SEÑAL NEWS 214 | MIPTV 2024

SERIES MANIA 2024

A GROWING CONTENT SPOT 20

Series Mania Forum celebrated its seventh edition last month in the French city of Lille, gathering 4,200 professionals from 72 nations. This year, new countries participated at the festival (Latvia, New Zealand, South Africa, Taiwan), featuring international stars such as Patricia Arquette, Jeremy Irons, Kelly Rutherford, Michael Chiklis, and Peter Mullan.

18 Elif Tatoğlu, Kanal D

International’s new Distribution Strategy Director, describes the goals and challenges of her position while highlighting the potential for Turkish dramas. KANAL D REVAMPED VISIBILITY AND REPUTATION

GLOBAL SCREEN DELIVERING HIGHQUALITY CONTENT

30 Brianne Bonney, Head of TV Sales at Global Screen, explains the company's sales strategy and global expansion goals while feturing the new content slate for MIPTV.

32 Armin Luttenberger, Head Of Content Sales at OrfEnterprise, reflects on how German-speaking shows can travel worldwide and how the content consumed has changed in Austria lately.

UK: FIRST-RUN & RENEWAL SCRIPTED COMMISSIONS, BY MAJOR COMMISSIONER TYPE, 2019 TO 2023 (Number of commissions)

Source: Ampere Commissioning

BBC UP

18%

WAS THE DECLINE THAT THE UK’S MARKET FOR SCRIPTED COMMISSIONS EXPERIENCED LAST YEAR, ACCORDING TO AMPERE ANALYSIS RECENT FIGURES.

48%

SCRIPTED COMMISSIONING FELL BY 48% AT UK’S PAY TV OPERATORS.

21%

WAS THE DECILNE IN SCRIPTED COMMISSIONS OBSERVED AMONG SVOD SERVICES.

As other players reduced their scripted commissioning activity, the BBC managed to maintain constant levels, increasing its share of UK scripted TV commissions to 50% last year. Early last year, the broadcaster announced a raft of cost-saving measures in response to the license fee freeze and wider economic pressures.

SONY PICTURES TO LAUNCH FAST CHANNELS PORTFOLIO IN EUROPE

Sony Pictures Entertainment will launch its portfolio of FAST channels on LG Channels, Samsung TV Plus, and TiVo+ across Europe this month. With 54 channels, Sony One will be one of the largest portfolios of FAST channels to be deployed. Sony One’s channels will be curated for local markets in different territories, with content being broadcast primarily in each

region’s native language. Territories at launch include the UK, France, Italy, Germany, Spain, Sweden, Denmark, Norway and Finland. •

FREMANTLE ACQUIRED ASACHA MEDIA GROUP

Fremantle has completed the acquisition of production studio Asacha Media Group and its portfolio of award-winning labels based in France, Italy and the United Kingdom. Asacha has eight distinct and individually successful labels across scripted, unscripted and feature films: Kabo Family, Mintee and Srab Films in France; Picomedia and Stand By Me in Italy; and Arrow Media, Red Planet Pictures, and Wag in the United Kingdom. •

BANIJAY GERMANY CREATED A NEW JOINT VENTURE, DYNAMIC ALLY PICTURES

Banijay created a new Banijay Germany joint venture: Dynamic Ally Pictures. Founded and led by “Helgoland 513” executive producers Veronica Priefer and Johannes Kunkel, the Berlin-based company will look to develop, package, produce, and distribute scripted content for the German and international markets. Priefer and Kunkel have built a reputation on high-impact, returning drama. First collaborating in 2017, the pair exclusively developed and produced multiple projects for UFA Fiction, including two seasons of the historical RTL+ series, “The King of Palma,” which they created. •

BBC STUDIOS ACQUIRED SPAIN’S BRUTAL MEDIA

BBC Studios has acquired the Spanish production company Brutal Media, based in Barcelona. Brutal Media founders, Raimon Masllorens and Nèlida Sanchez, will continue to lead the local team. Isabel Durán, who has been the Director of Format Sales for BBC Studios for Iberia since October 2022, will take on the new role of Entertainment Head within the Brutal Media team. After becoming part of BBC Studios, Brutal Media will continue to develop and market its catalog of original IPs in Spain, and will also produce local adaptations of unscripted and fiction formats from the BBC Studios’ catalog. •

RX TO REPLACE MIPTV WITH MIP LONDON IN 2025

RX France announced the launch of MIP London, a new industry market and networking event set to take place on February 24-27 2025, with a pre-opening on February 23. The inaugural MIP London will take place the same week as the 2025 London TV Screenings and is conceived as complementary to the existing annual gathering.

MIP London will convene centrally at the Savoy Hotel and IET London: Savoy Place adjacent venues in London’s West-End. The multi-genre market has been shaped through industry feedback to satisfy the growing need for versatile meeting and screening solutions in line with the increased demand for international companies to connect with buyers in London each February.

•

”LIVING ON A RAZOR’S EDGE,” THE ONLY BRAZILIAN SHOW

SELECTED AT CANNESERIES

Globo’s “Living on a Razor’s Edge” was the only Brazilian production selected for competition at Canneseries 2024. The Globoplay Original series was selected in the ‘Long Form Competition,’ competing for Best Series, Best Performance, Special Performance, Best Music, Best Screenplay, and High School Award with productions from countries such as China, Spain, Sweden, and Germany. The winners will be announced at the Festival Closing Ceremony on April 10th. The show is produced by AfroReggae Audiovisual in partnership with Formata Produções e Conteúdo and Globoplay, and narrates the struggle of sociologist Herbert de Souza for major social causes. •

WARNER BROS. DISCOVERY TO LAUNCH MAX IN EUROPE NEXT MONTH

Warner Bros. Discovery will launch its streaming service Max in the first European countries beginning May 21. Max will become available across the Nordics, Iberia, and Central and Eastern Europe. Launches will follow closely after in Poland, the Netherlands, France, and Belgium (called HBO Max in the Netherlands and Belgium). France and Belgium are the first new countries where WBD has launched its streaming service in over two years. These launches mean Max will be available in 25 countries in Europe and 65 countries worldwide after launching in the US in May 2023 and launching in Latin America and the Caribbean earlier this year. •

“WOW”

WE ARE LOSING THE EFFECT, NOTHING SURPRISES US ANYMORE

Like many of my colleagues, I was born in the early 1980s. If Gen Z is truly digital, we are almost the last "analog" generation. We are the old millennials, bringing a unique view of the world to the table as we have lived the complete transition from an analog to a new digital world.

This applies to other generations. If part of your childhood is videotaped or full of printed photos, and you are now reading this in 2024, you are also part of the group I am describing.

Part of the analog to the digital journey was receiving new products (mostly based on the latest technologies) that changed our lives somehow. That list would be very long to add here. We used to have or feel a "Wow" effect.

That "Wow" effect is more related to the marketer's world and describes how a company can attract customers' attention and differentiate itself from the competition by creating a

surprising and memorable brand experience. But the raw term and the one I am missing refers to the feeling of wonder and admiration a person undergoes when experiencing something new or shocking. It's beyond marketing.

I spend a lot of time reading news and articles about our industry. I also put tons of energy into using new gadgets, trying to keep up with new shows, or even staying active in the crazy social media environment. But something is missing, or nothing is enough to create that effect I was so used to experiencing often. How is that possible these days, when it seems everything is changing all the time?

Now, if we apply that feeling to the audiovisual industry, the feeling is even worse. All the efforts that media companies are making to stay relevant or reinvent their business are far from achieving the famous "Wow" effect.

You can tell me that ESPN will launch a new sports platform partnering with Warner Bros. Discovery and Fox (Yes! All together!), but that is not enough. It will be more complex if the "new thing" is just Disney+ bundling with Star+ and ESPN content, all on the same platform. Not even the iPhone 16 leaked photos motivate us to be amazed, as the first time we have the iPhone 3G in our hands.

In the past, significant technological leaps were easily perceptible: the transition from line phones to mobile phones, from tapes to CDs and MP3s. These changes were not just incremental; they were complete evolutions.

