TV Real MIPCOM/October 2023

TVRE AL

Distribution Strategies / Lifestyle Shows / NHU’s Jonny Keeling / Screenings Festival / Bertie Gregory

Ricardo Seguin Guise Publisher

Mansha Daswani Editor-in-Chief

Anna Carugati Editor-at-Large

Kristin Brzoznowski

Executive Editor

Jamie Stalcup

Alexa Alfano

Associate Editors

David Diehl

Production & Design Director

Simon Weaver

Online Director

Dana Mattison

Sales & Marketing Director

Genovick Acevedo

Sales & Marketing Manager

Daphne Menard Bookkeeper

Theory of Evolution

Delivering the MacTaggart Lecture at Edinburgh this year, documentary filmmaker Louis Theroux called out an “atmosphere of anxiety” in the content business and urged those in the audience to amp up the creative risk-taking.

“We need television that is confrontational, surprising and upsetting,” Theroux said in his speech, titled The Risk of Not Taking Risks. “We serve social justice best when we aim to make television that reaches people and engages them. Take risks. Sail close to the wind. Do that thoughtfully, and you can do almost anything in television. Expect the highest values from TV as you would from any art form.”

While speaking to the support he has long received from the BBC, “there have been changes in the broader culture,” Theroux stated. “We are, I’m happy to say, more thoughtful about representation, about who gets to tell what story, about power and privilege, about the need not to wantonly give offense. I am fully signed up to that agenda. But I wonder if there is something else going on as well. That the very laudable aims of not giving offense have created an atmosphere of anxiety that sometimes leads to less confident, less morally complex filmmaking. And that the precepts of sensitivity have come into conflict with the words inscribed into the walls of Broadcasting House, attributed to George Orwell: ‘If liberty means anything at all, it means the right to tell people what they do not want to hear.’ And that as a result, programs about extremists and sex workers and pedophiles might be harder to get commissioned.”

CONTENTS

FEATURES SURVIVAL GUIDE

From tapping into AVOD opportunities to exploring new financing mechanisms, leading distributors share how they are navigating the factual business today.

THE GOOD LIFE

A look at the innovation happening across the lifestyle content space, from new twists on travel shows to the latest in home reno.

GETTING REAL

Unique access, stunning visuals, stranger-than-fiction stories and brand-new perspectives on rarely seen and well-known scenic vistas can be found across the highlights in our latest edition of the TV Real Screenings Festival.

Ricardo Seguin Guise President

Anna Carugati Executive

VP

Mansha Daswani

Associate Publisher & VP of Strategic

Development

TV Real

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While Theroux was addressing the anxiety in the commissioning landscape, there’s a bit of anxiety in the distribution business, too. FAST has become a new thing you need to, at some point, come to grips with. Restructures at the streamers have meant new people to connect with and new needs to be aware of. Securing access to content increasingly requires early involvement and some level of risk-taking; making a financial investment in a project before you know if you’ll be able to recoup it. As we heard from leading distributors across this edition, dealing with those developments requires a fair bit of innovation.

As for innovation happening on the production side, we hear from Jonny Keeling, who heads up BBC Studios’ storied Natural History Unit (NHU), and the popular on-screen talent and National Geographic filmmaker Bertie Gregory on how they are bringing the wonders of nature to audiences across the globe in pioneering new ways. Mansha Daswani

INTERVIEWS

BBC Studios NHU’s Jonny Keeling

Bertie Gregory

Albatross World Sales

Along Ancient Tracks / The Secret Network of Animals / Webs & Wings—Nature’s Tiny Ballet

Along Ancient Tracks is a featured title among Albatross World Sales’ slate for MIPCOM. The multipart series showcases some of the last regions in Europe where trains remain the primary connection to the outside world. Their ancient tracks wind through untouched and wild locations that can only be discovered from the air, on foot or through the train window. The Secret Network of Animals, exploring the complex system of knowledge that unites all living creatures and predates the internet, and Webs & Wings—Nature’s Tiny Ballet, centering on the busy world of bugs, are also among the company’s top titles. “Our titles range from blue-chip wildlife to environmental or escapist stories to gripping historical facts,” says Lisa Anna Schelhas, sales director for Western Europe, the Nordics, the Americas and Australia.

APT Worldwide

Ocean Invaders / The U-Boat and the Rocket / Curious Traveler

Ocean Invaders and The U-Boat and the Rocket are among the top program highlights from APT Worldwide. Ocean Invaders is a documentary about the lionfish, an invasive and unstoppable species wreaking havoc in oceans across the globe. The U-Boat and the Rocket, a new World War II documentary, delves deep into both military strategy and scientific research, exploring the human beings behind the history as well. Another program highlight, Curious Traveler, visits Switzerland, Estonia, the Netherlands, Poland, France and more. The title “is a fan favorite,” says Judy Barlow, VP of international sales. “Award-winning host and travel journalist Christine van Blokland dives deep into the curious histories and traditions of each place she visits. ”

Autentic Distribution

Hot Roads—The World’s Most Dangerous Roads III / Golden Kingdom: The Normans in Sicily / Scotland—The New Wild Autentic Distribution’s Hot Roads—The World’s Most Dangerous Roads III showcases treacherous roads around the world. Golden Kingdom: The Normans in Sicily details the era when Normans ruled Sicily. “The high-quality reenactments make history entertaining and easily understandable for a wide audience,” says Mirjam Strasser, head of sales and acquisitions. “It doesn’t hurt that Sicily is a popular tourist destination known around the world.” Scotland—The New Wild offers a portrait of Scotland’s natural world and the resilience of its wildlife despite climate change and “creates awareness by shining a light on the ecological issues of our time,” Strasser says. “With all the negative news surrounding climate change and environmental crises, viewers always appreciate programs that give us all a little hope.”

“This year, we present our best documentaries in nature, science and destinations.”

—Lisa Anna Schelhas

Scotland—The New Wild

Curious Traveler

“APT Worldwide is bringing a strong slate of new history, science, nature, travel and lifestyle programs to MIPCOM.”

