Newsline Report Digital - MIPCOM 2020 by IQ Publishing

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DIGITAL 10/2020 #MIPCOM

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Deustche Telekom analyzes the control of Telefonica

Dramas of Inter Medya were awarded at The International Izmir Film Festival

The first day of the CenturyLink Forum Virtual Experience began

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insight The consultancy analyst Michael Nathanson said he expects Disney + to have 155 million subscribers worldwide, including more than 50 million US subscribers by 2024. That total would be significantly above the 60-90 million subscriber range that Disney screened during the past year. Disney also predicted that its new streaming service, which launched in November 2019, will be profitable by 2024. Additionally, the company projected that Hulu will grow to between 40 million and 60 million subscribers and ESPN + will grow to between 8 million and 12 million by 2024. MoffettNathanson now estimates that Hulu will reach 66 million subscribers and ESPN + will reach 18 million by 2024. According to new research by eMarketer, the cable TV, satellite and telco industry in that country is on track to lose the most subscribers. This year, more than 6 million American households will cut cable with pay TV, bringing the total number of households that cut cable to 31.2 million (24.6 million reached in 2019). The firm says that by 2024, the number will grow even further, reaching a total of 46.6 million wire-cutting households, or more than a third of all American households that no longer have pay TV.

Prediction of Disney platforms subscribers Source: MoffettNathanson

Cord-cutter Households 2019-2024 Source: eMarketer

newslinereport digital mipcom 2020. yeAR 30 EditorS Rafael Val, María Pía Pazzaglini

Newsline Report is a Digital publication of Avant Garde Ediciones S.A. Newsline Report is a trademark. Intellectual Property Registration N*214.136.

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company “Tubi’s audience growth is a testament that 2020 will become the year of AVOD. As we continue to increase our offering and capitalize on our partnership through FOX IP, we continue to develop a unique value proposition for many of today’s households looking for free premium entertainment. Tubi en Español marks one of many accomplishments in our commitment to serving all of our audiences”.

Cineworld closing cinemas across The UK and US Cineworld cinema chain confirmed plans to temporarily close its facilities in the United Kingdom and the United States after major studios decided to delay the release of major productions. The measure will affect about 45,000 employees in both countries. The company will close 127 Cineworld and Picturehouse theaters in the UK as of Thursday and 536 Regal theaters in the United States.

STAFF n Noelia Santillán

Farhad Massoudi CEO de Tubi

dixit Designations & removals

Tim Pastore left his position at All3Media America. The former Nat Geo executive, who was CEO of the US division of the group that created ‘Fleabag’ and ‘Gold Rush’, takes a step to the side after two years in office.

BBC Studios and ITV, joint venture partners in the British content SVOD BritBox, announced that Soumya Sriraman has decided to step down as BritBox President & CEO for U.S. and Canada, effective at the end of this month.

Millimages is reinforcing its commercial team with the addition of a new Senior Sales Manager and Producer, Sépideh Shirazi-Moayed, former Disney Acquisitions Manager, who will be focusing on the production of new series on major Video on Demand platforms.

RCN Televisión is committed to expanding its own and third-party content as of this October. That is why the company inaugurated its RCN Distribution business, led by former Sony Pictures Television executive Alex Marin, in Miami.

n Pablo Garcia n Rocío Scapolan n Carlos Aguillón Ochoa n Rafael Aboy n Javier Fiorellino n Ángeles Pérez Aguirre n Diego Tagle redaccion@newlinereport.net

DESIGN Adrián Rivanera

adrianrivanera@gmail.com

CONTENts in numb3rs

Rocío Ailín Scapolan Editor website https://contenidos.news

4.000: Virtual Screenings Autum reunited 4.000 people on its edition, with 9,271 video views, almost 30% more than the 7,180 in May, including 7,566 at booths +1,705 in VS Next, the great novelty of VS Autumn, with 30 panels and testimonials that were disseminated every day.

MISTCO commercializes ‘The Innocents’ The latest TRT series produced by OGM Pictures reached 21,99% share in total market during the Tuesday nights in Turkey.

ViacomCBS opened VIS Distribution ViacomCBS International Studios (VIS) announced a new unified area, ViacomCBS International Studios Distribution, which will encompass all of the studio’s sales businesses, including co-productions, pre-sales, formats, finished tapes and co-development. Following this new structure, the former IPS (International Program Sales) division - which previously focused on sales of cans and formats for branded content for signals outside of Latin America, including the Nickelodeon library and MTV formats - is now combined with the VIS sales area, which until then focused solely on the original VIS content business. Lauren Marriott was named Senior Vice President of Sales and Business Operations and Distribution Leader for the UK; and Laura Burrell Vice President of International Formats. Marriott will report to Pierluigi Gazzolo, VCNI President of Studios and Streaming, and Arran Tindall, VCNI Commercial Director and Executive Vice President of Commercial and Content Distribution; while Burrell will report to Kate Laffey, Vice President of VIS.

MISTCO is distributing worldwide ‘The Innocents’ (Masumlar Apartmanı), which is the latest TRT series produced by OGM Pictures. Broadcasted on Tuesday nights, the series has fully taken over the rating charts in Turkey and has been reached a top position with 21,99% share in Total; 28,36% share in AB group, and 24,50% share in 20+ ABC1. And so far, ‘The Innocents’ has the best performance series of the season. Based on real-life experiences, ‘The Innocents’ tells the lives of Han’s family and the love story between him and Inci who has her complicated relationships with family and friends. Looking like a young, handsome, and charismatic businessman from the outside, Han is filled with his family’s painful memories and tragedy

inside. After turning back from the United States, he devotes his life to his sisters and his dad. MISTCO Managing Director Aysegul Tuzun says, “We are excited to share our brand-new outstanding series ‘The Innocents’ with our partners. As a result of rating performance and strong story with a talented cast, we are confident that the series will achieve international success as well.” n

CONTENIDOS

“My sights are on 2021 and beyond” With the cancellation of the physical editions of the markets, how are you working on the commercialization of your titles? Business is far from usual this year, but great content is still very much in demand. If there’s one shift, it’s the fact that it’s hard to meet with new clients—or to find new clients. For a very well established entity like NENT Studios UK, we already have a very wide range of clients with whom to communicate, but we’ve found it tougher to find new clients since the relationship hasn’t yet been established—and there isn’t a market to meet at.

Scott Kirkpatrick NENT Studios UK

The SVP Americas has already struck his participation at NATPE Miami as a result of the pandemic.

How do you think the market reactivation will be? Many companies have become spoilt with remote business and several will carefully evaluate the benefits of being present. I feel each company has two or three markets that are truly make or break, but I feel many companies will drop the month to month market marathon. It’ll be a major shake-out, where many of the smaller niche markets will likely dry up and some of the majors might blend into a single event to better capitalize. All that said, it’s going to take time for logistics to get back up and running; catching a simple flight from one country to another is currently tough to strategize. I was optimistic that the world would be back to normal by the time NATPE in Miami 2021 rolled around, but I’ve already decided to strike that one from my list. Which are your goals for the end of 2020? We mapped out what we hoped to achieve from 2020 well back in Q3 2019; at present, we’ve been very much on target and I don’t see that slowing down. We have two major scripted TV series in production. We’re in early prep with Buffalo on ‘Doc Martin’ Series 10 and I’ve personally been picking up a large swatch of content to flip to trusted clients— ranging from TV movies to factual science docs. We’ve recently closed a major deal with FilmRise and are continuing major business with AcornTV. From my chair, my only goal is to keep the momentum fluid. My sights are on 2021 and beyond. n

CONTENIDOS

CONTENtS The new portfolio of Disney Media Distribution is arriving to the international market: ‘Breakthrough’ is based on the incredible true story of one mother’s unfaltering love in the face of impossible odds. When Joyce Smith’s adopted son John falls through an icy Missouri lake, all hope seems lost. But as John lies lifeless, Joyce refuses to give up. Her steadfast belief inspires those around her to continue to pray for John’s recovery, even in the face of every case history and scientific prediction.

