TV Formats Guide 2020

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GUIDE 2020

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Contents A Note from the Editor . . . . . . . . . . . . . .4 Interviews . . . . . . . . . . . . . . . . . . . . . . . . .5 Distributors . . . . . . . . . . . . . . . . . . . . . . .15 Publisher Ricardo Seguin Guise Ricardo Seguin Guise President

Group Editorial Director Anna Carugati Editor Mansha Daswani Executive Editor and Editor, English-Language Guides Kristin Brzoznowski

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

Production and Design Director David Diehl Š 2020 WSN INC. Associate Editors Chelsea Regan Alison Skilton

1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620

Online Director Simon Weaver

Fax: (212) 924-6940

Senior Sales and Marketing Manager Dana Mattison

Website: www.tvformats.ws

Sales and Marketing Coordinator Genovick Acevedo

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

Business Affairs Manager Andrea Moreno

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A Note from the Editor Mansha Daswani

Megaformats saw another banner year in 2019, with beloved favorites still finding room on broadcaster schedules. ITV secured a new five-year deal with Syco Entertainment and Thames for Simon Cowell’s shows to appear exclusively on the channel until at least 2024, including Britain’s Got Talent. Big Brother returned in several territories. MasterChef, The Voice and Dancing with the Stars continued their global rollouts. Classics like Family Feud found new homes, as did The Weakest Link, Temptation Island, Cash Cab and Deal or No Deal.

And yet, the most-talked-about format of the year was The Masked Singer, which rose from relative obscurity to become the biggest shiny-floor studio show to hit the market since The Voice.

Originating in Korea, the bizarre celebrities-in-masks singing competition was a huge hit on FOX and went on to secure deals in a raft of territories, including Germany (ProSieben), the U.K. (ITV), Australia (Network Ten) and Mexico (Televisa). Park Won Woo, who created the original concept for The King of Mask Singer, signed a first-look producing deal with Universal Television Alternative Studio; and Studio Lambert sealed a development deal with Izzie Pick Ibarra, showrunner and executive producer of The Masked Singer on FOX. The social-media traction around The Masked Singer in the U.S. reinforced the idea that even in an on-demand era, broadcasters can create events around big unscripted brands. Of note, ABC saw success with the multi-night prime-time event Jeopardy! The Greatest of All Time, and ITV commissioned Quizmaster, a 90minute special that pits previous high-profile contestants of other major TV game shows against each other.

Game shows, naturally, remained in demand worldwide, as did the perennial favorites of dating shows, shiny-floor talent and cooking. Not to mention, scripted-format deals abounded in 2019.

So, what does 2020 have in store for the format business? This edition of the TV Formats Guide may just contain the next breakout globe-busting megahit.

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INTERVIEWS

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Rob Wade

President, Alternative Entertainment & Specials FOX Entertainment TV FORMATS: How are you positioning Fox Alternative Entertainment (FAE)?

WADE: We’re in a great situation with where we are in our productions at FAE. We have The Masked Singer, The Masked Dancer, a few specials and [I Can See Your Voice for later this year].

Launching FAE and bringing the production of The Masked Singer in-house gave us a stronger ownership position and greater creative control. That allowed us to do spin-offs and create merchandising revenues, tour revenues, things like that. We can work directly with the talent on those shows, which then allows us to find and nurture new voices in the unscripted arena.

TV FORMATS: How are you maintaining the momentum of The Masked Singer?

WADE: We’re still at the learning stage in this format. There are inherent difficulties that aren’t like any other show that you just have to manage around. We’re still trying to get it right for the audience, sustain it as a franchise moving forward and give ourselves a format that provides us with enough hours, frankly, to fill the schedule. It’s great having a hit like this, but you want to make sure it’s maximized. I think that happened at NBC [with The Voice] and FOX back in the day with Idol. Those formats started as very short runs, but because of the nature of those formats, you could expand them to many, many hours. That’s really when you win as a network.

TV FORMATS: Are broadcasters still risk-averse to new concepts?

WADE: They are doing shorter runs of things, which means you can get on and off quicker, but obviously, it’s challenging to keep costs down or build a massive set or do something with a lot of scale.

Unfortunately, a lot of broadcasters are just looking back and playing it safe with old formats. That’s bad for new, young producers breaking into the business who are trying to start their own production companies. I think it’s our duty to start bringing up the next generation of creatives.

