TV Formats Distributors Guide 2014

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DISTRIBUTORS GUIDE 2014/2015

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REACHING

22,000 EXECUTIVES

EVERY M O N D AY For a free subscription, visit http://www.worldscreen.com/pages/newsletter

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Contents A Note from the Editor . . . . . . . . . . . . .4 Interviews . . . . . . . . . . . . . . . . . . . . . . .5 Distributors . . . . . . . . . . . . . . . . . . . . .17

Publisher Ricardo Seguin Guise Editor Anna Carugati

Ricardo Seguin Guise President

Executive Editor Mansha Daswani Managing Editor and Editor, English-Language Guides Kristin Brzoznowski Production Director Victor L. Cuevas

Anna Carugati Executive VP and Group Editorial Director Mansha Daswani VP of Strategic Development and Associate Publisher

Associate Editor Joanna Padovano

Š 2014 WSN INC. 1123 Broadway, #1207 New York, NY 10010

Assistant Editor Joel Marino

Phone: (212) 924-7620

Online Director Simon Weaver

Fax: (212) 924-6940

Sales and Marketing Director Cesar Suero

Website: www.tvformats.ws

Sales and Marketing Coordinator Faustyna Hariasz

No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

Business Affairs Manager Terry Acunzo

For a free subscription to our newsletters, please visit WorldScreen.com/pages/newsletter

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A Note from the Editor Kristin Brzoznowski

Buzzwords such as “fresh” and “innovative” and the phrase “the next big thing” are bandied about whenever broadcasters or distributors are asked what type of formats they are looking for nowadays. It’s not that the entertainment megahits from the days of yore are no longer working, because they certainly still are. The Amazing Race has been on the air since 2001, the same year that Idols broke out onto the scene. Come Dine with Me has been going strong for nearly a decade, as has Dancing with the Stars. And there are a number of other formats that have withstood the test of time, recommissioned season after season, albeit getting a few facelifts along the way. There’s also been, as of late, a resurgence of older formats coming back on air, among them Hollywood Squares.

Audiences are still embracing singing competitions, so much so that new contenders are popping up to challenge established hits.

Many of these singing competitions are harnessing interactive elements to deepen their engagement with the audience and to put a new spin on this tried-and-tested genre. And, for the most part, it’s working! Twitter, Facebook and other social-media platforms are able to offer exclusive content such as backstage photos, videos and live-tweeting from stars, making viewers more engaged with the series overall, which means they are likely to tune in next time.

Scripted formats are also proving popular in social media.

Among the most popular scripted formats in social media, as measured by The WIT’s social TV tracking service The Witspotter, are Medcezir, the Turkish adaptation of The O.C.; Homeland, based on the Israeli format Prisoners of War; and the U.S. version of the British dramedy Shameless.

While this interactivity does hold some promise for what’s to come, it has yet to be seen how this technology can spawn something entirely new and fresh for the format market. Distributors, producers and broadcasters are still waiting to see what will be the next big global trend. This year’s edition of the TV Formats Distributors Guide is here to help, delivering details on the newest format concepts alongside information about returning hits.

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INTERVIEWS

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Simon Andreae

Executive VP of Alternative Entertainment FOX

TV FORMATS: How do you balance what you’re taking from the global market against having a strong development slate of titles your distribution colleagues can then sell worldwide?

ANDREAE: Underneath it all, we want to do our best for the P&L of our parent company. The most effective way to do that is to have hit shows. So what we’re looking for first and foremost and absolutely fundamentally are the best shows from a creative perspective. There are a couple of things we initially needed to think about as well. One was, we have a slate of successful shows, but most of them have been on air for a little while and for some of them, this season is a little lower than the last season, which was a little lower than the season before. So we needed, reasonably swiftly, to be able to buy two or three series in order to help reinvigorate our slate. The quickest way to do that is to take shows that have already been developed, and sometimes already tried on air. Having said that, we are developing a lot internally.

On those shows, we have a greater share of the back end. So it’s trying to get the best shows from a creative perspective, get some new shows on air fast, and in the long term make sure that our slate is balanced between international import and home-grown IP. TV FORMATS: What are some of the trends you’re seeing in reality programming today?

ANDREAE: We are seeing quite a few thinner slices of a show like Utopia that concentrate on a specific part of the experience—the survival, the battle of the sexes, the religious social experiment, the marriage experiment or the marriage-dissolution experiment.

There’s been another trend for game-based formats, where rather than boosting the upside, they boost the downside. There are a bunch of shows where there are cash prizes, but the downside is the perceived harm to the player—of course all of the games are perfectly safe. But the perception is that you can win big and you can also lose big.

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Avi Nir

CEO Keshet Media Group TV FORMATS: What has been the strategy in expanding the company?

NIR: We have always been a very creative and prolific organization and as a broadcaster, very much concentrated on our own market. The strategy is to stay small but think very big. We want to maintain our creative organizational culture and our really condensed creative process, but take it outside Israel. We have created an infrastructure that is very lean and mean. We always aim to be present not only in Israel but also in other countries in very efficient small units that will be [closely] connected to the Israeli hub and work with this generator of ideas and shows and take them to the international markets. The idea is, in many instances, but not always, to go full steam ahead with the shows here in Israel, and take them very quickly to the rest of the world.

Sometimes in scripted, when we have great ideas that are international from the get-go, we take them outside Israel from the minute they are born.

TV FORMATS: What has been fueling so much creativity and innovation in the Israeli television market?

NIR: I can answer for Keshet. Keshet is unique because on one hand it’s a commercial broadcaster and producer, but in a kind of paradoxical way, creativity comes first for us and our professional pride in what we are doing, and only then comes the bottom line. We are constantly looking for the next new great idea and we believe that if we keep coming up with great ideas, at the end of the day, the P&L will also be OK. So for us, it’s really about constantly looking for creative people, for new ideas and how can we get—and this is our goal in Israel—50-percent audience shares with our shows. How do we achieve this? What are the innovative ideas in drama or unscripted shows? And clearly we have many talented people here, but we are constantly looking for more and encouraging them to try new ideas.

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Marc-Antoine d’Halluin CEO Zodiak Media

TV FORMATS: How do you manage the companies within the group?

D’HALLUIN: We [have] created an International Development Board (IDB).

It’s a forum of all our entertainment producers that meet on a regular basis…to share ideas and to select the few formats that can travel. Not every idea is an international format and success by design.

