺ?_-mm;Ń´Ć“Ĺ‘ÄˇÂ†1hoo Ĺ?Ĺ‘-m7;orŃ´;Â†v| o o|_bm]Ĺ?Ĺ‘Äşbvbm7;r;m7;m|ruo7Â†1ŕŚžom
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ternational series festival CANNESERIES, In Development is dedicated to the development and promotion of new international productions. The forum is designed for producers, broadcasters, investors and distributors to come together on projects across all stages of development and production. It offers pitching opportunities, networking platforms and a programme of keynotes, master-classes and workshops, all of which are designed to move projects in development on to the next stage. In Development has been established to address the fact that core business activities have changed in the international market for content. More producers are looking for co-production and other sources of investment to meet growing budget constraints; distributors are increasingly entering projects at an earlier stage to address growing international demand for original content; and
$(!() â€˘ 10 â€˘ March 2019
buyers are looking more closely at content in development to put themselves in a stronger position to compete in an increasingly active marketplace. Â´7KHUH LV GHĂ€QLWHO\ D VWURQJ appetite from throughout the industry to discover and invest in drama series at a very early stage,â€? Reed MIDEM director of television Laurine Garaude said. â€œDistributors are increasingly acting as rights management companies by helping SURGXFHUV Ă€QG WKHLU ZD\ LQ WKH international market, and as a result, they are eager to connect with rising talent.â€? To address these issues, In Development is staging a number of events to bring relevant parties together at the earliest stages of the development of content. The second edition of the In
news: IN DEVELOPMENT Development Drama Producers’ Pitch and In Development Drama Writers’ Pitch will present a diverse range of projects from producers — some comparatively new to the industry and others more established internationally — seeking develRSPHQW DQG ÀQDQFLDO SDUWQHUV Some 376 projects from 41 countries were submitted for In Development this year. As well as winning the opportunity to pitch a project to a
high-level audience (all entries are now closed) selected projects may be eligible for development funding from In DevelRSPHQW·VRIÀFLDOSDUWQHUV In Development partner, the European producer Federation Entertainment, will co-develop, co-produce and distribute one of the selected projects. “The TV series is a genuine laboratory of creativity, and events like In Development, which put creatives at the heart of
KIDS In Development Kids, produced by MIPTV, is an exclusive event developed for creators and executives in the business of kids content. Running across MIPTV, it offers sessions covering trends in kids programming, animation and digital content with a strong focus on the very young. Back for a second year, the Kids Live Action Pitch is for creators
the business, are essential to engender the hits of tomorrow. The first edition was a success, both in terms of the quality of the content presented and the opportunities, which flowed from it. What’s more, we are proud to have gone on to develop some of those projects,” founder and CEO of Federation Entertainment, Pascal Breton, said. In Development partner La Fabrique des Formats will offer financing for up to
two series from the selection, backed by a French producer or co-producer. The third Drama Short-Form Series Pitch is again part of the In Development programme. During this session, short-form drama series projects created for mobile consumption, will be presented by creators and producers spotted at festivals across the world and pre-selected by a jury of international online platforms.
and producers of live-action series to present original series, including pre-school which have not been commissioned or released yet, and for which the worldwide rights are available. The Pre-School Animation Pitch, is an opportunity to present new and original animation projects in development and looking for creDWLYHDQGÀQDQFLQJSDUWQHUV The Kids Co-Production Breakfast is designed for producers and distributors to meet potential partners and learn about the structuring of international co-productions (by pre-registration).
In partnership with By
The Cannes Drama Creative Forum
Discover. Connect. Greenlight. #indevelopment
8-11 April 2019 Palais des Festivals, Cannes
$(!() • 12 • March 2019
Format // Gameshow Created by Nippon TV and Red Arrow Studios MIPTV P4.C14 redarrowstudios.com/international
MIPTV P-1.F55 ntv.co.jp/english
news: MEDAILLES D’HONNEUR
Industry leaders honoured in Cannes Four leading industry professionals from around the world will be honoured in Cannes with the MIPTV Medaille d’Honneur. The honourees are Mo Abudu, Ilene Chaiken, Stephane Courbit and Jane Millichip
MO ABUDU is CEO of EbonyLife Media and has been described by Forbes as Africa’s Most Successful Woman. 6KHRYHUVHHVDOOÀYHGLYLVLRQV of EbonyLife Media, which include EbonyLife TV, EbonyLife Films, EbonyLife Studios, EbonyLife ON and EbonyLife Productions Limited (UK). One of the most prolific producers in Africa, Abudu launched Nigerian broadcaster and producer EbonyLife TV in 2013, producing over 1,000 hours of original programming each year. The channel broadcasts in Africa on the DStv and StarTimes networks, and across the Caribbean on the Flow network.
ILENE CHAIKEN is best known as creator of the Showtime series The L Word; she received an Emmy – and many other awards – for Hulu’s The Handmaid’s Tale, ZDVVKRZUXQQHUIRUWKHÀUVW four seasons of the Fox series Empire, and executive producer of The L Word reboot, which was recently picked up to series at Showtime. Chaiken recently renewed her multi-year production and development deal with 20th Century Fox Television. She has also executive-produced pilots for Jerry Bruckheimer, McG and Joel Silver, and served as showrunner of the ABC drama series Black Box.
STEPHANE COURBIT is a French entrepreneur and chairman of Banijay Group. In 1994, he created Case Productions — later known as ASP Productions — with TV producer and host Arthur (Jacques Essebag). In 1998, Endemol merged with ASP to form Endemol France with Courbit appointed CEO. In 2006, he left to create LOV Group, which invested in growing markets including audiovisual production, luxury hotels and energy sectors. The next year he created Banijay Group and in 2016 he triggered the merger between Banijay Group and Zodiak Media, making him the leader of the world’s largest independent production and distribution company.
JANE MILLICHIP has been managing director of Sky Vision, the production and international distribution arm of Sky, since 2013 during which time she has spearheaded Sky’s move into production company ownership, taking equity stakes in nine production businesses in the UK and the US; and building a distribution business, driving expansion into high-end dramas and primetime factual. In 2018, Sky Vision achieved revenues of over £200m. Prior to Sky Vision, Jane was managing director at Zodiak Rights and COO of RDF Rights. She started her career as a print journalist, writing on such diverse subjects as business, cars and football.
MIPTV PREVIEW • 14 • March 2019
MIPTV stand no. P-1.L2, P-1.M1 zdf-enterprises.de
news: GAME CHANGERS
â€˜I like to tell stories that are about somethingâ€™
HO SAYS awards donâ€™t mean anything? Ilene Chaiken had just walked off stage holding the Golden Globe for her screenplay for Dirty Pictures â€” the Showtime movie about the photographer Robert Mapplethorpe â€” when she was ofIHUHGKHUĂ€UVW79VHULHV Â´7KHSUHVLGHQWRI WKHQHWZRUNDW that time leaned over to me and VDLGÂś7KDWOHVELDQVWRU\WKDW\RX ZDQWHGWRZULWH"/HWÂˇVWU\LWÂˇ7KDW ZDVWKHJHQHVLVRI 7KH/:RUGÂľ She had wanted, for some time, to write a story about her experiences as a lesbian in Los Angeles but wasnâ€™t sure how or where WRWHOOLW6KHZDV encouraged by her agent to write it as a magazine arWLFOH Â´7KHUH was a gay and lesbian baby boom in Los An-
A strong desire to tell stories from her own experience is what led Ilene Chaiken to become a showrunner. And, as she tells Julian Newby, it happened quite by chance geles at the time, and I had two VPDOO FKLOGUHQ 6R /RV $QJHOHV magazine hired me to write a 5,000-word essay on the cityâ€™s JD\ DQG OHVELDQ EDE\ ERRPÂľ ,W became the cover story and the experience fueled her enthuVLDVPWRGRPRUH 7KDW ZDV DO most 20 years DJR 7KH / :RUG FDPH into being some four years later, ran for six seasons and Ilene Chaiken had, almost by
chance, become an A-list showUXQQHU +LW DIWHU KLW IROORZHG LQFOXGLQJ QRWDEO\ +XOXÂˇV 7KH +DQGPDLGÂˇV 7DOH DQG WKH Ă€UVW four seasons of the Fox series (PSLUH Â´5XQQLQJ7KH/:RUGIRUVHYHQ \HDUVZDVDKXJHOHDUQLQJFXUYHÂľ VKH VDLG Â´, KDG QHYHU VWHSSHG RQWRD79VKRZOHWDORQHUXQRQH It didnâ€™t occur to me that I was now a showrunner until I started to think about what I would do QH[W 7KHQ , VWDUWHG JHWWLQJ RI fers, not just to write and create shows, but to run shows â€” and I realised that I still didnâ€™t know how to run a show, but I pretendHGWKDW,GLGÂľ
â€œI realised that I vŕ˘źŃ˛Ń˛7b7mÄť|hmoÂ‰ _oÂ‰|ouÂ†m-v_oÂ‰Äś 0Â†|ru;|;m7;7 that I didâ€? A number of long-running hit 79 VKRZV KDYH EHHQ FUHGLWHG with bringing important social issues to the fore and encouraging greater tolerance of previously PDUJLQDOLVHG JURXSV :LOO $QG Grace is one; Modern Family is DQRWKHU$QG7KH/:RUGLVRQH WRR6RZDV,OHQH&KDLNHQDZDUH WKDWWKHVHULHVKDGLQĂ XHQFHEH yond simply entertainment? â€œMany people told me that and itâ€™s gratifying that it meant that to a lot of peoSOH%XW,ORRNDWLWDQGRWK er shows that are themed around previously unrep-
MIPTV PREVIEW â€˘ 16 â€˘ March 2019
resented groups of people and I see them as part of a cultural SKHQRPHQRQÂľVKHVDLGÂ´,WÂˇVQRW as if a television show moves WKHFXOWXUH7KHVHVKRZVKDSSHQ in the midst of cultural change sometimes, and they are all a part of a greater movement towards representation and diversity and inclusivity that I think is inherent LQFXOWXUHÂľ So is she known as an issues person? Someone whose hopes and beliefs are manifest in her work? Â´, KRSH VR ,W XVHG WR EH VRPH thing that one ran from or hid IURP LQ WKH Ă€OP DQG WHOHYLVLRQ business but I think that itâ€™s now acceptable to say that you want to tell stories that are about someWKLQJ$QG,OLNHWRWHOOVWRULHVWKDW DUH DERXW VRPHWKLQJ 6R , GRQÂˇW mind being known as an issues person, if thatâ€™s how people like WRFKDUDFWHULVHLWÂľ As someone who is very much HQMR\LQJ WKH IUXLWV RI 79 GUD maâ€™s so-called golden age, Chaiken believes that itâ€™s not coming WRDQHQGDQ\WLPHVRRQÂ´,GRQÂˇW NQRZ ZK\ LW HYHU ZRXOG , WKLQN that now we know itâ€™s possible, we are going to keep on doing it and pushing the boundaries and WHOOLQJ QHZ DQG XQWROG VWRULHVÂľ VKH VDLG Â´, GRQÂˇW NQRZ ZK\ LW happened but there came a point when we all discovered the potential of this great medium which for writers and storytellers has this great literary quality in which you can develop characters and go on telling their stories and see WKHLUOLYHVFKDQJHDQGHYROYH$QG IROORZLGHDVDQGPXWDWHLGHDV,WÂˇV a really exciting proposition for storytelling and once it became understood, the storytellers gravLWDWHGWRWKHPHGLXP7KHVWRULHV that were being told in cinemas are now being told on television DQGHYHU\RQHZDQWVWREHWKHUHÂľ â€˘ Ilene Chaikenâ€™s Game Changers Keynote is on Tuesday, April 9 at 17.00 in the Debussy Theatre
Monday | April 8 | 9.30 am | Auditorium K
MIPTV stand no. R7.F2
news: GAME CHANGERS
â€˜Not many people understand what we doâ€™ Armando Nunez is president and CEO of CBS Global bv|ub0Â†ŕŚžomuoÂ†r-m7"Ä˝1_b;=1om|;m|Ń´b1;mvbm] oL 1;uÄşm-mm;v|_bvÂ‹;-u_;|-h;v|o|_;v|-];=ou--l; _-m];uvh;Â‹mo|;bm|;uÂˆb;Â‰-m7u;1;bÂˆ;v(-ub;|Â‹Ä˝vm|;um-ŕŚžom-Ń´ 1_b;Âˆ;l;m|bm$(Â‰-u7
RMANDO Nunez joined CBS 20 years ago as president of CBS Broadcast International. Today he oversees all domestic and international sales of CBS programming, and manages the companyâ€™s portfolio of international channels, including the recently acquired Network 10 in Australia. Before joining CBS, he worked in international sales for Universal, New World Television and Viacom. All of which makes him a seasoned veteran of the industry and someone who has witnessed most of the seismic changes it has gone through over the past four decades. +LVĂ€UVW0,379ZDVLQDQG â€œthrough all the ups and downs and all the evolution thatâ€™s been mostly driven by technology, and all the different business models that have evolved, itâ€™s still all about the content isnâ€™t it? At the end of the day the business is driven by both the production of content and the purchase of content, albeit now on a global basis.â€? Across his 20 years at CBS Nunez said â€œthe enormous successes that are CSI and NCIS have been important milestones. Also, the execution of our Showtime internaWLRQDODIĂ€OLDWHVWUDWHJ\ZLWKJUHDW partners that we have around the world â€” like Bell, Sky, Telefonica, Canal+ and many others. And Iâ€™m very proud of our acquisition of Network 10 Australia, and our boutique channel business that we have in the UK in partnership with AMC. Some-
thing thatâ€™s always been true to this business â€” and really hasnâ€™t changed â€” is the importance of the relationships and partnerships that we have with everyone around the world.â€? And while Nunez said itâ€™s â€œimpossibleâ€? to predict the global and sustained success of a franchise like CIS, the company takes the business of content creation very seriously. â€œWe work very closely in the development process with all of our content creators, with our friends at both Showtime and our studio,â€? he said. â€œBlue skies and actionâ€? usually work, Nunez said in the context of CBSâ€™s biggest hits. But whatâ€™s exciting now is that with the number of different platforms and types of delivery that exist around the world, â€œcontent doesnâ€™t always have to
appeal to a mass audienceâ€?. And the proliferation of new types of platform is only good news. â€œWeâ€™ve produced and licensed content to a number of different broadcast and cable outlets in the US and you know, now we have 1HWĂ L[ DQG $PD]RQ DQG +XOX and others â€” I think, the more the merrier. Itâ€™s not a new thing to produce for new platforms.â€?
Itâ€™s not a new thing to produce for new rŃ˛-oulv He added: â€œThe traditional model was that you had a piece of content and youâ€™d license it to traditional platforms and its sucFHVV ZDV GHĂ€QHG E\ ZLQGRZLQJ that piece of content to multiple platforms over multiple seasons.
And then it becomes an important piece of your library that someone sitting in this chair 30 years from now will probably still be licensing. I donâ€™t think that necessarily is going to change.â€? With the new platforms, â€œyouâ€™re not going to be able to exploit opportunities for a second cycle â€” second windowsâ€?, he said. â€œBut the new business model supports that in terms of the fact that the monetisation is greater. Again, itâ€™s all good news. It just makes our world more complicated in terms of which road you go down to monetise your content.â€? For the future, â€œas one of the most recognised US brands, CBS is going to be around forever. And I think youâ€™re going to continue to see a variety of different ways in which that brand is distributed both in the US and around the world.â€? As someone who has been at the top of his profession for several decades, Nunez said: â€œIâ€™m an incredibly fortunate individual. Iâ€™m doing what Iâ€™ve wanted to do since I was a child because I KDG WKH EHQHĂ€W RI ZDWFKLQJ P\ Dad doing a form of what I do now. I had the opportunity to see how this would evolve into a global business. Back then I saw the power of the medium and it wasnâ€™t all based on the US model.â€? His advice to young people entering the business today is: â€œFind your passion. You want to wake up every morning and feel excited. ,I \RXÂˇUHZLOOLQJWRPDNHVDFULĂ€FHV and be on the global side of the business and have the opportunity to travel around the world, and see how content is created around the world, what we do is fascinating. And there are not that many people around who understand what we do and how we do it.â€? â€˘ Armando Nunezâ€™s Game Changers keynote interview is on Monday, April 9 at 17.00 in the Debussy Theatre
Armando Nunez MIPTV PREVIEW â€˘ 18 â€˘ March 2019
â€˜We encourage creators to be boldâ€™ His career having taken him through the hotel business, theme parks, telecoms and Cm-m1;ÄˇbŃ´Ń´;v;Ń´bvvomÂ‰-v-rrobm|;71_-bul-m-m7o=|_;$ Ć?]uoÂ†rbm ;0uÂ†-uÂ‹ Ć‘Ć?Ć?ŃľÄş;bv]bÂˆbm]-h;Â‹mo|;bm|;uÂˆb;Â‰-vr-u|o=|_;$( u-m1;oÂ†m|uÂ‹=omoÂ†u ruo]u-ll;o=;Âˆ;m|vÄş;vroh;|o|_;$(u;Âˆb;Â‰-_;-7o=_bv-mm;v-rr;-u-m1; WHY is it the right time for France to be Country Of Honour? France is a country of creation: making movies was invented in France. And despite all the changes and challenges in our sector, television viewing in France is one of the highest in Europe, thanks to a rich and varied offer. France has authors, actors and producers whose talent is recognised throughout the world. So it seems natural to me that a creative territory like France should be honoured at the MIPTV, especially in Cannes! How is French content doing on the global marketplace? 7KH LQWHUQDWLRQDO LQĂ XHQFH RI French content has never been so strong. Much remains to be done, but 2018 is a record year for the export of French programmes. France has built a worldwide reputation in animation over many years, and drama and documenataries are growing in exports. Our stories are reaching more and more people beyond our borders DQG WKLV HYROXWLRQ UHĂ HFWV WKH very strong creative dynamic that drives the entire French audiovisual sector. This year you created Unify to bring together the digital activities of the TF1 group. How is the strategy working? The creation of Unify was the logical next step following our major acquisitions in the digital world since 2016. We brought together all our digital companies
(excluding OTT and Replay TV) around three businesses: publishers, brand solutions and services, and social media ecommerce. With a presence in 10 countries and more than 100 million unique visitors every month, Unify is today a major digital group built around federating content and services dedicated to female themes, cooking, health and entertainment. The creation of Unify will allow us to diversify our revenues streams with data and technology, social ecommerce and the subscription model.
You are speaking at MIPTV this year. What will the Cannes audience hear from you? I am very excited to share our vision of TV with everyone at 0,379$W7)ZHDUHFRQĂ€GHQW about the future of TV, a media that has no equivalent when it comes to sharing with the audience and creating social connections. We want to encourage creators to be bold. Our market is at a turning point and TF1, as a leader, wants to be a key player in the transformation of the sector. Talents who want to push bound-
What is TF1â€™s strategy for the new TV landscape? Those who regularly announce the death of TV have not realised how much the TV media has changed, how much we have changed and how much we are alive. If there have been changes, there are more to come. What matters is the ability to adapt and to seize the opportunities. This has been our great success over the past years. We have accelerated our core broadcasting business transformation and boosted it with two new activities â€” Newen and Unify, which both have a great outlook. TF1 is no longer just an audiovisual group, it is now a major international media group and content creator, both on TV and digital. We can look IRUZDUG FRQĂ€GHQWO\ because I know we have all the best assets to tackle the coming years. MIPTV PREVIEW â€˘ 20 â€˘ March 2019
DULHVZLOODOZD\VĂ€QGDJRRGSDUW ner in the TF1 group, which is open to new alliances and willing to invest in new areas. And of course MIPTV means business to us and we are in Cannes with our TF1 International department and our subsidiary Newen. These two entities offer a solid line-up of French content that the most discerning buyers should not miss. I invite you to come and meet our teams and discover our programmes on our stands in the Palais des Festivals. â€˘ Gilles Pelissonâ€™s keynote is on Monday, April 8 at 11.40 in the Debussy Theatre
â€œTF1, as a leader, wants to be a key player in the |u-mv=oul-ŕ˘źomo= the sectorâ€?
Scripted Series // Drama, 3 x 90’ or 6 x 45’ MIPTV: Stand P4.C14 redarrowstudios.com/international
news: GAME CHANGERS
ÄźÂ†ŕŚŽ m]|_;v|ouÂ‹Cuv|Ä˝ u;m1_1olr-mb;vÂ‰bŃ´Ń´0;bm_b]_ruoCŃ´; at MIPTV this year as MIPTV celebrates France as Country Of Honour for 2019, including the newly-formed Picture ;u=;1| ;7;u-ŕŚžomÂ‰_b1_bvl-hbm] its Cannes debut with a special Game _-m];uvh;Â‹mo|;bm|;uÂˆb;Â‰ IN A DOUBLE Game Changers keynote interview, Patrick Wachsberger and Pascal Breton plan to outline the global strategy for their new company Picture Perfect Federation. The company formed in January after Wachsberger joined forces with Lionel Uzan and Pascal Breton of studio Federation to focus on international co-productions and the development and production of premium television series for the US marketplace.
The team of Wachsberger, who most recently served as co-chairman of Lionsgate Motion Picture group, and Breton and Uzan, respectively chairman and CEO of Federation Entertainment, brings together considerable expertise in SURGXFWLRQ DQG Ă€QDQFH DQG ZLOO â€œoperate in a manner that puts VWRU\Ă€UVWFUHDWLQJVROLGSDUWQHU ships with talent and producers around the world operating with the ability to be innovative and nimbleâ€?, according to the team. With a strong line-up of hits to his name including La La Land and The Hunger Games, Wachsberger is following the now well-trodden path from cinema to television having expressed for some time his desire to expand into other media. â€œAfter starting the original summit in 1993 and its ultimate sale to Lionsgate in 2012, I have been interested in creating content for not just the cinema but for all platforms,â€? he said. â€œI therefore could QRW Ă€QG D EHWWHU JURXS WR
partner with than my friends at Federation who in a very short time have created an exciting and game-changing company.â€? â€œPatrick Wachsberger has long been a game-changer in the market and we at Federation have also intensely disrupted the status quo by attracting and associating the best European talent to our independent studio,â€? Breton said, describing the new entity as â€œa major worldwide independent studio which strives to change the game and allow top US and European creative television talent to take control of their own product and success on the global marketâ€?. In 1990 Breton created his own production company, Marathon, in association with Olivier Bremond. In 2006 after Olivier Bremondâ€™s departure, Breton served as president of Marathon Group where, his hits included Babar and Saint-Tropez. He formed Federation in 2014, and launched it at MIPCOM where he announced the companyâ€™s debut production, the political drama Marseille. Back then he described the company as â€œan industry game-changer, offering producers and showrunners unique partnership opportunities and offering programmers worldwide an unprecedented wealth of major creative talent.â€? Based in Paris, Los Angeles and Rome, Federation Entertainment has quickly established itself as a leading independent European studio. The creation of Picture
Perfect Federation enhances Federationâ€™s growing business worldwide, with some 15 successful series in production in 12 countries. Federation US, meanwhile, has a slate of series for global audiences including the recently announced launch of the adaptation of The Bankerâ€™s Wife, the best-seller from Cristina Alger; Ibiza, a thriller created by Ryan Engle (Rampage) and director Jaume Collet Serra; and Peter Landesmanâ€™s American adaptation of Canal +â€™s number-one series Le Bureau Des Legendes (The Bureau), for which Federation is the distributor and co-producer with TOP, The Oligarchs Production. Wachsberger and Federationâ€™s head of US television, Ashley Stern, will be based in Los Angeles representing the newly formed venture. â€˘ The Game Changers keynote from Pascal Breton and Patrick Wachsberger is on Tuesday, April 9 at 11.20 in the Debussy Theatre
â€œPatrick Wachsberger has long been a game-changer in the l-uh;|-m7Â‰;-| ;7;u-ŕ˘źom have also intensely disrupted the status quoâ€? MIPTV PREVIEW ĹŽ 22 â€˘ -u1_Ć‘Ć?Ć?Ć–
Scripted Series // Thriller, 6 x 45â€™
MIPTV: Stand P4.C14 redarrowstudios.com/international
Donâ€™t mind the language,
just tell the stories m7;loŃ´"_bm;uoÂ†rÄ˝v-uvŃ´ol]u;m]bÂˆ;v|_;u;-ŕŚžÂˆ; Masterclass: Taking Non-English Drama To New Dimensions at MIPTV as part of the In Development programme. He spoke to Julian Newby ahead of the event LARS Blomgren is head of scripted, EMEA Endemol Shine Group, working closely with the Groupâ€™s network of producers and companies across non-English-language markets in Europe, Middle East and Asia â€” between them responsible for over 40 productions in 2017. He is also co-founder and former managing director of Swedish production company Filmlance International, where he has produced some 65 titles and most recently overseen the fourth and Ă€QDO VHULHV RI JOREDO KLW %URQ Broen (The Bridge). Non-English-language â€” and multilingual â€” dramas are commonplace around the world today, and The Bridge is one series that can claim to have moved the boundaries. But this wasnâ€™t always the case. â€œTen or 15 years ago, HYHQ Ă€YH \HDUV DJR PXOWLOLQJXDO and non-English-language dramas werenâ€™t readily available on mainstream platforms,â€? Blomgren said. â€œThere were fewer broadcasters and non-English-language drama was championed by those with a public-service remit, with commercial channels obviously focusing on â€” and marketing â€” the big, noisy shows that had local and mass appeal and were guaranteed to bring in the numbers.â€? The arrival of streaming platforms â€œquite literally opened up the worldâ€?, he said. â€œThe likes of 1HWĂ L[DQG$PD]RQDOUHDG\KDYH their paid-up members, ready and eager for brilliant stories, no matter what the language. I donâ€™t think peopleâ€™s opinion or tastes as
to viewing non-English-language drama have changed, it just wasnâ€™t as readily available to them before and if the story is good it doesnâ€™t matter what form it comes in.â€? And drama will continue to be a key focus for all platforms. â€œPeople love brilliant stories, itâ€™s as
simple as that. And the new world that weâ€™re living in has given them the opportunity to see and binge on more,â€? Blomgren said. â€œBroadcasters also want to feed viewers what they like to consume, so the more they watch the more broadcasters want to com-
MIPTV PREVIEW â€˘ 24 â€˘ March 2019
mission. I think that people try either to escape from the world or process it via great drama and storytelling. And people have never really needed that more than they seem to now. I also believe thereâ€™s a genuine interest and a growing need to learn more about other cultures.â€? He added: â€œI think we will see new areas that have greater prominence on the global scripted stage â€” such as India and Asia â€” that have previously had a much more local focus. But I donâ€™t see the bubble bursting any time soon.â€? Blomgrenâ€™s Masterclass â€œwill be an overall discussion about the world of non-English drama, how it has evolved over the last few years, the hits, the learnings and where we think itâ€™s headed in the near futureâ€?, he said. â€œThe role I took on last summer means I oversee Endemol Shine Groupâ€™s scripted production companies across EMEA, working closely with our network to supercharge RXUFRQWHQWDFURVVWKHJURXSĂ€UVW LQWHUQDOO\DQGWKHQREYLRXVO\H[ternally for buyers and broadcasters, so there will be a discussion around that and our strategy going forward.â€? And he values the move by MIPTV to focus on content creation as well as distribution with WKH H[SDQVLRQ RI ,Q 'HYHORSment. â€œAnything that fosters and prompts engagement about the future of our industry and how we can grow is always a positive thing,â€? he said. â€œFor me itâ€™s a great opportunity to meet up with many of our key contacts and creatives in the one space. Iâ€™m looking forward to seeing what everyone has to say.â€? â€˘ Lars Blomgrenâ€™s Creative Masterclass: Taking Non-English Drama To New Dimensions is on Monday, April 8 at 15.40
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news: GAME CHANGERS
Äźl0u-1;1oŃ´Ń´-0ou-ŕŚžom-m7 tell the best storiesâ€™ Anders Jensen was appointed president & CEO of Nordic Entertainment uoÂ†rbmrubŃ´Ć‘Ć?Ć?Ńś-[;uv;uÂˆbm]-v ;ÂŠ;1Â†ŕŚžÂˆ;Âˆb1;ĹŠru;vb7;m|-m7o= MTG Nordic Entertainment. He spoke to Â†Ń´b-m;Â‰0Â‹ ahead of his MIPTV Game _-m];uvh;Â‹mo|;ru;v;m|-ŕŚžom ITâ€™S SOME nine months since the broadcast platforms of Swedenâ€™s MTG broke away to become Nordic Entertainment Group â€” known as the NENT Group. And since then, according to CEO Anders Jensen, the company has â€œcome a long way in a very short timeâ€?. Its vision, he said, is to be the leading Nordic streaming service provider and content producer with a global appeal â€œand I feel that every day takes us closer to where we want to beâ€?. He added: â€œWe have a clear and well-established strategy, a striking corporate brand and a new organisation. We will soon have our own share ticker too, and will be inviting investors to join what I am FRQĂ€GHQWZLOOEHDJUHDWULGHÂľ Splitting a company in two goes against the trend of consolidation. So what was the reasoning behind it? â€œConsolidation is based on creating more scale and synergies â€” NENT Group, on the other hand, is different to the companies around us,â€? Jensen said. â€œThis split is all about focus. It gives both NENT Group and MTG an opportunity to shape the future of their respective industries, which in our case means reinforcing our position as the leading entertainment provider in the Nordic region. There are so many opportunities for both companies, and now the time is right to split.â€?
In less than a year NENT Group has premiered over 20 original series, close to half of which have already been sold to platforms around the world. And the target is at least 20 more every year. The group also operates both broadcast and streaming services which, Jensen said, work happily together. â€œOur platforms are complementary and enable us to reach, monetise and engage on a pan-Nordic basis. We own an ecosystem in which the various elements support our ambition to assume leadership in a fast-moving media landscape,â€? he said. â€œLooking at broadcast, advertising is an important part of our Ă€QDQFLDO PRGHO 2XU VWUDWHJ\ LV to become less exposed here by growing our subscription business â€” driven by streaming â€” and by getting more out of our own production companies.â€? Many media companies with activities in traditional linear and pay TV see streaming as a threat, or at least a challenge, but Jensen said he sees â€œa huge opportunity in streaming. Today, close to half of Nordic households use streaming services, with an average of 1.4 subscriptions per streaming household. A fair assessment is that the number of households with a streaming service will reach nearly 100% at some point, and the subscription service average SHUKRXVHKROGZLOOEHVLJQLĂ€FDQW-
ly higher than now. But you need to be very clear in your customer proposition to prevail.â€? Content creation is crucial to the mix, Jensen said, and that happens via the entities NENT Studios and DRG. â€œCreativity is our strategy,â€? he said. â€œItâ€™s practically in our DNA; just look at the way ZH ODXQFKHG RXU Ă€UVW VWUHDPLQJ service back in 2007 when most of us were still getting to grips ZLWKWKHĂ€UVWL3KRQHOHWDORQHWKH idea of watching series via the internet. â€œOur partnerships show this very clearly â€” for example, weâ€™re a founding member of Atrium TV, ZKLFK LV WKH ZRUOGÂˇV Ă€UVW JOREDO commissioning club for regional OTT services. And in January, we announced a UK-based joint venture with FilmNation Entertainment to develop, produce DQG Ă€QDQFH SUHPLXP VFULSWHG television content for global audiences. Youâ€™ll see us doing more of this and taking an even more active role in more parts of the value chain.â€?