Disney Media Distribution

Evolves its portfolio after merger

From visionary filmmakers James Cameron and Robert Rodriguez comes ‘Alita: Battle Angel’, an epic adventure of hope and empowerment, based upon the Manga graphic novel series by Yukito Kishiro. When Alita awakens with no memory of who she is in a future world she does not recognize, she is taken in by Ido, a compassionate cyberphysician who realizes that somewhere in this abandoned cyborg core is the heart and soul of a young woman with an extraordinary past. Set in 1892, ‘Hostiles’ shows the legendary Army Capt. Joseph Blocker reluctantly agrees to escort a dying Cheyenne war chief and his family back to their tribal land. Embarking on a harrowing and perilous journey from Fort Berringer, N.M., to the grasslands of Montana, they soon encounter a young widow whose family was killed on the plains. On the other hand, ‘Book Club’ tells the story of four friends’ lives are turned upside down when their book club tackles the infamous ‘50 Shades of Grey’. From discovering new romance to rekindling old flames, they inspire each other to make their next chapter the best chapter. n

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“Programmers are seeking for good content” How does the cancellation of face-toface markets affect the distribution of Dori Media’s portfolio? The health of our team, located in Israel, Argentina, Spain, Switzerland and Singapore, is of most importance. Most are working from home, others from the office, according to the local regulations. In the past few months, since the covid-19 situation started we adapted a different work process. The technology enables us to keep close relationships internally and with clients and partners. Due to our quick adaptation of the new situation our distribution was not affected. We completed many deals also during the Covid-19 situation such as ‘Losing Alice’ which is set to join Apple TV, a multi-territory agreement with Warner for four different local market remakes of crime drama format ‘Dumb’ in France, Belgium, Netherlands and Spain and more.

Nadav Palti Dori Media

The executive explains that viewing also differs from one territory to another according to the status of the virus condition at any stage of time.

Which kind of content is the most demanded by programmers? Due to the Covid-19 world situation, and the fact that people stay more at home, the viewing increased and is expecting to continue to rise. The way of viewing differs, people seek for different content, some watch more news, others watch series that allow them to be distracted from the situation and there are those who, despite the situation, still look for series regarding epidemics. Viewing also differs from one territory to another according to the status of the virus condition at any stage of time. As to the shortage of content due to the global pause in production programmers are seeking for good content, both scripted and non-scripted. How are you working on the development of new titles? The situation “caught” Dori Media in a period of high production momentum, in Israel LATAM and the US. Early stages productions have stopped and those in advanced post-production stages continued. During these days we are taking advantage, of the time that shooting is not possible, to progress feverishly in the pre-production stages of different new high-end series. Parallel we are developing new non-scripted formats. When situation fully resumes, we will be able to continue productions that are stopped and relatively answer the market needs quickly. n

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All3Media

Offers strong feel-good programming

Janel Downing, VP Latin America, announced the new titles of the portfolio and the importance of high quality content.

One key TV trend that has been felt across the globe in the last six months is the growing demand for feel-good programming, as audiences seek out shows that bring as much positivity as they do entertainment. With this in mind, all3media international is focusing on two primetime entertainment brands this Fall that fit the bill perfectly. ‘Little Mix – The Search’ is a fresh, energizing and warm take on the talent show, and

‘The Cube’ is a multi-award-winning game show that’s ideal for production amid today’s social distancing requirements. all3media international is expecting strong interest in the show from the Americas, driven by ‘Little Mix’’s huge social media fan base in the region. When looking at the band’s monthly YouTube video views by country, Brazil, Mexico and the US feature in the top six, and Brazil takes the lead in a list of Instagram fans by country. Janel Downing, VP Latin America at all3media international, said: “Talent competitions have always been popular in Latin America, and ‘The Search’ is an original new take – as one of the world’s most popular bands offers an awesome once-in-a-lifetime opportunity to aspiring singers. The series has a really enthusiastic, positive feel – delivering an inspiring and entertaining show that genuinely nurtures the talent involved. Alongside finished tape rights, we’ll also be talking to broadcasters about format rights as the idea lends itself perfectly to adaptation, with popular local bands taking the helm.” This MIPCOM, all3media international adds exciting new dramas to their portfolio, including ‘Roadkill’ which welcomes the award-winning, multi-talented Hugh Laurie. Janel Downing is confident Roadkill will have huge potential in Latin America: “Alongside being a fantastic modern thriller set amid the ever-shifting dynamics of 21st century politics, ‘Roadkill’ has two major plus points in Latin America. Hugh Laurie as its lead, a name that resonates very well in the region following the massive success of ‘Doctor House’, and its production company – The Forge – creators of already proven successes in Latin America such as ‘National Treasure’ and ‘Kiri’.” n

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“Our industry has always adapted and evolved quickly”

Lenneke De Jong Beyond Rights

The VP Sales assures that after the acquisition of TCB Media Right, she’s now handling a big combined catalogue for the different regions.

How are you working on the commercialization of your portfolio? At Beyond Rights, we have pretty much followed the same programme launch strategy for our autumn content slate that we would have done if MIPCOM was still a physical event. We have created an interactive catalogue, instead of a printed one, and are supporting our new titles with a wide range of marketing initiatives. We also have a virtual strategy in place and are amongst the first TV companies to use a new platform called ‘Pitchroom’. Our industry has always adapted and evolved quickly, and the current period is no different. People have worked hard to keep in touch, sometimes via new routes. Buyers still need great content for their schedules, so as long as we are able to keep that in front of them, especially during key acquisition periods, then the wheels of our industry will keep turning. How do you think the market reactivation will be? Very few physical markets will be taking place in late 2020 or early 2021, but the virtual equivalents already planned will maintain vital focus points in the industry calendar and to the buying and selling process. Naturally buying and selling continues all-year-round, but for distributors, these events provide bigger platforms for content launches and create more opportunities for stand-out. We all miss meeting in person but after the initial period when we first went into lockdown and adjusted to working from home, people have adapted, and the flow of business has been maintained. Which are your goals for the end of 2020? I now have a much bigger combined catalogue to work with, so I am looking forward to sharing the breadth of content I now represent with my contacts across Latin America and Iberia and to seeing what new opportunities may arise as a result of this increased volume and new genres. I am also keen for people to understand what Beyond Rights stands for: we are a new business, with a new voice in the marketplace and there will be lots of exciting developments to follow. n

CONTENtS Madd

“The ad market will not recover 100%” “In the short term the demand for the finished product increased. That was good for us. But since advertising market shrinked all over the World due to pandemic, FreeTV is having a difficult year. Therefore they are more selective and need for more economic solutions on acquisitions. I believe different windowing models will help us to find new ways of distirbution to face these market needs”, explained Ates Ince, Managing Director, Madd Ent. Regarding the reactivation of the industry, Ince admitted: “Before pandemic almost every each country has become a producer. I think this will change after

pandemic. Economic conditions will again increase the demand for the finished products. FreeTV needs to decrease the prototype costs, as the ad market will not recover 100%. Facing the last months of the year, the executive described: “We became the number 1 content supplier from Turkey

in 2020. We have 10 on going titles plus our catalogue. Being the organic distribution arm of two big producers like Ay Yapım and Med Yapım gives us a sustainable position in the market. Our aim is to keep our well positioned status in the market and serve the best titles from Turkey to international markets”. n

Audiovisual from Spain

Returns to the international events circuit

Audiovisual from Spain, ICEX’s umbrella brand for the international promotion of television content companies, returns to the world of the international markets with a virtual pavilion at MIPCOM online +. This year, the event will be held exclusively on the Internet from October 12 to 16, although from October 5 onwards, the contents will be available on the platform and Mip Junior’s online bookstore will be open. In addition, access to the contents of

the online edition will be extended through November 17. The pavilion’s exhibitors share a desire to participate in this market because it is the most important of the year, as explained by Silvia Cotino, deputy director of Mediterranean sales for Mediaset España Group: “MIPCOM is the flagship market at the international level, so we didn’t hesitate to participate. Our sales expectations are moderate for now, as we do not know how buyers will act because this is a new model for MIPCOM”. Nicolas Lecocq, Head of International Sales for Original Series Movistar +, which has organized its own virtual events in recent months, trusts MIPCOM as “a must meeting point in the annual calendar. We anticipate meeting clients from around the world receptive to our content and to our desire to sale directly without a distributor”. n

CONTENIDOS

“Despite the circumstances, we have a very productive year” Under what strategies has Endemol Shine Boomdog been working in times of pandemic? It has been a challenge and although there have undoubtedly been many strategies on the table, the main thing has been to remain calm and ready to adapt to this strange situation that the planet is experiencing. Despite the circumstances, this year we have a very productive year, and we have achieved important things and now it is about continuing to create and develop protocols that allow us to resume our production tasks with the certainty that our workers and all those involved in our productions will be in good health.

Alejandro Rincon Endemol Shine Boomdog

The production company is working on multiple entertainment formats for several screens.