Lots of our local successes remain local but some of them have the qualities to travel. We have to make sure that these ones have the opportunity to be brought early, in the best possible way, to every one of our markets. Our IDB has two chairmen. One was the chief creative officer of our Nordic business, Joel Karsberg, who recently [became] the chief creative officer of Zodiak in the U.S. Joel is one of the guys who put together a new adventure game show that we think has a lot of format potential, called Dropped. The other co-chairman of the IDB is Grant Ross. Grant was [formerly] the global head of format acquisitions at Endemol. He looks at formats outside the group but will also help select formats from inside the group.

TV FORMATS: What trends are you seeing in entertainment?

D’HALLUIN: Tipping Point is a game-show success from RDF Television that is about to travel. Another game-show format to look out for is Versus. The Danish version produced by Mastiff in Denmark just launched on DR1. We also see strong demand for dance shows. So You Think You Can Dance is still doing really well. We’re launching Beyond Dance on MTV in the U.S. We [launched] a show in India called Dare 2 Dance from our local Zodiak company, Sol Productions. Finally, we see strong demand and we a have strong expertise in big adventure game shows. In Sweden, France, Italy and Spain we are the production company for the Survivor franchise. Local adaptations do incredibly well. In France Koh-Lanta is coming back this fall. We just had a very successful season in Spain with Supervivientes. L’Isola dei Famosi in Italy is returning to Mediaset in January. Survivor is also coming soon into Sweden again.

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Marco Bassetti CEO Banijay Group

TV FORMATS: What have you learned about nurturing creativity and helping development teams find ideas for shows that can travel?

BASSETTI: I have understood one thing; it is important to look for people who are able to identify creatives—and they can be anywhere—in various genres, and have the ability to keep them together, incentivize them and point them in the right direction. Creativity is not something that you can buy, you have to be able to attract it. To be able to attract it, you have to have the right incentives and the right managers in the countries in which you operate. You have to lay the right foundations so that the next blockbuster can be born in one of your companies.

Today there are premium products—multiplatform products—but in order to get these you have to start thinking about them from the very first minute you start creating a new program. You can’t come up with a show idea and then think of how many applications you can attach to it. You have to think about that from the very beginning. So the people who have to offer guidance to the creative process must also have knowledge of what the market demands, because with shows that can create a lot of awareness, you can ask a certain price of your clients. We are focusing on finding premium properties that not only are strong performers in their home markets, but also have the ability to travel internationally.

TV FORMATS: Even though all the companies in Banijay are strong on their own, do you want them to start sharing ideas and know-how?

BASSETTI: In this I’m lucky to have had a lot of experience elsewhere, so at Banijay we are intensifying the dialogue between our creatives, both vertically and horizontally. We have also set aside an important amount of money to invest in development and pilots. In addition, I believe that if you want to attract important [talent] you have to share with them the value of what they are able to create, so you need the tools to do that.

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Farah Ramzan Golant CEO all3media

TV FORMATS: What are your priorities for all3media america?

RAMZAN GOLANT: Years ago, Studio Lambert went to the U.S. and so did Maverick. It then became clear that scale in America was really important.

Instead of a variety of tiny little offices trying to get traction, we brought them together in one campus, preserved the diversity of labels, so each company has its pod, with creative and development execs talking to customers and pitching ideas and then actually producing through one infrastructure, which is all3media america, so they get the best deals, and they get the best precedents.

A year ago, we had three or four of the companies there; now we’ve got nine or ten. We’re building bigger, better relationships with the U.S. networks. They are hearing from us in a much more coordinated way.

TV FORMATS: The traditional flow of formats for European companies has been to make a show, make it work in Europe, and then make it bigger and better in the U.S. Do you see all3media producing in America and then taking those shows internationally?

RAMZAN GOLANT: The Million Second Quiz didn’t start [in the U.K.] We developed it here and [pitched it to British broadcasters], but we didn’t get the traction we wanted, so without any precedent—it was a paper idea—it went to NBC. NBC got right behind the ambition of the idea. Million Second Quiz didn’t turn out to be the hit that we wanted, but it showed great capability and innovation, a hybrid between a live sporting event daily strip, 24/7 online, and a prime-time show every day with a play-along app and second-screen element and a fully engaged audience. We learned from that. Now, whether [or not] the second iteration will play in the States...there is no reason not to bring it back to Britain in its evolved state. It might be that we made a really big thing in the States and an evolved version of it might come back home.

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Henrik Pabst

Managing Director, Global Format & Factual Distribution Red Arrow International

TV FORMATS: What is driving the gains in Red Arrow’s format business?

PABST: You have to find the right mix.

When you look at the catalogue, there have to be some game changers, like we had with The Taste, which we were able to roll out globally on a massive scale.

This year, we came out with The Lie, which is the simplest quiz show I’ve ever seen, but that makes it all the more gripping and likeable. We have a great comedy format from the comedic mastermind Tim van Aelst—the creator of Benidorm Bastards, Off Their Rockers and What if?—with Safety First. Not to forget the social experiments: we’ve got Married at First Sight and two other new shows coming along. It’s the Red Arrow International philosophy to have the right mix. Not every channel can take the big swing. The slots are rare, and the competition is tough. So, we always try to also offer our clients smaller but still gripping and appealing formats.

TV FORMATS: What opportunities are you finding in the digital space?

PABST: There is a high demand to own formats that have a digital component integrated and not attached. We are distributing BBC’s You Against the Nation. One guy in the final round plays against the nation, so the digital element is integrated. And we have a partnership with Collective Digital Studio. We are distributing content from digital into linear, setting up our own channels, and attracting and partnering up with the next generation of top global creators.

TV FORMATS: Where are you seeing new opportunities opening up?

PABST: Asia. We had around eight local productions last year in China—though now with the new restrictions in place it will be more challenging. South America is opening up; Brazil has bought The Taste. We have also been very strong in Eastern Europe, notably Ukraine and Russia.

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Mike Beale

Director of International Formats ITV Studios

TV FORMATS: How do you balance the ITV Studios output with everything you’re getting from your production companies and the third-party acquisitions?

BEALE: Creativity leads, content leads.

We have an interesting relationship with our network, in that there are no guarantees. We have to be as good as the next company to get our shows on. That generates a hugely competitive market, but also makes us pitch and produce to our best level. That’s the key. What’s the best content? What’s the most creative idea?

TV FORMATS: You’ve got such a large catalogue. As you’re targeting any given market, how do you determine what you’re going to focus on?

