SERIES MANIA
Series Mania Forum has become a global spot. This year, the event again broke its attendance record, with 3,800 international professionals from 64 countries represented by 1,600 companies. About
52 projects were pitched, with titles like "The Fortress," awarded as Best Screenplay in the International Competition this year and pitched in the 2019 edition.
OGM UNIVERSE A NEW CONTENT POWERHOUSE
26 Ekin Koyuncu, Global Distribution & Partnership Director at OGM Universe, explains the differential of the company and analyzes the strategy of this brand new global distribution arm.
28
BETA FILM LOCAL CONTENT, GLOBAL SUCCESS
Christian Gockel, Executive Vice President of International Operations at Beta Films and co-CEO at Beta Spain, goes deep into the company’s international strategy.
30
Asli Serim, Head of International Sales at Calinos Entertainment, describes the goals and challenges of her new position and anticipates the potential of “Farah.”
Year 22 • #198 • April 2023
Señal News and www.senalnews.com are operated by SENAL.TV LLC. All text, content, photographs, video, audio, and graphics are owned by or licensed by Senal.TV or other third parties and are protected from any unauthorized use, copying and dissemination by copyrights, trademarks, and/or other proprietary rights and laws of the U.S. and other countries.
1,100 TITLES, 22,000 EPISODES, AND 14,000 HOURS OF FICTION ARE PRODUCED EACH YEAR IN EUROPE.
+50%
ALL TITLES PRODUCED IN EUROPE ARE 13-OR-FEWEREPISODES-PER-SEASON SERIES.
61%
DAILY TELENOVELAS ACCOUNT FOR THE BULK OF HOURS PRODUCED.
After a peak in 2018, there are now fewer international co-productions. In fact, international co-productions account for 8% of all fiction titles and are mostly limited to TV films and to 2-to-3-episode-season series.
New European streaming service SkyShowtime completed its European roll-out in 2023, bringing its premium offering to its final markets of Spain and Andorra. The
streaming platform, which received full regulatory approval in February of 2022, will have launched across more than 20 markets in just five months. SkyShowtime has launched across the rest of its Central & Eastern European markets including Albania, Czechia, Hungary, Kosovo, North Macedonia, Poland, Romania, and Slovakia. ∙
Globo promoted former Sales Manager Pablo Ghiglione as new Head of International Coproduction. Under his new role, Ghiglione will oversee the Americas, tasked with developing partnerships and business models for global co-productions to further expand Globo’s international presence. With more than 12 years of experience, Ghiglione has led important deals for Globo. ∙
BBC Studios and Germany’s ZDF renewed of their long-term strategic partnership to develop and co-produce world class content. The multi-year deal will extend co-development on scripted TV content, with ZDF and BBC Studios partnering to co-produce scripted titles across the BBC Studios’ content pipeline. The new agreement extends first option on pre-sales and acquisitions across BBC Studios’ catalogue of scripted and all factual content that is available in Germany. ∙
All3Media International has signed an exclusive first look deal with the multiple Oscar, Bafta and Emmy nominated factual producer Roast Beef Productions, in order to bolster its premium factual slate, including the highly anticipated documentary “Spacey Unmasked”, which presents a forensic look at Kevin Spacey’s meteoric rise to stardom and his subsequent legal battle in the London courts. This first look deal follows the success of the producer’s acclaimed documentary “Who is Ghislaine Maxwell?”,
which was licensed across Europe, Latin America, Australia, Asia and North America with a co-production deal with Starz. ∙
Fremantle Documentaries unveiled a new label dedicated to producing world-class premium feature documentaries and series, to be known as Undeniable. Announced by Mandy Chang, Fremantle’s Global Head of Documentaries, the new label will sit within Fremantle’s Documentaries division. Undeniable will develop and produce premium projects, and harness its global expertise to attract and work with high-profile talent and international commissioners. The label’s ambition is to make provocative, entertaining, diverse, and influential films and series that push the boundaries of storytelling. ∙
Chris Sussman has signed a first look deal with Banijay UK to develop original scripted projects with the group. The agreement, which will see Sussman partnering with appropriate labels within the UK group to produce new original scripted projects, forms part of the recently announce £50 million Banijay UK Growth Fund, which enables the group to partner with high profile talent, as well as investing in new businesses and key talent. As Director of UK Scripted for Netflix and Head of Scripted Comedy at BBC Studios, Sussman has been involved with many of the UK’s most successful scripted comedy series in recent years. ∙
Turkish production and distribution company Inter Medya continues to expand the reach of one of its most promising daily drama series, “The Girl of the Green Valley,” and has now inked deals in the US Hispanic market, Puerto Rico, Peru, and Panama. The show has been previously licensed to various countries such as Chile, Bolivia, Uruguay, Spain, Hungary, and Israel. In February, “The Girl of the Green Valley” made its international premiere on Wapa TV in Puerto Rico with the title “Melissa.” According to a Nielsen poll, the first episode set a rating record and managed to dominate its entire demographic. ∙
Afew quick good news. First things first, human jobs have not been replaced by ChatGPT-4 (not yet), and we still don't understand what the Oscars Awards stand for, as the two top box office movies from 2022, "Maverick" and "Avatar 2," didn't win. Finally, the content industry agreed on one point: we don't want to lose more money on streaming.
That last topic is a massive announcement from recent statements from the big guys, admitting they have to change their streaming strategies to achieve the "now" urgent profitability. Yes, it's happening!
You can't solve a problem if you don't acknowledge it, even when it is one of the most common questions that we all did at some moment: is this business profitable?
That's what they teach us at college, but the streaming wars seemed closer to the venture capital investment world for a long time, where a good pitch featuring exponential user growth unlocks the power of "burning money" quickly.
The industry has realized that profitability cannot be sacrificed in the name of growth. As a result, we
Pablo Mancuso President & Owner, Accion Group
are seeing a new focus on making money from streaming rather than just building up user bases. That trend is notable because it will reshape some critical drivers in this highly costly war, starting with modifications to the king: the content.
Bob Iger says Disney+ hoarding its own movies and TV shows was less valuable than he thought. That is excellent news for those in content distribution, as the door to content syndication is open once again. How do we start to focus on profits?
Content Syndication. As Bob anticipated, that's what the studios do, and while some companies like Disney will put less focus on producing exclusive only content, we'll probably start to see movies and series on direct competitors.
Movies need to be theater movies. David Zaslav was the first to mention it; if a project costs more than 30 million dollars, it needs theatrical distribution. 2022 showed promising signs of recovery with some big hits. Apple plans to spend $1 billion a year to produce movies that will be released in theaters when most of Apple's previous original films have either been exclusive to the streaming service or released in a limited number of theaters. Amazon is tempted to buy AMC Theaters, and they already own MGM Studios. Big tech is moving into the movie world.
All business models are needed. We already know that Netflix's Ad tier service is working (still only 1% of their total base), but almost 20% of new clients are attracted to this new plan, so there are customers for everyone. Amazon keeps adding linear channels, and Discovery+ is also taking linear content from many of its top brands, like CNN. Fast channels are still growing fast, and the total consumption of platforms is reaching 50% only on Smart TVs. Nobody can stay quiet.
Don't alarm if you find "The Mandalorian" on HBO Max or "Succession" on Netflix. If you may have to wait longer to watch that movie you couldn't catch in theaters, that happened for a reason: it has to make money!
By Pablo Mancuso
GAMES REVENUE WILL REACH $215 BILLION BY 2027, OVERTAKING PAY TV AND CINEMA. ACCORDING TO OMDIA’S FINDINGS, MULTIMEDIA EVOLVES AS VIDEO GAME FRANCHISES MAKE THEIR WAY INTO BIG SCREENS.
Global consumer spending on games is set to reach $215 billion by 2027, according to the latest Omdia research. Following a 50% increase in games adaptation in 2022, the transmedia space continues to expand and profit as more video game franchises make their way to the large and small screen. "Alongside the increasing number of games IP adaptations since the 1980s, this content's quality and consumer perception has significantly improved in recent years. Streaming services and studios need more content to monetize their services and reach profitability, and consumers are demanding more and more content," noted Maria Rua Aguete, Senior Director at Omdia's Media and Entertainment practice. "The days of poor performing titles, such as 'Tomb Raider: 5.5' or 'House of the Dead: 2.1,' are long behind us. Highscoring TV series such as Netflix's 'The Witcher' or HBO's 'The Last of Us' prove that quality, investment, and the writing across the adaptations are of a superior level," she added.
According to Omdia's stats, the number of titles available on US SVOD services surpassed 40,000 as of Q3 2022. US programming spending also grew 11% in 2022, reaching $122.4 billion. The research also ranked countries by spending on games-related content and services for the last ten years, with the US, China, Japan, the UK, and South Korea taking the top five positions.
COUNTRIES RANKED BY SPEND ON GAMES-RELATED CONTENT AND SERVICES 2013-2022
Furthermore, Omdia's research found that the universe of gamers is much larger than cinema across all age groups. More than 50% of the 55-64 age demographic prefer gaming over cinema in the US, while women lead in mobile gaming in the UK and Germany. "As the hype and excitement surrounding the upcoming 'Super Mario Bros.' movie, one of the most popular videogame franchises scheduled to make its return to the big screen this April, the popularity of sci-fi series 'The Last of Us' and 'Stranger Things' continue, it is no surprise that games revenue is expected to reach stratospheric levels thanks to a growing catalog of film and television adaptations," concluded Rua Aguete.