—Judy Barlow

“As always, we are excited to bring a brand-new slate of engaging and entertaining documentaries to MIPCOM.”

—Mirjam Strasser

BossaNova Media

The Flight Attendant Murders / Adventure Gold Diggers / Ottoman Empire By Train

Coming out of BossaNova Media’s 2022 Development Day, The Flight Attendant Murders unravels the stories of four flight attendants who were brutally killed during the ’70s and ’80s in Texas. Though someone was found culpable, three subsequent murders took place while he was incarcerated. “It is a gruesome story yet very stylishly produced,” says Tatiana Grinkevich, head of sales. “Also, who doesn’t like a good whodunit story?” Adventure Gold Diggers follows five mining teams as they search for gold in some of the most remote areas of Australia. The show “has it all: big gold, big wins, big jeopardy and big characters,” Grinkevich says. In Ottoman Empire By Train, professor Alice Roberts takes to the railways to reveal the turbulent history of the Ottoman Empire, which spanned three continents and lasted 600 years.

Curiosity

Connections with James Burke / Blindspots / Living with Lions

Curiosity is presenting Connections with James Burke, in which the eponymous historian follows threads of knowledge through time to demonstrate how seemingly unrelated ideas can build a path to the present. In Blindspots, blind host and filmmaker James Rath travels the world to explore accessibility, technology and what would be needed for those with disabilities to travel without barriers. Living with Lions sees Tanzanian filmmaker and conservationist Erica Rugabandana and South African writer and director Muneera Sallies unite to provide a new perspective on the big cats. This program “presents this world-famous wildlife sanctum from an African perspective,” says Jay Sodha, VP of business development and partnerships.

MBC

Meeting You / Marital Nightmare / Empty House Project

Recent hits among MBC’s factual programs include the VR documentary series Meeting You, the marriage talk show Marital Nightmare and the social-experiment reality show Empty House Project Meeting You integrates VR technology into a documentary-style series to create a digital version of a person who has passed. “Ever since the production of the first episode in early 2020, Meeting You has delivered a miraculous and heartfelt experience through the collaboration of documentary and VR technology,” says Jean Hur, director of format sales and co-development. Marital Nightmare invites a Korean psychiatrist to provide practical advice to married couples in crisis. In Empty House Project, four celebrities and an architect transform a complex of empty and abandoned houses into a brand-new space to spur a social ripple effect.

“These shows are a result of our ambitions to contribute to and support creative development, financing and good old-fashioned distribution.”

—Tatiana Grinkevich

Meeting You

Blindspots

Adventure Gold Diggers

“We are increasingly adding value to our partners worldwide and can adapt to your business needs and objectives.”

—Jay Sodha

NHK Enterprises

Deep Ocean: Red Sea / Amazing Dinoworld 2 / Nature’s Hidden Miracles

The NHK Enterprises highlight Deep Ocean: Red Sea invites viewers to a deep-sea world of adventure. The project is a coproduction with ZDF and ARTE, in collaboration with the National Center for Wildlife of the Kingdom of Saudi Arabia and OceanX Media. Amazing Dinoworld 2, meanwhile, was done in co-production with Bonne Pioche, Curiosity and Autentic. “The series is highly acclaimed for its state-of-the-art CGI technology and the dramatic arc of the dino stories,” says Yuko Fukuyama, producer for international co-productions at NHK. Curiosity and NHK also created augmented reality content around the project, targeted to a younger audience. Nature’s Hidden Miracles, in co-production with Curiosity, Autentic and Rai, takes a deep dive into the surprising abilities of plants, insects and microbes.

Paramount Global Content Distribution

Crush / Deadlocked: How America Shaped the Supreme Court / All Up in the Biz

Part of Paramount Global Content Distribution’s factual slate, Crush retells the events of the tragic Korean Halloween stampede in 2022 through eye-witness accounts of a group of international friends. “It is a powerful two-part docuseries that gets up close to the terrifying scenes while also exploring themes of governmental negligence that led to the disaster,” says Lauren Marriott, senior VP of content partnerships and brand strategy. Deadlocked: How America Shaped the Supreme Court examines the role the Supreme Court plays in the ongoing fight for civil liberties in the context of America’s shifting political landscape, “a topic that intrigues viewers from around the world and is never far from global headlines,” Marriott says. All Up in the Biz shines a spotlight on the life and rhymes of Biz Markie.

Passion Distribution

Into the Congo with Ben Fogle / The Impossible Journey / NFT: WTF?

Into the Congo with Ben Fogle , on offer from Passion Distribu tion, takes viewers into the heart of Africa, exploring the length and breadth of the Republic of the Congo. The Impossible Journey celebrates the human spirit through Mexi can explorer David Liaño González’s audacious quest: a 7,000-meter ascent from a 40-meter underwater free-dive to the top of the highest mountain in the Americas. “Incredible endeavors and extreme endurance are forever captivating,” says Nick Tanner, director of sales and co-production. “This thrilling documentary delivers heart-in-mouth adventure, emotion and drive and the grandeur of South America.” NFT: WTF? examines the crypto world of digital art and NFTs (nonfungible tokens). “With striking production values, this is an enthralling dive into a brave new digital world,” Tanner says.

“These premium documentaries reflect our dedication to captivating, thought-provoking content.”

—Nick Tanner

Into the Congo with Ben Fogle

All Up in the Biz

Amazing Dinoworld 2

“We are bringing a diverse slate of unscripted titles to MIPCOM and have everything from award-winning feature documentaries to outrageous reality series—with a whole range in between.”

—Lauren Marriott

“Finding ways to continue providing viewers with high-quality content is a key priority for us.”

—Yuko Fukuyama

PBS International

The American Buffalo / Concorde: The True Story / Elon Musk’s Twitter Takeover

The American Buffalo, a new four-hour series from Ken Burns, takes viewers on a journey through more than 10,000 years of North American history to trace the journey of the buffalo and its significance to the Indigenous people. Ringing in as a top highlight from PBS International, the series “is not only the story of America’s national mammal but the story of its near-catastrophic extinction and how it was saved from this fate,” says Joe Barrett, VP of global sales. More highlights from the company include Concorde: The True Story , uncovering what happened in the lethal Cold War race for aerial supremacy, and Elon Musk’s Twitter Takeover, chronicling the billionaire’s often fraught relationship with the social media platform he acquired.

