TV Formats Guide 2018

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Contents A Note from the Editor . . . . . . . . . . . . . .6 Interviews . . . . . . . . . . . . . . . . . . . . . . . . .7 Distributors . . . . . . . . . . . . . . . . . . . . . . .17 Publisher Ricardo Seguin Guise Group Editorial Director Anna Carugati

Ricardo Seguin Guise President

Editor Mansha Daswani

Anna Carugati Executive VP

Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

Mansha Daswani VP of Strategic Development and Associate Publisher

Production Director Victor L. Cuevas

Š 2018 WSN INC.

Managing Editor Joanna Padovano Tong

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Associate Editor Sara Alessi

Phone: (212) 924-7620 Fax: (212) 924-6940

Online Director Simon Weaver Senior Sales and Marketing Manager Dana Mattison Sales and Marketing Coordinator Nathalia Lopez

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

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Business Affairs Manager Andrea Moreno

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A Note from the Editor Kristin Brzoznowski

As many of the stalwart entertainment hits remain in their plum slots on broadcasters around the globe, format creators have continued to face an uphill climb to bring fresh concepts to air. In the competition space, there are many familiar faces in the areas of singing, dancing and cooking that have been broadcasting for more than a decade. These shows may have undergone a refresh or two along the way, but their popularity remains—some have even seen new spin-offs launch. This doesn’t mean the talent-competition genre is saturated, though, as a handful of newcomers have made their way into prime time recently. The same can be said for the dating and relationship arena; while there are plenty of long-running hits still on air, social experiments have revitalized interest from broadcasters and viewers alike.

Also, the unscripted-entertainment space has had stiff competition as of late as the demand for premium drama continues to reach new heights. This has brought a welcomed lift in the scripted-format arena, with a notable number of concepts from the East being embraced.

As the appetite for drama is showing no signs of slowing down, and with so many entertainment megahits still on the air and working just fine for broadcasters, format producers and distributors have had to up their game. They are tasked with bringing to the market concepts that are fresh enough to engage audiences yet have the reliability broadcasters are looking for. That’s a challenging prescription to fill, but it’s one that is bringing about a wave of creativity that’s invigorating the format business.

There are more platforms than ever commissioning programming these days, and nonlinear services are embracing unscripted entertainment in ways they hadn’t before. This is good news for creators, producers and distributors working in the format industry. This edition of the TV Formats Guide is loaded with fresh new concepts, as well as proven hits.

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INTERVIEWS

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Sophie Turner Laing CEO Endemol Shine Group TV FORMATS: Do you think the time has come for a great unscripted show to be able to thrive on an OTT? TURNER LAING: The OTT platforms will have to offer a mixed-genre output in order to get the budgets to work and their numbers to work. It’s impossible to see how they can carry on producing only scripted at that kind of quality level without having a balancing act in the unscripted world. The trick, though, is how you find that show, which may be a known brand already or may not have been on the air for a while, and how you tell unique stories that allow an unscripted show to be “bingeable” rather than a weekly watch.

TV FORMATS: With regard to technology and innovation, how do you keep up with all the new developments?

TURNER LAING: Luckily, having a rather large group spread out around the world means that there are lots of people with their eyes on the ball. And just as a good idea can come from anywhere, a good piece of innovation can come from anywhere. We are doing a lot with both AR and VR. The key for us at Endemol Shine is not to be creating new technology but to be working in partnership with those that do in order to enhance the viewer’s experience in a million and one different ways.

TV FORMATS: There is a lot of talk about what the next big global blockbuster will be.

TURNER LAING: We are inordinately fortunate to have two of the world’s biggest “super brands,” MasterChef and Big Brother, as part of our portfolio. Both are showing absolutely no signs of tiring at all. The secret sauce in both of those formats is the fact that we have talented teams evolving them bit by bit, so they stay fresh and relevant to an audience.

Creating a global blockbuster is so much easier said than done.

It’s about having the right approach and the right appetite for risk, because you are going to have to convince a customer somewhere in the world that it’s the right thing to do.