The content industry, pushed by technology, was one of the main engines of the "Wow" effect. Can we take that spot back again? I really miss that "WOW."

By Pablo Mancuso Managing Director Condista International

YOUTUBE POPULARITY GROWS, AS FREE VIEWING INCREASES ITS LEAD OVER SVOD

WHILE THE NUMBER OF SVOD SERVICES PER HOME HAS DECLINED IN SEVERAL MARKETS FOR THE FIRST TIME, FREE VIDEO STACKING IS STILL RISING.

Exclusive new data from Omdia has revealed that after more than five years of increased stacking behaviors, this once-dominant model is beginning to show signs of strain. According to Omdia's analysis from November 2023, the number of SVOD services per home has declined in several markets for the first time. Simultaneously, free video stacking is still on the rise. YouTube's continued growth as the top video service provider in key markets has been fundamental to the segment's growth and lead over paid video content. That has been further boosted by solid growth in other social video platforms and free adsupported TV (FAST) services.

Unveiling new insights at Connected TV World Summit 2024, Maria Rua Aguete, Research Director at Omdia's Media and Entertainment practice, commented: "The appetite for free content is increasing, and the major streamers are clearly leaning into this as a strategy. By the end of 2024, all major SVOD services will have advertising tiers."

FAST services have continued their upward trajectory in the US, with key players Tubi and The Roku Channel entering the top 10 most used services monthly. In Europe, however, broadcasters remain strong, with traditional free TV and

broadcaster video-on-demand (BVOD) services leading.

Over the last year, Omdia's stats found that the average number of free video services per video user in the UK increased from 5.1 to 6.2 and from 6 to 7.5 services in the US. In the UK, free-to-air content continues to lead, with BVOD services and social media platforms as the most popular services, with FAST coming in third.

The allure of social media platforms such as TikTok and Instagram Reels has reshaped how individuals consume video content. With engaging formats and vast user bases, social AVERAGE

media services offer compelling alternatives to main streaming services. Similarly, free TV options like ITVX, BBC Player, and Channel4 in the UK provide viewers access to high-quality content without the burden of subscription fees. "The landscape of video streaming services continues to undergo a significant transformation. Our data has found that social media platforms, particularly Instagram Reels, and the rise of free TV options like ITVX, BBC Player, and Channel4 have led to changes in British consumer behavior. Whether these changes are happening in response to the cost of living increases, paid subscription fatigue, or other factors, it underscores consumers' evolving preferences who increasingly have more places to access video content," Rua Aguete stated.

By Omdia

Source: Omdia Consumer Research - Devices, Media & Usage Spotlight Service

L“I AIM TO ENHANCE KANAL D INTERNATIONAL'S VISIBILITY AND REPUTATION”

ELIF TATOĞLU, KANAL D INTERNATIONAL’S NEW DISTRIBUTION STRATEGY DIRECTOR, DESCRIBES THE GOALS AND CHALLENGES OF HER POSITION WHILE DELINEATING THE EXPANSION POTENTIAL FOR TURKISH DRAMA.

ast month, Kanal D International confirmed Elif Tatoğlu as its new Distribution Strategy Director. With expertise in acquisitions, marketing, and content distribution in pay-TV and OTT, Tatoğlu talked exclusively with Señal News and described her strategy to navigate the ever-evolving content distribution landscape.

What will be the main goals and challenges of your new role at Kanal D International?

"The main goal of my new role at Kanal D International is to expand the reach and impact of our Turkish TV series globally. This involves increasing market penetration in existing territories and exploring new markets. Additionally, I aim to enhance Kanal D International's visibility and reputation as a leading distributor of premium Turkish content."

What will your strategy be to elevate Kanal D's brand and global catalog?

"To elevate Kanal D's brand and catalog globally, my strategy will involve a multi-pronged approach. Firstly, I will focus on strengthening partnerships with existing platforms and broadcasters while actively seeking new distribution channels. Secondly, I will prioritize marketing efforts to highlight Turkish dramas' unique appeal and

quality, positioning Kanal D as a go-to source for premium content. Lastly, I will invest in data-driven analytics to better understand audience preferences and tailor our content strategy accordingly."

How would you define the current landscape of the content distribution industry?

"The global content industry is undergoing rapid transformation driven by technological improvements, changing consumer behavior, and the proliferation of streaming platforms. There's a growing demand for diverse and high-quality content from audiences worldwide, creating opportunities for content creators and distributors to tap into new markets."

What is the expansion potential of Turkish drama as the first nonEnglish global content exporter?

"Turkish drama has immense expansion potential as the first non-English global content exporter. Turkish dramas have already proven their popularity

and viability in various markets, captivating audiences with their compelling storytelling, high production values, and universal themes. With the right distribution strategy and marketing efforts, Turkish dramas can continue gaining traction in traditional and emerging markets, appealing to a diverse range of viewers."

How would you define the global potential of "Secret of Pearls," the drama dominating Thursday nights in Turkey?

"'Secret of Pearls' dominates Thursday nights in Turkey and holds significant global potential. Its success in Turkey is a testament to its broad appeal and engaging storyline. With Yılmaz Erdoğan as the writer, the drama holds even greater potential for global success. Erdoğan's esteemed reputation as a highly accomplished Turkish playwright, actor, screenwriter, poet, and film director adds significant value to the series. 'Secret of Pearls' is not just a television drama but a heartfelt exploration of the enduring values of love, affection, devotion, loyalty, family, and trust. It promises to captivate audiences worldwide with its emotional depth and authenticity. Leveraging this success, we can strategically position 'Secret of Pearls' in international markets, capitalizing on its strong viewership and positive reception to attract global audiences. We can maximize its exposure and viewership potential worldwide through targeted marketing campaigns and strategic distribution partnerships."

By Diego Alfagemez

 Elif Tatoğlu

SERIES MANIA 2024: A RECORD EDITION WITH MASSIVE INTERNATIONAL GROWTH

LAST MONTH, THE EVENT IN LILLE GATHERED 4,200 PROFESSIONALS FROM 72 COUNTRIES. ITS RICH AGENDA INCLUDED NEW GLOBAL LAUNCHES, MARKETING STRATEGIES FOR SERIES, AI, AND MUST-ATTEND KEYNOTES.

Series Mania Forum celebrated its seventh edition last month in the French city of Lille, gathering 4,200 professionals from 72 nations. This year, new countries participated at the festival (Latvia, New Zealand, South Africa, Taiwan), featuring international stars such as Patricia Arquette, Jeremy Irons, Kelly Rutherford, Michael Chiklis, and Peter Mullan. Next year, Series Mania Festival will be held between March 21-28, and the Series Mania Forum will happen between March 25-27. "Series Mania Forum is one of today's premiere meeting places for TV executives looking for new projects and talent," Francesco Capurro, Series Mania Director, told Señal News. "Over three days, the Forum

brought together the industry's decision-makers and all the European and international series community: the best fiction buyers, commissioners, distributors, producers, authors, institutions, and agents," he added.

"For the first time, professionals from all over the world were at Series Mania because we understood that it is not about buying and selling; it's about being at the beginning of the series," said Laurence Herszberg, Founder and General Director at Series Mania. "Scriptwriters, producers, sales companies, broadcasters, and platforms from all over the world are attending the event. We are so proud of that, and it's great that the event takes place in Europe and Lille," commented.

Every year, Series Mania Awards clebrates the best series in different global markets. In the International Competition, the Grand Prize was for "Rematch" (France/ Hungary), produced by Unité, Arte France, Federation Studios, Proton, and Distributed by Federation Studios; while in the "International Panorama," the Best Series Prize was for "Dates In Real Life" (Norway), produced

 Jérémie Kessler (CNC), Homme Tsai (TAICCA)

 Renata Ribeiro y Manuel Claro (SP-i)  Sebastian Vibes (Paramount)

by Maipo Film, with Dynamic Television as the global distributor. In the French competition, "Machine" won the Best Series prize. It's produced by 687, Fit Production, White Lion Films, Makwa, Arte France, and distributed by Mediawan Rights.

