Newsline Report International - Edición Especial MIPTV 2018 by IQ Publishing

MIPTV 2017

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APRIL 2018 YEAR XXVI /SPECIAL EDITION MIPTV KIDS www.newslinereport.com

XILAM ANIMATION

Ventures into preschool content How has Xilam Animation evolved as business over the last few months? We’ve evolved our business by increasing our volume of production and by having launched seasons 5, 6 and 7 of Oggy & the Cockroaches, and most recently, we are launching a brand new third season of Zig and Sharko. We’re also launching some brand new Xilam properties including Mr Magoo and Coach Me If You Can.

What is Xilam Animation’s focus for MIPTV? What shows will you be bringing to the market? At MIPTV this year we will be closing the first round of sales for Mr Magoo. In addition to this, we’re also launching the brand new third season of hit animation Zig & Sharko at MIPTV.

How has Xilam’s portfolio of shows evolved over the last year? We recently launched our very first preschool series, Paprika. As Paprika is Xilam’s first preschool IP, it signals a significant growth in the company.

With a portfolio of 2000 animated episodes, how does Xilam Animation distinguish its offer from competitors? Xilam distinguishes itself as a reputable and recognised company in children’s television. We’re seen as experts in the 2D animation space, which is a hyper demanding genre in terms of production.

MIPTV 2017

Why do you think your shows are so successful around the world?

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There is nothing more international than non-dialogued cartoons, all the more so when they are delivered with high-production standards. We combine the true producer vision with incredibly talented artists, and that never gets old!

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Morgann Favennec, EVP of Development & Global Sales, explains that “there is nothing more international than non-dialogued cartoons”.

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In your opinion, what are the biggest trends in kids television for the year ahead? The change of users’ viewing habits will probably have the most direct impact on the younger kids demographic. We feel serial

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Xilam extends ‘Oggy’ into mobile games with Nazara Partnership

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Xilam announced its consolidated 2017 revenue of • 24.4 million, meaning an increase of 54%. This performance is all the more impressive on the back of 40% growth in 2016. On the new productions was a substantial progress in volume terms, very strong value growth. In 2017, Xilam delivered 63 half-hour programs to broadcasters, compared to 51 in 2016. This volume growth of 24% demonstrates the Group’s ability to satisfy strong market demand. With revenue of • 15.3 million, this growth represents a 42% increase in value terms. This solid growth is a testament to the quality of the new programs offered by Xilam and the company’s ability to build the value of its new content. Digital platforms and television channels are now both behind the sharp rise in sales of new productions. Regarding its catalogue the performance improved on all platforms. Catalogue revenue exceeded • 9 million in 2017, which is an increase of 77% compared to last year. As such, Xilam Xilam’s Catalogue division has passed another major milestone which attests to the long-term strength of its brands. This record performance is the result of more intense competition between traditional (paid and free) TV channels and digital platforms, in which Xilam has a very strong foothold. Digital platforms now account for 40% of Catalogue revenue and 23% of total revenue. Xilam’s revenue growth is also due to the extremely sharp increase in international sales, which now account for 56% of total revenue. Standing at • 13.8 million, international sales increased 80% compared to last year.

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2017: A record year with € 24.4 million revenue, an increase of 54%

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Our business goal is to keep the sales revenues growing as fast (if not more!) as the growing production volume. We would also like to make our mark in the licensing and merchandising market with Oggy & the Cockroaches and Zig & Sharko, and install Paprika as a strong new option for preschool LM.

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What are your business goals for the first half of the year?

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We are focusing on developing our business in China and making this a key priority. We are also optimizing the presence of our library in Latin America as one of our key targets.

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What are the main territories that you are focusing on targeting this year as a business?

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programs for kids could be the next big trend, but the appetite for strong iconic characters and out-of-theordinary pre-school shows should remain unchanged.

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Xilam Animation is further boosting the Oggy & the Cockroaches brand into gaming with the appointment of Nazara Technologies, a global mobile game company, in a deal brokered via Xilam and licensing agent, Dream Theatre. Nazara will launch a raft of new captivating mobile games for younger audiences that underscore the hilarious, entertaining brand values of Oggy & the Cockroaches. The first game is expected to be available in the first quarter of 2018 in Asia Pacific, Latin America and Middle East. With an ever growing digital landscape, Oggy & the Cockroaches is reaching new heights and raking up exceptional results on digital platforms throughout the world. The series has a cult following on Facebook with more than 3.5M fans and 1.2M subscribers on YouTube. Marc du Pontavice, Founder and President of Xilam said: “Xilam is eager to expand the presence of its properties in the digital domain. Nazara is one of the leaders in the mobile gaming arena and we’re thrilled to be working together to take Oggy and his friends to new heights in gaming. We’re excited to give kids yet another avenue to become immersed in his cheeky world as we celebrate 20 years of Oggy & the Cockroaches.” On the other hand, Manish Agarwal, CEO, Nazara Technologies said: “With Oggy & the Cockroaches, Nazara will continue to deliver high quality games for the global market. We have built a strong portfolio of successful games which have targeted young audiences in India over the last two years and now with the Oggy & the Cockroaches IP, we can reach audiences across emerging markets beyond India, by leveraging the global appeal of the show.” Cartoon Network Asia has scooped up seasons five, six and seven of the series for its channels this year, with previous seasons of Oggy currently running on Nickelodeon, Youku in China and Netflix Asia Pacific (outside China and India). In India, Oggy & the Cockroaches currently airs on both Cartoon Network and Nickelodeon, as well as on Amazon Prime. The series is also available on Cartoon Network Latin America and on Cartoon Network Middle East and Africa (MENA), and Gulli Bil Arabi. The series is distributed in more than 160 countries around the world and is watched in 600 million homes.

MIPTV 2017

INCOMPANY

STAFF

A+E Networks has elevated Christopher Barry to SVP, Head of Finance, Ad Sales, Distribution, International and Digital. In his new role, Barry will work with Ad Sales, Distribution, International and Digital divisions’ management to provide financial oversight, business planning and strategic support for growth initiatives and investments. Barry’s new role includes overall revenue planning and will combine his operational and financial experience in order to support and drive growth within A+E Networks’ business divisions. ○

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RCN appointed Eugenia Vélez Barreneche as Programming Manager. The executive will handle the TV content for future productions. “In this moment, we are testing some projects really attractive for our slate in order to attract our audience with big teams and with a thought about the needs of our programming, when and how, with a wide variety of high quality new content for different targets related to their needs, so as to fulfill our audiences’ expectations”, explained Vélez Barreneche. ○

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Juan Carlos Rodríguez took responsibilities at Televisa Deportes, where he’ll be in charge of the coordination of production and Distribution of all Sports Content made by the company on all of its platforms and will directly report to the co-CEOs of the Group, Alfonso de Angoitia and Bernardo Gómez. At the same time, Rodríguez will still be President of Univision Deportes, as it will help to the synchronization of strategies and coverage of relevant sport themes, as the World Cup Russia 2018. ○

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EOne gave Peter Micelli the role of Chief Strategy Officer, Film, Television and Digital, from where will supervise the whole business of the company. Reporting to Mark Gordon and Steve Bertram, Micelli has to generate innovative alliances for eOne, besides developing a new TV strategy for the company, including the analyses of possible opportunities of merging and acquisitions. ○

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MIPTV 2018

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Kerensa Samanidis assumed the position of General Manager of Filmstruck International. Turner International and Warner Bros. Digital Networks chose the executive for the leadership of its new streaming service of premium movies launched in the UK. In her new role, the responsibilities include: the overview of the programming, product, brand, marketing, acquisition and maintenance of subscribers and communitarian management. ○

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Patricio Wills joins Televisa on its Production Content area and Head of Studio de Televisa Studios. His responsibility will be the continuation and strength of the process of content renovation. Patricio Wills reports to Isaac Lee, Chief Content Officer, Televisa & Univision, and into its responsibilities are the talent overview, development and production of every content produced by Televisa both for FreeTV and PayTV. ○

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Angélica Guerra left Sony Pictures Television and joined Apple. The executive had been recently promoted as Managing Senior in the International Production team of the studio, but now she will lead the programming in Latin America for the tech giant. Previously, Guerra was SVP and Managing Director of Production for Latin America and USH. In that role, she transformed SPT in one of the most proliferative indie production companies of the region, expanding its presence to Colombia, Mexico and Brazil. ○

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Editors • Directors Rafael Val María Pía Pazzaglini

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James Pitaro became the new President of ESPN. After the resignation of John Skipper in December, The Walt Disney Company chose Pitaro for the role, as he was already in the company since 2010, after nine years in Yahoo, as VP Media, and Director of the Sports Division of the company. The executive begun as co-President of Disney Interactive. ○

Year XXV MIPTV 2018 Edition

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Turner Latin America announced the inclusion of Sergio Nakasone on its Content Production area, in the role of Director Entertainment Content Development. Reporting to Tomás Yankelevich, and based in Chile, Nakasone will develop new content for the brands of the company, and will work closely on the coordination of the team headed by Javier Goldschmied, Director of Programming and Production of Chilevision, the FreeTV channel of Turner Latin America in Chile.