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Rob Wade President, Alternative Entertainment & Specials FOX TV FORMATS: What’s your approach to managing returning shows and maintaining their viewership?

WADE: The bottom line is, it’s hard work.

And you have to be innovative, you have to be creative, you have to be willing to take risks, but you also have to be cognizant that there’s a reason why people love these formats. What you’re doing is a constant tweaking of the format, moving it forward, and hoping that you are adding value to the show.

If you wait to react to a reduction in the audience before you make your changes, that’s fatal. You need to be ahead of that. You can’t be reactive; you have to be proactive in your producing.

TV FORMATS: How much can you change a show before you start moving away from the DNA of the original format?

WADE: It depends on the format. On Dancing with the Stars, Conrad Green and I made a lot of changes to the format very early on because it felt like it needed them. Partly it was out of necessity.

You’re given a schedule—ten two-hour episodes or eight twohours, two 90-minutes and an hour—and you have to make that time work. We made some pretty big changes to that show and they worked. That’s what you’re paid to do as a producer or an executive—judge how to move formats onward, to refract them, make them fresh, but not alienate your viewer. That’s the skill.

TV FORMATS: How important is at-home interactivity with a show?

WADE: I can’t [overstate] how important that is for all the big competition shows and the big reality shows. If you look at any of the big successful shows, they all have great social footprints and the ability to live on other platforms. It’s still very difficult to quantify the reach of a show, but you know when you’re doing the right thing. You have to have the television show living on different platforms, living on social media, living in the press. It helps from a marketing perspective. And it helps that FOX has the largest social footprint of all the networks. That means we live outside of those broadcast hours.

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Rob Clark Director, Global Entertainment FremantleMedia TV FORMATS: What are some of the key themes in FremantleMedia’s successful formats?

CLARK: When you live in a world that is uncertain, one of the things that television can give you is a feel-good effect. So our formats nearly always have been feel-good. If you look at Idols, Got Talent or The X Factor or any of the game shows, they are about feel-good television. Television is one of the few vehicles that can bring a nation together and a family together of every generation. And increasingly, it’s rare that we would produce an entertainment show now that didn’t have some play-along app.

TV FORMATS: What qualities do you look for in formats that can be global hits?

CLARK: If you’re talking about a global hit, it needs to be transferrable; it needs to be something that isn’t culturally specific. It needs to work in [several countries]. The budget needs to be big, and it needs to be small, and it needs to be able to be scalable—that’s one thing that’s really important.

And it needs to be returnable. And the thing that’s really important now in a multichannel world is that a show has to be promotable. It has to be instantly recognizable on your EPG when you’re flicking through it. That wasn’t a big issue when I first started [in the business], but now it’s really important. So, if you’ve got all four of those, then you’ve got a chance. Then you want a show that is based on an idea that either inspires you or makes you laugh—it has to entertain you. And if it doesn’t, then it’s never going to work.

People say the age of the transferrable big rollouts has gone.

That is not the case; there will be many more to come. But they’re probably not going to come like buses like they did in the early part of the 2000s and the late 1990s, but they will come. There will be more new hits, and I’m sure we’ll have them.

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Stephen Lambert Founder & Chief Executive Studio Lambert TV FORMATS: How long does it take for the people on Gogglebox to forget about the cameras?

LAMBERT: Part of the casting process is to find people who you think will be good at doing this. People find it pretty easy to do because it’s such a natural thing just to sit there and start talking with your family. Nobody from production is in the room. We have a couple of cameras that are controlled from another room, one essentially getting a wide shot and the other a tight shot. If we weren’t there, it wouldn’t feel very different for them. So in that sense, it’s quite easy for them to get relaxed.

TV FORMATS: How is the commissioning climate for producers in the U.K. and the U.S. today?

