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WWW.TVREAL.WS

OCTOBER 2020 EDITION

Crime Docs / Food Shows / Terra Mater’s Walter Köhler & Sabine Holzer Trafficked’s Mariana van Zeller

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CONTENTS

Facing the Facts

FEATURES 18 WHODUNIT?

The true-crime genre is evolving amid the changing needs of broadcasters, platforms and audiences.

The level of new content available in the non-scripted space has already resumed to pre-COVID-19 levels, according to recent Ampere Analysis data.

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Associate Editor David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Senior Sales & Marketing Manager Genovick Acevedo Sales & Marketing Coordinator Andrea Moreno Business Affairs Manager

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Real ©2020 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvreal.ws

This segment of the content business is indeed well versed in dealing with real-life issues, so it makes sense that it has been the fastest to return to “normal,” whatever normal is these days. It’s also been incredibly adept at adapting to new circumstances, be it setting up celebrity-focused series filmed remotely from stars’ homes or rushing fast-turnaround docs on the seemingly unending consequences of the pandemic. In the wake of the Black Lives Matter movement this summer, there has also been a broader reckoning in the business about diversity; about whose stories are told and how; about who is making the decisions and who is being exploited in the process. The cancellation of the police reality shows Cops and Live PD this summer began a muchneeded conversation about how interactions between law enforcement and civilians are recorded, edited and used. As I found out in my discussions with several distributors of true-crime shows for a feature in this edition of TV Real, the genre as a whole is evolving, employing new narrative techniques, shifting the focus from the perpetrators to the victims, finding unique perspectives on famously fiendish deeds and uncovering brand-new stories of injustice. This issue also checks in on the food content space, which is enjoying a boom now that everyone has decided, during quarantine, that they want to be better home cooks. The genre, which includes elements of travel and adventure, is also allowing audiences a bit of escapism as getting on a plane and going someplace you’ve never been before feels like a distant luxury right now. Terra Mater Factual Studios didn’t let COVID-19 shutdowns slow down its prolific output of high-end docs, working with on-the-ground teams across the globe on several of its titles. We hear from Walter Köhler and Sabine Holzer about how the outfit has committed to protecting Earth’s natural wonders, from the stories it chooses to tell to its methods of production. This issue also includes a Q&A with journalist Mariana van Zeller about her new National Geographic show Trafficked. Borrowing from scripted production techniques, the show, about black markets, feels at times like a fast-paced thriller (I kept expecting Charlize Theron to show up as a committed investigative reporter uncovering criminal syndicates worldwide). It’s no wonder broadcasters and platforms are looking to docs to fill their drama gaps. —Mansha Daswani

GET DAILY NEWS ON FACTUAL PROGRAMMING

18 24 HUNGRY FOR MORE

The appeal of culinary shows is soaring among casual foodies and practiced home chefs alike.

24 INTERVIEWS

Terra Mater’s Walter Köhler & Sabine Holzer

Trafficked’s Mariana van Zeller

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A+E Networks International Surviving Jeffrey Epstein / History’s Greatest Mysteries / The Cars That Made the World Leading A+E Networks International’s slate, Surviving Jeffrey Epstein explains his sex-trafficking network through the voices of survivors and details the role of Ghislaine Maxwell. “Her arrest, which we cover, was incredibly important to all the survivors, and as her trial in July 2021 approaches, this story is sure to stay in the press for a long time to come,” says Robyn Hurd, VP of international content sales for EMEA. Following the success of The Cars That Made America comes The Cars That Made the World, which dramatizes the launches of Toyota, Mercedes, Porsche and Rolls Royce. Presented by Laurence Fishburne, there’s the new documentary strand History’s Greatest Mysteries. “Here at A+E, we understand the insatiable appetite of the global audience for a well-told mystery,” says Hurd.

The Cars That Made the World

“Throughout the COVID-19 crisis, A+E has been fortunate enough to stay in production, which means we are bringing hundreds of hours of brand-new premium factual content to the market.” —Robyn Hurd

Albatross World Sales On Thin Ice / Grizzly Encounters / Banquet of the Beasts Climate change’s effects on the Russian Arctic are explored in the Albatross World Sales highlight On Thin Ice. Grizzly Encounters gets up close to grizzly bears, showing their gruesome and sometimes quirky life from a bear’s point of view. “We realize that in many ways they are just like us with their different personalities and that life as a bear revolves around similar essentials as our own,” says Anne Olzmann, managing director. Uncovering the science behind decomposition, Banquet of the Beasts shows an often-ignored side of ecosystems. “With its many images of maggots, ﬂies and dead animals, it is the perfect programming for the holiday of the macabre: Halloween,” says Olzmann. She adds: “Our brand-new content includes blue-chip wildlife programs, high-end science titles and inspiring travel and lifestyle series.”

On Thin Ice

“We are privileged to be able to offer brand-new, high-quality documentary ﬁlms from the awardwinning production companies we represent.” —Anne Olzmann

Autentic Distribution Hope and Fear: How Pandemics Changed the World / The Animal Within / Love Around the World Autentic Distribution is presenting a diverse set of highlights that includes a historical three-parter, an indie two-parter with love at its center and a six-part natural-history series. Hope and Fear: How Pandemics Changed the World examines the history of pandemics. As the world is currently coping with COVID-19, Mirjam Strasser, head of sales and acquisitions, says, “Today, unfortunately, this topic has a shockingly high actuality.” In Love Around the World, a young married couple turns their honeymoon into an exploration of love that spans the globe. The Animal Within reveals the special features animals have developed to help them survive and how humankind can learn from them. “It’s a great science show that combines amazing animal shots with scientiﬁc knowledge,” says Strasser.