Tomb
The Witcher (8.1/10)
The Last of Us (9.2/10)
Omdia
THE EVENT GATHERED 3,800 INTERNATIONAL PROFESSIONALS FROM 64 COUNTRIES REPRESENTED BY 1,600 COMPANIES AND FEATURED A SCHEDULE WITH 600 SPEAKERS AT THE SÉRIES MANIA FORUM PANELS AND PITCHES.
Series Mania Forum has become a global event. This year, the event again broke its attendance record, with 3,800 international professionals from 64 countries represented by 1,600 companies. About 52 projects were pitched, with titles like "The Fortress," awarded as Best Screenplay in the International Competition this year and pitched in the 2019 edition.
Moreover, the new Séries Mania+ platform and the official seriesmania.com were also great successes, with nearly 1.2 million page views. Thanks to that development, the Séries Mania experience was enjoyed worldwide. International stars such as Marcia Cross, Brian Cox, and Tomohisa Yamashita attended the event, which also held the Grand Prix of Séries Mania awarded to "The Actor," the first Iranian series in the International Competition. Over 600 guests were invited to attend the 57 series in the program, which had 600 speakers on the Séries Mania Forum panels and pitches. Finally, more than 85,500 spectators participated in the festival's screenings, conferences, and events, up nearly 20% from the previous edition. "We would like to warmly thank our partners without whom Séries Mania could not take place: the Hautsde-France Region, the CNC, the European Metropolis of Lille, the City of Lille, Media Europe Créative, Crédit Mutuel Nord Europe, and
2023 Figures
+85,500 participants.
396 series submitted and viewed. 57 titles selected. 24 countries represented. 5 competitions.
all the partners of the Séries Mania Festival as well as those of Séries Mania Forum. Throughout these eight days of screenings, masterclasses, meetings, parties, and photos on our purple carpet, Séries Mania has once again left its mark on the world of serial creation. It is where the series begins. And we can't wait to see what the next episodes have to offer," said Laurence Herszberg, Founder and General Director of Series Mania.
Series Mania Forum's annual Co-Pro Pitching Sessions had 15 projects selected and pitched on the first day of Series Mania
Forum. The jury team chose the Ukraine/Poland war thriller drama "Unspoken" to win the Series Mania Forum Best Project Award. "Unspoken" is produced by Dmytro Sukhanov, Toy Cinema (Ukraine), Natalia Libet, 2Brave Productions (Ukraine), and Anna Rożalska, Match&Spark (Poland); and
and Filip Syczyński. "The winning project united the judges unanimously with the raw, emotional intensity of the storytelling. The powerful, relatable tale of a father prepared to go to any lengths to save his family was a bold and original take on the most urgent subject matter of our time," said Caroline Hollick, Head of Drama at Channel 4.
"The Co-Pro Pitching Sessions are one of the most anticipated parts of the Series Mania Forum, and we are delighted to be giving the €50,000 prize to 'Unspoken.' We are extremely pleased that our illustrious jury chose to give the award to a Ukrainian project which is very much connected with what is going on in Ukraine today. Despite this war, Ukraine, its creators, and its culture are still very much alive and thst is another reason to admire the courage of the Ukrainian people," Laurence Herszberg said.
The creative initiative Seriesmakers, led by Series Mania Forum and supported by European content powerhouse Beta Group, announced the three winning projects. In addition to the winners, Beta Group and Series Mania have decided to open a second edition following the overwhelming success of the first edition. The two Beta Development Awards (€50,000 each) went to "Yours, Margot," by director Juho Kuosmanen and producer Jussi Rantamäki, and "The Invisible Ink," by director César Díaz and producer Fernando Epstein. Moreover, The Kirch Foundation, in collaboration with HFF (University of Television and Film Munich), awarded €20,000 for a further project, "Amigas," by director Beatriz Seigner and writer Maíra Bühler.
This year's Beta Development Award recipients will work closely with Beta's Content Division, led by CCO Koby Gal Raday, to develop the pilot script. The two teams will
be invited to Series Mania's Forum 2024 to present their projects to the industry's most influential decisionmakers, broadcasters, platforms, co-producers, and financiers.
2024 Dates
Festival
MARCH 15 TO 22
Forum
MARCH 19 TO 21
3,800 registered participants. 64 countries represented.
1,600 participating companies. 52 projects of series pitched. 54 exhibitors.
18 international delegations.
Television adaptations from videogames soared by 47% from 2021 to 2022, with "The Last of Us," the latest great hit of HBO Max, being one of the best examples of this success, and responsible for changing the perception of consumers about the quality of such titles, Omdia revealed in its latest report, presented during the Series Mania Forum by María Rua Aguete, Senior Research Director, Media & Entertainment. According to María Rua Aguete, game-to-screen series have grown continually since the 1980s. Although HBO Max's "The Last of Us" is today's best example, Netflix is, in fact, the one that has led the charge
with shows based around IP such as "Resident Evil," "Castlevania," and "League of Legends," which have also been vital in improving consumer perceptions around video game remakes.
"Streaming services and studios need more content to monetize their services and reach profitability. Dedicated fan bases across IP such as games, books, and podcasts are becoming increasingly valuable," María Rua Aguete stated, while also noting that the size of the gaming market also provides huge crossselling potential, meaning more adaptations can be expected.
By Diego Alfagemez & Fernando Calviño
EKIN
AT OGM UNIVERSE, EXPLAINS THE COMPANY'S DIFFERENTIAL AND ANALYZES THE STRATEGY OF THIS BRAND NEW GLOBAL DISTRIBUTION ARM FOR BOTH TURKISH AND INTERNATIONAL PROJECTS.
Last October, OGM Pictures, one of the leading production companies in Turkey for both linear and nonlinear content, announced the launch of its global distribution arm for both Turkish and international projects, OGM Universe. This venture is now headed by Ekin Koyuncu, who serves as Global Distribution & Partnership Director. In dialogue with Señal News, the executive explained OGM Universe's differential and analyzed its global strategy.
What is the strategy behind the global launch of OGM Universe?
"OGM Pictures was founded in 2019 by Onur Güvenatam, who has been involved in the Turkish TV series and film industry for many years, and has produced many successful TV series that left their mark on both the local and international media industry. Within this short period, the company created an outstanding track record on both linear and non-linear, offering unpredictable but familiar content by going far beyond the usual character patterns and story flow in all productions. With the growth of OGM Pictures productions, the
company decided to conduct the global operations in-house and launched OGM Universe, a new venture that will not only focus on the global distribution of local and international content but will also give weight to new business lines in production with partners around the globe."
How would the company answer the latest trends and needs for Turkish content?
"OGM Pictures does not set limits on dreams and is always after tapping into people's feelings differently, telling the stories more intimately, a newer way. Many OGM productions belong to Dr. Gülseren Budayıcıoğlu, who, with the great success of 'My Home, My Destiny,' 'Chrysalis,' 'Red Room,' 'The Innocents,' 'Golden Boy,' and 'Stickman,' became an international household name. When her name is included next to Onur Güvenatam, we all know to expect the unexpected, which is a very intriguing sales point."
that you cannot find anywhere else. That provides OGM Pictures with an established brand value and a distinguished identity. OGM Universe aims to position this production identity in the global market. Clients and partners around the globe will be able to taste that difference in the kind of stories we distribute. In 2023, OGM Universe aims to introduce these unique stories to as many countries as possible and become a strong player in the global market."
What would be the value of Latin America for OGM's global distribution business?
How would you define the distribution strategy of the company?
"When you look at OGM Pictures's productions, the first thing you realize is quality. The art of storytelling, the importance of casting, and the over-the-top look in all productions lead to a complex but exciting, diverse range of stories. We create content
"Latin America is still the leading market for Turkish distributors. While our primary focus is still linear, we see many exciting developments on the non-linear side. Having a presence in different media is crucial to reach wider audiences. The context and the quality of Turkish content are changing and evolving. That creates an opportunity to show the strength of Turkish content to different age and gender groups while ensuring continued success."
By Diego Alfagemez & Federico Marzullo
Beta Film started very actively in 2023, with several worldwide deals for shows like “The Swarm,” “Sisi,” and the Movistar Plus+ catalog. Señal News talked with Christian Gockel, Executive Vice President of International Operations at Beta Films and co-CEO at Beta Spain, who described the challenges and goals of the company.
What is the international strategy of Beta to expand its global growth?
“Beta stands for close relationships with the best creatives all over Europe to bring the best product to the international market. Our strategy can be summarized by the phrase ‘local content globally successful.’ That means we are looking for the right mixture of local elements that appeal to a global audience in the projects we acquire or coproduce. On the other hand, distribution is our DNA, which combines with our creative input. Our ultra-connected territory-byterritory international sales and acquisition apparatus helps to find those projects. We have combined that with Beta’s biggest strategic pivot in recent years: going from picking up and selling finished shows to far larger production involvement.
Our goal is to produce the best drama out of Europe, together with the best creatives in front of and behind the camera, involving the best producers and those that can finance the necessary means to make a project happen.”
What are the most suitable business models for the company today?
“Distribution is where we come from, is our DNA. Coproduction is also a big part of our growing business. We have a network of over 30 production companies, which are part of the Beta Group, as a key source of projects, and, additionally, we engage in our own co-development and co-financing activities. Independent production companies all over Europe are increasingly at the core of our business. Our revamped strategy allows us to be part of early-stage local projects."