LAMBERT: Everybody needs shows, so in that sense it feels good as a producer of content and a company that comes up with ideas. There are lots of people to sell to. There are a lot of buyers who want good ideas. It’s tricky with some of the global streamers who want to take worldwide rights, because our model has always been to make the British version and then sell the format rights around the world. We always make the American version ourselves, because we’re a British-American company. In one respect it’s lovely if a streamer wants to take your show because often they will resource it quite well. But they don’t give you the possibility of a massive upside if it becomes a global hit. We made quite a big decision recently to concentrate on fewer, really big shows. There are two very big unscripted shows we’re putting together for [this] year. In some ways with the very big shows, there’s slightly less competition—it’s hard to persuade networks to commit. But if you get some headway and they start to fall in love with something then eventually they will order it. It’s very exciting when that happens. It’s also true that fewer production companies aim for the massive shows. That was a strategic decision that we made.

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Sumi Connock Creative Director, Formats BBC Worldwide TV FORMATS: What’s your overall strategy for the company’s format business?

CONNOCK: The goal is to find the strongest creative IP and roll out those formats successfully in as many territories as possible. In terms of strategy, it’s working really closely with our suppliers to create the strongest IP in three key areas: the big shiny-floor primetime entertainment shows; the lowcost, high-volume formats, whether it’s factual entertainment or game show or quiz; and also the really strong formatted factual-entertainment ideas for peak.

TV FORMATS: What qualities do you look for in projects to determine how formattable they are?

CONNOCK: It needs to have a simple premise, one you can sell in a top-line, its USP. A universal theme that feels authentic—that’s key for viewers as well at the moment, a sense of authenticity and real-world relevance. If it’s a quiz or a game show, I’m looking for a unique concept with some neat mechanics and compelling play-along. It’s also asking, “Why would a format sell now?” That comes down to it tonally feeling warm, having a lot of feel-good to it, that’s what the audience wants in the current climate. And something we need to think about a little bit more is how it’s going to help local broadcasters engage with their audience beyond a linear transmission. That’s something I want to explore.

TV FORMATS: How do you collaborate with your international production teams on both the adaptation of brands and the creation of new ones?

CONNOCK: That relationship with our international teams is hugely important to us. We talk on a regular basis. We work collaboratively with the global production offices, whether it’s on new ideas or adaptations. It’s safe to say they know their market best, so it’s vital we have a close relationship and an ongoing dialogue with them.

We’ve also got a brilliant team of flying producers who are handson when it comes to rolling out the new formats and adapting them.

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Henrik Pabst President Red Arrow Studios International TV FORMATS: You’ve had success with social-experiment formats.

PABST: What Red Arrow started [a few] years ago with Married at First Sight kicked off a whole new era of TV in terms of real reality and social experiments.

Married at First Sight has 27 local versions, so we are marrying people in 27 countries.

Wherever the show goes on air, it’s recommissioned and always wins its slot.

Old People’s Home for Four Year Olds is an idea that came from our company CPL Productions in London. Murray Boland and Danielle Lux [the company’s creative director and managing director, respectively] found an experiment that has been going on in the U.S., where you connect kids with elderly people to see if there is an upside for both of them. The children and the elderly people spend time with each other in retirement homes, and the physical and emotional well-being of the elderly people seems to improve dramatically. When I saw the idea for the first time, I was personally very touched, and have been delighted to get the opportunity to distribute it. The market is responding so well to the show. To me, it’s genuinely real TV: a warm-hearted, emotional, real reality social experiment, and it definitely fits the zeitgeist.

Look Me in the Eye is an idea that also comes from CPL Productions. It is also a kind of social experiment, based on the premise that if two people who have become estranged spend two minutes looking into each other’s eyes without speaking, it can help them reconcile their relationship where all other efforts have failed. It is a surprisingly emotional and powerful show, which I think will naturally travel to many territories.

Kiss Bang Love—our loud, noisy, edgy dating format— continues to do really well.

TV FORMATS: And it sounds like you have something for every budget. A lot of these shows are scalable, right?

PABST: Yes, it’s important to offer a breadth of scale. I think my colleagues have put together a fantastic slate this time, and our production companies continue to be enormously creative.

