World Screen April 2021 Edition by World Screen

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APRIL 2021

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

Digital MIPTV Edition

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APRIL 2021

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

Special Report: A New Normal? Thomas Bellut ZDF

Jane Turton All3Media

Kelly Day ViacomCBS

Henrik Pabst ProSiebenSat.1

Eric Ellenbogen WildBrain

Kings of Reality Matt Kunitz Andrew Zimmern Mike Rowe

Russell T

Davies

Tony Hale Ashley Walters Noel Clarke

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CONTENTS

APRIL 2021/DIGITAL MIPTV EDITION DEPARTMENTS WORLD VIEW By Anna Carugati.

Publisher Ricardo Seguin Guise

VIEWPOINT By Mansha Daswani.

Group Editorial Director Anna Carugati Editor Mansha Daswani

UPFRONTS New content on the market.

Executive Editor Kristin Brzoznowski

SPOTLIGHT HiddenLight’s Sam Branson. WORLD’S END In the stars.

Russell T Davies

Tony Hale

SPECIAL REPORT

A NEW NORMAL?

Distributors are finding ways to fulfill the endless need for programming resulting from new streaming platforms, viewers stuck at home during lockdowns and delayed productions.

IN THE NEWS

VIACOMCBS’S KELLY DAY

As president of streaming and COO at ViacomCBS Networks International, Day is leading the international expansion of Paramount+ and Pluto TV.

ONE-ON-ONE

ZDF’S THOMAS BELLUT

ZDF’s director-general discusses how the public broadcaster’s range of programming helps support democracy and contributes to political culture and social cohesion, and how the industry may change post-pandemic.

ON THE RECORD

ALL3MEDIA’S JANE TURTON

The company’s CEO talks developing new IP, refreshing existing formats, complying with Covid-19 safety protocols, securing financing and finding the best homes for shows.

IN CONVERSATION

PROSIEBENSAT.1’S HENRIK PABST

The chief content officer and managing director of the Seven. One Entertainment Group on offering quality entertainment across platforms and the valuable takeaways from the challenges faced in 2020.

TVKIDS

PRESCHOOL TRENDS CO-PRODUCTIONS IN FLUX WILDBRAIN’S ERIC ELLENBOGEN JONATHAN M. SHIFF WORLDSCREENINGS: SMF STUDIO

TVDRAMA

CRIME DRAMAS BEHIND THE SCENES OF BULLETPROOF WORLDCREENINGS: MISTCO’S THE INNOCENTS

TVREAL

WIPEOUT’S MATT KUNITZ INTUITIVE CONTENT’S ANDREW ZIMMERN MIKE ROWE TV REAL PREMIERE: EXTRAORDINARY ESCAPES WORLDSCREENINGS: OFF THE FENCE WORLDSCREENINGS: PASSION DISTRIBUTION

TVLISTINGS

PROGRAM LISTINGS FOR 70-PLUS DISTRIBUTORS

Managing Editor Chelsea Regan Editor, Spanish-Language Publications Elizabeth Bowen-Tombari Associate Editor, Spanish-Language Publications Rafael Blanco Contributing Editor Elizabeth Guider Production & Design Director David Diehl Online Director Simon Weaver Senior Sales & Marketing Manager Dana Mattison Sales & Marketing Coordinator Genovick Acevedo Business Affairs Manager Andrea Moreno Contributing Writers Steve Clarke Andy Fry Joanna Stephens Jay Stuart David Wood

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development WORLD SCREEN is a registered trademark of WSN INC. 1123 Broadway, Suite 1207 New York, NY 10010, U.S.A. Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.worldscreen.com ©2021 WSN INC. Printed by Fry Communications No part of this publication can be used, reprinted, copied or stored in any medium without the publisher’s authorization.