MIPTV PREVIEW â€˘ 26 â€˘ March 2019
In his Game Changers keynote, Jensen will explain how NENT Groupâ€™s partnerships and co-operation â€œshow that inclusivity can build something unique. Iâ€™m a big believer in partnerships and alliances as a means to create scale while staying different.â€? He added: â€œIâ€™ll share some of our stories â€” the Nordic original productions that are going global. Iâ€™ll also reveal what we think consumers and customers really want from entertainment providers. And Iâ€™ll explain why, in an industry thatâ€™s changing so fast, working in new ways can bring out the best in each other.â€? Away from the Cannes stage: Â´2XU VWUDWHJ\ IRU 0,379 LV WKH same as always â€” embrace collaboration, stay open and tell the best stories in the business. And weâ€™re delighted to play our part in NHHSLQJ 0,379 IRUZDUGOHDQLQJ and relevant.â€? â€˘ Anders Jensenâ€™s Game Changers keynote is on Tuesday, April 9 at 10.40
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$_;o|_;u-mm;v=;vŕŚžÂˆ-Ń´ is back for a second year people from all over the world,â€? Louvet said. â€œIt had glamour and it had style with its pink carpet leading up the famous Palais stairs to the premiere screenings attended by both industry professionals and the public.â€? He added: â€œBeing co-located with MIPTV was the perfect match for us EHFDXVH ZH ZHUH DEOH WR EHQHĂ€W immediately from proximity to the biggest TV marketplace attended by the top players in the industry.â€? The selection for the CAN1(6(5,(6 2IĂ€FLDO &RPSHWL tion is made up of innovative series from around the world in all gentres and formats and with no selection quotas applied. An international jury will present the CANNESERIES awards to the chosen series â€“ and to the winner of the Best Short Form Series competition â€“ at a Gala Awards Ceremony on April 10. The ceremony is broadcast live on CANAL+. $ORQJVLGH WKH 2IĂ€FLDO &RPSHWL tion, Out of Competition series will be premiered during evening
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events when cast and crew will walk the pink carpet. Screenings are open and free to
THE CANAL+ Original series Vernon Subutex, directed by Cathy Verney and starring !ol-bm Â†ubv-m7;Ń´bm;"-Ń´Ń´;Â‚;ÄˇÂ‰bŃ´Ń´ru;ĹŠ lb;u;Â†|o=olr;ŕŚžŕŚžom-|"!"Äˇ or;mbm]|_;;Âˆ;m|omrubŃ´Ć”Äş$_;v;ub;vbv bmvrbu;70Â‹(bu]bmb; ;vr;m|;Ä˝v(;umom"Â†ĹŠ 0Â†|;ÂŠmoÂˆ;Ń´vÄˇrÂ†0Ń´bv_;7bm u-m1;0Â‹7bŕŚžomv u-vv;|Äş (;umom"Â†0Â†|;ÂŠÄˇ-mÂ†m;lrŃ´oÂ‹;7u;1ou7 7;-Ń´;uÄˇbv;Âˆb1|;7=uol_bvY-|Äşm_bvv;-u1_ =ou-rŃ´-1;|ov|-Â‹Äˇ_;1om|-1|v_bv=oul;u colleagues from the legendary record store !;ÂˆoŃ´Âˆ;uÄşm;o=|_;lbvuo1hv|-uŃ´;ÂŠ Ń´;-1_ÄˇÂ‰_ov_ou|Ń´Â‹-[;u7b;vo=-moÂˆ;u7ov; -m7Ń´;-Âˆ;v0;_bm7|_u;;lÂ‹v|;uboÂ†vÂˆb7;oĹŠ |-r;vÄş(;umomvŃ´brv-momÂ‹loÂ†vŃ´Â‹bm|o|_;1b|Â‹ Â‰_bŃ´;_;0;1ol;v-ubvÄ˝lov|Â‰-m|;7l-mÄş
MIPTV PREVIEW â€˘ 28 â€˘ March 2019
the public, industry professionals with MIPTV accreditation, and the press.
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THE SECOND edition of CANNESERIES, the Cannes International Series Festival, once again takes place alongside MIPTV, from April 5 to 10. The festival is designed to give international exposure to new and innovative series from around the world. CANNESERIES takes place alongside the MIPTV market with the support of the city of Cannes. Open to the public and organised by an independent association with former French Culture Minister Fleur Pellerin as president, the event celebrates excellence in the DUW RI WKH FUHDWLRQ RI 79 Ă€FWLRQ It is attended by talent from all over the world and promotes series of all genres, formats and origins The inaugural CANNESERIES which ran alongside MIPTV 2018 was described as â€œa great successâ€? by the festivalâ€™s managing director Benoit Louvet. â€œWe created a Festival that didnâ€™t exist before, with its own identity, dedicated to series, and attended by creative
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Whatâ€™s new in 2019? Prepare for Big Brother on the beach FOUR Fresh TV sessions are taking place during MIPTV. Presented by Virginia Mouseler, CEO of Switzerland-based research agency The Wit, the sessions focus RQHQWHUWDLQPHQWIRUPDWVĂ€FWLRQ and kids content. â€œWhatâ€™s new is the area of entertainment and game shows is that thereâ€™s a place for small ambitions,â€? Mouseler said. â€œIn a market concentrated around a few long-running gigantic global formats, small looks beautiful. Small and smart means being simple, accessible and affordable.â€? She added: â€œEasy quizzes, realistic stakes, stupid or basic challenges â€” thatâ€™s the way to make a living alongside the likes of Who Wants To Be A Millionaire or Deal Or No Deal, which are coming back younger than ever.â€? In the kids market Mouseler observes two notable trends: â€œFirst, the SVOD players are now looking after the kids and this may have long-term consequences,â€? she said. â€œThe kids market has
long been driven in many territories by two forces: linear public broadcasters and merchandising. Without any public service educational editorial guidelines, the content offered to kids may evolve. And who will retain the vital merchandising rights? On another level Iâ€™m surprised by the longevity of the live-action kids game-show genre: kids still love to play.â€? Meanwhile high-end drama wonâ€™t go away. Demand is high, bingeing is what we all do now. So what new content is being produced to satisfy this demand? â€œWhat is interesting is the fact that now there are series for everyone, everybody, everywhere. Diversity is the key word. All niches, all tastes, all communities, all target groups, all genres,â€? Mouseler said. And again â€œtwo interesting trends are to be observed: one, how linear broadcasters are better serving their traditionally female core target with series centred around a new generation
of post-#metoo heroines; and how SVOD is seducing young DGXOWVZLWKQRWRQO\VFLĂ€EXWD new generation of thrillers and romantic soaps.â€? And the formats bubble seems unlikely to burst in the foreseeable future. The global nature of the industry means formattable content is good news both for rights owners and for broadcasters and platforms. But how is this genre staying fresh? â€œI would rather talk now of non-scripted IPs: the whole mar-
ket, scripted and unscripted, is now centered around IP trading and thatâ€™s what the formats business is about now, less about creating something new than exploiting something great,â€? she said. â€œSo the non-scripted trend is IP with a twist: adding narrative and technical game-changing elements to singing, dancing and dating. So I see something like Big Brother on the beach as a possible trend for 2019!â€? â€˘ The Fresh TV programme at MIPTV: Fresh TV Formats, Tuesday, April 9 at 08.45; Fresh TV Kids, Tuesday, April 9 at 12.00; Fresh TV Fiction, Wednesday, April 10 at 12.45 (subject to change)
Virginia Mouseler presents Fresh TV sessions in Cannes
MIPTV PREVIEW â€˘ 30 â€˘ March 2019
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MIPTV PREVIEW • 32 • -u1_ƑƏƐƖ
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TOP SERIES AT MIPTV 2019
A PLANE CRASH. A SOLE SURVIVOR.
A SERIES DIRECTED BY
A MYSTERIOUS I N V E ST I G AT I O N .
THRILLER SERIES | 4 x 52â€™
BOOTH: P-1.K2, HALL: PALAIS-1 | email@example.com | www.globalscreen.de
news: MIPDRAMA BUYERS SUMMIT
New dramas are telling â€˜big stories from small placesâ€™ THE MIPDrama Buyers Summit focuses on new trends and upcoming series in production. It offers the 450 invited buyers an H[FOXVLYH Ă€UVWORRN DW D VHOHFWLRQ of some of the most anticipated international new series in producWLRQ7KH6XPPLWWDNHVSODFH6XQday, April 7, on the eve of MIPTV. Ten new drama series will be presented during the Summit. The series have been selected by Reed MIDEMâ€™s editorial team, whose members based their decisions on writing and production values, originality and worldwide appeal. To be eligible for the Summit, the upcoming new high-end drama series must be in the early stages of production and never presented be-
IRUHWREX\HUVDWDIHVWLYDORUPDUNHW 7KHVHULHVPXVWEHĂ€QDQFHG DQGPXVWEHLQWKHLUĂ€UVWVHDVRQ Before the screenings, Keri Lewis Brown, founder and CEO of Manchester- and Amsterdam-based research company K7 Media, will offer some trends in WKHLQWHUQDWLRQDOPDUNHWIRUVHULHV drama in a session titled Big Stories From Small Places. â€œDuring our research at K7 we have observed an increasing number of stories with a hyper-localised sense of place. The â€˜Euro-puddingâ€™ is out and narratives are often set in very precise communities,â€? Lewis Brown said. â€œAt last yearâ€™s MIPDrama Buyers Summit the stand-out conta-
gion thriller Arctic Circle was set in Finnish Lapland. This yearâ€™s showcase sees titles located in regions as diverse as a small indusWULDOWRZQLQ8NUDLQHDQG:DLKHNH Island in New Zealand.â€? Lewis Brown believes that writers FDQ FUHDWH Â´GDUNHU DQG PRUH QRLU ish storiesâ€? when there are secrets RU XQGHUFXUUHQWV ZLWKLQ D VSHFLĂ€F community, as the repercussions can be so devastating. â€œBroadchurch is a very good example of this,â€? she VDLG Â´$OVR FXOWXUDO Ă DYRXUV DQG problems in a particular region can tap into the narrative, such as the 0RVFRZ EODFN PDUNHW LQ $Q 2UGLQDU\ :RPDQ DQG GUXJUXQQLQJ within the Mennonite community in the Canadian series Pure.â€?
Keri Lewis Brown: â€œAn increasing number of stories with a hyperlocalised sense of placeâ€?
The following series have been selected for the 2019 MIPDrama Buyers Summit
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MIPTV PREVIEW â€˘ 34 â€˘ March 2019
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A series by ISABELLE CLARKE & DANIEL COSTELLE In collaboration with Mickaël Gamrasni
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news: MIPDRAMA BUYERS SUMMIT
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$(Ń´-Â†m1_;v;ÂŠ_b0b|ouv-m70Â†Â‹;uvl-|1_l-hbm]rŃ´-oul IN THE build-up to MIPTV Reed MIDEM announced the creation of the MIP Buyers Exchange, a new platform for customised one-on-one meetings. The MIP Buyers Exchange provides exhibitors and buyers with additional pre-scheduled meetings. An online service, it has been designed to complement existing schedules with additional recommended one-on-one
meetings between exhibitors and buyers, based on pre-determined preferences. 3DUWLFLSDWLQJ EX\HUV DUH DVNHG WR Ă€OOLQDSURĂ€OHGHWDLOLQJWKHW\SHV RI FRQWHQW WKH\ DUH ORRNLQJ IRU Exhibitors do the same, offering details about the content they have to offer to the international PDUNHW %RWK EX\HUV DQG VHOOHUV can select their perfect match acFRUGLQJWRVSHFLĂ€FFULWHULD
The platform then employs algoULWKPVWRPDNHWKHULJKWPDWFKHV and send a preliminary version of the meeting schedule to both parties. At press time over 160 exhibitors had signed up to the service. â€œThe MIP Buyers Exchange has been developed to complement exhibitorsâ€™ schedules with additional targeted one-on-one meetings,â€? Reed MIDEM di-
MIPTV PREVIEW â€˘ 35 â€˘ March 2019
rector of TV Laurine Garaude said. â€œThis accelerates the proFHVV RI PDNLQJ QHZ FRQWDFWV from different countries and genres in a fast-changing industry. Pre-arranged agendas are an integral part of Reed MIDEMâ€™s regional content events, MIP Cancun for Latam and MIP China in Hangzhou, and have proved very popular and effective.â€?
MIPTV moves to support the UNâ€™s Sustainable Development Goals $_uoÂ†]_-7;7b1-|;7ruo]u-ll;Äˇ$(bvvÂ†rrouŕŚžm]|_; &Ä˝vbmbŕŚž-ŕŚžÂˆ;|o-7Âˆ-m1;-Â‰-u;m;vvo=vÂ†v|-bm-0bŃ´b|Â‹bvvÂ†;v -lom]|_;m;Â‰v-m7;m|;u|-bml;m|l;7b-Äˇ-m7Ń´;Âˆ;u-];|_;bu u;voÂ†u1;v-m71u;-ŕŚžÂˆ;|-Ń´;m||o-7Âˆ-m1;|_;ou]-mbv-ŕŚžomÄ˝v "Â†v|-bm-0Ń´; ;Âˆ;Ń´orl;m|o-Ń´v THE UNITED Nationâ€™s 17 Sustainable Development Goals (SDGs) â€” also known as the Global Goals â€” were adopted by world leaders in September 2015, with the goal of achieving a better future for all by 2030. The SDGs aim to promote prosperity everywhere while protecting the planet. They include an end to extreme poverty, achieving gender equality, access to quality education for all, access to clean water and sanitation and addressing climate change. On September 23, 2018, the UN launched the Sustainable Development Goals Media Compact, an initiative to advance awareness of the issues that are the focus of the SDGs. It is an alliance of news and entertainment media outlets and it is committed to working with the UN to foster public discourse and spur action. The aim is to inspire media and entertainment companies around the world to leverage their resources and creative talent to advance the SDGs. â€œTogether, we commit to playing our part to achieve the Sustainable Development Goals,â€? Olusola Momoh, chairwoman, Channels Media Group-Nigeria, said at the launch. â€œWe are an alliance of news and entertainment media and we are committing to work with the United Nations to foster public discourse and spur action on the SDGs.â€? She added: â€œWhere necessary, we will hold governments to account for the bold promise they have made to their people and to the world.â€? The SDG Media Compact aims to
embrace media companies from all regions and all platforms. Participating organisations will have the opportunity to create content partnerships with the United Nations, whereby the organisation will increase its efforts to source and share high-value media content and newsworthy opportunities relating to the SDGs.
â€œAchieving the Goals by 2030 will require concerted actions by everyone. By telling stories, news and entertainment media have a critical role in multiplying messages and propagating new ways of behaving,â€? UN Under-Secretary-General for Global Communications Alison Smale said at the launch. â€œAs major players
"Â‰bll;u-m7-1ŕŚžÂˆbv| Ben Lecomte
MIPTV PREVIEW â€˘ 36 â€˘ March 2019
in fostering the SDG discourse, they are also key in holding governments accountable.â€? MIPTV will invite participating companies to become Media Compact Members and to act as agents of change with the power to reach out to millions of viewers. As part of this initiative, MIPTV 2019 will feature a showcase featuring Ben Lecomte, the swimmer and activist who swam across WKH3DFLĂ€FLQWRUDLVHDZDUHness about plastic pollution, and KLVĂ€OP7KH6ZLP Lecomte will be joined by Su]DQQH .ROE FKLHI EUDQG RIĂ€FHU DW GLJLWDOĂ€UVW PHGLD FRPSDQ\ Group Nine Media. Kolb oversaw the development and production of The Swim, a documentary bringing his expedition to all screens. Producer Jared McGilliard of Nomadica Films will also join Lecomte for the exclusive MIPTV premiere of footDJHIURPWKHĂ€OP On June 5, Ben Lecomte set out on an unprecedented record-breaking swim across the 3DFLĂ€F 2FHDQ ZLWK WKH DLP RI shining a light on, and further understanding, ocean pollution and plastic contamination. Seeker, the number-one most-engaged cross-platform science publisher, in partnership with Nomadica Films, followed Ben along his journey, documenting his sixmonth endeavour in real time. Discovery also shared updates as the swim progressed. In 1998 Lecomte swam across the Atlantic Ocean in support of cancer research as a tribute to KLV IDWKHU WKH Ă€UVW SHUVRQ HYHU to complete the journey without a kickboard. Despite being folORZHG E\ D VKDUN IRU Ă€YH GD\V EHLQJ VWXQJ E\ MHOO\Ă€VK DQG VXIfering from exhaustion, he successfully completed the swim in 73 days. â€œNever again,â€? he said ZKHQKHĂ€QDOO\DUULYHGLQ)UDQFH But he wasnâ€™t telling the truth as he has since made history once again by achieving his latest goal: WRVZLPDFURVVWKH3DFLĂ€F2FHDQ in the name of ocean conversaWLRQ DZDUHQHVV DQG VFLHQWLĂ€F UHsearch.
CREATE WITH CANADA. CRÉEZ AVEC LE CANADA. Come and meet the Canadian industry. Venez rencontrer l’industrie canadienne.
CANADA PAVILION PAVILLON DU CANADA STAND P-1.A0 / P-1.A51 RDVCANADA.CA Discover our delegates’ proﬁles. Découvrez les proﬁls des délégués.
news: EMMY KIDS AWARDS
m|;um-ŕŚžom-Ń´llÂ‹b7vÂ‰-u7v THE ARE 28 nominees in seven categories for this yearâ€™s International Emmy Kids Awards. Nominations span 13 countries: Argentina, Australia, Brazil, Canada, Germany, Japan, Mexico, the Netherlands, Norway, Peopleâ€™s Republic of China, Singapore, Sweden and the United Kingdom. â€œThe geographic spread and wealth of topics addressed in this yearâ€™s nominated programmes attests to the vibrancy and quality of childrenâ€™s television throughout the world,â€? president & CEO of the International Academy of
KIDS: PRESCHOOL b;";m7Â†m]lb|7;l Ń´;=-m|;mÄšŃ´-m;|)bŃ´Ń´b (The Show With The Elephant) Westdeutscher Rundfunk Cologne/Trickstudio Â†Â‚;u0;1h Germany ;Â‹ Â†]];;Ĺ‹";-vomĆ‘ Studio AKA United Kingdom bŃ´Â‹Ä˝v ub[Â‰oo7-Â‹Ĺ‹ ";-vomĆ‘ Sixteen South Studios United Kingdom Â†o-o;b Magic Mall/Cloth Cat/9 Story bv|ub0Â†ŕŚžomm|;um-ŕŚžom-Ń´ PR China
KIDS: ANIMATION ;mmbvĹ&#x;m-v_;u&mŃ´;-v_;7 CBBC UK oror (Heads Together) Viking Film/VPRO Television/ o0ÄˇoubvĹ&#x;-ub;h; Netherlands bmb;-|oÂ‰;u!o1h;uv bv1oÂˆ;uÂ‹b7v-ŕŚžm America/Mundo Loco mbl-ŕŚžom"|Â†7bov u];mŕ˘źm-
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KIDS: DIGITAL Ĺ˛m|_;b]_|o=Â†]Â†v| Ć’Ć?v| NHK Japan ;m|;uĹ‹v;-vomŃś (Young Girls) NRK Norway Âˆ;u]u;r Ĺ?";ÂŠÂ†-Ń´0Â†v;Â‰-u;m;vv Week) NRK Bivrost Norway ";1u;|b=;o=oÂ‹v Ĺ‹";-vomĆ‘ Zodiak Kids Studios/CBBC/ ABC Australia United Kingdom
KIDS: FACTUAL oo7ov| Oak 3 Films Pte Ltd/ Mediacorp TV Singapore Pte Ltd Singapore uorr;mbm;b;u;] Ĺ?Â‹o7Â‹0;Ń´om]v|o;Ĺ‘ bÂˆuov|CŃ´lĹ&#x;$( Norway
Television Arts & Sciences Bruce Paisner said. â€œWe congratulate the Nominees for their outstanding talent and for setting a high bar for young viewers worldwide.â€? International Emmy Kids Awards at MIPTV presenting partners are: Ernst & Young, MIPTV and TV Kids. Winners will receive their awards at a gala ceremony at the Carlton hotel on Tuesday, April 9 at 19.30. The International Emmy Kids Awards Nominee Showcase is at 10.45 on the same day in the Kids Creative Room in the Palais.
-vbŃ´Â‹&m-o|-v (Thousand And One Notes) Orquesta Filarmonica de Toluca/Ballet Clasico del mvŕŚž|Â†|o7;Â†Ń´|Â†u-7;Ń´ Estado de Mexico Mexico Â‹b=;Äšoum|o(Ń´o] Blakeway North United Kingdom
;mmÂ‹ uo7Â†1ŕŚžomvÂˆ;mb7-m1Äş Canada -Ń´_-1-oĹ‹(bÂˆ-- b=;u;m1- (Young Hearts) $(Ń´o0o Brazil Â†v|-m]v -|1_0oÂŠb1|Â†u;v Australia
KIDS: TV MOVIE/ Ňƒ"!"
Ń´bĹŠÄ˝v"Â†r;u1_-u];uv Endemol Shine North United Kingdom bÂŠ-uoŃ´Ń´or;| (Marrying Mmum And Dad) Fremantlemedia Sverige Sweden bÂ‚Ń´;-v|;uv "_-m]_-b-mÂŠbm]Â†Ń´|Â†u;Ĺ&#x; Media Co. Limited (Canxing uo7Â†1ŕŚžomĹ‘ PR China $_;(ob1;b7vĹ‹v;-vomĆ‘ $(Ń´o0o Brazil
u-m7;(b-];l (The Great Journey) Aurora Filmes/Haikai Filmes Brazil v1_;ul;mb Tellux Film/Sad ORIGAMI uo7Â†1ŕŚžomĹ†, Germany -buÂ‹$-Ń´;vbmoÂ†u| NHK Japan !-|0Â†u];u bm];u|uo7Â†1ŕŚžomv United Kingdom
KIDS: SERIES b;=;@;uho;um;uĹ‹";-vomĆ?Ć“
(The Peppercorns) ;Â‚;u0oÂŠ bŃ´lruo7Â†hŕŚžomĹ† NDR/ARD Germany
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NEWS: WORLD PREMIERE TV SCREENING
The cast of Beecham House
Chadha’s ‘passion project’ has a ‘fresh take’ on period drama MIPTV PREVIEW • 40 • March 2019
NEWS: WORLD PREMIERE TV SCREENING
;;1_-loÂ†v;Äˇ|_;;rb1m;Â‰7u-l-Â‰ubÂ‚;m-m7ruo7Â†1;7 by Bend It TVâ€™s Gurinder Chadha, is Sundayâ€™s MIPTV World u;lb;u;$("1u;;mbm]bm-vvo1b-ŕŚžomÂ‰b|_"!"Äˇ 0uoÂ†]_||o-mm;v0Â‹ u;l-m|Ń´;;7b-m|;um-ŕŚžom-Ń´ BEECHAM House is an ambitious new drama series from Gurinder Chadha, the writer, director and producer responsible IRUJURXQGEUHDNLQJ%ULWLVKĂ€OP Bend It Like Beckham, and her company Bend It TV. The series has been commissioned for ITV by head of drama Polly Hill. Set at the turn of the 19th century in Delhi, the drama follows the fortunes of the residents of Beecham House, a mansion surrounded by acres of exotic woods and pristine lawns. Handsome former soldier, John Beecham, has acquired the house to start a new life for his family and a business as a trader. Written by Gurinder Chadha, Paul Mayeda Berges (Viceroyâ€™s House), Shahrukh Husain (In Custody) and Victor Levin (Mad Men), the six-part series shot in India towards the end of last year. Caroline Levy is series producer and FremantleMedia International is global distributor for the series.
Tom Bateman (Vanity Fair, Jekyll And Hyde) takes the role of John Beecham. Wealthy and distinguished, he has witnessed profiteering and exploitation during his time with the East India Company and has resolved to be fairer in the way he conducts his business as a trader and is determined to escape his previous life. He arrives at the house with a child named August and two Indian nursemaids, Chanchal (Shriya Pilgaonkar) and Maya (Trupti Khamkar) and there is speculation that he may be the boyâ€™s father. One of the Indian nursemaids, the beautiful Chanchal, is overly protective and particularly fond of the child. Could she be Johnâ€™s lover and the mother of August? â€œBeecham House is a passion project that is driven by my commitment to telling diverse, emotionally engaging stories for mainstream international audiences,â€? Chadha said. Though set over 100 years ago,
Chadha said that period drama can be entertaining while being â€œambitious and relevant to key issues of todayâ€?. The original characters, played by a â€œvibrant cast of British and Indian actors, will appeal to global audiences hungry to see stories from a unique point of view,â€? she added: â€œI grew up with Raj dramas like Jewel In The Crown, The Far Pavilions and A Passage To India. Beecham House is my chance to tell those stories from a British-Asian perspective.â€? The ensemble cast includes Lesley Nicol (Downton Abbey), Gregory Fitoussi (Mr. Selfridge, Spiral), Adil Ray (Citizen Khan, Ackley Bridge), Pallavi Sharda (Lion), and Marc Warren (Safe, Hustle). â€œTom Bateman is perfect casting as John Beecham and weâ€™re thrilled Lesley Nicol, Adil Ray, Pallavi Sharda, Marc Warren and Gregory Fitoussi have agreed to play such key roles,â€? ITVâ€™s Hill said. â€œGurinder brings a fresh take to period drama, but at its heart are wonderful characters and a compelling story that will make this a treat in the ITV schedule next year.â€? Bend It TV, founded by Chadha, recently joined forces with Fremantle to create diverse scripted and non-scripted TV content. The company currently has commissions for returning premium drama series with ITV Drama, BBC Drama and Sky Atlantic.
â€˘ Beecham House will be presented as a MIPTV World Premiere TV Screening in association with CANNESERIES on Sunday, April 7 at 19.00 in the Grand Auditorium Tom Bateman as John Beecham
MIPTV PREVIEW â€˘ 41 â€˘ March 2019
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JOIN US TO AN EVENING OF NETWORKING AND ENTERTAINMENT Monday 8 April 2019
Starting at 21:00
InterContinental Carlton Cannes
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– MIPTV® is a registered trademark of Reed MIDEM – All rights reserved
G N I N E
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LIFELINE is the story of Nefes, a young woman who was sold to a dangerous man and imprisoned in a house for eight years with her son. One day she meets |_; _-m7vol; $-_bu -m7 _;u 0-Â‚Ń˛; 0;Ĺˆ gins for freedom and love. Distributed by $Â†uhbv_1_-mm;Ń˛$(Äś|_;v;ub;v_-vÂ‰om several awards and has three million subv1ub0;uvom+oÂ†$Â†0;Ä¸ Lifeline (ATV)
SET IN the UK in 1958, an atmosphere of anxiety permeates the new series Summer Of Rockets (6 x 60 mins). Samuel (Toby Stephens), is a 40-something Russian Jewish emigre, inventor and designer of hearing aids, whose clients include former Prime Minister Sir Winston Churchill. The series follows Samuel and his family as he is approached by MI5 and tasked with the secret Summer Of Rockets (BBC Studios) lbvvbomo=o0|-bmbm]bm=oul-ŕ˘źom-0oÂ†|_bvm;Â‰Ń˛Â‹-1tÂ†bu;7=ub;m7v-|_Ĺˆ Ń˛;;m ĹŽ;;Ń˛;Â‹ -Â‰;vĹ? -m7 _;u roŃ˛bŕ˘ź1b-m _Â†v0-m7 !b1_-u7 ĹŽbmÂ†v !o-1_;Ĺ? |_uoÂ†]_ Â‰_ol _; l;;|v ou7 u|_Â†u )-Ń˛Ń˛bm]|om ĹŽ$blo|_Â‹ "r-Ń˛Ń˛Ĺ?Ä¸ $_bv v;lbĹˆ-Â†|o0bo]u-r_b1-Ń˛v|ouÂ‹Äś=uolbÂ‚Ń˛;vŃ˛-m7uo7Â†1ŕ˘źomv=ou|_;Äśbv Â‰ubÂ‚;m-m77bu;1|;70Â‹"|;r_;moŃ˛b-ho@Äś-m77bv|ub0Â†|;70Â‹"|Â†7bovÄ¸
DRG AT MIPTV !Ń˛-Â†m1_;v$_;)_b|;)-Ń˛Ń˛ĹŽŃ´ÂŠŃłĆ?lbmvĹ?Äś-m;Â‰v1bĹˆClÂ‹vĹˆ |;uÂ‹7u-l-Ä¸v|u-m];Â‰_b|;Â‰-Ń˛Ń˛bv=oÂ†m7Â†m7;u]uoÂ†m7-||_;Â‰ouŃ˛7ÄťvŃ˛-u]Ĺˆ ;v|mÂ†1Ń˛;-uÂ‰-v|;7;rovb|ouÂ‹Ä¸uof;1|7bu;1|ou-uvĹŽhv;Ń˛;mmb;Ĺ?Â‰-m|v|o h;;rb|-v;1u;|Äś0Â†|uÂ†loÂ†uvvru;-7tÂ†b1hŃ˛Â‹Ä¸olrŃ˛;ŕ˘źomo=|_;=-1bŃ˛b|Â‹bv -uvÄťŃ˛b=;ÄťvÂ‰ouh-m7_;7o;vmo|Â‰-m||orov|rom;|_;or;mbm]1;u;lomÂ‹Ä¸ oÂ‰;Âˆ;uÄś-uv-m7_bv|;-lu;-Ń˛bv;|_-||_;Â‰-Ń˛Ń˛bvmo|l-7;o=-mÂ‹l-Ĺˆ terial known to man. Should they leave it alone, or should they try to see whatâ€™s behind it? The White Wall is produced by Fire Monkey and Nice u-l-=ou"($-m7+Ä¸ The White Wall (DRG)
TRACE CONTENT DISTRIBUTION (TCD) TRACE om|;m| bv|ub0Â†ŕ˘źomÄťv Ń˛bm;ĹˆÂ†r bv _;-7;7 0Â‹ Ń˛;ÂŠ-m7u-Äś v|-uubm] (bÂˆb1- oÂŠÄś-Ć”Ń´ĹˆlbmÂ†|;7u-l--0oÂ†|-1oÂ†rŃ˛;ĹŠ u;7-"|;Z -m7!o0Ĺˆ ;u|-Â‹vĹŠÂ‰_ol;;|omŃ˛bm;-m7-u;vooml-hbm]Â‰;77bm]rŃ˛-mvÄ¸)_-| =oŃ˛Ń˛oÂ‰v bv - mb]_|l-ubv_ |-Ń˛; o= 7ol;vŕ˘ź1 ÂˆboŃ˛;m1;Äś r-vvbom -m7 lÂ†u7;uÄ¸ |_;u b];ub-mĹˆl;ub1-m 7u-l-v TCD brings to Cannes include: UnÂˆ;bŃ˛ ĹŽĆŽĆ?Ć’ lbmvĹ?Äś -0oÂ†| -m -l0bŕ˘źoÂ†v Â‹oÂ†m] Â‰ol-mÄˇ ou;b]m oÂˆ; ĹŽĆ”Ć” lbmvĹ?Äś - uol-mŕ˘ź1 1ol;7Â‹ -]-bmv| |_;0-1h7uoro=bm|;uĹˆu-1b-Ń˛u;Ń˛-ŕ˘źomĹˆ ships; Hellâ€™s Fury (101 mins), in which a scorned woman takes revenge; -m7 ;7Â†u- ĹŽĆŽĆ?Ć? lbmvĹ?Äś ;ÂŠrŃ˛oubm] how we cope with lifeâ€™s challenges. $ -Ń˛voŃ˛-Â†m1_;vu;-Ń˛b|Â‹v_oÂ‰l Serge Ibaka (6 x 13 mins), following the Congolese-Spanish professional basketball player. Alexandra (TCD)
UK-BASED distributor DCD Rights is showcasing new thriller series Invr;1|ou!of-vâ€ŤŘŤâ€ŹmoŃ˛7Ń˛oo7ĹŽŃ´ÂŠŃłĆ?lbmvĹ?-|$(Ä¸";|bm_bŃ˛;bm|_;Ń˛-|; mbm;ŕ˘ź;vÄś|_;v;ub;v=oŃ˛Ń˛oÂ‰v|_;7bv-rr;-u-m1;o=ĆŽĆ?Â‹oÂ†m]]buŃ˛vÄ¸oŃ˛b1;1-rĹˆ |-bm;v-u!of-vĹŽ u-m1bv1o;Ń˛oĹ?Ń˛;-7v|_;bmÂˆ;vŕ˘ź]-ŕ˘źom-v-hbŃ˛Ń˛;uv;-u1_Ĺˆ es for lonely adolescents in an environment surrounded by the driest desert in the world. Inspired by real-life police cases, the story reveals that the killer remained unpunished because of the negligence of the au|_oubŕ˘ź;vÄ¸ Inspector Rojas: In Cold Blood (DCD Rights)
MIPTV PREVIEW â€˘ 43 â€˘ March 2019
DYNAMIC TELEVISION LATEĹˆmb]_| _ov| om-m Äťub;m bv 0-1h Â‰b|_ |_; m;Â‰ 30-minute talk show Conan (122 x 30 mins). oŃ˛om];uvbŕŁŒ m]0;_bm7-7;vhÄś-m7Â‰b|_ no backing band, a more casual Äťub;m bm|;uÂˆb;Â‰v om; guest per show in a series that also features fun remote pieces. The series is now in producŕ˘źom bm |_; &" -m7 Dynamic Television is handling worldÂ‰b7;7bv|ub0Â†ŕ˘źomÄ¸ Conan Oâ€™Brien
Cannes International Series Festival Season 02 5â€”10 April 2019 Series from around the world in Competition International jury and guests ,the Cannes Drama Creative Forum, co-produced with Pitching sessions, masterclass and networking events
Booking and program on canneseries.com #canneseries
ALFRED HABER TELEVISION
ALFRED-0;u$;Ń˛;Âˆbvbom_-vv;1Â†u;7 bm|;um-ŕ˘źom-Ń˛ ub]_|v |o |_; Ń˛ÂˆbvŃ˛Ń˛Ĺˆ"|-u$ub0Â†|;Äś-m;Â‰|Â‰oĹˆ _oÂ†uvr;1b-Ń˛|_-|1;Ń˛;0u-|;v |_;m;|Â‰ouhÄťvb1omb1ĆŽĆ”ŃłŃ´|;Ń˛;Âˆbvbomv_oÂ‰|_-|_;Ń˛r;7Ń˛Âˆbv0-1h to the top of the charts. The show features performances from muvb1 vÂ†r;uv|-uvÄś u-u; =oo|-];Äś oÂ†|takes from the original and interÂˆb;Â‰vÄ¸ $_; 1olr-mÂ‹ -Ń˛vo 0ubm]v u;|_-Äł u-llÂ‹ ;Ń˛;0u-ŕ˘źom For The Queen Of Soul and the ŃłĆŽv| mmÂ†-Ń˛ u-llÂ‹ Â‰-u7v Elvis All-Star Tribute v_oÂ‰_ov|;70Â‹Ń˛b1b-;Â‹vÄ¸ (Alfred Haber Television)
MGM RETURNS|o$(Â‰b|_|Â‰om;Â‰7u-l-v;ub;vÄ¸;ur;|Â†-Ń˛u-1;Äś $ Äś=oŃ˛Ń˛oÂ‰vÂ‹oÂ†m]]ub[;u-l;vĹŽbllb"blrvomĹ?-v_;-Â‚;lr|v|oru;Â‹ om-v|ouÂ‹uomuoÂ‰mĹŽ"bu;mbm]vŃ˛;Â‹Ĺ?ÄśÂ‰_o|Â†umvoÂ†||o0;lou;7-m];uoÂ†v|_-m_;vÂ†vr;1|vÄś-v|_;r-v|ou-m7_bvÂ‰b=;_-Âˆ;-Ń˛u;-7Â‹v|oŃ˛;m|_; life savings of hundreds of innocent people. Four Weddings And A Funeral is the story of four American friends who reunite for a Lon7om Â‰;77bm]Ä¸ [;u - 0ol0shell at the altar they weather a tumultuous year of romance -m7 _;-u|0u;-hÄ¸ $_; v;ub;v v|-uv ,o; oÂ‹Ń˛;Äś -|_-Ń˛b; ll-mÂ†;Ń˛Äś ;mmb; -1tÂ†;vÄś bh;v_ -|;Ń˛Äś o_m !;Â‹moŃ˛7vÄś !;0;11- !bÂ‚;m_oÂ†v; -m7 Brandon Mychal Smith. Perpetual Grace, LTD (MGM Television)
FLAME DISTRIBUTION FLAME bv|ub0Â†ŕ˘źombvŃ˛-Â†m1_bm]m;Â‰ŕ˘ź|Ń˛;v-|$(-m70ubm]v-uov|;u o=u;|Â†umbm]v;ub;vÄ¸mŃ˛Â‹mÂŒĹŽŃ´ÂŠŃłĆ?lbmvĹ?=oŃ˛Ń˛oÂ‰v=oÂ†uÂ‹oÂ†m]Â†v|u-Ń˛b-mv -v|_;Â‹1ubvvĹˆ1uovv|_;1omŕ˘źm;m||o7bv1oÂˆ;uoÂ†|o=|_;ou7bm-uÂ‹=;-|Â†u;vÄ¸ o;v| -u|Ä´ĹŽĆŽĆ?ÂŠŃłlbmvĹ?bv-=Â†mĹˆ=o1Â†v;7m;Â‰v1b;m1;hb7vv;ub;v|_-| bmÂˆ;vŕ˘ź]-|;v1u;-|Â†u;vÂ‰_or-vv]-vÄ¸mo|_;uv1b;m1;v;ub;vÄś$_;Â†uboÂ†v bm7ĹŽĆ‘ÂŠĆ‘Ć’lbmvĹ?Äś;ÂŠrŃ˛ou;v|_;_Â†l-mlbm7Â‰b|_|_;_;Ń˛ro=om;o=|_; lov|-7Âˆ-m1;7lo7;Ń˛vÄ¸!;-Ń˛b|Â‹v;ub;vÂ†|0-1hr-Ń˛Â†m|;uvĹŽŃ´ÂŠŃłĆ? mins) follows crews of fearless opal miners.