BEALE: Of course we always have big new titles, but our strategy is also to push the tried and tested—the formats that have been proven to work, that we know how to make globally— and help clients to adapt them. We’re really keen to get Come Dine with Me into Asia—apart from India we haven’t yet got a footprint [for the format in the region]. Hell’s Kitchen is also a key format—it has been on in 17 territories; it’s hugely successful in the U.S., and it’s recently gone into production in Indonesia, Romania, Poland, Germany and Italy. We have a lot of content coming out of each market, so we try to strike a balance between new titles and the evergreens. We can shout about those shows. The next one we’ll be shouting about really loudly will be I’m a Celebrity...Get Me Out of Here!

TV FORMATS: What role does scripted play in your overall strategy?

BEALE: Scripted comedies, those half hours, are important to us—that is a clear strategy. Our acquisition of Big Talk [Productions] last year is part of that strategy. We’re going through the library and seeing what’s there and what will travel, even if they’re not on air anymore. We’re looking at some of our older titles now as well.

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Ricardo Ehrsam Head of Entertainment Formats Division Televisa Internacional

TV FORMATS: What has led to Televisa Internacional’s increased focus on entertainment formats?

EHRSAM: Televisa has always been very strong with telenovelas; however, we decided [recently] to expand and diversify our catalogue in order to penetrate new territories where telenovelas were not sold. We also wanted to provide our [existing] clients with not only telenovelas, but also entertainment formats.

We created a joint venture with La Competencia in Spain, and that’s how we got started. Now, this strategy has expanded much more. We are not only doing projects with different alliances throughout the world, we are also producing our own formats from Mexico. So far we have around 20 new formats. Not all of them are being transmitted, but they are in different stages—some are still in the paper format in a pipeline to be produced, some of them are pilots, some are licensed and [on the air].

TV FORMATS: Which territories are you focusing on?

EHRSAM: We are very strong with our clients in Latin America.

Our approach with Latin America is that we do not want to sell on a property-by-property basis; we want to close volume deals for our entertainment formats.

The idea with our formats is to penetrate those markets where we have never been. Definitely northern Europe is a [focus]. We have never sold anything in these countries with respect to our finished content, but we are having very good remarks from countries such as the U.K., Germany, Holland and the Nordics. We also want to have stronger penetration in southern Europe. We are very strong in Spain, France, Portugal and Italy, but we believe that with formats we are going to become even stronger. In Asia, we are having conversations with a strategic partner in China to develop our strategy there.

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Chris Chibnall

Creator, Writer & Executive Producer, Broadchurch Writer & Executive Producer, Gracepoint

TV FORMATS: How involved were you with Gracepoint?

CHIBNALL: I was heavily involved in setting it up. I wrote the pilot episode and I spent time with Anya [Epstein] and Danny [Futterman]. We chose them as showrunners because they are terrific writers and producers. I was there in that initial process, helping it all come together. Then they took the ball and ran with it. It was a really nice experience. I’m really proud of what they’ve done.

TV FORMATS: How did you walk the line between remaining true to the original and yet creating a show that would feel appropriate for the local audience?

CHIBNALL: A lot of that is employing great people and giving them the space to make the show they want to make. So a lot of that was in Anya and Danny’s hands and they’ve done a great job. We talked and we started from a very similar place and it soon became its own thing. What I wanted to do was protect the tone and pace and emotional language and visual language of the show, which is very different from a lot of other television shows. We wanted to have all that in place and then allow Gracepoint to grow into its own show. You set up the parameters and say, This is what I think is important about the show, and now, within those parameters, make your own thing. That sort of collaboration is really interesting.

As soon as you bring in a new cast and you go to a different landscape, everything becomes fresh anyway. For all that Broadchuch was very successful for us in the U.K., in America it had a very small audience. It’s not that well known a show publicly, so it’s a great opportunity to do an American version that can speak to the audience there.

In addition, there are two extra episodes in Gracepoint. It’s happens quite organically. It has a movement away from the original; it’s a really nice thing to behold.

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Lars Blomgren Executive Producer Bron, The Bridge & The Tunnel

TV FORMATS: When adapting Bron, what kind of local elements did you have to add to the English-French version, The Tunnel?

BLOMGREN: The English one is closer to the Scandinavian version than the American one. The writers and producers of The Tunnel changed the show in a very clever way. The first discussion was whether [the female detective] Saga should be English or French. That was a long and very interesting discussion. It ended up with her being French and actress Clémence Poésy cast as Detective Elise Wassermann.

[The writers made some very interesting adaptations]—in Sweden, [the characters] have a conflict with [homeless] people living in the streets; the French have conflicts with illegal immigrants. They kept the same structure to the show, but they added value. I was so amazed by [the changes they made].

If you look at The Tunnel and compare it to Bron, they actually added value in every single episode.

TV FORMATS: Did a lot of changes have to be made for the American audience with The Bridge?

BLOMGREN: They used the same structure, but it’s completely different to portray a rich country and a poor country. France and England and Sweden and Denmark are fairly equal. But if you look at Mexico and the U.S., they are the opposite of one another. And the level of violence in The Bridge is greater than in Bron or The Tunnel. There is no comparison. The producers of The Bridge had to go in different directions.

If you compare the key scenes in all three shows they are almost the same. The three shows go in slightly different directions, but in the end, they close the circle at the same point. The biggest difference is that the American writers finish the original story in episode ten but then continue for three more. They had their reasons to do it and it worked well. I keep coming back to the fact that remakes can be a challenge: you have the original version but at some point, you will lose control.

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Heidi Klum

Host, Judge & Executive Producer, Germany’s Next Topmodel Judge, America’s Got Talent

TV FORMATS: What was the process like to transition from being a model to mentoring them on Germany’s Next Topmodel?

KLUM: I’m still actively modeling, and in a way that makes it easier and more relevant for me to mentor my Germany’s Next Topmodel girls. I know what it’s like to get up early, get into the photographer’s vision, deal with clients and all that. I’m not telling them anything that I haven’t been through many times myself!

TV FORMATS: What led you to sign on for America’s Got Talent?

KLUM: You know, it’s one of the few shows that I found myself actually watching. I loved to watch it with my family.

TV FORMATS: What is the hardest thing about critiquing people and giving feedback on that series?

KLUM: I’m definitely a tougher judge now than I was at the beginning. I don’t think I’m “mean”—it’s more that I truly can’t hide what I’m really feeling. If someone did not perform well or do a good [photo shoot], I’m not going to lie.

TV FORMATS: What are you able to tap into personally that makes you relatable for audiences?