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Randy Falco leaves Univision by the end of the year The Executive President will leave his position after almost eight years. The unexpected announcement was made only for months after the extension of the contract that kept Randy Falco in the Presidency until January 2020. The day before the announcement, Francisco J. López-Balboa explained that he left Univision in order to look for new opportunities, and Peter H. Lore was proclaimed new CFO. Under its presidency, Falco created Univision Deportes Network and launched new broadcast services so as to diversify the incomes of Univision. Over the last term of 2017 the incomes of the company fall an 8%, meaning USD 780 billion; compared with the same term a year ago, when it reached USD 846 billion. Saban Capital, owner of Univision, stated: “during it time as CEO, Falco has modernized the organization of Univision increasing the incomes and reducing the debt to record levels. We couldn’t be more proud of his performance”, and pointed that the leaving executive will help with the restructuration of the company.

DIXIT “Everyone is looking at whether these combinations of AT&T and Time Warner or Fox and Disney pass government approval and muster, the fact is nobody for some reason is looking at the monopolies that are Google and Facebook. There’s no question that in a Google and Facebook’s world, monetization of content is important, but while Netflix and Amazon have changed consumption habits in many genres of content, live news and live sports are immune to them. Monetizing digital and mobile content has been more difficult than we expected, and that the Facebook-Google duopoly receive a majority of every new digital dollar. However, CNN has never been more relevant, and OTTs has not had a dramatic effect on us. Our core business has never been stronger”. Jeff Zucker, President of CNN Worldwide.

Netflix invested more than USD 6 billion in 2017 The latest report of the digital giant was published and the highlighted number is that during the last year, Netflix invested USD 6.3 billion in original programming and acquisitions, only comparable with the number of a traditional TV giant. With that number, Netflix became the streaming service with the highest investment in non-sports content. Saying this, its business strategy is only comparable with companies like Time Warner (USD 8 billion), FOX (USD 8 billion) and Disney (USD 7.8 billion). In the list is also included NBCUniversal, with its more than 10 networks, that invested USD 10.2 billion in that kind of content. The investment on content made by Netflix is highly superior from VIACOM’s, Amazon’s or CBS’, and also higher from the new players of the industry, Apple and Facebook who destined nearly USD 1 billion in this content. On the other side, some estimations concluded that Netflix will increase the budget this year, reaching the USD 8 billion just only for new original content.

Discovery concludes the acquisition of Scripps Networks Interactive Under a statement, the Company confirmed the operation and also highlighted the creation of Discovery Inc; as a result of the combination that “creates the new global leader of the real life-style entertainment business, through all the screens available”. David Zaslav, President & CEO of Discovery explained: “our new name is a milestone on our history as we become a differentiated media company, with a portfolio with the most trustworthy family brands of the world. As a new leader of entertainment, Discovery will reach a loyal and passionate audience with inspiring content that informs and entertains in every platform. We will have available for our clients and distributors all the new ways to reach targeting audiences in scale, and will take advantage of the leadership position so as to create a new value and growth opportunities for its stockholders”. The change of name to Discovery, Inc. shows the new focus on the growth of those areas where Discovery shines, telling stories through genres deeply beloved and empowering its fans in order to explore the world around them whenever and wherever they want.

MIPTV 2018

KIDS STUDIO 100 MEDIA / M4E

Brings the latest kids’ creation of Luc Besson How has evolved the businesses of Studio 100 Media / m4e since last Mipcom? Studio 100 Media and m4e have moved into new offices becoming really one big family now. Although still operating as single companies, having all staff under one common roof has the most positive effects on using all synergies concerning our national and international activities. During the last months we have set the path for an exciting future with new company subsidiaries like Josh Selig’s Little Airplane Production or with new content that we are developing, such as a “Vic the Viking” live action TV series. Combining the strengths of two successful companies such as Studio 100 and m4e with all their properties – the library features more than 17,000 episodes of kids and family entertainment programs - and adding a strong production slate with promising properties for the future, we are about to establish one of the leading company groups for kids & family entertainment worldwide. Which is the focus of Studio 100 Media | m4e for this MIPTV? We are in Cannes with a brand new season of the preschool program “Tip the Mouse”, now offering 78 funny and adventure-driven episodes for kids and families. With “Arthur and the Minimoys” we stay in a tiny environment

and re-visit a fantastic world of the Minimoys – almost invisible to the human eye. This fast-paced action-series is based on the hugely successful movie saga about “Arthur” that was created and directed by Luc Besson. These are only two highlights from our extensive program portfolio that will meet the needs of every broadcaster, channel or digital platform. More titles that we feature at MipTV are “Maya the Bee” with the second season now broadcasted internationally, “Mia and me” for which season 4 and a feature film are in pre-production, or “Wissper” where a second season is in pre-production as well. What was the impact of ‘Tip the Mouse’ in the world? What are your expectations regarding the new season?

MIPTV 2018

First, ‘Tip the Mouse’ was a very strong publishing property with more than 11 million copies of the children’s books sold, translated into 32 languages. The TV series has then been sold to over 100 countries where it was successfully broadcasted and in many territories a strong licensing program has been established as well. With the second season we will for sure continue this success story. How can you describe the offer of ‘Arthur and the Minimoys’? And how does it differ from the competition? ‘Arthur and the Minimoys’ already builds on a long successful (brand) history. It all started with children’s books in France and was then turned into three feature films that were all produced and directed by Luc Besson (the visionary French director of movie hits like “Léon” “The Fifth Element” or “Valerian”). Now as producer of the series, Besson is bringing in his and other creative talent to the show. Of course there is everything that a boy brand determines: a hero they can identify with, unique accessories and weapons and super warriors. The values that the series transports are friendship, bravery, optimism, ingenuity, curiosity and nature protection. The brand heritage, its unique ingredients and its fantastic style distinguishes the series from others in the market. How has the industry changed with the appearance of online platforms and multi-viewing, towards the monetization of content, and children consumption? It definitely has. We are constantly exploring the direct offering of new exploitation opportunities, from YouTube channels to SVOD/TVOD apps and at the same time we are having a selective approach towards external new delivery platforms. There are a lot of issues on the contractual side since several rights are blocked by older linear broadcaster contracts and solving those takes up a lot of time and energy. Do you think that there’s a need of re-thinking new content so as to renew the industry and its markets? I definitely think that we should rethink the way we produce content. We are evolving more and more to delivering more than just the animated series. From the start we include game development, YouTube assets, interactive content, etc. We also try to change the contractual relationship with the linear broadcasters from the start, which is very challenging. But we do feel that linear channels are today still the key driver for further exploitation.

Jo Daris, CCO, describes that after the union, the portfolio is compound by more than 17,000 episodes of kids and family entertainment programs.

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MIPTV 2018

KIDS CYBER GROUP STUDIOS

Shows its diverse library with 1000 half hours How have evolved the businesses of Cyber Group over the last months? We have been active structuring a very diverse slate of new series. We are developing in-house 7 productions including : “The Pirates Next Door” with France Televisions, ”TAFFY” with Turner (Program to be the first boomerang original), “Gigantosaurus” with Disney Worldwide, France Televisions (France) and Super RTL (Germany), “Tom Sawyer” with SRC (Canada), ARD/HR (Germany) and RAI (Italy), “Mini-Ninjas” in coproduction with TF1 productions (France) and “Sadie Sparks” that we are

doing with Disney EMEA. Our aim is to provide high quality programming for the different segments of the markets. We started with 3D and Preschool “ZOU” we went to Kids with “Zorro The Chronicles”, we are now heading with “TAFFY” to our first cartoon which is a very exciting adventure! We really want to bring to kids the best programs. Why do you think that your offer is well-known around the world? The company’s aim is to bring the public a number of programs in different genre always of the best quality. To bring the highest quality entertainment, the company collaborates with the best creative talents around the world, and develops breakthrough technology to enhance its productions. Cyber Group Studios is also proud to continue the development of partnerships with top producers by bringing them high value access to key players on the international market. Today our rich and diverse library includes 1000 half hours of programming targeted at kids and family and Cyber Group Studios continues to establish a strong presence worldwide by signing new agreements with buyers worldwide. After opening new offices in Los Angeles, Cyber Group Studios decides to extend its international exposure on digital platforms thanks to key partnerships and new dig-