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WORLD VIEW

BY ANNA CARUGATI

A Year On As we go to press, it’s the first anniversary of when the world shut down because of the then little-understood but terrifying Covid-19. When the first outbreaks were reported in Wuhan, China, and on cruise ships, we all thought these were isolated incidents that could be contained. But then came Japan, South Korea, Taiwan, northern Italy and by this time last year, news reports, the World Health Organization and government officials were using the dreaded word pandemic. When businesses ﬁrst closed offices and told employees to work from home, most people thought it would be for two weeks, then a couple of months at most. But as we saw the apocalyptic scenes on the news each day—an endless ﬂow of ambulances, patients on ventilators, gruesome images of refrigerated trucks doubling as morgues in hospital parking lots, the shell-shocked, exhausted EMTs, doctors and nurses— we realized the coronavirus’ devastation was greater than we could comprehend. Not only did it kill in the most horrid ways, leaving patients to die alone, but it also destroyed businesses, robbed people of their livelihoods, separated families, disrupted routines for adults and children alike. Covid-19 lay bare the shameful racial and socioeconomic inequities in so many societies. We each have our own stories to tell about this past year. Some of us, and I include myself, have been far luckier than others. But there is a common thread that connects us. We all overcame hardships, juggled work and family responsibilities at home, suffered from isolation, dealt with being far from loved ones and the loss of family and friends, too often without the possibility of mourning collectively. As individual as our experiences have been, they have also engendered the feeling that we are all in this together. This has been a recurring theme in all the interviews I’ve done in the past 12 months. I’ve heard about producers, production managers, studio and on-set staff going above and beyond the call of duty to ensure Covid safety protocols were implemented so that cast and crew would remain safe. Innumerable creative solutions have been found to maintain the magic on-screen that viewers have come to expect. Distribution executives I spoke to for this issue’s main feature talked about the collaboration and understanding among broadcasters and platforms when productions were delayed. Even the insistence on securing exclusive rights is relaxing as buyers are more willing to do co-exclusive deals or share rights. Another constant refrain has been that despite the overwhelming challenges posed by crises, they also provide opportunities. Many managers have realized that working remotely does not mean employees are

less productive—quite to the contrary, without commuting to and from the office, people have more time and can manage it more efficiently. Working mothers, who have had a particularly punishing time during the pandemic, can better attend to family responsibilities when working from home. Zoom is an invaluable tool for meetings, dealmaking, panel discussions, even program pitches. So much so that some of the impulse to hop on a plane to attend an urgent meeting can now be replaced by a Zoom call, saving both time and money. Of course, there are countless people eager to resume their commutes and return to the office. There is also considerable pent-up desire for face-to-face encounters. We miss in-person markets, conferences and conventions. During these months of isolation, we have realized the importance of the chance encounter or discussion over drinks that can lead to an unforeseen yet invaluable opportunity. I am, however, convinced that even after the various vaccines have tamed the coronavirus, conferences will take place in a dualmodality—in person and virtually—because they both offer advantages. Various digital solutions have helped us cope and carry on during the past year, but we must not forget that people are the heart and soul of our business. I’ve heard from the highest levels of management a call to look out for one another. In our interview with All3Media’s Jane Turton, she states that “clear communication, being aware, being compassionate, offering support all became more important than ever.” Seven.One Entertainment Group’s Henrik Pabst notes: “One thing I know for sure: You need to be there for each other…. Besides all the bad things every crisis brings, it also gives back something positive, and this is what we have to extract and maintain.” ZDF’s Thomas Bellut sees helping others through the lens of public-service programming—information about Covid, shows that provide a distraction from it, and online educational content for children. As we reﬂect on the year of the pandemic, it’s clear that everyone in our business is also bound by a common goal—maintaining a pipeline of content that feeds our insatiable hunger for programming. We crave both information and escape. May we all get vaccinated soon, be able to hug our loved ones and meet in person. Until then, stay safe.

Our experiences have engendered the feeling that we are all in this together.