HOT TOPICS

AI was one of the main issues of discussion at Lille. Several experts discussed the usage of this tool in the different steps of series production. "AI is an incredibly fast revolution. It took five days for a chat GPT to reach one million users. It will have an incredible impact on creative industries and the way we work," affirmed Anne Bouverot, Series Mania President. In addition, Herszberg anticipated that Series Mania will focus more on AI next year. "It will be a major change in our business for everyone, starting here, in Lille Dialogue, talking about the changes that will come. Next year, we will see the changes, and we can analyze them to be ever stronger on AI," she concluded.

Next year, Series Mania Festival will be held between March 21-28, and the Series Mania Forum will happen between March 25-27.

 Verdiana Bixio (Publispei)  Gabriel Doria, Fabio Fernandez y Pablo Giglione (Globo)  Armin Luttenberger (ORF Enterprise)

 Series Mania c losing ceremony

Marketing strategies behind successful series and how important it is marketing to make a title a hit were analyzed by marketing experts along with producers and sales executives, and they also included AI in their experiences. "There is no question about whether we need to use AI or not because the revolution has already started. It can generate fantasies and fears sometimes, but we must learn how to use it to test it. Ultimately, AI is an amazing creative tool for marketers and creators to help us work quicker, better, and cheaper," commented Emilie Martel, Marketing & Brand Executive from Newen Studios. "We similarly use AI when we're thinking about the positioning of the show, thinking about the comms for the show, thinking about how we

may position it and then take it to market," said Harrison Kelly, Marketing & Brand Executive from Sky Studios.

Furthermore, the most effective marketing initiative to promote a series, whether original, groundbreaking, or impactful for the audience, was honored at the Series Mania Forum. BtoB or BtoC promotional marketing initiatives from series like "Dark Hearts," "Watch Me Disappear," "Lupin," "Rave," "Sex Education," and "Those Who Stayed" were presented. The second season of "Dark Hearts," from Newen Connect, received a Special Mention, while "Sex Education" - Season 4, from Netflix, was awarded the Series Mania's "Best Marketing Initiative Award."

FRESH FROM FRANCE

Unifrance had a solid presence during the first day of Series Mania Forum, with a panel named "Coming Next from France," which highlighted seven French series available, or soon to be available, on the international market: "Une Amitié Dangereuse" ("A Dangerous Friendship), distributed by Mediawan Rights; "Ça, C'est Paris," distributed by Federation Studios; "Carpe Diem" distributed by Newen Connect; "L'Éclipse" ("The Eclipse"), distributed by About Premium Content; "Au-dessus de Tout Soupçon" ("The Black Widow"), distributed by Film & Picture; "Rivages" (Sea Shadows), distributed by France tv distribution, and "Zetwal Caraïbes" (Zetwal), distributed by Trace Studios. These seven series showed again the diversity and boldness of French fiction. They offer a wide range of writing styles, universes, and genres (crime, social drama, history, thriller, science fiction, young adult) and feature established actors and promising new faces. Each in its own way, these titles explore singular and sometimes little-known worlds and offer a condensed view of French society, past and present.

By Romina Rodriguez

 Jimmy George and Vivek Lath (GoQuest)

 Renan Artukmaç, San Lin, Julien Deris, David Gauquie, Hsiao-Ching Ting, Jason Hsueh

 Co-pro Pitching Sessions winners

 Beatriz Cea Okan, Sinem Alışkan, Can Okan, Hasret Özcan  Mia Desroches (KO Distribution)

THE NORDICS:

CONTENT SPENDING GROWTH, IN AN EVOLVING LANDSCAPE

AMPERE ANALYSIS’ SENIOR ANALYSTS PETER INGRAM AND MARIA DUNLEAVY DESCRIBE THE COMPANY’S FINDINGS ABOUT ONE OF EUROPE’S MOST MATURE TV AND VOD MARKETS.

The Nordic region (Sweden, Denmark, Norway, Finland, and Iceland) has a strong regional identity and significantly contributes to the European content landscape. In a recent webinar, Ampere Senior Analysts Peter Ingram and Maria Dunleavy discussed the company's regional TV and VOD market research.

Local broadcasters and streaming services spent 4.1 billion euros on content for Nordic audiences in 2023, only narrowly below Spain and Italy. Sweden, the largest Nordic market, accounted for 1.5 billion euros during 2023, 37% of the Nordic total. Denmark and Norway followed behind, accounting for almost 1 billion euros in spending. Finland is also a significant contributor to the regional landscape, with Iceland adding 40 million euros to the total expenditure.

THE NORDIC REGION ACCOUNTS FOR 8% OF WESTERN EUROPE'S AUDIOVISUAL REVENUE AND CONTENT INVESTMENT

EUROPE: LEADING CONTRIBUTORS TO CONTENT LANDSCAPE IN 2023 (EUR, B)*

UK

Germany

France

Italy

Spain

Nordic region

Source: Ampere Markets - Content

Content spending in the region has been supported by a varied mix of local companies, with growth and expenditure across original programming, acquired titles, and sports rights in 2023, reaching around 40% over the value achieved in 2019. Viaplay has historically led overall spending, exceeding 1 billion euros on content for Nordic viewers in 2023, followed by TV4 Media at 0.5 billion euros. Public service broadcasters have also been essential drivers of spend.

WHILE CONTENT INVESTMENT IS LED BY LOCAL OPERATORS, STREAMING SERVICES HAVE MADE MAJOR INROADS

INVESTMENT IN CONTENT FOR NORDIC AUDIENCES BY COMPANY TYPE (EUR, B)*, 2019-2023

 Global streamers (including Netflix, Disney+ and others)

 TV2 Norway  TV2 Denmark  Other companies  TV4 Media

 PSBs (SVT, NRK, DR, YLE, RUV)  Viaplay

Source: Ampere

Players like TV2 Denmark and TV2 Norway also contribute meaningfully to the sector, with fairly consistent spending over the recent historic period. However, while the market is led by local operators, global services, including Netflix and Disney+, are growing their Nordic footprint and investing heavily in programming to attract and retain new subscribers. That pressures local operators to keep high spending and focus on differentiated strategies to stand out.

THE SPEND

PROFILE OF COMPANIES IN THE REGION VARY, CATERING TO DIFFERENT AUDIENCE NEEDS

 Acquired Film & TV

 Original

 Sports Rights

Source: Ampere Markets - Content 2023

Regarding Viaplay, sports rights account for 60% of content costs, with a substantial investment in original programming for its linear channels and streaming service. That differs from TV4 Media, which invests more in acquired content to populate its film thematic pay TV channels. TV2 Denmark has focused on complimenting Danish originals with acquired international titles, while fellow commercial broadcaster TV2 Norway has a more balanced strategy, with an equal focus across original commissions, acquisitions, and sports rights. Public broadcasters have prioritized original content, accounting for over 60% of spend by each during 2023. Finally, Netflix has an even split in spend across originals and acquisitions, while Disney+ has focused more on producing originals using its robust IP library.

MATURE OTT MARKET

According to Ampere Analysis, the Nordic OTT market is one of the most mature in the world. The region's average of between three and four connected homes paying for a streaming service leveled or exceeded most of the EU's big five markets.

THE NORDIC MARKETS ARE EUROPEAN LEADERS IN SUBSCRIPTION OTT... SUBSCRIPTION OTT PENETRATION OF CONNECTED HOMES (%)

 2020  2021  2022  2023

had a very successful launch in the region, and it's reached as many households as HBO Max, which itself has a long-standing history in the Nordic market, launching as HBO Nordic back in 2012.

..AND THE NUMBER OF STREAMING SUBSCRIPTIONS IS SET TO SURPASS 30 MILLION BY 2026

 Netflix  Viaplay  Disney+  Local OTT services (e.g.TV2 Play, Ruutu+)

Source: Ampere Markets - Operators

The streaming giants make up 70% of streaming subscriptions, with the remaining 30% going to Nordic services such as Viaplay and local services like TVT Play in Norway and Denmark. At roughly 28 million subscriptions, almost a quarter goes to Netflix. Disney+

Subscription streaming has become more widespread than traditional TV services, but household penetration is also beginning to stagnate. Despite streaming services having cheaper and more accessible price points, with the volume of subscriptions, revenues are on track to surpass pay-TV revenues by 2028.