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Chris Coelen CEO Kinetic Content

TV FORMATS: What have been some of the lessons learned in making the U.S. version of Married at First Sight?

COELEN: The show has evolved from a ten-episode series to today, where we’re making two seasons and 90 hours per year. We are genuinely trying to create good matches and help them form relationships that will last a lifetime. We’re learning about what people respond to, what they shy away from, how production and scheduling may affect them. I think we’ve done a really good job at trying to balance the needs of the production with the needs of the participants. The audience has grown every single year. It’s a very noisy, entertaining concept as well as an intriguing scientific look at this whole process, with, of course, huge stakes given that these are real, legally binding marriages. In Australia, they’ve taken the format in a house-reality direction–it’s very commercial and very popular. In Scandinavia, it’s still more of a doc type of experiment.

We’re in the middle. We are a doc, but we embrace the natural juiciness of the conceit. We do look at what works in the other territories, and it’s a real privilege to be a part of. It’s the most successful relationship format in the world today in terms of the number of territories it’s in and the success it has in each of those territories.

TV FORMATS: Are there elements you look to implement in concepts to make them formattable?

COELEN: Some territories can spend a lot more money than others, so if you really want something that can be remade in any territory, it has to be flexible in terms of budget requirements.

There was a time when it felt like format holders had stringent parameters around what someone in a certain territory was allowed to do with the IP. I understand that instinct because there are certain things that make the show work and if somebody comes in and tinkers with it too much, you’ve lost your core and it doesn’t work anymore. But I think today, if there are certain additions or enhancements that the producer would like to make in a format, you have to trust that.

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Bertram van Munster Co-Creator The Amazing Race

TV FORMATS: How has The Amazing Race been able to endure as long as it has and remain beloved by audiences?

VAN MUNSTER: It’s relatable, and it’s great for an entire family to watch together.

You see how successful it is around the world—that tells you something. We’re in 130-plus countries. We have formats going around the world. It keeps going and going! Of course, the creative that surrounds it and the concepts are very strong. We have a great army of people working on the show. Around the globe, we have well over 3,000 people that have worked on the show or still work on the show.

TV FORMATS: How long does it take you to map out a route for each season?

VAN MUNSTER: To come up with the idea for the route, I look at what we’ve done in the past. I can do it in a couple of hours, on the back of a newspaper. The actual creative layout, how they’re going to travel, takes three or four months. Once I lay it out, I go to the network and say, What do you think? If they approve it, then I’ll go out with my producers and challenge producers and we lay out the course and the route. There has to be a flow to it, a logic to it; it has to go from A to B to C to D. You look on the map and see where the logic lies. It feels random, but it’s not random at all.

TV FORMATS: What advice can you give to international producers on casting and plotting out the routes for their own versions of the format?

VAN MUNSTER: That’s why our guys are there. And we are welcomed everywhere. Where we were not welcomed, [the local version] didn’t work! It is a collaborative effort, where we can transfer our experience of many, many years doing this and our connections around the globe. Whatever they need, we’re only a phone call away. That saves a lot of time, money and aggravation. We let them do their own creative. We’ll say, This works great or, This wouldn’t work for this reason.

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Richard McKerrow Co-Creator, Bake Off Creative Director, Love Productions

TV FORMATS: Where did the concept for Bake Off originate?

MCKERROW: Anna Beattie and I had the idea within a couple of months of setting up Love Productions in October 2004.

There had never really been a proper baking show in the U.K., and yet baking is incredibly popular; there is a real culture of country fêtes, where people set out their home baking. We thought, What if we were to do a very simple, amateur baking competition— looking for the best British home baker? It was a simple idea that had never been done before. Then we found out that there was a reason it hadn’t been done before, and that’s because every single broadcaster in the U.K. thought that it would be incredibly dull and boring, like watching paint dry. [Laughs] The funny thing when I look back now is that all of the reasons they said “no” are probably all the reasons that it’s so successful. We were passionate about it, and it never left our top five ideas that we hadn’t got commissioned. We pitched it to anybody and everybody! Finally, the then-controller of BBC Three thought it was a good idea, but not right for BBC Three. He passed it over to BBC Two. TV FORMATS: How do you keep it fresh and innovative?