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Izzet Pinto Founder & CEO Global Agency TV FORMATS: How much of your catalog is dedicated to formats versus finished series?

PINTO: Right now, it’s 50-50. Currently, 75 percent of our revenue comes from drama, and 25 percent is from formats. I want to get that to 50-50 also in the coming years, so we are very much focusing on the growth of our format business. If we can have more hits each year, this can easily be achieved. It’s all about finding one or two hits a year.

TV FORMATS: How open are broadcasters to trying out new concepts?

PINTO: Not very. That’s the difficult part of the business. If you can remain patient you can find a client to test out a new format. If it is successful in that country, then the sales can come extremely quickly. For example, we had a pilot episode of Lucky Room.

Because it was only a pilot, it was not easy to sell. Then we found a Greek partner who loved the format and wanted to take a risk, and it went on air with record-breaking ratings. Within a month of that, we closed deals in almost ten countries. It’s about finding that client who will believe in you and take a small risk. It’s never a big risk with Global Agency because when we represent a format, we make sure that it’s workable. Broadcasters just have to believe in us, and after one country has success other buyers jump on it!

TV FORMATS: Tell us about the formats that you have created.

PINTO: One of the first formats that I created was Keep Your Light Shining. It was an instant success! We closed deals, including options, in over 20 countries. So I had good luck from the very beginning. Then I created other formats like Is That Really Your Voice and Talent Hunters. These had some success as well, though not as much as Keep Your Light Shining. The biggest hit for me is The Legend. Creating formats has become one of my biggest hobbies. It’s such a great feeling to create something and see it on the screen.

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Avi Armoza Founder & CEO Armoza Formats TV FORMATS: What do you consider to be the biggest issues facing the format industry today?

ARMOZA: The biggest challenge to our business lies within the drastic changes in consumers’ viewing habits. These new habits have brought about challenges for the industry to contend with, but we look at these as opportunities that will help us to grow our business. For example, recently the international online platforms have been moving toward non-scripted [content]. This opens up a new world for non-scripted formats and localized adaptations that didn’t exist before and is definitely a key influencer in the way we view our business. Having said that, traditional broadcasters are still the main providers of watchable content, and therefore we continue to focus on addressing the key challenges that they currently face, such as cord-cutting and binge-watching, and to work closely with them to find new ways of bringing viewers to their screens.

TV FORMATS: What was the genesis of The Four?

ARMOZA: Singing is still the genre that is able to create the most drama, stir up the most emotions and attract the most attention.

The existing shows [in this genre] have been around anywhere from 8 years to 20 years, and they are losing steam. There is a real need for new storytelling in music competitions. We had done some research into what the audiences were enjoying in singing competitions, and we found out that they like the live auditions; they love to hear the stories and the fresh voices. Also, the linear structure of reality TV shows is, again, losing steam. Most shows start with 30, 40, 50 contestants, and within this, there are people who really don’t qualify to be on the show, but they are needed for the game. We tried to address this with The Four by starting our show where all other shows are ending. Our judges select four [singers] who have the star quality to be in the finals of any other singing show. Then we ask the audience to consider this as the standard, and if they think that they are as good or better, we invite them to come and challenge the original singers.

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Melanie Leach Chief Executive Twofour Group TV FORMATS: What’s guiding Twofour’s format strategy at present?

LEACH: Finding fresh ways into popular territories is Twofour’s top priority. We’ve had particular success with “Time Travel TV.” We now have formats using the time-travel device in makeover, property, business and, most recently, performance. We’re also actively developing in the reality space, where we’re seeing renewed interest from U.K. broadcasters. Finding a new format on the scale of Big Brother is a primary focus across the group.

TV FORMATS: What types of formats are selling best?

LEACH: The pressure on budgets has seen a growing demand for formats that can deliver big audiences for a competitive price.