THE YEAR 2023 WAS AN INFLECTION POINT FOR SUBSCRIPTION OTT PENETRATION IN THE NORDICS... NORDICS: HOUSEHOLD PENETRATION BY BUSINESS LINE (%)

Source: Ampere Markets - Operators

As OTT grows further from pay TV, local broadcasters are being forced to adapt their strategies to tackle these new challenges posed by major foreign streamers in order to keep a mature audience engaged with their services. Ampere Analysis set 2028 as the year when all these strategies will see if they have been successful or if this global trend will also take over the region.

By Federico Martinez

Source: Ampere Markets - Operators

FRENCH DOCUMENTARIES, A PERFECT FIT FOR LINEAR AND DIGITAL PLAYERS

EXECUTIVES FROM FRANCE’S KWANZA, CLPB RIGHTS, TERRANOA, AND ZED ANALYSE THE CURRENT DEMAND FOR DOCUMENTARIES IN EUROPE, DISCUSS THE USE OF AI FOR FACTUAL PROJECTS, AND ANNOUNCE NEW TITLES FOR THE SPRING SEASON.

Europe is going through a conflictive social and economic context that affects several industries, including the audiovisual. "Despite that, the demand for documentaries in Europe remains constant," asserted Véronique Commelin, Head of Sales and International Development of CLPB Rights, who also clarified that major industry players maintain a conservative perspective regarding subjects and treatment. "The rapidly shifting trends in current affairs, influenced by the geopolitical landscape. As production rhythms struggle to align with these developments, that poses challenges for distributors," she affirmed. Additionally, Commelin mentioned a

Véronique Commelin

H ead of Sales and International Development of CLPB Rights

notable surge in demand from the AVOD and Smart TV operators. "Revenue projections remain uncertain and do not compensate for the slowdown of the demand from the big OTT players. Buyers are now more hesitant to make decisions and getting them engaged before the rough-cut stage has become quite tricky," she stated.

Lucy Le Gruiec, Head of Distribution and Acquisitions at Kwanza, agreed on the constant appetite of European buyers for documentaries, both from traditional TV and digital players. She also affirmed that buyers are more selective with content and slightly more risk-averse. "On the other hand, there is great enthusiasm in finding the creativity to get those big partnerships working when the content is right," she said.

Isabelle Graziadey, VP of International Coproductions and Distribution at Terranoa, affirmed a substantial

Lucy Le Gruiec

Head

of Distribution and Acquisitions at Kwanza

market disruption with the growth of OTT services, streaming platforms, and FAST services. "Whose business model is still quite uncertain. They need mainstream volume content to feed their services and to remain in the game. Wildlife, history, science, and travel are popular genres that can address the niches of consumers who are always hungry for new content to watch at minimal costs. However, traditional broadcasters are still alive and in demand for higherquality documentaries. The distribution business has to adapt and diversify, and we spend careful time benchmarking the trends and new services to cease new business opportunities wherever they are," Graziadey expressed.

AI OR NOT AI?

Isabelle Graziadey

VP of International Coproductions and Distribution at Terranoa

Today, the discussion about artificial intelligence is central to the content industry. It is a technology that is here to stay and can positively impact content creation, but it must be used carefully. "We have seen it more as an opportunity, as it streamlines certain processes in distribution or animation production, making them more cost-efficient," expressed Commelin from CLPB

OVERVIEW

Rights. "It is a compelling tool for reducing the cost of localization, allowing us to launch sales more quickly. However, in factual entertainment, we must be mindful of the risks concerning the authenticity of sources and information that AI can provide, as well as the potential overuse and discrediting of the IP of the content. Since it facilitates rapid and less costly content creation, it can stimulate the uncontrolled growth of micromarkets. Therefore, it is an opportunity that requires careful balance," she added.

Charlotte Tachet, Head of Distribution & Acquisitions at ZED, classified AI as an ingenious tool that is becoming increasingly widespread in the content industry. "New technologies do have the power to improve how we make and promote a film. Our marketing team has been able to use it occasionally to communicate on a newly launched program that still lacked visuals. For example, Midjourney has been quite useful in generating and reconstituting images or mood boards for history projects. Likewise, we've used AI voice generators on some of our rough cuts," she described. "It's an opportunity to give a film in production a more 'complete' look for future buyers, offering them an overview of the finished product. But these AI-generated voices are only temporary: in the final cut, they're replaced by real actors. AI makes it easier for both marketing and sales teams to seek pre-financing. At last, we're also using it to enhance the CGI of some of our films. As a producer and distributor of documentaries, we'll always prioritize what's true to reality. AI cannot replace the emotion that comes from authenticity. Despite being a practical means of supporting audiovisual creation, it cannot completely replace human inventiveness. For now, we've been using it sparingly," she concluded.

Charlotte Tachet Head of Distribution & Acquisitions at ZED

"We have to be very careful when using AI in certain areas because a documentary represents reality, and we have a contract of trust with the viewer on this point," said Le Gruiec from Kwanza. "Although we are exploring AI tools, at this stage, we don't have any AIgenerated titles," she added.

"It is a game changer in our creative industry with a real cost efficiency that no one can deny," commented Graziadey from Terranoa, who also agreed that AI technology still needs to be used with certain ethics and not hinder the quality of the scriptwriting and the complexity of the stories we tell. "We don't want to be seen as copy-cats using AI everywhere and must be careful not to lose the craft to make good, complex, and diverse programs. I hope viewers will tell the difference," she affirmed.

By Romina Rodriguez

"Venice: Building Beauty From A Swamp"

COMING FROM FRANCE

At MIPTV, Kwanza will bring a variety of new titles such as "Wild Animals Vs. Germs: A Battle To Death," the anniversary titles "Inside D-Day: Filmmakers On The Frontline," "Eurostar: Minding The Gap," Ancient Builders, "Machu Picchu: City Of Stones," and "Venice: Building Beauty From A Swamp, "Hell On Wheels: World's Deadliest Roads," "Crash Course," and "The Hidden Face Of Scientology."

To mark the 80 th anniversary of the Normandy Landings, ZED will feature "D-Day: 100 Days to Beat the Third Reich" and Catherine Bernstein's "Auschwitz, Voices of Survivors." ZED is also launching several investigative projects, focusing on hot topic issues, such as "Tehran Confidential by Julie Lerat;" and science titles like "Xenografts: The Future of Science?."

For CLPB Rights, history will be a dominant theme in MIPTV, kicking off presales of “The Orphans of the World War II,” while unveiling the documentaries "Cywia & Rachela: They Resisted in the Warsaw Ghetto," "Christopher Reeve, The Eternal Superman," and the newly acquired Franco-Belgian coproduction"Eddy." In the science & discovery selection, the French distributor will feature a three-part series, "The Metamorphosis of the Ice Giants" and "Prenatal Diagnosis: Pregnancy under the Loop."

Terranoa will attend MIPDOC with a raft of newly released history and science titles, such as "African Glory" and "Collisions Life and Death From Outer Space." The company will also show a sneak preview of "Film: 1874: The Birth of Impressionism," produced by Gedeon Programmes.

"Cywia & Rachela: They Resisted in the Warsaw Ghetto"

"THE IMPORTANCE OF DELIVERING CONSISTENTLY HIGH-QUALITY CONTENT IS THE KEY"

BRIANNE BONNEY, HEAD OF TV SALES AT GLOBAL SCREEN, EXPLAINS THE COMPANY'S SALES STRATEGY AND GLOBAL EXPANSION GOALS WHILE SHE FEATURES THE NEW CONTENT SLATE FOR MIPTV.

Global Screen is looking to grow its catalog in 2024, led by its Head of TV Sales, Brianne Bonney, who took on the role in November 2023. Bonney talked exclusively with Señal News and highlighted the company's launches for MIPTV and its goals for 2024. "I'm extremely lucky that I walked into a position with an incredibly talented, experienced, and hardworking team, so despite 2023 being a challenging year for the TV industry, we achieved higher sales than expected," Bonney stated.