THE TELEVISION SYNDICATION COMPANY (TVS) TVS HASrb1h;7Â†rub]_|v|o|Â‰o-mbl-|;7;7Â†1-ŕ˘źom-Ń˛v;ub;v=ouru;Ĺˆv1_ooŃ˛;uvÄ¸ m "bm] m7 "r;Ń˛Ń˛ ĹŽĆŽĆ? ÂŠ Ć?Ć? lbmvĹ„ Ĺ?Äś bvv -|_Â‹ -m7 _;u friends help kids to read in a series that also aids children with English -v - v;1om7 Ń˛-m]Â†-];Ä¸ m7 ;v1Â†0u-m]Ń˛;vĹŽĆ?ŃłÂŠĆ?ĹˆĆ’lbmvĹ„ Ĺ? =;-|Â†u;v -;v|uo -Âˆb;u -m7 _bv friends who help Spanish-speaking kids learn English through visÂ†-Ń˛v -m7 1-|1_Â‹ vom]vÄ¸ $(" -Ń˛vo 0ubm]v |u-Âˆ;Ń˛ v;ub;v ;Â‹om7 +oÂ†u -1hÂ‹-u7 ĹŽĆŽĆ? ÂŠ Ć?Ć?Äť Ĺ?Äś _ov|;7 0Â‹ ubh |_; $u-Âˆ;Ń˛ Â†Â‹Äś =;-|Â†ubm] the US and Bahamas. Sing And Spell (TVS)
TOP TITLES=uol;7b-v;|vr-m-bm1Ń˛Â†7;|_;7u-l-"|-|;";1u;|vĹŽĆŽĆ?ÂŠ Ć“Ć?lbmvĹ?Äś-|_ubŃ˛Ń˛;u-0oÂ†|-m-vv-vvbm-ŕ˘źom-Â‚;lr|om|_;"r-mbv_ubl; bmbv|;uÂ‰_b1_Â†m;-u|_v_b77;mv;1u;|vbm_bv1Ń˛ov;1bu1Ń˛;-m70;1ol;v- |Â†umbm]robm|=ou_bvl-uub-];Ä¸ol;7Â‹v;ub;v -m];uoÂ†v-u;m|vvo1b-ŕ˘źomĹŽĆŽĆ?ÂŠĆ“Ć?lbmvĹ?|;Ń˛Ń˛v|_;v|ouÂ‹o==oÂ†ulo|_;uvÂ‰_o0;1ol;bmÂˆoŃ˛Âˆ;7 bmÂˆoŃ˛Â†m|-ubŃ˛Â‹bm1ubl;Ä¸bmbĹˆv;ub;vÂ†uÂ†Â‹vĆ?ĹŽĆ?ÂŠŃ´Ć?lbmvĹ?1om1;umv-m -mŕ˘źĹˆ|;uuoubv|lbvvbom0Â‹"r-mbv_r-u-|uoor;uvbm=]_-mbv|-mÄ¸
IN THE second season of Black Spot (8 x 52 mins) Major Laurene Weiss â€” after her miraculous recovery and strange reappearance in the forest â€” is determined not to make the same mistakes and is focussed on caring for her daughter who is trying to get over the death o=_;u=ub;m7Ä¸[;uÂ‹;-uv0Â†u7;m;7Â‰b|_ secrets how can she face speaking of the man in the forest who kidnapped _;u-m7Â‰_ov_;_-v0;;m_Â†mŕ˘źm];Âˆ;u since â€” and who might have helped her vÂ†uÂˆbÂˆ;Ä´$_;v;ub;vbv0uoÂ†]_||o$( 0Â‹;7b-Â‰-m!b]_|vÄś=oul-Ń˛Ń˛Â‹m|;um-ŕ˘źom-Ń˛ bv|ub0Â†ŕ˘źomÄ¸
State Secrets (Mediaset Espana)
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Black Spot (Mediawan Rights)
MIPTV PREVIEW â€˘ 45 â€˘ March 2019
ENTERTAINMENT ONE FAMILY
ONE CHILD-ŕ˘źomÄśÂ‰_b1_u;1;m|Ń˛Â‹ru;lb;u;7-|"Â†m7-m1;Äśbv-CŃ˛l|_-| uncovers the largely unknown history of Chinaâ€™s one-child policy and the ];m;u-ŕ˘źomv-@;1|;70Â‹|_bvvo1b-Ń˛;ÂŠr;ubl;m|Ä¸|_;uCŃ˛lŕ˘ź|Ń˛;v=uol o]woof include: Watergate, about the conspiracy led by President Richard Nixom-m7_bvv|-@-m7_oÂ‰|_;Â‹Â‰;u;0uoÂ†]_||ofÂ†vŕ˘ź1;Äśbm1Ń˛Â†7bm]m;Â‰bm|;uÂˆb;Â‰v-m7-u1_bÂˆ-Ń˛=oo|-];Äˇl;ub1-m -1|ouÂ‹Äś-0oÂ†||_;u;r;u1Â†vvbomv-[;u a Chinese billionaire opened a new factory in an abandoned General Motors rŃ˛-m|bm_boÄˇ;;ŕ˘źm]ou0-1_;ÂˆÄś=;-|Â†ubm]om;ĹˆomĹˆom;bm|;uÂˆb;Â‰v0;|Â‰;;m the former Russian leader and Werner Herzog; and Halston, about the legendary designer. The four-episode historical anthology, Women Make Film, is narrated by Tilda Swinton and Jane Fonda, among others.
PRIORITIES at MIPTV for Entertainment One Family include: Ricky Zoom (52 x 11 mins), due early 2019, about Ricky, an everyday kid with everyday experiences who happens to be a motorbike; PJ Masks (52 x 11 mins), - ru;Ĺˆv1_ooŃ˛ 0u-m7 -Âˆ-bŃ˛-0Ń˛; -v |Â‰o v;-vomvÄś lÂ†vb1Âˆb7;ov -m7 bm|;uvŕ˘źŕ˘ź-Ń˛ 1om|;m|Äś Â‰b|_ |_; |_bu7 v;ries due this year and a fourth in development; Cupcake & Dino: General Services (52 x 11 mins), about the adventures of Cupcake, a pastry with a Napoleon complex and his fun-loving brother, Dino, who run the general services company; and the eighth and ninth series of preRicky Zoom (Entertainment One Family) school series Peppa Pig.
m;_bŃ´7-ŕŚžom Ĺ? o]Â‰oo=Ĺ‘
LOOKING GLASS INTERNATIONAL LOOKINGŃ˛-vvm|;um-ŕ˘źom-Ń˛0ubm]v|_;v;1om7v;-vomo=u;-Ń˛b|Â‹v;ub;v Log Cabin Fever (13 x 60 mins) to Cannes, following Charlie Norman and _bv 1u;Â‰ o= 0Â†bŃ˛7bm] -m7 1u-[v ;ÂŠr;u|v |u-Âˆ;Ń˛Ń˛bm] bm rr-Ń˛-1_b- bm |_;bu tÂ†;v||oCm7Ń˛om]ĹˆŃ˛ov|1-0bmv-m70-umv|ov-Âˆ;Ä¸
QUINTUS MEDIA QUINTUS;7b-0ubm]v|_;v;1om7v;-vomvo=|Â‰oŕ˘ź|Ń˛;vĹŠÂŠ1;rŕ˘źom-Ń˛m]bm;;ubm] -m7 ;]-$u-mvrou|v ĹŠ|o $(Ä¸ ÂŠ1;rŕ˘źom-Ń˛ m]bm;;ubm] ĹŽĆ’ ÂŠ ŃłĆ?lbmvĹ?Ń˛oohv0;_bm7|_;v1;m;v-||_;1omv|uÂ†1ŕ˘źomruo1;vv;vo=vol;o= the worldÂ´s biggest and most inmoÂˆ-ŕ˘źÂˆ; l-1_bm;vÄś bm1Ń˛Â†7bm] -umoured vehicles to airplanes and truck factories to wind generators. Mega Transports (6 x 60 mins) =;-|Â†u;v ;ÂŠ1;rŕ˘źom-Ń˛ ruof;1|vÄś bmcluding vast cargo transport systems on land and sea, the biggest tunnel drilling machine and the ÂŠ1;rŕŚžom-Ń´m]bm;;ubm] Ĺ? Â†bm|Â†v;7b-Ĺ‘ Ń˛-|;v|YÂ‹bm]1-uub;uvÄ¸
CINEFLIX RIGHTS CORONER (98 x 60 mins) is inspired by the best-selling series of books by M R Hall and is created by Morwyn Brebner (Rookie Blue). Coroner is a character-driven, close-ended episodic drama about Dr Jenny Cooper, a u;1;m|Ń˛Â‹Â‰b7oÂ‰;7m;Â‰1ouom;uÂ‰_obmÂˆ;vŕ˘ź]-|;vvÂ†vrb1boÂ†vÄśÂ†mm-|Â†u-Ń˛ou sudden deaths in Toronto. She solves cases with the help of homicide de|;1ŕ˘źÂˆ; omoÂˆ-m1ÂˆoÂ‹Äś-l-mÂ‰_obvmÄť|-=u-b7o=1_-Ń˛Ń˛;m]bm]|_;v|-|Â†v tÂ†oÄˇr-|_oŃ˛o]bv| uÄ¸ Â‰-Â‹m;Ń˛Ń˛;m-m7_bv-vvbv|-m|!bÂˆ;u-b|ÂŒÄˇ-m7Ń˛bvom Trent, Jennyâ€™s assistant. She also deals with clinical anxiety, her teenage vomÂ‰_obvvŕ˘źŃ˛Ń˛]ub;Âˆbm]|_;7;-|_o=_bv=-|_;u-m7|_;ruovr;1|o=v|-uŕ˘źm] -m;Â‰u;Ń˛-ŕ˘źomv_brÂ‰b|_|_;;mb]l-ŕ˘ź1b-lÄ¸
RTE PROGRAMME SALES IRELANDâ€™s RTE Programme Sales brings Incredible Homes (6 x 60 mins) to Cannes. Top architect Dermot Bannon visits some stunning and unusual homes around the world, from a Mayfair mansion in London to a â‚Ź35m Hamptonâ€™s home. In the series he meets the homeowners, architects and realtors. m1u;7b0Ń´;ol;vĹ?!$uo]u-ll;"-Ń´;vĹ‘ MIPTV PREVIEW â€˘ 46 â€˘ -u1_Ć‘Ć?Ć?Ć–
LAUNCHING-|$(ฤถ(b7;o-l;oยu|โซุซโฌ$_;"|oub;v;_bm7$_;oย;uv ลฦ ย ฦฦ lbmvล ล bv - 1oัฒัฒ;1เขผom o= bmล7;r|_ bm|;uยb;ยv =;-|ยubm] h;ย bัฒัฒยv|u-|ouv-m7-uเขผv|v=uol|_;ยb7;oล]-l;bm7ยv|uยฤถoัฒ7-m7m;ยฤถ;ยrัฒoubm] |_;ru;ล|-ubr;ubo7|_uoย]_bm|;m7oฤถ";]-;m;vbv-m71ยuu;m|bm7ยv|uย 1oย;uล-u||u;m7vฤธ-m-l;7b-ฤปvvัฒ-|;-ัฒvobm1ัฒย7;v=;-|ยu;ลัฒ;m]|_bm|;m7o ย;v|ลฦยฦฦlbmvล ล-m7-11olr-mยbm]v;ub;vbm|;m7o ย;v|โซุซโฌoย;u $oยuลฦฦยฦฦlbmvล ลฤธ
THE ROSTER=ouom7o$(bm1ัฒย7;vโซุซโฌ-v;1om7v;-vomo=!o0o|$u-bmvลฦฦ ยฦฦlbmvลฤถbm|uo7ย1bm]!-bัฒ)-|1_ฤถ|_;|uยv|;7uo0o||u-bm]ย-u7b-mvo=!-bัฒ )ouัฒ7ฤถย_o|u-mv=oul=uol|u-bmv|ouo0o|v|oruo|;1||_;bu_ol;-m7b|v ยb|-ัฒ;m;u]ยvยrrัฒb;vฤท;b7bฤถb;mย;mb7--v-ลัณฦยฦฦlbmvลฤถ-ัฒbย;ล-1เขผom v_oย -0oย| - 1-u;=u;; ]buัฒ ย_o ัฒ;-ย;v _;u loยm|-bm _ol; |o ัฒbย; bm |_; 0b]1b|ยฤถ-v_oย|_-|_-vbmvrbu;7-=;-|ยu;Cัฒlmoยbmruo7ย1เขผomฤถยb|_- v;1om7v;ub;vฤถ;b7bb;mย;mb7-ัฒ"_oยฤถbllbm;m|ฤทvroohย -mbl-เขผom -| -| ลฦฦ ย ฦฦ lbmvลฤท mย;mเขผom "|ouย ลฦฦฦ ย ฦฦlbmvลฤถ-0oย|-1u;-เขผย;=oยฤท +oooo $o $_; !;v1ย; ลฦฦ ย ฦฦ lbmvลฤถ 0-v;7 om - ัฒbm; o= rัฒยv_ |oยvฤท -m7 "bvvb $_; +oยm]lru;vvลฦฦยฦัณlbmvลฤถ - v_oย |_-| bm1ัฒย7;v - m;ย ฦ v;-vomลฦฦยฦฦlbmvลฤธ Robot Trains (Mondo TV)
ONZA DISTRIBUTION ROMANTIC1ol;7ยbยัฒ;obm1b7;m1;vลัดยฦฦlbmvล=;-|ยu;v-u|-- ฦฦลย;-uoัฒ7ยol-mย_o_-vfยv|or;m;7_;uoยmย;77bm]ล7u;vvv|ou;ฤธ -ยb;ubv-ฦฦลย;-uoัฒ7b1_;ัฒbm]ยb7;]-v|uomolb11ubเขผ1ฤธ$_;buัฒbย;vv;;l |o1omv|-m|ัฒยbm|;u|ยbm;ฤถ-m7oย;uเขผl;|_;buu;ัฒ-เขผomv_br7;ย;ัฒorvยb|_|_; _;ัฒro=-=;ย1obm1b7;m1;vฤธ
WOODCUT MEDIA COMMISSIONED 0ย "hยลoยm;7 1_-mm;ัฒ b1hฤถ -u-moul-ัฒ -ย]_| m -l;u- ลัณ ย ัณฦ lbmvล v;;v bm7ยv|uย ;ยr;u|v -ย;lr| |o 1-r|ยu; ;ยb7;m1; o= vยr;um-|ยu-ัฒ -1เขผยb|ย om 1-l;u-ฤถ -m7 1om7ย1|v |_ouoย]_ bmย;vเขผ]-เขผomv bm m;ย ัฒo1-เขผomv -m7 mo|ouboยv_-ยm|;7_o|vro|vฤธr-m;ัฒ o= v1b;mเขผv|vฤถ 0;ัฒb;ย;uv -m7 v1;rเขผ1v |_;m-m-ัฒยv;v|_;Cm7bm]vฤธ$_;v;ub;v bm1ัฒย7;vCuv|ล_-m7;ยr;ub;m1;vฤถl;v- -u-moul-ัด-ย]_|m-l;u- l;ubvbm]=oo|-];-m7r_o|o]u-r_vฤธ ล)oo71ย|;7b-ล
ABOUT PREMIUM CONTENT (APC) APC ISัฒ-ยm1_bm]1ubl;7u-l-$_;ยu7;uvลัดยัณฦlbmvลฤถv|-uubm];vvb1- ย1-vฤถ-|$(ฤธm$_;ยu7;uvฤถuoohb;_olb1b7;7;|;1เขผย;-|;-l;vom ลย1-vลbvr-u|m;u;7ยb|_ ;|;1เขผย;bh;ยm|ัฒ;ยลo1_ัฒยmยmuo;ล-v|_;ย m-ยb]-|; |_; 1-v; o= - lยv|;uboยv hbัฒัฒ;u ย_o ยv;v lยvb1 =ou 7;v|uย1เขผย; ;m7vฤธ$_;1-v|-ัฒvobm1ัฒย7;v ยัฒ-muย1;ฤถ$;uuย_;mฤถยยb-;|;uv;m-m7 (;mยv$;uยoฤธ
The Murders (APC)
ZEE ENTERTAINMENT ENTERPRISES DECEPTIVE;-vยu;vลฦฦยัณฦlbmvลฤถ1ยuu;m|ัฒยbmruo7ย1เขผomฤถbv-m-7-rเขผomo=m7b-mv;ub;v-ยb|u-!bv_|-ฤถ-m7=;-|ยu;v-lb77ัฒ;ล1ัฒ-vv]buัฒฤถย_ov; lo|_;u_-v|_;voัฒ;-blo=Cm7bm]-]oo7-ัฒัฒb-m1;=ou_;u7-ย]_|;uฤธ|_;u _b]_ัฒb]_|v=uol,;;bm1ัฒย7;โซุซโฌ-ul;mลัณฦยัณฦlbmvลฤถ-0oย|-ยoยm]ยol-m ย_oloย;v=uolัฒ;ย-m7ub-|o-buoัฒoohbm]=ou-morrou|ยmb|ย|o-1_b;ย; _;u 7u;-lv o= 0;bm] =-loยv -m7 ub1_ฤท !;hbm7ัฒ;7 ลัณัณ ย ัณฦ lbmvลฤถ - v|ouย -0oย| - v;1om7 1_-m1;-|ัฒb=;-m7 l-uub-];ฤท -m7 $_; !;ัฒ-เขผomv_br omยm7uยl (97 x 30 mins), - ัฒb]_|ล_;-u|;7 v|ouย -0oย| 20-year-old ย77-mฤถ ย_o 0;1ol;v m7b-ฤปv ยoยm];v| lo|_;uลbmลัฒ-ย|o|_u;; oัฒ7;u 7-ย]_|;uvล bmลัฒ-ย |_uoย]_ - v;ub;v o= ยmru;7b1|-0ัฒ; 1bu1ยl ;1;rเฆย;;-vยu;vล,;;m|;u|-bml;m|m|;urubv;vล v|-m1;vฤธ
MIPTV PREVIEW โข 47 โข -u1_ฦฦฦฦ
AMONG|_;m;ย-m7u;|ยumbm]v;ub;v0uoย]_||o$(0ย"|ย7bov-u;โซุซโฌ o1ยl;m|-uยoยฤณลฦฦยฦฦlbmvลฤถ-1ol;7ย_ov|;70ยulbv;m-m7-7;u ย_ovroo=ย;ัฒัฒลhmoยm7o1ยl;m|-ub;vฤถ-m7=;-|ยu;ลัฒbv|]ย;v|v|-uvฤท1ol;7ยv;ub;vuo1hlbu;ลฦฦยฦฦlbmvลฤถ-0oย|-v|uย]]ัฒbm]0-v;0-ัฒัฒ-mmoยm1;uฤท 7u-l-&mvr;-h-0ัฒ;ลัดยัณฦlbmvลฤถv;|-]-bmv||_;ฦฦัดฦv|-bm|;70ัฒoo7v1-m7-ัฒฤท$_bvัฒov;ลฦฦยฦฦlbmvลฤถ-0oย||ยo|ย;m|ยลvol;|_bm]vย_oย-m|r;orัฒ; |o v;; r-v| |_;bu 7bv-0bัฒbเขผ;vฤท -m7 |ยo _ouuou เขผ|ัฒ;vฤถ "ฦฦ ลฦฦ ย ัณฦ lbmvลฤถ 0-v;7 om - moย;ัฒฤถ-m7-m|_oัฒo]ย v;ub;v $_; $;uuou ลฦฦยัณฦlbmvลฤธ
ARMOZA oul-|v 0ubm]v m;ย ัฒ;]-ัฒ 7u-l- !;7 bm;v ลฦฦ ย ัณฦ lbmvล|o $(ฤธ uol vu-;ัฒฤปv -m -m7 $;7ย uo7ย1เขผomvฤถ |_; v;ub;v bv v;| bm |_; bv|ub1|ยoum;ยฤปvoL1;ฤถยb|_ยrล-m7ล1olbm]-ยoum;ย-u1;ัฒัฒ;;m -ยb7ฤถ ย_o 0;ัฒb;ย;v bm fยvเขผ1; -0oย; -ัฒัฒ ;ัฒv; ล ;ย;m |_; ัฒ-ยฤธ "_; 7bv1oย;uv-_ย];1omvrbu-1ย|_-||_u;-|;mv |ov_-h;|_;1oยm|uยฤปv ;mเขผu;ัฒ;]-ัฒvยv|;lฤธv -u1;ัฒัฒ; 7b]v 7;;r;u v_; Cm7v oย| |_-| |_ov;0;_bm7b|-u;|_; om;v1ัฒov;v||o_;uฤธ
Documentary Now! (AMC Studios)
Red Lines (Armoza Formats)
BANIJAY!b]_|vbvัฒ-ยm1_bm]1ubl;|_ubัฒัฒ;ub;uuoลัดยัณฦlbmvล-|$(ฤธ ";|om|_;v;1ัฒย7;7bvัฒ-m7o=b;uuoฤถbm|_;-m-uย-u1_br;ัฒ-]oฤถ-1ourv; ยb|_vb]mvo=-0uย|-ัฒlยu7;u bv 0uoย]_| ยr |o |_; vยu=-1; o= |_; v;- -m7 - ัฒo1-ัฒ ;m|u;ru;m;ยu ยb|_ - 7-uh r-v| bv -uu;v|;7ฤธ ย7]; -m7;ัฒ- u;ัฒ;-v;v |_; vยvr;1| om 0-bัฒ -m7 _; bv 7;|;ulbm;7 |o Cm7 |_; 1ยัฒrub|ฤถ ruoย; _bv bmmo1;m1;-m7Cm7oย|ย_o _-vv;|_blยrฤธ Hierro (Banijay Rights)
DARO u;|ยumv |o $( ยb|_ - ัฒbm;ลยr o= -1เขผom Cัฒlv bm1ัฒย7bm] |_;m;ยัฒย-mmoยm1;7uย1;)bัฒัฒbv v|-uu;u$u-ยl- ;m|u; ลล=ub1-ub]_|vลฤถu;ย;m];|_ubัฒัฒ;uย;m];l;m|ฤถv|-uubm]"1oย7hbmvลล =ub1-ลou|ย]-ัฒ ub]_|vล -m7 !ยmmbm])b|_$_; ;ยbัฒฤถ-vru-ยัฒbm] 1ubl; |_ubัฒัฒ;u v|-uubm] b1oัฒ-v -]; -m7 -ยu;m1; bv_0ยum; ลล=ub1- ub]_|vลฤธ 77bเขผomv |o -uoฤปv )ouัฒ7ยb7; $( v|u-m7 bm1ัฒย7;m;ย|_ubัฒัฒ;u-v|;ย;u b;v =uol"|-u=-ัฒัฒ;7b--m7=;;ัฒล]oo7 uol-mเขผ11ol;7ย ub7;v|-uAvengement (Daro Films) ubm]!ย-m-;ย;ยฤธ
HISTORYvr;1b-ัฒbv|"Cัฒl1;ัฒ;0u-|;v-mmbย;uv-ub;v-|$(ฤธ$_bu|ย ย;-uv -[;u|_; 1u;-เขผom o=|_; ;uัฒbm)-ัฒัฒฤถ$_; oัฒ7)-u "|ouย ลฦ ย ฦฦ lbmvลu;ย;-ัฒv7brัฒol-เขผ1-m7r;uvom-ัฒv|oub;v0;_bm7|_;-v|ล);v|v|uย]]ัฒ;ฤท-m7oยm|7oยmลฦยฦฦlbmvลu;ยb;ยvh;ย;ย;m|vัฒ;-7bm]ยr|o|_;=-ัฒัฒ o=|_;;uัฒbm)-ัฒัฒฤธb]_|ยย;-uv-[;u)ouัฒ7)-u0uoh;oย|ฤถ7o1ยl;m|-uย 7u-l-ัฒ-v_= ย|ยu;vลัดยฦฦlbmvล=oัฒัฒoยv|_;v|oub;vo=&mb|ยbou7ฤถ oัฒ-;]ubฤถo_b bm_ -m7 o|_;u ยb|m;vv;v |o |_; |ยu0ยัฒ;m|ย;-uvo= ฦฦฦัดลฦฦฦฦฤธ m7 b7v = oยu-]; ลัดยฦฦlbmvลruoCัฒ;v )) =ou - ยoยm] -ย7b;m1;ฤถ =o1ยvbm] om 7b-ub;v-m7ัฒ;ย;uvฤธ
NEW SERIES-|-7;uoล"ัฒ-ย]_|;uoยv;ลฦฦยฦฦlbmvลฤถ0uoย]_||o$(0ย"r-bmฤปv|u;vl;7b-ฤถ|;ัฒัฒv|_;v|ouยo=_oยัฒb=;bm-vl-ัฒัฒ|oยm1_-m];vvย77;mัฒย-[;u|_;7;-|_o= u-m1bv1oฤถ|_;oยm;uo=|_;ัฒo1-ัฒ-0-ยobuฤธ bvยb=;-m70uo|_;uลbmลัฒ-ย-u;u;vromvb0ัฒ;-m7|uย|o_b7;|_;bu1ubl;ฤถ0ย| -]-m]o=7uย]|u-L1h;uv-uubย;vฤธ u-m1bv1oย-vr-u|o=|_;bubัฒัฒ;]-ัฒm;|ยouh -m7 _; -ัฒvo oย;7 |_;l lom;ยฤธ $_; |_ubัฒัฒ;u v;ub;v bm1ัฒย7;v ;ัฒ;l;m|v o= 0ัฒ-1h_ยloยuฤธ
Matadero/Slaughter House (Atresmedia)
MIPTV PREVIEW โข 48 โข March 2019
INDIACAST MEDIA DISTRIBUTION
LAGARDERE STUDIOS DISTRIBUTION
GATH-m7_-mล$_;77oยrัฒ;ลฦัณฦยฦฦlbmvลbv-m;7]ยัฒoย;v|ouย0;|ย;;m _-m-hฤถ-m_om;v|ฤถยrub]_|m7b-moัฒb1;";uยb1;L1;u-m7!-]_ยฤถ -]-m]v|;u-m7oัฒัฒยยoo7=-mยb|_mo-blbmัฒb=;ฤธmo|_;uruboub|ยเขผ|ัฒ;=uol m7b-1-v| bv ;v-uub -m7-m ลฦัณฦ ย ฦฦ lbmvลฤถ |_; -vrbu-เขผom-ัฒ v|ouย o= a young wrestling prodigy deterlbm;7 |o =ยัฒCัฒ _;u fatherโs dream despite obstacles in her way, including sexism.