How would you analyze the evolution of coproduction in the past years?
"We all face increasing costs and public and private broadcasters' decreasing budgets. There are also far fewer opportunities to go with one partner to produce a show competing in today's market. We must find ways to combine resources, in part by crossing borders, which leads to more international shows. Coproduction also allows writers from different countries to collaborate, which has quickly developed a creative upside over the last few years."
What is the distribution strategy of Beta for Spain and Portugal?
"We consider Spain one of our key markets, and we have been there for decades and maintain a close relationship with all players. Portugal is still a challenge in terms of distribution as being a smaller market with fewer players. Our efforts are currently concentrated in the Spanish market. Platforms acquisitions have been reduced drastically in both markets, but it will change by the end of the year. Linear channels demand good European prime-time shows, and light fiction is also trendy again, as viewers have been overloaded with complex high-end dramas. One of our goals is to find ready-made shows that can travel or be adapted into strong European IPs. Some great examples are 'Commissar REX,' a light-crime procedural cop show that was locally adapted in many territories, and 'Hudson and Rex,' a Canadian show with over 100 episodes produced."
How do you analyze the growth potential for the company around Latin America?
"We have been in the Latin America market since the mid90s. Our core business was to bring European content to the region. Straight distribution is still important; however, we must expand our production and coproduction activities. We will face that challenge with our Spanish production companies, Beta Fiction Spain and Beta Entertainment. We believe in the Latin America region and foresee finding the right partner or establishing our own production unit there."
By Diego Alfagemez
ASLI SERIM, HEAD OF INTERNATIONAL SALES AT CALINOS ENTERTAINMENT, DESCRIBES THE GOALS AND CHALLENGES OF HER NEW POSITION AT THE COMPANY AND ANTICIPATES THE GLOBAL POTENTIAL OF “FARAH,” THE TURKISH ADAPTATION OF THE AWARDWINNING ARGENTINIAN SERIES “LA CHICA QUE LIMPIA.”
Calinos Entertainment started the year with much news in the international arena. First, the company locked the global distribution of "Farah," the Turkish adaptation of the awardwinning Argentinian scripted series "La Chica Que Limpia." Moreover, Calino's "Forbidden Fruit" became Spain's best fiction premiere in a decade. To describe these events and to highlight her new role as Head of International Sales at Calinos Entertainment, Señal News spoke with Asli Serim.
What would be the main challenges of your new position at Calinos? "Calinos Entertainment's mission is to spread joy to global audiences, to make them 'enjoy the drama.' I'll continue to carry on this mission and enwiden the presence of Calinos' dramas on all the platforms, in every country, with the new international shows and movies and the phenomenal Turkish titles from our catalog."
What are the most significant growth opportunities for the company in the international arena?
"As always, Latin America is essential for us, and we aim to grow and enwiden our presence in the region. In addition, Asia and Africa are the continents we will focus on in 2023. We are adding new titles to our catalog, not only from Turkey but also from international producers. We started this with Polish films in 2022 and will have some new titles in the upcoming weeks. In addition to licensing finished content, we also work on format sales. That's why 'Adela,' the Romanian remake of Calinos' 'That's My Life' drama, was a great phenomenon in Romania and had four successful seasons. We added it to our catalog by the end of last year, and in 2023 we will have remakes of 'Dila,' 'The Bitter Life,' and 'Starlust' in Latin America. We also recently sold the formats of 'No:309' to Romania and 'That's My Life' to Africa."
How would Calinos organize its strategy in order to work with freeTV channels, pay-TV brands, and streamers?
"Our distribution strategy is to enwiden the presence of Calinos'
dramas on every platform. So, we create tailor-made solutions to satisfy every media company's needs."
Calinos will distribute the Turkish adaptation of "La Chica Que Limpia." What global appeal do you recognize in this title?
"'Farah' is the new leading drama of Wednesdays in Turkey. It is the adaptation of the award-winning Argentinean scripted series "La Chica Que Limpia." Produced by O3 Medya and starring Demet Ozdemir and Engin Akyurek, 'Farah' is the story of an Iranian woman who had to run away from her country and is struggling to live in Istanbul, working as a cleaning lady to maintain the health treatment of her son; but, in the end, she turns into a mafia collaborator. The US remake of the series, 'The Cleaning Lady,' is also an award-winner and lately achieved the 'Best Drama of 2022' award by 'Women's Image Network.' Firat Tanis, Senan Kara, Lale Basar, Oktay Cubuk, Mustafa Avkiran, and Ali Surmeli are some of the talents that star with Engin Akyurek and Demet Ozdemir in 'Farah.'"
After "Forbidden Fruit" became a massive hit in Spain, could it expand its global footprint?
"At Calinos Entertainment, we present great dramas for audiences worldwide. That is the case of 'Forbidden Fruit.' The show was produced by Medyapim and sold to 14 countries in 2022, including Spain. In each of those territories, it became a phenomenon. Last February, 'Forbidden Fruit' debuted in Spain as 'Pecado Original' and was named the best fiction premiere in a decade. The show achieved a 15% share of its slot on Atresmedia's Antena 3. That reflects the solid power of Calinos' catalog and shows us that there are more countries to conquer with 'Forbidden Fruit.'"
By Diego Alfagemez
REPRESENTATIVES OF THE LEADING COMPANIES IN THE KIDS AND ANIMATION BUSINESS TALK ABOUT THE CURRENT CHALLENGES, OPPORTUNITIES, AND TRENDS IN THE WORLD OF CONTENT MADE FOR THE LITTLE ONES.
In times when children begin to interact with screens from an ever-younger age, the viewing options are multiplying, and the offer is almost unlimited. Reaching the smallest consumers, a task that until some time ago fell only to television, today is a great challenge for both channels and digital platforms. Señal News spoke with representatives of the leading companies in the kids’ segment about the current challenges, opportunities, and trends in the world of content made for the little ones.
Diego Ibañez, Chief Brand Officer, and Carlos Biern , Content and Distribution Director of the Kids & Family division
"Children's brands have been associated a lot with the preschool environment, which is currently exhausted for two reasons: because everyone is there and because the child of that age is now receiving inspiration from other places. So, one can no longer serve the same target in the same place. Meanwhile, a completely neglected target is adolescents: teens, and tweens. At the same time, the storytelling that the industry knows is more focused on a long format that works on a single screen, like television, while this industry is still incapable of telling the same story using ten different screens, with different audiovisual languages and the necessary agility. To reach that audience you used to reach with just one screen, now you need ten."
Alix Wiseman, Senior Vice President, Distribution & Acquisitions
"The message we are getting from all territories around the world, especially in the United States, is that they want wellknown and established IPs, brands, and shows already loved by kids from all regions. That happens because they are a safer, less risky bet. Buyers know there will be a return; they will maintain their audiences and keep the kids happy. For example, shows like 'Barney' perform so well for us. We definitely keep selling original IPs in the region, but there is a tendency to go to the safer place, taking few risks."
Athena Georgaklis, Vice President
"It does not matter the show's demographic or style because, above that, we are always looking for great characters. The hook is great, and the concept is always important too. We are looking for unique things, as there are many similarities in the shows that we are seeing. It is really hard to find something you have never seen before, but it does happen, and surprisingly unique concepts do come to us. However, we would never go forward if they do not have a strong lead character. Kids are drawn to characters, and they are the ones that make a show have longevity."
Cristiana Buzzelli, SVP of Contents and Licensing
"In the past few years, there has been a big demand for preschool content, and now that the preschool space is more crowded, I believe there is a gap both in the kids 6+ animation and live-action, which has been kind of neglected for quite some time in terms of broadcasters. Some years ago, kids were sticking to animation for a longer time. That means that, for example, a 6-8 years-old kid was watching animation and not turning into the live-action space before being in the tween demographic. Now, that life cycle has been shortened, and kids are watching live-action much earlier than it used to be. Therefore, there is now a good opportunity for liveaction in the 6+ space, something that did not exist before."
Robin Gladman, Head of Acquisitions
"Kids spend much time on digital platforms consuming things very quickly, so you need to find a way to correctly manage the windows and adapt your content to work in all of these different ways of consumption. For example, if kids are watching on a mobile device and scrolling through something, content should get to the action much faster, while if you are doing something for platforms or television, which is more of a lean-back experience, you got more time to develop the story. Nevertheless, what all have in common is that you need to have good characters and excellent production quality."
Juliette Béchu, International Sales Manager & Acquisitions
"We are always trying to acquire new series of different genres, themes, and forms of animation, so we have a catalog of programs that do not look like each other. We also like to work with producers from everywhere in the world and get to meet new creators and their projects. The main idea is to always have fresh content in our catalog. Having shows that explore new horizons also allows us to meet new clients and explore new markets."
Bonnie Lener, Producer, and Sépideh Shirazi-Moayed, Content Sales Director"What is important to us are values, which is why we push 'Molang' so hard because it is a character who talks to everyone. He is the ambassador of kindness. Although we are at an early stage, we are thinking about a movie of 'Molang' and also a new spinoff called 'Molang Family.' We are trying to push this little character that is so popular and deserves to be that popular because it is all about kindness and has universal values that we want to share with viewers."