MIPTV 2018

ital specialist. Lately Cyber Group Studios opened its new interactive division that will aim at developing games and interactive experiences on digital platforms, on traditional console platforms and PC. We work hard and invest a lot to bring the best programs and we make all our efforts to get in touch with the audience on the different media it enjoys our programs whether traditional pay or free TV, new SVOD platform or AVOD services. How has the industry received your latest shows? “Mirette Investigates” has been sold in most of the European territories including in Germany to WDR, in Spain to RTVE, In Belgium to RTBF and VRT and in Asia including in Japan that is a very difficult market (Disney Japan). “The Pirates Next Door” still in production, has been sold in Scandinavia to SVT, NRK and DR, In Spain to RTVE, and deals are being closed as we speak in Italy, in Germany, in Latin America and in Asia. On the other hand, “Gigantosaurus” has been sold for television to Disney worldwide. France Televisions (France) and Super RTL (Germany) have jumped into our next big preschool series at a very early stage and we are as well very excited to have closed a deal Master Toy deal with Jakks Pacific INC. So yes we are very happy to bring different type of programs to the market and to see that we got such a great response from our clients. In your opinion, which are the Kids’ Industry Trends for this year? In terms of programs, comedy is really the key elements to all targets and almost all genres of animated series. Hybrid programs are as well a new trend and we are developing two projects in this category. On the consumer side we are living huge changes and digital has become key in how kids watch their favorite shows. This is even more than a trend, it’s a new frontier for us. Which are your goals for the first half of the year? We are looking forward to developing our digital strategy both with our existing catalogue and with original content. I just hired Loic de Boudemange to run our Digital operations. He has a strong record in digital expertise as he served as Social and Digital Manager for 5 years in the TF1 group and 2 years within TV5MONDE. His goal at cybergroup is to maximize our performance on digital platforms and to optimize the visibility of our all programs with a focus on the existing strong brands we have such as ZOU and ZORRO. More globally he will implement our digital strategy and direct to consumer positioning.

Raphaelle Mathieu, SVP, Sales, Acquisitions & New Media, admits being proud to continue the development of partnerships with top producers.

KIDS

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MIPTV 2018

KIDS ENTERTAINMENT ONE FAMILY AND BRANDS

“‘PJ Masks’ is now broadcasted in 85 territories worldwide” In your opinion, which are the Kids’ Industry Trends for this year? Broadcasters are becoming more and more selective in choosing shows as they have to consider the limitation in the number of slots available. They look for shows that can engage kids but that can also be watched together with their parents. We’re seeing quite a big demand for live action shows too. How has the business of eOne Family & Brands evolved over the last months? Our animated preschool superhero series, PJ Masks, has gone from strength to strength. The show is now broadcast in over 85 territories worldwide and in addition to the Disney Junior global network it also airs on multiple FTA and VOD platforms in France, China, Australia, the UK, Italy, Nordics, Mexico, Brazil, Taiwan, Indonesia and Malaysia. Consumer products launched globally to great success last year which has strengthened the fan base and series 2 is now rolling out around the world, with series 3 currently in production. Peppa Pig continues to be a big favorite with families worldwide and we have new episodes currently in production and rolling out on-air. We’re also starting to build momentum for our new animated kids’ comedy series Cupcake & Dino: General Services which launched at MIP Junior last year. The series is slated to air from summer 2018 on Teletoon in Canada and Disney Channels Latin America, and will debut as a Netflix Original on the SVOD global platform. To facilitate the growth of these properties in key markets we have a network of local offices in New York, Melbourne, Hong Kong and São Paolo. The team based our London headquarters has also grown considerably to manage the incredible success of PJ Masks and ready new properties launching later this year.

Monica Candiani, EVP, Content Sales, suggests that the limitation in the slots available makes broadcasters choose content carefully. Which is the focus of eOne Family & Brands for this MIPTV? The key highlights from our portfolio at MIPTV this year will be our new show Cupcake & Dino: General Services, PJ Masks, which has become a hot TV property around the world, and the universally loved preschool series Peppa Pig. Which are going to be the strategy for the new episodes of ‘Peppa Pig’ in the world? We will be globally rolling out new episodes of Peppa Pig from 2019. There will be key themes linked to these episodes with great marketing initiatives and special events to celebrate them with partners around the world. Why do you think that ‘PJ Masks’ is gaining the attraction of the industry? PJ Masks is the perfect combination of dynamic, fast paced action and heroic characters with wholesome and age appropriate storylines that teach values such as teamwork, patience and overcoming your fears. The strong ratings demonstrate that kids love it and parents are comfortable that it’s suitable viewing for the 2-6 age group. Merchandise launched around the world last year and has been a big hit with kids, the products also help strengthen the connection children have with the show which has a positive effect on ratings. The quality of the content and the show’s instant popularity with kids and has really helped it stand out in a crowded marketplace and with new episodes landing this year and a third series in the pipeline we hope to nurture this popularity for the long term. Which are your goals for the first half of the year? We are aiming to secure more FTA partners for PJ Masks and with the strong interest we are receiving for our new show Cupcake & Dino: General Services, we’re looking to start signing broadcast deals for this program too.

MIPTV 2018

KIDS

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MIPTV 2018

KIDS 9 STORY MEDIA GROUP

Celebrates the 40th anniversary of ‘Garfield’ Federico Vargas, Senior Director Distribution, describes the recent acquisition of Out of the Blue Enterprises.

How have evolved the businesses of 9 Story over the last months? 9 Story continues to grow and expand its global footprint. We recently acquired Out of the Blue Enterprises in New York, a leader in children’s media across content creation, TV production, digital applications and consumer products. Joining forces broadens our development capabilities, increases our consumer products reach and extends our presence in the U.S. Which is the focus of 9 Story for this MIPTV? We have an exciting slate of new content to present this year at Miptv, including new series in production, new acquisitions and new seasons of existing shows. We will be sharing first episodes of Let’s Go Luna! (80x11’), our latest animated series for PBS KIDS created by Emmyaward winning animator, writer and artist Joe Murray (Rocko’s Modern Life, Camp Lazlo). We also will be showcasing the newly acquired stop motion series The Diary of Bita and Cora (26x5’) from Spain’s TV ON Producciones. In addition, we will be featuring Luo Bao Bei (52x11’), an animated series for kids 4-7, that

MIPTV 2018

has been gaining traction internationally since we first presented it at Mipcom. We will also be presenting new seasons of our top selling animated shows, like Daniel Tiger’s Neighbourhood and Nature Cat. How has evolved your portfolio over the last months? It’s the 40th anniversary of the Garfield comic strip coming up in the spring and to commemorate we’re remastering the classic series. The classic brand continues to be incredibly popular around the world. Why do you think that your offer is well-known around the world? Our content has universal themes, which is ultimately what makes our shows successful not only in Latin America but also internationally. Shows like Daniel Tiger’s Neighbourhood (Disney Junior Latin America), Wild Kratts and Peg + Cat (Discovery), and Camp Lakebottom (Disney XD Latin America) have sold successfully all around the world. Another example would be an

evergreen series like Garfield, which never goes out of style. In your opinion, which are the Kids’ Industry Trends for this year? We are seeing strong performance across the entire kids’ category, including preschool, 4-8 year old “bridge” programming and 6-11 year old comedies. Preschool is always popular and series like Daniel Tiger’s Neighbourhood and Peg + Cat have performed well in Latin America. We also see a strong demand for content geared towards 4-8 year olds; the kids that are growing out of preschool but not yet ready for 6-11 year old comedies. Shows like Wild Kratts and Nature Cat serve this audience quite well. And then our 6-11 year old comedies like Numb Chucks and Camp Lakebottom are also in high demand. For linear and OTT players to be successful, they really need to have programming options for everyone in the family, across age demographics. Which are your goals for the first half of the year? We have three main goals for the Latin American market this year: maintain marquee linear relationships that are partner and brand driven; partner with regional OTT players and participate in shared growth opportunities; and continue to grow our Free TV base. It is our view that each of these initiatives are fundamental to growing our distribution business in the region.

MIPTV 2017

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APRIL 2018 YEAR XXVI /SPECIAL EDITION MIPTV www.newslinereport.com

INTER MEDYA

“We will boost our efforts to advertise and sell feature films” Which is the focus of Inter Medya for this MIPTV? At the end of 2017, we had announced that we would launch at least one new title at every major market. Following that, the first product we will launch at MIPTV is a new drama produced apim apim. Soft launched at Discop in Dubai, The Pit has by Ay YYapim already generated a lot of interest. Featuring actors Aras Bulut Iynemli and Dilan Cicek Deniz, The Pit is the story of a young man named Yamac, who comes from an influential family ruling over Cukur, a neighborhood in Istanbul. Torn between his love, his family, and his neighborhood, Yamac has no idea that his life is never going to be the same when he has to go back to Cukur to become the head of the family. The second product that we will launch at this market is a fresh format. Taking place in a luxurious beach house in the Caribbean, The Perfect Couple is a dating game show where contestants compete to win the limited number of room keys in order to avoid sleeping outside. The losing contestants, who stay outside, have to fight in an elimination duel to determine the one going home.