According to the executive, Global Screen is not just a distributor but also a content provider. She explained that the company focuses on the fact that its clients need the correct programming and formats to fit their needs rather than just selling titles to provide them with a premium catalog that meets these needs. To do so, Bonney highlighted the use of AI on a more frequent basis to help truly understand the client's requirements in a more detailed way and help create even more tailor-made recommendations. "What used to take up time doing endless research has been streamlined by utilizing new tools

and making our clients' jobs easier, which ultimately leads to larger deals and higher sales," she added.

Regarding the objectives for 2024, Bonney explained: "This year, our goal is to keep up that momentum and expand upon our already solid catalog and sales successes while also gaining new momentum with our scripted format catalog and looking forward to new productions. There's always the discussion about new technologies, new platforms, and new sources of revenue that haven't been explored in-depth. That is all extremely relevant to keep up with in an exciting and changing industry, there is a lot of growth. Ultimately, the importance of delivering consistently highquality content is the key."

In an ever-changing industry, Bonney said the keys to keeping up to answer the client's needs are "flexibility and life-long learning. If a client asks for something new, you do your best to deliver, or learn how to deliver it." Related to this, she defined the key to achieving great sales today as always talking and looking around, informing yourself, and observing. "We are lucky that we have a diverse catalog that can deliver the content for changing demands. Currently, most of our buyers are looking for 'comfort food' content. Titles that are familiar, like procedurals, but have some unique aspects, like our popular series 'The

Brianne Bonney

Undertaker.' They're also looking for exceptional period titles, like our spy thriller 'Davos 1917', which takes place during WWI in Switzerland."

NEW FEATURES

For this year's edition of MIPTV, Bonney announced that Global Screen will premiere "Fritzi and Sophie – A Borderless Friendship" at the market. "It's a loveable animation about a girl, a little dog, and the goal to reach her best friend while set against the time of the Fall of the Berlin Wall." Moreover, "Chameleon" is an urban dramedy series about a group of friends who live in a low-income neighborhood but are doing their best to make better futures for themselves, while also dodging the daily problems that arise from their current situations. The company is also introducing "The Hunted," a documentary about Jan Ullrich, the famous ultimate-athlete Tour de France winner, who experienced a fall from grace. It features interviews with Lance Armstrong and a deep insight into doping in athletics. Also, the company will feature a true story movie called "Kidnapped," a thrilling drama about an extremely wealthy family in the 80s whose young son was kidnapped for 14 days while the patriarch was in prison for fraud, and the family was in a race to find ransom money, they no longer had access to. Finally, Global Screen will present "Curious Tobi," a huge box-office hit family adventure film that takes viewers on an exciting trip around the world on a journey to unlock a treasure chest.

By Federico Martinez

"Chameleon"

“IT'S AN EXCITING TIME FOR PRODUCERS IN AUSTRIA AND THE GERMAN-SPEAKING WORLD”

ARMIN LUTTENBERGER , HEAD OF CONTENT SALES AT ORF-ENTERPRISE, REFLECTS ON HOW GERMAN-SPEAKING SHOWS CAN TRAVEL WORLDWIDE.

ORF Enterprise's primary goal is to offer high-quality content across a diverse range of genres to its longstanding buyers. To that end, the company is heading to MIPTV with titles that can reach global audiences. Armin Luttenberger, Head of Content Sales at ORF Enterprise, analyzed how German-speaking content could achieve worldwide success and detailed the current trends in Austria.

Could German-speaking shows take the global scene after the Spanish or Korean content trends?

"German-speaking content undoubtedly has the potential to significantly impact globally, given the rich cultural heritage, increasing production values, diverse genres, and collaborative efforts within the industry. It's an exciting time for content producers in Austria and the German-speaking world, and we look forward to contributing to this global conversation based on the success of our scripted lineup in previous years."

What ORF Enterprise titles could reach this kind of global success?

"Given the acclaim and attention garnered for the eagerly awaited and star-studded event series 'Kafka,' it possesses the potential to achieve global success, with confirmed sales to various territories. The series premiered in March and tells the story of Franz Kafka's life in an entertaining and humorous way. With the invaluable input of Kafka biographer Reiner Stach, the series stays true to the author's life and helps to shine a spotlight on creative filmmaking from Austria. Brand-new titles such as 'Glambitious' and 'School of Champions' aim for younger audiences and thus make an amazing addition to our well-known catalog, reaching an even broader target audience with fresh stories and fresh faces on the screens."

What is the current landscape for public broadcasters in Austria?

"The current landscape is dynamic and challenging. In recent years, we have observed a shifting preference of the Austrian audience, with a growing interest in ORF's recently revamped online offering. In response to the digital age, ORF has been actively expanding its online presence and developing streaming services to better serve our audience's evolving media consumption preferences. While we face competition from domestic and foreign competitors, ORF remains committed to our mission as a public broadcaster, serving the

 Armin Luttenberger

diverse needs and interests of all Austrian population."

ORF several content genres. Which has more demand today?

"While ORF-Enterprise has always been known as a supplier of blue-chip factual content, the audience's love for Germanspeaking drama has become increasingly apparent in recent years. Recognizing this trend, ORF Enterprise has massively expanded its fiction lineup. From the enthralling allure of 'Kafka' to the

glamorous intrigue of 'Glambitious,' each promise to captivate the audience and deliver top-notch entertainment. Simultaneously, our Univerum Nature and History documentaries continue to impress with their exceptional quality and comprehensive coverage of global issues concerning wildlife and nature. Recent additions to our sales catalog from renowned factual producers make a great addition to meet the buyer's requirements. A high-quality catalog dedicated to music & arts and edutainment content for the youngest audiences round off our full-service offering."

By Romina Rodriguez

"Kafka"

ALEJANDRO VECIANA , SENIOR MANAGER OF INTERNATIONAL DIGITAL DISTRIBUTION AT FILMRISE, ANALYSES THE AVOD/ SVOD LANDSCAPE AND THE COMPANY'S MOVES TO WIDEN ITS PORTFOLIO AND REACH THE SPANISHSPEAKING AUDIENCE.

FilmRise's content strategy focuses on reality, true crime, and classic TV, but its co-productions, creator-content partnerships, and most recent deals with Buzzfeed have expanded its content offerings for AVOD and FAST platforms. Alejandro Veciana, Senior Manager of International Digital Distribution, explained this successful business model and the company's goal to extend its reach to Spanish-speaking audiences further.

According to Omdia, SVOD services per home have declined in several markets for the first time, while free video stacking is still on the rise. What does this current landscape represent for FilmRise's FAST and AVOD strategy?

"At first, during the early rise of AVOD and FAST, we had largely cordcutters who made up most of our audience. Now, the consolidation of SVOD services per household means more and more people are turning to AVOD and SVOD for more premium, fresh, and current content. Our audience is becoming broader and progressively younger. Our content strategy remains focused on the adsupported model, with reality, true crime, and classic TV continuing to

"OUR

CONTENT STRATEGY REMAINS FOCUSED ON THE AD-SUPPORTED MODEL"

be our bread and butter. However, our co-productions, our creatorcontent partnerships, and our most recent deals with Buzzfeed, where we've acquired YouTube shows like 'Hot Ones' and 'Sneaker Shopping' means we are widening our content offerings for AVOD and FAST platforms, which are now catering to an audience hungry for relevant content with more widespread appeal".

What business model are you applying to expand your FAST and AVOD offer?

"Our core model remains the same: through a rigorous data-driven analysis, we find 'undervalued' content libraries that are guaranteed to work within the FAST and AVOD model. This method, combined with our close relationships with platforms, allows us to easily create and program content tailored to each platform's specific programming needs."

How would you describe FilmRise's expansion strategy for titles like "Hell's Kitchen" in the Spanishspeaking market?