MCKERROW: Fortunately, every year, 12 or 13 new bakers come along, with new stories and histories that are unique and individual. When we moved from BBC to Channel 4, the [hosting and judging] talent changed. But it didn’t make a difference to the show, because the true talents are the bakers, not the celebrities. It doesn’t diminish the incredibly important role that the hosts and judges play; they are a vital and prominent part of it. But we have a mantra: Love the bakers, love the baking.

Every season, we try to make sure that we find the best possible bakers, that we find a broad range and also that the challenges are distinct and different. There is the broad format of having the signature challenge, the technical challenge and the show-stopper, but I can’t begin to tell you the incredible amount of effort that goes into designing the various challenges.

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Rob Clark

Director, Global Entertainment Fremantle TV FORMATS: What types of entertainment are most in demand?

CLARK: One genre that has really gone into overdrive and is performing way above its normal benchmark is game shows. You often see increases in game-show commissions when the global economy is tanking. In 2007–08, that was the last spike in game-show commissions. Why? Because they’re relatively economical, safe and they attract a broad family audience for co-viewing.

TV FORMATS: How are you tapping into Fremantle’s network of production companies for new concepts?

CLARK: Fremantle is set up like a federal system in a way. Each territory has its own production company, and the bigger territories have their own development teams. Centrally, that development is monitored, and we’ll back it with money, our knowledge and passion, and we will work with our broadcast partners to get it on air. We’re in good shape creatively, in terms of idea-generation and commissions for new shows.

TV FORMATS: What’s your view on the future of the format business with regard to the streaming players?

CLARK: People are platform-agnostic. From a Fremantle point of view, we want our programs, our formats, our IP and the stars who we work with to be on the most appropriate platform. What is great at the moment is that that platform could be a streamer, a traditional broadcaster, a global network, a national SVOD. These are markets that didn’t exist five years ago. For a company the size of Fremantle, with our creative output and depth of catalog, this is a fantastic time to be a producer.

What streamers want are brands. When you have a back catalog like ours, with names that people recognize, those big global platforms are often perfect for us. We’re willing to do work-forhire, as long as it’s a global deal. We don’t have to be the IP owner.

We have to be nimble and find different ways of working, and in doing that, we can work for everybody.

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Izzet Pinto Founder & CEO Global Agency TV FORMATS: What are the biggest challenges facing the format business?

PINTO: The biggest problem is copyright infringement. Unfortunately, you might pitch a great format to a client and after a year you see that they have used your idea, mixing in some side elements to create their own version. That’s very frustrating. If you take them to court, not only will it take years and require a lot of money, but there’s also no guarantee that you’ll win the case. The process is very tiring and challenging. It’s difficult for distributors to protect their format IP, but also the channels should be more supportive. They need to pay attention [to what’s being pitched] and go with the original idea.

TV FORMATS: What types of formats are cutting through with buyers today?

PINTO: Daily formats have been doing well for us. When a format makes a breakthrough, like The Masked Singer did, it gives you courage and confidence that your format could be the next big hit.

For several years, there hasn’t been a global breakout hit, so I’ve enjoyed seeing the success of Masked Singer. It helps ignite the passion in other creators and distributors. It also shows that it might take years to reach that breakthrough point. Once a U.S. network picks it up and creates buzz, then everybody takes notice.

TV FORMATS: With all the mergers and acquisitions in the marketplace, what’s your view on consolidation?

PINTO: It’s a great success story to see a small company that’s grown every year become big enough to be sold to a large corporate brand.

I admire that, but it’s not what I want for my company. I want us to remain independent. Because we are independent, we can work with everyone. We work with companies like Endemol Shine, Fremantle, Hervé Hubert, Constantin Entertainment and many independent production companies. We are very flexible. If you’re part of a large corporation, there are layers of approval before you can do something—I get to do whatever I want!

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Avi Armoza Founder & CEO Armoza Formats

TV FORMATS: What drove Armoza Formats’ decision to join ITV Studios?

ARMOZA: It was a strategic decision. It was looking to the future and the necessity to be involved in production because the new and big platforms don’t buy formats; they buy productions. We could do it on our own or decide to do it through merger and acquisition. We thought the quicker and more effective way was through M&A. One thing was the necessity to get into production. In the last year, you see a very strong consolidation process internationally. It feels like you need to have stronger capabilities. You either need to be very lean or to have some muscles within a group with stronger capabilities. Once we had the opportunity to join ITV Studios, we thought it was a better solution.