“Autentic brings terriﬁc television to the world’s living rooms.” —Mirjam Strasser Love Around the World

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Edges Unknown

Beyond Rights Pooch Perfect / Sex Unlimited / Edges Unknown Hosted by Rebel Wilson, Pooch Perfect follows professional pet stylists and their assistants as they compete in themed challenges. The series is “great fun, highly visual, has big reveals and is packed full of cute pups, amazing characters–both human and canine–as well as useful breed information and top tips for dog owners,” says Kate Llewellyn-Jones, CEO of Beyond Rights. Sex Unlimited is comprised of a series of ﬁlms that delve into the unconventional side of sex. In the survival genre, Edges Unknown sees survival experts Brett Rogers and Cliff Quinn travel back in time to take on tough jobs of past eras. “The main premise for this show–has modern man gone too soft?–is deﬁnitely one that will resonate with buyers,” says Llewellyn-Jones.

“We are very excited about the future and invite people to get in touch to ﬁnd out more.” —Kate Llewellyn-Jones

Blue Ant International Stormborn / Hotel Paranormal / After the Wildfires Ewan McGregor narrates Stormborn, a three-part series on Blue Ant International’s slate that explores remote wildlife in the northern regions of Scotland, Norway and Iceland. “It’s one of several nature and wildlife titles on our slate that draw in audiences with a popular celebrity voice, while also providing breathtaking blue-chip cinematographic viewpoints, and in this series, never-before-seen animal behavior through storyled drama,” says Ludo Dufour, senior VP of international coproductions and sales at Blue Ant International. Hotel Paranormal zeroes in on creepy, otherworldly encounters in hotels, highway motels and short-term rentals, narrated by “Ghostbuster” Dan Aykroyd. A one-off special documentary, After the Wildfires was shot last year amid Australia’s worst fire season in recorded history.

“Blue Ant International has a growing slate of over 4,000 hours of premium content.”

After the Wildﬁres

—Ludo Dufour

Escapade Media Back to Nature / BIG vs SMALL / Devolution: A Devo Theory Back to Nature, which Escapade Media offers as both a series and format, explores the need to reconnect with the land around us for our physical, emotional and spiritual well-being. “The timely creation of this series speaks to our global need to care and connect with the world around us but also highlights the beneﬁts of taking this action,” says Natalie Lawley, managing director. The documentary BIG vs SMALL is billed as a modern-day fairy tale, stretching from monster waves in Portugal to the dark stillness of a far-north frozen Finnish lake. It tells the story of a female champion big wave surfer who seeks support from another female champion freediver. The band Devo and their de-evolution theory take the spotlight in the doc Devolution: A Devo Theory.

Devolution: A Devo Theory

“All our projects are in line with Escapade’s mission to present unique and fresh content that resonates with global audiences.” —Natalie Lawley 198 WORLD SCREEN 10/20

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Living by Design

GRB Studios Living by Design / Dons of Disco / On the Case One of GRB Studios’ highlights this fall, Dons of Disco is a documentary about a lip-syncing scandal involving the Italo disco star Den Harrow. A design series featuring brother and sister duo Jake and Jazz Smollett, Living by Design sees them transform living, work and play spaces. There’s also the tenth season of the true-crime series On the Case, which explores murder mysteries through those closest to the case while examining the forensic evidence. “We understand that audiences—now more than ever due to the COVID-19 situation—are seeking ever more captivating, quality programming with compelling storylines, which is exactly what we deliver,” says Hud Woodle, GRB Studios’ executive VP of international sales and operations.

“Our portfolio is comprised of nearly 4,000 hours of premium and varied content that offers something for everyone around the world.” —Hud Woodle I Am Invincible

Insight TV Epic Exploring: Going Local / I Am Invincible / Modern Day Gladiators On offer from Insight TV, Epic Exploring: Going Local features YouTube stars Josh and Cody, urban explorers with millions of fans and followers, as they explore abandoned sites, buildings and locations around the world to unlock their buried histories and mysteries. I Am Invincible follows the veterans participating in the Invictus Games, the Olympic-style competition for disabled war veterans, founded and championed by Prince Harry. “This is an extraordinary look into what these individuals have overcome and how sport and these games have helped them recover physically, mentally and spiritually,” says Jack Solesbury, head of content and format sales at Insight TV. The docuseries Modern Day Gladiators is about the phenomenon known as esports and the gamers who have risen through the ranks to reach rock-star status.

“Each one of these titles is unique and yet universally appealing and topical.” —Jack Solesbury

Rive Gauche Television The Killer Truth / Disaster Déjà Vu / The Beer Jesus from America Each episode of Rive Gauche Television’s The Killer Truth tells the story of a single murder through the eyes of ﬁve people most intimately connected to the case. “The stories are told in a fresh, unique way, with multiple perspectives from the key individuals connected to the case,” says Marine Ksadzhikyan, COO and executive VP of sales. Meanwhile, Disaster Déjà Vu is an action-packed series that showcases cities that have been hit by the craziest disasters—not once, but twice. The documentary The Beer Jesus from America follows a man who is risking millions on a dream to become the ﬁrst American to build, own and operate a craft beer brewery in Europe. “The Beer Jesus from America is a fun, lighthearted feature doc that is sure to inspire and motivate more than the avid beer drinkers around the world,” Ksadzhikyan says.

The Beer Jesus from America

“Rive Gauche is committed to expanding its catalog by broadening out our genre offerings and continuing to bring the highest-quality content to the market.” —Marine Ksadzhikyan 200 WORLD SCREEN 10/20

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Ruptly Documentary Collection Journalism on Trial / Exporting Homophobia / Dyatlov Group’s Journal: The Last Page Ruptly Documentary Collection features Journalism on Trial, which explores an alternative perspective on the U.K. media freedoms in the context of the charges against Julian Assange. Alongside it is Exporting Homophobia, another humancentric story, this one unpacking Africa’s American evangelical networks and how far their adherents will go to spread their anti-LGBTQ+ rhetoric across the globe. “We are pleased to present our ﬁrst-ever Ruptly-produced documentary to the market: the award-winning Dyatlov Group’s Journal: The Last Page,” says Olivia Cole, development manager for Ruptly Documentary Collection. The doc revisits the notorious Soviet-era mystery of the Dyatlov Pass incident, in which nine student hikers perished under unexplained circumstances in the Ural Mountains.