What type of Endemol Shine Boomdog content was the most in demand in recent months? Above all, what happens in a controlled environment, within a forum. Important productions such as ‘Don’t No Lo Hagas’, ‘Nailed It Mexico’, ‘Who is the Mask’, ‘Me Caigo de Risa’, ‘Tu Cara Me Suena’ were achieved, we are already in process with ‘MasterChef México’. We are very proud that our productions were made with the most modern health standards and with great results. How could you analyze the “return to the ring” in terms of production processes? There is an impact on costs due to the protocols, but thanks to the experience shared both with other production companies in other parts of the world and with other production houses within Mexico, we have managed to start several projects and we continue to monitor the health of our people with a lot of discipline. What are the goals for the end of 2020? By the end of this year, the important thing is to get the productions that we paused with the same quality that characterizes us and with the highest security measures for our team. In addition, in terms of development, we are in important stages of new projects that excite us and that will lay the foundations for a 2021 full of success for the company. n

CONTENtS BBC Studios Latin America

Debuts with BBC Studios Connect “Despite the challenges of this 2020, the commitment of BBC Studios with its clients and the region is still strong. That’s why we’re really proud to introduce during this current edition of MIPCOM our new virtual tool, BBC Studios

‘The Watch’, and stunning documentaries like ‘A Perfect Planet’. “BBC Studios Connect offers an outstanding view of the flow of content from the company, as well as special collections, designed in order

Connect”, explains Karina Dolgiej, VP, Content Sales, BBC Studios Latin America / US Hispanic. Through its sales site, BBC Studios’ clients could experiment first-hand the different kind of productions offered by the company, with highlighted dramas like ‘Small Axe’, from Steve McQueen, ‘The Pursuit of Love’ and

to satisfy the needs of the audience. In addition, there will be exclusive access to previously unreleased footage from new shows, as well as the latest titles and tailored sessions with talents and producers. Thanks to this portal we will be able to continue positioning the daring British creativity in every corner of the planet”, concluded Dolgiej. n

The Company moves its sales strategy to its own worldwide platform.

Inter Medya

Received several awards for its dramas

‘The Ambassador’s Daughter’, the successful Turkish drama distributed worldwide by Inter Medya, was awarded in 5 different categories, including Best Television Series, Best Actress for Neslihan Atagül Dogulu’s portrayal, Best Actor for that of Engin Akyürek, Best Supporting Actress, Best Supporting Actor and Best Child Actor awards, at the 3rd International Izmir Film Festival. Another success came from Inter Medya’s popular feature film, ‘Miracle in Cell No. 7’. The record-breaking movie, watched by 5,2 million moviegoers in 2019, was awarded in 6 categories at the same festival including the Best Film, Best Director, Best Actor,

Best Child Actor, Best Supporting Actor and Best Cinematographer categories. “It’s exciting for us to hear such great achievements. We are certain that they will continue to add new ones both in national and international arenas. We congratulate all the winners wholeheartedly,” said Can Okan, Founder and CEO of Inter Medya. ‘The Ambassador’s Daughter’

is among this season’s highly acclaimed series of Inter Medya. Licensed in over 50 territories so far, the series tells the powerful story of two lovers, Sancar and Nare, who are longing for one another and fighting for their love. n

cover story

Colin Bohm Corus Entertainment

“We pride ourselves on being adaptable” The Executive Vice President, Content and Corporate Strategy explains that during the pandemic Nelvana is working on the celebration of its 50th anniversary in 2021. With the cancellation of the physical editions of the markets, how are you working on the commercialization of your titles? How is the industry responding to your different strategies? At Corus Entertainment and within Corus Studios and Nelvana, we pride ourselves on being adaptable. The physical cancellations of markets have not hindered our work or the momentum of moving our content within the market – productions have restarted, development continues and we are in constant communication with our buyers to get the word out on the plethora of content across Kids, Lifestyle and Unscripted. With Corus Studios and its lifestyle and factual slate, we’ve seen very robust year-over-year gains in sales. Ratings of our series airing internationally prove our family-friendly, light-hearted series resonate, especially now more than ever when the viewer is looking to sit back and relax to feel-good

television. In the past few months, at the height of COVID-19, Corus Studios has become a go-to content studio for networks internationally looking for new content. We’ve seen our series breakout most recently in the U.S. with Island of Bryan (retitled Renovation Island for the market) and Vacation House Rules on HGTV. Our food series have also landed successfully in the U.S. on Food Network with the premieres of The Big Bake and Fire Masters. For Nelvana, we anticipated the affects COVID-19 on our business and immediately adopted new ways of connecting with our partners. We use a variety of platforms to communicate virtually and increased the frequency of our written communication through e-blasts and e-postcards to keep the market aware of our work. For us, the key is to be disciplined in continuing the frequency of communication have with our partners even if we weren’t dealing with a pandemic. During MIPCOM, we will hold

cover story partner meetings that showcase our properties and provide follow-up assets like screeners, sizzles, bibles and synopses that are available for our acquisition content and provide a sneak peek of projects in development. How are you working on the development of new content? At Nelvana, thankfully, the pandemic hasn’t slowed down development at all. Writers, artists, directors and content creators have been developing more content with us than ever before. There hasn’t been a lag in creativity, despite moving dozens of artists from our headquarters in downtown Toronto to functioning at home studios. We’re working with partners around the world on original IP that will excite both kids and buyers, with a focus on reflecting diverse audiences both in gender and racialized communities. Corus Studios always looks at renewing content that is excelling both domestically and internationally so that we continue to build strong IP with multiple seasons. We have always put a lens on inclusion and BIPOC diversity on screen and we are continuing to do so with even more vigor. With our Home content, we’re looking to take more risks and give viewers fresh content that doesn’t always follow the typical home makeover series. The success of our original series Island of Bryan/Renovation Island in both Canada and the U.S. reveals audiences want to delve into the unexpected a little more. Talent and new series development are elements that we thrive at and have some exciting new offerings to come to market soon. How can you describe the increase of content, especially on the kids market? With kids being encouraged to stay home, we’ve definitely seen a spike in the viewership of Nelvana’s content. It’s a unique time to be a kid and we have discovered that kids are not only looking to binge-watch their favourite shows, but their parents are becoming more involved in their content consumption, looking for fun, entertaining and educational shows to occupy them. The good news is animation production

during COVID-19, amid some challenges, has been able to continue throughout and can be created remotely, whereas live action does not have that same ability. The demand for animated content continues to be strong and Nelvana has been able to meet that demand without much interruption. Which are your goals for the end of 2020? Both Corus Studios and Nelvana continue to build strong catalogues of content that is developed, produced and distributed in-house across Kids, Lifestyle and Unscripted. In Canada, we have been very lucky that the pace of content we produce has been only moderately affected due to COVID-19. This will allow us to be a step ahead in the market as we are able to deliver and offer more content to the worldwide stage. Corus Studios, specifically, has progressed rapidly at cementing itself as a premium content powerhouse in Home, Food and Unscripted. Making stars and bringing hits to the marketplace is our #1 goal. For Nelvana, we’ll be ramping up production on several new shows and con-

“It’s important to work with a focus on reflecting diverse audiences both in gender and racialized communities” tinuing to work with great partners such as Nickelodeon, Spin Master and Discovery in the next few months; looking to bring these titles to the 2021 markets. Our focus is also to secure even more international placements for our top shows this fall, including The Dog & Pony Show, The Hardy Boys, Ranger Rob (Season 3) and Agent Binky: Pets of the Universe, as we continue to meet with our partners and offer them the content that will satisfy their viewers’ ever growing demand. Nelvana will celebrate its 50th anniversary in 2021 and we’re starting preparations to toast to this massive accomplishment with our domestic and global partners. n

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CONTENIDOS

“Distributors have to evolve to fullservice agencies” How is the industry responding to your different strategies of content commercialization? Blue Ant International is focused on providing solution-focused options for buyers and international co-productions. Instead of timing our meetings around markets, we’ve adjusted to have continuous contact with our buyers to fulfill their programming needs on an immediate basis. We have regular virtual meetings with our client base and we’ve created a special digital catalogue of new releases in our lineup for MIPCOM.

Ludo Dufour Blue Ant International

The SVP, International Co-Productions and Sales, concludes that the company is focused on providing solution-focused options for buyers and international coproductions.