KLUM: Because I’m honest and genuine, I think the audiences can relate to that. Audiences are smart—they absolutely have a BS meter, and to be effective as a judge, host or mentor, you have to be their eyes and ears and be true to commenting on what’s actually in front of you.

TV FORMATS: What have you learned about the TV business from your work as a producer?

KLUM: As a producer, you always have to think of the big picture and how to keep it fresh. Like anything else, you have to think about how to keep people’s interest while keeping the core elements that the audience love.

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DISTRIBUTORS

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A+E Networks ADDRESS: 235 East 45th St., New York, NY 10017, U.S.A. TELEPHONE: (1-212) 210-1400 WEBSITE: sales.aenetworks.com/formats EXECUTIVE VP, INTERNATIONAL: Sean Cohan MANAGING DIRECTOR, INTERNATIONAL CONTENT SALES & PARTNERSHIPS: Joel Denton VP, INTERNATIONAL CONTENT SALES: Ellen Lovejoy CONTACT: ellen.lovejoy@aenetworks.com PROGRAMS: Love Prison: 60 min., entertainment, Leftfield Pictures, A&E, U.S.A.; Row House Showdown: 60 min., lifestyle, Jane Street Entertainment, FYI, U.S.A.; Tiny House Nation: 60 min., lifestyle, Loud TV, FYI, U.S.A.; Girlfriend Intervention: 60 min., entertainment, World of Wonder, Lifetime, U.S.A.; Living in Secret: 60 min., crime, Brownstone Entertainment, LMN, U.S.A.; Pawn Stars: 30 min., entertainment, Leftfield Pictures, HISTORY, U.S.A.; American Pickers: 60 min., entertainment, Cineflix Productions, HISTORY, U.S.A.; Dance Moms: 60 min., entertainment, Collins Avenue Entertainment, Lifetime, U.S.A.; Intervention: 60 min., entertainment, GRB Entertainment, A&E, U.S.A.; Shipping Wars: 30 min., entertainment, Megalomedia, A&E, U.S.A.

“A+E Networks is an award-winning, global media content company offering consumers a diverse communications environment ranging from television networks to websites to home videos/DVDs to gaming and educational software. A+E Networks is comprised of the following networks and divisions: A&E, Lifetime, HISTORY, LMN (formerly Lifetime Movie Network), bio., H2, HISTORY en Español, Crime + Investigation, Military HISTORY, LRW (formerly Lifetime Real Women), A&E IndieFilms, A+E Networks International, A+E Networks Digital and A+E Networks Consumer Products.

A+E Networks’ channels and branded programming reach more than 330 million households in over 160 countries. A+E Networks is a joint venture of Disney-ABC Television Group and Hearst Corporation.”

—Corporate Communications

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all3media international ADDRESS: Berkshire House, 168-173 High Holborn, London WC1V 7AA, U.K. TELEPHONE: (44-20) 7845-4350 WEBSITE: www.all3mediainternational.com MANAGING DIRECTOR: Louise Pedersen VP, FORMAT SALES: Nick Smith VP, FORMAT SALES: Sabrina Duguet HEAD, ACQUISITIONS: Maartje Horchner CONTACT: Victoria Dowdeswell, victoria.dowdeswell@all3media.com PROGRAMS: Algorithm: 60 min., game show, 3 Studios International & Soshefeigh, TV3, Ireland; Bad Robots: 6x30 min., entertainment, Objective Productions, E4, U.K.; Doctor in the House: 60 min., factual entertainment, Studio Lambert, BBC One, U.K.; Sexy Beasts: 30 min., entertainment, Lion Television, BBC Three, U.K.; Day and Night: 600+ scripts, constructed reality, Filmpool, RTL2, Germany; Cases of Doubt: 600+ scripts, constructed reality, Filmpool, RTL, Germany; Gogglebox: 4x60 min., factual entertainment, Studio Lambert, Channel 4, U.K.; The Ultimate Braai Master: 60 min., entertainment, Cooked in Africa Films, SABC3, South Africa; Reflex: 6x60 min., game show, Objective Productions, BBC One, U.K.; Great Interior Design Challenge: 12x60 min., factual entertainment, Studio Lambert, BBC Two, U.K.

“Our formats originate from many of the most prestigious and renowned producers in the world, as well as from dynamic new young talent. Our focus is on factual entertainment and game shows, although many of our dramas and comedies are also available for scripted license. We offer a broad and compelling range of shows, all of which have proven pilot and series track records—having been finetuned through that process to ensure a successful structure— and full production consultancy and bible support. The shows originate from all around the world. We offer shows from South Arica, Israel, Holland and Germany, as well as major hits from the networks in the U.S.A. and the U.K. Our dedicated format sales team is here to help with all inquiries and our production advisors and executives are at your disposal. We look forward to hearing from you.”

—Corporate Communications

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Armoza Formats ADDRESS: 16 Ha’Arba’a St., 3/Fl., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com FOUNDER & CEO: Avi Armoza SALES MANAGER, EUROPE & CIS: Anat Lewinsky SALES MANAGER, SPAIN, PORTUGAL, ITALY, LATIN AMERICA: Ana Paula Szewkies SALES MANAGER, ASIA, ENGLISH-SPEAKING & NORDIC TERRITORIES: Sharon Levi CONTACT: info@armozaformats.com PROGRAMS: The People’s Choice: 60 min., studio game show, TF1 Production & Armoza Formats, TF1, France; Flight 9-20: 11x90 min. & 20x30 min., dating/reality, Productions J, TVA, Canada; Ambush: 12x60 min., hidden camera/entertainment, United Studios, Channel 10, Israel; By Invite Only: 10x60 min., celebrity/entertainment, Fair-Play, TVA, Canada; The Odds: 40x30 min., scripted/romantic comedy, Duo Productions, TVA, Canada; The Godmother: 5x60 min., drama/miniseries, Sovimage, Series+, Canada; I Can Do That!: 13x60 min., entertainment, Armoza Formats & Ambra Banijay Italia, Rai Uno, Italy; Hostages: 10x40 min., suspense/drama, Yezira Ivrit, Channel 10, Israel; Still Standing: 60 min., game show, JulyAugust Productions, Channel 10, Israel; Connected: 30 min., factual entertainment, Koda Communications, HOT3, Israel.

“Armoza Formats specializes in bringing the best of Israeli and international TV formats to the market. Creativity is at the heart of our beliefs, and by combining this creativity with the needs of the industry we are able to bring long-term and successful format brands to the market.