TVF International

The World’s Most Remote Hotels / The Pill Revolution / The Negotiators International

The World’s Most Remote Hotels tops TVF International’s MIPCOM slate. The co-production with Pronto Prod visits hotels that are far from the comforts of modern civilization. Luxury takes on a new meaning in this series, as guests are encouraged to sleep under the stars and respect the ways of the wild. “ The World’s Most Remote Hotels is a truly international look at a modern need for peace and quiet in an age of overstimulation,” says Poppy McAlister, the head of TVF International. The Pill Revolution and The Negotiators International are also featured titles, with the former taking a deep dive into medicine’s gender gap in relation to contraception methods, while the latter looks at four high-stakes negotiations in Nigeria, the Philippines, Mexico and the U.S.

ZDF Studios

Namibia’s Natural Wonders / Mega Building Collection / Ancient Apocalypse

Leading the ZDF Studios unscripted slate, Namibia’s Natural Wonders goes into the heart of the African country to explore its arid savannas, flowing rivers and rugged Atlantic coastlines. Mega Building Collection provides insights into groundbreaking technology and engineering achievements, including the Pont de Normandie, one of the largest cablestayed bridges in Europe. Ancient Apocalypse tells the stories of lost civilizations. Every continent “has places where crumbling stones tell the stories of fallen civilizations, whether they are buried under the Earth, hidden in the shade of the jungle or in the chaos of a lost city,” says Ralf Rückauer, VP Unscripted. “They all raise the same questions: How could something so gigantic simply vanish, and why do civilizations collapse?”

“PBS International is proud to offer factual films that bring contemporary relevancy to the local, global and historical stories we tell.”

—Joe Barrett

Namibia’s Natural Wonders

The World’s Most Remote Hotels

The American Buffalo

“TVF International’s specialist approach to distribution has earned us a place within the media landscape as the leading independent factual distributor in the U.K.”

—Poppy McAlister

“We cordially invite everybody with good ideas to talk to us at ZDF Studios or to our production companies about investments and distribution.”

—Ralf Rückauer

BossaNova Media’s Ottoman Empire

By Train.

Guide

The headaches in the scripted business tend to garner the most headlines—be it the strikes in the U.S., escalating tal ent costs or belt-tightening at the stream ers. But those operating in the factual distribution business face sea changes of their own, not immune to strategy shifts and complex rights negotiations. At the same time, consolidation continues to play out in the background, adding a further complication to the always-present challenge of securing access to highquality content.

As for what’s happening in the streaming landscape, “‘strategy shifts’ is indeed one very diplomatic way of putting it,” quips Stefanie Fischer, managing director of distribution at Off the Fence. “Over the past year, there has been massive restructuring in these organizations, including their personnel, which means many valuable relationships are instantly lost. We all know that some of these projects take weeks and months of discussion, and we have found ourselves in search of new contacts, building up new relationships in an environment that often still holds a lot of uncertainty, which leads to very careful decision-making and that can frustrate the process hugely.”

“We can feel the impact and uncertainty in the market,” adds Anne Olzmann, managing director of Albatross World

Sales. “It’s challenging to keep up with all the mergers, acquisitions and overall shifts. Unfortunately, there have been many layoffs in the industry and also a num

ber with business partners we had long-standing relationships with, so we have to adapt to this new market situation. What’s new today may be old tomorrow—it all moves quickly.”

And with that comes the need for agility. Where once companies were learning to adapt to streamers wanting to take all rights globally, they are now evolving quickly to meet the need for more flexible models.

“We have ‘leaned into’ the global streamers more as they are way more co-pro friendly,” notes Paul Heaney, founder and CEO of BossaNova Media. “If they’re more open to our model, we are very happy to include them in this world, as long as we can supply the projects that fit their briefs. We’re finding that the producers are already developing in this area: short, impactful crime, noisy singles and unusual reality or access.”

Mirjam Strasser, head of sales and acquisitions at Autentic, has also seen the global streamers be “more open to windowing and carving out territories than before, which is also a good thing. On the other hand, however, they increasingly focus on local productions and themes that are locally relevant for their users, making programs harder to sell internationally.”

From tapping into AVOD opportunities to exploring new financing mechanisms, leading distributors share with Mansha Daswani how they are navigating the factual business today.

The rights landscape, meanwhile, continues to evolve as SVOD operators roll out ad-supported tiers, broadcasters expand their on-demand services and everyone eyes the FAST space for even more monetization opportunities.

“We need to be very careful as many SVOD streamers now also seriously consider AVOD and FAST rights, which can collide with broadcaster catch-up and holdbacks,” explains Albatross’s Olzmann. “If the limits between SVOD and AVOD vanish, rights and budget negotiations will become even more challenging for all parties involved.”

ON THE FAST TRACK

AVOD is an increasingly important part of a show’s overall distribution life cycle, “and these days not just for the long tail of revenue they have traditionally represented,” says Off the Fence’s Fischer. “Of course, now, with the market expanding exponentially, there is an endless sea of platforms and channels. You really need to partner with the right ones, but when you do, it helps with overall revenue targets and can additionally help with getting projects over the line to greenlight if that last bit of financing is still missing. Also, the beauty of FAST channels is that they can go micro-niche as they don’t need to serve a broad audience.”

Albatross has several AVOD and FAST clients, working across flat-fee, minimum guarantees and revenue-shares, Olzmann explains. “2022 was the first year with significant revenues coming from these rights. In general, it is still all about volume and package deals, as well as titles with a longer shelf life, which have mostly made their TV runs or are in their second or third VOD window. This is great for genres such as wildlife and travel, which have a longer life span than science and current affairs programs.”

Strasser says that AVOD is beginning to have a material contribution to the revenues at Autentic, both in content sales and advertising revenues. “We have launched five of

our own FAST channels within the last ten months, and we have plans for further expansion of our FAST activities. These channels are a great way to extend the life cycle of our back catalog programs.”