Transformation and makeover are evergreen [areas], and buyers have responded to our Time Travel TV brand that now includes This Time Next Year, Give It a Year, The Home Game and Change Your Tune. We’re in a “right now” culture and the instant reveals offered by these formats seem to have hit a sweet spot.

TV FORMATS: What sort of requests are you hearing from broadcasters about what they’re looking for in a format?

LEACH: We’re seeing worldwide demand for new formats in the makeover space alongside a strong desire to find the next innovation in food. Social experiments and relationship formats also remain a priority for a number of broadcasters, and there’s renewed interest in the next long-running reality competition.

TV FORMATS: Looking ahead, what are your plans for the format business at Twofour?

LEACH: Twofour will continue to focus on developing flexible, innovative formats that deliver popular genres in new, surprising ways. This Time Next Year essentially breaks the rules of television, doing away with a tried-and-trusted story arc and challenging the traditional shooting model. We’re keen to...keep finding new rules to break in casting, structure, form and execution.

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DISTRIBUTORS

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Acun Medya Global ADDRESS: Levent Mahallesi, Hayat Sokak, No: 4 Beşiktaş, Istanbul, Turkey TELEPHONE: (90-212) 304-8888 WEBSITE: www.acunmedyaglobal.com CHAIRMAN: Acun Ilıcalı CONTACT: Mirka Savic Pinhas, mirka@acunmedya.com PROGRAM: Exathlon: reality/sports, Acun Medya Global, Turkey.

“Acun Medya, founded in 2004 in Turkey, is an independent international production company, with each of its productions reaching millions of viewers from every age group and achieving maximum ratings.

By means of its high-quality content, productions and firstrate know-how in broadcasting strategies, Acun Medya [has turned] into a global brand by expanding its business all around Europe, Asia, Africa and the Americas. Acun Medya Global strengthens its success with the productions in the countries where it operates.

Acun Medya Global aims to continuously deliver inspirational, motivating, satisfying and different entertainment formats, which have made a tremendous impression for every audience.”

—Corporate Communications

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Armoza Formats ADDRESS: HaArba’a St., Tel Aviv 64739, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com FOUNDER & CEO: Avi Armoza HEAD, SALES: Sharon Levi HEAD, DEVELOPMENT: Nehama Cohen HEAD, ACQUISITIONS: Michal Itzhaki CONTACT: info@armozaformats.com PROGRAMS: The Four: 90-120 min., prime-time singing competition, Armoza Formats; Rage Room: 8x15-30 min., studio entertainment, Mighty Productions, All 4, U.K.; Sunday League: 8x30 min., scripted comedy, Anagram, TV3, Sweden; Back to Life: 60 min., docu-reality, Channel 10/ Armoza Formats, Channel 10, Israel; Marry Me Now: 60 min., factual entertainment, Armoza Formats; Curvy Supermodel: 10x60-120 min., prime-time reality competition, Tresor TV, RTL II, Germany; Sex Tape: 60-90 min., social experiment, Armoza Formats; Still Standing: 60 min., studio game show, July-August Productions, Channel 10, Israel; Eclipse: 12x60 min., drama, Duo Productions, TVA, Canada; Refuge: 24x60 min., drama, Amalga, TVA, Canada.

“Since 2005, Armoza Formats has specialized in bringing the best of Israeli and international content to the market and is proud to have become a leading independent TV formats development and distribution company. With over 85 formats in our catalog and productions currently in over 35 countries globally, we have a proven track record of success across all genres. Our spectacular prime-time entertainment show I Can Do That! has now been licensed in 24 countries and aired in over 80 countries, while our hit studio game show Still Standing has now aired more than 3,000 episodes globally and continues to grow into new territories. Most recently, our prime-time singing competition The Four has been making headlines with successful airings in the U.S. on FOX and in Russia on CTC, and with multiple deals worldwide.

This MIPTV, we will be focusing on our highly successful catalog of shows as well as bringing new studio entertainment and scripted series. We are also highlighting our constantly expanding ready-made content catalog.”