LAGARDERE 0ubm]v - vัฒ-|; o= bm|;um-เขผom-ัฒ 7u-l- |o $(ฤธ rm;- ลัณ ย ฦฦ lbmvล bv v;| bm - Cv_bm]ยbัฒัฒ-]; bm - voย|_;um bvัฒ-m7ฤถย_b1_ bv 7ยbm] because the ocean can no longer provide enough food. Frail young Chloe -m7$_;-ลย_oย-v=oยm7-||_;0oยolo=-0o-|ย_ov;Cv_;ul;m_-7 7b;7ou7bv-rr;-u;7ล1om=ยv;|_;l;m|_;ย;m1oยm|;uฤธ7;mลัณยฦฦlbmvล =oัฒัฒoยv-]uoยro=u;=ย];;vย_o-uubย;om-u;;h0;-1_bm=uom|o=-1uoย7 o=v|ยmm;7|oยubv|vฤธ$_bv7bv|ยu0bm]v1;m;v_-r;v|_;7;vเขผmb;vo=|_;l-mย characters, including: a Nigerian on the run, - u;;h v;1ยub|ย ]ย-u7 haunted by guilt, a French camp owner caught up in the upheaval, a German courัฒ; _ovเขผm] - v;1u;เขผย; refugee, and a Syrian family tormented by their past. rm;-ล-]-u7;u;"|ย7bov bv|ub0ยเฆomล
Gath Bandhan/ The Odd Couple (Indiacast Media bv|ub0ยเฆomล
IGMAR THE CRY="bัฒ;m1;ฤถru;v;m|;7bm-mm;v0ย]l-uฤถbv-_bv|oub1-ัฒ7u-l- Cัฒl=o1ยvbm]om|_;|u-]b1v|ouยo=-ัฒbยัฒ;0oยัฒ;[-ัฒom;bm;mbm]u-7ย_;m the city is under siege. By a happy coincidence heโs saved by a teenage girl 7ยubm]-0ol0-ย-1hฤถ0ย||_;ยmoย_-ย;|o1or;ยb|_-v;;lbm]ัฒย;m7ัฒ;vv winter in a despairing city.
TEAMTO MIGHTY bh; ลฦัด ย ฦ lbmvล bv ัฒ-ยm1_bm] |_bvย;-u om -u|oom ;|ยouh ลฤถ ฤถ $ลฤถ u-m1; $;ัฒ;ยbvbom ล u-m1;ลฤถ "ยr;u !$ ล;ul-mยลฤถ -lbัฒย _-mm;ัฒ ล-m-7-ล -m7 !$ ล;ัฒ]bยlลฤถ -m7 bv 0uoย]_| |o $( 0ย $;-l$ฤธ $_; r_o|ou;-ัฒbvเขผ1ฤถ 7b-ัฒo]ย;ล=u;;ฤถ vัฒ-rvเขผ1h 1ol;7ย =;-|ยu;v - rย] 1-ัฒัฒ;7 bh;ฤถ ย_o _-v vor_bvเขผ1-|;7 |-v|;v 0ย| _-v|o7;-ัฒยb|_|uoย0ัฒ;l-hbm] pet turtles and wild racoons. The company also brings the =oยu|_ v;-vom o= m];ัฒo !ยัฒ;v ลฦฦ ย ฦฦ lbmvลฦฦ ย ฦ lbmลฤถ about 11-year-old Angelo, a vย;;|ล|-ัฒhbm] ];mbยv ยb|_ - hm-1h=ou];เฃm]oย|o=|uoย0ัฒ;ฤธ b]_|ยbh;ล$;-l$ล
ZDF ENTERPRISES (ZDFE)
YOBOHO NEW MEDIA CAPTAIN FunTime (52 x 5 mins/13 x 5 mins YouTube trial) is a non-ver0-ัฒ1ol;7ย=;-|ยubm]=oยu0;v|=ub;m7vย_oย-|1_|_;bu=-ยoยub|;]-ัฒ-1เขผ1 vยr;u_;uoom$(-[;uv1_ooัฒ-m7|_;mbl-]bm;ย_-|b|ยoยัฒ70;ัฒbh;|o]o on adventures with Captain FunTime. Other highlights from YoBoHo include: The Time-Travel Adventures Of Annie And Ben (52 x 11 mins) and Mango Minutes (52 x 5 mins), a non-verbal show featuring mischievous lomh;ย-m]oฤธ -r|-bm ยm$bl;ล+ooo;ย;7b-ล
CRIME7u-l-ย;u)-|;uลฦฦยฦฦlbmvล=;-|ยu;v-=-ยoยub|;$(1;ัฒ;0ub|ย ย_ov;_;-ยย-77b1เขผom|o7ubmh-m7]-l0ัฒbm]ัฒ;-7v_bl7oยm-7-uhr-|_ฤถ 1-ยvbm]_bl|oัฒov;-ัฒlov|;ย;uย|_bm]_;_-7ยouh;7vo_-u7=ouฤธmo|_;u 1ubl; v;ub;v =uol , bv ubvเขผm- _ัฒvvomฤปv "$ !;tยb;l ลฦฦ ย ฦฦ lbmvลฦยฦฦlbmvลฤถย_b1_=oัฒัฒoยvroัฒb1;u;1uยb| u;7ubh-;u]l-mย_o-11;r|v-rovbเขผomยb|_|_;vr;1b-ัฒbmย;vเขผ]-เขผomยmb|o=|_;"|o1h_oัฒlroัฒb1;ฤธ uol|_;hb7vvัฒ-|;1ol;vโซุซโฌ$_;|_;m-ลฦัณยฦัณlbmvลฤถ-ัฒbย;ล-1เขผomv;ub;v -0oย|-ยoยm];ยลlo7;ัฒย_o;m|;uv-om7om-u|v1_ooัฒbm|;m|om7;vb]mbm]_;uoยm1ัฒo|_;vฤท-m7|ยov;-vomvo=ัฒbย;ล-1เขผomv;ub;v)ouv|)b|1_ลฦฦ ยฦัดlbmvลฤถยb|_-|_bu7v;ub;vลฦฦยฦัดlbmvลbmruo7ย1เขผomฤธ
MIPTV PREVIEW โข 49 โข March 2019
Over Water ล, ล
ABC COMMERCIALu;|Â†umv|o-mm;vÂ‰b|_-vŃ˛-|;o=ŕ˘ź|Ń˛;vÄśbm1Ń˛Â†7bm]â€ŤŘŤâ€Ź$_; Crown And Us (2 x 60 mins), exploring why, despite the secrets, scandals -m7tÂ†;vŕ˘źomvo=u;Ń˛;Âˆ-m1;ÄśÂ†v|u-Ń˛b-Äťv-@;1ŕ˘źom=ou|_;ubŕ˘źv_uoÂ‹-Ń˛=-lbŃ˛Â‹ u;l-bmv -v v|uom] -v ;Âˆ;uÄˇ bu;v|-u|;uâ€ŤŘŤâ€Ź$_; "|ouÂ‹ = -m]-uu- ĹŽru;Ĺˆv-Ń˛;Ĺ„ĆŽ x 90 mins), exploring the story of one of Australiaâ€™s most iconic performing arts companies; and new pre-school releases from Play School and The Wiggles.
OLOBOB $or=oŃ˛Ń˛oÂ‰v|_;-7Âˆ;m|Â†u;vo=$b0Äś-Ń˛Ń˛oo-m7o00Ń˛;ÄśÂ‰_oŃ˛bÂˆ; in a magical tree in the Olobob forest. In a world made up of shapes, each story sees them head to the Olobob Top, where they combine shapes, patterns and colours to create new characters and friends. A new series of 26 episodes will premiere in early 2019, along with a series of picture books, an HTML5 game, 1u-[-1ŕ˘źÂˆbŕ˘ź;v-m7 workshop events. The UKâ€™s Cake handles internaŕ˘źom-Ń˛7bv|ub0Â†ŕ˘źomÄ¸ Olobob Top (Cake)
The Crown And Us (ABC Commercial)
IMIRA ENTERTAINMENT SPY PENGUIN (26 x 5mins) is a non-dialogue series about Rooky, Texture and Roborobo who confront an evil underworld villain in Paris as part of |_;Ä¸Ä¸Ä¸Ä¸Ä¸ou]-mbv-ŕ˘źomÄ¸|_;uŕ˘ź|Ń˛;v=uol"r-bmÄťvlbu-bm1Ń˛Â†7;â€ŤŘŤâ€Źom7o +-m ĹŽĆ’Ć? ÂŠ ĆŽĆ? lbmvĹ?Äś - =-m|-vÂ‹ -mbl-ŕ˘źom -0oÂ†| - ]uoÂ†r o= lbvC|v Â‰_o protect a harmonious world from a mutant land; The Yolkels (26 x 22 mins), about the residents of Cornville who try to hang on to their peaceful way of life; and Sindbad & The 7 Galaxies (26 x 11 mins) about Sin0-7ÄśÂ‰_o-[;uv1_ooŃ˛ becomes an intergaŃ˛-1ŕ˘ź1 1;Ń˛;0ub|Â‹ -m7 embarks on space adventures. Spy Penguin (Imira Entertainment)
MANDARIN FILM THE ONLY Child is an animat;7 momĹˆ7b-Ń˛o]Â†; CŃ˛l 1oŃ˛Ń˛-0ou-ŕ˘źom0-v;7om-;Â‰+ouh$bl;v best-selling graphic novel by Chim;v; Â‰ub|;u Â†o bm]Ä¸ Ń˛bÂ‚Ń˛; ]buŃ˛ lost in wintry Northern China follows a mysterious deer deep into |_;Â‰oo7vÄ¸"_;Cm7v_;uv;Ń˛=bm- v|u-m];-m7Â‰om7uoÂ†vÂ‰ouŃ˛7Ä¸Â†| home and family are far away and v_; lÂ†v| Cm7 - Â‰-Â‹ 0-1hÄ¸ $_; CŃ˛l bv - 1oĹˆruo7Â†1ŕ˘źom 0;|Â‰;;m Chinese producer Mandarin Film -m7;Ń˛]bÂ†lÄťvÂ†m-mbl;Ä¸ The Only Child (Mandarin Film)
SONY PICTURES NETWORKS INDIA ON THE slate from Sony Pictures Networks India are: Anything For You. Everything For You (150 x 22 mins), about a courtship between a female boxer and a male classical singer; I Am A Star! (150 x 22 mins), about a Â‹oÂ†m]0oÂ‹Â‰_o0;1ol;v-v|-u-[;uÂ‰bmmbm]-u;-Ń˛b|Â‹7-m1;v_oÂ‰Äˇ|Â‰o seasons of Kicko & Super Speedo (26 x 22 mins/39 x 22 mins), about a young boy and his magical car; Ladies Special (150 x 22 mins), a drama -0oÂ†|-]uoÂ†ro=Â‰ol;mbm|_;1b|Â‹Äˇlo|_;uĹ„7-Â†]_|;u7u-l--ŕ˘ź-Ń˛--0;v (150 x 22 mins); The Imperfect Couple (150 x 22 mins), about a boy rejected by society and a girl rejected by family; and modern romance What Is This, If Not Love (120 x 22 mins).
THE LATESTruo7Â†1ŕ˘źom=uol)-uv-Â‰Ĺˆ0-v;7$(bv 7u-l-v;ub;vÂ†u ;m|Â†uÂ‹ĹŽĆŽĆ?ÂŠĆ‘Ć’lbmvĹ?Äś|_;v|ouÂ‹-0oÂ†||_;=-|;o=|_;lÂ†Ń˛ŕ˘źĹˆ];m;u-ŕ˘źom-Ń˛ )bmmÂ‹=-lbŃ˛Â‹ÄśÂ‰oÂˆ;mbm|o|_;7u-l-ŕ˘ź1;Âˆ;m|vo=|_;Ć?Ć?|_1;m|Â†uÂ‹Ä¸$_; v|u;m]|_ o= =-lbŃ˛Â‹ ŕ˘ź;vÄś Ń˛oÂˆ;Äś v-1ubC1; -m7 7;;rŃ˛Â‹ _b77;m =-lbŃ˛Â‹ v;1u;|v 1ol0bm;|o1u;-|;-mbmvb]_Â†Ń˛rou|u-b|o=oŃ˛bv_vo1b;|Â‹-]-bmv||_;0-1h]uoÂ†m7o=b|v|Â†u0Â†Ń˛;m|_bv|ouÂ‹bm1Ń˛Â†7bm]))Äś|_;oŃ˛bv_ĹˆoŃ˛v_;ÂˆbhÂ‰-uo= ĆŽĆ”Ć?Ć?-m7|_;"r-mbv_YÂ†;rb7;lb1Ä¸ Our Century (TVP)
Anything For You. Everything For You (Sony Pictures Networks India)
MIPTV PREVIEW â€˘ 50 â€˘ March 2019
FILMAX INTERNATIONAL SALES A HIGHLIGHT=uol-u1;ัฒom-ล0-v;7 bัฒl-ย-|$(bv0ัฒ-1h1ol;7ยv;ub;v);ัฒ1ol;$o$_; -lbัฒยฤถ0uo-71-vเขผm]moยom$(ฦbm"r-bmฤถย_b1_|-h;v -1olb1-ัฒัฒooh-||_;bmvเขผ|ยเขผomo=|_;=-lbัฒยฤธ$_;v;1om7v;-vomลฦฦยฦฦ lbmvลor;mvยb|_|_;-uubย-ัฒo=-mยฤถm];ัฒ-ฤปv;ยล_ยv0-m7ฤถ-m7oฤปv0uo|_;u -m7|_; hb7vฤป =-|_;uฤถย_oฤปv 0;;m lbvvbm] =ou|_; ัฒ-v| ฦฦย;-uvฤธ$_; =-lbัฒย tยb1hัฒยv;;|_uoย]__bv1_-u-7;-m7u;-ัฒbv;_;m;;7v|_;bu_;ัฒrฤธ$_;Cuv|v;-vom bv moย -ย-bัฒ-0ัฒ;om;ัฒbยฤธ
HG DISTRIBUTIONฤถ 0-v;7 bm ย;0;1ฤถ -m-7-ฤถ 0ubm]v|_; m;ย =;-|ยu; Cัฒl!;!&|o-mm;vฤถv|-uubm]_ubv|or_;uัฒoย7ล-1h$o$_; ย|ยu;ลฤธ ;ou];"uลัฒoย7ลu;]u;|vัฒovbm]-]buัฒ1-ัฒัฒ;7(boัฒ;|l-mยย;-uv-]oฤถ0ย|om; _ubv|l-vฤถ vยuuoยm7;7 0ย _bv =-lbัฒยฤถ orrou|ยmb|ย 1ol;v hmo1hbm]ยb- - เขผl;rou|-ัฒbm_bv]u-m7vomฤปv1ัฒov;|ฤถ]bยbm];ou];-1_-m1;|o|u-ย;ัฒ0-1h |o_bv|ย;mเขผ;v|o=-1;|_;]_ov|vo=_bvr-v|ฤธ
Welcome To The Family (Filmax m|;um-เฆom-ัด "-ัด;vล !;!&ล bv|ub0ยเฆomล
AURORA WORLD CHARACTER-m71om|;m|1olr-mยยuou-)ouัฒ7ru;v;m|vru;ลv1_ooัฒ-mbl-เขผom+oooo$o$_;!;v1ย;-|$(ฤธ;-7tย-u|;u;7bm";oยัฒฤถou;-ฤถ ยuou- _-v ;v|-0ัฒbv_;7 0u-m7v bm |_; rัฒยv_ l-uh;|ฤถ bm1ัฒย7bm]+oooo ล ub;m7vฤธ$ยov;-vomvo=|_;ฦ v;ub;v0-v;7om|_;1_-u-1|;uvย;u; 0uo-71-v| bm ัดฦ 1oยm|ub;v -m7 -u; moย v|u;-lbm] om ;ัฒbยฤถ -m7 |_;u; bvmoย|o0;-m;ย;ัฒbยub]bm-ัฒ";ub;vฤธ+oooo$o$_;!;v1ย;ฤถย_b1_ =;-|ยu;v-l-]b1-ัฒ=ou;v|-m7;mยbuoml;m|-ัฒ|_;l;vฤถbv-ฦ 1oลruo7ย1เขผomยb|_|-ัฒยฤปvom7o$(ฤถ-m7ัฒ-ยm1_;v;-uัฒย|_bvย;-ubmฦฦ7b@;u;m| languages in 190 countries.
MIAM! PARISล0-v;77bv|ub0ย|oub-lฤณ-mbl-เขผom0ubm]vm;ยv;-vomvo=+;เขผ$-ัฒ;v -m7-;ัฒoo|o$(ฤธ u;m1_v|ย7bov -uf;;ัฒbm]-m7oยbm]ยrr;|r-u|m;u;7ยb|_ u-m1;$;ัฒ;ยbvbomv|oruo7ย1;-|_bu7v;-vomo=ru;ลv1_ooัฒrยrr;| v_oย+;เขผ$-ัฒ;vลฦฦยฦฤธฦฦlbmvฦฑ$(vr;1b-ัฒลฤธ$_;v;ub;vmoย|o|-ัฒvฦฦฦย ฦฤธฦฦlbmvลฦยฦัณlbmvลฦฦยฦฤธฦฦlbmvฤธ-m-ัฒฦฑ -lbัฒย-m7$;ัฒ;|oom_-ย; 1ollbvvbom;7-=oยu|_ฦฦลr-u|v;-vomo=vัฒ-rvเขผ1h1ol;7ยv;ub;v-;ัฒooฤถ|o 0;7;ัฒbย;u;7ัฒ-|;u|_bvย;-uฤถruo7ย1;70ยย0;u;-เขผย;ฤธ
RED ARROW STUDIOS INTERNATIONAL RED ARROW is launching its new crime drama series Vienna Blood (3 ยฦฦlbmvลัณยฦฦlbmvล-|$(ฤธ$_;v;ub;vbvCัฒl;7bmm]ัฒbv_-m7om ัฒo1-เขผombm(b;mm-ฤถv|-uubm]-ย_;ย;-u7-v-ยb;0;ul-mm-m7ย;u];m -ยu;u -v ;|;1เขผย; mvr;1|ou vh-u !_;bm_-u7| -m7 bv v;| bm |_; ฦฦฦฦv ย_;m(b;mm- ย-v - l;ัฒเขผm] ro| o= r_bัฒovor_ยฤถ v1b;m1; -m7 -u|ฤธ b;0;ul-mmbv-ยoยm]m]ัฒbv_v|ย7;m|o==-l;7rvย1_o-m-ัฒยv|"b]lยm7 u;ย7 -m7ย_;m _; l;;|v !_;bm_-u7|ฤถย_o bv v|uย]]ัฒbm]ยb|_ - v|u-m]; 1-v;ฤถ_;-]u;;v|o_;ัฒr_blbmย;vเขผ]-|;|_;v;ub;vo=ยmยvย-ัฒ-m77bv|ยu0bm] lยu7;uvฤธ(b;mm-ัฒoo7bvruo7ย1;70ยm7ouuo7ย1เขผomv-m7! bัฒlbm 1oลruo7ย1เขผomยb|_ !;7uuoย "|ย7bov m|;um-เขผom-ัฒฤถ , ;ul-mย -m7 ! ลยv|ub-ลฤถยb|_|_;-vvbv|-m1;o=$;ัฒ;ยbvbom=ยm7ยv|ub-ฤถ$(ล bัฒl=ยm7 Vienna and Niederoesterreich Kultur.
FRENCH -mbl-เขผomv|ย7boฤถ*bัฒ-lmbl-เขผom0ubm]voh-ลฦัดยฦlbmvลฤถ- ฦ v;ub;v-bl;7-|ัณล|oฦฦลย;-uลoัฒ7vฤถ|o$(ฤธ"1_;7ยัฒ;7=ou7;ัฒbย;uยbm ;-uัฒยฦฦฦฦฤถ|_;v;ub;v=oัฒัฒoยv|_;-7ย;m|ยu;vo=oh-ฤถ-m-bย;-m7u;1hัฒ;vvัฒbยัฒ;1uo1o7bัฒ;-m7|_;bm]o=|_;"-ย-mm-_ฤปvomัฒยvomฤธm;7-ยoh- ัฒ;-ย;v |o ;ยrัฒou; _bv ย-v| hbm]7ol -11olr-mb;7 0ย _;uuยฤถ - v|uom]ฤถ 0u-ย; u_bmo1;uov =uol |_; !oย-ัฒ ย-u7 ย_o ]o;v along to assure _bv ruo|;1เขผomฤธ *bัฒ-l bv 0ubm]bm] |_u;; ;rbvo7;v |o -mm;vฤธ oh-ล*bัด-lmbl-เฆomล
MIPTV PREVIEW โข 51 โข March 2019
CANADIAN ruo7Â†1;u -m7 7bv|ub0Â†|ou m1;m7oÄťv CŃ˛l ruboubŕ˘ź;v =ou -mm;v bm1Ń˛Â†7;â€Ť_|ŘŤâ€ŹubŃ˛Ń˛;uv!-7bo"bŃ˛;m1;Äś$_b1h;u$_-m)-|;u-m7$_;"bv|;u_oo7Äˇuol-mŕ˘ź1 1ol;7b;v oÂˆ; Ń˛ovvolv and Love On Sa=-ubÄˇ -m7 7u-l- series currently bm 7;Âˆ;Ń˛orl;m|Äś Los Juniors and Disasterland.
PRODUCTION _-v 0;]Â†m om |_; m;Â‰ =oÂ†u|_ v;ub;v o= oŃ˛-m] ĹŽĆ’Ć? ÂŠ Ć’ lbmvĹ?Äś1u;-|;7Â‰b|_-m;Â‰1om1;r||_-|v;;voŃ˛-m]-m7bÂ†bÂ†]oŕ˘źl; |u-Âˆ;Ń˛Ń˛bm]Äś=uol|_;v|om;-];|o|_;1oÂ†u|o=(;uv-bŃ˛Ń˛;v-m7u;;h-mŕ˘źtÂ†b|Â‹Ä¸$_; u;m1_1olr-mÂ‹-Ń˛vo0ubm]vâ€ŤŘŤâ€Ź$uÂ†1h]-l;vĹŽĆ’Ć?ÂŠĆ’lbmvĹ?Äś-0oÂ†| |_;-7Âˆ;m|Â†u;vo==oÂ†ulbmbĹˆ|uÂ†1hv-m7|_;buu-m7r-$;7Äˇ$_;7Âˆ;m|Â†u;v =-vu;7bmĹŽĆ?ĆŽÂŠĆ’lbmvĹ?Äś=oŃ˛Ń˛oÂ‰bm]-vu;7bmÄś-moub;m|-Ń˛1Â†Ń˛|1_-u-1|;u Â‰_o1-mÄť|_;Ń˛rlo1hbm] the absurdity of todayâ€™s world with audacity and _Â†loÂ†uÄˇ -m7 m;Â‰ v;-vomv o= -r;u ou| ĹŽĆ?Ńł ÂŠĆŽĆŽlbmvĹ?-m7!-bm0oÂ‰ _b1hvĹŽĆ“Ń´ÂŠĆ“Ä¸Ć?Ć?lbmvĹ?Ä¸
The Sisterhood (Incendo)
SILVERGATE MEDIA ON THEhb7vvŃ˛-|;=ouom7omĹˆ-m7;Â‰+ouhĹˆ0-v;7"bŃ˛Âˆ;u]-|;;7b--u;â€ŤŘŤâ€Ź ;|;u!-00b|ĹŽv;-vomĆŽâ€ŤŘŤâ€ŹĆ’Ć?ÂŠĆŽĆŽlbmvĆąĆ?ÂŠĆ?Ć?lbmvÄśv;-vomĆ?â€ŤŘŤâ€ŹĆ’Ć?ÂŠĆŽĆŽ lbmvĆąĆ?ÂŠĆ?Ć?lbmvĹ?Äś=;-|Â†ubm];-|ubÂŠoÂ‚;uÄťv1Ń˛-vvb1ubŕ˘źv_1_-u-1|;uvÄˇ bŃ˛7-ĹŽĆŽĆ?ÂŠĆ?Ć?lbmvĹ?Äś0-v;7]u-r_b1moÂˆ;Ń˛v0Â‹Â†h;;-uvomÄś-0oÂ†|-=;-uŃ˛;vv 0Ń˛Â†;Ĺˆ_-bu;7 -7Âˆ;m|Â†u;uÄś Â‰b|_ - ]b[ =ou 0;=ub;m7bm] 7-m];uoÂ†v 1u;-|Â†u;vÄśÂ‰_oŃ˛bÂˆ;vbm-mou|_;umÂ‰bŃ˛7;um;vvÄˇomh;Â‹)b|_$ooŃ˛;Ń˛|ĹŽĆ‘Ć?ÂŠ ĆŽĆŽlbmvĹ?Äś-m;Â‰-mbl-|;71omv|uÂ†1ŕ˘źomĹˆ|_;l;71ol;7Â‹0-v;7om_ubv Monroeâ€™s picture books that will target pre-school hb7vÄˇ -m7 |_; C[_ v;-vom o= 1|om-Â†|v ĹŽĆ?Ńł ÂŠ ĆŽĆŽ lbmvĹ„Ć?Ńł ÂŠ ĆŽ lbm Ćą Ć?Ć? lbmvĹ?Äś Â‰_b1_ bm|uo7Â†1;v a new character â€” a red r-m7- 1-Ń˛Ń˛;7 -rl-her Min â€” as well as new 1u;-|Â†u;v -m7 -m ;ÂŠoŕ˘ź1 lbÂŠo=;mÂˆbuoml;m|vÄ¸ Peter Rabbit (Silvergate Media)
TVN POLANDâ€™s TVN brings two m;Â‰ rubl;ŕ˘źl; lbmbĹˆv;ub;v |o -mm;vâ€Ť ŘŤâ€Ź1ubl; v|ouÂ‹ $_; bv-rr;-u-m1; ĹŽĆ“ ÂŠ ŃłĆ? lbmvĹ? -m7 7u-l- $_; "bÂŠ ĹŽŃł ÂŠ ŃłĆ? lbmvĹ?Ä¸|_;uruboubŕ˘ź;vbm1Ń˛Â†7;â€ŤŘŤâ€Ź the fourth season of DiagnovbvĹŽĆ’Ć?ÂŠŃłĆ?lbmvĹ?Äś-l;7b1-Ń˛ 7u-l-Â‰b|_-1ubl;|Â‰bv|Äˇ|_; ĆŽĆ?|_v;-vomo=|u-Âˆ;Ń˛-7Âˆ;m|Â†u;v;ub;v)ol-m|$_;m7 =$_;)ouŃ˛7ĹŽĆ“Ć?ÂŠĆ?Ć?lbmvĹ?Äˇ and new seasons of Mega $u-mvrou|vÄś ;loŃ˛bv_;uv -m7 ĆŽŃ´)_;;Ń˛v1uovvl;ub1-Ä¸
The Disappearance (TVN)
TV-3 RUSSIAN channel TV-3 0ubm]v b|v v1bĹˆC lbmbĹˆv;ub;v$_; Blackout to MIPTV. Set in a rov|Ĺˆ-ro1-Ń˛Â‹rŕ˘ź1Â†uor;bm|_; m;-u =Â†|Â†u;Äś Â‰_;u; 1omm;1ŕ˘źom with the rest of the planet is Ń˛ov|ÄślbŃ˛b|-uÂ‹oL1;uvÄśv1b;mŕ˘źv|v -m7-|;-lo=$(u;rou|;uv-u; v;m||o|_;tÂ†-u-mŕ˘źm;ÂŒom;|o Cm7oÂ†|Â‰_oouÂ‰_-|bv7;v|uoÂ‹bm] Ń˛b=;Ä¸ "|-uubm] omv|-mŕ˘źm Lavronenko, the thriller series bv r-1h;7 Â‰b|_ 0-Â‚Ń˛; -m7 -1ŕ˘źom v1;m;v Â†vbm] 1Â†ŕŁŒm]Ĺˆ;7]; 1ol0-| ;tÂ†brl;m|Ä¸ $_; !Â†vvb-m ru;lb;u; o= |_; Cuv| r-u| o=|_;CŃ˛lbvv1_;7Â†Ń˛;7=ou";r|;l0;u Ć?Ć?ĆŽĆ”Äś -m7|_; v;1om7 bvrŃ˛-mm;7=ouĆ?Ć?Ć?Ć?Ä¸
WIZART mbl-ŕ˘źomÄś =uol !Â†vvb-Äś 0ubm]v $_; "moÂ‰ Â†;;mâ€Ť;; ŘŤâ€Źr;uv = )om7;uv |o $(Äś - m;Â‰ v;ub;v |-u];ŕ˘źm] 1_bŃ˛7u;m -];7 =oÂ†u |o ;b]_|Ä¸ ;u7- -m7 -bÄś 1_-u-1|;uv =uol |_; 1olr-mÂ‹Äťv "moÂ‰ Â†;;m v-]-Äś Ń˛;-7 -vblrŃ˛;Ń˛b=;bm|_;Â‰ouŃ˛7o=Â‰om7;uvÄ¸$_;Â‹-u;-11olr-mb;70Â‹1Â‹Äś|_; "moÂ‰ Â†;;mÄťv7-Â†]_|;uÂ‰_o_-v|_;roÂ‰;u|o=u;;ÂŒ;o0f;1|vÄ¸;u7-_-v 1om|uoŃ˛oÂˆ;u|_;mou|_Â‰bm7-m7-bbmÂˆ;m|vÂˆ-uboÂ†vhbm7vo=l-1_bm;v-m7 l;1_-mbvlvÄ¸$o];|_;u|_;Â‹C]_|ÂˆbŃ˛Ń˛-bmv0Â†|-Ń˛voŃ˛;-um_oÂ‰om;v_oÂ†Ń˛7-1| bm7bL1Â†Ń˛|vb|Â†-ŕ˘źomvÄ¸ The Snow Queen: Keepers Of Wonders Ĺ?)bÂŒ-u|mbl-ŕŚžomĹ‘
The Blackout (TV-3)
MIPTV PREVIEW â€˘ 52 â€˘ March 2019
AT MIPTV, -Â†lom| Â‰bŃ˛Ń˛ 0; o@;ubm] -Ń˛Ń˛ CÂˆ; v;-vomv o= -u1ovÄś - v;ub;v |_-|7u-l-ŕ˘źv;v|_;ubv;|o]Ń˛o0-Ń˛roÂ‰;uo=bm=-loÂ†v7uÂ†]Ń˛ou7vÄ¸$_;Cuv| three seasons chronicle the rise of the cocaine |u-7;bmoŃ˛ol0b--m7|_; drug kingpins of the late ĆŽĆ”Ń´Ć?vÄś bm1Ń˛Â†7bm] -0Ń˛o v1o0-uÄś rou|u-Â‹;7 0Â‹ )-]m;u oÂ†u-Ä¸ m Ń˛-|;u seasons the focus switch;v |o ;ÂŠb1oÄťv 1-mm-0bv trade and the rise of the -u1ovÄˇv;-vomĆ“Ĺ?-Â†lom|Ĺ‘ Â†-7-Ń˛-f-u--u|;Ń˛Ä¸
THE UKÄťvu-m];"l-u|Â‹0ubm]v bu|Â‹(;]-mĹŽĆ‘ÂŠĆ?Ć?lbmvĹ?|o-mm;vÄśruo7Â†1;70Â‹m;$ub0;$(=ou|_;Ä¸$_;rŃ˛-m|Ĺˆ0-v;71oohbm]v_oÂ‰=;-|Â†u;v =oul;u ru-mhĹˆ$( v;ub;v 7-u;7;ÂˆbŃ˛ -|_;Â‰ ub|1_-u7 ĹŽ bu|Â‹ "-m1_;ÂŒĹ?Äś Â‰_o has now become an ultra-athlete, chef and vegan. His challenge is to prove |_-|-Âˆ;]-m7b;|1-ml-h;r;orŃ˛;CÂ‚;uÄśv|uom];uÄś-m7_;-Ń˛|_b;uÄśbm1Ń˛Â†7bm] 7;Âˆbvbm]-roÂ‰;uĹˆr-1h;70-mtÂ†;|=ou-Â‰ol;mÄťvuÂ†]0Â‹|;-l-m71u;-ŕ˘źm]- muscle-fuelling meal for a cave rescue team.