Fanny Gilabert, VP of International Sales
"Musical shows are easier to present to broadcasters worldwide, as music is an international language. It is challenging to dub the music, but a catchy song is great anywhere. A good music show can surely be an international hit. It is a form of art that is easy to get for kids all over the world. Regarding targets, there are many preschool shows on the market, so now the buyers are looking for great content for kids 8+, which is a tricky target group. At this age, we are seeing that kids are shifting to VOD platforms. Therefore, the challenge is to find appealing content for that specific audience."
Marta Braun, Head of Latin America
"We have seen that a successful show on YouTube goes to Netflix and gets into the top 10, then goes to HBO Max, and it also gets into the top 10 there. We reach new viewers while expanding the footprint because some parents might want their kids to watch YouTube, while others might prefer Netflix, for example. That does not cannibalize the viewership; it only grows it. Regarding trends, a few players would like some educative angles, such as science, math, or engineering. Diversity and representation are also in high demand. It depends a lot on the client, which is why it is so important to listen, even when clients do not know exactly what they are looking for."
Morgann Favennec, EVP of Distribution
"Naturally, I would have a preference for a project that would be complimentary to our DNA. We are powerful on comedy and slapstick, so something a little bit different but keeping that comedy element. When you co-produce, you are not just working with others but bringing something different. We learn from each other and integrate different storytelling, techniques, and points of view. For example, in the United States, we have many partners that come to us and talk about AVOD, FAST, and other non-traditional ways of doing business."
Giorgio Scorza , CEO
"We have recently reimagined the Topo Gigio' as a preschool cartoon comedy. With more than 60 years, 'Topo Gigio' is a heritage property in Italy. We started thinking that it was quite popular, especially for the generation of today's parents, but then we discovered that it was also famous worldwide, in particular in Latin America. For us, it is a matter of heritage. We are talking about our childhood, our life. Therefore, it was amazing for us to make this show, and we had the blessing of Italian puppet artist Maria Perego, its creator."
By Diego Alfagemez and Federico Marzullo
entertainment, sports, musicals, news, and more. We have a wide offer, with original programming and third-party content, always free of charge."
What is the target of the company?
"Our target is people from 35 to 50 years old, urban cinema lovers, and super connected. Digital users who like to enjoy content. That is an audience of high commercial value
LIARTE , HEAD OF ORIGINAL CONTENT AT RAKUTEN TV, DESCRIBES THE COMPANY’S CONTENT STRATEGY AND EMPHASIZES THE IMPORTANCE OF ORIGINAL SHOWS.
Rakuten TV is a VOD streaming service offering thousands of hours of high-quality movies and TV series for a subscription (in Spain), rental, and purchase. Cristian Liarte, Head of Original Content at Rakuten TV, emphasized the importance of original content.
How would you describe Rakuten TV's strategy?
"We are present in 43 European countries, with around 140 million households, thanks to our agreements with the main TV manufacturer's brands. Within Rakuten TV you find an offer of Hollywood blockbusters in TVOD, where users can rent or buy movies. On the AVOD and FAST area, you can find the entire free catalog of movies, TV series, and channels served with advertising. That AVOD service is where our original productions are. Initially, we had a catalog focused on cinema, but over the years, we have managed to consolidate a vast catalog in which you can find fiction, non-fiction, documentaries,
because it can either pay for a Hollywood premiere or watch free content, which is crucial for clients who advertise in our AVOD service. Our target also varies according to the service: TVOD, AVOD, and FAST have different profiles that look for different kinds of content at different moments, but they can ultimately jump from one business model to the other."
What value does Rakuten TV place on original content?
"Originals are our way of telling the world what we are as a company. Our company's values as a brand are empowerment, innovation, optimism, and diversity. Our original productions bring feel-good stories. We seek that when people finish watching one of our originals, they are entertained and have something to think about. Originals
are the jewel in our crown, who we are, our image as a company, and what sets us apart."
Which production models are more appealing to the company?
"With the new platforms that emerged on the market and disrupted it, co-production generates opportunities to streamline the business and produce more for less. We are European but Spanish-speaking, which opens many doors for us in Latin America and gives us many opportunities to co-produce on this territory. At a time of economic recession like the one we are currently experiencing, co-production is a great way to continue producing high-caliber titles."
Do you notice any particular trend in terms of consumption?
"Being a technology company that comes from the world of e-commerce, where data is vital, we always keep an eye on the data: what is consumed, when, and how. It is vital to be able to give that information about the users to the producers we work with. On the other hand, regarding our business model, we are a platform with advertising in which the most important clients, after the audience, are our advertisers. We even open the game for them to be part of it. We want to co-produce with advertisers, create content with them using clever models."
By Federico Marzullo“ORIGINALS ARE
WORLD WHAT WE ARE AS A COMPANY” Cristian Liarte
CRISTIAN
KELLY WRIGHT, RECENTLY APPOINTED AS MANAGING DIRECTOR OF DISTRIBUTION AT KESHET INTERNATIONAL, DESCRIBES THE CHALLENGES OF HER NEW ROLE AND HIGHLIGHTS THE SHOWS THAT THE COMPANY IS PRESENTING AT MIPTV.
In February, long-time Keshet International executive Kelly Wright was promoted from SVP of Distribution and New Business to the newly created position of Managing Director of Distribution. In conversation with Señal News, the executive described the challenges of her new role, talked about the company’s strategy, and highlighted the shows it is presenting at MIPTV.
What are the challenges of your new position as Managing Director of Distribution?
“I think my biggest challenge is filling Keren Shahar’s shoes. Joking aside, we are very entrepreneurial here in Israel, so challenges always offer opportunities for us. We are looking to maximize AVOD and FAST channel opportunities for all of our content worldwide, particularly our Spanish language tape. We are also looking for partners to come on board with us earlier to help bring compelling stories to the screen.”
How would you describe Keshet’s current distribution strategy?
“We represent a diverse catalog of premium dramas, high-quality factual content, and flexible formats, continually refreshed by content pipelines from Israel’s most-watched TV channel, Keshet 12. As long-time champions of foreign-language
dramas, we are known for our strong slate of global scripted shows like ‘Porni,’ ‘DCU: Deep Crime Unit,’ and ‘Too Much Love.’ With our eye on market trends, our other focus for 2023 is non-scripted formats, the kind of shows that keep viewers hooked throughout the run but are also flexible enough to be stripped. Moreover, the mystery reality competition aspect is cutting through now, with buyers in Latin America and key European territories taking another look at it with fresh eyes.”
for granted. Buyers know what a significant investment it takes to develop hits. Everyone is looking for a way to maximize their impact and minimize costs. We think formats, both scripted and non-scripted, are the answer. Particularly formats that are costeffective and flexible. We have a strong catalog of tried and tested dramas that have all performed strongly locally and been adapted elsewhere. We have the scripts, the bibles, and the experience inhouse. How much time, budget, and effort does that save?”
What are new highlights for MIPTV?
Are you focusing on any particular territories?
“For us, it is about finding the right show for the right channel. This year, it feels like we are all returning to business as usual, and as a team, we are attending all the key markets and events in person to meet our clients face-to-face, such as Content Americas, London TV Screenings, Series Mania, and MIPTV.”
What are clients demanding right now?
“To see a show succeed these days is not something to take
“Our scripted slate at MIPTV is headlined by ‘Suspicion,’ Keshet UK’s ‘False Flag’ remake for Apple TV+. It is a slick international thriller that sees five seemingly innocent, unconnected people accused of the kidnapping. Some other titles are ‘A Body that Works,’ the second season of the crime drama ‘Line in the Sand,’ and Keshet Studios’ latest co-production, ‘A Small Light.’ Meanwhile, in a very exciting move, we are launching a new genre: natural history, with a raft of stunningly beautiful content from Matila Rohr Productions, including ‘Tale of the Sleeping Giants’ and ‘Nature Symphony.’ We also have the format and tape of the one-hour investigative ‘Undercover: Sexual Harassment – The Truth.’ In addition, we have an ITV documentary on diversity and adoption from Paralympian Ellie Simmonds and a fascinating documentary on Hawaii’s nuclear missile scare called ‘This is Not a Drill.’”
By Federico Marzullo
MÜGE AKAR, HEAD OF SALES EUROPE, ASIA & AFRICA AT ATV, ANALYZES THE BUSINESS POTENTIAL FOR THE COMPANY AROUND THOSE TERRITORIES AND DESCRIBES THE DIFFERENT CONTENT NEEDS OF HER CLIENTS.
Turkish distributor ATV has been among the top exporters during the past years, and it has now added a new record as it became the number one exporter of 2021, according to the Services Exporters' Association.
Señal News spoke with Müge Akar, Head of Sales Europe, Asia & Africa at ATV, to describe the company's growth path.
What business potential do you observe for ATV around Europe, Asia, and Africa?
"We have always been working very diligently to remain current with opening new territories and platforms or channels, and as we discover fresh information every day. We continue our work by focusing on it in greater detail, especially in Asian and African countries, and we continue developing our strategies. ATV's recognition in Asian, African, and European countries and the fame of our Turkish TV series all contribute to this potential growing tremendously."
How do you organize your strategy to work with free-TV channels, payTV brands, and streamers?
"We approach platforms and free TV channels with the same
attention and interest.
ATV's catalog is large and varied, which is a big plus for both
customers and us. While some platforms like our mini-series, free TV channels may prefer our longrunning gold classic Turkish drama series. Our collaboration with those platforms and channels always continues with elaborately and well thought."