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VIEWPOINT

BY MANSHA DASWANI

It’s Not Rocket Science I remember vividly the first time I watched something that looked and felt like my world. Living in Hong Kong and growing up on a steady diet of American and British shows in the ’80s and ’90s—plus lots of Bollywood movies—there wasn’t all that much on television at the time that spoke to what it meant to be an immigrant living with multiple cultures—and how to cope when those different sides of you collided. And then, in 1993, Gurinder Chadha’s Bhaji on the Beach came out and, for me, was utterly transformational. Focusing on a group of British Indian women on a day trip, the film deftly explored generational and cultural clashes. It featured characters who looked like the people in my life and explored the tensions that many of my friends and I were struggling with. And how desperate we were for more! It would take a few more years to get anything that felt as revelatory: the BBC sketch comedy series Goodness Gracious Me, which premiered in 1998. I was still living in Hong Kong at the time and had started hearing from friends and family in the U.K. about how I had to watch this show. Now you remember the world before the streaming revolution— there was no on-demand, “niche” content didn’t travel and I was stuck relying on whatever I could find at the local Blockbuster. But bless my U.K. relatives; one of my cousins recorded the entire first season—yes, on a VCR—and eventually got it to me. (I don’t know if this is just an Indian immigrant family thing, but we had a well-oiled network of friends/cousins/vague acquaintances to rely on when you needed to get something from one country to another.) Soon, people were gathering in my family’s living room to watch four marvelous British Indian comedians (including, we soon discovered, a fellow Hong Konger) celebrate and laugh at the quirks of being Indian in the U.K. For a group of young Indian adults living in a former British colony, the connection to that show was immediate—and long-lasting; we still quote from it, 20 years since it wrapped its run. I know change is happening, but it’s clearly not been fast enough, or widespread enough. (I May Destroy You being shut out of the Golden Globes and the utterly ridiculous critiques about Bridgerton casting Black actors for a show set in Regency London are just two of too many examples.) I caught up with Bulletproof stars Ashley Walters and Noel Clarke recently, and they told me about their long struggle to get a U.K. outlet to commission a show with two Black leads. It took until 2018 for them to finally get a pickup at Sky. The show was an instant

hit for the platform and was recently commissioned for a fourth season. What’s on television matters. It matters when you can see yourself. It matters when you can see people who are nothing like you. And it matters when the things you watch perpetuate hurtful stereotypes, whether it was the kids who teased Indian people like me about eating monkey brains after Indiana Jones and the Temple of Doom came out (we don’t) to those who felt like it was OK to mock an Indian accent because Hank Azaria was doing one on The Simpsons (and it took until last year for the producers to say that voice casting would change). The past year has undoubtedly been transformative when it comes to on- and offscreen diversity, but I’m still amazed at how much rank stupidity there is in pop-culture representations of minorities. Just recently, I stumbled upon a big-budget Hollywood movie that came out four years ago that included a throwaway joke about Asians, and all I could think was, Why? (I mean, the entire film was a sea of asinine, childish jokes; the racist joke was just extra.) Are the writers really that lazy that they needed to stoop to the lowest common denominator for a laugh? And a laugh for whom, exactly? We—immigrants, people of color, the LGBTQ community, folks with disabilities—are not new. We’ve been here. We want our stories told. We don’t want to be included just because you need to tick a box on a diversity mandate. Our stories are not just incredible for us. I’ve been as enriched by Queen Sugar and I May Destroy You and It’s a Sin—groundbreaking, beautiful shows about worlds that are not my own— as I was by Bhaji on the Beach or A Suitable Boy. This is not rocket science. Make these stories because audiences around the world want them and they deserve to be told, not because you put out a diversity-and-inclusion mission statement. Find those stories, support them, consume them, give them the value they deserve so we can have more of them. My 18-year-old niece sure does have a lot more options than I did to see herself on-screen, but she definitely doesn’t have enough.

What’s on television matters. It matters when you can see yourself.

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UPFRONTS

Boat Rocker Studios COVID America / My Trans Journey / Relative Race The 2x1-hour docuseries COVID America, from Boat Rocker Studios, uncovers how everyday Americans are dealing with the pandemic and the new structure of our lives. The company is also showcasing the four-part My Trans Journey, which follows Dr. Carys Massarella’s patients as they work to overcome personal challenges and thrive in their transitions. Meanwhile, Relative Race sees four teams take a ten-day odyssey to discover new relatives and compete for a grand prize. “With a surging interest in family history in recent years, Relative Race shows the incredible impact ﬁnding previously unknown family members can have, wrapped up in an exciting and hugely popular reality race format,” says Natalie Vinet, VP of global sales for factual.