MIPTV 2017

While television series and feature films are still constantly being produced and watched, we believe that OTT and VOD platforms are going to increase tremendously in the near future, which will be accompanied by a massive development of digital productions.

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Can Okan, Founder & CEO, admits that the company is looking for an expansion in Africa, South East Asia and Western Europe.

Which is your view on the industry, and the emerging new genres?

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over story

How has change the industry the appearance of online platforms and multi-viewing, towards the monetization of content? We believe that OTT and VOD platforms, developing more and more, will become very important for our business in the near future. As you know, we were proud to have sold 4 of our TV

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As you know, 2017 was an important year for our company as we celebrated our 25th anniversary. It was also a particularly successful and fruitful year. Thanks to the worldwide success of

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Which are your goals for the first half of the year?

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Today’s game shows are very different in format from their counterparts of early television, but one thing is still crucial dramatic tension. The decisive moments of suspense and drama are particularly important in nowadays’ entertainment shows, especially in a market where everyone is focusing on the next primetime product. We’re looking for emotional and dramatic content, and when the excitement is there, it’s a great game format to deliver.

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Which is the reason that your gameshows are gaining the attraction of the market, as your dramas already do?

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The popularity of Turkish content in the world has reached exciting levels over the last decade, especially in Latin America, Eastern European countries and Central Asia. Following the latest political situation in the MENA region, the sales of Turkish content has moderately decreased. However, with Turkish series being exported to more than 130 countries across the globe, we have recorded a production boom in the domestic TV industry. Our diverse catalogue, which features intriguing storylines and talented cast members, such as Endless Love, Mrs. Fazilet and her Daughters; and Broken Wings, are already very successful in these territories. Our goal this year is to sell more and more in Africa, South East Asia and Western Europe.

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How has the industry received your latest shows?

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Nowadays, besides dramas, there are a number of new genres being produced in Turkey, such as dramedies, criminal dramas and actions. Due to the high production quality of Turkish content, we are confident that these new genres will be as successful as our dramas in the international market. Indeed, Hayat, one of our recent dramedies, has attracted a lot of interest from various territories in the last few months and we hope to conclude some new deals soon.

Last February, Colombia’s Canal 1 launched the Turkish drama ‘Broken Wings’ that was broadcasted with ‘Mrs. Fazilet and her Daughters’, just a month later the announcement of that sale. Both dramas were acquired by the Colombian network during NATPE. ‘Broken Wings’ tells the story of Zeynep brothers, Emre and Cemre and their sister Aysunm, who lost their father, and sink into poverty its only hope is that their mother is a strong, powerful and young woman.

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Do you think that there’s a need of re-thinking new content so as to renew the industry and its markets?

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series to Netflix, the biggest online platform in the world, only a few months ago and think that this trend will continue to grow in our favor in the coming years.

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Colombia received ‘Broken Wings’

our series Endless Love, Hayat and In Between, our international sales increased by 60% since 2016 and we strongly believe that 2018 will bring on even greater results. We not only plan to expand the sales of TV series, we also want to boost our efforts to advertise and sell feature films. We believe that just like Turkish drama series, Turkish movies will become extremely popular in the international market and our company holds a huge catalogue of movies.

‘The Pit’ arrived in Chile During last Discop Dubai, Inter Medya announced that its latest title, The Pit was acquired by the Chilean network Mega. Known as a big Latin American house of Turkish Dramas, Mega has several titles of this genre on its screen. The production was announced last month, through an alliance with Ay Yapim. “We are proud of work again with Mega and I think The Pit will be a huge success on that screen. It is such a high quality series with very dramatic features. As the story goes by, lots of secrets and surprises are being developed”, explains Can Okan. Produced by Ay Yapim and broadcasted in Turkey on Show TV, The Pit increased the rating number episode by episode, reaching a 30% share in the competitive Turkish market.

MIPTV 2017

CONTENTS CANADA MEDIA FUND

“Sales of Canadian content continue to increase” Valerie Creighton, President & CEO, renews its partnership with Proimagenes Colombia for new original productions. beneficial relationships and we’re seeing increased international interest in working with the CMF as a partner and with Canadian producers. How has evolved the businesses of CMF in the beginning of the year? Over the last several months, the Canada Media Fund has continued to support Canada’s screen-based industries through predictable and stable funding policies, but also through our ongoing promotional efforts at international markets where we promote Canada as a reliable coproduction partner. We also continue to seek out new international partnerships that will allow us to maximize our funding by pooling resources with international funding agencies. Most notable is our renewed partnership with Proimagenes Colombia, as well as new incentives with Film Fund Luxembourg and a dedicated fund to support Indigenous production in the Arctic. Dedicated coproduction incentives have been developed or renewed with the Danish Film Institute, Medienboard Berlin-Brandenburg (Germany), Broadcast Authority of Ireland, the Jerusalem Film Fund (Israel), NZ On Air (New Zealand), and Wallimage (Belgium). More international agreements will be announced in the coming months. We are thrilled to see that our dedicated co-development and coproduction funding initiatives have fostered mutually

MIPTV 2018

Which projects would you highlight at MIPTV and what are your hopes and expectations in this regard? At MIPTV, in addition to the Canada Pavilion, Canadian producers will be participating at In Development, a MIPTV-Canneseries initiative allowing them to develop coproduction opportunities for drama series, a genre in which Canada has a great deal of coproduction experience. We will also showcase a number of short-format series at Canneseries. Canada’s presence will be toped-off by a showcase of three VR projects at the VR library, as well as by the presence of Maya Kodes, a holographic experience and virtual singer who will interact with and entertain guests at the Canada Pavilion. This 360, fully-integrated approach speaks to the growing Canadian presence at international events like MIPTV, where Canadian creators have been able to develop unique business opportunities, taking Canadian content around the world. We strive to create as many business opportunities for Canadian producers as we possibly can. We also want to reinforce Canada’s position as a coproduction partner of choice by developing partnerships with

counterparts in other major production countries in Latin America, Europe or Asia-Pacific. Canada is known for providing a very competitive environment for television and digital media production and coproduction. We intend to build on this reputation and to support the phenomenal work Canadian producers accomplish year after year in order to meet consumer demands of tomorrow. How have the latest titles worked in the international market? Canadian productions are exported all around the world and sales of Canadian content continue to increase. Canada is in fact among the top-five TV exporters in the world. Turning to digital media, even if the technology is still quite nascent, augmented and virtual reality are catching on quickly. Consumers are increasingly hungry for content on a growing number or platforms and devices, including VR. Technology has provided innovative options for sharing stories with audiences from all parts of the world. In this context, the Canada Media Fund has made a strategic decision to invest in an ever-growing number of VR projects as an important part of the funding it provides to Canadian digital media. Canadian companies are at the forefront of digital media innovation. By way of example, Montreal is fast becoming a global centre of excellence in VR, rivalling much larger production hubs around the world. Thanks to the reputation of Canadian digital media content, the expertise acquired by producers, and a funding ecosystem that supports innovation and creative storytelling, Canada is well positioned to lead in the promising VR market and to respond to consumer trends.

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MIPTV 2018

CONTENTS KANAL D

“We are producing original content for our OTT platform BluTv” Kerim Emrah Turna, Director of Sales and Business Development, explains that ‘Mehmed the Conqueror’ will be the biggest hit of the year. duced new OPT and PT programs such as Desperate Housewives’ local adaptation and a TV classic Popstar 2018.

How have evolved the businesses of Kanal D since the last MIPCOM? We launched four new dramas Mehmed the Conqueror, Wildrose, Broken and Fallen Apart that have gained the attention of the whole international industry. We have also two new dramas are on the way and they will be announced soon. In addition to the dramas, we have pro-

Which is the focus of Kanal D for this MIPTV? Mehmed the Conqueror is the priority focus of Kanal D. This will be the biggest hit of the year. However, all the dramas we are airing and about to air are also important for us. Our biggest hit, historical drama Mehmed the Conqueror, a young starlet’s success story Wildrose, a heartbreaking family drama Broken and daily drama Fallen Apart. In your opinion, which are the Industry Trends for this year? The industry is running towards to digital and the demand for original drama series has risen. The growth of SVOD platforms over the last five years has been significant that’s why a serious amount of money has been invested in original content, resulting in the number of digital series to increase exponen-

tially year on year. That’s why we are producing original content for our OTT platform BluTv. Which are the main territories where you are focusing your business strategy? Though we are well known in LATAM, Eastern Europe, and MENA regions, we would like to focus more on Western Europe, Africa, and the Far East for our business strategy. Which are your goals for the first half of the year? As Kanal D, we are working very hard to reach the audience by all mediums such as Pay TV, OTT, and TV everywhere distribution channels. Besides these, we are trying to keep our conventional free TV clients as much profit as we can with the help of the traffic that is generated by our rich and high-quality content.