How do you think the market reactivation will be? From a distribution stand-point, the reactivation of the market will see the role of distributors evolving from straight-forward sales agents to full-service agencies. This has already been happening over the last few years and the pandemic is accelerating this trend. Blue Ant International and most other distributors are now working with producers to help fund and creatively shape projects. Budgets are indeed stretched thinner, but the silver lining is that it has created opportunities for producers to come up with fresh and innovative new series to attract new audiences. Which are your goals for the end of 2020? As far as our co-productions are concerned, we aim to accelerate and increase our collaborations with third-party producers in the form of creative co-production in between Blue Ant Studios and production companies around the world. Our focus is on countries that not only have co-production treaties with the territories in which we operate, and that have also been the most successful in mitigating the risks caused by the pandemic. We also have a continued focus on acquiring or financing projects which can still be produced and are guaranteed to deliver on time for our partners. Projects that are shot with smaller teams, avoid international travel by working with local experts, and take advantage of smart production tools or techniques, be it animation, drone footage, or remote and isolated audio recording studios etc. n

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Particular Crowd

Announces its new production ‘Vicious Fun’ The retro horrorcomedy is produced with Breakthrough Entertainment and Black Fawn Films.

Life comes terrifyingly close to imitating art in ‘Vicious Fun’, the new horror-comedy from Breakthrough Entertainment and Black Fawn Films made in partnership with Particular Crowd, the original movie banner of WarnerMedia Latin America. The first trailer and poster for the exciting new project have just been released. The film follows Joel (Evan Marsh), a caustic 1980’s film critic for a national horror magazine, who finds himself unwittingly trapped in a self-help group for serial killers. With no other choice, Joel attempts to blend in with his homicidal surroundings or risk becoming their next victim. Shot in Hamilton, Ontario, Canada, ‘Vicious Fun’ is directed by Cody Calahan, produced by Chad Archibald and Calahan and written by James Villeneuve. “‘Vicious Fun’ was hands-down the most entertaining set I’ve ever been on,” explains director Cody Calahan. “It was an extremely collaborative process right across the board, from the talent on the screen to the talent behind the scenes. We wanted to make something nostalgic, hilarious, and a film that was just flat-out fun. I think we accomplished that.” ‘Vicious Fun’ is set to have its much-anticipated world premiere at the Sitges Film Festival in Spain this October. The film will open up the festival’s Panorama Fantastic section on opening night. “We’re incredibly excited to unveil ‘Vicious Fun’ as part of this year’s Sitges lineup,” states Breakthrough Entertainment’s Feature Film Coordinator Chris Benn. “When you can take an eclectic cast such as this one and drop them into a world full of neon hues, generous blood splatter and 80s synth rock – well, that’s just a cool time at the movies. ‘Vicious Fun’ is a blast!” “An outrageous mash-up of dread and humour, ‘Vicious Fun’ lives up to its title,” said Craig McGillivray, Breakthrough Entertainment’s Vice President of Distribution. “We are thrilled to have Particular Crowd as a partner on this film and look forward to sharing the howls and horrors we’ve created together.” n

CONTENIDOS

“There won’t be market reactivation but a market evolution”

Paula Mcharg Goquest Media

The Head of Europe and North America describes the recent acquisitions and the modifications that the industry must have into consideration.

How are you working on the expansion of your portfolio? In some of the key territories where we specialize—such as the regions of Asia, Africa, and the Middle East—we have made great strides in commercializing novellas and thrillers originating in Ukraine due to our long-standing relationship with Media Group Ukraine MGU. We have further bolstered that strategy through additional acquisitions from the region such as ‘Mother’s Choice’ (16x45’) and ‘Three Days Before Love’ (16x45’), both from Starlight Media (SLM). Our newest and most bold acquisition yet is a crime thriller from the Czech Republic. ‘Rats’ (6x60’) is a transfixing series set in the evolving world of the Czech-Vietnamese meth syndicates which are led by an immigrant mafia, funded by cryptocurrency, and monitored by the DEA. We meet a young, seemingly naïve drug dealer named David who unravels as his entanglements with the DEA and drug cartels are slowly exposed. How do you think the market reactivation will be? In many ways there will be no market reactivation as such—I would call it a market evolution. The industry has successfully shown that it can adapt to these changes and it won’t ever fully return to the old way of doing business. Cancelling physical presence at markets in exchange for more regional trips and roadshows has been something people have been discussing for years. This year of no markets has certainly proven to some that it can be accomplished successfully. Aside from that, each region of the world has adapted to the new rules and restrictions differently as well as imposing different restrictions on itself. In one country, the citizens can be in full lockdown while right next-door people have almost normal freedom of movement. There is no universal standard for how to behave during a pandemic. n

CONTENtS Former founders of TCB

Paul Heaney and Dina Subhani launch Bossanova Paul Heaney and Dina Subhani have launched a company that will continue to pioneer and highlight the need for a new approach to programme creation, funding and distribution. BossaNova will bring together the producers and buyers of TV entertainment in an integrated hub, creating a community that will enable all of the stake-holders in the content chain to meet, create and do business. Heaney said: “We want BossaNova to be at the very centre as far as the ideas and shows we work with are concerned. Our intention is to be dynamic and agile with quick and clear decision making. Our ambition is to

be a significant help to platforms that have specific content needs and producers that need all of the above plus endorsement, experience and co-development of ideas. Obviously, we ARE a distributor but the term does not now wholly fit the role.’ Subhani added: “There’s a lot of uncertainty and fear as we stumble through the wreckage of 2020, but Paul and I have done our due diligence and we see a clear gap in the market. Call BossaNova what you will — distributor, agent, development platform, financier — but we believe this creative-finance model is what’s needed in today’s fast-moving world”. n

Red Arrow

APC expands its slate of highquality content Boutique co-producer and distributor About Premium Content (APC) is expanding its slate of high quality content, bringing two new scripted series: Belgian drama ‘Unseen’ and Israeli comedy-drama ‘Nehama’ as well as highly anticipated documentary ‘Yul Brynner: The Magnificent’ to MIPCOM 2020. ‘Unseen’ (8x52’) is a Frenchlanguage mystery series produced by Kwassa Films for RTBF and The Proximus Group in Belgium. Directed by Geoffrey Enthoven and written by Marie Enthoven, Nicolas Peufaillit and Bruno Roche, the series is currently in postproduction with delivery in 2020. Reshef Levi’s successful Israeli comedy-drama ‘Nehama’ (10x52’) is also heading to MIPCOM. Taking home the award for Best performance at Canneseries 2019, Nehama is produced by 24 Drafts Studio and Yoav Gross Productions for HOT, and written by Reshef Levi and Tomer Shani.

The strategy of a multi-diverse portfolio With the massive demand of content, Red Arrow Studios International is expanding its international portfolio. This MIPCOM, the company is showing ‘The Weekly: Special Edition’ (8x60’) a factual show produced by The New York Times and for FX and Hulu; a powerful new collection of standalone, premium documentaries, driven by the unparalleled journalism and insight of The New York Times. ‘How to Become Superhuman’ is a format of a Factual Entertainment produced by Snowman Productions for Discovery (Denmark), that shows a group of celebrities trying to unlock their own superpowers and achieve the impossible, in this extreme new adventure format. ‘Dieting with my dog’ is the new format of Redseven Entertainment for SAT.1 (Germany) that sees overweight owners and their pudgy pets join forces to lose weight together. On the other hand, ‘Renovate don’t relocate’ (20x43’ – total episodes 40x43’) appears on its second season, that mixes smart technology, design and engaging stories to create a home makeover show that transforms homes and the way they are used. n

CONTENIDOS

“Drama, factual and factual entertainment will always be the key” Which kind of alternatives have you stablished in order to commercialize your latest titles? It has been a challenging 6 months for everyone, but the response and how the channels and platforms have adapted has been very impressive. DCD Rights has been very active and created a dedicated virtual MIPCOM page on our website which takes buyers to our new Autumn releases along with tailor made showreels, with surprise guest appearances, for our last drama, factual and factual entertainment content.

Rick Barker DCD Rights

The Head of Sales is looking for new projects at an early stage, through cofinancing and pre-sales opportunities.

How are you working on the acquisition of new titles to your sales portfolio? With new content across drama, factual and factual entertainment, we are seeing opportunities with all forms of channels and platforms. We have recently acquired a number of excellent back catalogue titles which form our “New to DCD Rights” section which has appeal to channels where gaps are currently appearing because of the production hiatus. Deep catalogues are key to servicing the multitude of new platforms and players, particularly in the AVOD & SVOD markets. Whilst Covid has caused chaos in production of programming, there is a still a huge demand for new content and we expect the markets to bounce back strongly once fully operational again. As a result, we have been very active in looking to join projects at an early stage, through co-financing and pre-sales opportunities, which are now becoming increasingly important for all parties. How do you think the market reactivation will be? Digital distribution platforms have come to into their own during the crisis and are now a key driver for sales, but the markets still play an important role in the industry. Whilst we may not see people attending as many markets in the future, they still have a role to play and give an opportunity for people to meet us, discuss new content, ideas and strategic decisions which are difficult to discuss in large groups on video conference calls. n

CONTENIDOS

“Broadcasters and producers are working closer than ever before” How do you think the market reactivation will be? Broadcasters and producers are working more closely than ever before to combat the challenges that we all face – so this is all very positive in terms of reactivating and re-energising the market. Audiences are also more engaged than ever which is boosting ratings – so this should help bring back advertising dollars. In terms of reactivating market events, I think this will be a slower process, especially with the great uncertainty that exists over COVID and the huge worldwide restrictions on travel etc. But, as mentioned, the industry has worked well to keep content being produced and sold so, while we all miss spending time together in Cannes, I don’t think it will have a big detrimental impact on our business.