PBS International, the commercial arm of American public broadcaster PBS, is also eyeing the FAST opportunity.

“There has been somewhat of a subscription fatigue happening,” says Joe Barrett, VP of sales. “About half of online users are doing both SVOD and FAST. It just gives them another option to alleviate this subscription fatigue. We’re leaning into that cautiously, but we intend to grow our FAST business by expanding our partners and channel offerings.”

SLATE SAVVY

Having a library is one thing; having a steady flow of product to sell is another. And given the competitive landscape, distributors are boarding projects as early as possible.

“Think of the earliest possible time, and it’s earlier than that,” quips Heaney at BossaNova. “Of course, we have to be early—and now so early that some of us are even helping to shape the projects in a sensitive way so we have global appeal but don’t influence too much and make it an editorial blancmange.”

BossaNova works with its producer clients and partners in a range of ways, Heaney explains. “It’s our day job, so funding allowing, we would help get a well-loved project up and running very early, not just by preselling but by cash-flowing. This is the new world. The risk profile is greater, but this is how the market has changed.”

Off the Fence similarly touts its financing skills, both as a producer and distributor. “We can come in at any stage, purely as a distributor to secure financing or as a co-producer to develop a project further,” Fischer says. “We work very closely together on making a project as globally appealing as possible while securing the right partners. Having bases in London, Bristol, Amsterdam

PBS International represents docs made for U.S. pubcaster PBS, including Native America

and Toronto means we have an international perspective as part of our culture.”

As for the assistance it provides producers, Fischer notes: “The makeup of our business covers all aspects of the creation and delivery of content—and in that way, we’re super flexible, we can come on board any time, in any way, since we’re an integrated studio with expertise on all levels of development, production, financing and distribution and can go beyond what a ‘traditional’ broadcaster can offer in terms of co-development, co-production, co-finance and distribution advances. Naturally, we can also help find co-financing partners, presales and co-productions.”

Albatross can also come in at different stages of a project, as long as there is “some financing in place,” Olzmann says, “and it should be very clear what editorial angle the film will have. Depending on the finance gap, we can work out a detailed strategy for each project individually.”

Strasser says that Autentic is firmly focused on expanding its network of producer relationships, especially in Canada, the U.S., Italy, France and parts of Asia.

“We also partner with producers as early as the project stage to help them find the right partners for getting a program financed,” Strasser says. “We connect producers with international broadcasters that we think could be a good match, and they might not be in touch yet. In addition, we are actively increasing our investments in factual productions by co-financing, providing gap-financing solutions and offering minimum guarantees as part of our commitment to continuously strengthen our content portfolio.”

COLLABORATIVE SPIN

In the funding jigsaw, co-productions remain a vital tool. “It is a dominant solution to the funding puzzle, but there are other ways,” says BossaNova’s Heaney. “Co-pros allow you a reasonably and comparatively quick way to greenlight a series by using various members of the coalition of the willing.”

For U.S. pubcaster PBS, co-pros have been key, Barrett notes. “We do engage in production financing and co-pros pretty regularly. We’re public TV, so we need to be creative in our financing.”

Off the Fence’s Fischer says co-pros are of “utmost importance” today. “It’s hardly the case that you see a fully funded commission, which means we increasingly rely on coproductions or at least co-financing to get the projects to greenlight.”

Autentic’s Strasser, meanwhile, calls copros “essential. A lot of content would simply not get produced without co-production partnerships. We are lucky to be able to rely on established relationships with co-production partners that we frequently work with. Coproductions help us to reduce our investment risks, ultimately allowing us to get involved in more projects. Our team is good at understanding factual viewing habits and preferences, and we love to play in the linear channel market alongside VOD opportunities.

Autentic is working with the Sri Lankan producer Aegle Creations on Sri Lanka—Leopards of Yala.

Natural history is a core focus at Albatross World Sales with new titles like Webs & Wings—Nature’s Tiny Ballet

Especially in the digital channel business, production volume is key when it comes to playing a meaningful role.”

While the old-school co-production model is still in vogue, industry experts are watching to see what new funding models emerge and will be waiting to see how the business as a whole adjusts to what may be a protracted shutdown of scripted production in the U.S.

“It is still too early to predict the actual impact, though we feel a shift in buyers’ approach to documentaries,” says Olzmann at Albatross. “More streamers are trying out wildlife or travel content, and they seem to be more open to international content. I believe we will mostly see the change next year when the strike will be felt on-screen; at the moment, they still have a lot of content to go through, but this will change.”

TECTONIC SHIFTS

“The current circumstances have amplified the already high demand for documentaries and non-scripted content even further, creating an even greater surge in interest,” says Autentic’s Strasser. “Broadcasters and platforms need to fill their schedules, and when scripted shows can’t be produced and they run out of content, factual is the first thing they turn to.”

“In the U.S., we’re seeing major channels acquiring our long-running brands for prime-time slots,” says Heaney at BossaNova.

“While we haven’t seen an immediate impact, we foresee a non-scripted world where scripted talent will be more available to help package shows, be that on- or off-screen,” observes Off the Fence’s Fischer. “Our collaboration with Dash Pictures for Billy and Dom Eat the World , for example, is a six-part series featuring talent more often associated with the big screen: actors Billy Boyd and Dominic Monaghan ( The Lord of the Rings ).

We are very keen to see more talent of this caliber work with us.”

As for audience interest, the cores of wildlife, true crime and history never go out of style, but viewers are seeking new perspectives.

“We’re still mainly focusing on our strong core genres and keeping an eye on how the requirements are changing, e.g., less blue-chip, more diverse, hitting a younger audience and talent,” Fischer says.

GOING GREEN

“Recently, we have witnessed a growing interest in popular science programs that engage and resonate with a broad audience,” observes Strasser at Autentic. “Global viewers seek programs that demystify current scientific developments and discoveries in an accessible and engaging way. We have also seen an increasing interest across broadcasters and platforms in green productions and storytelling. As the impacts of climate change become increasingly pronounced, programs about our climate and environment are something that speaks to audiences around the world. We are always looking out for documentaries that address environmental issues.”