MEDIASET DISTRIBUTION

Italian series and formats for the World ‘Love snack’, ‘The Catcher’ and ‘Ordinary Heroes’ are some of the key-titles. Manuela Caputi

At the new edition of MIPTV, Manuela Caputi, Head of Sales at Mediaset Distribution, is coming to the market with some hit scripted series and an unscripted formats just broadcast on Mediaset Channels. In February, Canale 5 launched the drama series ‘Wind of Passions’ -original title ‘Furore’- (28x80’) produced by Ares Film. Set in the Italian Riviera in Liguria in the early ’60 tells the story of Giovanna a young Neapolitan in search of her true origins facing the hostilities of the Norther prejudices against the southern migrants

MIPTV 2018

who moved in search of a job and a new life in the North. In prime-time, Canale 5 also launched a cycle of 4 TV Movies ‘Ordinary Heroes’ -original title ‘Liberi Sognatori’- (4x100’) stories about courageous people fighting for their ideals and killed because of their integrity and honesty. Caputi says that “the drama catalogue also includes the comedy series ‘Immaturi’ (8x80’) based on the movie with the same title, a very funny story of a group of classmates forced to go back to school in order to get their final exam. The series had a good response with an average share of 16.5%.But our little gem is ‘Love Snack’ a scripted comedy series of 3 minutes that sees two single flat mates in search for love dating different person with the aim to find the right one. The series of 30 episodes has been successfully broadcast by Italia 1 in daytime”. In term of unscripted formats, the company has an interesting

pilot about virtual reality, titled ‘The Catcher’ with a lot of interactive potentiality as viewers at home can play with a special app. “Conceived by Bic Formats of Axel Fiacco is a very good idea for the International market constantly looking for virtual reality formats”, explains the executive. Mediaset also offers a talk show ‘The Desk’ with no host but a great twist. The guests take turn in different roles: interview and interviewee. Celebrities, VIP and actors enters and exits using mechanical armchairs that move them from off stage to center stage with the question displayed on a monitor.

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MIPTV 2018

CONTENTS TALPA GLOBAL

Expands the success of its formats Which is the focus of Talpa for this MIPTV? Our focus is on building brands. We will bring our big successful format ‘A Year to Remember’ to this MIP that had an amazing first season in the Netherland. And we will bring The Voice Senior, the latest spin-off of The Voice brand. Furthermore our MIP slate consists of an excellent range of shows. We will be introducing a big new cooking show, Superstar Chef. A celebrity cooking competition that pairs the best chefs in the country with the biggest celebrities. These duos must cook to their highest ability while being scored by 3 expert judges. First, the chefs intensely train their celebrities. Then, during the competition, the chef and celebrity cook together. By hitting the chef button, the lights in the kitchen turn red and the chefs must stop cooking. Now the celebrities must cook by themselves. Which celeb is able to convince the expert judges and who will be eliminated? In this show the celebrities stir it up! We will also be bringing some new entertainment factual formats, and a new talent show, So You Think You Can Sing. In this show three singers perform while being judged by the audience and a professional jury, leading to a top 3. However, this ranking remains a secret! Now it’s up to the three singers to unanimously create the Top 3 that they think has been ranked, in order to win a big money prize. Besides having a singing talent, do the contestants also have a good sense of self-knowledge and negotiation skills? Another new format is Your House, Our Rules, in which parents exchange families that are completely opposite when it comes to background and, most importantly: their house rules… What will happen when health freaks trade places with a family that prefers binge watching TV series with snacks over any form of exercise? Which is the reason that your gameshows are gaining the attraction of different territories all around the world? Indeed, we currently have several of our game shows on air in different countries across the globe. We have put a lot of focus and effort into this, because we know that the game show genre - one of the oldest genres in the TV world - is important in broadcaster’s schedules. It brings different age groups together, they are being watched by both young and old and connects them to the broadcaster. A strong game show has a long lifespan, bringing continuity for the broadcaster. The development of game shows is specialty that we have mastered well over the years. Some of the biggest game shows come from the Dutch market, like Deal or No Deal. What is unique to Talpa is that we not only introduce new game shows in a fast pace to the market, but that we also link them to new technologies. This enables us to create interaction and engagement with the viewers. For example, with our successful game show 5 Gold Rings, where players need to put the rings on the correct answer on a huge

MIPTV 2018

interactive LED floor which projects Annelies Noest, Director, amazing animated pictures that are the Formats, thinks that the base of each question. Thanks to the unique connected gameplay, viewers can challenge with young viewers play along on their smartphone at the same time and get to place their rings is not only to reach them, but on their phone and become part of the also to activate them. experience. 5 Gold Rings is now also available as stand-alone game. This means that audiences are able to play the 5 Gold Rings game anytime, anywhere. Are you thinking on investing in new original formats for unusual territories? We are a global company with a global network. We work with partners with access to screen. The Netherlands is our primary market, we are the number 3 export country of tv formats in the world. We look closely at where it is relevant and realistic to launch formats, and we have a selective approach as to what we want to bring to market. The Netherlands is a good blueprint because of the diverse public that is also well developed in digitalization. We have a critical audience and are therefore an ideal launching pad. Why do you think that ‘The Voice…’ and all its family of formats are so successful all around the world? For a big part this is thanks to the execution; with full focus and dedication we continuously improve the format with new elements to keep it fresh. And we now added the spin-off ‘The Voice Senior’ to our ‘The Voice Franchise’. Having seniors come to the stage will give the whole genre and brand a completely new feel. They are interesting characters with fascinating life stories that just go out there and do their thing, and it’s great to see the interaction with the families and grandchildren. There is a different feel to the show. Receiving its 4th Emmy in the USA last October, its 4th Producers Guild Award and its second ‘Deutscher Fernsehpreis award in January and continuous stellar ratings that are even increasing each new season in most countries proofs that we succeed in keeping this format fresh and up to date and that it is still a very sustainable format.

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Which are your goals for the first half of the year? We will continue to further build our strategy for linear broadcasters due to their increased need for big and bold shows. We will be active across all platforms; by creating connected content we activate engaged users across multiple touchpoints. Like 5 Gold Rings, where both young and old are watching and playing along with the app. The format, that we improved recently with a new gameplay, has already been sold to 6 countries and is doing really well at the moment in France. With our content we cater to all client types in the market;

the traditional players, the new players and the commercial players. We recently closed a deal with TV Thunder in Thailand to broadcast our hit show Dance Dance Dance on the Asian OTT platform LINE TV. LINE TV is the online video service of LINE, one of the largest chat services in Asia. Based on our extensive knowledge we can adapt our content to make it very suitable for OTT platforms. And with our branded formats, like our co-creation Design Dream in collaboration with Ikea, we help advertisers to reach their goals, ranging from awareness and engagement to conversion.

COMEDY CENTRAL - VIMN AMERICAS

“Original productions drives the success of a channel” Which is the creative focus of Comedy Central on this 2018? This 2018, we will keep the focus on those formats that have been successful in the channel like ‘Comedy Central StandUp’, ‘La Culpa es de…’ and ‘Se Busca Comediante’; while we’ll also keep developing new innovative content that could be attractive to our audiences. Since we were launched in the region, we have established ourselves as pioneers in the stand-up, distinguishing from the others Comedy Channels, and now, more than ever, we are building new experiences with new comedy series that maintain our place in the industry. Why do you think that your brands are so successful in the region? The success of a brand it is possible mainly thanks to their audiences. We recognize that local content is a key so as to establish a connection with the TV audiences, and that’s why we invest our time on studying its consuming trends (what and how they look for content) so as to provide them a better TV experience. Which are the differences on working on a same format but for different territories? In essence, the format is the same everywhere. The differences are bigger when you have to take into account the talent and its local humor. In each country, the audience will have a better experience if they know the talent, as it will captive

Federico Cuervo, SVP Production & Brand Manager, assures that with local versions of its international formats, the brand grew exponentially. events like the Comedy Central Fests, and we keep reaching more and more people through innovative and funny comedy experiences that go beyond the screen.

better the humor, as this is something very regional. For example, ‘Comedy Central Stand-Up’ and ‘La Culpa es de…’ are formats that have a tremendous success on each country where it is broadcasted, because they have well-known comedians in each region. How can you describe the growth of Comedy Central in Latin America over the last time? Do you think that the investment in original productions influences the success? Comedy Central showed a continuous growth over the years, both regionally and in each country. As mentioned, the fact that we keep investing on our original productions in every country has a lot of this, as we are now introducing off-air

Which are the features that Porta Dos Fundos adds to Comedy Central? Porta Dos Fundos has a unique humor style that can be adapted perfectly to the Comedy Central one; and we are very happy with the chance of create content together. Porta Adentro was the first project with them after the majority acquisition of the Group. More recently, we produced ‘Borges’ which was launched on March in Brazil. Which are Comedy Central goals for 2018? The priority of Comedy Central is the expansion of our audiences through a wider amount of original content; increasing the amount of hours of original productions in each country, and continuing with the generation of trends in the comedy environment through formats and innovative humor experiences.