"Our goal is to have all our tentpole titles available in Neutral Spanish. The US Hispanic audience is our main Spanish-language market, followed by Latin America. Over 63 million Hispanics live in the US, which is more than the entire population of Colombia, Argentina, or Spain. So, there's an enormous

opportunity there that we think hasn't been properly tapped into. Some of our partners, like ViX and CanelaTV, understand the need for Spanish-language AVOD and FAST services very well. We always try to find or acquire dubs; if these are unavailable, we sometimes create them ourselves, depending on the title. We've done this for shows like 'Heartland' and 'Cheaters,' and it's worked incredibly well."

FilmRise's Creator Partner Program has been growing lately, with significant deals. What is the strategy for the program this year?

"The way audiences interact with social platforms like TikTok, YouTube, and Instagram is not dissimilar to the way people interact with FAST. Both models appeal to binge-able, laid-back viewing with very high engagement times. We have a dedicated team entirely focused on growing FilmRise's Creator Content catalog by partnering with young creators with niche but massive followers. By bringing this type of content to the AVOD and FAST space, FilmRise is widening the audience for creators and expanding their reach beyond social media."

What are Filmrise's main goals for MIPTV?

"Our main goal is to catch up with our existing international partners, meet with upcoming players in the AVOD and FAST space, and look for new partner opportunities but also to take a temperature-check and learn more about how the market is evolving in the ad-supported streaming world and beyond."

By Romina Rodriguez

 Alejandro Veciana

DRAMA IN THE CEE REGION: INNOVATION FOR THE GLOBAL MARKET

LAST NEM ZAGREB AWARDED THE BEST TV DRAMA SERIES FROM THE CEE REGION, HIGHLIGHTING SHOWS FROM WARNER BROS. DISCOVERY, RTL HUNGARY, AND TVP. EXECUTIVES FROM THOSE COMPANIES EXPLAIN THE POWER OF THESE TITLES AND THE CHARACTERISTICS OF PRODUCING IN THE CEE.

The last NEM Zagreb held the competition for the best drama TV series in the CEE, the "NEM Awards," for the first time. Warner Bros. Discovery took first place with "Spy /Master;" RTL Hungary took second place on the podium with "The King," and TVP got third place with "Moth Hunting." "I am truly grateful and honored by the NEM Zagreb jury for choosing 'Spy/Master' as the best show in the CEE region. I've been excited about this story since it was just a spark of an idea, and, for me, this award shows that 'Spy/Master' has touched the viewers' hearts and

Adina Sadeanu

"It is always a magic moment when a film or a series sees the light of day and meets its audience. Will they like it? Will they see what you, as co-creator, saw in it? To win the best drama TV Series is an amazing honor and confirmation that the story we have built is entertaining and resonates with those watching it," added Kirsten Peters, series' co-writer. "The recognition and positive placement are a tremendous honor for us, and this result is the fruit of persistent work, passion, and dedication. We are grateful to our fantastic RTL team, which

minds with its powerful narrative, exceptional acting, directing, and highvalue production. It feels great to see a Romanian show making did everything to ensure the project's success, and we also thank our viewers, who supported us on this journey. The success of the series also signifies recognition for Hungarian-language content and streaming services, where the company leads in Hungary with its local content offerings and internationally advanced technology," said Peter Kolosi, Chief Content Officer of RTL Hungary, and Balazs Szabo, Chief Content Management Officer of RTL Hungary.

waves internationally, from the Berlinale TV Series competition in 2023 to the NEM Zagreb," commented Adina Sadeanu, "Spy/Master" co-writer.

"It's a huge honor to have been recognized, especially given the outstanding quality of all the competing titles. What makes us especially proud is that 'Moth Hunting' is the only series produced by a public TV organization to have reached the top three. That proves that public broadcasters can hold their own against major players and privately owned heavyweights," mentioned Marek Solon-Lipiński, Director of International Relations at TVP Sales.

GLOBAL APPEAL

Jury members chose the NEM Awards winners from countries outside the CEE (mostly high-capacity production countries) to ensure fairness in rating the submission. "I can only guess what the jury found compelling in 'Spy/Master,' but I think our blend of

Peter Kolosi

Marek SolonLipinski

a complex spy narrative, a heartfelt family drama, and the allure of an impossible romance makes it interesting and fun to watch. As for the show's global appeal comes with universal themes, exploring survival, betrayal, and the sacrifices we are willing to make for freedom," explained Sadeanu. "'Spy/Master' is set during the Cold War, a time that fascinates the world. In its exploration of themes that touch and affect us all, topics like regret and betrayal, and what we would do to survive, I think 'Spy/Master' is universally relatable with the potential to appeal to audiences around the globe. And with its very cool costume and set design, it is a delight for audiences everywhere to watch and be transported to the late 70s!" Peters stated.

Kirsten Peters

For RTL’s Kolosi and Szabo, "A Király" ("The King") provides valuable cultural insights into Hungary and its music scene, offering viewers from other regions a chance to explore and understand a different cultural context. "The series features compelling storytelling, well-developed characters, and a narrative structure that captivates viewers. Furthermore, the production quality of the series, including cinematography, direction, and acting, is outstanding and captivating," they stated.

For Solon-Lipiński, "Moth Hunting" is a sprawling period drama about when The Russian Empire had parts of Poland under hostile rule, and Poles had to go underground to resist the occupation and preserve their national identity. "This was over a century ago, but it still feels timely. We have three very different but equally empowered women at the heart of the story, navigating a corrupt, male-dominated world. It is a multicultural and multilingual production. Our characters speak Polish, Russian, Yiddish, and French and represent a variety of ethnic backgrounds and social classes. That has proved to resonate with the viewers. I believe there is always a place in the market for a wellexecuted, visually striking historical drama, especially as narratively ambitious as this one," he remarked.

Despite being a diverse territory, TV dramas in the region have some factors in common that make them attractive to the entire region and the rest of the world.

CEE DRAMA LANDSCAPE

Despite being a diverse territory, TV dramas in the region have some factors in common that make them attractive to the entire region and the rest of the world. "Although defining the TV drama in the CEE region is quite challenging given its diversity, a few words could capture this genre: unique, glowing, and growing. This region has much to offer due to its richness in stories that blend universal themes with distinct local narratives, drawing inspiration from a wealth of legends, past or present events, and social issues. History, with all its dramas, offers plenty of stories to inspire from –from those speaking of social issues, corruption, and injustice to legends that you can't find in any other part of the world. I find this strong local flavor quite unique and valuable for the TV drama in the region, something the TV Series industry shall and could capitalize on more and more," said Sadeanu, "Spy/Master" co-writer. "TV dramas in the CEE region often incorporate social and political commentary, reflecting the local communities' challenges, transformations, and experiences. That includes narratives about post-communist transitions, identity, and social issues," Kolosi and Szabo from RTL Hungary indicated. "'A Király' is a good example of this, as it goes beyond Zámbó Jimmy's life to depict the communist regime and the political environment in

which the young singer embarked on his challenging career. In the second half of the series, we glimpse Hungary in the post-transition era, during the 1990s and 2000s. But this is just one aspect of the TV drama genre in the CEE region, encompassing various facets, including literary adaptations, characterdriven storytelling, cinematic quality, and international collaboration," they added. "The CEE region and our TV drama output are incredibly diverse. But if I were to identify one unifying element, I would say that CEE creators excel at exploring their history, identity, and cultural heritage and turning them into strong TV narratives," concluded Solon-Lipiński from TVP.

By Romina Rodriguez

Balazs Szabo

"Moth Hunting"

THE CUSTOMIZED PROCESS TO ADAPT A FORMAT FOR DIFFERENT MARKETS

CHINESE HIT SHOW "SINGING WITH LEGENDS" HAS GOT ITS SECOND ADAPTATION. AFTER SPAIN, THE SINGING COMPETITION WILL HAVEA NEW VERSION IN VIETNAM, DEVELOPED BY DONG TAY PROMOTION CORPORATION.