My Trans Journey

“All three of these titles tell powerful and emotional stories with immense human interest while tackling subjects with global resonance and real contemporary relevance.” —Natalie Vinet

Dori Media Group Normal / Power Couple / Las Estrellas (5 Stars) The drama Normal, on offer from Dori Media Group, follows 24-year-old Noam, who hits rock bottom and ﬁnds his own route to normality in the unlikeliest of places: the psych ward. Also from the company’s catalog, Power Couple is a prime-time reality format that puts love to the test, with couples’ emotions, humor, tensions and love coming into play. “Power Couple is different from all other reality shows in that its rules and rationale are made up of something we can all experience together with the participants: relationships,” says Nadav Palti, CEO and president of Dori Media Group. In the romantic comedy Las Estrellas (5 Stars), ﬁve sisters are forced to put their lives on hold to take care of a boutique hotel they inherited from their father.

Normal

“Together with our clients, we ﬁnd the perfect match between our content and their needs.” —Nadav Palti

Honour

Eccho Rights Chrysalis / Honour / The Red Room Eccho Rights’ major launch for this spring is the brand-new Turkish drama Chrysalis from OGM Pictures. “The series is a Cinderella story with a touch of tragedy but a sense of hope and a strong romance at its core,” says Fredrik af Malmborg, managing director of Eccho Rights. “It has an amazing cast of top actors led by Burcu Biricik, and OGM’s last major romantic drama series, My Home My Destiny, continues to perform brilliantly well both in Turkey and on the international market, so we have high hopes for this new release.” Eccho Rights is also highlighting the return of Honour, which is lauded as one of the most successful Viaplay originals of all time, as well as The Red Room, a psychological drama set in a therapist’s office that also hails from Turkey’s OGM Pictures.

“Eccho Rights continues to expand at a great rate.” —Fredrik af Malmborg

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Escapade Media Chasing Chaos / The Best Kind of Beautiful / For the Love of Pets Escapade Media is launching five new properties, including Chasing Chaos, at MIPTV. “This reflects the Covid-safe environment that has enabled Australia to continue producing and assist overseas productions to complete their projects,” says Natalie Lawley, managing director. Chasing Chaos shines a light on Dr. Ian Norton as he fights to provide the best standard of emergency medical response in the world’s worst situations. The Best Kind of Beautiful is based on a novel by Frances Whiting and takes a look at the idiosyncrasies of relationships. “The Best Kind of Beautiful is a story that has the potential to engage, shape and challenge audiences both locally and abroad,” says Lawley. For the Love of Pets follows the staff and volunteers at the Animal Welfare League of South Australia.

For the Love of Pets

“Our diverse offering includes scripted and non-scripted series.” —Natalie Lawley

FilmRise Mr Beast / Broken Diamonds / Rewind YouTube’s Jimmy Donaldson, aka Mr Beast, performs outrageous and charitable stunts and challenges in the FilmRise series Mr Beast. In the drama feature Broken Diamonds, twenty-something writer Scott Weaver is forced to temporarily take in his mentally ill sister, Cindy. The documentary Rewind uncovers the abuse Sasha Joseph Neulinger and his sister suffered at the hands of three members of their extended family and exposes the vile mistreatment that has touched generations. “Whether through philanthropy awareness or top-notch storytelling, our programs appeal to a diverse set of fans with a wide range of interests by integrating universal values into kids’, reality and gaming content enjoyed by millions,” says Melissa Wohl, head of sales at FilmRise.

“Each of our programs highlights the importance of human connection and the need to put a spotlight on issues affecting people across the globe.” Broken Diamonds

—Melissa Wohl

GMA Network Owe My Love / The First Nanny / I Can See You GMA Network’s Owe My Love is a romantic comedy about Sensen, a woman who is always in a tight ﬁnancial situation despite being an industrious and conscientious worker. It is set in 2023, a near future when people are still trying to recover from the debilitating economic impacts of the pandemic. “Viewers will be able to relate to the struggles of the lead characters and watch their love story unfold,” says Roxanne J. Barcelona, VP of GMA Network’s worldwide division. “It highlights the human spirit to survive hardships while keeping a positive outlook in life.” Further highlights include the romantic comedy The First Nanny and anthology series I Can See You, which uses a common visual storytelling device—a camera—as the silent witness to tales of love and mystery.