MIPTV 2018

CONTENTS GAUMONT

Reveals a CANAL+ Creation Originale ‘NOX’ will show a different view of Paris through the life of a retired cop.

At MIPTV, Gaumont debuts the thrilling crime drama NOX (6x60’), a CANAL+ Creation Originale, produced by Gaumont that debuted on CANAL+ on March 12, 2018. French actress Nathalie Baye (‘Catch Me if You Can’), Malik Zidi (‘Made in France’) and Maïwenn (‘The Price of Success’, ‘Pardonnez-Moi’) co-star. In the darkness beneath Paris, retired cop Catherine Suzini (Baye) is forced back into action when her daughter Julie (Maïwenn), also a respected police officer, disappears into the underground tunnels of Paris. Catherine and her daughter’s partner, Raphaël (Malik Zidi), must chase every clue and use all their instincts to navigate a hellish descent into the basements of the city, navigating a terrifying maze of catacombs in a race against time to find her. “The vast underground tunnels that lie under the city of Paris are the perfect location for this dark thriller that explores an ugly side of the human psyche,” commented Vanessa Shapiro, President, Worldwide TV Distribution and Co-Productions. “Viewers will be on the edge of

MIPTV 2018

Vanessa Shapiro-Gaumont

their seats as they accompany Catherine on her descent, sensing that something very sinister is taking place below ground, and root for her as she develops a love for her daughter that grows stronger and stronger as she begins to think that she may never see her again.” NOX is created by Fred Cavayé (Point Blank, Radin), Quoc Dang Tran (Kaboul

Kitchen) and Jérôme Fansten (Amnêsia), with Tran also serving as screenwriter in collaboration with Clémence Madeleine Perdillat. Mabrouk El Mechri (Maison Close) is the series director. Gaumont’s Isabelle DeGeorges, President, Television France, is the series producer. Gaumont is handling the distribution in the U.S., Latin America and Asia. STUDIOCANAL handles distribution rights in Europe, Middle/East and Australia. Other key highlights at MIPTV include Narcos (40x60’), presented to linear TV partners for the first time this year, the fourth season for which is currently in production. “The rise and fall of the Columbian Drug lord Pablo Escobar is a story people can’t get enough of,” explains Shapiro. “We anticipate strong global demand, when Narcos season three premiered in September 2017, it dominated the month as the #1 most in-demand Netflix title in the U.S. and #5 most popular global title, according to Parrot Analytics.” The Art of Crime (6x60’) which debuted in November 2017 on France 2 with over 4 million viewers, will also be spotlighted. In this series, an unlikely duo come together to solve a series of crimes. Antoine is a hot-headed ex-cop who has reluctantly taken a job with a government task force fighting illegal trafficking of cultural artifacts. Florence is a neurotic but renowned art historian. Together, they captivate viewers as they contradict each other in every way, while also being exactly what each other needs to solve the crimes of contemporary and classic Paris.

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ALL3MEDIA INTERNATIONAL

Wants to replicate the US and UK success globally Janel Downing, VP Sales, LATAM, explains that after the penetration of its formats, the company wants to insert its scripted titles.

Titles like ‘Undercover Boss’ and ‘Kitchen Nightmares’ opened the LATAM territory for all3media International. That’s why the company wants to extend that recognition with its own scripted portfolio, leaded by ‘ Kiri and ‘ Mistery Road’ . Janel Downing, VP Sales, LATAM, explained that all3media begun the year with a strong presence in the region, as 15 months after the launch of its new office in America they could set its portfolio on new clients in the region and the USH, and that gave them the chance to keep consolidating the programming

of their current partners. All3media International has 26 inhouse production companies and through the International area they travel with the content in order to close investments for the programming and in that way they can complement its portfolio. “The market is looking for more dynamism, and that’s why we decided to change the length of several productions. We do also change the features that we used to look for in a production when it came the time to acquire. The industry is more open to receive several seasons of a same shows and that’s what we offer at all3media International”, explained Dowining.

Regarding the new titles for this term, all3media is launching, on the entertainment side, ‘ Inside Ikea’ , ‘Monty Don’s Paradise Gardens’ and ‘Gordon Ramsay: 24hrs to hell and back’ . On the scripted side, titles like ‘Mistery Road’ , ‘ Kiri’ and ‘ The Miniaturist’ , want to replicate the global success of the formats. Which is the feedback received from the LATAM and USH audiences? Our formats portfolio was very well received all over the region. What we could feel over the last time is that we are well-known for our Factual Entertainment Formats. ‘Undercover Boss’ is one of the most recognized titles in the region and it was also

adapted many times for local original versions in Chile and Brazil. The same happened with ‘Kitchen Nightmares’ that had its adaptions in Chile and Argentina, with a recommission in Brazil. We have a partnership with Discovery for 150 hours of factual entertainment, and it is through this kind of alliances that we can install and expand our brand. The same thing is what we look for in finished tape titles, so as to unify our brand and portfolio all over the region.

MIPTV 2018

CONTENTS UNIVERSAL CINERGIA

Opened a new studio in São Paulo THE DUBBING COMPANY REACHED ANOTHER TERRITORY FOR ITS SERVICES

Universal Cinergia officially opened the doors of its new studio in São Paulo, in the region of Vila Madalena, Brazil, and its operative services begun with the Portuguese dubbing of the successful series ‘ El Señor de los Cielos’ (Telemundo). The artistic director of the studio is Luciene Andreotti, while Liliam Hernández y Elisa Aquino will keep their responsibilities on the sales of the company, and Gema López will still handle the operative business of Universal Cinergia. For the company, this is a key moment, as the studio has just signed a contract with Netflix for the Dubbing Vendor Whitelist of the Portuguese language. The suppliers on that list are recommended by the platform to its clients when they look for specific services. “This is such a success for our company, as we work with huge determination and professionalism. We are so excited with the news, but as it

MIPTV 2018

doesn’t guarantee new projects, it puts us in a position of greater visualization and potential in order to obtain new clients in different territories, that might need Portuguese languages”, affirmed

Liliam Hernández, President and CEO, Universal Cinergia. The executives are attending this MIPTV, and the following markets of the Industry, like LA Screenings, MIPCOM, MIPCancun and ATF, meeting their clients and looking for new projects. “We believe that it is really important to be alert to the developments on the global media market, to know the trends and new content with a potential success. We are a company that is always closed to our clients, meeting their needs and challenges, providing quality and incredible service”, concluded Hernández.

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MIPTV 2018

CONTENTS SONY PICTURES TELEVISION

Formats reach Scripted Sarah Edwards, Creative Director of Global Formats, explains the reason why the entertainment shows are gaining the attraction of the industry. How do you choose the appropriate portfolio for the market? We pride ourselves on having creative slates that will delight buyers in their originality and mainstream appeal. We are always looking to bring new and exciting formats, as well as our catalogue, but it’s important that when buyers come to us we can show them something original and entertaining.

Which are the main formats you are focused on for MIPTV2018? This year we are commercializing ‘The Launch’, a new musical competition series that arrives to change the genre. The show exhibits in an authentic and behind-the-scenes way what it is need to change a new artist and give live to a song. On each episode, the artists’ auditions represent the chance to record and act a new original song, with the help of a prestigious panel compound by legends of the international musical industry. On the other hand we are showing ‘The Gong Show’, executive produced by the actor/comedian Will Arnett. Every episode will celebrate unusually talented and unique performers on a primetime stage. A revolving panel of judges featuring Hollywood’s hottest stars praise, critique and gong contestants in one of TV’s all-time great variety shows. Titles like ‘Beauty Queen and Single’, ‘Million Pound Menu’ (working title) and ‘Doodlebugs’ complete our offer for this market.

MIPTV 2018

Are you looking for new ideas to develop at MIPTV2018? We have just acquired the new music format, ‘The Launch’, so we are certainly in the business to acquire big and exciting shows, and we have a creative approach to collaboration with producers and channels around the world. How has the market received your latest shows? At a recent showcase there was a lot of excitement around ‘The Launch’ and ‘Million Pound Menu’ (working title) because it’s great factual entertainment made by first-rate producers. ‘Doodlebugs’ is one that never fails to make people laugh and ‘The Gong Show’ is a fantastic update on a brilliant classic format. Why do you think that SPT formats are gaining the attention of the industry, in the same way as your scripted titles already do?