SCORPION TV THE NATURE=mÂˆ;mŕ˘źomĹŽĆŽÂŠĆ’Ć?lbmvĹ„ Ĺ?bv0uoÂ†]_||o-mm;v0Â‹om7omĹˆ0-v;7"1ourbom$(Ä¸$_;v;ub;vruoCŃ˛;vbmÂˆ;m|ouv-m7bmÂˆ;vŕ˘ź]-|;vÂ‰_-| bmvrbu;v|_;lÄ¸m1Ń˛Â†7;7-u;|_;bmÂˆ;m|ouvo=-Â‰;-u-0Ń˛;uo0oŕ˘ź1;ÂŠovh;Ń˛;|om |_-| _;Ń˛rv 7bv-0Ń˛;7 r;orŃ˛;Â‰-Ń˛h -]-bmÄˇ - 0o7Â‹ĹˆroÂ‰;u;7|ou1_Äˇ|_; v|;-7Â‹Ĺˆ cam; and the adhesive that prevents heart defects. While l-mÂ‹ bmÂˆ;m|ouv share common traits ĹŠ r-vvbomÄś |;m-1b|Â‹ and a willingness |o =-bŃ˛ ĹŠ |_;Â‹ -u; as diverse as their 1u;-ŕ˘źomvÄś Â‹;| Â‰_;m |_;Â‹ v;; - ruo0Ń˛;l |_;Â‹-u;u;voŃ˛Âˆ;7|o |uÂ‹-m7voŃ˛Âˆ;b|Ä¸ $_;-|Â†u;=mÂˆ;mŕŚžomĹ?"1ourbom$(Ĺ‘
TCB MEDA RIGHTS GIANT Lobster Hunters (10 x 60 mins) from Australian indie Fredbird Entertainment, is a series that documents the drama and dangers at sea as crews go in search of big-cash hauls across Tasmaniaâ€™s summer lobster season. The series follows six lobster-boat captains over the last 10 weeks o=|_;Â‰bm|;uuo1hŃ˛o0v|;u_Â†mŕ˘źm]v;-vom-v|_;Â‹ubvhb|-Ń˛Ń˛bmv;-u1_o=om; of the worldâ€™s most prized seafood delicacies. The Southern Ocean is Australiaâ€™s deadliest stretch of water, and against a backdrop of wild weather -m7|u;-1_;uoÂ†v v;-vÄś 1u;Â‰vÂ‰ouh mb]_| -m7 7-Â‹|o _-Â†Ń˛ bm _Â†m7u;7v o= hbŃ˛o]u-lvo=Ń˛o0v|;uv-1uovvvŃ˛brr;uÂ‹7;1hvÄ¸
Dirty Vegan (Orange Smarty)
STUDIOCANAL DURING MIPTV Studiocanal presents Years And Years (6 x 60 mins), ruo7Â†1;7 0Â‹ !;7 uo7Â†1ŕ˘źom olr-mÂ‹ ĹŠ - "|Â†7bo1-m-Ń˛ 1olr-mÂ‹ ĹŠ =ou m;Äś-m7-m-Ń˛ĆąÄ¸+;-uvm7+;-uvbv-0oÂ†|om;=-lbŃ˛Â‹vÂ†uÂˆbÂˆbm] |_;=Â†|Â†u;Äś-m7v|-uvll-$_olrvomÄś!ouÂ‹bmm;-uÄś;vvb1-Â‹m;vÄś!Â†|_ -7;Ń˛;Â‹Äś$Äťb-bŃ˛Ń˛;uÄśmm;!;b7-m7!Â†vv;Ń˛Ń˛$oÂˆ;Â‹Ä¸+;-uvm7+;-uv=oŃ˛Ń˛oÂ‰v |_; Â‹omvÄś - 0Â†vÂ‹ -m1_;v|;u =-lbŃ˛Â‹Ä¸ -mb;Ń˛Äťv ];ŕŁŒm] l-uub;7 |o !-Ń˛r_Ä¸ "|;r_;m-m7;Ń˛;v|;Â‰ouuÂ‹-0oÂ†||_;buhb7vÄ¸!ovb;Äťv1_-vbm]-m;Â‰l-mÄ¸ 7b|__-vmÄť|0;;m_ol;=ouÂ‹;-uvÄ¸Ń˛Â‰-Â‹v|_;u;bvu-mÄś|_;blr;ub-Ń˛Â†ub;Ń˛Ä¸)_;m|_;buŃ˛bÂˆ;v-Ń˛Ń˛1omÂˆ;u];omom;1uÂ†1b-Ń˛mb]_|bmĆ?Ć?ĆŽĆ”Äś|_;v|ouÂ‹ accelerates into the future.
SND FILMS SND FILMS is launchbm] m;Â‰ 1ol;7Â‹ 7u-l- v;ub;v -lbŃ˛Â‹ "_-h; ĹŽŃł ÂŠ Ć’Ć? lbmvĹ„ Ĺ? bm -mm;vÄś 1ollbvvbom;7 0Â‹ ŃłÄ¸ $_; !oÂ†vv;-Â†Ĺˆ;mv-b7 =-lbŃ˛Â‹ 1omvbv|v o= "-lb- |_; lo|_;uÄś b1oŃ˛-v |_; =-|_;uÄś|_;bum;Â‰0oum0oÂ‹Äś his daughters, her son, their exes, his parents, -lbŃ´Â‹"_-h;Ĺ?" bŃ´lvĹ‘ _;u r-u;m|vÄ¸Ä¸Ä¸ - |Â‹rb1-Ń˛ 0Ń˛;m7;7 lo7;um =-lbŃ˛Â‹Ä¸$_; ;mv;l0Ń˛; 1-v| bm1Ń˛Â†7;v u;]ouÂ‹ om|;Ń˛ ĹŽ-Ń˛Ń˛ Â‹];m|Ĺ?Äś-bŃ˛b--uÂŒoÂ†m;ĹŽ-ŕ˘ź;m|vĹ?ÄśÂ†Ń˛b-b-|omÄśÂ‹;v"-Ń˛;lÄśbÂ‹oÂ†m--m7 f;l;Ń˛-u;hÄ¸
MIPTV PREVIEW â€˘ 53 â€˘ -u1_Ć‘Ć?Ć?Ć–
DHX MEDIA CHIP m7 o|-|o ลฦฦ ย ฦฦ lbmvลฤถ -bl;7 -| hb7v -];7 |_u;; |o vbยฤถ bv 0uoย]_| |o $( 0ย -m-7-ฤปv * ;7b-ฤธ $_; v|ouย =oัฒัฒoยv rยrrย _br -v v_; |-h;v _;u Cuv| v|;rv|oย-u7vbm7;r;m7;m1;bmhbmล 7;u]-u|;mฤถ ยb|_ _;u v;1u;| loยv; =ub;m7ฤถo|-|oฤถ-|_;uvb7;ฤธ$_;ru;ล v1_ooัฒ v;ub;v bv 1oลruo7ย1;7 0ย *;7b--m7 -uu-ัฒัฒ-1tย;;m bm-vvo1b-เขผomยb|_ -lbัฒย_-mm;ัฒฤธ Chip And Potato (DHX Media)
MARVISTA ENTERTAINMENT MARVISTA Entertainment is at $(ยb|_-m;ยvัฒ-|;o=loยb;vฤถ _;-7ัฒbm;7 0ย )bm|;u ubm1;vvฤถ ย_b1_ru;lb;u;7om|_;-ัฒัฒl-uh _-mm;ัฒ bm |_; &" bm -mย-uยฤธ )bm|;uubm1;vv=oัฒัฒoยv|_;|-ัฒ;o= -rubm1;vvย_o|-h;v-0u;-h=uol _;uuoย-ัฒ7ยเขผ;v|oยouhbm1o]mb|o -|-vhbu;vou|ย_;u;v_;Cm7v|uย; _-rrbm;vv-m7|uย;ัฒoย;$_;-ัฒัฒล l-uh ub]bm-ัฒ v|-uv -|-ัฒb; -ัฒัฒ A Winter Princess (MarVista Entertainment) -m7_ubv1-ัฒัฒยฤธ
FREMANTLE A MIPTVruboub|ย=ou u;l-m|ัฒ;bvm;ย 1ubl;v;ub;vฤถ-]_7-7;m|u-ัฒลัณยัณฦ lbmvลฤถ0-v;7om-moย;ัฒ0ยัฒัฒboยoัฒล ัฒ-ฤธollbvvbom;70ย_-mm;ัฒฦbm|_; &ฤถ|_; v;ub;v bv v;| bm ฦฦฦฦฤธ -]_ล 7-7_-v0;;mo11ยrb;70ยl;ub1-m =ou1;v=ouvbยlom|_vฤถ0ย||_;u;bvmo ;@;1เขผย; uยัฒ; o= ัฒ-ยฤธm u-tb ;ยลroล ัฒb1;l-mฤถย_o_-vัฒov|;ย;uย|_bm]-m7 bv 0-ยัฒbm] |o h;;r _blv;ัฒ= -m7 _bv vb1h7-ย]_|;uv-=;ฤถัฒ;-umv|_-|_bv;vล Baghdad Central (Fremantle) |u-m];7;ัฒ7;u7-ย]_|;ubvlbvvbm]-m7 v;-u1_;v=ou_;uฤธ)_;m_;1ol;v-1uovv_;u;mb]l-เขผ1ยmbย;uvb|ย|ย|ouฤถ_; 7bv1oย;uv|_-|_bv7-ย]_|;u-m7_;u|ยo1ัฒov;=ub;m7v_-ย;0;;mัฒ;-7bm]- _b77;mัฒb=;|_-|_-vัฒ;7|_;lbm|o]u;-|7-m];uฤธ
NIPPON TELEVISION NETWORK CORPORATION (NIPPON TV) JAPANฤปv brrom $( 0ubm]v - m;ยv1ubr|;7=oul-|ฤถ);-h;v| ;-v|ฤถ|o$(ฤธ$_;ฦฦยัณฦ lbmvuol-mเขผ17u-l-ลย_b1_ bv -ย-bัฒ-0ัฒ; ยb|_ m]ัฒbv_ฤถ -m7-ubm _bm;v;ฤถ -_-v- m7om;vb-m ou $_-b vย0เขผ|ัฒ;v ล =oัฒัฒoยv |ยo lo7;umล7-ย lbัฒัฒ;mmb-ัฒv ย_o _-ย; ย;| |o ัฒ;-um_oย|ovr;-hยb|_|_;bu _;-u|v-m7ัฒ;|uol-m1;v_bm;ฤธ $_;ฦฦลย;-uลoัฒ7ยol-m7o;v ;ย;uย|_bm] r;u=;1|ัฒย -| ยouhฤถ ย_bัฒ; 1omv|-m|ัฒย h;;rbm] _;u ;loเขผomv bm 1_;1hฤธ ัฒัฒ v_; ย-m|v bv |o =-ัฒัฒ l-7ัฒย bm ัฒoย; -m7_-ย;-u;ัฒ-เขผomv_brย_;u; Weakest Beast (Nippon TV) v_;1-m0;|uย;|o_;uv;ัฒ=ฤถ0ย| ;ย;uย 7-ย r-vv;v ยb|_oย| ruo]u;vvฤธ m |_; o|_;u vb7;ฤถ bv - v|u;;|ลvl-u| -m71_-ulbm]ฦฦลย;-uลoัฒ7ัฒ-7b;vฤปl-mย_oยouhv-v-m;ัฒb|;-11oยm|-m|ฤธ ;|uยv|v mo om; ยmเขผัฒ|_; 7-ยย_;m 7;vเขผmย 0ubm]v|_;v;|ยo|o];|_;uฤธ );-h;v|;-v|bv-ัฒvo-ย-bัฒ-0ัฒ;-v-=oul-|ฤธ
THE JIM HENSON COMPANY THE JIM ;mvomolr-mยbvru;v;mเขผm]-m;ยC[_v;-vomo=ru;ลv1_ooัฒ v;ub;v bmov-ยu$u-bmลฦฦยฦฦlbmvลฦฦยฦฦlbmvล-|$(ฤธbubm]om" b7vัฒ-|;u|_bvย;-uฤถ|_;m;ยv;-vom1omเขผmย;v|_;;ยrัฒou-เขผomo=m-|ยu-ัฒ v1b;m1;ยb|_ -m ;lr_-vbv om -7ย;m|ยu;ฤถ 7bv1oย;uยฤถ m;ย bmย;mเขผomvฤถ -m7 vo1b-ัฒัฒ;-umbm]-m7;ยru;vvbomฤธ Dinosaur Train (The Jim Henson Company)
SINKING SHIP ENTERTAINMENT TORONTOล0-v;7 "bmhbm] "_br m|;u|-bml;m| bv v_oย1-vbm] b|v v1bลC ัฒbย;ล-1เขผomลv;ub;vm7ัฒbm]v-|$(ฤธ$_;v;ub;vbv1ยuu;m|ัฒยbmruo7ย1ล เขผomยb|_mbm;0uo-71-v|;uvom0o-u7ฤถbm1ัฒย7bm]ยัฒย-m7&mbย;uv-ัฒb7vbm |_;&"ฤถ-m7"!bm-m-7-ฤถbm|_;&ฤถ !bm;ul-mยฤถ bmยv|u-ัฒb-ฤถ"($bm"ย;7;m-m7!bmouย-ยฤธ|_;uruboubเขผ;vbm1ัฒย7; |ยoัฒbย;ล-1เขผomhb7vเขผ|ัฒ;vโซุซโฌ-m;ยv;-vomo=77"tย-7ลฦฦฦยฦฦlbmvลฤถ ย_b1_v;;v|_;_b]_ล|;1_ou]-mbv-เขผom=ouhb7v]olo0bัฒ;-uoยm7|_;]ัฒo0;ฤท -m7lยv|;uยv;ub;v=ouัณล|oฦฦลย;-uลoัฒ7vฤถยv|77-]b1ลฦฦยฦฦlbmvลฤธฤธ
Endlings (Sinking Ship Entertainment)
MIPTV PREVIEW โข 54 โข March 2019
9 STORY MEDIA GROUP
NEW SERIES $_;oัฒัฒoยลฦฦยฦฦlbmvลฤถ0uoย]_||o-mm;v0ย-m-7-ฤปv ฦ"|ouยฤถbv-0oย||_u;;|;;mv|u-m];uvย_oย-h;bm-7-m];uoยvยouัฒ7-m7 |uย|o l-h; v;mv; o=ย_-| 1omm;1เขผom|_;ย _-ย;|o ;-1_ o|_;u -v|_;ย -ย;lr||ol-h;b|oย|-ัฒbย;ฤธmo|_;u-77bเขผom|o|_;1-|-ัฒo]ย;bvัฒb@ou7 $_;b]!;7 o]ลัณฦยฦัณlbmvลฤถ-1ัฒ-vvb1v;ub-ัฒ=;-|ยubm]ัฒb@ou7ฤถ_bvoยmer Emily Elizabeth, and his friends on Birdwell Island.
US PUBCASTER "m|;um-เขผom-ัฒu;|ยumv|o$(ยb|_bmh-ัฒb1boยvล ;|;uubC1ฤถย_b1_=oัฒัฒoยv|_;-7ย;m|ยu;vo=bmh-ัฒb1boยv-m7_;uัฒbยัฒ;0uo|_;u;|;u-v|_;ย;m1oยu-];ยoยm]1_bัฒ7u;m|o|_bmh-m7;ยru;vv|_;lv;ัฒย;v 1u;-เขผย;ัฒยฤธ "_;ฤปv mo| -=u-b7 |o ;ยru;vv _;uv;ัฒ=ฤถ 0ย| v_; vol;เขผl;v m;;7v _;ัฒr =uol _;u ัฒo]b1ลlbm7;7 0uo|_;u -m7 |_;bu l-mย =ub;m7v bm bmhยbัฒัฒ;ฤธ mo|_;u_b]_ัฒb]_|bv uฤธ-uuยลัณยฦฦlbmvล ลฤถ=;-|ยubm]-ย;|;ubm-ub-m ย_oัฒ;-ย;v_bvfo0-|-1ourou-|;ย;|ru-1เขผ1;|ov|-u|_bvoยmru-1เขผ1;bm mou|_ล;-v|;um-m-7-ฤธ-1_;rbvo7;|u-1hv|_;v|ouยo=-u;]ยัฒ-ur-เขผ;m|ฤถ -vr;1b-ัฒu;v1ย;ouu;ัฒ;-v;ฤถ-m7ัฒoohv-|om;o= uฤธ-uuยฤปvvr;1b-ัฒruof;1|v to help animals in need.
BOAT ROCKER STUDIOS MARYฤปv b|1_;m uยv_ ลฦฦ ย ฦฦ lbmvล bv - m;ย v;ub;v =;-|ยubm] -vterChef Canadaโs third season winner, Mary Berg, who shares her twist on _ol;ล1ooh;71ัฒ-vvb1vฤธ-1_;rbvo7;bm1ัฒย7;v|_u;;ou=oยuoub]bm-ัฒu;1br;v bmvrbu;70ยvol;om;ย_o_-vl-7;-l;-mbm]=ยัฒblr-1|om-uยฤปvัฒb=;ฤธ
MAGNIFY MEDIA COMMISSIONED by the BBC, the UKโs Magnify Media brings Test Drive (8 x 45 mins) to MIPTV. The family-friendly game show sees three teams o=|ยo1olr;|;=ou-1-v_rubย;ฤธ$_;|;-lv_-ย;|o-mvย;uCย;tย;vเขผomv rov;70ย-tยbuhย"-|-ย-v|_;ย7ubย;|o|_;Cm-ัฒrubย;7;vเขผm-เขผomฤถ]ยb7;70ย|_;"-|-ยฤธ;|-tย;vเขผomub]_|-m7|_;ย-u;v;m|om|_;v_ou|;v| uoย|;|o|_;m;ย| ย;vเขผomยm1เขผomฤธ;|b|ยuom]-m7b|ยbัฒัฒ7bu;1||_;l om-|_u;;ลlbัฒ;7;|oยuฤธ$_;ยbmm;uv-u;|_ov;ย_ol-h;b||o|_;rubย; ัฒo1-เขผom|u-ย;ัฒัฒbm]|_;v_ou|;v|7bv|-m1;ฤธ $;v| ubย;ล-]mb=ย;7b-ล -uยฤฝvb|1_;muยv_ลo-|!o1h;u"|ย7bovล
ITV STUDIOS GLOBAL ENTERTAINMENT (ITVS GE) AT MIPTV $(" _b]_ัฒb]_|v -llo|_ "1u;;m ruo7ย1เขผom oย]_|v m7 uovv;v ลัณ ย ัณฦ lbmvลฤธ -v;7 om |_; Cuv| 0ooh bm - v;ub;v =ouยoยm] -7ยัฒ|v 0ย -ัฒoub;ัฒ-1hl-mฤถb|ฤปv-v|ouยo= Cuv| ัฒoย; bm -m -ัฒ|;um-|;ยouัฒ7 where racism divides socie|ยฤธ";r_ยbv-uovvฤถ-l;l0;u oย]_|vm7uovv;vล$("ล o= |_; 0ัฒ-1h uยัฒbm] 1ัฒ-vv -m7 7-ย]_|;uo=-ruolbm;m|roัฒbเขผ1b-mฤธ-ัฒัฒยlbv-oย]_|ฤถ-ย_b|;l;l0;u o= |_; ยm7;u1ัฒ-vvฤธ$_; |ยo _-ย; 0;;m =ub;m7v vbm1; 1_bัฒ7_oo7 0ย| |_;bu u;ัฒ-เขผomv_br]uoยvlou;1olrัฒb1-|;7-v|_;ย1ol;o=-];ฤธ
STUDIO HAMBURG ENTERPRISES (SHE) STUDIO-l0ยu]m|;urubv;vล"ลัฒ-ยm1_;v-m;ย;rbvo7;o=$(lbmbลv;ub;v(;u-ล buv|b7 uol;uัฒbmลฦยฦฦlbmvล-|$(ฤธmo|_;uC1เขผom _b]_ัฒb]_|=uol"bv_ubv|l-v=-lbัฒยloยb;$_;)bv_ัฒbv|ลฦยฦฦlbmvลฤธ
MIPTV PREVIEW โข 55 โข -u1_ฦฦฦฦ
BLUE ANT INTERNATIONAL
BLUEm|m|;um-เขผom-ัฒu;|ยumv|o$(ยb|_m;ยเขผ|ัฒ;v-m7-uov|;uo=u;|ยumbm]v;ub;vฤธฦลฦฦb7vลฦยฦฦlbmvลbv-ubย;เขผm]7o1ยl;m|-uย=oัฒัฒoยbm] |_; v|ย7;m|v bm |_; uool ยb|_ u;vb7;m| ยv_ ย_;m _; ย-v ]bย;m|_;m;ยvo=|_;ฦลฦฦ-||-1hvฤธัฒvoom|_;uov|;ubv o]v )b|_ ย|u-ou7bm-uย o0v ลฦ ย ัณฦlbmvลฤทย)ouv|b]_|l-u; ลฦฦยัณฦlbmvลย_b1_ruo0;vu;1ยuubm]mb]_|l-u;vฤทv;-vomCย; o= ";; o ยbัฒ ลฦัณ ย ัณฦ lbmvลฤถ - |uย;ล1ubl; v;ub;v |_-| ยv;v $(=oo|-];ฤท-m7|_;v;1om7 v;-vom o= ;ัฒัฒCu; ;uo;v ลัด ย o]v)b|_ย|u-ou7bm-uยo0vลัดย;m| ัณฦlbmvล-0oย|Cu;C]_|;uvฤธ m|;um-เฆom-ัดล
ZEPTOLABbv-!ยvvb-m lo0bัฒ; ]-l; 7;ย;ัฒor;uฤถ 0;v|hmoยm=ouย|$_; !or;ฤธ l olฤถ|_; ัฒb||ัฒ; ]u;;m lomv|;u 1_-u-1|;u =uol |_; ]-l;v _-v vbm1; v|-uu;7 bm |_; -mbl-เขผom v;ub;v l ol "|oub;vฤถ =;-|ยubm] om ( -m7 +oย$ย0;ฤธ Om Nom Stories (ZeptoLab) $_bvย;-uฤถ|_;1olr-mยยbัฒัฒu;ัฒ;-v;ฦฦm;ย;rbvo7;vo=lol"|oub;vโซุซโฌ "ยr;uolvฤธัฒvoฤถbm1oลor;u-เขผomยb|_+o0o_oฤถ,;r|o-0bvยouhbm]om ฦฦฦv_ou|vo=;7ย1-เขผom-ัฒ1om|;m|-bl;7-|_;ัฒrbm]ยoยm];u-ย7b;m1;v|o |-1hัฒ;7-ยล|oล7-ยm]ัฒbv_ฤธ
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BERNARDA bv - =;-|ยu; Cัฒl ลฦ ย ฦฦฦlbmvลฤถ-"r-mbv_Cัฒl=uol-ubvล0-v;7 bm;ยrou|ฤถ -ย-bัฒ-0ัฒ; -ัฒvo ยb|_m]ัฒbv_ou u;m1_vย0เขผ|ัฒ;vฤธ$_; v|ouย bv -0oย| Cย;ยol;mย_o -u; hb7m-rr;7 -m7 ัฒo1h;7 bmvb7; - =-1|ouย -m7 =ou1;7 |o ยouh -v ruovเขผ|ย|;vฤธ;um-u7-|_bmhv|_-||_bvย-ย she redeems them and frees them =uol|_;;ยbัฒvo=|_;ยouัฒ7ฤธ ;um-u7-ลbm;ยrou|ล
ENDEMOL SHINE INTERNATIONAL THE MIPTVvัฒ-|;=uolm7;loัฒ"_bm;m|;um-เขผom-ัฒbm1ัฒย7;vโซ;; ุซโฌr)-|;u ลัณยัณฦlbmvลฤถ-7u-l-v;|-]-bmv||_;0-1h7uoro=|_;&ฤปv-h; bv|ub1|ฤถ -0oย||_u;;ยol;mย_o];||ohmoย;-1_o|_;u-||_;bu1_bัฒ7u;mฤปvv1_ooัฒ ]-|;vฤท|_;=oยu|_v;-vomo=u-m|1_;v|;uลัณยัณฦlbmvล|o|-ัฒ;rbvo7;vฦฦ ยัณฦlbmvฦฑ-ฦยฦฦlbmv_ubv|l-vvr;1b-ัฒลฤถ-lยv|;uยv;ub;vv;|bm|_; ฦฦฦฦvฤท|_;v;1om7v;-vomo=$bm"|-uลฦฦยัณฦlbmvล|o|-ัฒ;rbvo7;vฦฦ ยัณฦlbmvลฤถ-7u-l-|_-|bv;loเขผom-ัฒฤถ1bm;l-เขผ1-m77-uhัฒย1olb1ฤทb1hย -lโซุซโฌัฒ-m-7ouลฦฦยัณฦlbmvฦฑฦยัณฦlbmvvr;1b-ัฒvลฤถ-0borb1-0oย||_; -เขผm ยu0-m vยr;uv|-uฤท -m7 -mbl-เขผom v;ub;v(bu|ย-ัฒ ;uo ลฦฦ ย ฦฦ lbmvล -m7u;-mโซุซโฌ$_;mbl-|;7";-vomฦลฦัณยฦฦlbmvล|o|-ัฒ;rbvo7;vฦฦฦ x 15 mins.
AUSTRALIAฤปv "! uo7ย1เขผomvbvbmruo7ย1เขผomom -mbl-|;7 v;ub;v "r-1; oย- ลฦัณยฦฦlbmvลฤถ=ou"ยr;u!$ฤถ -m7bm;;|ยouhฤธ $_; v;ub;v ยbัฒัฒ 0; 1oลruo7ย1;7ยb|_b]]ัฒ;-u-];bm -ัฒ-ยvb-ฤธ bl;7 -| vbยล |o ฦฦลย;-uลoัฒ7vฤถ |_; v;ub;v bv v;| bm ฦฦัณฦ -m7 =;-|ยu;v vr-1;ล-7ย;m|ยu;u vb0ัฒbm]v ;| -m77;ัฒ-b7; oย-ฤถย_o "r-1;oย-ล"!uo7ย1เฆomvล 7bยb7;|_;bu7-ยv0;|ย;;mัฒbยbm]om-mbm|;um-เขผom-ัฒvr-1;v|-เขผom-m7-11olr-mยbm]|_;bur-u;m|vom-ย;vol;bm|;uv|;ัฒัฒ-ulbvvbomvฤธ
Kiddets (Pukeko Pictures)
MIPTV PREVIEW โข 56 โข March 2019
STUDIO 100 ANIMATION
THE UKฤปvย-ัฒom bv|ub0ยเขผombv0ubm]bm]b|vัฒ-|;v|=-1|ย-ัฒ;m|;u|-bml;m| o@;ubm]ov_o|;ัฒvโซ&ุซโฌrv|-buvm7 oยmลฦยัณฦlbmvล|o$(ฤธuo7ย1;7 =ou _-mm;ัฒ ฦฤถ -1|ouv b];ัฒ -ย;uv -m7 "-ัฒัฒย bm7v-ย 1_;1h bm |o vol; o=|_;lov|ัฒยยยuboยv_o|;ัฒvbmub|-bm-m7u;ัฒ-m7|o;ย-lbm;ย_-|]o;v bm|o7;ัฒbย;ubm]Cย;ลv|-u;ย1;ัฒัฒ;m1;ฤธ$_;r-buยouh7oยmv|-buv-vย;ัฒัฒ-v ;ยr;ub;m1bm]ัฒยยยuยยrv|-buvฤธ|_;u_b]_ัฒb]_|v=uolย-ัฒomฤปv=-1|ย-ัฒvัฒ-|; bm1ัฒย7;โซ_ุซโฌ-mm;ัฒฦฤปv o]ฤปv;_-ยbm]-7ัฒยฤถ=oัฒัฒoยbm]7o]|u-bm;uu-;l; -ัฒัฒฤถย_ov;l-m|u-bvฤบmย7o]ฤถ-mย-];ฤถ-mยruo0ัฒ;lฤปฤท)_-|$_;bัฒัฒ;u b7 ;ย|ฤถbmย_b1_-1|ou_bัฒbrัฒ;mbv|;u7;ัฒย;vbm|o|_;lbm7v;|o=lยu7;u;uvฤท -m7!ยvv;ัฒัฒoย-u7ลยlโซุซโฌัฒo0;|uoย;uvฤถย_b1_v;;v|_;1ol;7b-m|u-ย;ัฒbm]-uoยm7vb-ยb|__bvlo|_;uฤธ
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ALL3MEDIA INTERNATIONAL ALL3MEDIAm|;um-เขผom-ัฒbv_b]_ัฒb]_เขผm]|ยoเขผ|ัฒ;vbm-mm;vฤธv bv_;uฤปv o7;um ยu7;uยv|;ub;v ลฦ ยฦฦฦlbmvลัด ยัณฦ lbmvล 1ol;v =uol|_; 1u;-|ouv o= bvv bv_;uฤปv ยu7;u ยv|;ub;vฤธ ";| bm |_; ;-uัฒย ฦฦัณฦv ;u;]ubm; bv_;ubm_;ub|v-ยbm7=-ัฒัฒ-[;u|_;=-loยv7;|;1เขผย;-ยm|v_;m;ย;u hm;ย]o;vlbvvbm]bm;ยยbm;-ฤถ-m7lยv|ruoย;_;uv;ัฒ=-v]oo7-7;|;1เขผย;ฤธ_;-|ลฦยัณฦlbmvลbv-rvย1_oัฒo]b1-ัฒ|_ubัฒัฒ;u-0oย||_;7-m];uoยv u;ัฒ-เขผomv_br0;|ย;;m-ยmbย;uvb|ยruo=;vvou-m7_;uv|ย7;m|ฤถ!ov;ฤธ)_-| 0;]bmv-v-1-v;o=-1-7;lb17;1;rเขผomtยb1hัฒยvrbu-ัฒvoย|o=1om|uoัฒฤธ
MIPTV PREVIEWล 57 โข-u1_ฦฦฦฦ
FEATURE: MULTI-LANGUAGE DRAMA
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N RECENT years, there has been plenty of discussion about the growing appeal of non-English language drama to audiences around the world. But running in parallel with this has been another creative trend â€” the emergence of big-budget multi-language series. It started with a few isolated examples of multi-language dramas, with Lilyhammer, The Bridge, Occupied and The Last Panthers among the pioneers. %XW WKHQ FDPH 1HWĂ L[ÂˇV FULWLcally acclaimed Narcos, which
seems to have opened the Ă RRGJDWHV Vanessa Shapiro, president of worldwide television distribution and co-production at Gaumont Television, who is distributing Narcos to international buyers, says: â€œNarcos is a great H[DPSOHRI 79ÂˇVVKLIWWRZDUGV organic, authentic storytelling. A US character might speak to a Colombian character in English but, when the two groups speak among themselves, they speak in English and Spanish UHVSHFWLYHO\ZKLFKUHĂ HFWVKRZ it works in real life.â€?
Of course, the implication of this is that a large percentage of the show needs to be subtitled or dubbed. But that is not a major impediment to exportability, Shapiro says: â€œMany countries are used to dubbing and subtitling so, for them, there is no issue with multi-language series. The big shift is that English-language markets are more receptive than they used to be. I think the Narcos audience would rather see Pablo Escobar speak Spanish than accented English.â€?
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FEATURE: MULTI-LANGUAGE DRAMA This philosophy is baked into *DXPRQWÂˇV DSSURDFK WR FRQtent creation, even though it can sometimes lead to a slightly protracted production and development process. â€œWe see lots of projects set up to be 100% in English or other languages,â€? Shapiro says. â€œBut if the story dictates multi-lanJXDJH ZHÂˇOO JR ZLWK WKH Ă RZ And we have a number of projects in development where this is the case.â€?
Äź-1_Ń˛-m]Â†-];_-v |ol-h;v;mv;=ou |_;Âˆb;Â‰;u|o=;;Ń˛ 1ol=ou|-0Ń˛;Ä˝ Most multi-language dramas revolve around border proximity â€” English/Welsh, He-
brew/Arabic, Spanish/English, Swedish/Danish. But as long as there is a legitimate reason to use a particular language, any combination can work, says Atar Dekel, head of global original drama at Keshet International. â€œWe have a crime thriller called Diamonds, which is set in Antwerp and produced in Flemish and English. And we are developing French/Hebrew series A Long Night In Paris. There are also German/ Hebrew and Polish/Hebrew projects in the works, as well as The Summer Of 2014, a production for HBO in English, Hebrew and Arabic.â€? While agreeing that the decision to go down the multi-language route needs a solid creative rationale, Dekel notes that commercial considerations come into play when assessing KRZ PXFK RI D VKRZÂˇV FRQtent is allocated to each language. There is a difference, for example, between a show that is mostly in English with a few minor characters speaking in other languages and one that has the lead protagonists
Photo: ÂŠNik Konietzny
This openness to multi-language drama is evident across the industry. Moritz Polter, executive producer of international TV series at Bavaria Fiction, points to Das Boot, co-produced by Bavaria Fiction, Sonar Entertainment and Sky Deutschland, whose cast was around 70% German, 20% French and 10% English. â€œThe crew on the U-boat spoke predominately German, but the resistance storyline on land in La Rochelle was a mix of German, French and English.â€? Polter adds that, in Bavaria FicWLRQÂˇV FXOWXUHFODVK GUDPHG\
Deutsch-les-Landes, the mix is 50% German and 50% French. Meanwhile, in Arctic Circle â€” an Elisa Viihde series co-proGXFHGE\)LQODQGÂˇV<HOORZ)LOP & TV and Bavaria Fiction â€” the language is a mix of â€œapproximately 55% English, 43% Finnish and 2% German and a little bit of Russianâ€?. 3ROWHUHFKRHV6KDSLURÂˇVHPSKDsis on authenticity: â€œEach language has to make sense for the viewer to feel comfortable. In Arctic Circle, a German virologist travels to Lapland to investigate the spreading of a deadly virus together with the local Finnish police â€” and English is their work language.â€?