How do you analyze the evolution of Turkish drama around these three continents?
"ATV has a significant audience on both platforms and channels. Our new and wildly popular TV series 'A Little Sunshine,' which premiered in September, has been licensed in Spain, and new deals have been reached in Macedonia, Hungary, and Romania. The costume drama series 'The Ottoman,' which fascinates the audience with its outstanding cast and production team, will premiere shortly in Kazakhstan. In Africa,
we collaborate with a variety of companies. We recently signed deals in French-speaking regions, and we trust that our influence will progressively extend throughout Africa and Asia."
One of ATV's highlights for MIPTV is "Street Birds." What global appeal do you recognize for this title?
"'Street Birds' is our new and hugely popular successful Turkish drama series, recently licensed to Bangladesh, making a solid debut last January. The series' main themes are family drama, love, and real aspects of life. Due to its scenario, powerful cast, and scenes shot on the streets of Istanbul with an outstanding production crew, the series is incredibly popular both locally and internationally, and it continues to develop day by day. It will continue to be an ATV drama with a worldwide influence, both in future markets and due to the show's intensity.”
After "A Little Sunshine" reached Spain's Mediaset, could it expand its global footprint?
"As 'A Little Sunshine' continues to air successfully, our agreements with territories and companies remain intact. The global footprint left by this show is pretty effective, and its influence will be extremely fulfilling and satisfying in the coming days for us, the audience, and the channels. 'A Little Sunshine' is one of our most popular drama series, and it is now airing in many European countries."
By Diego Alfagemez
Unifrance Rendez-Vous in Paris, the world's largest market and press junket dedicated to the French audiovisual industry, finally returned in person in 2023 after the pandemic. Last January, the French capital city discussed all issues related
to enhancing the visibility and exports of the local audiovisual industry for 2023.
One of the main panels was "UniFrance's 10 to Watch 2023," where French talents talked about their professional experiences, both locally and abroad. The actors Dali Benssalah ("No Time to Die"), Bastien Bouillon ("Up the Mountain"), Paul Kircher ("Winter Boy"), Lyna Khoudri, Annabelle Lengronne ("Mother and Son"), Rebecca Marder ("Not My Type"), Nadia Tereszkiewicz ("Forever Young"), as well as the filmmaker Davy Chou, Céline Devaux ("Everybody Loves Jeanne"), and Charlotte Le Bon, are new faces of French cinema. They have made a name for themselves in major international festivals during 2022 and will be on screens worldwide this year. "Unifrance promotes the international career of these talents because it is a way to stand out French talent worldwide," said Daniela Elstner, Unifrance's Executive Director.
Unifrance Rendez-Vous in Paris showcased eleven shows during the event, with five fiction titles: "Bright Minds" from FTD; "Bardot" from Federation; "I killed my husband" from HAGO; "Pacific Criminal" from Film & Picture and "Paris Police 1905" from StudioCanal. Four animations were also featured in Paris, with "Behind the Beats" and "Jade Armor" from TeamTO, "50/50 Heroes" from Cyber Group Studios, and "Tara Duncan" from Princess Sam Pictures. Finally, two documentaries were highlighted: "Philae, the last temples of Ancient Egypt" from INA and "Nicole Kidman, Eyes wide open" from Arte.
"Bardot" is a Brigitte Bardot series that dives into the 50s in France and tells "the story of her young life".
LAST JANUARY, PARIS RECEIVED THE FRENCH AUDIOVISUAL INDUSTRY THROUGH A PROGRAM FULL OF CONFERENCES AND ONE-ON-ONE MEETINGS WHERE SEVERAL SERIES, DOCUMENTARIES, AND ANIMATED PROJECTS WERE LAUNCHED.
Produced by Pascal Breton, Federation Studios President, and co-created and co-directed by Danièle and Christopher Thompson, the series aims at general audiences and will premiere locally on France Télévisions. "We want to portray the elements of that era, the end of the woman being just a wife or a mother, the end of people going to war in Algeria, and the beginning of the show society," explained Morad Koufane, Head of International Scripted Series at France Télévisions. The title was also sold to Mediaset (Italy), NRK (Norway), DR (Denmark), YLE (Finland), SVT (Sweden), RUV (Island), Turkcell (Turkey), and worldwide to Netflix. "'Bardot' can be attractive to global audiences because she was a phenomenon; she was different and unique at that time. She was someone that really changed the rules", affirmed Breton. "She is still a brand, almost an influencer because her style was fundamental, but beyond that, it's the intimacy of this young girl which is a universal thing," said Christopher Thompson.
"Bright Minds" was also a highlight of Unifrance Rendez-Vous. Produced by JLA Productions, the crime series stars Lola Dewaere and Sara Mortensen and has four seasons of global success. "We chose two women for the leading characters. I wanted a complementary friendship between a neurotypical woman and an autistic woman. It was important to have a duo of women, not one man and one woman, which would have drifted away from friendship," showrunner Alexandre
de Seguins explained. "Bright Minds" was already sold to Cosmo TV and Atresmedia in Spain; Discovery Italy; RSI for Italian-speaking Switzerland territories; VRT for Flemish-speaking Belgium territories; Walter Presents for Ireland, the UK, Denmark, Finland, Norway, Sweden, Australia, and United States; FOX in Portugal; LRT in Lithuania; NBCUniversal Networks & Direct-ToConsumer for 13 Ulica in Poland; DIVA in Albania, Bosnia Herzegovina, Croatia, Kosovo, Northern Macedonia, Montenegro, Romania, Serbia, and Slovenia; AMItélé in Canada; and AXN Channel for Latin America. The showrunner explained the reason behind that global success. "It is a friendship that goes beyond
the borders between two women they need each other. We paid much attention to having that balance when writing and shooting the show," de Seguins stated.
and TG4 (Irland). "The global expansion of the show illustrates the global appeal of the series, both for private and public broadcasters," commented Mathieu. Moreover, "Behind The Beats" is a YouTube Original and France Televisions series produced by TeamTO. "My idea was to share my passion for all kinds of music," said Baptiste Jacquemet, Director and creator of the series. For the first year, France Televisions has exclusive rights for the show in France, streaming it France.tv digital platform and on its linear channel France 4. YouTube keeps the rights for the rest of the world in English, French, and Spanish. "After the first year, YouTube will air the series in France," commented Patricia De Wilde, TeamTO Director of Marketing and New Business and "Behind The Beats" producer. The show has already reached 12 million views since the release of the first eight episodes. "We are already thinking about a second season," affirmed De Wilde.
Unifrance Rendez-Vous in Paris also welcomed "Philae, the last temples of Ancient Egypt," a documentary produced by Enora Contant from the Audiovisual National
Institute (INA)."There's a very long love story and an extraordinary relationship between France and Egypt," commented Contant. She also highlighted the current interest in Ancient Egypt from viewers. "There is this mystery of how they were able to build these amazing constructions around the year 4000 Before Christ," Contant said.
that could not be more different. They're not opposed; they are complementary. The weaknesses of one are the strengths of the other and vice versa. Both have the same importance to the story because
In Paris, Cyber Group Studios presented the comedy series "50/50 Heroes," a show targeted at kids from 6 to 10 years old. "We wanted to talk about superpowers and superheroes funnily," described Raphaelle Mathieu, Executive Vice President of Cyber Group Studios. The first season of "50/50 Heroes" premiered on France Télevisions, ITV in the UK, and K2 in Italy. The show has also been sold to Disney Channel Germany and Eastern Europe; YLE Finland; Cartoon Network Asia; Disney Japan; Discovery Latin America; RTBF (Belgium),
Josselin Mahot handled the visual effects of the documentary and explained that 3D has helped to show how Unesco deconstructed and reconstructed the temple on another island. "We help the director Benoit Poisson to bring a new and modern vision of how this temple was moved, with real facts and information," Mahot commented.
Finally, "Nicole Kidman, Eyes Wide Open" is a documentary produced by Little Big Story and Arte France, which reviews Nicole Kidman's career through archive material, previous interviews, and people who have worked with her, such as directors Gus Van Sant, John Cameron Mitchell and French film critic Michel Ciment, a close friend of Jane Campion and Stanley Kubrick. "She's more than an actress; she created a powerful creative world with all the roles she had in her career," commented Valérie Montmartin, documentary Producer. ARTE Distribution is the series' global distributor and has already sold it to Spain, Switzerland, Africa, Netherlands, Poland, Sweden, Australia, and Scandinavia. "We all expect great success with this documentary," Montmartin stated.
By Romina Rodríguez
Guillermo Borensztein
GUILLERMO BORENSZTEIN, SENIOR VICE PRESIDENT, INTERNATIONAL CONTENT LICENSING AND CO-PRODUCTION AT TELEVISAUNIVISION, EXPLAINS THE PILLARS OF ITS EXPANSION STRATEGY.
Guillermo Borensztein is the Senior Vice President of International Content Licensing and Co-Production of TelevisaUnivision, where he leads content licensing efforts internationally, as well as coproduction deals for linear and streaming original content. In a dialogue with Señal News, Borensztein explained his strategy for the global content arena.
What is your strategy to expand TelevisaUnivision's catalog globally?