Sarah Edwards

We have always looked for originality and fun in our formats. The creators we work with take pride in developing breakthrough ideas, whether it’s ‘Raid the Cage’ , ‘Shark Tank’ , ‘Release The Hounds’ or ‘Beauty Queen and Single’. I think buyers enjoy our pitches because they are entertaining and that is, after all, what we are all about! Which are the main goals for the Formats Area for the first half of the year? Our goal is always the same: to work with the best creatives in the world and make sure we have a must-see slate of formats that appeal to an international market. We have a great team of producers, developers, and sales people, all with a good instinct for formats, and we are working tightly as a team to bring the best ideas to MIP.

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MISTCO

Turkey keeps growing worldwide ‘Mehmetcik: Kûtulamâre’ comes as the successor of ‘Resurrection: Ertugrul’.

AYSEGUL TUZUNa

How have evolved the businesses of MistCo over the last months? The last months have been very successful for us. We have not only made many new deals for various new territories and titles, we have also entered in LATAM with our high-

est-rated drama ‘ Resurrection: Ertugrul’. We closed 3 separate deals, with TVN in Chile, with ATB in Bolivia and with VME in the US Hispanic regions for ‘Resurrection: Ertugrul’ and TVN Chile has started broadcasting the show already. As a very famous drama from our catalogue, ‘The Last Emperor’ has been sold to Balkans very recently. And we are very glad to see the interest from new territories for ‘The Last Emperor’. As another new market for Turkish dramas, we must highlight our deals in Africa region where we sold two of our

contents, ‘To Better Days’ and ‘The Prisoner of Love’. The last one has also recently been sold to Astana TV in Kazakhstan and Imedi TV in Georgia. And for Africa, we believe that TRT dramas will expand in this region in a very short time. Which is the focus of MistCo for this MIPTV? At this MIPTV, we are launching TRT’s brand new epic drama ‘Mehmetcik: Kûtulamâre’. The series is based on the heroic story of a young man who could sacrifice his own life to save the country and people who are in need of help. And when it comes to the production quality of the show it is definitely incomparable to any other series and its story is incredibly affective. ‘Mehmetcik: Kûtulamâre’ has become a hit in Turkey

starting from the first episode. We are also launching a new miniseries named Alija, based on the life story of Bosnian President Alija Izzetbegovic, and it’s gaining the attraction of the Balkan countries. TRT has recently produced two new series and we are also launching them at MIPTV this year. Lion Family and Let’s Go are both very entertaining and well-received dramas. Lion Family is the funny story of members of a family whose lives change after one day the beautiful and spoiled landlady arrives and starts to live with them. Let’s Go is a very successful title with a very interesting plot in which the protagonists go bankrupt, leave their luxurious city life and start to live in a village. The series is doing great on Saturday ratings as well.

POL-KA PRODUCCIONES

Keeps developing new titles with its regional partners The production Company is working on ‘El Lobista’ a new series under the alliance with Cablevision, Turner Latin America and eltrece. As a key production company in Argentina, Pol-ka is always working on new titles for the Latin American market. Few years ago, the company closed several coproduction deals, and one of those is a partnership with Turner Latin America and the cable operator Cablevision for ten years of original titles. This first half of the year’s bet is ‘El Lobista’, a 12-episodes series starred by Rodrigo de la Serna (‘Call me Francesco’), Darío Grandinetti and Leticia Brédice. With a launch establish for next April, the series is written by Patricio Vega and directed by Daniel Barone. The production tells the story of Franco (de la Serna), a lobbyist, friend of particulars,

companies and corporations. His job consists on influence, interfere and pressure all of its contacts with power with the aim of close highly rentable and lucrative business for his clients. His name is a brand in this ‘intermediation’ world, but there are several competitors who are looking for a presence in the same area, and Natalia Ocampo (Brádice) arrives as his biggest threat. Both of them will live fighting each other, dividing the wins and lost. As an ambitious man, Franco will try to close ‘the business of his life’ and because of that, he will build a relationship with the pastor Elián Ospina (Grandinetti), a dark character that will use

the lobbyist’s influences in order to clean his fortune built from charity but also from transactions with an illegal origin. The difficulty of the case will expose Franco, who will be in the first time under the eye of the justice.

MIPTV 2018

CONTENTS ITV STUDIOS GLOBAL ENTERTAINMENT

Strengthens its position as creator and distributor Ruth Berry, MD, highlights that on the ITVS GE Drama Festival the company received close to 300 buyers. What is the focus of ITVS GE for this MIPTV? Our scripted slate is headlined by the highly anticipated Vanity Fair, written by Golden Globe nominee Gwyneth Hughes and produced by Mammoth Screen, and Cleaning Up, a contemporary series from Sister Pictures, starring Bafta award winner Sheridan Smith. In addition, we are also taking Movistar’s Cesc Gay drama Felix , Mainstreet Pictures’s Age Before Beauty, written by Poldark writer Debbie Horsfield, CBC original series Little Dog, produced by Cameron Pictures and Elemental Pictures, and Mopar Media Group produced Rig 45, an MTG Studios original series. Meanwhile following the triumphant return of Dancing on Ice in the UK earlier in the year – which re-launched after a four-year hiatus with 7.4 million viewers and a 33% share – the format leads our unscripted slate alongside last year’s smash hit Love Island, now in four territories and with several more soon to be announced. Five new formats complete the line-up, with Potato’s An Hour To Catch A Killer, Gameface’s quiz show Brightest Family, Five Star Hotel from Little Gem and Motion Content Group and ITV Studios’ Guess The Star and In For A Penny all included. How has your portfolio evolved over the last months? In addition to our vast range of new and returning programming from the UK, we are increasingly looking at broadening our international content, and in the last 12 months, we have acquired Italy’s Cattleya, the team behind Gomorrah and Netflix’s first Italian original Suburra, and France based Tetra Media Studio, producers of Les Hommes de’le Ombre. This is also reinforced by bringing both Felix and Rig 45 to this market, the latter adding to other Scandinavian shows in our catalogue such as Greyzone and Aber Bergen. I’d also point to Hulu and Monumental Pictures’ Harlots, now in its second series, as an example of how we are working more and more with our OTT partners as well, something we are confident of building on yet further over the coming months. How has the industry received your latest dramas highlighted at your ITVS GE Drama Festival? We had a tremendous response to the event, with close to 300 buyers present. It was a great opportunity to start discussions

MIPTV 2018

with them at an earlier stage than we might have done in the past and the feedback we have received has been very encouraging. We were able to showcase the real volume of our catalogue, bringing our dramas to life with the help of our creative partners, and giving those in attendance the chance to preview what we have coming up, not just at MIPTV but for the rest of the year and beyond. We opened the event with Vanity Fair, which we are very excited about. It will air on ITV in the UK followed by Amazon Prime in the US later this year, and has also pre-sold in Sweden with SVT, with more to come. We also took an in-depth look at some of our international titles such as Felix and Aber Bergen. With

exclusive insight from producers into other shows including Cleaning Up and Harlots, as well as sneak peaks at forthcoming dramas such as Mammoth’s The War of the Worlds, buyers certainly seemed enthusiastic about what they’d seen. What are your goals for the first half of the year? Looking specifically at the LATAM market, we are excited about launching Dancing on Ice as we are hearing more and more about the desire for tried and tested shiny floor formats there while we are always looking for opportunities to work with new clients in LATAM, and we hope that some of our broader European dramas, such as Felix for example, will appeal to new buyers in a different way. More generically, we are in a very strong position as both creators and distributors of content right now, which allows us to be flexible about how we take a show from development to screen. This enables us to look at a range of potential partnerships, be they co-productions, co-developments or global OTT deals, which will help us with our continual aim of offering our clients – both existing and new – real breadth of choice.

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MIPTV 2018

CONTENTS FREMANTLEMEDIA INTERNATIONAL

ZDF ENTERPRISES

Sells its ‘American Idol’ Cooperates on to Amazon Prime Video a thriller series for Netflix The OTT service will see the show in the UK two days after it first airs in the US.

‘American Idol’, the iconic series that revolutionized the US television landscape by pioneering the music competition genre, goes global as FremantleMedia International completes deals for the new series in 150 territories. The latest deal to have been completed is with Amazon Prime Video UK, which will see American Idol air exclusively in the UK two days after it first airs in the US. On the deal, Jamie Lynn, EVP, Head of Sales and Distribution, EMEA for FremantleMedia International said: “American Idol has launched to fantastic ratings on ABC in the US and we are excited that Amazon Prime Video will become the exclusive home of the new series in the UK with this unique deal. To see one of the biggest entertainment shows on a streaming service is a not only a first, but testament to the appetite for American Idol and will be a whole new way to

MIPTV 2018

‘Tabula Rasa’ (9x50’) is available on the platform all around the world, with the exception of Germany, UK and France.

reach fans of the series.” FremantleMedia International’s global sales team have secured a multitude of new international deals for new season of the entertainment series with CTV (Canada), Foxtel (Australia), Canal Sony (Latin America), MNET (Africa), SIC (Portugal and Portuguese-speaking Africa), Intervision (Greece), Three (New Zealand), Fjarskipti (Iceland), Novalifå (Greece), Sia All Media (Lithuania), Marjan Television (Farsi-speaking MENA), beIN (MENA) and beIN Series Home&Entertainment (Turkey). American Idol launched on ABC to an overnight audience of 10.3 million, making it the number one show in its timeslot and more than doubling the slot average. The “Idol” format has taken on original versions in 55 countries around the world, and American Idol itself has played to a worldwide audience across 150 territories.