Zoe Allen Fred Media

The Sales Manager admits that new ways of collaboration should help bring back advertising dollars.

How are you working on the commercialization of your titles? We have a very strong client base with excellent relationships that have been formed over many years. We’ve also been working closely with our parent production company to develop and produce titles that have a faster turnaround and delivery timeline to help with schedules that remain under pressure due to a lack of production globally. This strategic direction is working well, particularly from a pre-sales perspective, so the response has been good. How are you working on the expansion of your portfolio and which is your most demanded content? We are focusing on our strengths which is factual, wildlife, vets and pets and access driven content. In recent months we have added a raft of titles that are really sparking interest in the market, including Mega Zoo, which has pre-sold to Animal Planet US and TF1 in France, and Emergency, which was a massive rating hit on launch and is selling well internationally. We are also back with a 10th series of Bondi Vet. We are also launching a new show call Top Marques, looking at the backstories of some of the world’s most iconic car brands. I am confident that this will prove very popular in LatAm. n

kids Rainbow

Works on the live-action series of ‘The Bailey School Kids’ The company will adapt the Best-selling Scholastic Book Series with Bardel Entertainment. Bardel Entertainment Iand its Italianbased parent company Rainbow have acquired the rights to the best-selling Scholastic book series ‘The Bailey School Kids’. “Rainbow is always looking for great stories that can capture the imagination of families around the world. These are quite rare to find and require a strong creative vision. As soon as

Submarine

we came across The Bailey School Kids, however, we realized that this best-selling series is a compelling concept full of potential that can’t wait to be brought to the screen,” commented enthusiastically Mr. Iginio Straffi, Founder and CEO of Rainbow Group. The Bailey School Kids series reaches back 25 years and the titles continue to sell strongly. The books are highlighted in Scholastic’s book clubs even now and more than 30 million copies have been sold over a span of 51 titles. The top-selling titles include Ghosts Don’t Eat Potato Chips, which sold more than 1.5 million copies; Frankenstein Doesn’t Plant Petunias, selling more than 1.25 million copies; and Vampires Don’t Wear Polka Dots, selling more than 2 million copies. Twelve of the top titles each sold over 1 million copies. n

One Animation

Brings a hybrid of live action and stop motion

The creators for ‘Oddbods’ develop a new CGI show

Submarine arrives to MIPCOM Online+ with its latest show: ‘Doopie’ (26x7’). Distributed by Superights, the live-action preschool series with a hybrid stop motion, and currently in postproduction in order to be available in December, is created and directed by Meikeminne Clinckspoor

‘Future Bros.’ (52x11’) is the new CGI animated show of One Animation, the creators of twice Emmynominated ‘Oddbods’, ‘Insectibles’, ‘Antiks’, and ‘Rob the Robot’. The show 6-11 will be available 18 months from greenlight and it’s a fun, thoughtful comedy that follows the life of 7-year-old boy genius Andy who, by way of his own time-machine invention, finds himself face-to-face with his 13-year-old self — and realizes he is sorely lacking. Andy7 knows there is greatness in his future self and he’s going to mine it out of him, one nugget at a time. This time-travel show, (without all that pesky time-travel) is about two people with very different perspectives, butting heads over the direction their life should go.

& Maarten van Voornveld. The series tells the story of Doopie, a plush toy who lives in a store, goes out into the world full of enthusiasm. Every day, and in-between, he meets other children, with whom he has all kinds of adventures. Thanks to Doopie‘s adventurous and inquisitive nature, they land in many bizarre situations, which Doopie ‘solves’ in his own unique, completely illogical, but humorous way.

kids Dandelooo

Puts its mind on Christmas season Emmanuèle Pétry Sirvin, Partner, explains how the company is working on the development of animated titles. Facing the cancellation of the physical editions of the markets, Dandeloo is improving “our digital communications and are having one to one meetings through the small screen, almost the same as the good old days. We have built wonderful relationships over the years with our buyers with mutual trust which means the non-market situation is helping everyone to adapt and diminish worldwide pollution”, explains Emmanuèle Pétry Sirvin, Partner of the company. She also describes the continuing development “of our our own programs (original ideas and book adaptations) for Dandelooo’s home productions. With our distribution portfolio, we maintain and foster

relationships with our friends and rights holders in order to secure their next program. We have received numerous offers for our preschool series such as ‘Pompon Little Bear’, which is an adorable and comforting nature-based series with heartwarming characters. It’s the same for ‘Shooom’s Odyssey’ and ‘Mum is Pouring Rain’, strong stories and wonderful characters. The high quality in these series is recognizable”. Regarding the goals for 2020, the executive explains: “Our goal is not to get sick, to find some great Christmas gift ideas: ecological, meaningful, pleasant and useful, like our programs and to reflect and strategize for the year ahead”. n

Mondo TV

Launches Mondo TV Kids on October 28th Mondo TV announced the launch of its own dedicated channel on Samsung TV Plus, Samsung’s free ad-supported Smart TV video service, in Italy. Mondo TV Kids, will air on Samsung TV Plus starting October 28. It will be a channel on Samsung TV Plus aimed at a target audience of Italian children, available 24/7, with a daily segment in English to support and encourage children who are learning the language. Italian users who can access Samsung TV Plus can enjoy many of the shows that make up Mondo’s vast TV library, along with recent hits like ‘Sissi the Young Empress’ and ‘Invention Story’. This is the first thematic digital channel organized directly by Mondo TV

and marks the beginning of a new project for the business of the future. Samsung TV Plus, which already offers more than 250 channels in seven European countries, gives viewers instant access to top news, sports, entertainment and more. It’s 100% free for Samsung Smart TV users with models after 2016 in the UK, Germany, Matteo Corradi, President and CEO of Mondo TV, says: “Mondo TV is delighted to be part of the Samsung TV Plus service, a service that makes access to the best programs easier and faster. Samsung TV Plus is a wonderful showcase for our impressive library of TV shows and movies, and a great way for fans of our many recent hits to access them for free.” n

kids ZAG

Establishes ZAG Games & Interactive Experiences Games Industry Executive Elinor Schops Appointed as VP of Games & Interactive Experiences to Lead IsraelBased Division.

ZAG launched a new business division, ZAG Games & Interactive Experiences, to develop new gaming experiences and other interactive opportunities across Mobile, PC, Online, Consol Games, VR & AR, Video and Mobile Apps for all of the properties under the ZAG Heroez label—an umbrella brand franchise that brings together the superheroes from ZAG’s animated properties. ZAG appoints trusted games industry executive Elinor Schops as VP to spearhead ZAG Games & Interactive Experiences. Based in Israel, she will lead an all-star team of creatives and will report directly to Julian Zag, Executive Vice President, Global Operations at ZAG. ZAG’s first “official”

global mobile game for Miraculous - Tales of Ladybug & Cat Noir was released in April 2018 and ranked the #1 game in 39 countries with 100 million downloads to date. “Following the huge success of the first Miraculous game, as well as the phenomenal presence of the brand online with over 20 billion views on YouTube, establishing the ZAG Games & Interactive Experiences division has been an important strategic goal for us, especially in managing the requests from gaming companies worldwide,” commented Julian Zag. “Gaming has become a tremendous multi-billion-dollar industry globally, and I am thrilled to lead this new division to maximize all of the untapped potential in this arena with ZAG’s amazing catalog of hit properties to develop unforgettable gaming experiences for fans all over the world,” said Schops. n