Journalism on Trial

Terra Mater Factual Studios

—Sabine Holzer

The Alps

The Return of the Bears

ZDF Enterprises Anthropocene—The Rise of Humans / Frontlines / The Return of the Bears From ZDF Enterprises’ ZDFE.unscripted catalog, the three-part series Anthropocene—The Rise of Humans puts the spotlight on the human impact and thirst for innovation and technology that turned us into the most inﬂuential life form on Earth. The portfolio also features Frontlines, which takes audiences deep into the heart of battleﬁeld action to reveal the turning points in some of the most decisive confrontations in modern wars. The documentary The Return of the Bears looks at a controversial rewilding program in Europe that scientists hope will have a positive impact on the ecosystem. “In a neverending effort to acquire, co-produce and sell the best programs around the world, ZDFE.unscripted’s aim is to enhance the genre and deliver best-quality factual programs,” says Ralf Rückauer, VP of ZDFE.unscripted.

—Olivia Cole

“Despite the pandemic, we’re very much on time with our productions, thanks to our fantastic partners adjusting accordingly and taking all necessary safety measures and precautions.”

The Secret Whale / The Alps / Magic Moments—The Spell of Nature On offer from Terra Mater Factual Studios, The Secret Whale is a natural-history thriller focused on the importance of whales to our planet’s ecosystem. With exclusive insights into Russian archives, stories about illegal fishing fleets, cover-ups and secret deals emerge. The Alps is a two-part documentary that explores the most inhospitable regions of the upper mountains and examines how conditions in the Alps change when the spring crocus push through the melting snows. Sabine Holzer, head of specialist factual at Terra Mater Factual Studios, describes Magic Moments—The Spell of Nature as a “tour de force of magical moments that nature presents us with. From natural fireworks to mysterious ghost bears roaming the forests, unexpected symbiotic partnerships and encounters, let us convince you that our world out there is pure magic!”

“Ruptly prides itself on a catalog of documentaries with a uniquely inquisitive approach, providing important insight into less-explored stories and under-represented communities.”

“These programs use the latest scientiﬁc knowledge, provide deep insights and tell fact-based stories in an entertaining manner.” —Ralf Rückauer 202 WORLD SCREEN 10/20

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Rive Gauche’s Homicide’s Elite.

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Whodunit? True-crime series remain a staple on schedules across the world, but the genre is evolving amid the changing needs of broadcasters, platforms and audiences. By Mansha Daswani he cancellation of two giant franchises in the true-crime space—Cops on Paramount Network and Live PD on A&E—sent shockwaves through the factual business this summer. The moves came as people across the U.S.—and, for that matter, worldwide—were protesting acts of police brutality, sparked by the killing of George Floyd, an unarmed Black man, in May. Cops had been on the air since the late 1980s, moving from FOX to Spike TV to Paramount and becoming arguably the best-known crime TV franchise in the world. Live PD, meanwhile, had been one of A&E’s biggest hits since its 2016 launch, and among the top-rated shows on basic cable in the U.S. Whether there’s room—or appetite—for either show to return is unclear, but it is apparent that in light of recent events, police reality shows are far too polarizing to serve as primetime entertainment, at least in the U.S. And there is indeed a broader conversation within the factual business as a whole about the true-crime genre and how it can be continually refreshed to meet the expectations of viewers. “The needs of the broadcasters and streamers are evolving with the understanding and sensitivity of the audiences they cater to,” observes Ludo Dufour, the senior VP of international co-productions and sales at Blue Ant International. “We’re going to see more complex stories. It’s no longer going to be just good and evil. It will have to be much more three-dimensional, deeper, more personal. Rather than just looking at the crime itself, we’re going to see shows that look at the societal impact of those crimes and the emotional burden they created. Or the cultural reverberations of those big iconic crimes. Police corruption is also something that will be addressed more and more in those shows, and the reform of the criminal justice system and prisons. Maybe also shows about combating wrongful convictions.”

Jon Kramer, the CEO of Rive Gauche Television, also sees a need to make sure “crime stories are diverse. We’ve actually been trying to diversify our crime offerings over the past few years,” referencing the addition of Homicide’s Elite to the company’s slate as an example. The genre also continues to evolve since The Jinx and Making a Murderer, on HBO and Netﬂix, respectively, upped the game on audience expectations. Those titles “led to a massive thirst for high-quality true-crime docs that cover unique crimes,” says Liz Soriano, the VP of international programming at A+E Networks. Stefanie Fischer, the managing director of sales at Off the Fence, also sees true crime moving from the fringes of late night into prime time and daytime, with “families sometimes sitting around and watching together. Therefore, we ﬁnd that although cases need to be explosive and somewhat wellknown, they also need to be very story-driven and more open for wider audiences at different times of the day. We’re also seeing crime emerging beyond just murder stories to fraud and other scandals, such as Fyre Festival and Jeffrey Epstein.”

CRIME PAYS Whatever form true crime takes, it remains an incredibly popular programming genre, ﬁlling weekly slots and entire networks. “Everyone loves a good mystery, and that’s what these true-crime shows are at heart,” says Hud Woodle, the executive VP of international sales and operations at GRB Studios. “Frankly, it also feels good, perhaps, these days more than ever, to see the bad guy (or gal) get caught!” “There is a high level of demand because the genre is very diverse,” adds Ralf Rückauer, the VP of ZDFE.unscripted at ZDF Enterprises. “True crime can be made like ZDF does with Crime Watch XY or as documentaries or factual entertainment from different narrative angles: the perspective of the victims, the perpetrators, celebrities involved, famous cases, etc. There

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need to tell these stories with new angles. Blue Ant-owned Saloon Media, for example, produced the Amazon original Ted Bundy: Falling for a Killer. “He’s a serial killer who everyone in the world knows about,” Dufour says. “But rather than glamorizing him and once again giving him a voice, there was a conscious decision from the producers not to let him speak, but to have his story told by the women who were his victims and are still alive.”