Owe My Love

“These dramas will appeal to viewers who are looking for themes that revolve around issues that affect modern-day society, giving hope and touching their hearts.” —Roxanne J. Barcelona

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GRB Studios Death Walker / The Center Seat: 55 Years of Star Trek / Untold Stories of the ER Currently gearing up for its second season, Death Walker follows Nick Groff as he theorizes and investigates the origins of some of the most notorious hauntings in America, redeﬁning our understanding of the paranormal. GRB Studios is presenting the show alongside The Center Seat: 55 Years of Star Trek, which takes audiences through the all-encompassing history of the Star Trek franchise— from the original writers’ room in 1966 to the newest set of Star Trek: Picard. “Described as the ultimate deep dive into the world of Star Trek, this series is timed to coincide with Star Trek’s 55th anniversary,” says Hud Woodle, executive VP of international at GRB Studios. Untold Stories of the ER features intense true stories that demonstrate the dramatic nature of medicine practiced under pressure.

“GRB is always looking for premium programming, scripted or unscripted, available for global distribution.”

Death Walker

—Hud Woodle

Incendo A Love Yarn / As Gouda as it Gets / Cupids on Beacon Street Incendo is highlighting its transition from the edgy thrillers it has produced for many years to the romantic-comedy slate the company has just completed. “In the current climate, feel-good, romantic and positive ﬁlms that can be watched by everyone are very attractive,” says Gavin Reardon, who oversees international sales and coproductions. Key titles include A Love Yarn, starring Anna Hutchison as the owner of a quaint New Zealand yarn shop who ﬁnds herself at the crossroads of business and romance. There’s also As Gouda as it Gets, starring Kim Shaw, about an artisanal cheese shop owner who competes in a cheese festival and ends up pairing with a food critic, and Cupids on Beacon Street, starring Britt Irvin as a bestselling novelist who sparks with a self-help coach.

A Love Yarn

“Rom-coms are highly sought-after right now by broadcasters around the world.” —Gavin Reardon

Inter Medya

“We expanded our catalog with this season’s brand-new and phenomenal titles.”

Last Summer / Ramo / Scorpion Produced by O3 Medya, the Inter Medya highlight Last Summer centers on an idealistic prosecutor named Selim Kara who receives an offer from mob leader Selcuk Taskin that is too good to refuse, with lifechanging consequences for all involved. Inspired by a real person, Ramo tells a story about the deep conflicts of family, justice, revenge, friendship and relationships, with the protagonist’s only love being the daughter of his arch-nemesis. Telling a tale of betrayal, curses, love and motherhood, Scorpion is a family drama on Inter Medya’s slate from 1441 Productions. “With a great start in Turkey, we believe that all of these new dramas have [strong] potential in the international market too,” says Can Okan, Inter Medya’s founder and CEO.

—Can Okan

Ramo

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Family Seductions

MarVista Entertainment Family Seductions / All for Her / The Miseducation of Bindu The titles MarVista Entertainment is bringing to MIPTV range from thrillers and dramas to ones that appeal to young adult viewers. In the thriller genre, Family Seductions tells a tale of a handsome stranger who manipulates a mother and daughter into falling in love with him. Inspired by a true story, the drama All for Her sees a pregnant woman facing a potentially fatal medical condition after overcoming fertility issues. The Miseducation of Bindu, executive produced by Jay and Mark Duplass, follows a teenager who struggles to get out of high school early to avoid being bullied by her new school’s most popular students. “While each of these titles ﬁts within a different genre, they all feature strong females who rise up against the odds,” says Jody Cipriano, head of global distribution at MarVista Entertainment.

“MarVista is building a sustainable model for independent ﬁlms to meet the viewer appetite for quality movies across all viewing platforms.” —Jody Cipriano

10 Steps to Love

Nicely Entertainment Wedding Cake Dreams / 10 Steps to Love / A Christmas Wish in Hudson Shining a spotlight on a trio of feel-good romance movies, topping Nicely Entertainment’s MIPTV highlights is Wedding Cake Dreams, which sees a cake designer meet the man of her dreams at her sister’s big day. In 10 Steps to Love, Sophie relies on her ten-step lists for success in everything— including finding love. But is the perfect match on paper truly the one for her? A Christmas Wish in Hudson follows an unlucky-in-love designer who travels to a small town in Washington to meet a widowed firefighter she saw compete on a cooking show. “We are focusing on feel-good movies,” says Vanessa Shapiro, Nicely Entertainment’s CEO. “With the challenging year a lot of people just had, we believe that audiences around the world are looking to escape reality with some romance and holiday spirit.”