Xilam

Launches ‘Oggy and the Cockroaches - Next Gen’ Following the 20th anniversary of its iconic and globally renowned slapstick comedy series ‘Oggy and the Cockroaches’, Xilam Animation is now gearing up to launch a rebooted version of the series at the market. Produced by Xilam Animation and based on the characters created by Jean-Yves Raimbaud, ‘Oggy and the Cockroaches – Next Gen’ (78x7’) will see Oggy take on the responsibility of parenthood as his friends’ daughter, a 7-year-old elephant named Piya, comes to stay. Piya is kind-hearted, happy-go-lucky, full of energy and completely derails Oggy’s daily grind, as the blue cat must learn how to become a surrogate parent. This is a dream come true for the cockroaches, who see Piya as a new way of ruining Oggy’s life. The series is directed by Khalil Ben Naamane and will be delivered in Autumn 2021. Additionally, Xilam Animation will launch three new 3D series from its specialist CGI studio Cube Creative. Targeting 3-6-year-olds, ‘Tangranimals’ (52x11’) is a comedy adventure series directed by Rémi Chapotot and Tristan Michel. The series sees Young Geo explore Tangra-planet, an amazing place with geometrical landscapes, along with his friends the Tangranimals. The series is now in production, with full delivery expected in September 2021.

kids APC Kids

Develops ‘Tinka and The King’s Game’

APC Kids is bringing family live action series ‘Tinka and the King’s Game’ to MIPCOM 2020. Produced by Danish production company Cosmo Film for TV2 Denmark, ‘Tinka and the King’s Game’ (24x26’) is a sequel series to the popular festive series ‘Tinka’s Tale. APC Kids has secured a number of deals for ‘Tinka’s Tale’ including Canal+ in France and ERR in Estonia. ‘Tinka’s Tale’ follows 15-year-old Tinka as she

discovers she is half pixie, half human and embarks on a true adventure in the hopes of finding the valuable Christmas star in order to reconcile humans and pixies after nearly a century of enmity. She finds unexpected help from human boy Lasse along the way; but the evil, human-hating pixie Crown Prince Fileas will do whatever it takes to prevent their mission. Lionel Marty, Managing Director of APC Kids, says: “Following record ratings in Denmark, we are delighted to continue expanding the global footprint for ‘Tinka’s Tale’, introducing new audiences to Tinka and Lasse through both the original and follow-up series. With a core message of acceptance and friendship, ‘Tinka and the King’s Game’ is as thoughtful as it is magical, and we are looking forward to bringing the series to MIPCOM this year.” n

Gutsy Animations

‘Bobble The Little Witch’ debuts at MIPCOM Gutsy Animations, the studio behind the internationally celebrated Moominvalley, is launching an original new 2D animated series aimed at kids six to nine, Bobble the Little Witch. Bobble the Little Witch (26x11’) is a story of a little wild girl who doesn’t seem to fit in. Inspired by soulful and strong female characters from stories, myths and real life, from young activist Greta Thunberg to the Finnish goddess of the forest Mielikki, Bobble represents a new generation of kids who are wiser, more conscious and aware than their parents have ever been, and who are ready to connect with ancient wisdom, forgotten customs, the natural world and animals. The series combines exceptional visuals with stories inspired by Nordic nature, mythology and folklore, and a magical environment and creative outdoor play patterns to encourage kids to connect with the natural

world around us all. Reetta Ranta, Head of Brand and Development at Gutsy Animations and creator of the show, said: “We at Gutsy Animations want to make a positive impact on the world, people and the environment, and create gutsy content for global audiences. This is the starting point of our new green kids brand, at a time when it is needed more than ever - Bobble the Little Witch will be a celebration of nature, community and sustainable living.” n

kids

“Parents are turning to readymade content” How are you working on the development of new content? The beauty of animating in a socially distanced world is that our staff can work remotely and stay safe while still meeting deadlines. We are actively developing new content even amid the COVID-19 pandemic, as we were able to secure our entire staff with the technology, they needed to support our pipelines within three weeks of our office closures in March.

Federico Vargas 9 Story Media Group

The VP, Distribution describes the moment on the kids’ market and highlights the importance of technology in the industry.

How can you describe the increase of content, especially on the kids’ market? What we are witnessing is an unprecedented time in children’s media wherein consumption has never been higher. In this age of home schooling and isolation, parents are turning to readymade content in the form of things like educational shows, YouTube tutorials, and online workbooks/activities. Consequently, the demand for content, in all facets of the word, has never been so great. Our distribution team has been working diligently over the past 6+ months to ensure the demand for all of our content is met, as we see these spikes in desire for quality children’s content. how are you working on the commercialization of your titles? The disappearance of the physical market space has created a whole new online market experience. Although we won’t be able to showcase our newest titles in person with our clients in Cannes this year, the reimagining of this global event in a virtual arena demonstrates how the industry is coming together to work through these challenges in real time. Which are your goals for the end of 2020? To say 2020 has been a turbulent year is quite the understatement. The fact that our entire 9 Story team is still working and healthy is an accomplished goal in and of itself. For the remainder of the year, I would say our goal is to keep working and adapting to the ongoing changes we are seeing in the media landscape. As we continue to witness the ever-changing effects of COVID on our business and the market, our main goal is the same as it has always been: to deliver the highest quality content to kids around the world, who need it now more than ever. n

kids Mediatoon

Highlights wild west comedy ‘Kid Lucky’

Mediatoon Distribution is bringing 2D animated comedy series Kid Lucky to MIPCOM for audiences 6 – 10. Produced by Dargaud Media for M6 and RAI, Kid Lucky is the prequel to the hugely popular comic book franchise Lucky Luke, which has sold 300 million copies worldwide. The highly anticipated 52 x 12’ series has already

sold to Super RTL (Germany), RTBF (Belgium), RTS (Switzerland) and TVP ABC (Poland). Kid Lucky is only waiting for one thing: to grow up to be the greatest cowboy in the West. Surrounded by his band of friends, he tries a new adventure every day to get closer to his goal: to catch a horse and ride it, to follow in the tracks of a grizzly bear, to sleep under the stars, to challenge Billy Bad with a slingshot – but even in the Wild West you can’t always do what you want! Kid Lucky and his friends are often caught up in everyday life and their adventures curtailed by the adults watching over them. Between daily chores, school, and brushing their teeth, it’s not easy to live your life as a cowboy to the fullest even if Kid is extremely creative at escaping constraints and getting out of a tricky situation. n

WildBrain

Unmasks new animated ‘Green Hornet’ series WildBrain is heading to MIPCOM 2020 with ‘Green Hornet’, a new original animated series based on the classic superhero franchise, which is being developed with renowned filmmaker, screenwriter and actor Kevin Smith. Fueled by his unique creative vision and passion for comics, Smith is working with WildBrain to update the ‘Green Hornet’ for a new generation of viewers. The series will target a family audience and feature classic Green Hornet elements that fans know and love, including his ultra-high-tech car, the “Black Beauty”. Set in contemporary times, the series will deliver some exciting new elements as it follows the adventures of a re-imagined Green Hornet and Kato – now the grown son of the original Green Hornet and the daughter of the original Kato – as they partner to battle crime in Century City! The series

will feature a graphic 2D stylized look and is being developed as half hour episodes. Over the decades, the ‘Green Hornet’ franchise has spawned numerous comics series, toy lines, movie serials, a feature film and the classic 1966 live action TV series, which introduced future martial arts superstar Bruce Lee to North American audiences as Kato. n

platforms in numb3rs

Pablo García Editor website https://plataformas.news

USD 100 billion: Faced with the growing trend of global OTT launches, a study by Digital TV Research has revealed data showing that SVOD revenues for 138 countries will reach USD 100 billion by 2025, doubling what was recorded in 2019.

Discovery plans to launch its SVOD “very soon” Katzenberg y Whitman explore selling Quibi

The company prepares Discovery+, trademark registered on July 10th, to reach consumers directly.

The short-content SVOD, founded by Jeffrey Katzenberg and led by Meg Whitman, is exploring strategic options, including a sale, six months after launch. This comes after the first reports that it would not reach its first-year goal of exceeding five million subscribers. Despite raising more than USD 1,75 billion before launching companies like Disney, NBCUniversal, WarnerMedia, ITV, and Viacom, Quibi is working with advisers to weigh various options, including raising more money and going public through a merger with a special purpose procurement company. Katzenberg has repeatedly attributed SVOD’s stunting to the COVID-19 pandemic, but critics have said its problem is more existential - it’s a highly targeted product for millennials but produced by people far removed from that age group. Quibi was launched on April 1st with almost USD 2 billion from Alibaba, Madrone Capital and all the major Hollywood studios. Despite the money Katzenberg and Whitman invested in the service, it has struggled to gain traction among subscribers. The company said in June that it had been downloaded 4,5 million times and had 1,6 million subscribers.