PUMP UP THE VOLUME

A+E Networks’ Surviving Jeffrey Epstein puts its focus on hearing from the victims of the convicted sex offender.

While true-crime event specials and series are very much in vogue, the staple of the business remains long-running shows that can become brands in and of themselves. A+E Networks’ Soriano cites the company’s “megafranchises” such as The First 48. “We have over 390 hours of the original show alone available in our catalog, and we’ve continued to grow The First 48 brand to keep it fresh over the years via spinoffs. This year we’re coming to market with 20 hours of a new spinoff called The First 48: Critical Minutes, which we’re confident this built-in audience will love. We’re also bringing back an old series titled I Survived with a fresh new spin—it’s now I Survived a Crime, and features victims telling the stories of their neardeath experiences; how they overcame what would have been the last moment of their lives. Each story is accentuated with actual footage of the victims fighting back.” Rive Gauche boasts such offerings as Homicide Hunter, Sins & Secrets, Evil Twins and Ice Cold Killers. “These are the types of series that we consider ‘bread-and-butter’ programming that keeps going on and on because the audience can’t get enough,” Kramer says. “We also have diversified and acquired crime series that are different from the traditional Discovery-type crime shows—which are terrific, but sometimes you have to vary it up. We partnered on a show with CBS Reality in the U.K. called Trace of Evil, and it’s getting very high ratings. It’s in its third season and there are 78 episodes to date. I see this series becoming a longrunning brand.”

are so many possibilities for formats, production companies and broadcasters.” Crime Watch XY is one of ZDF Enterprises’ main highlights this fall. The show has run on the German pubcaster for more than five decades. In it, unsolved cases are reenacted and surveillance footage and other evidence presented before the home audience is asked to call or e-mail in potential leads. Crime Watch XY was adapted in the U.K. and has recently been optioned in France, Rückauer says. Crimes involving celebrities are also must-watch events, as evidenced by the tremendous success Lifetime had with its Surviving franchise, consisting of series on R. Kelly and Jeffrey Epstein. Surviving Jeffrey Epstein, a key international highlight for A+E Networks this fall, “features the survivors of his horrific crimes telling their own stories in their own voices,” says Soriano. “It also features interviews with those who were directly in Epstein’s orbit, giving our series the unique opportunity to uncover the complexity and scale of Epstein’s global sex-trafficking operation. We also cover the arrest of Ghislaine Maxwell, whose trial is pending for July 2021, which is an element the other Epstein projects on the market do not have.” While Epstein is still very much in the news, there are several projects on the market at present that explore historical crimes. Off the Fence, for example, is showcasing Who Killed Malcolm X?, an Emmy-nominated Netflix original that “investigates the perplexing details surrounding the assassination of the civil rights leader, bringing startling new evidence to light,” says Loren Syer-Willoughby, head of acquisitions at the distribution outfit. Blue Ant, meanwhile, is unveiling Fred & Rose West: House of Horrors, which was broadcast on ITV to mark the 25th anniversary of the gruesome discovery of bodies buried under the house of the now notorious serial-killing couple. “It provides lots of new details about the role of Rose within the couple,” says Dufour. “The host of the show, Trevor McDonald, also reported on the story 25 years ago, so he brings an interesting perspective.” Famous criminals continue to fascinate, Dufour reports, but there is a The first season of Blue Ant’s Prison explored the inside of a men’s prison in the U.K. 206 WORLD SCREEN 10/20

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on the Force. The former, which delivers exclusive insider access to a men’s prison, is “both a crime show and a high-impact documentary that has the potential to inﬂuence legislation,” says Dufour. Meanwhile, of Women on the Force, Dufour says there are “lessons to be learned from this show that could be implemented in real life.”

STREAM ON

ZDF Enterprises is offering the international market its longrunning series Crime Watch XY.

Off the Fence is showcasing two titles that recently came out of their Netflix holdbacks: the previously mentioned Who Killed Malcolm X? and Murder Mountain. According to Fischer, there are clear differences in the needs of channels and streamers in the true-crime space. “Generally speaking, linear broadcasters prefer cases that are closed, and the story can unravel with a beginning, middle and end rather than an investigation into a cold case. Streamers, however, are slightly more open to different styles, so there’s more creativity and flexibility for this genre. Celebrities can attract the attention of most broadVolume is important for broadcasters who air true-crime casters regardless of the genre, but especially if they’ve shows, Kramer adds, “Volume allows a broadcaster the best done something illegal!” chance to give the series some time to get the audience to A+E Networks’ Soriano has a different take, observing, “On catch on. Homicide Hunter was a good example of this.” linear television, we’ve found that viewers want those preHowever, in catering to the loyal base of true-crime viewmium, blue-chip true-crime stories. What we call sensaers (mostly women 25 to 54, Kramer says), it’s important to tional crime—scandalous, true cautionary-tale types of showcase a varied mix. “If you are programming crime, you programming—has moved towards streaming. When you put have to mix it up and keep offering it.” all platforms together, you can see how all of the crime [shows] In speaking to the breadth of Rive Gauche’s slate, Kramer can coexist.” references Very Scary People, “an in-depth way of looking at Whatever the platform, the most critical element is finding famous serial killers,” and the more recent The Killer Truth, in which each episode looks at a murder case from the perspeca way to stand out. tive of five people who are close to it. Soriano mentions the need for a “unique lens” and refGRB Studios, meanwhile, has ten seasons of ID’s On the erences the approach employed at A+E Networks that Case to offer international buyers, as well as flagship shows has seen true-crime stories covered in both scripted and such as Executed, For My Man and It Happened Here. non-scripted mediums. For example, the company slated At Blue Ant, See No Evil is up to six seasons of looking at a Beyond the Headlines companion doc to the Lifetime how CCTV camera footage has been used to solve crimes. TV movie Stolen by My Mother: The Kamiyah Mobley “It’s a long-running series with closed-ended episodes,” Story, produced under the Robin Roberts Presents label. In says Dufour. it, the famed journalist “was able to sit down with the But, echoing Kramer’s point about variety, Blue Ant is also real Mobley and others in her life. We have more Beyond offering up shorter-run productions such as Prison and Women the Headlines events, as well as plenty of projects with A-list talent and production companies, coming down the pipeline in the truecrime space.” The diversity in the genre speaks to its durability, says Fischer at Off the Fence. “It’s quite a versatile genre, so it can depend on the nature of the style, being either story- or character-driven or latenight gruesome cases.” “It always comes back to good storytelling,” concludes GRB’s Woodle. “The GRB lineup features over 900 hours of masterfully crafted crime stories, told in a way that keeps the audience glued to the screen, asking ‘Who done it?’ till the very end. Often, viewers will rewatch crime content even though they know how it ends, proving that nothing beats a great story.” GRB’s crime library includes Occult Crimes, which was produced for Canada’s Canal D. 208 WORLD SCREEN 10/20