"Our content licensing strategy is rooted in being the global leader in Spanish-language content distribution and based on four basic pillars: first, territoriality, from the position of being the leading distributor, historically, in Latin America and the U.S., and having
the runway to work flexibly with different types of clients across the world. Secondly, visibility; owning our IP allows us to capitalize on the opportunities integral to monetization cycles. Then, we are a one-stop shop, a full offering that builds off the global track record of our telenovelas and the incremental volume and quality now offered by ViX's original series. Finally, strategic relations, with a focus on working with partners and clients with a shared long-term vision."
How are you trying to reinforce the company's co-production deals?
"The co-production strategy is highly focused on ViX originals. Due to the platform's rapid growth, we are concentrating on increasing the volume of releases, specifically in Latin America and the U.S. That approach allows for a production cost/efficiency/quality ratio like no other. There is an expectation for ViX content to be widely distributed to other clients in Europe, the Middle East, Africa, and Asia, which would be extremely complementary. Since the launch of ViX, we have announced content agreements and deals with partners in Brazil and Spain."
What opportunities do you observe around Europe, Asia, and Africa?
"We see the opportunity to exponentially strengthen and amplify the distribution of Televisa's telenovelas since they already have a massive global footprint with longevity and very successful brand awareness. We can build off that momentum with ViX's original series. That opportunity is incremental and complementary."
How do you analyze the demand for Spanish-speaking content?
"With more than 450 million people who speak Spanish and prefer to watch content in their own language, the demand is unprecedented. Data shows that Spanish-language series, especially telenovelas, have been ranked among the most viewed content on global platforms, yet they continue to be underrepresented in most streaming services. We are strongly positioned to serve this audience because of the unique value proposition of ViX and its unmatched content portfolio. Spanish-language content is entering a new phase of globalization; we want to continue to be a major player and, to do so, we must expand our global business."
At MIPTV, TelevisaUnivision will be showcasing "Thinking of You." What is the global appeal of that show?
"This title has tremendous global appeal because it is modern and aspirational, with themes that audiences can easily connect with, including dealing with second chances, recovering from past traumas, and taking chances to achieve what one wants out of life. Also, the talent associated with the series gives it a fresh contemporary feel. It is produced by Carlos Bardasano ('Si Nos Dejan') and stars the internationally recognized Dulce María ('Rebelde'), a combination fit for a mainstream audience."
By Diego Alfagemez
FRANÇOISE GUYONNET, EXECUTIVE MANAGING DIRECTOR TV
SERIES AT STUDIOCANAL, EXPLAINS WHAT LED THE COMPANY TO INVEST IN UK PRODUCTION HOUSE BIRDIE PICTURES AND DESCRIBES THE EVOLVING APPROACH TO DRAMA SHOWS.
What is the company's current approach when it comes to drama titles?
As one of the leaders in production, distribution, and international sales from Europe, Studiocanal is trying to expand its global footprint even more, with investments such as the one made recently in UK production company Birdie Pictures and the development of new titles. Françoise Guyonnet, Executive Managing Director TV Series at Studiocanal, described this strategy.
What led Studiocanal to invest in UK production house Birdie Pictures?
"Studiocanal has been pleased to invest in a further UK producer. Birdie Pictures was recently launched by Phil Temple, an extremely talented writer, director, and producer with a real gift for bringing the page vividly to life on the screen. He has worked with many UK broadcasters and has close relationships with many authors and writers. With global intentions for his projects, we know Phil will bring a strong lineup of relatable English language programming to us to share with the international market."
"Drama series need to feel natural, authentic, and not driven only by financial reasons. We encourage creative input from all partners to make sure the project resonates internationally by keeping its original DNA. International co-production allows for bigger budgets with more ambition, creating local stories with global appeal. The audience is becoming more demanding with strong competition, and therefore global co-productions need to come together for creative reasons."
"The Brigade"
selected for the Documentary Series Competition at Canneseries. Of course, feel-good dramas and comedy series are in demand too, and our series' The Orchestra' from Denmark is making some solid international sales. Short-form drama series that are 12/15 minutes long are also finding pleasing audiences, and we are launching the third series of 'About Last Night' at MIPTV too."
What would you say is the benefit of Studiocanal’s English language programming slate?
Do you observe any particular trend regarding stories or characters?
"Demand is still very strong for good drama, and Studiocanal has much to be proud of. We are seeing more movie talent looking to create their first TV series, such as Thomas Vinterberg's 'Families Like Ours.' Strong and diverse character-led productions are also popular, such as our series 'Conviction' and 'Spinners,' which will debut at MIPTV. Audiences want to see action-packed series with a dramatic appeal, and we will launch 'The Brigade' in Cannes. True crime continues to be a hot trend internationally, and our series 'The Chevaline Killings: Finding the Missing Piece' has been
"We work across multiple territories with many leading producers and creatives across different languages. We value our English language programming and are delighted to have been able to offer such successful examples as 'Django,' 'It's a Sin,' 'Years and Years,' and 'War of the Worlds' to our international clients. We are adding to our English language portfolio with brand new programming from UK production companies such as Red Productions, SunnyMarch, Urban Myth, Studiocanal, and Birdie Pictures."
Do you think the stories' language or country of origin stopped being a barrier for the viewers?
"Series with a message and an engaging storyline work hard globally. Universal stories told well appeal to a wide audience, no matter what language they are in. Streaming platforms have opened up the market for non-English language programming, and that trend is here to stay."
By Federico Marzullo
THE LANGUAGE TRANSLATION, DUBBING, SUBTITLING, AND MEDIA SERVICES STUDIO WILL HAVE A VERY ACTIVE MIPTV, WITH THE PRESENCE OF THE HEADS OF ITS INTERNATIONAL STUDIOS AND ITS EXECUTIVE TEAM. DEENY KAPLAN, EXECUTIVE VICE PRESIDENT, AND EUTDEL GARCIA , VP OF ENGINEERING, EXPLAIN THE COMPANY'S STRATEGY FOR ITS GLOBAL LOCATIONS.
Deeny Kaplan
The Kitchen is one of the leading language customization companies in the international arena, and this year is celebrating its 22nd anniversary. With the presence of the heads of its international studios, the company will attend MIPTV to meet clients and also enhance its global teamwork environment. "MIPTV and Mipcom are the most important conventions we go to yearly," asserted Deeny Kaplan, Executive Vice President of The Kitchen. "We can see clients and partners in all the conventions, but these are the markets that all of our international studios also go to. The reason is team building. We work with clients altogether because most of the shows today are released in multiple languages, and we have always believed that it is important to know whom you are working with within each country, when possible," Kaplan explained.
At MIPTV, The Kitchen’s will be presenting MIP Demos, prepared as a sales tool, that typically range from thirty seconds trailers to three or five-minutes segments of a long-form program, and often an entire episode of a short-form animated program. "I strongly believe that there is no better sales tool for potential program buyers than hear a new program offering
in their own language,” Kaplan said. In Cannes, the company has two unique meeting points: one at Le Californie restaurant in front of The Palais and
an apartment in Cannes. "You'll always find some of us at Le Californie, and it's nice because everybody knows where we are. We share a drink or a cafe with friends and colleagues while sitting across from the Mediterranean. You couldn't ask for a better working atmosphere. We have our routine and schedule, which work for us," Kaplan said.
The Kitchen's apartment is used to showcase new technology developments and team presentations, and it's also a way that the executive team, sales team, and the heads of the international studios work together in developing new internal strategies. "As a global company, we must understand each country and what's important for each of our local studios. We work very closely with our teams and have one-on-one meetings with our executive, marketing, and sales staff. Our MIPTV week is always pretty full and quite productive," Kaplan added.
For 22 years, The Kitchen has always adapted to all industry changes, especially in the last few years, when the studio methodically expanded into Latin America and Europe. The company is always looking to obtain consistency among all of its global locations. "Our studios are strategically located, and having multiple international studios in many countries is not easy, but it does seem to have been a success for the growing studio conglomerate," Kaplan stated.
"Standardization is hard, but it brings efficiency and allows all of our teams to use the same tools and resources,” Eutdel Garcia, VP of Engineering at The Kitchen, explained. "Standardization means using the tools for everyone to work in the same way because every region has its uniqueness, but also these tools and technologies are great because they can serve everywhere. You can configure and adapt them to these different regions, aiming that we all end up with the same things", Garcia added.
The Kitchen is not only implementing hardware tools, but also software applications that are uploaded onto their secure cloud base. "We can find whatever we need in our cloud base; that marks our efficiency because the different time zones really don't matter anymore," Garcia highlighted. "We're pushing our offices in Latin America and Europe for all to use these tools that we have tested and have implemented in our Miami headquarters. We are working in Brazil, Argentina, and Mexico to start using these tools as we speak, and you can see the efficiency immediately," he affirmed.
The global content industry has also seen a change in the age of the executives involved with critical decisions. "When I started in this business, we used to deal with what was known as the 'old boys club,' and it was hard because that group wanted to keep their providers the same. They seemed to be afraid of change. Now, you have kids just out of college coming into these same positions. They rely on us, like big sisters or brothers relationships. They call us, feel comfortable, and know we will make them shine, and that's what we offer. We are dealing with a much younger generation of people who rely on us to tell them how things should or shouldn't be", Kaplan analyzed.
The Kitchen has recently created a new hub in Madrid, Spain, where several of the company's senior-level executives are already based. "We did that purposely because it's the center of Europe. Our teams travel throughout Europe regularly, and having a hub in Madrid makes travel from country to country much easier," Kaplan explained.