Olzmann at Albatross is keeping an eye on the overall trend toward “more innovative and emotionally engaging storytelling techniques, leveraging the latest filmmaking technology and approaches to provide unique and compelling viewing experiences for audiences. Especially when it comes to wildlife films, we observe a focus on the intimate and emotional stories of individual animals rather than just presenting a broad overview of a particular species or habitat. It could be described as character-driven, though it must always remain scientifically accurate, which can be tricky. But it seems to work well with the audience and can be a great tool to get the viewer emotionally engaged.”

Actors Dominic Monaghan and Billy Boyd travel across the globe in Off the Fence’s Billy and Dom Eat the World

GRB Media Ranch’s Down to Earth with Zac Efron

Lifestyle is one of those evergreen programming categories that no matter what’s happening in the marketplace, there’s always an appetite for it. The genre did get a bit of a boost from the pandemic—with people staying home more and thinking about sprucing up their spaces or wanting to travel vicariously—and the flourishing FAST market is driving demand even further.

“Lifestyle is a ubiquitous genre that is always in style,” says Sophie Ferron, co-principal of the newly formed GRB Media Ranch, which combines the distribution activities of GRB Studios and Media Ranch. “It bridges escapism with realistic and relatable scenarios and, by nature, is scalable and adaptable to audiences worldwide. We get to dream of travel to magical locations while also hunkering down to take notes on a myriad of DIY projects.”

Post-pandemic, she says, there’s been an uptick in the need for more travel-based content, as audiences are using the information while they research their upcoming adventures. Down to Earth with Zac Efron , which features actor Zac Efron and superfoods expert Darin Olien traveling the world in search of the secrets to good health, a long life and a higher level of eco-consciousness, fits the bill.

“U.K. broadcasters, in particular, are moving toward lifestyle content, as it’s what their audiences want,” says Sean Wheatley, head of acquisitions at Passion Distribution. “We also see international buyers looking for lifestyle series, possibly because we all need some escapism at the moment.”

He, too, points to travel as an in-demand genre, noting that broadcasters love a good celebrity travelogue, and adds to that list property shows.

“A lot of the content we are doing well with falls somewhere between factual and travel,” Wheatley says. “The Cotswolds with Pam Ayres and Miriam and Alan: Lost in Scotland are both more factual than lifestyle but lean into the travel genre. This sort of show works on mainstream channels rather than just, for example, lifestyle-only cable channels.”

Judy Barlow, VP of international sales at APT Worldwide, also sees a lean-in toward hybrid styles, such as travel and food.

She further highlights hobby programs, such as The Joy of Painting, needlework and gardening content.

“For the lifestyle content we represent, it’s very important that the hosts are not just hired presenters,” Barlow adds. “They need to be interesting, entertaining and also have a real expertise in their field. If they are genuine and have a passion for their subject, they stand out to any audience.”

Of course, it’s great to have a household name leading the series, says GRB Media Ranch’s Ferron, “but we’ve found that programs can still be successful as long as the hosts are authentic. Audiences want to feel confident in their guides.”

“For it to travel, you want to go high end, such as World’s Most Expensive Cruise, or picturesque—there’s not much room for anything else,” says Passion’s Wheatley. “This is the same in the home market. Viewers want to see the inside of the Savoy Hotel, or they want a dramatic Scottish coastline as the sun rises.

“In terms of personalities, it’s about them being engaging and warm on-screen,” he continues. “It’s rare to get talent that’s genuinely internationally known for these series, even if they’re well known in the U.K. We’ve found it helps if the presenter has some purpose, they know and love the place, they’re from there or have some connection. It gives the viewer a reason to trust them.”

For property and home renovation, Wheatley adds, an issue with U.K. content is that homes there tend to be relatively modest in size. “We’re a densely populated island nation, so even quite expensive houses can look small onscreen. That doesn’t mean it won’t sell, but you have to factor that in. Aspirational content, people buying homes abroad or embarking on an ambitious renovation or new build, always has more appeal.”

What’s popular now, though, is a marked evolution from where the genre started, he says. “Traditional lifestyle shows were often instructional, focusing on how-to guides. Today’s lifestyle programming is more experiential, emphasizing personal experiences, storytelling and immersive journeys. Viewers are drawn to real-life stories and relatable experiences rather than just step-by-step instructions.”

A look at the innovation happening across the lifestyle content space, from new twists on travel shows to the latest in home reno. By Kristin Brzoznowski

Another innovation evolving the genre, according to Wheatley, is tech. For example, Your Home Made Perfect makes use of VR to bring designs to life.

TURN OF THE WHEEL

“Lifestyle shows were almost always didactic—from cooking to renovating,” says GRB Media Ranch’s Ferron. “Along the way, producers and viewers came to understand that the inherent value of the content isn’t always the instruction; it’s also the aspirational aspect, driving the programs to push the limits in terms of ingredients, locations or makeovers. We watch now not only for the takeaway information; we watch because we want the entire ‘lifestyle’ that the program is showcasing.”

She has seen, as of late, a lot of lifestyle series blended with reality, such as real estate shows that dive deep into the housing market while also exploring the drama among the agents.

For GRB Media Ranch, Ferron says that demand for lifestyle programming is coming from traditional broadcast and FAST and AVOD partners these days. “Streamers are still leaning toward reality, especially reality dating and competition,” she adds.

“The streamers are all about ‘lean-in’ programming,” Ferron continues, “and while there’s a great place for that, most of our lifestyle content can also be considered fabulous ‘lean-out’ programming, as well as being very brand-friendly, making it a perfect fit for FAST and AVOD.”

APT Worldwide’s Barlow, though, says there’s been “quite a lot” of interest in lifestyle from streamers and ondemand platforms. “There seems to be a big need to fill all those new channels, but also to fill the on-demand needs for traditional broadcasters.”

THE FAST LANE

Acknowledging that the genre is well suited to the FAST space, she says it “can be challenging to keep up with inventory demands. And while it’s where everyone seems to want to be, the revenue is not fully realized yet.”