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switching between their native and a second tongue. Diamonds is 70% Flemish and (QJOLVK UHĂ HFWLQJ WKH storyline of that particular proGXFWLRQÂ´%XWWKDWGRHVQÂˇWPHDQ LW FDQÂˇW WUDYHO LQWHUQDWLRQDOO\Âľ Dekel adds. â€œThe key thing we are looking for are shows that have underlying thematic elements that are relevant to the global TV audience.â€? Francoise Guyonnet, head RI 79 ZLWKLQ 6WXGLRFDQDOÂˇV production division, says her company has been working on a number of successful multi-language shows. These include Midnight Sun, which has sold to almost 200 territories, and Moscow Noir, which launched at MIPCOM. â€œOur current line-up includes Illegals, an NC+ series, which LV Ă€OPHG LQ 3ROLVK 5XVVLDQ and English; Zero Zero Zero, which has been created in English, Spanish, Italian, French, Wolof and Arabic; and ShadRZ 3OD\ ZKLFK ZLOO EH Ă€OPHG in English, German and Russian. We also have War Of The Worlds, which has just gone into pre-production in English and French.â€? Fundamentally, Guyonnet says, Studiocanal looks at what a combination of languages can EULQJWRDVWRU\Â´:HGRQÂˇWGR it just to be seen as different or FOHYHU,I LWÂˇVQHFHVVDU\IRUWKH story and adds real value, we will write and shoot this way.â€? Banijay Rights head of scripted Caroline Torrance points to Norwegian political thriller Occupied, which is produced in Norwegian, Russian and English. â€œWe also have a mixture of Norwegian and English in our forthcoming drama Wisting, and we recently launched Straight Forward. The latter is a Danish-New Zealand co-pro involving two Banijay Group compa-
FEATURE: MULTI-LANGUAGE DRAMA
nies [Screentime and Mastiff], though it was born organically UDWKHU WKDQ EHFDXVH RI Ă€QDQcial need. Screentime New Zealand had a story about a FRQZRPDQQHHGLQJWRĂ HHKHU life of crime and start afresh. The story resonated with the team at Mastiff Denmark, who felt they could interlace Scandi noir into the crime caper by starting the story in Copenhagen.â€? Like Dekel, Torrance believes that the quality of the story is more important than the language: â€œStrong storytelling and good production values will always resonate with global audiences regardless of the language mix or national origin.â€? However, she says there is a challenge for channels in dubbing markets: â€œIf a channel decides to dub everything into their language, then it becomes no different from any other acquired foreign-language series. But they might try and preserve the distinctions by dubbing some elements and subtitling others.â€?
Äź=-1_-mm;Ń˛ 7;1b7;v|o7Â†0 ;Âˆ;uÂ‹|_bm]bm|o |_;buŃ˛-m]Â†-];Äś |_;mb|0;1ol;v mo7b@;u;m|=uol -mÂ‹o|_;u-1tÂ†bu;7 =ou;b]mĹˆŃ˛-m]Â†-]; v;ub;vÄ˝ As Torrance points out, the larger content-creation groups are attracted to multi-language drama because they can pair up different producers in their network. Fremantle, for example, has been facilitating projects between UK-based indie 87 Films, with which it has a creative partnership, and its own companies across Europe. 87 Films co-founders Dudi Appleton and Jim Keeble are working with Wildside in Italy
on The Penitent, a dual-language series about a female )%, DJHQW ZKR LQĂ€OWUDWHV WKH &DODEULDQ PDĂ€D 7KH\ DUH DOVR working with Kwai in France on a show about a 1940s CIA operation. The result, Appleton says, is â€œauthentic drama that breaks through borders of culture, language and placeâ€?. Most multilingual dramas tend to be based around two languages, but Oliver Berben, member of the executive board at Constantin Film and executive producer of mini-series 7KH 0DVWHU %XWFKHUÂˇV 6LQJLQJ &OXE VD\V Â´, ZRXOGQÂˇW VD\ WKHUHÂˇVDQRSWLPXPQXPEHURI languages, because it depends on the way they work together. ,Q 7KH 0DVWHU %XWFKHUÂˇV 6LQJing Club, three languages are spoken: German, English and some Lakota. The protagonists are Germans, who emigrate to North Dakota in the 1920s, so most of the dialogue is in German. But there are numerous scenes that deal with the imPLJUDQWVÂˇ GLIĂ€FXOWLHV LQ FRP-
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municating with Americans, or Native Americans who speak English or Lakota. So the confusion resulting from it is an essential part of the story.â€? One thing about which Berben is very clear is that languages should not be shoehorned into a series for the purposes of a territorial deal: â€œWhenever someone tries to include different countries or languages only in order to sell it to those countries, it fails.â€? While there is a logic to non-English content creators mingling languages â€” perhaps combining their own culture with the universality of English â€” English-language players are also getting into this game. The BBC used multiple languages in SULPHWLPH VHULHV 0F0DĂ€D UHcently renewed for season two. Equally ambitious is World On Fire, a Mammoth Screen production for BBC One, distributed by ITV Studios Global Entertainment (ITVS GE). 5XWK %HUU\ ,796 *(ÂˇV PDQaging director of global enter-
FEATURE: MULTI-LANGUAGE DRAMA tainment, says the series is an epic account of the Second World War centring on families in Poland, France, Germany, the UK and the US. â€œWhen people speak across cultures, it will be in English, but the Poles will speak to each other in Polish and the same with the Germans and French,â€? she adds. A couple of years ago, Berry admits she might have been sceptical about this approach: Â´%XW QRZ LWÂˇV ZKDW WKH PDUNHW is demanding.â€? Like her peers, Berry says FRQWH[W LV NH\ Â´:HÂˇUH DOVR involved in Rig 45, a drama about a killer at loose on a 1RUWK6HDRLOULJ7KDWÂˇVH[DFWly the kind of scenario where you would have people from various nationalities speaking different languages.â€? One intriguing question is how you organise the writing of such series. On this point, most agree that projects need to be set up on a case-by-case basis. World On Fire, Berry says, is being written by acclaimed
screenwriter Peter Bowker before translators become involved in the local-language VHFWLRQV Â´,WÂˇV D SURMHFW WKDW needs a central creative vision, but then you need people, including historians, who can ensure the non-English sections are culturally and linguistically correct,â€? she adds. â€œAnd actors can also play a part in this process during rehearsal and production, commenting on certain phrases.â€? *DXPRQW 7HOHYLVLRQÂˇV 6KDSLUR points to a similar set up with Narcos, where the central creative vision is set by US showrunner Eric Newman. â€œHe has a writing room in LA, in which he writes the scripts in English before translation beJLQV <RX JHQHUDOO\ QHHG D IXOO English-language script on a show like this, so that all of the production executives involved NQRZZKDWÂˇVJRLQJRQÂľ Dekel says that Diamonds is being written by two Israelis â€” 5RWHP6KDPLUDQG<XYDO<HIHW â€” in English before the majority of the script is adapted to
Flemish. Belgian writer Paul Piedfort is also involved in the project. A key takeout here is that Shamir already has a multi-language credit: the Hebrew/ Arabic drama Fauda. )RU7KH0DVWHU%XWFKHUÂˇV6LQJLQJ &OXE &RQVWDQWLQ )LOPÂˇV Berben says German screenZULWHUV ZURWH WKH Ă€UVW GUDIWV of the English dialogue. â€œThis made sense because much of it was the German protagonists learning English and mixing it with German,â€? he adds. â€œAt a later point, however, English native speakers came on board to exclude language mistakes in the dialogue of the American characters and, obviously, we had experts translate the parts in Lakota.â€? %DYDULD )LFWLRQÂˇV 3ROWHU FDOOV the writing process â€œa mix of authenticity and experienceâ€?. He adds: â€œWe usually try and Ă€QGDKHDGZULWHUZLWKHQRXJK experience to lead a room of ZULWHUV7KH\GRQÂˇWQHFHVVDULO\ have to be from the country of origin of the project, but they need to have enough of
a vision to ensure the research, the nuances of the characters and the plotting of the story DOO Ă€W WRJHWKHU :H HQFRXUDJH writers to write in the language they feel most comfortable in. %XWWKHEHDXW\RI WKHZULWHUVÂˇ room is that writers of different ages, backgrounds and, often, countries come togethHU WR GLVFXVV LGHDV DQG Ă€UVW drafts of scripts verbally, as a team. However, to achieve this working balance, we need a single common language to work in â€” and this language is English because, although our writers may not write in English, everyone we hire is able to converse in English.â€? 7KH SURFHVV Ă€QLVKHV ZLWK WKH head writer â€œsewing the project together and overseeing episode draftsâ€?, Polter says. â€œHere, it is vital to have translators and script editors who have a close relationship with the head writer, so that ideas in the script can be understood and communicated from language to language. Sometimes, we have multiple head writers who possess different languages, to ensure ideas carry through.â€? Polter welcomes this overall WUHQGÂ´,WÂˇVHQDEOLQJXVWRWHOO many more cross-culture stories, which is very exciting,â€? he says.
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FEATURE: CHILDREN’S LIVE ACTION
Nickelodeon’s The Bureau Of Magical Things
$_;real deal b7vĽѴb;-1ঞom_-v-u;r|-ঞom=ou 0;bm]lou;1_-ѴѴ;m]bm]|_-m-mbl-ঞomķ 0o|_|oCm-m1;-m7|o;rou|ĺ||_; v11;vvo=v_ovbm1Ѵ7bm] bm7;m -ubvķ$_;;|"|;r-m7)-Z;$_; )om7;u o]_-vruo;7|_-||_;ub]_| Ѵb;Ŋ-1ঞomruof;1|1-m7o]u;-|0vbm;vvķ ub|;vAndy Fry
HE GENERAL consensus in kids’ TV is that animation is more exportable than live action, primarily because it is easier to localise. When you also take into account the fact that animation tends to have longer shelf-life — live-action casts get older — and that it lends itself to licensing and merchandising, it is easy to see why this is where the lion’s share
$(!() • 65 • March 2019
of kids’ investment goes. Yet children’s live action is in pretty good shape right now. Aside from being a scheduling stalwart for Disney, Nickelodeon and Europe’s well-resourced public broadcasters, kids’ comedy and drama have both become VWDSOHVRQ1HWÁL[DQG$PD]RQ in recent years. Cottonwood Media CEO David Michel says the appeal of his company’s hit show, Find
FEATURE: CHILDRENâ€™S LIVE ACTION Me In Paris, has surprised even him. The English-language time-travelling fantasy adventure is set against the backdrop of the Paris Opera House. â€œWe are starting on our third series, which is great when you consider that each season has 26 episodes,â€? Michel says. â€œAnd the show has sold well in most parts of the world.â€? Aside from launch partners France TV and ZDF/ZDF Enterprises, Find Me In Parisâ€™ buyers have included Disney France/Italy, Nickelodeon UK, NBCUniversal US and ABC Australia. Part of the tween showâ€™s success, Michel says, is down to its premium production values and Â´DPD]LQJ ZULWLQJÂľ %XW KH DOVR believes Find Me In Paris has Ă€OOHG DQ XQWDSSHG JDS LQ WKH market: â€œThe pay-TV channels tend to focus on comedy and the SVOD platform shows are often not available for channels
to buy. Pubcasters like CBBC in the UK make great shows, but they tend to be the kind of socially realistic shows that donâ€™t travel so well. So all of that left a void in the market when Find Me In Paris arrived.â€? This is not to say it was an easy show to pull off: â€œThere arenâ€™t many players in the kidsâ€™ market that can make an expensive show like this happen. So we were fortunate to have ZDF Enterprises involved, because they have experience working with Australian producer Jonathan Shiff on this kind of show.â€? The big question for Cottonwood is how it keeps up the momentum. Michel says season three of Find Me In Paris is a key juncture for the show â€” the point at which it will become clear if it has to come to a natural end or if new characters can take it forward. â€œIn addition, we
are developing an English-language book-based property,â€? he adds. â€œAnd we have partnered with Canada-based producer 6DUDK +DDV] >7KH 1H[W 6WHS@ on developing shows for North America.â€? So is Find Me In Paris a one-off or it is part of a broader trend in favour of kidsâ€™ live action? Michael Goldsmith, vice-president of original production at DHX Media, is upbeat suggesting that â€œthereâ€™s never been a better time to make TV shows in this genre. There are more buyers and there just seems to be a bigger appetite for different kinds of kidsâ€™ live action right now.â€? In particular, Goldsmith idenWLĂ€HV DQ RSSRUWXQLW\ LQ VHULDOised drama for tweens, echoing Michelâ€™s point: â€œWe donâ€™t get into half-hour comedy because Nickelodeon and Disney are so good at that. But we have had success with music- and dance-
Creeped Out (DHX Media)
$(!() â€˘ 66 â€˘ March 2019
based serialised dramas like The Next Step and Backstage, which tell stories from the kidsâ€™ point of view. The lesson weâ€™ve learned from the SVOD platforms is not to be afraid to leave episodes open-ended, because cliff-hangers keep kids coming back.â€?
â€œThe lesson weâ€™ve learned from the "( rŃ˛-oulv is not to be afraid to leave episodes open-ended, 0;1-Â†v;1Ń˛b@Ĺˆ hangers keep kids coming backâ€?
FEATURE: CHILDRENâ€™S LIVE ACTION Alongside music and dance, *ROGVPLWK VD\V VSRUW VFLĂ€ and fantasy are all fertile areas of exploration. â€œWe need shows to work outside North America and these subjects can translate well across borders,â€? he adds. â€œFor example, weâ€™ve enjoyed success with Creeped Out, a spooky anthology series that we co-produce with CBBC. That has just been renewed for a second season, ZKLOH WKH Ă€UVW VHDVRQ ZDV OL FHQVHGWR1HWĂ L[Âľ In addition, DHX also seeks to draw inspiration from adult series â€œthat might be reimagined for the tween audience,â€? Goldsmith says. â€œBajillionaires is our look at entrepreneur kids and has the feel of a kid-appropriate Silicon Valley. A
lot of what you see in the adult bingeing space can provide creative clues.â€? If there is a trend, Goldsmith says, it is earlier engagement with buyers: â€œWe have our pasVLRQ SURMHFWV %XW LWÂˇV GLIĂ€FXOW when you take a great project or script out to the market and no oneâ€™s interested. So getting a sense of what buyers want early on and developing towards that makes a lot of sense.â€? While the econom-
ics of creating kidsâ€™ live action for the global market can seem daunting, Brain Power Studio founder and executive producer Beth Stevenson points out that the same is true of animation. â€œYou can spend four years investing in an animation VHULHV RQO\ WR Ă€QG WKH PDUNHW isnâ€™t interested when youâ€™re ready,â€? she says. â€œLive action has the advantage of quicker turnaround.â€? Stevenson, who has spent much of her ca-
Topsy And Tim (Darrall Macqueen)
$(!() â€˘ 67 â€˘ March 2019
reer creating kidsâ€™ live action, says a clear plus point for tween drama is that it can encourage co-viewing. â€œIf you get the story and characters right, then youâ€™ll hit a cross-generational family audience,â€? she adds. Stevenson acknowledges that it can be tough setting up kidsâ€™ live action as a co-production, Â´EHFDXVH LWÂˇV PRUH GLIĂ€FXOW WR organise a work split than it is with animationâ€?. Brain Power, however, has conquered the economics of childrenâ€™s live action by posiWLRQLQJLWVHOI DVDVHOIVXIĂ€FLHQW studio/distribution operation that turns out a high volume of TV movies and series each year. An example of the latter is The Ponysitters Club, which has been licensed to Discovery Kids /DW$P DQG 1HWĂ L[ Â´7KHUH LV healthy demand for family/ tween singles and that helps us support our ambitions in series,â€? Stevenson says. Echoing trends in adult drama, Stevenson does not rule out the possibility that some of the companyâ€™s singles might form the basis of ongoing TV series: â€œWe are talking to buyers about a few ideas. The great thing about producing TV movies is that they can act as back-door pilots for returnable franchises.â€? While a lot of the export activity in kidsâ€™ live action is English-language â€” ABC Australiaâ€™s Nowhere Boys is another well-travelled series â€” there are signs that the genre, like adult scripted, is opening up to the prospect of non-English series. Nicola Andrews, senior sales and commercial director, kids, at Keshet International (KI), says her companyâ€™s Hebrew-language childrenâ€™s dramas, including Spell Keepers and The Hood, have been selling well in their original form. â€œI was a bit sceptical
FEATURE: CHILDRENâ€™S LIVE ACTION at first,â€? she says. â€œBut given that so much of the world already watches content with subtitles or dubbed, it hasnâ€™t proved to be that difficult a proposition.â€? Andrews says one factor in KIâ€™s favour is that â€œIsraeli kidsâ€™ shows tend to be a bit edgier than most of the content you see for tweens and young teens. They deal with subjects like kidnapping or the death of a loved one, for example. And I think a lot of buyers are crying out for kidsâ€™ drama that tackles tough issues.â€?
â€œIsraeli kidsâ€™ shows tend to be a bit edgier than most of the content you see â€” and I think a lot of buyers are crying out for kidsâ€™ drama that tackles tough issuesâ€? Alongside the tape sales, KI has also seen one of its childrenâ€™s shows, The Greenhouse, adaptHGLQWR(QJOLVKIRU1HWĂ L[$Qdrews says she is keen to pursue this route, but adds â€œformats are time-consuming and labour-intensive. Sometimes itâ€™s better just to pursue the distribution approach with these shows.â€? While KI is enjoying success at the edgy, older end of the spectrum, there is also evidence that scripted shows can work for pre-schoolers â€” an audience traditionally regarded as too young to follow plots and character development over multiple episodes. UK producer Darrall Macqueen proved the point
with Topsy And Tim, which ran for 72 episodes, and has enjoyed VLPLODUVXFFHVVZLWK:DIĂ H7KH Wonder Dog. â€œIf the storytelling is good DQG LW UHĂ HFWV WKHLU OLYHV EDFN DW WKHP NLGV RI Ă€YH WR VHYHQ will buy into live action with an ongoing narrative arc,â€? says company co-founder Billy Macqueen. â€œWeâ€™ve focused on delivering primetime quality TV shot at a knee-high perspective.â€? 2QH RI WKH NH\ Ă€QGLQJV ZLWK both shows, Macqueen adds, is that they have high levels of repeatability â€” Topsy And Tim is still one of the most popuODU VKRZV RQ %%& L3OD\HU Ă€YH or six years after launch. They have also, he adds, sold well internationally, defying expectaWLRQVDERXWOLYHDFWLRQÂ´:DIĂ H is in Germany, France, Sweden, Denmark and Israel, among others. Topsy And Tim, meanwhile, airs on NBCâ€™s Universal Kids in the US.â€? Part of the explanation for WafĂ HÂˇV VXFFHVV 0DFTXHHQ VD\V LV the quality of the dubbing: â€œObviously, subtitles are not necessarily a good approach for children of this age. But Iâ€™ve looked at the German version of the show and the dubbing is extraordinary â€” so much tighter than it would have been years ago.â€? Sebastian Debertin, head of Ă€FWLRQ DFTXLVLWLRQV DQG FRSUR at ZDF/ARD kidsâ€™ channel KiKA, says: â€œLive action has always been an integral part of our portfolio. This is especially true for productions made LQ *HUPDQ\ DV WKH\ UHĂ HFW WKH life of German kids.â€? He cites Castle Einstein which, at 922 episodes, is thought to be the longest running weekly soap for children in the world; and detective series The Peppercorns, airing since 1999. That said, Debertin is also in the market for the right acquisitions and co-pros: â€œFind Me In Paris, H2O, Dance Academy, Worst
:LWFK +DQN =LS]HU DQG 2GG Squad all work well, as they are able to cover the magical aspect children look for when watching live action,â€? he says. Live action does not just feed the KiKA audienceâ€™s desire for fantasy and adventure, however. â€œWith live action, we can WDFNOHWRSLFVDQGFRQĂ LFWVWKDW concern older kids in Germany,â€? Debertin adds. â€œThese topics are usually too complicated, sensitive and locally speFLĂ€FWREHGHDOWZLWKE\DQLPDtion series.â€? On the question of live action for pre-school, Debertin reports mixed results: â€œThe sweet spot is six to nine-plus. But with local productions like Felix On Holiday and All New For Lina, as well as acquisitions like Casper & Emma or My Summer With Dad, we offer pre-school children a glimpse into the lives of children their age.â€? As mentioned earlier, Nick and Disney are still key live-action creators. Nina Hahn, senior vice-president of international production and development at Nickelodeon, says the channel takes a totally genre-neutral approach. â€œWe donâ€™t say â€˜today weâ€™re looking for a live-action ideaâ€™,â€? she says. â€œThat said, live action has always been, and continues to be, integral to our offering.â€? Hahn is heading to MIPTV with a slate that includes Cousins For Life, The Bureau Of Magical Things and TV movie Bixler High Private Eye, along with existing hits Hunter Street, Henry Danger, I Am Frankie and The Thundermans. Notwithstanding Hahnâ€™s emphasis on genre neutrality, she says: â€œOne of live actionâ€™s greatest strengths is that you can get it to market faster than animation and work with it in real time, making it more UHĂ HFWLYH RI FXUUHQW WUHQGV and developments. Weâ€™ve also
$(!() â€˘ 68 â€˘ March 2019
witnessed how live action can serve as a fantastic creative trigger to grow a franchise. Take JoJo Siwa, who burst into the Nickelodeon family in 2016 as a YouTube sensation. Since then, her work has extended into a global consumer-products programme and number-one live-action property.â€?
ÄźbÂˆ;-1ŕ˘źom1-m v;uÂˆ;-v-=-m|-vŕ˘ź1 1u;-ŕ˘źÂˆ;|ub]];u|o grow a franchiseâ€? On the subject of digital, Hahn says: â€œWeâ€™ve upped our investment in new digital originals, including live-action short-form series SHHH!, which follows WKH DGYHQWXUHV RI Ă€YH FODVVPDWHVDVWKH\Ă€JKWERUHGRPDW the back of the classroom.â€? Regarding pre-school live action, she reports an increase in the US pre-school space: â€œHowHYHU RXU VZHHW VSRW LV Ă€QGLQJ formats that have the potential to appeal to a global audience, from Hunter Street and I Am Frankie to the revival of the Nickelodeon US classic Blueâ€™s Clues & You.â€? In terms of sourcing content, Nick has its own in-house production capability, but Hahn stresses that â€œopportunities can come from anywhere, so itâ€™s critical to broaden where we source, create and seek inspirationâ€?. She adds that, whether itâ€™s Hunter Street, which originated in The Netherlands as De Ludwigs, or I Am Frankie, which started life as Yo Soy Franky in Latin America, â€œif a creator has a story to tell that will resonate with kids across the globe, then our brand can be their homeâ€?.
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A dedicated content development programme for the Kids community at MIPTV with a special focus on live-action and pre-school animation content.
8-11 April 2019 Palais des Festivals, Cannes
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FEATURE: DATA AND ANALYTICS
Analyse this New data-gathering technology is allowing the ;m|;u|-bml;m|bm7Â†v|uÂ‹|oÂ†m7;uv|-m7b|v-Â†7b;m1;v0;Â‚;uÄş But what can data teach us about consumer behaviour â€” -m7_oÂ‰-u;|_;v;Ń´;-umbm]vblr-1ŕŚžm]om1om|;m|1u;-ŕŚžom -m77bv|ub0Â†ŕŚžomÄľJuliana Koranteng reports
R A N C E - h e a d q u a rtered Eurodata TV Worldwide and USbased Nielsen, two of the worldâ€™s leading audience-measurement and analysis specialists, are offering insights into audience behaviour on streaming-video platforms. Considering the massive disruption caused by the OTT streaming services and other SVOD operators, such services are inevitable. They are also a big deal. â€œIn France, Mediametrie has been measuring the level of OTT consumption on all online devices for several years,â€? says Frederic Vaulpre, vice-president of Eurodata TV Worldwide. â€œStarting in early January 2019, Mediametrie and Eurodata TV Worldwide are releasing a speFLĂ€FIRFXVRQWKHFRQVXPSWLRQ RI FRQWHQWRQ1HWĂ L[RQPRELOH and PC viewing devices.â€? The business of using tech to study audience size and behav-
LRXU LV DQ H[SHQVLYH DQG FRPSOH[EXVLQHVVÂ´2QHRI RXUJRDOV is to have a better understanding of the global TV audience, not only of TV viewing itself, but of the whole way TV content is now consumed, which is challenging every broadcaster,â€? Vaulpre adds. â€œWe used to measure live viewing on all TV sets. Now, you have live and time-shifted viewing. That is PXFKPRUHGLIĂ€FXOWWRDQDO\VHÂľ Vaulpre says that the tech for tracking four-screen viewing â€” the use of the TV set, desktop computer, laptop or tablet and smartphone per household â€” is still not universally available, but the UK, France and the Netherlands are quite advanced in this Ă€HOG2WKHUFRXQWULHVLQFOXGLQJ Denmark, Finland and SingaSRUH DUH DOVR H[SORULQJ IRXU screen viewing. â€œSweden should also deliver this measurement soon,â€? he adds. â€œBut globally, only France and the UK release SXEOLFĂ€JXUHVRQDUHJXODUEDVLVÂľ
Competition for audiences in WKH JOREDO 79 PDUNHW LV Ă€HUFH And the fragmented nature of the industry means rights-owners, producers and distributors need proprietary information about what makes viewers return to watch a show when faced with millions to choose from on myriad TV channels, streaming services and the new SVOD services. Additionally, video-entertainment providers are competing against other KRW GLJLWDO VHUYLFHV IRU H[DPple streaming-music giant Spotify or esports and video-games streaming platform Twitch, for the attention of millennials and gen-Z consumers. In response, the industry is changing, says Colleen Fahey 5XVK H[HFXWLYH YLFHSUHVLGHQW insights and audience science, DQG FKLHI UHVHDUFK RIĂ€FHU at Viacom Media Networks. â€œData scientists and engineering talent have become essential, with all of the new data
MIPTV PREVIEW â€˘ 71 â€˘ March 2019
available, whereas those skills werenâ€™t necessary 10 years ago,â€? she says. â€œTo understand audience behaviour, we have a wide range of data that we look at across the various ways that our content is being consumed, such as data from linear TV, our owned and operated websites and apps, social platforms and connected TVs.â€? *DU\:RROIH[HFXWLYHYLFHSUHVident of strategic development at All3Media, says that the data available is also changing the relationship between media-owners and content producers. â€œThe creative process remains front and centre but having some early feedback can help validate or steer some decisions,â€? he says. â€œOn one occasion, we were able to inform one of our production companies, who were pitching an endurance-based format, which UK broadcaster KDGWKHĂ€WWHVWYLHZHUV7HFKQROogy allows us to get closer to our audiences than ever before.â€?
We celebrate screens of all sizes From our unique international vantage point, Screen International brings into sharper focus the high-end drama landscape and the '63773:)6&)8;))2ĂŚ01%2(8)0):-7-32
FEATURE: DATA AND ANALYTICS
Here, top-level data analysts share the industry trends they have observed from tech-powered research… Frederic Vaulpre, vicepresident, Eurodata TV Worldwide (France)
“Time-shifted viewing, when fans watch at a time that suits them, is becoming the norm,” Vaulpre says, citing eight-part thriller Killing Eve, which the BBC transmitted on terrestrial, online and on-demand in the UK last year. “For the average amount of time spent time-shifting TV programmes, the UK is among the highest, along with the US, Belgium and Canada. When you look at the weight of live viewing for Killing Eve, it was not strong. But it was pre-broadcast online, so episode eight was on digital, not tradiWLRQDO797KDWZDVDQHZH[SHrience, but it was very successful because it generated eight million viewers in total, compared to 5.6 million on live TV alone. This taught the broadcaster that there is a completely new way of viewing TV. In the end, there was a larger audience.”
Avril Blondelot, content insight director, Eurodata TV Worldwide (France) “Broadcasters have so much content, they want to keep up with trends,” Blondelot says, adding that understanding the viewing numbers alone is no longer enough. “That is why we joined forces with our sub-
sidiary TAPE Consultancy to ODXQFK $SS'H[ WR DVVHVV D show’s potential appeal, from the treatment to the produced pilot — because, ultimately, you want the audience to be entertained and feel passionate about the production.”
Kelly Abcarian, senior vice-president, product leadership, Nielsen (US)
their business strategies. Additionally, with Nielsen Advanced Advertising innovations in ACR [automatic content recognition] technology and analytics, we’re making TV content even more measurable and targetable, moving from a one-to-many to a one-to-one medium. “Nielsen ACR technology, which is currently in millions of smart TVs, is the backbone for more personalised, targeted advertising on linear TV. We XVHFXWWLQJHGJHÀQJHUSULQWLQJ technology to recognise and identify content that is being displayed on the TV screen, regardless of source or platform. Nielsen is helping make dynamic ad insertion [DAI] a reality. By identifying programming and ad breaks in real-time and at the frame level, we are enabling brands to swap in speFLÀF 79 FRPPHUFLDO FUHDWLYHV targeted to individual viewers during live-linear programming.”
Courtney Williams, European regional director, -uuo|m-Ѵঞ1vŐ&ő
“We built our business on having data that is trusted and true: one that is used to power the $70bn-plus US advertising industry, provide transparency into the ecosystem and show the effectiveness of media advertising. With the breadth and depth of our solutions and the SURPLVHRI DUWLÀFLDOLQWHOOLJHQFH and machine learning, we’re innovating our approach to audience measurement to provide content creators, distributors and publishers with real-time insights and data that power their media plans and inform
“Whether it’s Parrot Analytics or companies using their own proprietary data, we are all working together to make sure the best content is being made and that people are aware of it and able to consume it. Companies are becoming increasingly aware that it’s not simply having the data, which is important ³LW·VDOVRZKDWFRQWH[W\RX·UH looking at it in and what you’re aiming to learn from it. “Content companies will con-
MIPTV PREVIEW • 73 • March 2019
tinue to deepen their use of data and insights driven by tech in 2019. Additionally, they will begin to be able to differentiate the noise from the data that can actually provide consistent and on-going benchmarks from which to understand not only what content consumers want, but also how to promote it across the various platforms available to them.”
Laura Delcor Poch, Ƒl-uh;ঞm]-m7 1ollmb1-ঞomv specialist, Nice People At Work (NPAW) (Spain)
NPAW is a tech startup with a mission to help video-content services, including streaming platform operators, stop their increasingly demanding subscribers from leaving by identifying early glitches in screen quality and other transmission errors. “In terms of global industry benchmarks, we’ve seen that having just one interruption WR D XVHU·V H[SHULHQFH LQFUHDVHV drop-offs by 2%,” Delcor Poch says. “User tolerance is dwindling in an age where quality is queen. There is an increasingly crowded competitor landscape for video services where content on demand, live streaming, gaming and esports are all competing in that two-hour window for the viewer’s attention. “We are in the era of personalisation, where only companies XVLQJDGYDQFHGGDWDZLOOEHQHÀW from full, in-depth understanding of how users behave within the platform, from the moment they log in until they log out.”
FEATURE: DATA AND ANALYTICS Jane Ostler, global head of media and insights division, Kantar (UK)
â€œThe market for video content is increasingly global, amplified by social-media marketing and word-of-mouth, and this is competing with local broadcaster efforts. Where platforms are ad-supported or part ad-supported, they will continue to use audience data to refine targeting propositions for advertisers. However, the EU GDPR [General Data Protection Regulation] means advertisers will still rely on smart insights derived
$blÂ†Ń´Ń´b]-mÄˇ;ÂŠ;1Â†ŕŚžÂˆ; vice-president and research director, MIDiA Research (UK)
his favourite video games while earning millions, â€œitâ€™s important to solve the measurement gapâ€?, Mulligan says. â€œThereâ€™s the rise of gen-Z audiences, born after 2000, who have been used to on-demand their entire life. 7KLVPDNHVWKHPH[SHFWWRHQ gage with content that is not pre-scheduled by broadcasters and makes them aware of content that would never have been greenlit by broadcasters. Linear-TV networks must learn to be humble and realise this is serious competition. By Q4 last year, there were as many people in the US with an SVOD service â€” 44% â€” as there were people watching live TV. This also means fandom will become one of the most important currencies for understanding the value of TV content.â€?