—Avi Armoza, Founder & CEO

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Eccho Rights ADDRESS: Kungsgatan 48, 111 35 Stockholm, Sweden TELEPHONE: (46-8) 5560-9380 WEBSITE: ecchorights.com MANAGING DIRECTOR: Fredrik af Malmborg MANAGING PARTNER: Nicola Söderlund HEAD, ISTANBUL OFFICE: Handan Özkubat CONTACT: fam@ecchorights.com PROGRAMS: El Accidente: 45 min., scripted drama, Globomedia, Telecinco, Spain; Stiletto Vendetta: 45 min., scripted drama, Ay Yapim, Star TV, Turkey; Insider: 45 min., scripted drama, Ay Yapim, Show TV, Turkey; Secret Affair: 70 min., scripted drama, JTBC, South Korea; Kill Me, Heal Me: 60 min., scripted drama, Pan Entertainment, MBC, South Korea; Crack Them Up: 45 min., comedy talent show, Studio Kvartal 95, 1+1, Ukraine; Comedy Combat: 90 min., entertainment/comedy, Yellow Film & TV, MTV3, Finland; Tears of Heaven: 30 min., scripted drama, CJ E&M, MBC, South Korea; Nurses: 45 min., scripted drama, Yellow Film & TV, YLE, Finland.

“Eccho Rights continues to have a strong presence in the format market, particularly with scripted drama. In the past year, we have seen the fourth high-budget Western adaptation of the format The End from Ay Yapim in Turkey.

The Spanish version, El Accidente, was the biggest drama launch in many years for Mediaset España. We are seeing a continuing demand for new scripts from innovative territories. For example, in the past year we have put four different drama scripts from Korea into development in Turkey. In entertainment, we are seeing a quieter period, but those formats that we are focusing on continue to perform very well. Comedy Combat and Crack Them Up are two comedy shows that both succeed on a phenomenal level year after year domestically and continue to attract new audiences around the world.”

—Fredrik af Malmborg, Managing Director

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19, K3, 34367 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 240-5769 WEBSITE: www.theglobalagency.tv FOUNDER & CEO: Izzet Pinto HEAD, ACQUISITIONS: Umay Ayaz PROGRAMS: My Life Is a Scenario: 90 min., reality; Heritage: 60 min., reality, Tooco; Mom, Dad, Please Don’t Wear That!: 60 min., lifestyle/reality, CIC Media; Looking for My Mother: 120 min., reality, TV8, Turkey; Home Therapy: 60 min., factual entertainment; Kids Cook the Funniest Things: 60 min., factual entertainment, Zig Zag; Sounds of the Nation: 60 min., talent; Power of Love: 90 min., dating, Greece.

“Established in 2006, Global Agency is the world’s leading independent TV content distributor of series and formats for international markets. Global Agency was founded in the second half of 2006 with only one project and a team of two people. It now has over 150 projects and a team of 28 people. Our company slogan is ‘Content that Creates Buzz’ and we live up to it through the distribution of our hit content, including Magnificent Century, 1001 Nights, Broken Pieces, Keep Your Light Shining, Perfect Bride, Shopping Monsters and The Remix.

In just a few short years, we have become one of the fastestgrowing distributors in the industry and now we are known as the world’s leading independent distributor thanks to our strong lineup of content and our experienced team. Our catalog includes formats and series from around the world, and due to our long-established relationships with some of the world’s most creative individuals and companies, we are able to offer buyers the hottest new content throughout the year.

At Global Agency, we are committed to acquiring the highest quality and most original new content through our partnerships with leading broadcasters and production companies in all the major territories. With an international team and bases in Turkey, France, the U.K. and Spain, our knowledge of the global entertainment industry allows us to find and sell cutting-edge content that can be adapted in territories around the world.

We have built a reputation for our dynamic and high-profile marketing strategy, and attending over 15 international markets a year is a major part of our global reach.”