“We just celebrated our ﬁrst-year anniversary, with ten movies in different stages of production.” —Vanessa Shapiro

Nippon TV Stacking It! / Crush Park / Mute it! A brand-new studio game-show format developed by Nippon TV and ITV Studios, Stacking It! features two teams racing to compete and build the tallest tower of prizes to win what they’ve stacked up. In the game-show format Crush Park, players crush walls and various objects to conquer obstacle courses and be the ultimate crusher. The studio game show Mute it! has one simple rule: don’t make a sound. “It brings a breath of fresh air to a world normally ﬁlled by loud game shows,” says Tom Miyauchi, format producer of international business development at Nippon TV. He adds, “As people try to overcome the stressful pandemic, there is no better moment for Nippon TV to offer all of these thrilling game-show formats far removed from daily reality to the family audiences around the world.”

Stacking It!

“Our latest gameshow format additions bring viewers muchneeded escapism and stress-busting entertainment to overcome the challenges of the current times.” —Tom Miyauchi

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NTV Broadcasting Company Fatherland / Superstar! / Secret for a Million

Fatherland

An original drama on NTV Broadcasting Company’s slate, Fatherland is an adaptation of Aleksander Terekhov’s novel Germans, which centers on a journalist who starts out ﬁghting for his ideals but ultimately ﬁnds himself moving down a dark path. “Fatherland will appeal to international buyers with its fearless portrait of corruption and its dreadful consequences,” says Timur Weinstein, general producer at NTV Broadcasting Company. Superstar!, a new addition to the company’s format lineup, sees music idols from the ’90s and 2000s come back on stage to compete with each other. “This format is sure to appeal to all international audiences who love great music, mesmerizing shows and tense competition,” says Weinstein. Also a format, Secret for a Million features star guests earning money by answering various personal questions.

“Our goals for MIPTV include the continuous expansion to fast-growing TV markets, especially India and LatAm.” —Timur Weinstein

Off the Fence Plane Crash Recreated / Cher and the Loneliest Elephant / 5G. The Speed of Wave The ten-part docuseries Plane Crash Recreated, from SWR Media in association with Dash and Off the Fence, is among the featured titles in Off the Fence’s MIPTV catalog. It takes a look at some of the most famous plane crashes around the world. Cher and the Loneliest Elephant follows the icon’s years-long campaign for the release of an elephant named Kaavan. “Anything with Cher speaks for itself,” says Loren Baxter, head of acquisitions at Off the Fence. “We know how important these conservation stories are, and Off the Fence is always trying to work with incredible partners like Terra Mater Factual Studios, Smithsonian Channel and Nutshell TV to bring these stories to mainstream audiences.” 5G. The Speed of Wave offers an informative view on what living with 5G means now and in the future.

ORF-Enterprise Soko Kitzbuehel / Water of Life / The Wildlife Orphanage ORF-Enterprise’s long-running detective series Soko Kitzbuehel, built around a dynamic young team of investigators who encounter bafﬂing murder cases in the Alps, is among the company’s highlights. From ORF’s UNIVERSUM Nature strand, the wildlife doc Water of Life follows a cast of animal characters whose lives are closely entwined with the Scottish Highlands, an island distillery and the mountain rivers that feed it. The docuseries The Wildlife Orphanage takes viewers on a journey to Namibia in southern Africa to visit Harnas, a shelter for abandoned and wounded wild animals. “Content buyers from all over the world are invited to explore the variety of high-quality content from different genres in ORF-Enterprise’s colorful program catalog,” says Armin Luttenberger, the head of international content sales.