With over 70 formats in our catalogue and currently more than 70 productions in over 30 countries globally, and a wide range of global partnerships, Armoza has a proven track record of success across all genres, from the game show Still Standing, which has now aired more than 2,000 episodes globally, to the docu-reality format Connected, which is on air in over 12 territories. We recently added to our portfolio the prime-time entertainment format I Can Do That!, which won the night consistently on Italy’s Rai Uno, and the scripted drama Hostages, which won the award for best drama at the Monte Carlo Television Festival and is now on air in over 12 territories as a finished product. This MIPCOM, we are focusing on the viewers, bringing formats that cater to the experiences that they are looking for and that take audience engagement to a new level.”

—Avi Armoza, Founder & CEO 22

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Banijay International ADDRESS: 24 St John St., London EC1M 4AY, U.K. WEBSITE: www.banijayinternational.com HEAD, SALES: Sebastian Burkhardt SALES MANAGER: Siobhan Herriott SALES EXECUTIVE: Dimitri Gélineau SALES & ACQUISITIONS MANAGER: Jimmy Humphrey GLOBAL ACQUISITIONS MANAGER: Fanny Baudry PROGRAMS: Temptation Island: reality; Battle the Chef: entertainment; My Recycled Home: factual entertainment; The Lucky Code: entertainment; Family Bootcamp: factual entertainment; Shakedown the Town: entertainment; BFF: entertainment; SuperStar Ding Dong: entertainment; Beat the Star: entertainment.

“Banijay International is a global force in content distribution, with exceptional vision and conviction. As the sales and acquisitions arm of Banijay Group, a production powerhouse with production subsidiaries in 12 countries, Banijay International strives to offer clients the nimble approach of a boutique distributor combined with the muscle of a large, cost-effective group structure.

With a dual focus on format and finished-programming distribution, Banijay International is the owner of a wide portfolio of content rights, both those that originate within the Banijay Group as well as the very best third-party properties from leading independents around the world. Its portfolio is strong, relevant, bold and brash, spanning the categories of unscripted formats and programs from entertainment, game shows and reality competitions to factual entertainment, docu-drama and lifestyle.

The company is headquartered in London with offices in both Paris and Los Angeles.”

—Corporate Communications

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BBC Worldwide ADDRESS: 201 Wood Lane, Media Centre, London W12 7TQ, U.K. TELEPHONE: (44-20) 8433-2000 WEBSITE: www.bbcworldwidesales.com CHIEF EXECUTIVE: Tim Davie HEAD, FORMATS, GLOBAL MARKETS: Suzanne Kendrick PRESIDENT, GLOBAL MARKETS: Paul Dempsey PROGRAMS: Tumble: 80 min., entertainment, BBC, BBC One, U.K.; Your Home in Their Hands: 60 min., entertainment, BBC, BBC One, U.K.; Bad Bridesmaid: 45 min., entertainment, Fresh One, ITV2, U.K.; Question of Sport: Super Saturday: 45 min., game show, BBC, BBC One, U.K.; Home Away from Home: 45 min., entertainment, BBC, BBC One, U.K.; Cats: 50 min., factual entertainment, BBC, BBC Two, U.K.; Sewing Bee: 60 min., factual entertainment, Love Productions, Channel 4, U.K.; Orphan Black: 45 min., scripted/drama, Temple Street Productions, Space, Canada; Moone Boy: 30 min., scripted/comedy, Baby Cow Productions, Sky 1, U.K.; The Wrong Mans: 30 min., scripted/comedy/drama, BBC & Hulu, BBC Two, U.K.

“BBC Worldwide is at the forefront of format distribution, delivering high-quality, entertaining TV formats to global audiences. Our much-loved, long-running brands continue to innovate and attract audiences, with Dancing with the Stars reaching over 50 country licenses this year and The Weakest Link, a format that has aired in over 40 countries, recently announcing a return in France after a six-year break.

We’re incredibly excited about the formats we have coming up over the next year, including the recently launched gymnastics-inspired shiny-floor format Tumble, innovative makeover show Your Home in Their Hands and the laughout-loud comedy/reality format Bad Bridesmaid.

At MIPCOM, we’re adding to our expanding catalogue of high-end scripted titles with Moone Boy, The Wrong Mans and the cult breakout hit Orphan Black.

And it’s not just us who think we’re great: this year we came [out on] top as both the Most Used and Most Rated Distributor in Televisual magazine’s annual Production 100 Survey.”

—Paul Dempsey, President, Global Markets

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CJ E&M Corporation ADDRESS: CJ E&M Center, 66 Sangamsan-ro, Mapo-Gu, Seoul, Korea TELEPHONE: (82-2) 371-6387 WEBSITE: lineup.cjenm.com HEAD, SALES & ACQUISITION: Jangho Seo DIRECTOR, SALES & ACQUISITION: Alex Oe CONTACTS: Jangho Seo, janghos@cj.net; Alex Oe, alexoe@cj.net; Tony Kim, bnkim@cj.net; Min Jung, min_jung@cj.net PROGRAMS: The Bunker: 60 min., lifestyle, Lee Yong-Soo, XTM, South Korea; Sold Out: 60 min., lifestyle, Yoo HeeKyung, On Style, South Korea; Family Rivals: War of the Whales: 60 min., cooking/reality, Kim Hyun-Sil, tvN, South Korea; Dancing 9: 120 min., audition, Ahn Joon-Young, Mnet, South Korea; Grandpas over Flowers: 60 min., travel, Na Young-Suk, tvN, South Korea; The Band Trip: 60 min., travel, Park Kyung-Hoon, tvN, South Korea; Crazy Market: 60 min., game show, Kim Kwan-Tae, O’live, South Korea; Let Me In: 60 min., makeover, Kim Seung-Hoon, Story On, South Korea.

“CJ E&M, Asia’s number one content company, develops and produces trendsetting content for the broadcast, motion picture, music, live entertainment, game and smart-media sectors. Promoting the globalization of Asian pop culture, CJ E&M’s content has won a wide and passionate following across the world.”

—Corporate Communications

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dick clark productions International ADDRESS: 2900 Olympic Blvd., Santa Monica, CA 90404, U.S.A. TELEPHONE: (1-310) 255-4600 WEBSITE: www.dickclark.com/international EXECUTIVE VP: Mark Rafalowski SENIOR VP: Bob Kennedy CONTACT: Lauren Salkin, lsalkin@dickclark.com PROGRAM: Fail Army: 20x30 min., comedy, dick clark productions & Jukin Media, U.S.A.