TV FORMATS: Why is co-development becoming more popular in the format business?

ARMOZA: The business has become tougher—tougher in demand and tougher on budgets that networks can allocate to new shows. Development, by nature, is the most expensive and riskiest part of the business. So, wherever broadcasters or partners can reduce risk and make a more cost-effective cooperation, this is the major [motivation] for co-development.

TV FORMATS: What are some of the challenges of format codevelopment?

ARMOZA: Creatively, one of the partners needs to lead the way.

There can be a dialogue, but one needs to lead the way. Then the question is the ability of one of the partners. Those are the key elements that you want to bring together. There is creative collaboration, but I don’t think it’s the essential part. The commercial perspective is more of a key element in the agenda. When you create, you need to have as few people [as possible] who know what their vision is to execute the show. Keeping it too wide can create conflict and doesn’t push the format forward.

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Timur Weinstein General Producer NTV Broadcasting Company TV FORMATS: How is NTV’s scriptedformat business faring?

WEINSTEIN: NTV’s catalog has over 25,000 hours of content and more than 50 percent are crime dramas. We are the top producers of crime-genre series in Russia, which means a great selection of amazing formats. Every year we bring up to 500 hours of brand-new projects with us [to the international markets]. So just imagine how many original stories and new untapped cases are waiting to be adapted and distributed worldwide.

TV FORMATS: What makes NTV’s dramas easily adaptable for markets around the world?

WEINSTEIN: First, the world is [looking] for original stories that are rooted in local culture but have universal values. NTV projects feature lots of action, strong characters and unpredictable plot twists, and it makes them easily adaptable for any market.

Also, we all know that crime dramas hold the highest demand share worldwide; people always want this kind of content. They also want originality, and our series have just that—we love to create mixed-genre projects where the viewers are exposed to unpredictable twists, where they cannot guess what happens next.

Finally, to make our shows stand out even more, we use top experts who help us shape the stories to make them realistic and believable. We use real-life cases directly or create series that are based on true events. The high ratings and growing interest from many global distributors give us confidence that our dramas can be very successful around the world.

TV FORMATS: What is it about crime dramas, in particular, that makes them work well as formats?

WEINSTEIN: Crime dramas have the best way of showcasing different sides of human nature and this is what we do well: create strong characters. Action and crime usually push the characters to the edge, they reveal the darkest personality traits, and that keeps the audience hooked.

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Sophie Ferron Founder & President Media Ranch

TV FORMATS: How is Media Ranch positioned in the format landscape?

FERRON: We’re a creative company, so creators come to us with their paper formats, which actually makes us unique. We do foster talent and we do care about paper pitches because it could be the next great format. Our unique position is about being extremely creative and launching paper formats as well as proven formats, and working well with the best broadcaster or the best network or the best creator or the best producer.

TV FORMATS: What are buyers looking for?

FERRON: The buyer wants something that is authentic, and they’re not into the trashy and the negative anymore. It’s all about feeling good and being happy—and also not being too formatted. They don’t want to feel the heavy hand behind the show. They also enjoy creativity, and a lot of what they’re asking for is paper formats. It’s a totally new trend for us because usually with paper formats, people stay away from them. But perhaps because of our reputation of being creative, they are coming to us for that.

TV FORMATS: Tell us about the Horsepower incubator.

FERRON: The first edition of Horsepower was extremely inspiring for me. I never thought I would enjoy the experience as much as I did. We had eight people from all different industries come in to be taught how to create a format. It was so much fun because they didn’t have their usual way of seeing TV creativity because they were not from the industry. That’s why we are really happy to do the second edition as well. The format that won the first edition is already in development with Quebecor Content, and we’re in discussion in other territories to launch it in other places. What’s really exciting as well for Horsepower is that we’ve been approached by other networks in other territories to start a Horsepower international version.