‘Tabula Rasa’ is a Caviar production, co-produced by Belgian broadcaster Eén and Germany’s ZDFneo, and created with the support of the Flanders Audiovisual Fund and with the help of the Belgian Tax Shelter incentive by Minister Van Overtveldt. With the exception of Germany, the United Kingdom and France, where Netflix has a second window for the series, millions of Netflix subscribers are now able to discover the psychological thriller. ‘Tabula Rasa’ was created and written by Malin-Sarah Gozin and Veerle Baetens, with Christophe Dierickx rounding out the team of writers. The series was directed by Jonas Govaerts and Kaat Beels. The leading roles are played by Veerle Baetens, Stijn Van Opstal, Cécile Enthoven, Natali Broods, Lynn Van Royen, Tom Audenaert, Peter Van den Begin, Gène Bervoets, Jeroen Perceval, Hilde Van Mieghem, Viviane De Muynck and François Beukelaers. ‘Tabula Rasa’ is a compelling, psychological thriller about a young woman with memory loss who is the only key in a mysterious missing person’s case. Mie D’Haeze (Veerle Baetens) is detained in a psychiatric institution. She is visited by police inspector Wolkers who is trying to solve a disturbing case of a missing person - Thomas De Geest. In order to find him, Mie has to find her way through the dark maze of her recent past… it all began when she moved to a strange house in the woods a few months earlier. The more Mie remembers, the more she begins to distrust everyone around her… but especially herself. The series was one of the highlights on Belgian channel VRT last autumn. With a market share of 44%, and no less than an average of 1,250,000 viewers, the series was the fiction program with the highest number of viewers last year. ‘Tabula Rasa’ has already completed an impressive international tour, being selected to be shown at international festivals such as Series Mania (both in Paris and Melbourne), MIPCOM (Cannes) and the leading genre festival Fantastic Fest in Austin (Texas, USA). The series is currently airing in Germany on ZDFneo. ZDF Enterprises is in charge of the worldwide distribution of the series.

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A+E NETWORKS

Launched Singapore Digital Studio The facilities are deployed so as to cement its leadership position in creating cross-platform content and reaching viewers everywhere they consume content.

Sean Cohan

A+E Networks has begun rolling out digital studios outside of the United States, under an A+E Digital International initiative, with the first digital studio having launched in Singapore, for Asia, it was announced by Sean Cohan, President of International & Digital Media, A+E Networks. The rollout further cements its leadership position in creating cross-platform content and reaching viewers everywhere they consume content. The full-service, integrated creative and content creation units will specialize in producing original, premium short- and mid-form digital content assets, themed around network brands and those of its partners. In Asia, these brands include HISTORY, Lifetime, FYI and Crime+Investigation. In its bid to effectively respond to the changing preferences of Asian consumers, this content will be distributed through online platforms, adding to its already substantial OTT offerings, which include some of the most compelling long-form content in the industry. “At A+E Networks, we are storytellers who understand the needs of our audience, especially in today’s highly dynamic content landscape. A growing share of the consumer’s

time is spent consuming short- and mid-form content. We have recognized this opportunity and are taking a leadership position in investing in the creation of digitalfirst storytelling that is in keeping with the high creative standards we have set for our brands globally,” said Cohan. Continued Cohan: “Harnessing our strong cross-disciplinary content creation capabilities, we are excited to roll out digital studios to help our viewers experience all their favourite brands through the new lens of short- and mid-form content. Moreover, it also helps our partners and clients leverage our fan base and engagement through meaningful branded experiences and bespoke branded content.” “We are delighted that A+E Networks has chosen to further expand operations in Asia with the launch of their first digital studio in Singapore. This is a testament to Singapore’s attractiveness as a location for global media companies to innovate and experiment with new business models for the region, as well as add to our base of digital content creation and commercial capabilities across the media sector,” said Tung Meng Fai, Director, Infocomms and Media, Singapore Economic Development Board. In Asia, A+E Networks has forged strong growth for its brands in the online space since October 2016 with a unique reach that has doubled to 331 million and engagement that has grown 196 percent to 81 million. Collectively, the network’s flagship brands – HISTORY, Lifetime and FYI garnered over 218 million video views and 3 million watched hours across its digital

platforms. During this period the company also created bespoke branded solutions for regional brands such as POSB Bank, Silk Air, Shiseido and Nestlé. With the new digital studio in Asia, A+E Networks will be able to provide an additional value-add service in the form of integrated content marketing solutions to help brands build stronger fan bases and meaningful brand experiences in the volatile online and mobile space. Standing out among the completed work is HISTORY’s digital-first series, The History Hustle, a host-led short-form edutainment show featuring Simon Yin (Hidden Cities: Extreme). OMG! Philippines showcases amazing Filipino artists and artisans. The short-form digital piece features, among others, a sculptor who carves miniatures out

of crayon sticks and an artist who harnesses sunlight through a magnifying glass to create his masterpieces. In the same vein, Shiseido worked with Lifetime to show how the region’s top female MMA fighter, diver, pastry chef and dancer all find their strengths while showcasing Shiseido’s latest product. Nestlé also collaborated with Lifetime to create short-form branded clips focused on an active and healthy female lifestyle and featuring the food and beverage brand’s own ambassadors in action.

MIPTV 2018

CONTENTS BBC WORLDWIDE LATIN AMERICA/US HISPANIC

“Our ideas are widely valued on our region”

How has the market received your latest titles? The reception has been extraordinary, both in terms of programming distribution and formats commercialization. Our partnership with Endemol Shine Brazil, for example, allowed us to create the Brazilian version of ‘Dancing with the Stars’ that is being broadcasted by Rede Record. On the same way, the local version of ‘Bake off Brazil - Mão na Massa’ has been a tremendous success on its first two seasons on air in SBT and Discovery Brazil. The same happens with ‘What not to wear’ that is on its 12ve season on SBT. Some weeks ago we have launched ‘El Gran Uruguayo’ in Canal 10 of Uruguay. This is the local version of the format ‘Great Britons’, and this is another test that titles and formats of BBC Worldwide are widely valued on our region.

studios in the US, with a portfolio of more than 45.000 hours. It is a brand that inspires confidence and whose quality content has been approved all over the years with several prizes of the TV industry like BANFF Awards, the Critics’ Choice Television Awards and, of course, the Emmy Awards.

In your opinion, why is the British content so well-known around the world? BBC is a unique brand in the market and a name highly recognized as a provider of world-class premium content and as an international platform for the exhibition of the best examples of British creativity. BBC Worldwide is the biggest TV programming distributor in the world, just only behind the biggest

Which are the key territories for your growth strategy? Our main goal is to reach all the platforms with our main titles and formats in every single corner of Latin America. Into that platforms we count FreeTV, PayTV, SVOD and OTT, among others. That’s why we have strength our production capabilities in markets like Brazil through the alliance with Endemol Shine Brazil.

MIPTV 2018

David Hanono

David Hanono, General Manager Sales & Digital, described the different partnerships in the region and the penetration of British content. In Latin America we have sold more than 600 hours of drama content thanks to significant partnerships in the South Cone with VTR in Chile and Cablevision in Argentina that offer the series ‘Doctor Who’ (S1-10), ‘The Last Post’ and ‘Ripper Street’ (S1-4) on its services On Demand. The subscribers of Flow, the digital platform of Cablevision, can enjoy the series ‘Rillington Place’ and ‘Luther’. While our pan-regional partners supplied the increase on the demand of British dramas with partners like Sony Crackle that offers ‘Top of the Lake’ and ‘Born to Kill’ on its digital platform, AMC brought ‘Maigret’ (S1-2) and DirecTV did the same with ‘Paula’ for Latin America. Which are going to be the main trends of the industry for this year? I consider that during the next years the industry will be strongly focus on the production and commercialization of content, with the main goal of covering the growing demand that is being generated by the different distribution platforms. In this sense, BBC Worldwide is in a very competitive position as we are controlling all the rights of the content that we produce and commercialize, both in the level of programming and formats. That’s how we could satisfy the demand of classic programs with adaptations that reflect the culture and the local attractions.