In an entertainment sector where US YouTuber Tyler â€˜Ninjaâ€™ Blevins has garnered 21 million subscribers just for playing
Guy Bisson, research director, Ampere Analysis (UK) â€œUnderstanding the wider mar-
from other sources, as well as behavioural data. While we all love a good drama, thereâ€™s a danger that, in all the fighting for eyeballs, we are almost overwhelmed by content. Broadcasters and video platforms need to take care that they donâ€™t over-saturate.â€?
ket and details of the individual platforms and operators is vital. Revenue growth is still very much on the side of the traditional business: linear, pay TV, cable and satellite. You could argue that is where most of the growth still is, but they are in low or even negative growth. +RZHYHUIRUWKHĂ€UVWWLPHWKH industry is acknowledging the impact of non-linear. In the last year, it has become so big you cannot hide from it. Many of the networks were in denial, but non-linearâ€™s rapid growth rate is now across all age ranges, not just millennials.â€?
Whatâ€™s next: the future of research
IGITAL and moELOHĂ€UVW VKRUWIRUP shows are creating a demand for tech-powered research and analytics on social media, messaging apps, voice-activated smart speakers and QH[WJHQHUDWLRQ SODWIRUPV VXFK as the Jeffrey Katzenberg-backed 4XLELVHUYLFHZKLFKODXQFKHVQH[W year, and its potential rival Ficto. UK-based Tubular Labs looks into viewing behaviour around digitally distributed content, and which videos drive most viewership. It measures more than two million new videos on YouTube, Facebook, Instagram and Twitter daily. It calculates that, in March 2018, TV content received 26.2 billion views on YouTube alone â€” a 37% jump from the previous year.
Bavaria Fiction, a joint venture between Germanyâ€™s Bavaria Film and ZDF Enterprises, is collaborating with Canada-based international story-publishing app Wattpad to develop and produce future shows for digital natives. By analysing the readership of the user-generated stories created by and for the appâ€™s communities of 70 million-plus users worldwide, 90% of whom are millennials or gen-Z consumers, Bavaria Fiction hopes to discover future TV hits. Â´'LJLWDO SODWIRUPV OLNH 1HWĂ L[ KDYHGHPRQVWUDWHGWKHEHQHĂ€WVRI mining digital data about how content is consumed on its platform, not just the popularity of a show, but how each episode is received,â€? says Oliver Vogel, Bavaria Fictionâ€™s FKLHI FUHDWLYH RIĂ€FHU Â´2XU H[
ploitation will not only be about identifying content, but also a future-oriented way of working with it, meaning weâ€™ll be taking into consideration the feedback from users during the development of the storyline.â€? Analysing audience response to shows will be key to the future of Ficto, a new subscription-based platform being launched this year for professionally made shortIRUP PRELOHĂ€UVW FRQWHQW Â´)LFWR enables this highly engaged user H[SHULHQFH IRU LWV VHULDOLVHG VKRUW FRQWHQW RU IDVW Ă€FWLRQ WKURXJK leveraging native mobile features such as vertical video, 360 viewing, augmented reality, chat, live-stream and more,â€? says Mike Esola, CEO and co-founder of Fictoâ€™s owner, Fiction Riot.
MIPTV PREVIEW â€˘ 75 â€˘ March 2019
-Âˆ-ub- b1ŕŚžomÄ˝v Oliver Vogel
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FEATURE: NON-TRADITIONAL SOURCES OF IP
Angry Birds: from mobile game to game show
Â†ŕŚŽm]|_uoÂ†]_|_; â€˜fog of developmentâ€™ From podcasts and short-form video to social media, mobile, blogs and UGC â€” in its search for eyeball-catching ideas, the content industry is mining new and surprising territory for ideas, |-Ń´;m|-m7bmvrbu-ŕŚžomÄşAndy Fry reports
VER the years, the content industry has become adept at transforming ideas from books, FRPLFV DQG Ă€OPV LQWR VFULSWHG and non-scripted series. These VRXUFHV DORQJVLGH UHERRWV formats and originations, have GRPLQDWHG VPDOOVFUHHQ ,3 GH-
YHORSPHQW Âł ZLWK WKH H[FHSWLRQ RI NLGVÂˇ FRQWHQW ZKHUH WR\V DQG DFWLRQ Ă€JXUHV FDQ EH WKURZQLQWRWKHPL[ 5HFHQWO\ KRZHYHU D JURZLQJ number of TV franchises have EHHQ GHYHORSHG RQ WKH EDFN RI GLJLWDOĂ€UVW ,3 ([SODLQLQJ ZK\ &\UXV )DUURNK SUHVLGHQW of distribution at indie stu-
GLR 3URSDJDWH &RQWHQW VD\V â€œThereâ€™s such a voracious demand for content that no stone LV OHIW XQWXUQHG LQ WKH SXUVXLW of great ideas. Our business PRGHO LV EXLOW DURXQG Ă€QGLQJ LQWHUHVWLQJ LGHDV HYHU\ZKHUH from Russian scripted formats to podcasts. We just donâ€™t discriminate.â€?
MIPTV PREVIEW â€˘ 77 â€˘ March 2019
â€œThereâ€™s such a voracious demand for content that mov|om;bvŃ˛;[ unturned in the pursuit of great ideasâ€? 3URSDJDWH KDV KDG SDUWLFXODU VXFFHVV ZLWK SRGFDVWV QRWDEO\ LWV DGDSWDWLRQ RI /RUH 3URGXFHGLQSDUWQHUVKLSZLWK*DOH
FEATURE: NON-TRADITIONAL SOURCES OF IP $QQH +XUGÂˇV 9DOKDOOD (QWHU WDLQPHQW WKH KRUURU DQWKRORJ\ VHULHV ZDV SLFNHG XS IRU D VHF ond season in 2018 by Amazon 3ULPH 6XEVHTXHQWO\ 3URSDJDWH DFTXLUHGDQRWKHUKLWSRGFDVW8S $QG9DQLVKHGZKLFKLWDGDSWHG IRU 2[\JHQ Â´:H KDYH DQRWKHU SURMHFWOLQHGXSIRUDVWUHDPLQJ VHUYLFHDQGZHDOVRKDYHDSRG cast-based scripted series in deYHORSPHQWÂľ)DUURNKDGGV ([SODLQLQJWKHNH\WRDVXFFHVV IXO DGDSWDWLRQ )DUURNK SXWV D ORW RI HPSKDVLV RQ FROODERUD WLRQ ZLWK WKH RULJLQDO FUHDWRU Â´6RPHVWXGLRVKDYHDWHQGHQF\ WRDFTXLUHWKHULJKWVWR,3WKHQ VLGHOLQH WKH RULJLQDWRU EXW ZH ZDQW WKHP DV SDUW RI WKH SUR cess,â€? he says. $WĂ€UVWVLJKWWKHFRQYHUVLRQRI podcasts to TV series may seem counterintuitive, given that they are audio-based. But there are a FRXSOHRI UHDVRQVZK\WKHUHLVD ORJLFWRWKLVSURFHVV7KHĂ€UVWLV that there is a proven precedent, ZLWKUDGLRKDYLQJGHOLYHUHGQX PHURXV WDON DQG JDPHEDVHG ideas to TV. The second is that VXFFHVVIXOSRGFDVWVDUHW\SLFDOO\ content rich, thus providing TV SURGXFHUV ZLWK D ZHOOGHĂ€QHG
creative proposition. Tim Hammond, managing director of independent content studio Wisebuddah, adds that podcasts as a scripted-TV deYHORSPHQW WRRO FDQ EH Â´TXLFN er and cheaper than a non-TX SLORW DQG DOVR SURYLGH GDWD about the target audienceâ€?. He DOVR VXJJHVWV WKH\ FDQ DOVR EH D EHWWHU ZD\ IRU WDOHQW WR JHW their head around an idea than DSULQWHGVFULSWÂ´7DNHDQH[DP SOH OLNH +RPHFRPLQJ D *LP OHW 0HGLD SRGFDVW WKDWÂˇV EHLQJ adapted into a drama series by $PD]RQ ZLWK -XOLD 5REHUWV LQ WKH OHDG 6KH PXVW EH LQXQGDW HGZLWKVFULSWVEXWWREHDEOHWR OLVWHQWRDSRGFDVWZKLOHVKHÂˇVDW WKHJ\PRULQKHUFDULVDZD\RI bringing story and characters to OLIHLQDPRUHLPPHGLDWHZD\Âľ Wisebuddahâ€™s core business is audio, but Hammondâ€™s backJURXQGXQWLOMRLQLQJWKHĂ€UP PRQWKV DJR ZDV DOO DERXW 79 DQG ,3 H[SORLWDWLRQ Â´1RZ ,ÂˇP ORRNLQJIRURSSRUWXQLWLHVWRLQ WHJUDWHWKHWZRZRUOGVÂľKHVD\V Â´,Q SDUW WKLV LQYROYHV FUHDWLQJ SRGFDVWV OLQNHG WR EUDQGV VXFK DVWKH%%&VHULHV7KH*UHDWHVW 'DQFHU%XWZHDUHDOVRDFWLYH O\ GHYHORSLQJ SRGFDVWV WKDW ZH
Candy Crush: reinvented for CBS in the US and then licensed to Eagle Films in Dubai
WKLQN FRXOG KDYH DQ DGGLWLRQDO OLIHDVWHOHYLVLRQVHULHVÂľ But does this mean that podFDVWV DUH HIIHFWLYHO\ ORVVOHDG HUVÂłDQDWWHPSWWRZLQD79 commission? Hammond says QRW Â´7KHUH DUH EXVLQHVV PRG HOV DURXQG DXGLRRQGHPDQG WKDWFDQPDNHSRGFDVWVYLDEOHLQ WKHLURZQULJKWPDLQO\LQYROYLQJ sponsorship and advertising but DOVRLQFUHDVLQJO\VXEVFULSWLRQÂľ The prospect of podcasts beFRPLQJ D GHYHORSPHQW WRRO LV ULVLQJ QRZ WKDW PDLQVWUHDP PHGLD FKDQQHOV DUH H[SORULQJ
Homecoming, a Gimlet Media podcast thatâ€™s being adapted into a drama series with Julia Roberts
MIPTV PREVIEW â€˘ 79 â€˘ March 2019
WKHDUHD$0&1HWZRUNVÂˇ6XQ GDQFH 1RZ IRU H[DPSOH KDV MXVWODXQFKHGDVFULSWHGSRGFDVW FDOOHG ([HWHU DERXW D VHULHV RI VKRFNLQJ ULWXDOLVWLF PXUGHUV LQ 6RXWK&DUROLQD:KLOHWKHUHDUH QR LPPHGLDWH SODQV IRU ([HWHU WREHFRPHD79VHULHVWKHQHZV reinforces Hammondâ€™s point DERXWSRGFDVWÂˇVSRWHQWLDODV79 testing grounds. 3RGFDVWVDUHMXVWRQHVRXUFHRI LGHDVLQWKLVH[SDQGHGXQLYHUVH RI ,3PLQLQJ2WKHUGLJLWDOLWHUD WLRQVLQFOXGLQJPRELOHĂ€UVWVR FLDOPHGLD8*&DQGHSXEOLVK LQJDUHDOVRSURYLQJDVRXUFHRI LQVSLUDWLRQ $QG ZKLOH WKHUH LV QR JXDUDQWHH WKDW D GLJLWDOĂ€UVW LGHDZLOOWUDQVODWHZHOOWR79D JURZLQJ QXPEHU RI VXFFHVVIXO WUDQVSODQWV GHPRQVWUDWH WKDW LW LV DQ LQFUHDVLQJO\ YLDEOH GHYHO opment path. $QJU\%LUGVVWDUWHGOLIHDVDPR ELOH JDPH EHIRUH EHLQJ UHLPD gined as an animated TV series DQG Ă€OP 1RZ WKH IUDQFKLVH KDV PDGH D IXUWKHU OHDS E\ forming the basis of a game VKRZ SURGXFHG E\ %LJ )LVK Entertainment in partnerVKLS ZLWK FRQFHSW FUHDWRU 5RYLR(QWHUWDLQPHQW6LP LODUO\.LQJÂˇVJOREDOJDPLQJ KLW&DQG\&UXVKZDVUHLQ YHQWHGIRU&%6LQWKH86
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Social-media star JoJo Siwa
From YouTube to TV: Adam Ruins Everything
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ZKDWZHFDQJOHDQIURPWKHGDWD and then, using those insights, PRYH WKH IRUPDW IURP PRELOH WRDQRWKHUPHGLDSODWIRUPµ As yet, there has not been much activity around the adaptation RI PRELOH VFULSWHG FRQWHQW IRU 79EXWLQSDUWWKDWLVGRZQWR WKH VKRUWDJH RI VXFK ,3 6QDS LVQRZLQYHVWLQJLQVFULSWHGVH ULHV DQG -HIIUH\ .DW]HQEHUJ LV SRLVHG WR ODXQFK VKRUWIRUP PRELOH YLGHR SODWIRUP 4XLEL ZKLFK KH VD\V ZLOO ´EULQJ WKH NLQGRI KLJKTXDOLW\SURGXFWLRQ DQGWDOHQWWKDW+ROO\ZRRGLVID PRXV IRU DQG GHOLYHU LW WR PR ELOH LQ D ZD\ QRERG\ KDV HYHU done before”. ,I WKHVH DQG RWKHU LQLWLDWLYHV take off, then perhaps the inGXVWU\ PD\ VHH PRELOH HPHUJH DVDQXUVHU\VORSHIRU792QH SURMHFW WR ZDWFK LV 7KH 'HDG *LUOV 'HWHFWLYH $JHQF\ D \RXQJDGXOWQRYHOEHLQJDGDSW HG IRU 6QDSFKDW 7KHUH KDYH DOVREHHQUHSRUWVWKDW.HVKHW ,QWHUQDWLRQDO DQG ,QVXUUHF WLRQ 0HGLD DUH GHYHORSLQJ WKHVDPHERRNDVD79SLORW VRLWZLOOEHLQVWUXFWLYHWRVHH LI WKH 6QDSFKDW H[HFXWLRQ KHOSV LJQLWH LQWHUHVW LQ WKH TV project. 8QVXUSULVLQJO\VKRUWIRUP content on YouTube is LQFUHDVLQJO\ VHHQ DV D SR WHQWLDO VRXUFH RI 79 LQ spiration. To date, much
MIPTV PREVIEW • 81 • March 2019
RI WKLVDFWLYLW\KDVLQYROYHGPL grating YouTube stars to estabOLVKHG79IRUPDWV%XWWKHUHDUH D JURZLQJ QXPEHU RI DWWHPSWV WR EXLOG 79 VWUXFWXUHV DURXQG RQOLQH WDOHQW 1LFNHORGHRQ KDV EHHQ HVSHFLDOO\ DFWLYH KHOS LQJ VRFLDOPHGLD VWDU -R-R 6LZD EHFRPH WKH IRFDO SRLQW RI D WZHHQWDUJHWHG OLYHDFWLRQ DQ LPDWLRQ DQG OLFHQVLQJ VWUDWHJ\ 1LFNHORGHRQ KDV DOVR ODXQFKHG 7KH 9LUDO )DFWRU\ D FRPSHWL WLRQEDVHG HQWHUWDLQPHQW VKRZ LQ ZKLFK VRFLDOPHGLD LQÁXHQF HUVZRUNZLWKXQNQRZQWDOHQWWR FUHDWHQH[WJHQ<RX7XEHVWDUV This YouTube-to-TV transition FDQDOVRZRUNIRUDGXOWQHWZRUNV ZLWK$GDP5XLQV(YHU\WKLQJDQ RQJRLQJH[DPSOH+DYLQJVWDUW HG DV D <RX7XEH VKRZ IURP &ROOHJH+XPRU $GDP 5XLQV (YHU\WKLQJZDVJUHHQOLWDVD79 VHULHV E\ FDEOH FKDQQHO WUX79 LQDQGKDVQRZUDFNHGXS more than 50 episodes. 7KH 86 V\QGLFDWLRQ PDUNHW LV DOVRORRNLQJWRWKHLQWHUQHWIRU LQVSLUDWLRQ(QWHUWDLQPHQWQHZV VKRZ70=/LYHIRUH[DPSOHLV D79DGDSWDWLRQRI DZHESURG XFW 6LPLODUO\ 'HEPDU0HUFX U\·VOHJDOUHDOLW\VKRZ&DXJKW,Q 3URYLGHQFHIRFXVHVRQDMXGJH )UDQN&DSULRZKRLQLWLDOO\EXLOW KLVDXGLHQFHYLDVRFLDOPHGLD 'DYH +DPLOWRQ &LQHÁL[ 0H GLD·VH[HFXWLYHYLFHSUHVLGHQWRI GHYHORSPHQWVD\VKLVFRPSDQ\ ORRNV DW DOO RI WKH DERYH SODW IRUPV DV SDUW RI LWV GHYHORS ment activities. “We have an idea based on a business podcast/ )DFHERRNYLGHRVLQSDLGGHYHO RSPHQW ZLWK D 86 QHWZRUNµ KH DGGV ´$QRWKHU KLVWRULFDO P\VWHU\ LGHD ZH·UH SLWFKLQJ LV based on a podcast. We’ve got a game format idea based on a <RX7XEH YLGHR ZH VWXPEOHG DFURVVDQGKDYHDOVRZRUNHGXS LGHDV DQG WDOHQW WKDW ÀUVW FDPH WRSURPLQHQFHYLD,QVWDJUDPµ /LNH)DUURNK+DPLOWRQOLNHVWR NHHS WKHRULJLQDO ,3FUHDWRU LQ
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The Viral Factory, where unknown talents become the next-gen YouTube stars
MIPTV PREVIEW â€˘ 83 â€˘ March 2019
FEATURE: NEW TECHNOLOGY
The use of technology and science bm|_;7;Âˆ;Ń´orl;m|Äˇruo7Â†1ŕŚžom -m77bv|ub0Â†ŕŚžomo=Âˆb7;o1om|;m|bv ;ÂŠr;1|;7|ov_b[|_bvÂ‹;-u=uol|_; gimmicky experiments of recent years to lou;u;-Ń´bvŕŚž11oll;u1b-Ń´-rrŃ´b1-ŕŚžomvÄş Juliana Koranteng reports
AST December, Netflix hit the headlines in the social mediasphere when it released inWHUDFWLYH VFLĂ€ WKULOOHU Black Mirror: Bandersnatch. The streaming-video colossus had commissioned bespoke technology that enabled the producers of Bandersnatch, 1HWĂ L[ÂˇVĂ€UVWLQWHUDFWLYHOLYHDFtion show for adult viewers, to
MIPTV PREVIEW â€˘ 84 â€˘ -u1_Ć‘Ć?Ć?Ć–
RIIHUĂ€YHGLIIHUHQWHQGLQJV$QG each ending was preceded by storylines that invited viewers to make their own choices along the way. Â´,WÂˇV D SHUIHFW H[DPSOH RI melding CGI and gaming with AI to determine how viewers can interact with a show,â€? says Carl Hibbert, associate director of consumer media and tech at UK-based research
FEATURE: NEW TECHNOLOGY Ă€UP)XWXUHVRXUFH&RQVXOWLQJ The international TV industry has been grappling with how the content business will be affected by the new wave of consumer technology, which includes AI, VR, AR MR, blockchain and even the emerging ultra-highspeed 5G mobile networks. Listening to Hibbert and other industry experts, it is clear that the application of technology in content innovation is still at the Ă HGJOLQJ VWDJHV %XW WKLV \HDU will see the futuristic-tech and creative sectors ready to collaborate on more commercially viable projects.
$UWLĂ€FLDOLQWHOOLJHQFH $, VSHFLĂ€FDOO\ PDFKLQH OHDUQLQJLVH[SHFWHGWREHVLJQLĂ€FDQW in future developments of video-content sales, distribution and marketing. As the phrase implies, the machine uses algoULWKPVWRÂśOHDUQÂˇKRZDYLGHRKDV been edited, stored, organised, and labelled. Although such an application is still at the early stages, it is being used at the B2B level. It proYLGHV D PRUH HIĂ€FLHQW ZD\ IRU rights-owners and distributors licensing content to set up reliable ways for tracing how and when shows have been used and accessed. â€œAI is an incredible tool that Silicon Valley and Hollywood want to master,â€? says entertainment
Ă€QDQFHVSHFLDOLVW7RP$UDFKDLUman of Los Angeles-based law Ă€UP'/$3LSHUÂ´,WKDVJLYHQ6LOicon Valley companies like Ama]RQDQG1HWĂ L[DPDVVLYHO\JRRG start. They are able to gauge the role of the audience. Hollywood has always decided what you watch. The new-tech business model, on the other hand, gives you some content, you tell it what you like and it gives you more of that. Technology has become part of the conversation when negotiating deals.â€?
who owns what rights), voice activation (teaching the platform to recognise the voice of the user requesting a show on a streaming service) and Snapchat DQG,QVWDJUDPĂ€OWHUVZKHUHWKH combination of AI and AR permit users to see the imagery being captured by the smartphone. Going forward, AI is forecast WREHDVLJQLĂ€FDQWIDFWRULQKRZ autonomous driverless cars work, leaving driver-passengers free to watch videos during the journey.
â€œTechnology has become part of the 1omÂˆ;uv-ŕ˘źomÂ‰_;m m;]oŕ˘ź-ŕ˘źm]7;-Ń˛vÄ˝ Hibbert says AI has also enabled tech ventures such as IBM Watson Media, tech titan Microsoft and cloud-based video analytics specialist Ooyala to develop viewer-friendly deep-metadata tools. These include classifying shows at a highly granular level to allow audiences to search and Ă€QG ZKDW WKH\ ZDQW WR ZDWFK more easily via discovery or recommendation systems. There is also an element of AI in other video-related technologies, including blockchain (teaching the platform to learn
The ability of AR â€” also referred to as MR in many cases â€” to superimpose virtual characters on to your immediate real-life physical surroundings offers exciting prospects for video-rights owners. Going viral on social media is the clip of two iconic Warner Bros. cartoon characters, Wile E Coyote and the Road Runner, chasing each other at whirlwind speed in a real-life car park. The AR experience, which could be seen by anyone passing by with the appropriate smartphone app, was created by New Yorkbased AR developer Abhishek Singh using Apple ARKit software development tool and SLAM (simultaneous localisation and mapping), which is used to enable robots to know where they are located.
uol]bllb1h|o game-changer MIPTV PREVIEW â€˘ 85 â€˘ -u1_Ć‘Ć?Ć?Ć–
FEATURE: NEW TECHNOLOGY
RJUDPV RI Ă€OP DQG 79 FKDUacters who can enter rooms is sparking the imagination of the software-development communities,â€? he adds. Other AR applications are coming this year from the partnership between Magic Leap Âł0DJLF/HDS2QHÂˇVPDNHUÂł and AT&T, the US telecommunications goliath that acquired WarnerMedia (formerly Time Warner). AT&T will launch a beta version of DirecTV Now, a new streaming service featuring WarnerMedia shows that will be available on virtual screens literally anywhere in the house.
%XW LW ORRNV DV LI 0LFURVRIWÂˇV HoloLens and its more recent rivals, Magic Leap One and Beijing-based Nreal, have the potential to place AR entertainPHQW LQ SHRSOHÂˇV KRPHV :LWK headsets attached to portable processing computers, these AR offerings enable viewers to invite virtual versions of their faYRXULWH79Ă€OPDQGYLGHRJDPH characters to enter and walk around their living rooms and even interact with them. )XWXUHVRXUFHÂˇV +LEEHUW SRLQWV out that AR could be used to market shows and related merchandise in toy stores. Actual examples include The Walt DisQH\&RPSDQ\ÂˇVXVHRI $5YHUsions of its most famous movie characters, from Star Wars and )UR]HQWRLQWHUDFWZLWKIDQVLQside retail outlets. Hibbert says critical-mass usage is not here yet because, at $1,000 a unit, the headsets are still relatively expensive. â€œBut the probability of content-providers using AR to create hol-
So far, the most common uses of blockchain â€” essentially, encrypted ledgers of data and transactions in cryptocurrency (digital currencies) â€” include smart contracts, digitally trackable and irreversible agreements that do not need lawyers. Blockchain is also considered ideal for tracking royalties owed to the different rights-owners of a creative work because, once an agreement has been reached, no one can go back and change any detail unless every participant in blockchain agrees to it. ,QWHUQDWLRQDO Ă€OP SURGXFHU Andrea Iervolino is launching TaTaTu, a social-entertainment streaming service that uses blockchain to reward viewers every time they watch a show on the platform in real time (as opposed to on-demand viewing). The rewards come in the form of TTU virtual tokens that can be redeemed to purchase goods and services from retailers with whom TaTaTu has agreements. Explaining the concept behind his vision, Iervolino says: â€œYoung digital natives understand they are the ones who DUH EXLOGLQJ YDOXH LQ WRGD\ÂˇV QHZWHFK SODWIRUPV )DFHERRN without the young people that
dominate its two billion users is nothing. So young people know they are part of its value. TaTaTu shares that value with its community â€” a value they deserve and one we believe is the future of streaming.â€?
Äź b]b|-Ń˛m-ŕ˘źÂˆ;v Â†m7;uv|-m7|_;Â‹ -u;|_;om;vÂ‰_o -u;0Â†bŃ˛7bm]Âˆ-Ń˛Â†; bm|o7-Â‹Äťvm;Â‰Ĺˆ|;1_ rŃ˛-oulvÄ¸$-$-$Â† shares that value Â‰b|_b|v1ollÂ†mb|Â‹Ä˝ The venture, which is starting in Italy, the UK, the US, Canada and Australia, has ambitions to be global â€” apart from China â€” 12 months after launch. It has so far raised $575m to develop the technology and pay for acquired and original content. Among its acquisitions are hundreds of movies from ItDO\EDVHG 1RWRULRXV 3LFWXUHV and AMBI Media Group, which Iervolino also co-founded. The original content includes 10 short-form TV shows in production. In addition, TaTaTu has clinched a deal with Hollywood star Johnny Depp, who has agreed to supply original content via his production XQLW ,QĂ€QLWXP 1LKLO 5HYHQXHV raised from the advertising are shared between rights-owners and TaTaTu. 2WKHU Ă€QWHFK HQWHUSULVHV SURPising to use cryptocurrency and blockchain to raise funds and reward fans for entertainment content and services are London-based LiveTree and Vancouver-headquartered MovieCoin. Â´7KHUHÂˇV D GHJUHH RI WUDQVSDUency and accountability with
MIPTV PREVIEW â€˘ 86 â€˘ -u1_Ć‘Ć?Ć?Ć–
cryptocurrency at each step, so you know where your money is going at every stage and the potential return on investment,â€? )XWXUHVRXUFHÂˇV+LEEHUWDGGV
9LUWXDOUHDOLW\ $ERXWĂ€YH\HDUVDJR95ORRNHG OLNH WKH GHĂ€QLWLYH IXWXUH RI audiovisual entertainment. Its ability to immerse viewers in an enclosed virtual space to experience and interact with computer-generated worlds while cut off from their immediate physical surroundings truly pushed the boundaries for content creators. Companies such as USbased NextVR and Jaunt, UKEDVHG$WODQWLF3URGXFWLRQVDQG &DQDGDÂˇV )HOL[ 3DXO 6WXGLRV '((3 ,QF DQG 6HFUHW /RFDWLRQ have worked with major producWLRQ Ă€UPV DQG QHWZRUNV WR DGG LPPHUVLYH GLPHQVLRQV WR Ă€OP and TV entertainment. But like AR, it is currently going through a transition phase that experts believe will lead to more realistic commercial applications. 7KH 8.ÂˇV %%& DQG SD\79 pioneer HBO are among the networks that have invested in VR. In 2017, the UK public broadcaster made headlines with A VR Spacewalk, which was produced with creative agency Rewind to re-enact what it feels like to walk in space and visit the International Space Station. Last year, HBO commissioned an interactive VR experience based on its comedy drama Silicon Valley, which invited users to wander around the Hacker +RVWHOWKHVKRZÂˇVPDLQVHWWLQJ The future challenge, according to experts, is the sale of headsets that are cheap enough to sell at mass-market levels. SoFLDOPHGLDJLDQW)DFHERRNRZQV Oculus, makers of the sophisticated but expensive Oculus Rift headset, which can cost more than $500.00 â€” and that exFOXGHVWKH3&DQGFRQWUROOHUV,W
FEATURE: NEW TECHNOLOGY has introduced the much cheaper Oculus Go, a standalone device, and Oculus Quest, which range in price from $199.00 to $399.00. Additionally, there is no distribution platform where fans NQRZ WKH\ FDQ Ă€QG WKH EHVW LQ VR entertainment, which makes discovering related content a laborious experience.
Amsterdam-headquartered video-gaming industry research Ă€UP1HZ]RRSUHGLFWVWKHUHDUH currently around three billion smartphone users worldwide. With the emergence of the ultra-high-speed 5G mobile networks now being rolled out in most developed economies, the time it takes to download or VWUHDP YLGHR Ă€OHV RQ WR KDQGsets is expected to be counted
in seconds. Moreover, it will be possible for someone to listen to a live concert on the other side of the world in real time, because there will be virtually no delays via the 5G networks. And some media pundits say D WZRKRXU +' Ă€OP ZLOO WDNH around four seconds to download on 5G, compared to the estimated seven minutes on the 4G networks. Handset manufacturers, including Samsung, are set to LQWURGXFH WKH Ă€UVW * SKRQHV LQ WKH 86 GXULQJ WKH Ă€UVW KDOI RI WKLV \HDU Â´* ZLOO Ă€QDOO\ deliver an experience that will exceed the expectations of the average consumer,â€? says Dario Talmesio, principal analyst and practice leader at UK-based international telecoms consultancy Ovum. â€œIn simple terms, to end-users, 3G was disappoint-
ing, 4G was good enough and 5G is impressive.â€? He adds: â€œOf course, it all deSHQGVRQKRZLWÂˇVGHSOR\HGDQG how the different moving parts work together. But if all the parties align, the 5G experience is going to be mind-blowing for most customers.â€? Talmesio estimates that video will represent 83% of all data WUDIĂ€F RQ PRELOH QHWZRUNV E\ 2023, especially as consumers become more demanding about the visual quality of smartphone videos. â€œThat means most of the efforts and monetisation opportunities will have video-based services at their core,â€? he adds. â€œRegions characterised by a high number of mobile-only or moELOHĂ€UVWFXVWRPHUVZLOOEHHYHQ more sensitive to the importance of a robust video offering.â€?
MIPTV PREVIEW â€˘ 87 â€˘ -u1_Ć‘Ć?Ć?Ć–
Up to 10% discount for visitors and exhibitors (sixt - official car rental supplier of Reed Midem) Call +33 (00)1 44 38 55 55 and state the promotion code 9963828
FEATURE: AFRICA, CHINA AND INDIA
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ITH producers and distributors across Africa, China and India commercialising their high-end productions, these territories are shaping up to be major importers and exporters of premium content. Take Africa. Last December, streaming EHKHPRWK1HWĂ L[ hit the headlines when it announced LWV Ă€UVW 2ULJinal series in Africa. It has
commissioned Queen Sono, an action-packed espionage series starring South Africaâ€™s Pearl Thusi and made by Johannesburg-based Diprente Films. 1HWĂ L[ÂˇV GHFLVLRQ WR ZRUN ZLWK a local producer illustrates the trend for international companies with ambitions in emerging markets to collaborate with local experts. It is a strategy that is SD\LQJRII IRU$OH[2NRVLH[HFutive vice-president and managing director of Viacom International Media Networks (VIMN) Africa, and head of BET (Black Entertainment Television) InWHUQDWLRQDO Â´2QH RI RXU NH\ drivers for creating a footprint on the continent was to provide a platform for showcasing to the world Africaâ€™s abundant talent and creativity,â€? he says of VIMN, which has been in Africa for 14 years. â€œAs a network, we have served as a catalyst to reshape the global narrative around Africa to one of positivity, enthusiasm and inspiration.â€?