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DISTRIBUTORS

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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 EXECUTIVE VP, FORMATS: Nick Smith CONTACT: nick.smith@all3media.com PROGRAMS: The Search: 60 min. eps., talent show, ModestTV, BBC One, U.K.; The Hustler: 60 min. eps., game show, Studio Lambert, ABC, U.S.A.; The Fantastical Factory of Curious Craft: 60 min. eps., challenge show, Studio Ramsay, Channel 4, U.K.; Thriller Game: 60 min. eps., interactive/drama/game show, Coyote & Alphamedia TV, France Télévisions, France; Just One Night: 60 min. eps., dating show, Lion TV, BBC Three, U.K.

“all3media international is the distribution arm of the all3media group. We promote and license a catalog of award-winning TV programs and formats to broadcasters and media platforms across the globe. Our catalog contains over 15,000 hours of content across all genres, and we work with over 1,000 broadcast, DVD and digital-platform clients from more than 200 countries.”

—Corporate Communications

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Armoza Formats ADDRESS: HaArba’a St., Tel Aviv, 6473916, Israel TELEPHONE: (972-3) 540-8333 WEBSITE: www.armozaformats.com CEO: Avi Armoza HEAD, SALES: Sharon Levi HEAD, DEVELOPMENT: Nehama Cohen HEAD, CONTENT PARTNERSHIPS: Michal Itzhaki CONTACT: info@armozaformats.com PROGRAMS: The Moves: 60-90 min. eps., studio entertainment, Armoza Formats; Beat the Grid: 30 min. eps., studio game show, Armoza Formats & Gamechanger; Queens of Love: 60 min. eps., dating, Armoza Formats; Singerella: 60 min. eps., prime time/factual, Armoza Formats; The Food Ambassadors: 60 min. eps., factual entertainment, Maagalot, Kan, Israel; Single Parents Cruising: 60 min. eps., dating/reality, Zone 3, Canal Vie, French Canada; Song of My Life: 60 min. eps., studio entertainment, Yellow Film & TV, Yle, Finland; Double or Nothing: 60 min. eps., studio-based challenge show, Studio Glam, NBA Productions & Armoza Formats; La Famiglia: 45x30 min., comedy, United Studios of Israel, Channel 10, Israel; Allenby: 12x60 min., drama, Inosan, Channel 10, Israel.

“It continues to be the mission of Armoza Formats to bring unique and innovative content to our clients. We are excited to come to MIPTV with formats that provide fresh spins on their genres. From a new studio entertainment format that shows that while everyone loves to dance, not everyone has the moves, to a game show that provides a revolutionary solution to cost-effectiveness in the industry, we believe that our latest offerings are unmissable.”

—Avi Armoza, CEO

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BBC Studios ADDRESS: 1 Television Centre, 101 Wood Lane, London W12 7FA, U.K. TELEPHONE: (44-208) 433-2000 WEBSITE: www.bbcstudios.com CREATIVE DIRECTOR, FORMATS: Sumi Connock SENIOR VP, GLOBAL FORMAT SALES: Andre Renaud PROGRAMS: The 1% Club: 45 min. eps., non-scripted, Magnum Media; First Love: 50 min. eps., non-scripted, Motive Television, Virgin Media One, Ireland; Secrets of the Driving Test: 30 min. eps., non-scripted, Curve Media, ITV1, U.K.; My Mate’s a Bad Date: 25 min. eps., non-scripted, BBC Three, U.K.; Traces: 6x45 min., scripted, RED Production Company, BBC Studios & UKTV, U.K.; Guilt: 4x60 min., scripted, Happy Tramp North & Expectation, BBC Two, U.K.; The Mallorca Files: 10x45 min., scripted, Cosmopolitan Pictures & Clerkenwell Films, BBC One, U.K.; In My Skin: 5x30 min., scripted, Expectation Entertainment, BBC Three, U.K.

“BBC Studios’ international production and formats arm, with bases across the world, works with the best British creatives to develop and invest in global hits.

Our production bases produce around 500 hours of content across entertainment, factual entertainment, factual and scripted, and [we] are one of the U.K.’s top distributors of scripted formats. Luther, Doctor Foster, The Split and Life on Mars are just some of the great scripted formats in our catalog that have been remade in countries that range from Russia and France to India and South Korea, among others.

Despite our global scale, we are bespoke and flexible in our approach, with creativity and storytelling at the heart of how we tailor to local audience tastes.”