Chinese distributor iFormats recently signed an agreement with Vietnamese television content and format provider Dong Tay Promotion Corporation to adapt DragonTV's original singing competition show "Singing with Legends." Previously sold in Spain, the show will be broadcasted on Vietnam National Television's linear channel VTV3 and DatvietVAC's streaming platform VieOn. "The combination of nostalgia, which features legendary singers from the past, the talent showcase, celebrity interaction, competition, and cultural significance likely contributes to the appeal of 'Singing With Legends," a representative from Dong Tay Promotion Corporation stated. Currently, Dong Tay Promotion Corporation is selecting local legends and contestants in Vietnam, adjusting the format to suit Vietnamese audiences, and securing broadcasting deals with networks. "The tentative broadcast debut date is July 2024," he said. "Shangai Media Group involvement

could provide valuable expertise, resources, and production capabilities to ensure the Vietnamese version of the show meets high standards. The collaboration with Shangai Media Group could bring synergies that enhance the production quality, talent pool, audience engagement, and market reach of the Vietnamese adaptation of 'Singing With Legends,'" he added.

CONTENT TRENDS

The popularity of Chinese TV formats in Vietnam underscores the cultur al exchange and crossborder appeal of entertainment content, with viewers in Vietnam enjoying a diverse range of programming from China. "That trend especially happens with reality singing competitions, variety shows, and dating shows," detailed Dong Tay Promotion Corporation's representative, who also added that the Southeast Asian film and television market is poised for several notable trends in the coming years. "The first one is the rise of streaming platforms and the growth of genre diversity. While dramas and romantic comedies have traditionally been popular in Southeast Asia, there is a growing demand for a wider variety of genres, including action, thriller, science fiction,

“Southeast Asian film and television market is poised for several notable trends in the coming years. The first one is the rise of streaming platforms and the growth of genre diversity”

and fantasy. Furthermore, the market is focusing on authenticity and cultural representation; there is a growing demand for content that authentically represents the cultures, traditions, and experiences of Southeast Asian communities. Filmmakers and content creators are likely to prioritize authenticity and cultural sensitivity to resonate with local audiences and appeal to international viewers," the representative concluded.

By Romina Rodriguez

 Dúos increíbles

 Singing With Legends

THE KITCHEN MOVES FORWARD WITH ALL-WOMEN SALES TEAM

THE GLOBAL LOCALIZATION STUDIO HAS HIRED JULIE BENETEAU AS ITS NEW DIRECTOR OF INTERNATIONAL SALES. ALONGSIDE EVP DEENY KAPLAN, BENETEAU EXPLAINS HER EXPANSION GOALS AND HOW TO WORK WITH WOMEN FROM DIFFERENT PARTS OF THE WORLD.

The Kitchen has started applying a new solid strategy for international sales, with its first European media hub opening in Madrid. Julie Beneteau has been named the company's new Director of International Sales. Beneteau is based in London, and it is the first time The Kitchen has feet on the ground in the UK. "I feel that there is a great atmosphere within the company, within the team," mentioned Beneteau in an exclusive interview with Señal News. "Finding Julie was the perfect match for what we were looking for in London," added Deeny Kaplan, Executive Vice President of The Kitchen.

The Kitchen's international expansion plans are wise and aggressive, as Beneteau is French but has more than 20 years of experience in the UK, with many key contacts in both territories. "I've been reaching out to all my contacts and industry friends; I'm meeting many people in London, and I spend some time in France as well. I talk to my colleagues in Madrid, the US, Latin America, and Europe every day. I like the team spirit, and we have an allwomen sales team, which I think is amazing," said Beneteau.

"Having the easy access to France and Europe, I think it's going to allow us to expand into Europe even further," added Kaplan.

Beneteau is representing The Kitchen's aggressive overseas client growth plans. "Clients really need a personal relationship, and even if The Kitchen is growing, it's still a family-oriented company focused on service. So, it's still at a human scale, and this is what

the clients are looking for. With the mix of The Kitchen's success and all the contacts I have here in Europe, we can grow the business while remaining human and very personal from a client services point of view," she said.

"Just the idea of having somebody who understands the business, who is flexible, who will grow and is not afraid to try new things or knock on the door of somebody who may

not know who The Kitchen is, that's what it takes to be an excellent salesperson. Nicely aggressive, understanding, and making sure our clients look good. That's what we look for, and I think it will be a wonderful long-term relationship," Kaplan explained.

FEMALE POWER

The Kitchen's sales team today is entirely composed of women from all around the world. Before Beneteau's appointment, the company hired Lilly Paez as Sales Director, focusing on the Americas. "We have an all-women sales team, which I think is amazing. We are ladies based in different parts of the world and get on very well. We work collaboratively instead of just being each in their corner fighting for the client. We work as a team,

which I absolutely love," Beneteau affirmed. "Working closely with our all-female sales team is wonderful. We have an excellent group, and we work together," Kaplan added.

Another key ingredient of The Kitchen's new strategy is the Board of Global Influencers, an industry-first and genuine global initiative composed of well-known executives, including Jennifer Chrein (JBMW Media), David Levine (Lightboat Media) as well as Summer Yang, Jonathan Abraham Dean Koocher; Christine Waage and Markus Andorfer. "Julie, Dina, and Lilly will work closely with our Board of Global Influencers, who serve as our feet on the ground in places where we may not be," Kaplan said.

CHANGES AND ADAPTATION

The Kitchen is distinguished by its adaptation to all industry changes. The localization business has suffered many shifts since Beneteau started to work in it. "Years ago, clients were concentrating more on the smaller studios. Then, there were many mergers and big companies, so it might be easier to go to the huge players because they can produce fast and cheaply. Now, there is a reverse train of thought whereby clients actually appreciate the proximity and ease of access of the suppliers, referring to them as partners. People are still very attracted to the human relationship and quality, and that's what we are promoting. That is what truly sets the nearly 23-year-old studio apart from others," she concluded.

By Romina Rodriguez

Julie Beneteau

Deeny Kaplan

“WE

MAKE SURE THAT OUR PORTFOLIO HAS A BROAD REACH ACROSS MULTIPLE GENRES”

ALAURA MASSON, SALES DIRECTOR AT ABACUS MEDIA RIGHTS, EXPLAINS HOW SHE MANAGES THE SALES STRATEGY TO REACH DIFFERENT CLIENTS AND BUSINESS MODELS.

bacus Media Rights started the year with several deals for its crime drama series, true crime documentaries, and non-fiction series. Señal News spoke with Laura Masson, the company's Sales Director, to describe its strategy, the creation of its catalog, and the potential of factual content.

How would you define Abacus' sales and business strategy in the constantly transforming content distribution arena?

"Our focus is on premium shows that stand out in the global market and present strong commercial opportunities: must-have limited series, returnable franchises, or one-off events are all in high demand. We are continually working in various ways to ensure we can help generate content at a time when producers are finding it particularly difficult to get commissions greenlit".

What are the main content demands around the different markets you manage?

"Event documentaries for must-watch and water cooler moments that stand out in the schedules. Recent titles from AMR that have proven popular in Latin America are 'Queens That Changed the World,' 'Conquistadors: the Rise and Fall,' 'The Frontier,' 'Raymond Blanc's Royal Kitchen Gardens,' 'Streets of Gold: Mumbai,' and 'Top Guns: inside the RAF.'"

How do you manage your windowing strategy and sales approach with many different clients and business models (streaming, linear, AVOD, FAST)?

"Abacus' sales team explores all opportunities to maximize exposure and revenue for all its titles. Our goal is always to place the content we represent in the best place possible. We are agnostic in terms of whom we

work with—streamers, linear, AVOD, and FAST channels— and make a plan tailored to each program. Windowing is just one of the sales strategies that we use."

How is Abacus' catalog created? What pillars do you take into account to define its color?

"Our acquisition team is very experienced and has longestablished relationships with producers worldwide to discuss projects, pre-financing, and production budgets early on and, ultimately, address broadcasting needs worldwide. We ensure that our portfolio has a broad reach across multiple genres and subgenres as our diverse and eclectic MIPTV show launches clearly demonstrate".

In recent months, we have seen various Abacus news related to the documentary genre. How significant is that genre today internationally?