VIMNâ€™s long-running youth edutainment drama Shuga
$(!() â€˘ 89 â€˘ March 2019
FEATURE: AFRICA, CHINA AND INDIA
VIMN Africaâ€™s Alex Okosi
Pukeko Picturesâ€™ Clive Spink
Banijay Asiaâ€™s Deepak Dhar
Rapid Blueâ€™s Duncan Irvine
giants appear to be coming to an end in Sub-Saharan Africa. Its 46 countries and more than one billion citizens (according to The World Bank) have been shunned by the leading North American and European media groups on account of widespread poverty and political corruption. But Africaâ€™s economic improvements have led to commitments by media conglomerates including VIMN, UK public broadcaster BBC DQG1HWĂ L[ From its South African headquarters, VIMN Africa is producing for the regionâ€™s differ-
ent audiences, from Nigeria in West Africa to Kenya in East Africa. The shows are watched via pan-African platforms including MultiChoiceâ€™s satellite-and-digital platform DStv and national broadcasters. VIMNâ€™s hits include award-winning Shuga, the long-running youth edutainment drama on VIMNâ€™s MTV Base youth-culture network. Shuga will have LWVĂ€UVW)UHQFKVSHDNLQJYHUVLRQ in Cote dâ€™Ivoire this year. MTV Base also showcases music by contemporary African hitmakers. Its reality shows include Lasizwe, which stars South Africa YouTuber Lasizwe Dambuza, and Guy Code in Nigeria. VIMN Africa is also working on a biopic about an iconic South Africa music group for its BET network. The celebrities featured in the Roast format on Comedy Central have included acclaimed South African choreographer and TV personality Somizi Mhlongo. With more than 60% of the population under the age of 25 and its highly varied cultures, Africa offers diverse future opportunities. â€œGiven the growth of the African middle class, TV will continue to be an important entertainment medium on the con-
tinent as new segments of the population are now able to afIRUGLWÂľ2NRVLVD\V
â€œAs a network, we have served as a catalyst to reshape |_;]Ń˛o0-Ń˛m-uu-ŕ˘źÂˆ; around Africa to om;o=rovbŕ˘źÂˆb|Â‹Äś enthusiasm and bmvrbu-ŕ˘źomÄ˝ Decades of being largely ignored by the multinational TV
Come Dine With Me South Africa, produced by Rapid Blue
$(!() â€˘ 90 â€˘ March 2019
BBC Studios put down its African roots in 2014. South Africa-based Joel Churcher, the companyâ€™s vice-president and general manager for Africa, oversees the regional transmission of global networks, including BBC Brit and BBC Lifestyle. Churcher emphasises the importance of being fully involved in the local culture: â€œBBC Studios has been able to participate in local events, which include DStvâ€™s Delicious Festival and Comic Con Africa, as well as hosting bespoke events for Strictly Come Dancing in Johannesburg and Cape Town, plus BBC screenings of the documentaries Blue Planet II and Dynasties at the IMAX inside the Mall of Africa. BBC Studios recognises that, for an international brand to grow its fandom in individual markets, it must do so by connecting with local audiences.â€? 2QHRI WKH%%&ÂˇVELJJHVWPRYHV in Africa was its investment in 5DSLG %OXH WKH SUROLĂ€F 6RXWK $IULFDQ SURGXFWLRQ RXWĂ€W 5DSLG Blue has been instrumental in creating local versions of top BBC formats, including Come Dine With Me South Africa and The *UHDW6RXWK$IULFDQ%DNH2II 5DSLG %OXH &(2 'XQFDQ ,U
FEATURE: AFRICA, CHINA AND INDIA
Keshet Asiaâ€™s Gary Pudney
Ipsosâ€™ George Aidoo
â€œBBC Studios recognises that, for an bm|;um-ŕ˘źom-Ń˛0u-m7|o]uoÂ‰b|v=-m7ol in individual markets, it must do so by 1omm;1ŕ˘źm]Â‰b|_Ń˛o1-Ń˛-Â†7b;m1;vÄ˝ vine says that long-term growth means creating content set in local cultures in local languages. Rapid Blue produced Isâ€™thunzi, D GUDPD VHULHV Ă€OPHG LQ 6RXWK Africaâ€™s Zulu language. Its star, Thuso Mbedu, was nominated for an International Emmy Award for Best Performance By An Actress in 2017. â€œWeâ€™re planning new shows in East Africa, which will be a blend of non-scripted in Swahili and English,â€? Irvine adds. â€œThat makes it more attractive to the local audience. In Nigeria, \RXÂˇOOĂ€QGVKRZVWKDWDUH in Hausa, and itâ€™s the same with Swahili in Kenya. And they not just niche shows â€” they are commercially viable ones that attract major advertisers.â€? Accra-based George Aidoo, customer service manager, audience measurement, at the
Ghana division of global market-research group Ipsos, says advertisers are supporting local-language versions of international shows. â€œDuring Q4 in 2018, all the top programmes were locally produced by Ghanaian producers,â€? he adds. Commercial free-to-air networks such as UTV (United Television) and Adom TV saw the commisVLRQLQJRI ORFDOODQJXDJHĂ€FWLRQ as key to competing against state broadcaster GTV, which was packed with English-dubbed foreign programming. Then, a new phenomenon emerged about a year ago: the transmission of Latin American telenovelas followed by magazine-style shows that had presenters and zealous fans discussing the plots in their local languages. Those offshoots turned out to be ratings sensations.
GoQuest Media Venturesâ€™ Jimmy George
BBC Studiosâ€™ Joel Churcher
â€œThese were serious national debates about surprise developments in the plots but in a lanJXDJHHYHU\RQHLGHQWLĂ€HGZLWKÂľ Aidoo says. â€œAnd they became more popular than the original telenovelas. When we showed this to the TV networks, they started dubbing the telenovelas in the local languages and the ratings started to rise and rise.â€? 9,01ÂˇV 2NRVL DGYLVHV LQWHUnational companies seeking to invest in Africa to bear such incidents in mind: â€œAfricans are now clamouring to see more local content and, given their powerful storylines, these shows are now being exported to other markets around the world.â€?
their deep pockets are also helping Chinese content-makers to target foreign viewers with premium shows, especially epic Chinese period dramas. Huanyu Entertainment licensed the global rights (excluding ChiQD WR7KH/HJHQG2I +DR/DQ to the Fox Network Group last year. The new tentpole drama, which premiered on iQiyi in January, has already been sold to numerous countries, including the US, Canada, Australia, New Zealand, South Korea and severDO$VLD3DFLĂ€FPDUNHWV7KLVIROlows last yearâ€™s global triumph, 6WRU\2I <DQ[L3DODFHDP 70-episode extravaganza co-produced by iQiyi and Huanyu. It was streamed a total of 50 billion times in China and is now available in 70-plus countries. â€œThe golden period for the export of Chinese TV series to the international market has come,â€? says Athena Lee, Huanyu Entertainmentâ€™s chief of international co-operation and distribution. â€œThe globalisation strategy of Chinese content has become the goal of [Chinaâ€™s] large television companies.â€? :DQJ<L&(2RI &KLQHVHPHdia group Media Caravan, says
China is the worldâ€™s second biggest investor in content, according to research group IHS Markit, which makes it major draw for international TV companies. Chinese tech conglomerates such as Baidu, whose iQiyi platform has about 500 million monthly active users, Tencent Holdings and Alibaba Group, along with the countryâ€™s media owners are major investors in original domestic content. And
Story Of Yanxi Palace, co-produced by iQiyi and Huanyu
$(!() â€˘ 91 â€˘ March 2019
FEATURE: AFRICA, CHINA AND INDIA
Huanyu Entertainmentâ€™s Athena Lee
Media Caravanâ€™s Wang Yi
Star TVâ€™s Gurjeev Singh Kapoor
his company is having similar multi-territory success with female-centric costume drama Bloody Romance and The Longest Day In Changâ€™an, a 52-episode blockbuster. China is learning from the international achievements of South Korean and Turkish productions, Wang Yi adds. He also believes that the global growth of Chinese popular culture, such as C-pop music and C-dramas, is playing a part: â€œJust like Korean dramas and Turkish dramas, Chinese dramas are becoming another global content that can be consumed quite well by almost all countries. This is due to the increase of production quality of Chinese dramas in the past 10 years. Storylines are EHFRPLQJ OHVV &KLQDVSHFLĂ€F ZKLOH$92'SODWIRUPVVXFKDV YouTube and Viki are becoming popular sites for C-drama fans.â€?
:RWVLVRIĂ€FLDOO\WKHĂ€UVW1HZ Zealand-China co-production. 0DGH ZLWK &KLQHVH PHGLD Ă€UP Hengxin Shambala Kids, Kiddets has aired on CCTV and iQiyi. Already on Australian network ABC Kids and New Zealandâ€™s TV2, Kiddets has now been greenlit for a second season. â€œWe undertook several years of relationship-building, vetting and due diligence before embarking on our activities in China and itâ€™s fair to say that this legwork and the nurturing of our local contact base has been a huge bonus in navigating this huge market,â€? says Pukeko &(2 &OLYH 6SLQN Â´7KHUH DUH regulations that need to be taken into consideration, but itâ€™s not necessarily a big hurdle with the right preparation. Kiddets has been cleared and approved by SARFT, the Chinese government body that signs off on all content. This a huge milestone for the show, as it means KidGHWVKDVEHHQFODVVLĂ€HGDVORFDO content, putting us in front of the Chinese market.â€?
and due diligence before embarking omoÂ†u-1ŕ˘źÂˆbŕ˘ź;vbm _bm-Ä˝
â€œIn the past, Japan has been very successful exporting its content and now weâ€™re seeing the same with Korea,â€? Pudney says. â€œWhen it comes to newer countries moving into the export space, China is getting the lionâ€™s share of exposure when it comes to Asia, but we feel that India and beyond are where our next big hits are likely to come from.â€? All3Media International is another multinational operation with similar ambitions for India. â€œAll3Media doesnâ€™t have a production company in India so, at the moment, we are collaborating with independent proGXFHUV ZLWK WKH DLP RI Ă€QGLQJ strong and reliable partners to explore opportunities, and to look at co-production opportunities,â€? says Sabrina Duguet, executive vice-president, APAC, at All3Media International. In the meantime, Indian media powerhouses are becoming global exporters â€” and not just of the traditional Bollywood Ă€OPV DLPHG DW WKH VXEFRQWLnentâ€™s huge diaspora. Media conglomerate Star India and its Star International division distribute networks into several countries, plus shows aired in 100-plus territories. Turkey and Latin America, both of which are renowned for their thriving content exports, are major importers of Star TV shows.
New Zealand-based Pukeko Pictures is among the non-Chinese ventures effectively navigating Chinaâ€™s regulatory mineĂ€HOG 7KXQGHUELUGV $UH *R the international hit animation series it co-produced with the UKâ€™s ITV Studios Global Entertainment, premiered on Chinaâ€™s state-owned network CCTV-14. Furthermore, Kiddets, a childrenâ€™s entertainment show and an offshoot of Pukekoâ€™s pre-school hit The Wot-
â€œWe undertook several years o=u;Ń˛-ŕ˘źomv_brĹˆ 0Â†bŃ˛7bm]ÄśÂˆ;ŕŁŒm]
China is also gaining a reputation for knowing how to extend TV brands into other media and entertainment formats, such as theme parks, toys and other merchandise. â€œCurrent deals include an agreement for Kiddets-branded drinks, which is a huge market in China,â€? Spink adds. â€œTo give you an idea of the scale, the deal anticipates over three billion branded drinks a year.â€? Gary Pudney, general manager of Keshet Asia, says the Israeli company is eager to gain a foothold in China. But its current priority in Asia is India, with its estimated 700 million TV viewers. â€œThereâ€™s always is a lot of buzz around China, but India is GHĂ€QLWHO\PRUH RI D IURQW UXQner,â€? Pudney says. Currently for India and the rest of Asia, Keshet is focusing on licensing Keshet International programmes and establishing co-development and co-production partnerships. In the pipeline for India are local adaptations of formats, including GUDPDV 3ULVRQHUV 2I :DU 6S\ and False Flags, plus talent competition Rising Star.
$(!() â€˘ 92 â€˘ March 2019
FEATURE: AFRICA, CHINA AND INDIA
Gurjeev Singh Kapoor, Star TVâ€™s president of distribution, says: â€œTurkey is a great example of how Star Indiaâ€™s content helped create a niche for IndiDQGUDPDVLQWKDWWHUULWRU\2XU most successful series, Iss Pyaar Ko Kya Naam Doon [Strange Love], created history as the Ă€UVWHYHU ,QGLDQ GUDPD VHULHV in Turkey. It broke many viewership records by quadrupling the channelâ€™s ratings in that slot for our partner Kanal 7.â€? Saras & Kumud, Yours Truly, Tumhari Paakhi and Duele Amar are among the Star TV dramas resonating with Latin American viewers, thanks to its partnership with Miami-based distributor Latin Media Corporation. Kapoor believes new shows Kasauti Zindagi Kay (Love Conquers All), Karan Sangini (KarQDÂˇV :LIH DQG .XOOĂ€ .XPDU %DMHZDOD .XOOĂ€ .XPDU 7KH Singing Star) also have international appeal. The Asian arm of Franceâ€™s Banijay Group has launched a joint venture with Salman Khan
TV (SKTV), a local independent founded by the Bollywood Ă€OP VWDU $PRQJ WKHLU Ă€UVW co-production projects are The Kapil Sharma Show, a celebrity-packed comedy series, and an Indian version of reality singing contest The Voice. Deepak Dhar, Banijay Asia &(2 VD\V Â´6LQFH WKH 6DOPDQ Khan deal, we have announced a number of other partnerships, which include one with the most popular sportsperson in India, Mahendra Singh Dhoni, the ex-Indian cricket-team captain. Weâ€™ve also partnered with renowned author Ruskin Bond, utilising his literature catalogue to create a 12-part horror web-series for ZEE5. It was crucial for us to partner with someone who had the local know-how and relationships to not only establish but also grow an operation in India.â€? Jimmy George, vice-president of sales and acquisitions at India-based independent distributor GoQuest Media Ventures, says that Indian romance
dramas sell well internationally, while aspirational storylines featuring wealthy individuals are in demand in Sub-Saharan Africa. In the Arabic-speaking MENA markets, Bollywood-type programmes are hits. But most notably, George says, some Indian producers have become more Ă H[LEOH DERXW ZKDW WKH\ FUHate to boost their international prospects. He points out that the traditional 300- to 400-episode Indian dramas might be loved by domestic viewers, but WKH\ DUH GLIĂ€FXOW WR VHOO WR IRUeign networks. As a result, there is a move towards shorter series, such as Delhi Crime from Mumbai-based Golden Karavan and Ivanhoe Pictures, which has EHHQ DFTXLUHG E\ 1HWĂ L[ DQG has only seven episodes in season one. â€œHow the market has changed,â€? *HRUJH UHĂ HFWV Â´,I 1HWĂ L[ makes a short Indian series, it will sell internationally because of its brand. Although Indian producers are making money from selling directly to
$(!() â€˘ 93 â€˘ March 2019
the broadcasters now, some are slowly starting to think of keeping part of their intellectual property. They are saying, if Turkey can do it, why canâ€™t we?â€?
â€œIf Turkey can do it, Â‰_Â‹1-mÄť|Â‰;Ä´Ä˝ CONFERENCES & EVENTS â€˘ Global Hotspot: Producers To Watch From Africa Monday, April 8 at 15.45 in the Esterel â€˘ How To Realize Win-Win Co-Production With China Monday, April 8 at 15.30 in Auditorium A â€˘ China TV Series Showcase Tuesday, April 9 at 10.30 in Auditorium A â€˘ Global Hotspot: Producers To Watch From India Tuesday, April 9 at 11.45 in the Esterel
TREAT YOURSELF Indulge a little shopping IN ONE OF THE MANY AIRPORT SHOPS
Present your delegate badge to beneﬁt from a discount in the Nice airport stores featuring the world’s most prestigious brands.
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your mipTV experience
8-11 APRIL 2019 Palais des Festivals, Cannes, France MIPTV OPENING TIMES Opening hours 8-10 April: 08.30*-19.00 11 April: 08.30*-15.00 * Access from 08.00 for exhibitors
Registration hours 5 April: 16.00-19.00 6-7 April: 08.00-19.00 8 April: 08.00-19.30
9-10 April: 08.30-19.00 11 April: 08.30-15.00
We look forward to welcoming you in Cannes, but ﬁrst here are some tips to prepare your journey to MIPTV
Prepare for MIPTV in advance Visit the MIPTV 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 MIPTV
Visit miptv.com for easy access to all the MyMIP Database features:
• Did you receive it by post? Don’t forget to bring it with you.
• Fill out your proﬁle and personalise your agenda
• 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.
• Browse the list of attending participants and companies • Get meeting recommendations based on your business preferences
• Do you only have your conﬁrmation email? Collect your badge at the registration area, located at C22. Registration hours can be found above.
• Send one-to-one messages to other delegates and organise business meetings
Please carry your badge at all times. It is strictly personal and non-transferable
• Browse the conferences and networking events
Onsite: meet decision makers and get an overview of the market trends Where to hold your meetings or relax Coffee & Connect (Palais -1)
Buyers’ - VIP Club (Palais -1, aisle B)
Press Club (Palais 3)
• Make Coffee & Connect your meeting point.
• Exclusive club reserved for our invited guests and programme purchasing executives to relax or do business in more private surroundings.
• A lounge and terrace bar dedicated to journalists.
• Chat over a coffee. • Charge your brain and your devices.
MIP Lounges Numerous working areas and relaxing lounges are available throughout the Palais.
• Features include a lounge area, refreshments and daily press. By invitation only.
• Permanent staff members at hand on site to assist • A fully equipped editorial room which includes computers, internet connection and printers.
MIPTV PREVIEW • 95 • March 2019
Gold Business Lounge & Members Desk (Palais -1, aisle A) • Reserved for Gold Members of our Customer Recognition Programme. • Includes a private lounge area, complimentary coffee and international press. • Member Desk: on-the-spot care and assistance for all the members of our Customer Recognition Programme.
your mipTV experience
General map of MIPTV CROISETTE 11 to 20 C11
Entertainment One, Kew Media, Lionsgate
ITV Studios House
Daro Film Distribution
Endeavor Content/ Registration
MIPTV Perimeter Security Checkpoint C11
Left Luggage Badge holders only
Riviera 8 an c
Riviera 7 Riviera 9
Access to Riviera 7, 8 & 9
Entrance No. 1
Palais -1 to 5 Palais 5
rium dito Au ère i nd Gra Lum
Entrance No. 2
Palais 3 Palais 1 Palais 0
Palais -1 C22
L. N INC L O TRATIO REGIS & PROTOC PRESS
Entrance No. 3
Entrance No. 4
La C roise
The Grand Hyatt Cannes Hotel Martinez
In association with
What’s new? You asked, we listened! Easy access onsite
Prepare your show
• Simplifed access with 4 main entrances.
InDevelopment - your new forum for all genres of Content Development A new and enlarged zone in the heart of the Palais offering dedicated conference rooms, lounges and bar. Amazing opportunities for pitching projects or scouting for new ones. The Drama-related events are co-organised with Canneseries for the 2nd year running. Don’t miss out - it’s a pretty cool zone!
MIPTV at your ﬁngertips Online planner, full MIPTV conference schedule, database and recommendations all easily available on your mobile device via miptv.com.
• Registration located in C22, right next to the harbour. • Access Canneseries screenings directly with your MIPTV badge. • A Canneseries information desk within registration (C22). • Shuttle bus schedule revised to your needs - see onsite printed schedule for more details.
How can I meet the right Buyers’ onsite? Prepare your market with the MyMIP database lists of contacts and business recommandations available for everyone. MIPTV launches in 2019 the MIP Buyers Exchange: a tailor made matchmaking service available, for free, for exhibiting buyers to pre-schedule additional meetings with distributors.
MIPTV PREVIEW • 96 • March 2019
Juggling more than one device onsite? You can now connect up to 3 devices on the wiﬁ with the one participants ID - a great additional service to allow you to share your MIPTV experience online #miptv.
your mipTV experience
Connect, learn & share Global Conference Partner
La French Touch Opening Party Monday 8 April, 21.00-00.00 Intercontinental Carlton Hotel The must attend event for meeting new faces and networking.
Your ﬁrst MIPTV? Join us for a welcome breakfast and short presentation on ‘How to MIPTV’. Monday 8 April, 08.30-09.30 Kids Creative Room, Palais -1. Followed by discovery tours. A “First Timers Corner” manned by our dedicated team is available throughout MIPTV in the MIPCafé, Palais -1.
Open to all on presentation of your MIPTV badge.
4 DAYS OF CONFERENCES, SCREENINGS & NETWORKING EVENTS
4K/8K Programme Partner
Tuesday 9 April, Esterel
14.15-14.30, A Global Overview
Join us in the InDevelopment Chill Out Café for morning breakfast and early evening drinks to meet peers, and network.
14.30-15.00, Focus on Kids 15.45-16.45, Focus on Drama
See schedule for details.
See the programme p.99 and plan your journey
See you in Cannes!
For further information: www.miptv.com • Help desk: +33 (0)1 79 71 99 99 MIPTV PREVIEW • 97 • March 2019
PREVIEW March 2019
// DIRECTOR OF PUBLICATIONS // Paul Zilk // MARKETING DIRECTOR // Mathieu Regnault / EDITORIAL DEPARTMENT / Editor in Chief Julian Newby Deputy Editor Debbie Lincoln Sub Editor Joanna Stephens Contributors Andy Fry, Juliana Koranteng Editorial Management oÂ†ŕŚžtÂ†;7bŕŚžomv Head of Graphic Studio Herve Traisnel Graphic Studio Manager Frederic Beauseigneur Graphic Designer Carole Peres / PRODUCTION DEPARTMENT / Publishing Director -uŕŚžm"1u;r;Ń´ Publishing Manager Amrane Lamiri ubm|;7ollÂ†mb1-ŕŚžom-m-];u lbŃ´b;-l0;u| Printer Riccobono Imprimeurs, Le Muy (France) MANAGEMENT & SALES TEAM Director of the Entertainment Division Jerome Delhaye Director of the Television Division Laurine Garaude MIPTV Conference Director Lucy Smith Director of Market Development Ted Baracos Programme Director Tania Dugaro Director of the Buyersâ€™ Department Benedicte Touchard -uh;ŕŚžm] bu;1|ou-vŕŚž;m-Âˆ;ÂŠ;1Â†ŕŚžÂˆ;uo7Â†1;uÄˇ Conferences Julie Lechenault, Amandine Cassi TV Division Sales Director Geraud de Lacombe Director UK Sales Music & TV Division Javier Lopez SVP Sales & Business Development Robert Marking VP Sales Louis Hillelson Sales Director Manual da Sousa bu;1|ou o=(bvb|ouv "-Ń´;v ou|_ -m7 -ŕŚžml;ub1- -Â‚_;Â‰ !ov;mv|;bm Sales Manager Noah Buchwald Sales ManagerÂ†]o7;Ń´Ń´-oÂ‚-Sales Director Sylvain Faureau Sales Director Aude Dionnet Sales Regional Director Nathalie Gastone Sales Managers Paul Barbaro, Nancy Denole, Samira Haddi, Cyril Szczerbakow, Hicran Lefort, Pascale Lallemand ;-7o="-Ń´;vÄˇÂ†Â‹;uv Yi-Ping Gerard "-Ń´;v-m-];uÄˇÂ†Â‹;uvÂˆ;Â†-Ń´0;u|ĹŠ-Ń´Âˆbv"-Ń´;vÂŠ;1Â†ŕŚžÂˆ;ÄˇÂ†Â‹;uv-;ŕŚžŕŚž-!oÂ†bvĹŠ Carrero Â†v|u-Ń´b- -m7 ;Â‰ ,;-Ń´-m7 !;ru;v;m|-ŕŚžÂˆ; Natalie Apostolou _bm- !;ru;v;m|-ŕŚžÂˆ;v Anke Redl, Tammy Zhao, ubvŕŚž-m;m7;u"!;ru;v;m|-ŕŚžÂˆ;v Alexandra Modestova ;ul-mÂ‹!;ru;v;m|-ŕŚžÂˆ; Marc Wessel m7b-!;ru;v;m|-ŕŚžÂˆ; Anil Wanvari -r-m!;ru;v;m|-ŕŚžÂˆ; Lily Ono b77Ń´;ĹŠ-v|!;ru;v;m|-ŕŚžÂˆ; Bassil Hajjar "r-bm!;ru;v;m|-ŕŚžÂˆ; Maria Jose Vadillo "oÂ†|_ou;-!;ru;v;m|-ŕŚžÂˆ; Sunny Kim $-bÂ‰-m!;ru;v;m|-ŕŚžÂˆ; Irene Liu !;;7 Äˇ-fobm|v|o1h1olr-mÂ‹Ĺ?""Ĺ‘ÄˇÂ‰b|_-1-rb|-Ń´o=Ĺ¨Ć’Ć?Ć?ÄşĆ?Ć?Ć?ÄˇŃľŃľĆ‘Ć?Ć?Ć’Ć”Ć”Ć•!ÄşÄş"Äş$!!Äˇ_-Âˆbm]oL1;vŃ´o1-|;7-| Ć‘Ć•ĹŠĆ’Ć’ Â†-bŃ´r_omv;;-Ń´Ń´oĹŠĆ–Ć‘Ć?Ć?Ć?&ĹŠ&!$Ĺ? !Ĺ‘Äˇ($mÂ†l0;u !Ć–Ć?ŃľŃľĆ‘Ć?Ć?Ć’Ć”Ć”Ć•Äş om|;m|vĹĄĆ‘Ć?Ć?Ć–Äˇ!;;7 -uh;|Â†0Ń´b1-ŕŚžomvÄşÂ†0Ń´b1-ŕŚžomu;]bv|;u;7Ć?sttÂ†-u|;uĆ‘Ć?Ć?Ć–Äş""Ć?Ć–ŃľĆ’ĹŠĆ‘Ć‘Ć”ŃśÄşubm|;7om ;uŕŚžC;7-r;u
2019 PROGRAMME 2019 OFFICIAL SELECTION MIPDrama Buyers Summit is focused on new trends and upcoming series in production. An exclusive ﬁrst look at a curated selection of the 10 most anticipated international new series in production will be presented to 450 invited leading buyers and commissioners.
COSTA DEL SOL SQUAD (BRIGADA COSTA DEL SOL)
DANGEROUS MOMS (SEÑORAS DEL (H)AMPA)
Production: Warner Bros. ITVP Spain and Mediaset España Distribution: Warner Bros. ITVP Spain Broadcaster: Telecinco and Netﬂix
Production: Mediaset España in collaboration with Producciones Mandarina Distribution: Mediterráneo Audiovisual, a Mediaset España Company Broadcaster: Mediaset España – Channel Telecinco
Production: Me + You Productions Distribution: Sky Vision Broadcaster: Channel 4
Production: Zodiak Oy Distribution: About Premium Content Broadcaster: Elisa
Production: Screentime New Zealand, Lippy Pictures, Letterbox Filmproducktion - Co-producer: ZDF Distribution: Banijay Rights Broadcaster: Three (New Zealand), Nine (Australia) and ZDF (Germany)
Production: Cinenord Drama and Beta Film Distribution: Beta Film Broadcaster: NRK
HIDE AND SEEK
MADE IN ITALY
Production: FILM.UA Distribution: ZDF Enterprises Broadcaster: ICTV Ukraine
Production: Taodue and The Family Distribution: Federation Entertainment Broadcaster: Canale 5
THE MIDDLEMAN (L’AGENT)
WORLD ON FIRE
Production: Les Films du Poisson, Arte France and Gapbusters Distribution: Federation Entertainment Broadcaster: Arte and BETV
Production: Mammoth Screen Distribution: ITV Studios Global Entertainment Broadcaster: BBC One
AGENDA, SUNDAY 7 APRIL > 12.30-14.30, Majestic Hotel MIPDRAMA BUYERS NETWORKING LUNCH
> 14.30-15.00, Debussy Theatre NEWEST TRENDS IN DRAMA CONTENT Presented by
> 15.00-18.00, Debussy Theatre SCREENINGS: EXCLUSIVE 15-MINUTE PREVIEWS OF 10 UPCOMING SERIES
KERI LEWIS BROWN Founder and CEO K7 Media
> 18.00-19.00, Foyer Debussy MIPDRAMA BUYERS NETWORKING COCKTAIL
MARKET SCREENINGS, AUDITORIUM K
HUDSON & REX
PRESENTED BY BETA FILM Monday 8 April, 9.30-10.45
PRESENTED BY YLE AND ECCHO RIGHTS Monday 8 April, 14.15-15.30
INSTINTO PRESENTED BY STUDIOCANAL Tuesday 9 April, 9.00-10.15
WHAT THE FUTURE HOLDS (EL DIA DE MAÑANA)
VICTOR LESSARD PRESENTED BY ZDF ENTERPRISES Monday 8 April, 17.15-18.30
PRESENTED BY ZDF ENTERPRISES Tuesday 9 April, 15.45-17.00
PRESENTED BY RED ARROW STUDIOS INTERNATIONAL Tuesday 9 April, 17.15-18.30
PRESENTED BY ABOUT PREMIUM CONTENT Wednesday 10 April, 8.30-9.45
© Manuel Fernández-Valdés
PRESENTED BY MOVISTAR Monday 8 April, 15.45-17.00
2019 PROGRAMME MIP GAME CHANGERS
During Keynotes on MIPTV’s main stage, visionary leaders and creative masterminds reveal how they push boundaries to create compelling content and reach global audiences.
TUESDAY 9 APRIL
MONDAY 8 APRIL 10.40-11.10, Debussy Theatre
11.20-11.50, Debussy Theatre PASCAL BRETON
11.00-11.20, Debussy Theatre
Founder & CEO Federation Entertainment
16.20-16.50, Debussy Theatre
11.20-11.40, Debussy Theatre
President & CEO Nordic Entertainment Group (NENT Group) DELPHINE ERNOTTE CUNCI
CEO France Télévisions
Director-General ARTE France
Chairman Banijay Group
12.00-12.20, Debussy Theatre
Chairman & CEO TF1 Group
Chairman and CEO CANAL+ Group
Founder & CEO Picture Perfect Entertainment
12.00-12.30, Debussy Theatre
© Philippe Mazzoni, Canal+
11.40-12.00, Debussy Theatre
17.00-17.30, Debussy Theatre IN DEVELOPMENT CREATIVE KEYNOTE MARCO BASSETTI
CEO Banijay Group
President Viacom International
17.00-17.30, Debussy Theatre
VARIETY’S INTERNATIONAL ACHIEVEMENT IN TV AWARD AT MIPTV: ARMANDO NUÑEZ
President and CEO, CBS Global Distribution Group, Chief Content Licensing Oﬀicer, CBS Corporation
Writer/ Executive Producer, FRANÇOIS DE BRUGADA
CEO Banijay France
Actress (Jessie, Happy Together, Light as a Feather)
Credits include: The L Word, Empire, and The Handmaid’s Tale
WEDNESDAY 10 APRIL UNITED NATIONS’ SUSTAINABLE DEVELOPMENT GOALS MEDIA COMPACT AT MIPTV ‘THE SWIM’
11.30-12.00, Debussy Theatre
Through a dedicated programme, MIPTV supports the UN’s initiative to advance awareness of sustainability issues among the media and entertainment companies, to leverage their resources and creative talent to advance the Sustainable Development Goals adopted by all world leaders at the UN in 2015. A showcase of ‘The Swim’ will feature Ben Lecomte’s unprecedented record-breaking swim across the Paciﬁc Ocean with the aim of shining a light on, and further understanding, ocean pollution and plastic contamination.
Chief Brand Oﬀicier Group Nine Media
Long-distance swimmer & activist
Executive Producer and Owner Nomadica Films
MIPTV 2019 PREVIEW MAGAZINE; France Country Of Honour; Beecham House, MIPTV World Premiere TV Screenin ; In Development; Game Changers keyn...
Published on Mar 11, 2019
MIPTV 2019 PREVIEW MAGAZINE; France Country Of Honour; Beecham House, MIPTV World Premiere TV Screenin ; In Development; Game Changers keyn...