—Andre Renaud, Senior VP, Global Format Sales

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Global Agency ADDRESS: Abdi Ipekci Caddesi, Park 19, K3, 34367 Nisantasi, Sisli, Istanbul, Turkey TELEPHONE: (90-212) 241-2693 WEBSITE: www.theglobalagency.tv CEO: Izzet Pinto HEAD, ACQUISITIONS: Umay Ayaz CONTACT: umay@theglobalagency.tv PROGRAMS: The Legend: talent show; Cleaning Masters: competition; Sanatorium of Love: seniors dating; Glam Squad: daily reality; Babysitter: Celebrity Undercover: lifestyle; Stylish Plus: fashion; Golden Spoon: cooking; Parent Trap: dating; Who Knows Best; Accidental Chef.

“Cleaning Masters is a daytime show that brightens up the dirtiest homes, where the contestants battle it out to clean up a dirty and messy house with the aim of winning a big prize. So far, 135 episodes have been aired in Turkey, having a huge impact. The first territory in the international market where it will be launched is Russia.

Since it is a new genre, we are seeing huge interest in the international market.

The Legend is a unique talent show where contestants shape their own destiny over 13 weeks, performing again if their first attempt is not good enough, as they bid to become stars and perform duets with the famous singers on the jury.

Our aim is to franchise this show worldwide because it is a perfect fit for prime time.

Glam Squad is a daily reality show where teams compete to bring out the beauty. Four teams of hair designers and makeup artists compete each day to glamorize beautiful models in a contest judged by their fellow competitors and expert jury members, as they strive to win a weekly cash prize. Glam Squad has been on air for 250 episodes. The show has generated big buzz on social media, and that interaction has resulted in high ratings.

When Global Agency was established in 2006, the catalog consisted solely of formats. Since then, we have expanded it to include a broad portfolio of powerful dramas, but the formats have remained important for us. We have innovative formats that have rapidly captured the imagination of audiences worldwide.

We draw upon a rich pool of creativity and have diversified into formats such as lifestyle, talent, dating and game shows. Through the years, we have had flagship formats such as Shopping Monsters, Blind Taste and Joker. In the future, we will continue to distribute more flagship formats.”

—Izzet Pinto, CEO 22

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GMA Network ADDRESS: GMA Network Center, EDSA corner Timog Ave., Diliman, Quezon City 1103, Philippines TELEPHONE: (632) 8333-7633 WEBSITE: www.gmanetwork.com SENIOR VP, GMA ENTERTAINMENT GROUP: Lilybeth G. Rasonable VP, GMA WORLDWIDE DIVISION: Roxanne J. Barcelona FIRST VP, PROGRAM MANAGEMENT: Jose Mari R. Abacan VP, BUSINESS DEVELOPMENT DEPARTMENT: Corazon “Darling” P. De Jesus-Bodegon CONTACT: rjbarcelona@gmanetwork.com PROGRAMS: Centerstage: 16x45 min., talent, GMA Network, Philippines; The Clash: 26x45 min., talent, GMA Network, Philippines; StarStruck: 50x45 min., talent, GMA Network, Philippines; Legally Blind: 47x45 min., drama, GMA Network, Philippines; Meant to Be: 60x45 min., drama, GMA Network, Philippines; My Husband’s Lover: 50x45 min., drama, GMA Network, Philippines; The Rich Man’s Daughter: 35x45 min., drama, GMA Network, Philippines; The One That Got Away: 48x45 min., drama, GMA Network, Philippines.

“Celebrating its 70th anniversary, GMA Network is the Philippines’ largest and most trusted media company. GMA is recognized in the global arena as the premier source of quality Filipino programs and innovative scripted and non-scripted formats. GMA prides itself on its drama formats with unique storylines and universal themes of family values, faith and spirituality and enduring friendships, topics that are relatable to a global audience. We make sure that the scripts we offer to a particular territory are flexible enough to introduce local elements that will make it more appealing to their local viewers. GMA also offers original and innovative talent competition formats that captivate viewers and have produced some of the country’s most promising acts. GMA hopes to establish partnerships with broadcasters and aggregators across the globe by providing both scripted and non-scripted formats that boost ratings.”