"Abacus is extremely active in the factual space. The international market is currently seeing a high demand for true crime, history, world affairs, observational documentary reality, and talent-led factual entertainment programming. For MIPTV, we have a range of strong factual one-off films, including World Affairs Israel/Gaza, Russia/Ukraine and event pieces like 'Dynamo is Dead' and specials such as 'Barbie Uncovered: a House Divided' and commercial series across crime, history, travel, and reality including limited series like 'The Real Serpent: Investigating a Serial Killer' and 'Alan Cumming's Most Luxurious Train Journeys: Scotland' as well as longer running "'Top Guns: Inside the RAF,' 'Outback Crystal Hunters,' 'Surgeons: A Matter of Life or Death' and 'Witch Hunt: the World's Worst Witch Trials.'"

What specific launches and new titles will you have for MIPTV?

"Abacus will represent a varied catalog of programs featuring scripted series and factual, including: 'The Boy That Never Was,' a drama produced by Subotica for RTE Ireland; 'The Cuckoo,' a drama produced by Calpperboard Studios for Channel 5; 'The Swallows Will Return,' a documentary produced by HiddenLight and broadcasted by Channel 4, 'The Steal,' a documentary produced by Amos Pictures for Channel 4, and 'Barbie Uncovered: A Dream House Divided,' a documentary produced by Two Rivers Media for Sky Documentaries."

By Alan Levy

 Laura Masson

PRODUCTION

“WE

WILL FOCUS ON BUILDING OUR REPUTATION AS A COMPANY FOR GLOBAL BRANDS”

BENOIT DI SABATINO, CEO OF BANIJAY KIDS & FAMILY, AND DELPHINE DUMONT, CHIEF COMMERCIAL OFFICER, EXPLAIN THE COMPANY'S PRODUCTION AND DISTRIBUTION STRATEGY.

Banijay Kids & Family is looking at a very busy year in 2024, with the return of classical IPs and the launch of new ones, as well as partnership deals to keep expanding the business, led by its CEO, Benoit Di Sabatino, and Chief Commercial Officer, Delphine Dumont. Di Sabatino and Dumont talked exclusively with Señal News about its commercial strategy, the opportunities ahead for this year, and the new content slate, "2024 is a critical year for Banijay Kids & Family. We will focus on building our reputation as a company for global brands and commissioners worldwide," explained Di Sabatino.

Looking back to 2023, Di Sabatino said it was "a recordbreaking year for production. Under our six production labels, we have started, developed, financed, and produced many series. It's amazing to work with this energy and those talents."

Both executives expect to keep these rates in 2024. Related to this, Dumont said, "It is a big year for us because we will put all our hard work in motion of the past two years. We have integrated a large team of experts for the brand and marketing team, a licensing team, and 'Totally

Spies!', which is expected to launch globally. We have worked hard on a brand strategy to get as many licensees and agents on board." The classical series will return with a seventh season, expected to premiere later this year. "It will target a dual audience: kids and the millennial audience, those that have grown with the show. We are going ahead on linear TV, of course, on digital, exportation, social media, licensing and gaming," said Dumont.

THE RETURN OF DISTRIBUTION

2024 is also seeing major companies return to a distribution business model rather than keeping their original content only for their streaming services. However, both executives agreed this is not a significant challenge for Banijay Kids & Family. "It is a reality of the market nowadays. That is good for us because it means distribution will come first. What it tells us is that it is a very competitive world out there, but it's been competitive for many years. We know that, and we've acted on this already. I think that there are two ways we face it: we maximize on the fact that we are fortunate to have evergreen IP inhouse, such as 'Totally Spies!', 'Mr. Bean' or 'Lolirock,' which have done well without necessarily being new, and we are nurturing those creative talents in-house with our labels," Dumont explained.

Furthermore, Di Sabatino added: "We can see all the benefits of belonging to a large group. It's essential to say that because we belong to Banijay, one of the largest in the world, and have a vast catalog of content to work with."

When asked about what formats work best among audiences, Di Sabatino explained: "Our role as a producer is to anticipate what will be on the screen in the next three years. So, what is good today could not be good in three years. Generally, I do exactly the opposite of what is trending today because, in three years, it's not going to be the case."

In comparing animation and live action, Di Sabatino said there might be a general rule to be applied. However, there are always exceptions. "Animation suits younger audiences, and live-action suits older audiences in general terms. However, we have some examples within the group; with Tiger Aspect Kids and Family, we produced a live-action series called 'Danny and Meek' that is for younger audiences, while with Movimenti, we are making a show called 'Tear Along the Dotted Line' and the second season of 'This World Can't Tear Me Down,' which are animations aimed at young adults. That last show became number one on Netflix Italy. Animation is always a safer and more robust business," Di Sabatino stated.

By Federico Martinez

TELEWIZJA POLSKA REVAMPS ITS UNIVERSAL PRODUCTION PIPELINE

Telewizja Polska (TVP) owns 23 channels and a global VOD platform and has actively started this year with new productions and acquisitions to its portfolio. "Currently, linear TV is still highly popular in Poland. However, we have also noticed a substantial growth in subscribers to our global VOD platform, vol.pl," described Urszula Suszko, Chief Sales Executive of International Sales at TVP, in an exclusive interview with Señal News. "Our offer is universal; we offer viewers both traditional channels and our expanding and modern platform. TVP has started making some of the programs to be available in the digital-first model," she added.

In January, the Polish public broadcaster premiered its new thriller, "The Bay of Spies," on TVP1. An average of 2.10 million viewers watched the first episode shown on Sunday, 7 th January, and its first three episodes were watched on average by almost 1.8 million people. "We believe our espionage thriller with main character Franz Naumann entangled in a web of intrigue, who uses his charm and charisma to captivate women

THE POLISH PUBLIC BROADCASTER IS AN ACTIVE PRODUCER AND A PROLIFIC DISTRIBUTOR OF ORIGINAL CONTENT THAT SPREADS POLAND CULTURE WORLDWIDE. URSZULA SUSZKO, CHIEF SALES EXECUTIVE OF INTERNATIONAL SALES, HIGHLIGHTS THE CONTENT STRATEGY FOR ITS LINEAR AND DIGITAL PLATFORMS.

and manipulate men, will also attract viewers worldwide," said Suszko. "'The Bay of Spies' series is our highlight for the beginning of this year, and after such a great performance on TVP, our expectations for international sales are also very high," she added.

The espionage thriller was part of the TVP line-up at the European Film Market 2024 and now is heading the company's slate for MIPTV, along with the romantic bittersweet comedy film "The Love Buzz" about two middle-aged women. The title had a theatrical premiere in Poland on 9 th February and afterward in other European countries, including the UK, Ireland, Iceland, Sweden, Norway, Finland, Belgium, Netherlands, Luxemburg, Denmark, Switzerland, Germany, Austria, and Greece. "Our aim for MIPTV is to seek further distribution windows for the title," expressed Suszko.

TVP portfolio also includes a costume drama series, "Matylda," about a young rebel, the daughter of a participant in the 19 th century January Uprising in Poland. The series shows the characters' emotional dilemmas, which are intertwined with breakthrough moments in the history of Poland after the January Uprising. "There's a universal message in the film that can be applied to the current

"We shall be living together"

international situation about fighting injustice, maintaining honor, and the most precious value, love," Suszko described. Viewers get to know the main character, Matylda Bilinska, whose extraordinary adventures take place against the background of political repression, the Russian partition that deprives her of identity, and the beginning of women's emancipation. "It's a highbudget production planned to air at prime time on Sunday evenings and will certainly attract many viewers," she said.

TVP has also produced a sixepisode comedy-drama series called "We Shall Live Together," which focuses on Poland's solidarity after the Ukraine war broke out. "It's the first drama series in Poland, we believe, produced internationally that focuses on this theme," commented Suszko. "We also have a proposal of new drama titles such as 'Shattered Games' that explores Poland's history and influence in the game of chess at the beginning of the 20th century, and 'Loonies,' about a pair of thieves whom we meet the day they get out of prison," she completed. In addition, documentary films have been one of the landmarks of TVP for years. Thus, its slate for MIPTV will also include new titles, such as "Just Hear Me Out," "The Imperishable Man," "When the Wind Becomes Silent," the documentary series "Surgeons" and the current affairs documentary "Russian Accent in Israel."

By Romina Rodríguez

PHOTOGALLERY

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