Apart from the new Spanish hub, The Kitchen is looking to continue to grow in Europe and Asia. "Distribution companies told us years ago that they want capacity and a one-stop shop for languages, and they want to be able to come to one place," Kaplan said. Right now, The Kitchen offers subtitles services in every language. For dubbing, the studio can work in most languages and has partners in several territories, "That enhances our language outreach when needed," Kaplan asserted.
"For example, we continue to receive much work from Asia and India to English, Spanish, French, and Portuguese. We are also doing vast anime projects right now. We worked on four anime series in the past year and a feature anime theatrical release. We are doing more video games and podcasts, audiobooks, and platform start-ups," Kaplan commented. "During Covid, The Kitchen was considered a necessary operation by the local government in the United States. Television viewing hours were growing per household, and we needed to contribute to feeding and filling up those hours. That desire for more programming continues, and we believe it will only grow with new technologies, new viewer demands, and more platforms desiring more programming. It is certainly a good time to be in the language services industry".
By Romina Rodriguez & Diego Alfagemez
HAYMI BEHAR , CMO & CDO AT SPI INTERNATIONAL, DESCRIBES THE FUNDAMENTS AND BUSINESS OPPORTUNITY BEHIND THE COMPANY’S LATEST DIGITAL LAUNCH, SMART CHANNELS, WHICH PERFORMANCES IN A SIMILAR FASHION TO TRADITIONAL LINEAR CHANNELS.
SPI International’s streaming service FilmBox+ launched Smart Channels last February. Smart Channels are specially curated playlists of ondemand content that similarly play back-to-back to traditional linear channels, fully digital and exclusive to the FilmBox+ platform. To describe that development, Señal News spoke with Haymi Behar, CMO & CDO at SPI International.
What business opportunity have you recognized for the launch of SPI's Smart Channels?
“Our analysis of customer behavior data for FilmBox+ indicates that live linear channels are always among the top 5 most consumed
content on the platform, which means that the lean-back, traditional TV viewing experience that the audiences are accustomed to is a valuable asset in the digital landscape. Our findings showed that audiences still value the serendipity of stumbling onto a good movie while channel surfing and linear feeds can be made more accessible and tailored to audiences' preferences when provided through digital platforms.“
What is the strategy behind this new service?
“Smart Channels are specially curated playlists of on-demand content that play back-to-back in a similar fashion to traditional linear channels. These channels are fully digital and are exclusive to the FilmBox+ platform. They enable a smooth transition within the app between video on demand and live streaming linear channels. Smart Channels aim to reduce what we call the ‘choice fatigue.’ We developed live channels that are cost-effective for the provider, intuitive for the user, enabling them to discover content they enjoy with minimal effort, and attractive for our partners to enhance B2B integration with FilmBox+.”
How does this new project revamp the global offer of the FilmBox+ platform?
“Smart Channels enables viewers to discover content that they might otherwise miss by scrolling through a vast library of programming. Now, in addition to our rich catalog
of on-demand content, we offer audiences around the world over 200 Smart Channels with curated content across all genres. The offering includes genrespecific channels like FilmBox Kids, FilmBox Comedy, FilmBox Crime, FilmBox Horror, FilmBox Romance, FilmBox Documentary, and more vertical movie channels that broadcast cinema classics by the masters of cinema or from the 1940s and 1950s. Viewers can also access thematic channels dedicated to various lifestyle programming including water sports and mixed martial arts.“
How is SPI is integrating AI into its workflow?
“AI has the potential to be a game-changer in the media industry soon, enabling us to work more efficiently and complete our projects faster than ever before. With AI-based dubbing and subtitling, we have been able to streamline our workflow and deliver high-quality content in record time. We recently completed an AI-based subtitling project for 309 hours of TV series in under 24 hours. Our product team uses ChatGPT and Notion AI for AI-related tasks. ChatGPT is effective for technical topics, especially in SQL and Python. With ChatGPT, we were able to automate certain tasks that previously took hours, reducing it to just five minutes. Notion AI turns difficult descriptions into clear tasks or bug reports, saving time on task writing."
By Diego Alfagemez
With over three decades of experience, VSI is one of the world’s most soughtafter localization providers, with a global presence, multiple facilities and coverage of more than 80 languages. While it continues to pursue an increasingly marked international expansion, the company's premise remains intact: to help the client take their content globally by ensuring the localized version resonates in every market and safeguarding the integrity of the original.
At the beginning of this year, the company announced that Mark Howorth was joining the company as Group CEO, while VSI’s Founder and previous CEO, Norman Dawood, transitioned his role to Chairman. A couple of months before this reorganization, VSI had announced the promotion of Cornelia Al-Khaled to Group COO, followed by the appointment of William Russell, formerly the General Counsel, as the new Managing Director of VSI London, allowing Al-Khaled to focus solely on her new role.
“The experience of fully transitioning to the COO role has been very positive. It allowed me to focus on the VSI Group operations, mainly looking into ways to optimize our operational capabilities, increase efficiency, spearhead strategies into our daily operations to support our wider company objectives. It has also
involved looking at how we can meet the long-term growth strategies and our continued effort to provide excellent service to our clients,” Cornelia Al-Khaled, Chief Operating Officer at VSI, told Señal News.
Operating in over 25 countries around the world, VSI was set up based on both organic and strategic acquisition, a strategy the company still follows. Now the group is focused on further investment in its current facilities by increasing its studio capacity in
various locations, like key countries in Europe and
the Americas. Moreover, this year the company is looking at opportunities to better serve clients and audiences in Asia as part of its continued global expansion. “Our expansion plans are usually driven by market and client needs, combined with our vision of being a global player with local reach and expertise. Furthermore, localization continues to be quite a niche industry and one that requires unique expertise, especially when it comes to dubbing. To have a footprint owned and operated by us, where possible, has always been key to our strategy. It has enabled us to maintain creative, linguistic, and technical integrity
and consistency, and reduce the complexity and often the lead time to localize content for global distribution. At the end of the day, our clients’ content is what drives their revenue and subscriber base, and quality of product is paramount to this,” Al-Khaled assured.
With the increasingly proliferated use of streaming platforms and the constant changes in user consumption behaviours, Al-Khaled discussed the shift in viewer trends and demands. “Global content has been travelling like never before with a significant increase in the global consumption of non-English content. That means that there has also been an increased demand for multi-lingual subtitling and dubbing, and for a multi-language localization company like us, that provides the client not only with consistency and quality, but also simplicity,” she explained.
VSI believes that the quality of work is not a minor aspect, and for the Chief Operating Officer, ensuring that each project has the highest possible quality is what distinguishes the company. “We always focus on and strive to provide high-quality and we are really well known for that. Quality is often an overused word, but when it comes to dubbing, for example, you cannot underestimate its value in attracting, retaining and growing global viewership. Successful localized versions closely replicate the original quality and experience,” the executive emphasized.
By Federico Marzullo
NATALIE LAWLEY, MANAGING DIRECTOR AT ESCAPADE MEDIA, DESCRIBES THE ADVANTAGES OF WORKING WITH THE AUSTRALIAN PRODUCTION AND DISTRIBUTION COMPANY AND LISTS THE THREE NEW PROJECTS THEY WILL SHOWCASE AT MIPTV.
Australian production and distribution company Escapade Media attends MIPTV with three global titles: the drama "Grassroots," the series "Whisky Trails," and the natural history documentary "Hacking Evolution: Lionfish." Señal News spoke with Natalie Lawley, Managing Director of the company, who described these new launches.
How could you explain the production and distribution landscape in Australia?
"There is currently a lot of production being carried out in Australia. It's a mix of local and overseas production. It's a very buoyant time across many genres. The distribution landscape in Australia is seeing many amalgamations at the moment, with only a few independent distribution companies left."
What are the main advantages of working with Escapade Media as a producer and distributor?
"The advantage of working with Escapade is that we offer involvement and support of a project from start to finish. For many of the projects we are involved in, Escapade has an EP position on the project to ensure that it appeals globally and can maximize revenue. We can support a project's financial model through commission and pre-sales and
then continue into the straight distribution model for the project's life. The company is also small and nimble so that we can employ different strategies depending on the best needs of the project."
Are you involved in the production of any new content?
"Escapade is currently involved in eight new scripted projects and five non-scripted projects. Our involvement level varies from project to project. We have joined forces with Story First UK on two dramas and Starlings Television US on a further two dramas. The development side of Escapade's business has certainly increased over the past five years, and because we are small and experienced across various strategies, we can modify our approach depending on the needs of a project."
What are the main titles that you will showcase at MIPTV?
"'Grassroots' is a drama about community, triumph over adversity, and hope for a better future. Moreover, 'Whisky Trails' takes us on a globe-trotting journey following our sagacious and everinquisitive guide, Luke McKenzie,
on his adventure from the New World: Australia, Japan, India, and the USA, back to the Old World of Ireland and Scotland on a personal quest to taste all the colors of the whisky rainbow. Finally, in 'Hacking Evolution: Lionfish,' commissioned by PBS Nova and narrated by Danni Washington, the invasive lionfish symbolizes how one unintentional action can cause unimaginable havoc on the evolutionary balance of our natural world."
Why could those shows appeal to international buyers?