—Roxanne J. Barcelona, VP, GMA Worldwide Division

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Inter Medya ADDRESS: Istanbloom Offices, Kore Sehitleri Cad. 16/1 Zincirlikuyu, 34394 Istanbul, Turkey TELEPHONE: (90-212) 231-0102 WEBSITE: www.intermedya.tv FOUNDER & CEO: Can Okan CONTACT: can.okan@intermedya.tv PROGRAMS: The Perfect Couple: 60-90 min. eps., prime time/dating; Money Monster: 60 min. eps., prime time/quiz show; The Box Challenge: 60 min. eps., prime time/game show; Exathlon: 150 min. eps., prime time/sports reality; Mother in Style: 60 min. eps., daytime/reality/fashion; 1 vs. 10: 60 min. eps., prime time/quiz show; Join Instant: 60 min. eps., prime time/interactive game show; 19: 60 min. eps., prime time/quiz show; Do You Have an Idea?: 45 min. eps., prime time/business.

“Founded in 1992, Inter Medya has established itself as one of the most successful content distributors in Turkey. Specializing in the sale 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, Founder & CEO

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Media Ranch ADDRESS: 72 des Soeurs-Grises, Montreal, Québec H3C 2P8, Canada TELEPHONE: (1-514) 315-4548 WEBSITE: www.mediaranch.tv FOUNDER & PRESIDENT: Sophie Ferron SENIOR VP: Tanja van der Goes HEAD, CONTENT & STORYTELLING: Philip Kalin-Hajdu CONTACT: info@mediaranch.tv PROGRAMS: Watch!: 60 min. eps., game show; Blind Dating: 30 min. eps., dating; True Sex Confessions: 30 min. eps.; Judge for 1 Day: 30 min. eps., factual; Get Lost Honey: 30 min. eps.; Project Rembrandt: 50 min. eps., talent show; My Next Empire: 36 min. eps., factual; 180 Days: 30 min. eps., factual; Big Love: 42 min. eps., factual; 1 Day, 2 Teams, 3 Animals: 60 min. eps., wildlife.

“Award-winning Media Ranch is known globally for premium unscripted television formats, distinguishing itself as a distributor, content-creator generating original IP, and an international format hub and incubator. With headquarters in Montreal and offices in Los Angeles and Amsterdam, the company represents, produces and sells a catalog of internationally acclaimed titles with thousands of hours of premium content ready for distribution. Media Ranch represents the entire unscripted format portfolio from the largest Danish broadcaster, DR. In 2020, K7 named Media Ranch as a Format Distributor to Watch. It is known as the home to established creators and new talent launched in both editions of its TV format incubator, Horsepower. In fall 2019, the company had great success with the entertainment game-show format Watch!, selling to 12 countries, including the U.S. and U.K., in just three months. With over a decade of experience as Canada’s premier format television expert, Media Ranch embraces its company motto: Great content is worth sharing.”

—Sophie Ferron, Founder & President

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NTV Broadcasting Company ADDRESS: 12, Akademika Koroleva St., Moscow, 127427, Russia TELEPHONE: (7-495) 725-5718 WEBSITE: sales.ntv.ru GENERAL PRODUCER: Timur Weinstein HEAD, INTERNATIONAL SALES DEPARTMENT: Marina Kataya CONTACT: sales@ntv.ru PROGRAMS: Invisible Target: 16x50 min., drama/crime, Studio Panorama, NTV Broadcasting Company, Russia; Casting Lady Justice: 20x48 min., crime/drama/comedy, LEGIO FELIX, NTV Broadcasting Company, Russia; Black Ladder: 20x48 min., crime/mystery/drama, An-film, NTV Broadcasting Company, Russia; Wolf Trap: 16x50 min., drama/crime, KIT Film Studio, NTV Broadcasting Company, Russia; Dinosaur: S1-2 20x48 min., drama/crime/comedy, Sergey Zhigunov’s Production Studio & Nebo Studio, NTV Broadcasting Company, Russia; Sleepers: 8x50 min., thriller/ crime/mystery/drama, LEGIO FELIX, NTV Broadcasting Company, Russia; In Pursuit: 24x48 min., crime/drama, 3X Media, NTV Broadcasting Company, Russia; The Policeman’s Wife: 16x48 min., drama/action/crime, Pavel Lungin’s Workshop, NTV Broadcasting Company, Russia; Blown Away: 16x50 min., drama/thriller/mystery, LEGIO FELIX, NTV Broadcasting Company, Russia; Paper Pusher: S1-2 36x48 min., crime/drama, 3X Media, NTV Broadcasting Company, Russia.