“dick clark productions (dcp) is among the world’s largest producers and proprietors of televised live-event programming. dick clark productions International focuses on the creation and expansion of dcp’s international distribution network, as well as the acquisition, financing and creation of new shows.”

—Bob Kennedy, Senior VP

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Electus International ADDRESS: 8800 W. Sunset Blvd., West Hollywood, CA 90069, U.S.A. TELEPHONE: (1-310) 360-2455 WEBSITE: www.electus.com/international PRESIDENT, ELECTUS STUDIOS & GLOBAL DISTRIBUTION: John Pollak CONTACT: sales@electus.com PROGRAMS: Bet on Your Baby: Season 1, 8x60 min./Season 2, 8x60 min., game show, Electus & 5x5 Media, ABC, U.S.A.; Food Fighters: 8x60 min., game show, Electus & Format First, NBC, U.S.A.; Tahiti Quest: AH Production; Dating Naked: 10x60 min., entertainment, Lighthearted Entertainment, VH1, U.S.A.; Candid Camera: 10x60 min., entertainment, Electus & Candid Camera Inc., TV Land, U.S.A.; The Raft: reality, Electus, National Geographic, U.S.A.; Online Dating Rituals of the American Male: 6x60 min., entertainment, Magical Elves, Bravo, U.S.A.; Canada’s Smartest Person: 2x120 min. & 7x60 min., game show, Media Headquarters Film & Television, CBC, Canada; King of the Nerds: Season 1, 8x60 min./Season 2, 8x60 min./Season 3, 8x60 min., competition, Electus & 5x5 Media, TBS, U.S.A.; The Moment of Truth: 38x60 min., game show, Lighthearted Entertainment, FOX, U.S.A. “As Electus International continues to grow as a company and expand our catalogue, our mandate of ensuring that our finished product and formats are partnered with the best producers, the best broadcasters and the best platforms around the world is of paramount importance, allowing us to successfully navigate the distribution landscape. With over 2,000 hours of premium U.S. content, much of which is being launched at MIPCOM—Food Fighters (NBC), Dating Naked (VH1), Spike’s Bellator (Spike), Wake Up Call (TNT), Candid Camera (TV Land), King of the Nerds (TBS), Years of Living Dangerously (Showtime), Online Dating (Bravo) and Operation Change (OWN), to name just a few—our content stands out in the market, as no other slate is as dynamic or diverse. Our ability to properly service both this content and our relationships with our buyers makes Electus International a unique partner in the international marketplace and we’re excited to bring another dynamic slate to MIPCOM.” —John Pollak, President, Electus Studios & Global Distribution

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Global Agency ADDRESS: Abdi Ipekci Caddesi, 53/12, 34367 Nisantasi, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, SALES: Catherine Stryker HEAD, ACQUISITIONS: Umay Ayaz DIRECTOR, DEVELOPMENT: Farrell Meisel CONTACT: info@theglobalagency.tv PROGRAMS: Stand By Me: 60 min., singing/talent show, Global Agency, Turkey; The Exchange Project: 60 min., reality/game show, Global Agency, Turkey; Love is Calling: 60 min., dating, Arti Film, Turkey; Share or Dare: 30 min., game show, United Studios, Israel; Stars on the Street: 60 min., reality/singing, Pausoka, Spain; Flirt or Fiasco: 60 min., dating, Constantin Entertainment, Germany; Catch 21: 30 min., game show, Merrill Heatter Productions, Game Show Network, U.S.A.; Divorce Honeymoon: 30 min., factual entertainment, Fuji Television, Fuji Creative Corp./Fuji Television, Japan; Keep Your Light Shining: 90 min., singing/talent show, Global Agency, Turkey; Pictureka: 30 min., game show, Hasbro Studios, Hub Network, U.S.A. “Established in 2006, Global Agency is an international and independent TV content distributor of TV series, formats and films for global markets, covering a wide geography. Global Agency has grown by 100 percent yearly for the last four years, making us the fastest-growing company in the sector thanks to our strong lineup of content and our experienced team.

Our format department has grown exponentially recently, including many new genres. This year, we are bringing a compelling and diversified slate of new formats to MIPCOM, comprising Stand By Me, Love is Calling, The Exchange Project, Stars on the Street, Share or Dare and Flirt or Fiasco.

With these launches at MIPCOM, we are sure that we will bring fantastic new hits to the industry, just as we did with our popular and high-demanded hit formats Keep Your Light Shining, Shopping Monsters and Perfect Bride.”

—Izzet Pinto, CEO

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ITV Studios Global Entertainment ADDRESS: The London Television Centre, Upper Ground, London SE1 9LT, U.K. TELEPHONE: (44-20) 7157-3000 WEBSITE: www.itvstudios.com MANAGING DIRECTOR: Maria Kyriacou DIRECTOR, INTERNATIONAL FORMATS, ITV STUDIOS: Mike Beale DIRECTOR/EXECUTIVE VP, GLOBAL CONTENT & CO-PRODUCTIONS: Ruth Clarke CONTACT: mike.beale@itv.com PROGRAMS: The Secret Life of Students/Teens: 60 min., factual entertainment, Raw TV, Channel 4, U.K.; Quiz Duel: 60 min., game & quiz, ITV Studios Germany, ARD, Germany; 24 Hours in Police Custody: 60 min., factual entertainment, The Garden, Channel 4, U.K.; The Line: 60 min., game & quiz, High Noon Entertainment, Game Show Network, U.S.A.; Hell’s Kitchen: 60 min., reality, ITV Studios America & A. Smith & Co. Productions, FOX, U.S.A.; Four Weddings: 60 min., factual entertainment, Potato, Sky Living, U.K.; I’m a Celebrity… Get Me Out of Here!: 90 min., reality, ITV Studios, ITV, U.K.; Game of Chefs: 90 min., reality, The Lab, Reshet, Israel; The Chase: 60 min., game & quiz, Potato, ITV, U.K.; Sing My Song: 90 min., reality, Star Media China, CCTV3, China.

“We are very excited to continue to offer a catalogue of strong returning global formats such as Come Dine with Me, The Chase, Four Weddings and Hell’s Kitchen, as well as consistently bringing new and diverse formats to the market, including The Secret Life of Students/Teens, The Line, Quiz Duel and 24 Hours in Police Custody.