“A lot of our traditional broadcast buyers are acquiring certain shows primarily for their AVOD platforms, as that’s where so many of their viewers are,” says Passion’s Wheatley.

“A lot of lifestyle content is very well suited to VOD, as it’s all about casual browsing, the audience spotting it and wanting to enter that world for a while,” he adds. “They get to know the show and come back to it.”

Passion is also looking at YouTube for new opportunities. “Our partner UpStream Media has just started a Find It, Fix It, Flog It channel, for which we have a fantastic archive of restoration content just from that one series,” Wheatley says.

The company is working with FAST channels in the U.S. and other territories in this area as well. “The great thing with FAST channels is that they love volume, and lifestyle often has volume,” says Wheatley. “We’ve got some fantastic older series we’re exploiting in this way.

“It’s a big growth area, and we’re looking at all opportunities, including working with our partners at UpStream Media,” he continues. “We’ve all seen some of the big players opening their own FAST channels in lifestyle, like Fre mantle with its dedicated Jamie Oliver channel. I think we’ll see more dedicated channels like this, using strong brands where there is a lot of volume.”

APT Worldwide is finding strong demand for hobby shows like The Joy of Painting with Bob Ross.

Jonny Keeling BBC Studios NHU

By Mansha Daswani

Jonny Keeling had been making wildlife programming for BBC Studios’ storied Natural History Unit (NHU) for more than 25 years when he was tapped to lead the unit in 2022. With a long list of credits that includes Seven Worlds, One Planet; Planet Earth ; and The Life of Mammals , Keeling is ensuring the NHU slate—which includes the upcoming Planet Earth III and Asia continues to inspire a love of the natural world among audiences worldwide. He talks to TV Real about the values instilled in all NHU productions, using CGI and other techniques to drive new forms of storytelling and the unit’s £1 million talent-development initiative.

TV REAL: Tell us about the mandate you wanted to put into place coming into the role of head of the NHU.

KEELING: Our mission at the NHU is to inspire people across the globe to love and understand the natural world and want to protect it. We do that in three ways, through three important pillars of the NHU. One is factual integrity. That’s the scientific rigor in which we do things. Emotional storytelling and impactful storytelling that has heart. And then the third thing would be that it’s original. Whatever ideas we’re doing, there’s originality and innovation; something new and distinct about it. We’re telling nice stories about the natural world with a healthy and happy team and inspiring the audience. That runs through everything we do.

TV REAL: You’re still making wonderful productions for the BBC, but talk to me about how you’re approaching third-party clients like Apple TV+.

KEELING: We watch the content the streamers put out and, of course, adapt to ensure we’re making content that will resonate with their audience and be fresh and new as well. If you are Apple, Discovery or Nat Geo, you’re buying into our natural history values. We’re tailoring them according to the client.

TV REAL: Your Apple TV+ slate includes Prehistoric Planet, featuring significant CGI use. What’s the approach toward CGI and special effects in NHU productions?

KEELING: It’s all about storytelling. That’s the most important thing. With CGI, we can show people things they’ve never seen before, like in the prehistoric world. It’s a tool for us to inspire awe and wonder, and it’s getting better and better.

TV REAL: What other tech advancements allow you to tell stories in new ways?

KEELING: In The Green Planet , we had a camera tech advancement that meant we could film plants like animals. It gave us a very different time frame. A tree, bush or flower has a very different time frame from a mouse or an elephant. To be able to capture that and speed things up and show a plant moving and behaving like an animal was an important advancement. On projects like Springwatch, we use AI with our cameras, camera traps and the footage coming in. It helps select when there’s been an animal going through the frame and what animal that is.

We also innovate in terms of on-screen talent. Big Cats 24/7, which is coming out next year, has brand-new onscreen contributors and presenters.

And new platforms; we’re making podcasts and short-form content. That’s what I love about the NHU. That unique range we get when we’re making content for many clients is creatively challenging, and we’re making them on very different platforms as well—everything from a five-second clip through to a ten-part series.

TV REAL: You announced a £1 million talent-development grant last year. Tell us about that initiative.

KEELING: In the past, we were going to countries filming something, coming back and then showing it on different channels within Europe and North America. We want to train people in those countries to tell stories. And show that footage back.

Project Songbird is for in-country training and in-country screenings. That’s just one of the things we’ve been doing regarding outreach. We have outreach for schools and colleges; students can come in, meet filmmakers and understand different skills and job titles. I grew up without television, so I didn’t even know there were jobs in television. We also partner with Creative Access to improve our representation, offscreen and on. We do things like the Festival of Nature.

When we start a project, I always say to the teams, you’ve got two jobs; you’re delivering your series—something that’s high-quality, high ambition, will make the audience happy, made by a healthy and happy team—but also you are growing someone’s career. You’re helping to support their career development. They have a responsibility to grow their careers, but we have a responsibility to support them.

TV REAL: You also make a lot of kids’ content at the NHU. Tell us about what’s guiding the strategy there.

KEELING: There are similarities—factual integrity, emotional storytelling, original and new. We’re doing a lot with Andy Day; he’s super creative. We’re working with Steve Backshall on Deadly Mission Shark. It takes kids from the U.K. to meet up with kids in the Caribbean. They’re learning to dive with sharks. I don’t know another company that could have managed that: kids traveling overseas, working on boats, working with sharks, all the health and safety. To deliver that series was exciting. We’ve been doing Steve and Aneeshwar Go Wild Aneeshwar Kunchala was on Britain’s Got Talent. We teamed him up with Steve Backshall. Steve is typically on CBBC but is now stepping onto CBeebies. It’s such a heartwarming show.

TV REAL: You’ve done follow-ups to several of your landmark productions. What’s the decision-making process behind making a Frozen Planet II?

KEELING: It was 16 years between Blue Planet and Blue Planet II. There have been so many species discovered and advancements, both in technology and science, in the oceans and our understanding of the ocean. We have Planet Earth III coming up shortly. I worked on that series for three years. I’m watching as it goes through those final processes. The stories we found are new and original. How the world has changed even in ten years is quite dramatic. Those stories are important to tell. So it isn’t, Hey, we should just do Planet Earth III because we feel like it. Is there good momentum there? Are there stories we need to tell? Is there a new way of telling them?