“NTV is the biggest crime- and action-drama producer in Russia, and this catalog has been updated to include over 400 hours of new series. Our great new strategy and creative leadership lifted the channel to be number two in nationwide ratings. Our dramas and thrillers frequently rise to the number one spot in prime time. Our digital presence keeps growing as well: NTV’s YouTube channel has had over 8 billion views online since its inception in 2008.

From humorous, bright and action-packed series to dark, suspense-filled dramas, all of our projects tell universally appealing and relevant stories—see for yourself.”

—Corporate Communications

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Red Arrow Studios International ADDRESS: Medienallee 7, 85774 Unterföhring, Germany TELEPHONE: (49-89) 9507-7303 WEBSITE: redarrowstudios.com/international PRESIDENT: Bo Stehmeier SENIOR VP, GLOBAL SALES: Tim Gerhartz EXECUTIVE VP, ACQUISITIONS & CONTENT INVESTMENT: Alex Fraser CONTACT: sales@redarrowstudios.com PROGRAMS: Married at First Sight: 60 min. eps., factual entertainment/reality, Snowman Productions, DR1/DR3, Denmark; Old People’s Home for 4 Year Olds: 60 min. eps., factual entertainment/reality, CPL Productions, Channel 4, U.K.; DIY Masters: 120 min. eps., factual entertainment/reality, Tower Productions, SAT.1, Germany; Balls to Dare: 45 min. eps., entertainment/game show, Redseven Entertainment, ProSieben, Germany; A League of Their Own: 45 min. eps., entertainment/game show, CPL Productions, Sky One, U.K.; Renovate Don’t Relocate: 45 min. eps., factual entertainment/ home improvement, Outline Productions, UKTV, U.K.; Buying Blind: 45 min. eps., factual entertainment/home improvement, Kinetic Content, Bravo, U.S.A.; Block Out: 30 min. eps., entertainment/game show, Nippon TV & Red Arrow Studios, Channel 7, Thailand; Galileo: 30 min. eps., factual/science & technology, ProSieben Television, ProSieben, Germany; My Man Can: 45 min. eps., entertainment/game show, Redseven Entertainment, SAT.1, Germany.

“Red Arrow Studios International is a world-leading TV distributor of scripted, formats and factual shows from a global network of in-house production companies, outstanding third-party producers and digital-content partners.

With offices in Munich, London and Los Angeles, 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 the film distributor Gravitas Ventures. Red Arrow Studios is a ProSiebenSat.1 Media company, one of Europe’s leading media groups.”

—Corporate Communications

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Viacom International Studios ADDRESS: 1515 Broadway, New York, NY 10036, U.S.A. WEBSITE: b2b.viacom.com HEAD, FORMATS: Laura Burrell CONTACT: laura.burrell@vimn.com PROGRAMS: America’s Most Musical Family: 60 min. eps., studio competition show, Intellectual Property Corporation, Nickelodeon, U.S.A.; Gods of the Game: 30 min. eps., entertainment, Mad Monk, Comedy Central, U.K.; Ex on the Peak: 60 min. eps., reality, Purveyors of Pop, MTV, U.S.A.; Revenge Prank: 60 min. eps., studio entertainment, Gobstopper, MTV, U.S.A.; Finding Prince Charming: 60 min. eps., dating/reality, Brian Graden Company, Logo, U.S.A.; Top Elf: 60 min. eps., game show, all3media, Nickelodeon, U.S.A.; 5 Mistakes That Caught a Killer: 60 min. eps., crime/factual, Viacom International Studios UK, Channel 5, U.K.; The Story of the Songs: 60 min. eps., factual entertainment, Viacom International Studios UK, Channel 5, U.K.

“Viacom International Studios (VIS) is the umbrella brand for all of ViacomCBS Networks International (VCNI) content production and distribution activities outside of the U.S. Within VIS, the content sales group is responsible for all international program licensing, format and coproduction activities across its diverse portfolio of entertainment brands.

With a rich history in reality, competition, comedy, factual and studio entertainment, our formats are loud, innovative and often groundbreaking. Quality and creativity are at the heart of all our productions, ensuring that the content resonates with local audiences around the world.”

—Laura Burrell, Head, Formats

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