Over the last three years, our core message has been ‘content is king,’ and working with our global partners we are pleased to continue to bring formats from all over the world such as Star Media China’s Sing My Song and The Lab’s Game of Chefs to the international market.”

—Mike Beale, Director, International Formats, ITV Studios

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Keshet International ADDRESS: 12 Raul Valenberg St., P.O.B. 58151, 61580 Tel Aviv, Israel TELEPHONE: (972-3) 767-6031 WEBSITE: www.keshetinternational.com CEO: Alon Shtruzman GENERAL MANAGER, DISTRIBUTION: Keren Shahar CONTACT: Paula Cohen McHarg, paula.m@keshet-TV.com PROGRAMS: Help! I Can’t Cook: reality, Gil Productions, Keshet Broadcasting, Israel; Not a Star (Yet): talent show, Wu Tong, ZJTV, China; Babe Magnet: dating, Nutz Productions, Comedy Central, Israel; BOOM!: game show, Keshet & Ido Rozenblum & July-August Productions, Keshet Broadcasting, Israel; Master Class: talent show, Tedy Productions, Keshet Broadcasting, Israel; Deal with It U.S.: hidden camera/game show, Alevy Productions & Banca Studio & Keshet International & Lionsgate Television, TBS, U.S.A.; The Recipe: food/lifestyle, Kol Miney Productions, Keshet Broadcasting, Israel; The Baker and the Beauty: scripted, Endemol Israel, Keshet Broadcasting, Israel; Your Family or Mine: scripted/comedy, Tedy Productions, Keshet Broadcasting, Israel; MICE: scripted, Tedy Productions, Keshet Broadcasting & Yes, Israel.

“This MIPCOM, we look forward to unveiling our exciting new reality show Help! I Can’t Cook, in which celebrities known for being the absolute best at what they do force themselves to check into a culinary institute to overcome their fears in the kitchen. As Keshet International continues its push into the representation of carefully selected third parties, we will also showcase several other new formats from around the world, including the talent show Not a Star (Yet) from Wu Tong/ZJTV in China, in which the children of wellknown celebrities perform on stage, and the dating show Babe Magnet from Nutz Productions/Comedy Central Israel, in which guys vying for a date find their fate decided [by] magnets. As well as representing third-party formats, we will be looking out for interesting collaborations with key partners on co-developments.”

—Keren Shahar, General Manager, Distribution

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Red Arrow International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-2320 WEBSITE: www.redarrowinternational.tv MANAGING DIRECTOR, GLOBAL FORMAT DISTRIBUTION: Henrik Pabst VP, FORMAT ACQUISITIONS & SALES: Harry Gamsu PROGRAMS: House Rules: 60 min., reality, Seven Network, Australia; Married at First Sight: 60 min., reality, DR3, Denmark; The Lie: 30 min., game show, TV3, Ireland; Decimate: 60 min., quiz show, BBC Daytime, U.K.; You Against the Nation: 60 min., game show, BBC One, U.K.; The Taste: 60 min., cooking/ competition, ABC, U.S.A.; Safety First: 30 min., comedy, 2BE, Belgium; Midnight Feast: 60 min., cooking, A+E Networks, U.S.A.; Ctrl Freaks: 60 min., comedy, London Live, U.K.; Lost in Love: 60 min., reality, A+E Networks, U.S.A.

“Red Arrow International is a leading worldwide programmingsales house with a broad selection of scripted, factual and format titles from Red Arrow’s global portfolio of production companies, outstanding third-party creators and digitalcontent partners.

In addition, Red Arrow International is a prolific coproducer and provides substantial production financing to a wide array of highly acclaimed scripted and non-scripted projects. Recent global highlights include Bosch (Amazon), Lilyhammer (Netflix), Betty White’s Off Their Rockers (NBC) and The Taste (ABC).

With offices in Munich, Los Angeles and Hong Kong, the company has global reach and distributes content to over 180 territories around the world.

Led by co-managing directors Irina Ignatiew and Henrik Pabst, Red Arrow International is part of Red Arrow Entertainment Group, which also includes 15 production companies across nine countries; the Los Angeles-based MCN Collective Digital Studio; and creative partnerships and joint ventures with STV, Screenz, Sync Media and One Three Media (Mark Burnett/Hearst).

Red Arrow Entertainment Group is a wholly owned subsidiary of the ProSiebenSat.1 Group, one of Europe’s leading media groups.”

—Corporate Communications

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Rive Gauche Television ADDRESS: 15300 Ventura Blvd., Suite 507, Sherman Oaks, CA 91403, U.S.A. TELEPHONE: (1-818) 784-9912 WEBSITE: www.rgitv.com PRESIDENT: David Auerbach CONTACT: david@rgitv.com PROGRAMS: Fix It & Finish It: 30 min., lifestyle, syndication, U.S.A.; APB with Troy Dunn: 60 min., investigation, TNT, U.S.A.; Race to the Scene: 60 min., reality/competition, REELZChannel, U.S.A.; The Super: 30 min., reality, HDNet, U.S.A.; Buying…: 30 min., lifestyle, Destination America, U.S.A.; Who Let the Dogs Out: 30 min., reality, Hallmark Channel, U.S.A.; Scare Tactics: 30 min., reality, Syfy, U.S.A.

“Rive Gauche Television has strong relationships with the world’s best content creators and a lineup of diverse formats across all genres. We believe that the best formats are simple, clear ideas that can be conveyed with a great title or a brief log line. Formats are becoming a more important part of our business every day, and we are pleased to have a powerful combination of proven formats as well as groundbreaking original formats developed in-house. We have great relationships with broadcasters in the U.S. and around the world, and our doors are wide open to producers with fresh ideas. As a boutique distributor, broadcasters know us to be ahead of the curve and producers know their formats will get the attention they deserve. A great example is our latest format Fix It & Finish It, a home-renovation format where lucky homeowners see a room in their house completely transformed, all in one day.”