5G. The Speed of Wave

“We have a diverse catalog of new programming to offer, which has been carefully curated for MIPTV.” —Loren Baxter

“At MIPTV, we will celebrate the brand-new blue-chip documentaries from ORF’s award-winning UNIVERSUM strand, as well as upcoming seasons of best-selling TV series.” —Armin Luttenberger

The Wildlife Orphanage

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Red Arrow Studios International Vienna Blood / Departure / Stealing the Show!

Vienna Blood

Season two of the crime-drama series Vienna Blood leads Red Arrow Studios International’s MIPTV slate. The series follows Max Liebermann, a brilliant young English doctor and student of famed psychoanalyst Sigmund Freud, and Detective Inspector Oskar Rheinhardt as they investigate a series of unusual murders. There’s also the second season of Departure, a conspiracy thriller about a team of investigators tasked with unraveling the mysteries behind a series of air, sea and land disasters. In the game-show format Stealing the Show!, three celebrity contestants and a member of the public compete to win the show itself. “We have a strong track record of launching interesting, off-beat, noisy and commercially successful formats that quickly become the new mainstream,” says Tim Gerhartz, senior VP of global sales.

“Our priority for MIPTV and the coming months is to focus on our core strengths and specialist areas, particularly in scripted and formats.” —Tim Gerhartz

Russia Television and Radio/Sovtelexport The Optimists: Caribbean Season / The Terrible / Call Me Mother In the Russia Television and Radio/Sovtelexport highlight The Optimists: Caribbean Season, a passionate love story unfolds during the Cuban Missile Crisis, with elements of spy drama, action and humor. “Viewers will witness masterful diplomacy, adventurism and romance taking place while a nuclear war is threatening the world,” says Julia Matyash, director of Sovtelexport. The Terrible is set in the 16th century and centers on the ﬁrst Russian Tsar, Ivan IV. Call Me Mother is an emotional drama that explores overcoming challenges and loving one another and one’s motherland through difficult times. “Women’s and family dramas remain relevant both in Russia and abroad,” says Matyash. “Directors continue ﬁnding new ways of telling stories of heroism and honor, love and human kindness.”

“We constantly strive to expand the geography of cooperation, strengthen relations with our foreign partners and establish new partnerships.” —Julia Matyash

The Terrible

SODEC/Québec Creates Support Québec’s TV Production & Export Business / Manage Financial Aid Programs & Tax Credits The mission of SODEC (Société de développement des entreprises culturelles) is to support Québec’s television production businesses in developing their business models. More speciﬁcally, it helps businesses export their productions to international markets. The organization also manages a set of ﬁnancial aid programs and tax credits for production companies. “Under the Québec Creates banner, we will assist 15 Québec-based television industry businesses in their international operations at MIPTV,” says Louise Lantagne, the president and CEO of SODEC. This includes Just for Laughs, KOTV, Muse Distribution, Tortuga Films, WaZabi Films and Zone 3, as well as Gala Productions, Happy Camper Média, Hyena, Ideacom International, Laurus Productions, Platz, Prestigo, Productions ToRos and Syon Media.

“At MIPTV, SODEC is helping Québec-based production companies, distributors and sales agents to implement their business plan internationally and be known for their quality and original content.” —Louise Lantagne

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Vuulr

The Looming Tower

Narcos: Mexico / The Looming Tower / Tim and the Master Among the highlights available on the content marketplace platform Vuulr is the Gaumont-produced series Narcos: Mexico, which builds on the success of the original program. “It is an iconic bio-crime-drama series, brilliantly produced and cast, with docu-crime elements that make it exciting and binge-worthy to global audiences,” says Natasha Malhotra, chief content and commercial officer at Vuulr. From Legendary Television, The Looming Tower offers insights into the historic events leading up to the 9/11 tragedy. Tim and the Master, produced by Horus Movies Animation, is an animated series that features humor, irony, magic, monsters and adventure. “The outstanding and critically acclaimed shows mentioned here are just three examples of the quality, breadth and depth of our offering,” says Malhotra.