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all3media internationalâ€™s Eddie Eats America.

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Hungry for

MORE The appeal of culinary shows is soaring among casual foodies and practiced home chefs alike. By Chelsea Regan

n the earliest days of the coronavirus pandemic, as lockdown measures were enacted in cities, states and countries across the planet, people headed to the kitchen. Not only was this collective embrace of the culinary a necessity, with dining out practically impossible and daily deliveries unsustainable, it was also a way to productively use the extra time spent at home— whether as a solo pursuit or one that could be shared with the whole family. Those who had long struggled to so much as boil an egg were preparing to get their hands dirty while honing the basics, and those already accustomed to whipping up tasty eats were eager to up their game with a range of new techniques and dishes. Of course, aside from providing instruction and inspiration, food shows entertain and can bring world cultures to the comfort— and safety—of your home.

QUARANTINE BITES “Two things people are doing now more than ever before is watching content and cooking,” says Chris Knight, the president and CEO at Gusto Worldwide Media, who notes that the cookery platform Gusto TV’s numbers are way up. “We’ve tapped into a zeitgeist; we’re in a sweet spot where entertainment meets necessity.” Boat Rocker Rights is seeing a similar taste for its many cooking shows. “Our clients are constantly sniffing out what’s new in the space,” says Natalie Vinet, VP of global sales for

factual at the company, which represents the likes of Mary’s Kitchen Crush with Mary Berg and Anna’s Occasions. Vinet, who believes it’s vital to have accessible and engaging hosts who can radiate their passion for food through the screen, adds: “I think that the COVID-19 situation has revived the more traditional-style cooking shows, particularly amateur cooking and instructional formats, and with more people staying at home, everyone is embracing their inner chef.” Escapade Media has seen an increase in the demand over the past nine months, according to Natalie Lawley, managing director. “This genre provides inspiring options for viewers to create new types of dishes or learn new skills during this difficult time, and who doesn’t want to be a better cook?” Stephen Driscoll, executive VP of EMEA sales at all3media international, says that while culinary titles have always been popular, buyers and their audiences have been looking for more home cooking inspiration and food shows with a travel element this year. He mentions the 15th season of the BBC Two series Great British Menu, which “tapped into the audiences’ need for an entertaining distraction from events outside and a celebration of great cuisine in a competitive but fun setting. Every season has a theme, and this year it was children’s literature and their authors. I suspect that families were spending a lot more time together this year, [making] that season really work well for the audience.”

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MasterChef Canada winner Mary Berg demonstrates her culinary skills in Mary’s Kitchen Crush, on offer from Boat Rocker Rights.

Like everyone else, celebrities, too, have found themselves fending for themselves in the kitchen more than usual, inspiring a raft of celebrity-led cookery shows ﬁlmed from within their own homes. On HBO Max, for instance, there’s the Selena Gomez-led Selena + Chef, which sees the singer and actress learning how to cook from a new esteemed chef in each episode. Gordon Ramsay, the star of Kitchen Nightmares; 24 Hours to Hell and Back; Uncharted; Gordon, Gino and Fred’s Road Trip and Hotel Hell, is “a global name who commands an audience in any market,” says all3media international’s Driscoll. “He has a global reputation and career engaging audiences everywhere. And every year, he and Studio Ramsay are looking at ways to bring something new to the audience that will stand out from the crowd.” Of course, not every company can have someone as famous around the world as Ramsay top-lining multiple series across their slate. And as far as Gusto’s Knight is concerned, star power is not the only way to strike a chord

with viewers—especially when among the main goals is reaching an international audience. “We designed Gusto, from the very ﬁrst day six years ago, to be a global brand,” says Knight. “If you look at our hosts, our content, there is tremendous cultural diversity. Our existence is based on celebrating global culture, so we have young, articulate, passionate millennial hosts from all over the world, speaking of love and passion and family.” These themes are proving to be particularly important with the global community trying to adjust to life during this pandemic. “These are incredibly challenging times, and food series of all types can offer the opportunity for families to come together over cooking,” says Escapade’s Lawley. “This is an activity that can be done in and around the home while also being a platform to provide care for neighbors that may be struggling. The creation of a meal not only provides nutrition but can also be the way in which we reach out to care for our wider communities.”