—David Auerbach, President

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Shine International ADDRESS: Primrose Studios, 109a Regents Park Rd., London NW1 8UR, U.K. TELEPHONE: (44-20) 7985-7000 CEO: Nadine Nohr SENIOR VP, HEAD, EMEA: Katrina Neylon SENIOR VP, SALES & ACQUISITIONS, NORTH AMERICA: Tania Jacobson SENIOR VP, SALES, ASIA PACIFIC: Matthew Ashcroft SENIOR VP, ACQUISITIONS: Georgia Brown CONTACT: info@shineinternational.com PROGRAMS: Anything Goes: entertainment, Satisfaction— The Television Agency, TF1, France; Beauty & The Geek: entertainment, Shine Australia, Seven, Australia; Got to Dance: entertainment, Princess Productions, Sky 1 HD, U.K.; MasterChef: entertainment, Shine TV, BBC One, U.K.; MasterChef Junior: entertainment, Shine America, FOX, U.S.A.; Minute to Win It: game show, Shine America, Game Show Network, U.S.A. & MundoFOX, U.S.A.; The Biggest Loser: factual, Shine America, NBC, U.S.A.; The Island with Bear Grylls: factual, Shine TV & Bear Grylls Ventures, Channel 4, U.K.; Restaurant Startup: factual, Shine America, CNBC, U.S.A.; The Undriveables: factual, Shine TV, ITV, U.K. “Shine International is a market leader in formatted programming, spanning scripted, entertainment and factual. MIPCOM will see the official launch of Gracepoint, starring David Tennant (Broadchurch, Harry Potter and the Goblet of Fire) and Emmy Award-winning actress Anna Gunn (Breaking Bad), the highly anticipated Shine America/FOX adaptation of Broadchurch, the Kudos-produced smash-hit drama that has enthralled audiences around the world. All-new factual launches include The Island with Bear Grylls (Channel 4), a Shine TV and Bear Grylls Ventures co-production in which 13 British men are abandoned on a remote, uninhabited Pacific island to see if modern man can survive in the wild. Shine America’s Restaurant Startup (CNBC) also makes its debut, which sees restaurateur Joe Bastianich (MasterChef USA, Junior MasterChef, MasterChef Italy) and chef and restaurant operator Tim Love vie against each other to invest their own money in food concepts they believe will make them millions. We are also celebrating the success of one of the biggest global formats, MasterChef, as it breaks through the 50 territories milestone.”

—Nadine Nohr, CEO 44

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Talpa Global ADDRESS: Sumatralaan 45, Gebouw De Matrix, 1217 GP Hilversum, Netherlands TELEPHONE: (31-35) 5333-111 WEBSITE: www.talpa.tv MANAGING DIRECTOR: Maarten Meijs HEAD, GLOBAL SALES: Gepke Nederlof MANAGING DIRECTOR, TALPA CONTENT: Geertje Hoek PROGRAMS: The Big Picture: 45 min., game show; Beat It: 75 min., entertainment; Born to Bloom: 45 min., game show; The Secret of a Good Marriage: 45 min., dating; Take That: 45 min., entertainment/hidden camera; Money Matters: 25 min., factual; Utopia: 30 min., reality; The Voice: 80 min., talent show; What Do I Know?!: 75 min., quiz; Divorce: 45 min., dramedy.

“Talpa Global, based in the Netherlands, is responsible for the worldwide licensing of formats and finished series. The division’s vast catalogue encompasses a broad spectrum of genres, including reality, entertainment, game shows, fiction and comedy.

Among Talpa Global’s high-profile titles are the phenomenally successful The Voice, Beat the Best and I Love My Country. Talpa’s most recent title is Utopia, the most groundbreaking and ambitious social experiment ever, both on TV and across digital platforms.

Over the past years, Talpa Holding expanded its international footprint; besides Talpa USA, Talpa UK, Talpa Italy and Talpa Nordics were established. Talpa’s TV formats and multimedia concepts are created by Talpa Content, as part of its strategy to establish a full-service development, production and distribution company. Talpa Content’s concepts are helmed by Talpa Productions, the group’s in-house TV production unit, before Talpa Global introduces these proven formats to the international marketplace.”

—Maarten Meijs, Managing Director

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Televisa Internacional ADDRESS: 6355 N.W. 36 St., Suite 101, Miami, FL 33166, U.S.A. TELEPHONE: (1-786) 265-2500 WEBSITE: www.televisainternacional.tv HEAD, ENTERTAINMENT FORMATS DIVISION: Ricardo Ehrsam PROGRAMS: Stand Up: 70-90 min., talent show, Televisa & La Competencia, Televisa, Mexico; Little Giants: 120 min., kids’ talent show, Televisa, Televisa, Mexico; Los Gonzalez: 25 min., sitcom/reality, Televisa & La Competencia.

“Grupo Televisa is the largest mass-media company in the Hispanic world and a major player in the global entertainment industry. The company is involved in TV production and broadcasting, restricted TV signals production, TV programs’ international distribution, direct-to-home satellite TV, cable-TV and telecommunication services, magazine publishing and distribution, radio programs’ production and broadcasting, live sports and entertainment events, film production and distribution, a website operation, and it also participates in the game and raffles industry.

It produces more than 90,000 hours of content a year; it transforms universal stories into local successes by creating alliances and performing tailor-made productions. Televisa is a global entertainment company.”

—Corporate Communications

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Twentieth Century Fox Television Distribution ADDRESS: P.O. Box 900, Beverly Hills, CA 90213, U.S.A. TELEPHONE: (1-310) 369-1000 WEBSITE: www.foxfast.com PRESIDENT, INTERNATIONAL TELEVISION: Marion Edwards SENIOR VP, INTERNATIONAL DEVELOPMENT & SALES: Yoni Cohen SENIOR VP, CREATIVE AFFAIRS, CURRENT PROGRAMMING: Steve Sicherman CONTACT: foxformats@fox.com PROGRAMS: Burn Notice: 60 min., scripted/comedy; White Collar: 60 min., scripted/drama; Modern Family: 30 min., scripted/comedy; Bones: 60 min., scripted/drama; How I Met Your Mother: 30 min., scripted/comedy; Prison Break: 60 min., scripted/drama; Marchlands: 60 min., scripted/drama; Malcolm in the Middle: 30 min., scripted/comedy; My Name is Earl: 30 min., scripted/comedy; It’s Always Sunny in Philadelphia: 30 min., scripted/comedy.

“Twentieth Century Fox’s premium television and feature-film content continues to resonate with a global audience.

We are a world leader in entertainment that thrives on working in local markets internationally. Fox totally understands that each market is completely different and that audiences vary enormously. This is the reason why we want to build successful partnerships with the most creative and talented people in these individual territories.

Fox owns and has access to some of the world’s most successful and award-winning formats from their vast store of intellectual property.

We want to develop and nurture these world-class brands into local success stories with our partners.

We are very excited about our productions of It’s Always Sunny in Philadelphia in Russia, Prison Break in the Middle East, Glee in China and 24 in India.”

—Yoni Cohen, Senior VP, International Development & Sales

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