—Corporate Communications

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Inter Medya ADDRESS: Istanbloom Offices, Kore Sehitleri Caddesi 16/1, Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv CEO & FOUNDER: Can Okan COO: Ahmet Ziyalar CONTACT: info@intermedya.tv PROGRAMS: The Perfect Couple: dating, DMT Producciones; Money Monster: game show; 1 vs. 10: game show, BKM; Join Instant: 60 min., interactive game show.

“Founded in 1992, Inter Medya established itself as one of the most successful content distributors in Turkey. Specializing in the sales of Turkish TV series and feature films, the company has also recently started to develop and produce entertainment and reality formats, taking important steps to becoming a significant content distributor in the field.

The company managed to earn its clients’ trust and loyalty through a satisfactory and sustained service record and a library that always manages to stay current. Consistently and reliably spreading the Turkish TV, film and format industry to the foreign market, the company is adamant about developing and increasing this contribution in the coming years.”

—Can Okan, CEO & Founder

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KABO International ADDRESS: 2-4 allée de Seine, 93200 Saint-Denis, France TELEPHONE: (33-1) 8578-7331 WEBSITE: www.kabointernational.com MANAGING DIRECTOR: Arabelle Pouliot-Di Crescenzo SALES EXECUTIVE: Elsa Pielot CONTACT: arabelle@kabointernational.com PROGRAMS: The Break-Up: 60 min., social experiment, Newen; Our Crazy Family: 230x30 min. & 3x52 min., scripted comedy, KABO Family, M6, France; Tilt: 10x30 min., virtual entertainment game, Reflect, TV6, Finland; Who’s Who?: 30 min./60 min., entertainment/game show, Rose Bay Media; Cops on the Block: 50x30 min., scripted comedy, Thalie Images, M6, France.

“KABO International is a global distributor of formats (prime-time entertainment, game show, social experiment, comedy, VR and scripted) as well as ready-made programming (factual, documentaries, true crime). The company distributes KABO formats as well as third-party formats from countries such as the U.K., Finland, Canada, Italy and Spain, to mention a few. KABO International was originally launched as the distribution arm for KABO Family Group, one of the leading production groups in France. KABO Family Group plays host to more than 150 writers, over 80 comedy writers and produces 70 hours of fiction per year, as well as operating various production entities under the KABO umbrella brand.”

—Arabelle Pouliot-Di Crescenzo, Managing Director

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Red Arrow Studios International ADDRESS: Medienallee 7, 85774 Unterfoehring, Germany TELEPHONE: (49-89) 9507-7303 WEBSITE: redarrow.tv/international PRESIDENT: Henrik Pabst SENIOR VP, GLOBAL SALES: Bo Stehmeier SENIOR VP, ACQUISITIONS: Alex Fraser CONTACT: info@redarrowinternational.tv PROGRAMS: Code to Love: reality, Drive Studios, DR3, Denmark; State of Hate: reality, Snowman Productions, Kanal 5, Denmark; Buying Blind: reality, Kinetic Content/Snowman Productions, TV3, Denmark; Old People’s Home for 4 Year Olds: reality, CPL Productions, Channel 4, U.K.; The Spouse House: reality, Kinetic Content, TLC, U.S.A.; Shop! Cook! Win!: cooking, RedSeven Entertainment, kabel eins, Germany; Married at First Sight: reality, Snowman Productions, DR3/DR1, Denmark.

“Red Arrow Studios International is a worldleading TV distributor of scripted, formats and factual shows from a global network of inhouse production companies, outstanding thirdparty producers and digital-content partners.

With offices in Munich, London, New York and Hong Kong, Red Arrow Studios International co-produces and finances global entertainment and distributes acclaimed content to over 200 territories worldwide.

Red Arrow Studios International is part of Red Arrow Studios, which is comprised of 20 production companies in seven territories, the digital studio Studio71 and film distributor Gravitas Ventures. Red Arrow Studios is a ProSiebenSat.1 Media company, one of Europe’s leading media groups.”