UNIVERSAL FLAVOR The evolving vertical of cooking programs offers something for everyone. “Some people just watch food shows for entertainment, knowing they will never cook what they see, and they gravitate toward the competition format,” says Boat Rocker’s Vinet. “However, others who are foodies and home cooks have their taste buds tickled by the more instructionalstyle series or those that celebrate the origins of food ﬂavor and food travel.” And amid COVID-19, those involved in food programming (and most other industries) are in search of new ways of appealing to consumers. “This could be with new formats that reﬂect how things have changed during the pandemic or

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Like a Chef, a series that recently wrapped ﬁlming. Gusto currently has in the works a new global fusion cuisine show called CombiNATION Plates. In it, chef-host Bianca Osbourne is aided by visual storytelling to show how cultures can be combined. The recipes feature combinations like Greek and Canadian cuisines and Chinese and Italian cuisines. Over at all3media international, Driscoll takes pride in the company’s offering of shows in the “travel/food/feats of strength” subcategory, such as Eddie Eats America, produced by North One TV for UKTV. “The producers certainly found a fresh and engaging host and format in which to bring someone new to the food and travel genre. It follows former World’s Strongest Man Eddie ‘The Beast’ Hall traveling across the U.S. and performing feats of strength while learning about local food hotspots and trying to win local food challenges. “We are very fortunate to work with some of the best producers around,” Driscoll adds. “They are constantly ﬁnding new and interesting ways to look at these subjects and engage an audience.”

TAKING FLIGHT

Escapade is showcasing Slice, fronted by popular food personality Adam Richman.

shows that explore how the restaurant industry is reinventing itself and how virtual and ghost kitchens can work in new show formats,” says Vinet. One subcategory that enjoys some difference of opinion among the surveyed execs is competition cooking series. Escapade’s Lawley finds that they can claim continued popularity across all media, while Gusto’s Knight isn’t confident that the category has what it takes to endure. “I think competition shows are dying,” he says, while conceding that the big shiny-floor shows will likely stick around because of their entertainment and high production values. “It’s the other competition shows that, as a genre, have pretty much run their course. Listen, when you have the words ‘Christmas’ and ‘wars’ in the title of your show, you know you’ve jumped the shark. The problem with those shows, of course, is that they have no shelf life. There’s no repeat viewing. You run out of things to compete about, and then it just becomes redundant.”

RECIPE REBOOTS Gusto prides itself on offering food and cooking programming for a new generation. “We’re reinventing the genre,” says Knight. “It’s not about the linear assembly of ingredients and the application of a heat source. If you watch our shows, even the ones in the studio, nobody ever mentions a quantity—a half a liter of this or a cup of that or a 350-degree oven. Nothing is ever talked about in terms of assembling the dish. What our talent talks about is joy and passion and love and culture and aromas and textures.” This ethos can be seen in Gusto titles like Flour Power, which continues to do well for the company, and Cook

The travel element in Eddie Eats America is an important one in food series. It’s “good for attracting an international audience, but the producer has to think outside the box to find a way to present that in new, engaging ways on-screen,” says Boat Rocker’s Vinet. “Late Nite Eats is a great example of this sort of show, which sees Jordan Andino traveling various cities to find the ultimate in after-hours cuisine.” “There’s an opportunity to live vicariously through the programming,” says Gusto’s Knight, who finds that these sorts of shows represent achievable luxuries. “In this time, when nobody can go anywhere and nobody can do anything, and everybody is deathly afraid and we have small bubbles, experiencing the world through food is an affordable luxury that pretty much anybody can avail themselves of.” Part of traveling—virtual or otherwise—is encountering local eats. And food shows are often able to be on the ground to give a look at how and what locals around the world are eating. At Escapade, Lawley says, “Sourcing our ingredients locally has become a huge part of our shows as well as being conscious about how ingredients are grown and sourced.” She adds: “We have especially looked for food varieties that have not been covered before.” Slice with Adam Richman, for example, “takes us all over the globe exploring how flatbreads and pizzas have become one of our most-loved food.” Boat Rocker’s Food Pop also covers popular foods consumed worldwide, showing how recipes change in each region or country. “From hot dogs to popcorn, from chocolate to tacos, the series highlights how these famous creations were born and evolved to what we know and how they impact our culture as inspiration for art, jewelry and even amusement parks,” says Vinet. Knight, who notes that Gusto shoots everything in 4K, further believes that a key separator when it comes to food programming, in these times or at any time, is that it can reach viewers on a physiological level: “It can make your pupils dilate, and your mouth water and your tummy rumble. It can make you hungry. And that’s a very powerful emotional connection with the viewer that you can’t get from virtually any other type of television.”

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TV REAL: Were any of your productions impacted as a result of the COVID-19 shutdown and subsequent travel restrictions? HOLZER: COVID-19 principally prevented us from traveling, but in the spring, we were lucky enough to have finished all the principal shooting for a couple of products, so we could go right into postproduction and editing. Also, I’m working on a lot of films with local teams—in the U.S., the U.K., South Africa. That works well. KÖHLER: We have a lot of green initiatives running at Terra Mater. One of these initiatives—which helped us a lot during lockdown—is the reduction of travel activity to keep CO2 emissions low. So, we’ve established quite a big network around the world, working with local teams who are in the place of the event, who have the best expertise in the region, and we just travel with directors and producers. [During COVID-19], contact with the teams was more or less virtual. It worked out. One of our big feature docs is expecting its last shot hopefully soon in Russia. We postponed the start of one production about primates—not because of traveling but because the whole shoot would have been harmful to the great apes we wanted to film in Africa. And we had to evacuate one team out of India. That was more or less where we were hit. TV REAL: The SVODs have seen their businesses grow during the pandemic. How is the proliferating digital landscape impacting your business? Are they creating opportunities for new kinds of stories to be told? HOLZER: The OTT platforms have been there since before the binge-watching and lockdown period. It’s not a surprise they grew subscriptions. We are working with all the different outlets for our productions, be it public broadcasters, pay-TV or OTT platforms. For us, they are great complementary outlets. We are developing our products for all of them.

Sabine Holzer & Walter Köhler

Terra Mater Factual Studios By Mansha Daswani

erra Mater Factual Studios doesn’t just make beautiful documentaries about the Earth’s natural wonders; the company, founded by Walter Köhler almost a decade ago, is actively working to protect the planet’s precious resources. From campaign-driven feature docs like Sea of Shadows and The Ivory Game to developing a green strategy that can be implemented at other production houses to a series of videos on its own YouTube channel, Terra Mater Factual Studios has made fighting the devastating effects of climate change a key part of its business model. In the process, it has become a well-respected fixture in the global documentary production sector with titles commissioned by and sold to free, pay and OTT platforms across the globe. Köhler, the company’s CEO, and Sabine Holzer, head of specialist factual, share with TV Real what’s new at the company and reflect on trends in the factual business.