Focused on cord-cutting, the company prepares Discovery+ to officially enter into the so-called “streaming war”. The app will combine all its brands and content, including sports. In a virtual event organized by Goldman Sachs, Discovery CEO, David Zaslav confirmed the streaming service will hit the market “very soon” and, although he did not anticipate its value, it will have levels with and without advertising. The SVOD will target users who are less likely to tune into Discovery’s linear channels, or who

lack pay TV subscriptions to view its lifestyle, factual, reality, documentary and special programming. They point to cord-cutting or cord-never as a complement to other streamers. “We will arrive with a new content library, a wealth of originals, at a time when Netflix, Disney and HBO have paved the way and people are getting more and more used to viewing content on devices,” said Zaslav. “This release will be the most important thing since I’ve been at Discovery. And we have been preparing for years”, highlighted. n

platforms A+E Networks Latin America

“We have a commitment with the region in order to produce relevant content” Despite the pandemic, the company has continued to consistently develop, edit, and premiere original content. A+E Networks Latin America continues to bet on original production for its different signals such as A&E, History and Lifetime. Eddy Ruiz, President and General Manager of A+E Networks Latin America, commented: “We continue to demonstrate commitment in the region to produce relevant and important content, such as ‘Alto! Frontera’ for A&E, conducting recordings at many airports and borders in the region. Through all these months we continue to produce, edit and premiere original content constantly and that is what differentiates us in the market”. Also, César Sabroso, VP of Marketing, Affiliates and Corporate Communication of A+E Networks Latin America, added: “The success of A&E is due to its series and TV movies, with

Comedia Networks reinforces one of Televisa’s segments With Comedia Networks, headed by Israel Jaitovich, Televisa Networks seeks to strengthen and renew its offer of humorous content, relying on professionals in the comedy industry, to take care of every detail of their productions. “Comedia Networks is a new division of Televisa Networks, with which we want to take care of the comedy content aimed at pay TV channels in detail. We will reinforce these with the supervision of people who are experts in this segment; in addition to preparing the first four productions with which we start this new adventure”, commented Israel Jaitovich, director of Comedia Networks.

a content strategy designed by a wonderful team led by Carmen Larios. It is very important to be able to show a local flavor and at the same time regional, to generate the expansion of the arrival of content to multiple audiences”. Carmen Larios, Head of Content A&E Latin America, explained: “With the DNA of our brand we come to tell the story of ‘Metropolis’ with its different editions, and even in times of COVID-19. Due to the interest of the audience, and due to the success of the docurealities, we carried out productions with a super attractive storytelling”. n

Claro Sports enters into the Cinépolis Klic catalog With a seven-day free trial period before activating the option with recurring charge, Claro Sports broadcasts its channel for the first time on a video on demand platform together with Cinépolis Klic, where you can enjoy the best sporting events, for so only MXN 50 (USD 2,3) per month. José Aboumrad, CEO of Claro Sports, commented: “We are very happy to reach this agreement with Cinépolis Klic, since we will be able to grow our audience with a new experience in the way of transmitting and sharing the emotion of all sports activities”. The sports brand has the broadcast rights to the Tokyo 2020 Olympics.

platforms

WarnerMedia

HBO Max anticipates advertisements on its subscription models

WarnerMedia had already anticipated its intention to offer a second way of contracting at a lower price than the HBO Max platform. This version with ads begins to take shape, at a more affordable price with advertising, which would arrive in a second phase of expansion planned for 2021. Now, the company has already begun to survey consumers in the United States, through a survey whose questions offer some clues about the integration of advertising within its content. However, the ad load is expected to be less than its competitors with less than two minutes of ads per hour of programming, well below the five minutes for Peacock or the nine that Hulu can serve. In addition, everything seems to indicate that certain spaces won’t have ads. Given that HBO, as the aforementioned article explains, has signed agreements that commit cable and satellite operators to keep their programming adfree for a window of time, it is logical to think that the same logic applies. HBO Max Originals productions, in

principle, would not have this restriction. The relationship between streaming and advertising has given rise to different distribution models. YouTube and the catch-up platforms of commercial networks are the paradigmatic example of FVOD (Free Video on demand), whose monetization is based on advertising. The SVOD model, with Netflix or HBO Go itself as its flagship, takes viewer rejection of advertising as its foundation, and the conviction that success in customer acquisition and retention depends on removing it from the equation. Many say that the Netflix model is unsustainable and that, in the medium term, it will need to incorporate ads. But if we consider that the online advertising market is monopolized by three large corporations (Google, Facebook and Amazon) that have spent years collecting and mining data from their users, it is easy to understand why Reed Hastings has always ruled out this option. flat. “In the long term, there is no easy money,” he said in a recent interview. n

platforms

“In full expansion, Acorn TV doubles its catalog for the region”

Matt Graham Acorn TV

The General Manager of the service indicated that the confinement brought unexpected audiences to the platform.

How has Acorn TV evolved since its launch in Latin America? We started in the 90s as a home video service with premium content from Great Britain, Canada, Australia, Ireland, New Zealand and other international markets. Therefore, Latin America is part of our 30-year legacy searching for the most intriguing and extraordinary mysteries, dramas, comedies, and documentaries. In Latin America, we are gaining the trust of curious viewers by offering them the best British and international TV and always adding more content with their preferences in mind. Since launching in the region in 2018, we have more than doubled our catalog for the region, offering new content each week and simultaneously launching series with the US. During these years, distribution has grown and is now available in most of the Spanish-speaking countries of Latin America, either through our website or on devices and platforms such as Roku, iOS, Android, Apple TV, Chromecast, Apple Channels, Izzi TV and Amazon Prime, the latter two in Mexico. Did you see a growth both your audience and subscriptions to the service grow during the confinement? Staying at home has brought more consumption and viewing both in the United States, and in the rest of the world. We have seen audience and subscriptions grow in all of our global markets, including Latin America. We also see that this growth has stabilized somewhat since July but is still higher than before lockdown. What does the commercial agreement with AMCNI-LA mean? AMC Networks has been a partner with Acorn TV since 2016 and one of the owners of the parent company, RLJ Entertainment, since late 2018. We are proud to be part of the AMCN family dedicated to creating and distributing bold and witty stories powered by the artistic insight from talented and enthusiastic storytellers. The distribution partnership with AMCNI-LA will expand Acorn TV’s access to viewers by making it a closer service. n

platforms

The API model

“Platforms have contracted the entire value chain” The direct relationship scheme with the consumer has been simplified from the traditional one, which had content producers or studios and pay TV operators to reach the audience.

The audiovisual models of the small screen were evolving exponentially, segmenting the market, explained Liliana Parodi, Programming and Production Manager of América TV from Argentina; Felipe De Stefani, SVP and General Manager of Turner Argentina Internacional -WarnerMedia-, and Pablo Mancuso, president of Accion Group, during the virtual edition of Bolivia and Asunción Media Show. Parodi pointed out that in the beginning the Free TV model owned all the content such as sports, news, fiction and children. However, Pay TV took over all segments and reduced the region’s free-to-air advertising revenue – that has also affected the investment in content. “Today’s television is different, more complicated for broadcast TV because new technologies and commercialization of advertising were a challenge in order to find audiences and make the machinery work,” said Parodi. At the same time, De Stefani highlighted: “With this boom in platforms there was a contraction in the value

chain, as before there was a content producer or studio, an intermediary that sold it, a cable operator that distributes and finally arrived to the consumer”. “Today an API changes the scheme due to its direct relationship with the consumer, with fewer players involved. This generated a price benefit for consumers, who pay a very low price for all types of content and without limits. Although volume is needed to have a much lower ARPU, these new players need global subscriber scale to have a large amount of content for very little money,” he added. “While content is king, distribution is queen and wears pants, because you need to be on the right screen and distribution, in an ocean of productions”, said Mancuso, who concluded: “The operator has the end customer with a demand for entertainment, education and connectivity. And today it carries out its model of super aggregator, by adding OTT. The platforms are complementary to pay TV and need operators to reach unbanked end customers through billing”. n

platforms Disney

Deadline to divest Fox Sports México is extended While the negotiations for the sports network progress, the Mexican regulator once again extended the expiration date to the Hollywood giant to finally finalize the sale of the channel. Once again, the Federal Telecommunications Institute (IFT) granted The Walt Disney Company and Twenty-First Century Fox a two-month suspension of the deadline to divest Fox Sports in Mexico - a mandatory term to complete the Disney and Fox merger - which will be effective from November 30 to December 4, 2020. On the other hand, the companies reported on the progress in the divestiture of the Fox Sports Mexico channels, in which a firm has the documentation required to continue advancing in this acquisition. “In his report presented to the institute on June 17, 2020, the Disincorporation Agent has reported to the institute that new economic agents have expressed