TV REAL: What other projects are you working on now that you’re particularly excited about?

KEELING: We have Mammals. I worked on the original series of that 20 years ago. There are mammals in there I’ve never

heard of. And I did a PhD in wildlife! And there’s behavior I’ve never seen! We also have Asia next year. We’ve focused on Africa a couple of times. We’ve done South America. We’ve never made one about Asia, yet it’s the biggest continent, with more wildlife and more superlatives in terms of the highest mountains, the biggest sand deserts and the deepest oceans. There are so many incredible animal stories. And it’s a continent that is changing fast. We have The Americas for NBCU niversal, with Tom Hanks narrating. We have some non-landmark series, like Big Little Journeys, which is a wonderful, innovative way of telling stories. We have two characters we follow through on their amazing journeys. They are characters that you don’t usually get to see, like chameleons and pangolins. It’s following their journeys as they’re on a mission to do something, like mate or find food. They’re lovely, well-told stories.

TV REAL: You mentioned traveling less and tapping into local film crews as part of your talent-development initiatives. Is that also helping to reduce your carbon footprint so you can make these shows more sustainable?

KEELING: It completely has. We made Seven Worlds, One Planet a few years back. We had met some up-and-coming camera people from Australia. We took a chance on them and bought them a camera and lens, and they ended up filming two-thirds of that episode. We didn’t fly them and the cameras or our crews and cameras back and forth to Australia. But we have to take a chance on those people. It’s worth it. We’re not using helicopters as much. We’re using drones, which are brilliant. There are lots of ways in which we’ve mitigated our carbon use. We’re incredibly conscious of that.

TV REAL: Is there anything else you want to share about NHU’s priorities?

KEELING: I’ve worked here for 27 years. The creative mix, in terms of the sorts of programs that are made and the different clients we make for, is really exciting. The people are really lovely. And it has a sense of purpose. That’s why I love working here. And the chance to reach hundreds of millions of people around the globe. The Planet Earths and Blue Planets reach about a billion people. That’s incredible. For us to be trusted makers of those shows, we’re honored to be able to do that.

Co-produced with PBS, NHU’s Big Little Journeys was made for BBC Two and iPlayer.

GETTING REAL

Unique access, stunning visuals, stranger-than-fiction stories and brand-new perspectives on rarely seen and well-known scenic vistas can be found across the highlights in our latest edition of the TV Real Screenings Festival.

ZDF Studios is playing to all of its non-scripted strengths with its collection for the TV Real Screenings Festival, highlighting a mix of science and knowledge, history and wildlife projects. Two blue-chip natural history titles are on offer: the two-part Namibia’s Natural Wonders and wildlife filmmaker Thomas Behrend’s four-episode Seas in Motion . Of Seas in Motion , Ralf Rückauer, VP Unscripted, remarks: “Innovative drone and underwater camera technology provide an intimate insight into the lives of rare sea creatures, including behavior never before captured on film.” History’s Greatest Myths questions long-

ZDF Studios’ Seas in Motion

held beliefs about iconic historical figures and events. Also on the history slate, a new season of Ancient Apocalypse will continue its explorations of lost civilizations. ZDF Studios is also showcasing a new slate of episodes in its Mega Building Collection , each focusing on a specific technical achievement. “What drives scientists, inventors and engineers to push the limits of what is possible? These innovators continually strive to design and develop technology, machines and buildings that help us defy the challenges of space and time,” Rückauer says.

All3Media International, similarly, is showcasing a slate of titles that speak to the depths of its factual catalog. On the factualentertainment front, Drone Cops delivers “a unique, multi-layered view of highoctane frontline policing,” says Rachel Job, senior VP of non-scripted, while Get ting Filthy Rich looks at the world of online sex work with Olivia Attwood. A third season of Remark able Places to Eat is “perfect escapist viewing,” says Job of the show, hosted by Fred Sirieix. Also on the lifestyle end, Inside Royal Kensington & Chelsea lets audiences see “inside how the other half live,” Job says. “Viewers can

BossaNova Media’s Motorway Hotel

All3Media International’s Drone Cops

All3Media International’s Celebrity Race Across the World TV REAL

gasp at homes worth over £20 million, enter into the most exclusive of private members clubs, take a table at Princess Diana’s favorite restaurants and discover where Prince Philip had his stag do.” Celebrity Race Across the World, a new take on Studio Lambert’s global travel format, is also available. All3Media International is also rolling out a new crime documentary, London Bridge: Facing Terror , about the three men who stopped the attacks at London Bridge in 2019. “The talented team at Raw has crafted an intelligent, powerful, important documentary, asking huge moral questions about heroism, redemption and finding humanity and hope in the aftermath of horrific tragedy,” Job says.

BossaNova Media’s Leave No Trace

prospect for gold. “With its breathtaking landscapes, authentic characters and heart-pounding challenges, this show is a must-watch for thrill-seekers and adventure enthusiasts,” says Holly Cowdery, the company’s head of sales. Motorway Hotel, meanwhile, takes viewers inside a family-run hotel near Staffordshire’s M6. “This series blends heartwarming family dynamics, high-stress events and quirky local characters,” Cowdery says. BossaNova is also touting a new travel show, Leave No Trace, which “combines luxury travel with a profound commitment to ecotourism and sustainability,” Cowdery says. Travel meets history in Ottoman Empire By Train, fronted by Professor Alice Roberts. “It unveils the empire’s epic scale and turbulent history,” Cowdery says. “Following the success of Ancient Egypt By Train, we are excited to share this unmissable new series.”

Bertie Gregory

By Kristin Brzoznowski

Bertie Gregory is a BAFTA Award-winning cinematographer a nd National Geographic Explorer. Now 30 years old, he was one of the youngest BAFTA winners ever, recognized for his work on David Attenborough’s Seven Worlds, One Planet. Gregory embarked on a new adventure for the Nat Geo series Animals Up Close with Bertie Gregory , which takes viewers across the globe to Antarctica, Africa, South America and Asia as he tracks down animals, capturing their lives like never before. The show features behind-thescenes moments Gregory and his team faced while adapting to unpredictable wildlife in remote environments. Gregory tells TV Real about charting the places to go and the animals to showcase, as well as the technology that enables him and the crew to get up close and personal with subjects. He also shares what drives his passion for exploring and bringing these types of stories to the screen.