KÖHLER: Especially on the feature-film side, which I’m handling, [the SVODs] are getting more and more important. We will see how cinema will compete. This will be a key issue in making these big films possible. At the moment, we are also experimenting with different types of storytelling. We just finished a film in co-production with our French friends Bonne Pioche called The Bastard King, which is about a lion hero. It’s made with real documentary footage but telling a fictionalized story, with some political backgrounds. We’ll see how this works. It will premiere on Canal+. We are [selling] the worldwide rights. I would not be surprised if some of the platforms would be interested in this new way of storytelling. TV REAL: Do you think COVID-19 has opened people’s eyes to what we are doing to the environment—and how we can change it?

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KÖHLER: My feeling is we have to develop much more awareness. At the moment, the world is just interested in a vaccine and not eliminating the reasons for this virus. My feeling is, our society is living a very unnatural life. The wet markets in China, the bushmeat trade in Africa, the industrialized animal farming we have in our Western-dominated civilization. This is the reason for COVID-19. If you do not fight that, the vaccine will maybe help against COVID-19, but the next disease is just around the corner. We have to harmonize our life toward nature; otherwise, we are doomed. TV REAL: How do you put these important messages of conservation in your storytelling so that these films can have a real-world impact? KÖHLER: On the feature doc front, when we do these big films like The Ivory Game or Sea of Shadows—which was nominated for a Primetime Emmy—there’s a political target area. When we start the project, we single out one political target we want to reach. With The Ivory Game, it was to help bring down the Chinese market for ivory, which we succeeded in, just two months after the film was released. It won at the Beijing International Film Festival and two months later, the Chinese administration publicized that they would stop every legal trade of ivory. On Sea of Shadows, we took a lot of initiatives to get the Mexican government working on that issue [the poaching of fish in the Sea of Cortez that is endangering vaquita porpoises]. And although it’s not solved, the situation is better than before, and we do hope they will find a solution to this complex environmental problem. This is what we try to do in these campaign-driven films. At the moment, we are also finishing a big project on ANWR [Arctic National Wildlife Refuge] and the attempts to legalize oil drilling there. We’re finishing our first IMAX movie [America’s Arctic]. There will be a television version where we show the audience through the beauty of the place how significant the threats are and how easily this natural treasure chest can be destroyed. Especially in Sabine’s department, we try to hint at what people can do to protect the beauty of nature through its own beauty. And since the fall of last year, we have a new, direct and immediate way to create awareness for endangered species or regions: our own Terra Mater YouTube channel, which has already reached more than 125,000 subscribers. Committed to our conviction that #terramatters, we create weekly videos about, for example, the origins of pandemics, the consequences of the sale of Alaska’s last wilderness, the deadly threat of ship strikes to whales or any other environment- and conservationrelated issues.

TV REAL: What are some of the other projects you’re working on that you’d like to talk about? HOLZER: For the fall season, we have quite a lot of ﬁlms coming up. One is a big international co-production on the European Alps, with partners all around Europe and PBS in the States. I have two ﬁlms on China: one is about Himalayan wildlife, starring the snow leopards, and the second production is showcasing the most beautiful animals of China. TV REAL: What else is coming up for Terra Mater? KÖHLER: Next year, we are ten years old. We will also publicize our green strategy. We hope that a lot of national and international production friends will find our recommendations appealing and try to help green the production business further and further. We need that. We are producing regulations for the whole production industry: how you should behave on set, how you should handle waste, what is the best way to reduce electricity, gas bills, how you can compensate for flights you have to take. Things like that give the industry perspective on how green a production can be. We are even going so far as to say by the end of the year, we will have our own CO2 calculator that you can pin down what the effect of the production is on the planet.

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Snow Leopards and Friends is among Terra Mater’s slate of new high-end wildlife productions.

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Mariana van Zeller

s you watch journalist Mariana van Zeller chase down a lead on the counterfeiting business in Peru or interview a masked con artist in Jamaica in the upcoming series Trafficked, it’s easy to feel like you’re screening a new Hollywood movie or edgy OTT thriller. The new National Geographic series— already renewed for a second season before its January 2021 premiere—takes audiences deep into black markets across the globe. It reveals how these underground trades work and offers some surprising insights into the people who are responsible for the illicit trade in money, drugs, weapons and more. The Portugueseborn Peabody Award-winning journalist has spent much of her career exploring the business of trafficking and its impact on the sellers, buyers and everyone else caught in the crosshairs. As she tells TV Real, the opportunity to do a series like Trafficked was a dream come true. By Mansha Daswani

TV REAL: How did the series come about? VAN ZELLER: I’ve been covering black markets and the underworld for over 15 years. It’s always been the type of reporting I was attracted to. When I was at Nat Geo working for Explorer as a correspondent, I kept pitching ideas about the underworld, because it’s what I’m passionate about. I ended up doing a couple: one was about a drug war in Mexico, the other about tunnels in Gaza that goods are trafficked into. I think [Nat Geo] liked those two stories and I went back to them and said, I want to do a show about this world, where in every single episode we try to penetrate one of these trafficking networks. They liked the idea, and within a few months, we were in production, which was incredible. It was a dream come true for me. I can’t think of a better place to do this for than Nat Geo. TV REAL: How did you come up with the initial list of the trafﬁcking networks you wanted to explore? VAN ZELLER: Choosing the topics is complicated. There are lots of things we are fascinated by, but we know it’s going to be almost impossible to penetrate. There were a lot of times we thought there was no way we’d be able to get the access we needed to tell the story from the inside. But we hired an incredible team of people and Nat Geo allowed us to spend months in preproduction on these stories. The hardest part is getting access, so it’s months and months of trying to ﬁnd a way into these worlds. In 99 percent of the cases, we’ve been able to penetrate them. One thing that is different from the past reporting I’ve done on this is, we wanted to make it feel premium. I’ve done a lot of very raw reporting. With this, we wanted to elevate the look and feel. The crew is bigger than what I’m used to working