—Henrik Pabst, President

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Twentieth Century Fox Television Distribution ADDRESS: 2121 Ave. of the Stars, 19/Fl., Los Angeles, CA 90067, U.S.A. TELEPHONE: (1-310) 369-0150 WEBSITE: www.foxfast.com PRESIDENT, GLOBAL DISTRIBUTION: Gina Brogi VP, FORMAT LICENSING: Dorothy Crompton MANAGER, FORMAT LICENSING: Jennifer Yamada SENIOR VP, CURRENT PROGRAMMING, TWENTIETH CENTURY FOX TELEVISION (TCFTV): Steve Sicherman CONTACT: foxformats@fox.com PROGRAMS: 24: 60 min., scripted drama, TCFTV, FOX, U.S.A.; Empire: 60 min., scripted drama, TCFTV, FOX, U.S.A.; Prison Break: 60 min., scripted drama, TCFTV/Fox21, FX, U.S.A.; Glee: 60 min., scripted comedy/drama, TCFTV, FOX, U.S.A.; Lie to Me: 60 min., scripted drama, TCFTV, FOX, U.S.A.; Fresh Off the Boat: 30 min., scripted comedy, TCFTV, ABC, U.S.A.; How I Met Your Mother: 30 min., scripted comedy, TCFTV, CBS, U.S.A.; Last Man Standing: 30 min., scripted comedy, TCFTV/21 Laps, ABC, U.S.A.; Life in Pieces: 30 min., scripted comedy, TCFTV, CBS, U.S.A.; Modern Family: 30 min., scripted comedy, TCFTV, ABC, U.S.A. “A unit of 21st Century Fox, Twentieth Century Fox Television Distribution is a global leader in the distribution of awardwinning motion pictures, television programming and entertainment content across pay TV, broadcast television and SVOD. Twentieth Century Fox Television Distribution connects audiences around the world with premium content from the production divisions of Twentieth Century Fox Films, Twentieth Century Fox Television and FX, as well as other 21st Century Fox companies.”

—Corporate Communications

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Twofour Rights ADDRESS: Estover, Plymouth PL6 7RG, U.K. TELEPHONE: (44-1752) 727-400 WEBSITE: www.twofour-rights.co.uk CHIEF EXECUTIVE, TWOFOUR GROUP: Melanie Leach HEAD, SALES OPERATIONS & VP SALES, NORTH AMERICA, U.K., IRELAND, AUSTRALIA & NEW ZEALAND: Holly Hodges CONTACT: sales@twofour-rights.co.uk PROGRAMS: What Would Your Kid Do?: 60 min., game show, Boomerang, ITV1, U.K.; Change Your Tune: 60 min., entertainment, Twofour, ITV1, U.K.; This Time Next Year: 60 min., entertainment, Twofour, ITV1, U.K.; A Night with My Ex: 60 min., reality, Twofour/Krempelwood Entertainment, Channel 5, U.K.; Give it a Year: 60 min., business, Twofour, Channel 5, U.K.; Weekender: 60 min., reality, Twofour, ITV2, U.K.; Happy Families: 60 min., reality, Twofour, ITV1, U.K.; The Diner: 60 min., reality, Twofour, Channel 4, U.K.; The Indian Dream Hotel: 60 min., factual entertainment, Twofour, BBC One, U.K.

“Twofour Rights is the international distribution arm of the Twofour Group, a leading producer of global content. We have more than 1,000 hours of unscripted programs and formats across our catalog that have been produced worldwide. The year ahead brings an exciting new slate of formats, which are launching in the U.K. and internationally. Our new family game show What Would Your Kid Do? premiered in the U.K., 32-percent above ITV1’s slot average. The latest addition to our ‘time-travel’ formats, Change Your Tune, puts a fresh spin on the singing genre. This Time Next Year continues to deliver for broadcasters internationally. Relationship [shows] remain at the forefront; A Night with My Ex has been commissioned across a number of European territories and the young-skewing Weekender has now reached a seventh successful season and is the channel’s number one primetime weekend show.”

—Melanie Leach, Chief Executive, Twofour Group

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