TV REAL: How did Animals Up Close come about?

GREGORY: Animals Up Close is a hybrid series; it’s part wildlife and the action and adventure of the animals, and part behind the scenes, with the action and adventure of our struggles to keep up with the animals as they do amazing things.

TV REAL: How did you chart the places you would go and the animals you’d showcase?

GREGORY: We have six episodes, and in each, we track down a different animal. In my previous project on Disney+, Epic Adventures, the key thing that we found was when we were going in search of these big wildlife gatherings, the most engaging, intimate and exciting way to tell those stories was through the eyes of an individual animal or an individual animal family, instead of focusing on the whole gathering. That’s what we’ve leaned into on Animals Up Close

My favorite episode, for example, is all about pumas in Patagonia. We didn’t just film any puma; we went to film one puma in particular. I first met her four years ago when she was a tiny little cub, a little fluff ball of loveliness, completely reliant on her mother for survival. She was pretty helpless. Four years on, we went to see how she was doing, and I’m very pleased to say not only has she survived, which is huge for a puma—the survival chances of a cub are not very high—but she’s now a powerful boss mom with two of her own cubs. She took us on a physical and emotional rollercoaster. Physical because we’d follow her. Sometimes she’d walk 15 miles in a day, up and down big mountains, and we’d have a lot of camera equipment with us. And emotional because I’ve known her since she was a cub, and she would get into all kinds of trouble, like defending her cubs from a big male puma that was twice her body weight and wanted to kill her cubs. When she went hunting to try to feed the cubs, she’d be taking on really challenging prey and having these gladiator fights to the death. It’s amazing how an animal could be so powerful and lethal when it comes to feeding, but then the same animal is so loving, nurturing and protective of her cubs.

TV REAL: Tell me about some of the technology that has enabled you to get up close and personal.

GREGORY: We want to tell these stories on the animals’ terms. The well-being of the animals is our number one priority. We’re using new technology to allow us to do that. For our underwater episodes, there are a couple that had marine elements. In the case of the “Devil Ray Islands” episode, we went to Raja Ampat, which is an archipelago in Indonesia. The devil ray is like a secretive, speedy relative of the manta ray; they’re very shy, and they don’t come around often. So, it’s key to spend the maximum amount of time underwater as possible and to be very quiet while we’re waiting. On land, that’s easy; you sit in a tent and hang out. Underwater, it’s different. Humans can’t breathe like fish, so instead of using traditional scuba diving equipment, which makes bubbles and limits you to maybe an hour underwater at a time, we used a militarygrade technology called a rebreather. It was originally developed for the U.S. Navy. When you breathe out, instead of making bubbles, it captures that breath and

sends it down a tube into a bag on your back. There’s a scrubber that absorbs the carbon dioxide from that breath. You have a little tank that adds a bit of oxygen, and then the unit feeds you that breath back via another tube. You can recycle your air and stay down for hours at a time. We would do dives that would last longer than three hours. Over the series, we spent more than 200 hours underwater and, critically, we were silent because we were not making bubbles. So, all of the marine life that usually would be a few feet away or more suddenly is all really close. And that’s key when you’re limited by the visibility of the water.

TV REAL: I’m in awe of the patience this work requires.

GREGORY: It’s a common misconception that you need to be patient to make wildlife films. You need two other “Ps” that are actually more important: passion and persistence. I’m not a particularly patient person, but I’m very persistent.

TV REAL: What drives your passion for exploring and bringing these types of stories to the screen?

GREGORY: I’m a wildlife filmmaker, but first and foremost, I’m a wildlife enthusiast. The best part of my job is that I get to hang out with cool animals. Obviously, I have to film them because it’s my job. But I’m perfectly happy just hanging out with wild animals. That’s where my drive and passion come from. I’m interested in the animals first, and the camera technology and all that stuff second.

TV REAL: How do you view television as a vehicle for educating in a way that’s accessible to all audiences?

GREGORY: Courteney Monroe [president of National Geographic Global Television Networks] famously said, “Smart and entertaining don’t have to be mutually exclusive.” That has stayed with me. If you want to tell a story that is educational or has a really important message, that

doesn’t mean it has to be independent of entertainment. Our job is to make those stories entertaining. For me, a really important part of this series is setting the animal behavior that we’re seeing in a bigger environmental context. It’s no secret that humans are not doing very nice things to the planet. It’s important that we have that as part of the show. What I’m most proud of with the series is that we also celebrate the conservation success stories. Our news cycle is so dark and depressing; we need some good news. If we celebrate the wins, that’s going to inspire us to do more.

A good example is the devil ray episode, where we used the rebreathers. We were diving in the Misool Marine Reserve. About 20 years ago, this area was just getting trashed. Lots of overfishing. There was lots of dynamite fishing, where you drop bombs onto the coral reef, so it blows up all the fish, and you get a very quick, easy catch. There was lots of shark finning for shark fin soup. The local community came together and said, this is not good; it’s not good for the wildlife, and it’s not good for us people. So, they set up the Misool Marine Reserve. Twenty years on, it’s one of the best examples of not just ocean conservation but conservation anywhere in the world. The biomass (the weight of living things) has gone up in that time period by 600 percent in some places. There are now 25 times more sharks inside the protected area than outside. This is what happens when you give nature the chance. Not only are these now some of the best coral reefs in the world (if not the best), but people are also benefiting. There’s all the tourism money from people coming from overseas to see these reefs. Also, all those fish that are thriving inside the protected area don’t stay there; they migrate in and out all the time. The local community and the fishermen outside of it are also reaping the rewards. It’s a blueprint for how we should be protecting the oceans. People win, and wildlife wins; it’s a no-brainer.

Animals Up Close with Bertie Gregory arrived on Disney+ in September.

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