Disney + introduces jointviewing feature

The SVOD launched GroupWatch in the United States, Canada, Australia and New Zealand, which allows up to seven users to watch together in synchronized playback. Users receive a link to invite up to six other people to watch together (Disney + subscription required). “Stories come to life when you can share and enjoy it with others, and at this time when many are still separated from friends and family, GroupWatch offers a way to virtually connect to watch the best Disney + stories with your favorite people from the the comfort of your living room,” said Jerrell B. Jimerson, Disney + VP of Product Management.

interest in the possible acquisition of the business to be disincorporated. One of which, after signing the confidentiality agreement, has received from the Disincorporation Agent the package of confidential information on the business to be disincorporated,” the Institute details. However, until now the name and number of the companies that have shown interest in acquiring Fox Sports channels in the country is confidential, and potential new buyers may be added for the duration of the divestiture period or the sale of the business to divest in the trust phase. n

Tubi: Reached 33 million monthly active users

Tubi announced a record of monthly active users, reaching 33 million users -an increase of 65% per yearand Total Viewing Time exceeding 200 million hours transmitted in April, which represents an average increase of 104% over the previous year. At the international level, AVOD registered unprecedented increases in all the countries in which it operates. Year over year, TVT increased 95% in Canada and 242% in Australia. After its launch last June, in Mexico it has positioned itself as a new entertainment option and has experienced 9 times greater growth.

platforms HITN TV

Presents Edye in the US & LATAM The SVOD service is created for preschoolers and their parents, offering a safe space where children can enjoy smart entertainment with their favorite characters anytime, anywhere. Aimed at preschool children between the ages of two and six, Edye presents to the market a suite of mobile applications for Apple iOS and Android, offering the possibility of direct purchase of the app by subscription as well as its authentication through operators and telcos. These Apps are now available in the US and Latin American countries through the Apple Store and Google Play for USD 2,99, offering Edye subscribers a complete and secure experience, which

Europa + officially arrives in Latin America and the Caribbean

Operated by investment fund Innokap and Castalia Communications, the platform is now available to audiences in the region for USD 5,99 per month, through iOS, Android, Apple TV, Roku and Amazon Fire TV. Created for European expats, Latin Americans of European descent and passionate about European culture, users will find the latest and most popular TV series from Europe with more than 1.500 hours. “Europa + viewers will have at hand the most exciting and new of European dramas, comedies, documentaries, reality shows, nature programs, cars, cartoons and more,” said Europe+ COO and CEO Rubén Mendiola.

includes an unparalleled content offer on videos, e-books, games, activities, and parenting guides. The launch of the applications represents Edye’s expansion into the United States market. The service was initially launched in 16 countries throughout Latin America by Claro Video. “We are very proud to continue to expand Edye and offer parents a unique service for their preschool children. Edye has been carefully developed with the best curated content in the world, presented in a truly wonderful environment,” said Guillermo Sierra, Managing Director of Television and Digital Services at HITN. Edye has secured rights to use a content library that has more than 2.500 episodes. n

Pluto TV is now available on Roku for Latam All films, series and programs from more than 100 content partners will be available for free to users of the platform in the region. Pluto TV currently has 54 channels (more than 18,000 hours of premium content), seeking to reach more than 70 channels with content curated for Spanish-speaking audiences. “Pluto TV is a great complement for all our distribution partners who can offer the best content for free to their subscribers and users,” said Marco Nobili, VPS of Emerging Business and Strategy, the platform has more than 33 million users globally. Pluto TV is available starting today on The Roku Channel Store in Argentina, Chile, Colombia, Costa Rica, El Salvador, Guatemala, Honduras, Mexico, Nicaragua, Panama and Peru.

platforms Peacock

Already exceeds 15 million subscribers NBCUniversal’s streaming service added 5 million new users in recent weeks, according to Comcast president and CEO. Comcast CEO Brian Roberts said that subscriptions to Peacock increased 50% in six weeks and that the app is the second most popular on its Xfinity Flex product, behind Netflix, and number three on Xfinity X1, behind Netflix and Youtube. At the press conference hosted virtually by Goldman Sachs, Roberts said that Peacock has already surpassed 15 million subscriptions. “I’m encouraged” by the early days of the streaming service, he said, also mentioning that in broadband-only Comcast households, Peacock is already the second behind Netflix, while in households with the Xfinity X1 TV service platform is third behind Netflix and YouTube, but “closing in” in second place.

NBCUniversal’s streaming service had reached 10 million subscriptions by the end of July, the company had announced. In this sense, Roberts said that since then the initial impulse of the streaming service “exceeded our expectations.” NBCU has said that it expects Peacock to attract between 30 and 35 million monthly active accounts by 2024. Roberts said Comcast’s advantage is the broadband business – which is expected to exceed 1,3 million new additions this year. n

Samsung TV Plus is coming to some Galaxy smartphones

Free TV is now available in Puerto Rico

The streaming service available on the company’s smart TVs is making the leap to some mobile devices.

With more than 3,7 million downloads and 1,1 million active members since its launch in May, AVOD, which includes between 800 and 1.000 hours of programming dubbed into Spanish per month, is expanding into new territory, through the Google Play stores, Apple, freetv.com, mobile applications of the iOS and Android operating systems.

Available on the Galaxy Store and Google Play for select Samsung Galaxy smartphones, including the Galaxy Note20, Galaxy S20, Galaxy Note10 or Galaxy S10, Samsung TV Plus has free access to 135-channel shows and movies for users of devices from the South Korean manufacturer. Pre-installed on all 2016-2020 Samsung smart TVs, late last year the company said that millions of consumers were using the app and that it is one of the best OTT services on the platform for its smart TVs.

“We are offering world-renowned content to the Puerto Rican audience. Anyone with Internet access will be able to see and enjoy, through their favorite device, a solid and exclusive catalog of recognized titles,” commented Victor Montilla, President of Olympusat International.

technology in numb3rs

Noelia Santillán Editor OnLine section newslinereport.com/tecnologia

1.000 exhibitors were supported by IBC Showcase. The virtual event ran from September 8th to 11th 2020 and directly generated over 8.000 leads through a series of live exhibitor presentations and workflow tours, also brought 20.000 attendees to virtual sessions in its inaugural week alone.

Arri expanded its Signature lens line The company introduced four Signature Zoom lenses with an extender for the longest of them, cover a focal length range of 16mm to 510mm. The new Signature Zoom lenses boast the “biggest combined cine zoom focal length range on the market”, and the same warm look as its Signature Primes, “with smooth, flattering skin tones, natural colours and elegant out-of-focus highlights,” according to the company. The zooms are designed for use with any large-format or Super 35 sensor camera and have a “future-proof design” that ac-

commodates HDR and 8K resolution. All four have a constant maximum aperture of T2.8, and Arri claims that “no other zoom system provides this degree of optically matched image quality, versatility and speed”. The first two lenses in the range, due Q1 2021, are the 45-135mm and 65-300mm (plus a 1.7x extender for the 65-300, which makes it a 110-510mm T4.9), with the 16-32mm and 24-75mm to follow. The zooms use a lightweight magnesium design, with in-built Arri LDS-2 Lens Data System to capture lens metadata and help simplify complex tasks on set and in post. Close focusing distances range from 19.4cm (from the front of the lens) for the 16-32mm to 1.337m for the 65-300mm.

IBC Showcase 2020

‘The new normal’ for broadcasters The pandemic is affecting all manner of business activity and the broadcast industry is no different. In order to meet these new consumer demands, broadcasters need to adapt their workflows. The new normal is well on its way and broadcasters need to adapt to withstand the long term effects of the coronavirus. IBC Showcase 2020 offered a combination of live sessions and on-demand content. Continuing under the theme of “Empowering Content Everywhere”, the virtual event ran from September 8th to 11th 2020 and directly generated over 8.000 leads through a series of live exhibitor presentations and workflow tours. Remote and collaborative online tools, 5G, were the main topics of IBC Showcase 2020. “Once Covid-19 started, we had conversations with many customers around the world and of course, all of them were facing the same issue of having personnel at home. And so, we decided to adapt our roadmap and accelerate certain ways of doing

remote production”, said EVS CEO, Serge Van Herck. “We understand that we have to provide tools at a lower cost that can provide efficiency and quality; this is also part of our vision. The new, IP-based replay and highlights solution gives production facilities and service providers greater functionality with even fewer keystrokes, while retaining the remote’s familiar layout. The latest version of the XT-VIA production server has been designed to meet the most demanding live broadcast production requirements”, he added. n

technology

Noelia Santillรกn Editor OnLine section newslinereport.com/tecnologia