with. I was worried about that, given the kind of reporting we do. Usually, the smaller the crew, the smaller the footprint, the easier it is. We had six people on the ground, two cameras, one sound person, but it worked. We combined these two worlds of access and beautiful cinematography. I wasn’t sure if it was going to work, but it has. That’s what makes it special. TV REAL: For the traffickers who let you into their criminal lives, what is their motivation? VAN ZELLER: It’s super fascinating. I think it’s a combination of factors. I’ve worked a lot in Mexico, where there are many splinter groups. So even though I’m talking to the Sinaloa cartel, there are different groups within that. [Talking to] an international organization like National Geographic, which is known all around the world, and an American crew with big cameras who are interested in their stories and their business and what they do, it’s very much an ego-driven thing. And they’re showing off to their competitors, and ultimately to the government itself: “We have this power and we’re doing this right under your noses.” In the counterfeiting story we did in Peru, you had these people who have spent years and years of their lives honing their craft. They have enormous pride in the work they do. And they have no one to talk to about it. For a lot of them, their families don’t know what they do. We’re giving them a chance to talk about something they are very passionate about and very good at. And then there are cases where it’s a mix of ego and not giving a damn. They also really trust that we will protect their identity. It’s an opportunity to tell the world, I’m the best at this, I don’t care what anyone thinks, but my identity will be protected so law enforcement will never actually catch me.

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Nat Geo’s Trafficked with Mariana van Zeller explores, among other trades, the gun smuggling business.

TV REAL: How does your relationship with law enforcement work? I imagine they are eager to hear what you have learned from your own investigative work. VAN ZELLER: My job as a journalist is to report the facts. A lot of the access I get into this world comes with an absolute obligation on my part to protect my sources. When we’re working with law enforcement, we’re not telling them what we’re seeing on the other side. There have been cases where law enforcement has asked us for details, and that’s just not something we feel comfortable doing. Not only could this harm the people who spoke to us, but when you’re talking about Mexican cartels, it could harm us. If they ﬁnd out we’re disclosing information after we promised them we wouldn’t, they wouldn’t be happy and the consequences of that are scary. TV REAL: The Nat Geo name doesn’t carry the baggage that a news network like CNN or Fox News would. Does that help you as you’re convincing people to speak to you? VAN ZELLER: Absolutely. Not only does it not come with baggage, but it also is known all around the world. Whether we are in Thailand or Israel or Laos, people recognize it, they trust it, which is very important when we’re doing this kind of work. They tend to trust us as a team—if we’re employed by National Geographic, then we have to be serious journalists and have to be telling the truth about what we intend to do here. It has helped us open doors all around the world. I can’t think of another place that would do that. TV REAL: I know you can turn the cameras off or disguise their identities, but how do you get these traffickers to trust you enough to show you how they work?

VAN ZELLER: There are a lot of things we’ve learned along the way. One of the big concerns always when we try to get access to these groups is that they don’t know who we are and they immediately suspect we are law enforcement. Who are these people who want to see our drug labs and our counterfeiting factories? A huge part of it is trying to convince them, and that involves sending links to my past work so they can verify and trust we’re journalists. We’ve hit the ground on several occasions and thought we were going to get access and everything changed and we had to start from scratch. We’ve learned that once we hit the ground, that first encounter is crucial. We can be talking for months and weeks, but then there’s that first encounter. Sometimes that happens with just me. We had situations in Mexico like that. It was the middle of the night and we were trying to get access for the gun smuggling story. A person was going to give us access to this transaction happening on an island in the Gulf of Mexico. In order to give us access, he wanted to meet me first—just me, not my crew. It was the middle of the night and I went out to meet this guy. The fixer I worked with came with me. It was nerve-racking. I wasn’t sure if it was the right thing to do. And then I got there and he said, Why should I trust you? I showed him my profile, my Instagram account showing photos of me with armed, masked men all around the world! He went and spoke to his boss and the next day we were told to meet at a port and a boat was there to pick us up and they took us to the island. At the end of being able to film the whole operation, where they were selling guns to someone, I said, Do you trust us? He said, “No, I still don’t, I’m not 100 percent sure you are who you say you are. That’s why I have several gunmen around us right now, in case things go south.” It’s certainly been a learning curve. We’ve managed to stay safe. And at the end of the day, it’s not in their interest to harm us. In many cases, once we get that access, we are under their protection. Honesty is so important: disclosing why we’re there, what we’re doing, and then trying to understand [them]. The most fascinating thing about this series is that even though it is about criminals, it has taught me, and I hope it shows, that the world isn’t so black and white. These people, who we think of as criminals, are moms and dads and sons and daughters and are a lot more like us than we’d like to think. Once I start asking questions about their lives and their motivations, I think they sense that there’s a connection between us. TV REAL: Witnessing some of those stories about the devastation these underworlds can wreak on lives, how do you cope with it? VAN ZELLER: It’s hard. It’s especially hard because I’m a mother. I was following a woman crossing the border into the United States with five kilos of fentanyl. I’ve spent a big part of my career doing stories about the opioid crisis and talking to mothers who lost their kids. This woman crossing with fentanyl was herself a mother. She said she was just trying to provide for her kid. For me, it was a hard spot to be in. On the one hand, I had gotten to know her and I didn’t want something bad to happen to her. At the same time, she was carrying fentanyl and I knew where it was going to end up and the consequences of that. I have a 10-year-old son. That afternoon I went straight to watch my son play soccer. And there’s this moral battle going on inside of me. It’s complicated. We carry a lot of baggage in these stories, for sure. There’s no way I can come home and forget this has all happened.

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