"All three projects we are launching at MIPTV are very appealing to global buyers. 'Hacking Evolution: Lionfish' is a premium natural history documentary examining the global issue of this predatory fish impacting our oceans' ecosystems. Co-produced with Orange Frame for PBS US, the brand new drama from StoryFirst and created by John Godber, 'Grassroots' is Yorkshire's new Friday Night Lights. At its core is the importance of community, which resonates around the world set against a women's rugby league team. Finally, 'Whisky Trails' is a unique positioning on whiskey. Whiskey is one of the world's most consumed drinks, and this series explores the old and the new by traveling to Australia, NZ, Japan, India, America, and France."
By Romina Rodríguez
Mistco has entered a new business era and created its own IPs with a coproduction business model. The first project of this new era is 'Bahar," designed as a daily drama that offers all the formulas of the highly demanded Turkish dramas and keeps the traditional Turkish storytelling. "We moved one step ahead and, as a result of Mistco's expertise in Turkish content distribution, we have decided to create our IP with a co-production with Us Yapim, which is the creator of internationally known titles such as 'Hold My Hand,' 'Melek,' 'The Blackboard,' and 'Between Us.' The two companies combined their experiences and created 'Bahar' for the international market. We already sold the show to Romania and Israel, and others will be announced soon," Aysegul Tuzun, Managing Director at Mistco, stated.
"Bahar" is the story of a young girl struggling to keep the goodness inside despite all darkness around. After witnessing the murder of her father, she is trying to prove that Aysun, her stepmother, committed the murder. On the other hand, the love between Bahar and Demir, who met just days before the murder, grows daily but becomes even more impossible since Aysun is obsessively attached to Demir and determined to win Demir at any cost.
Furthermore, Mistco will preset TRT's latest drama at MIPTV, "Secrets of an Angel." This drama tells the story of a family whose members see their lives changed abruptly by a tragedy. Cennet, who was exposed to domestic violence for years by her husband, Yılmaz, gets sick and is hospitalized."'Secrets of an Angel' had a great start with several recent sales around Israel, Bosnia, Montenegro, Croatia, and Romania," Tuzun described.
At MIPTV, Mistco will also showcase for the first time its brand new action drama, "The Patriots," where Ugur Gunes ("Bitter Lands" and "Lawless Love") and Gulsim Ali ("An Anatolian Tale") play the leading roles. "Turkish producers are delivering very high-quality and sustainable dramas every year. That's one of the biggest reasons our partners are delighted with doing business with us. We will have new content and close more deals this year, not only with linear TV but also
with streaming platforms. Our main goal is to make 'Bahar' an international brand and create more content. Moreover, we aim to create an international title with the contribution of our partners from around the world, so we are quite open to co-production discussions," Tuzun stated.
Mistco has been active in the international arena. First, "The Town Doctor" will be aired on TV2 Hungary, and Mistco is about to finalize a pan-regional deal for the show with one key player in Latin America. That series has also been recently sold to Israel, Bosnia, and Macedonia.
"Among other deals, in South Asia, 'The Circle' will be airing soon in Malaysia. We have the most powerful historical drama slate. 'Resurrection Ertugrul' has expanded to new countries such as the Dominican Republic, South Korea, Nigeria, Ghana, and Bangladesh. "The Great Seljuks Alparslan," which has topped local ratings in Turkey since its broadcast, will premiere in Israel, Pakistan, and Bangladesh. Another powerful historical drama, 'Barbarossa: Sword of the Mediterranean,' will air in South Korea," Tuzun described.
By Diego Alfagemez AYSEGUL TUZUN, MANAGING DIRECTOR AT MISTCO, DESCRIBES THE GLOBAL POTENTIAL OF THE COMPANY'S FIRST ORIGINAL IP, COPRODUCED WITH US YAPIM WHILE EXPLAINING ITS RECENT INTERNATIONAL CONTENT DEALS.
JESSE SHEMEN, CO-FOUNDER AND CEO OF PAPERCUP, EXPLAINS THE POTENTIAL OF THE COMPANY'S AI-POWERED VIDEO TRANSLATION SOFTWARE, WHICH CAN SIMULTANEOUSLY TRANSFORM A CONTENT'S ORIGINAL LANGUAGE INTO NEW VERSIONS.
Founded in 2017, Papercup offers an artificial intelligence and machine learning-based system that localizes videos into other languages using synthetic voices with genuine emotional depth. Content that has been AI dubbed by Papercup has already reached over 350 million people in the last 12 months alone in non-English speaking territories. To describe the focus and objectives of the company, Señal News spoke with Jesse Shemen, Papercup's Cofounder and CEO.
How would you explain the concept behind Papercup's new AI dubbing technology?
"We generate synthetic voices in a target language; that way, people can watch, consume, and enjoy the video content they want to see, but in their native tongue. That happens without us needing to go through the entire end-toend dubbing process, which can be quite time-consuming and expensive. It's important to note, though, that we also have what's called a human intervening step."
How does technology manage to interpret languages, accents, and tones?
"With accents, we almost treat it as an independent language. If we want to accommodate another accent, we must treat it like another language study. So, we need to build up a different dictionary and create a different linguistic front end. We must be selective about which languages we prioritize to go into, which is usually just a function of demand. We're using novel machine learning and artificial intelligence techniques to make video content watchable in any language."
How does technology convert content into other languages?
"To explain how that works, we take the original asset in English, we upload it to our platform, it then goes through automated transcription, which is going from audio to text, it then takes that text, and it is automatically translated into whatever the target language is. Then, our speech synthesis system, full text-to-speech, or synthetic voice system, generates a synthetic voice from that translated text. Now, once that's produced, which can happen very quickly, we always have a human translator that quality checks each sentence to make sure that it meets the requirements of the content owner."
What languages is Papercup working with right now?
"Right now, we focus on five: Latin American Spanish, Brazilian Portuguese, German, Italian, and French. The following objectives on the roadmap are Castilian Spanish and a few others, like Hindi and Arabic, which we've already started testing."
What specific content genres are your primary focus?
"The content type we primarily work on today is factual documentary, informational news, and reality TV. Dramas and comedies are still so emotive and expressive that we don't think it's best suited for synthetic voices. We think the dubbing industry and voice artists will eventually focus on and migrate to it. The idea is to go to a more creative and performance-based model, whereas synthetic or AI dubbing will also take care of those genres."
What are Papercup's short-term expansion plans?
"Two very straightforward things. One is to create even more expressive and emotive voices to expand the different content types we want to translate. Secondly, more languages. The more languages you can offer, the more you can help content owners reach bigger audiences".
By Karla Florez & Diego Alfagemez
top of that, we want to keep licensing our scripted titles. Last year we launched our first co-production in Mexico with Dopamine, ‘Superstore,’ and also ‘Supertitlán’ with TV Azteca. For, us is about partnering with the best producers in every market and working together with them, either is a co-production or just a license, in which case we just support their production for the adaptation of our titles.”
What needs do you observe in the territory?
AM: “In Latin America, as in most emerging markets, we encounter the challenge of finding things that are scalable, which is no easy to find. In terms of other trends, the reality genre is growing, especially with well-established brands. Our number one reality format is ‘The Real Housewives,’ which is great fun, addictive, bingeable. It is definitely a highlight in terms of what we want to promote and push. Then, the usual: it is always talent, music, singing, no-brainy entertainment that the family can watch, have fun, and forget about the news, which are getting worse every day. More than ever, the comedy element is transcending to other genres. In the fiction world, things are getting very interesting because people are looking for something different, they want to be able to laugh. We have plenty of that in our catalogue.”
Do you see a growing opportunity for unscripted formats on streaming platforms?
AL: “For sure. There are more and more conversations with SVOD platforms for unscripted shows, which is
ANA LANGENBERG, SVP FORMAT DISTRIBUTION & PRODUCTION, AND ALBERTINA MARFIL, DIRECTOR FORMAT SALES & PRODUCTION AT NBCUNIVERSAL, ANALYZE THE CURRENT TRENDS ON THE MARKET AND EXPLAIN THE DIVISION’S STRATEGY.
NBCUniversal Formats, a division of the Universal Studio Group, is the international sales division for all formats created within the production, broadcast and streaming divisions of NBCUniversal and Sky Studios, as well as select third party producers. In dialogue with Señal News, Ana Langenberg, SVP Format Distribution & Production, and Albertina Marfil, Director Format Sales & Production at NBCUniversal, analyze the current trends on the market and explain the division’s strategy.
What is the company’s strategy for this year in terms of formats’ sales?
AL: “Our strategy is about keep doing businesses in Latin America, as we have always done, both on scripted and non-scripted. We will continue to push some of our most established brands, such as ‘Top Chef,’ but we are also bringing some of our new titles, like ‘That’s My Jam.’ We think that this type of programming, which is familyfriendly entertainment, will be good for Latin America. On
great. They are always looking for something with a bit of an edge, so it is slightly different. The bingeable
aspect is really important too. It is a great opportunity to offer something that maybe linear channels do not take the risk on. I think they are definitely growing their commissioning of unscripted, and that is great for us. It is funny to see SVOD going to entertainment and linear broadcasters commissioning local scripted. There is definitely a change going on.”
Regarding scripted, what are clients looking for in terms of stories and characters?
AL: “The type of shows that streaming platforms commission is different, but I think everybody wants something the way we approach and create new stuff. It is about trying to create a different story or angle. It is about finding a unique voice, more diverse stories and talent, and bringing plots with a twist. Overall, the market is looking for global human stories, recognizable in every country. It does not matter where they come from.”
By Diego Alfagemez and Federico Marzullo