“Vuulr is excited to bring our unique and diverse catalog of titles from 100 countries across 60 genres to MIPTV this year.” —Natasha Malhotra

Workpoint Group The Wall Duet / The Rapper / 10 Fight 10 Leading Workpoint Group’s MIPTV slate, The Wall Duet engages viewers in a humorous test to determine who the mysterious singer is behind the wall, as the singers offer up seemingly untrue clues before the wall is lifted and their identities are revealed. “The Wall Duet has been licensed to Vietnam and is sealing deals in multiple European countries, with several more on the way,” says Dhanasak Hoonarak, chief business development officer at Workpoint. “We expect to see international versions of The Wall Duet across the world soon.” The Rapper, which has been produced in Vietnam for two seasons and for which a deal was inked in France, is a mainstream rap competition series. A celebrity boxing program, 10 Fight 10 features superstars in real boxing matches.

The Wall Duet

“Workpoint serves a unique taste of TV formats to the world. Our motto is: make formats that break every rule!” —Dhanasak Hoonarak

ZDF Enterprises ANA. all in. / Myths—The Greatest Mysteries of Humanity / Pan Tau Inspired by real events, the ZDF Enterprises thriller ANA. all in. is set in the gambling world and follows criminal lawyer Ana Tramel as she fights to clear the name of her brother, who has been accused of murder. Myths—The Greatest Mysteries of Humanity examines what is fact and what is fiction in historical myths. “The traces lead to ancient Egypt, to Attila, the barbaric king of the Huns, or straight in the middle of the infamous Bermuda Triangle—from biblical stories to historical figures and modern urban legends,” says Fred Burcksen, president and CEO. ZDF Enterprises has secured global distribution rights for the reinvention of the much-loved children’s classic Pan Tau, which stars Britain’s Got Talent finalist Matt Edwards. “Our topics work internationally on all [possible] distribution ways to the audience,” says Burcksen.

Myths—The Greatest Mysteries of Humanity

“We have a lot of new programs in our catalog, and we are proud to present them to our partners and clients.” —Fred Burcksen

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Russell T Davies

ussell T Davies has many gifts. Writing breakthrough, stereotype-busting storylines and whip-smart dialogue. Crafting scenes that will make you weep and then laugh out loud. Creating characters you fall in love with within minutes of meeting them and whose lives you find yourself fully invested in—even if it is for just a few hours. All are on display in his stand-out new drama It’s a Sin, produced by RED Production Company for Channel 4, with HBO Max as a co-producer, and distributed globally by All3Media International. The five-parter spans a decade as it chronicles the lives of a group of friends living in London in the 1980s, coming to grips with the AIDS crisis. The key cast includes Olly Alexander, Omari Douglas, Callum Scott Howells, Lydia West and Nathaniel Curtis, with Keeley Hawes, Neil Patrick Harris and Stephen Fry among those in supporting roles. Davies tells World Screen about why By Mansha Daswani he wanted to tell this story now. WS: Why did you want to revisit this time in history? And why now? DAVIES: I felt that the British version was untold. Not completely untold; it’s popped up in soap operas and detective thrillers and stage plays. But not as a big, blockbuster piece. Also, it’s a generational thing; there are 18-year-olds now who don’t know this happened. I don’t blame them for that. I don’t blame a generation for not looking back; you’re not born to look back. But every so often you need to remind people of what happened in history; that’s a good thing to do. And also my age—at 57, I’ve been writing and telling these gay stories for a very long time, and in some ways, I hadn’t told the biggest one. I think I was waiting. I’m glad I waited. I have a lot more experience and hopefully a lot more skill. I hope I’ve told it well. It was just time. WS: When we spoke about Years and Years, I recall you said you had the ﬁnal scene in your head well before it was written. How much of It’s a Sin had been brewing, and for how long? DAVIES: When you get to episode five, there are certain showdowns between characters, face-offs, in which terrible things are said, righteous things are said, and they’ve been building in my head for a very long time. If I was a forensic detective, I could take almost every single line of it and trace it back to a conversation I once had in the ’80s or ’90s, someone I knew, that boy we lost, those two boys we lost. All of [the scripts] are shuddering, are resonant, with people I’ve known.

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It’s a Sin, which is sold by All3Media International, was commissioned by Channel 4 and co-produced with HBO Max in the U.S.

WS: When crafting a story, how do you determine how it gets drawn out and how many episodes you need? DAVIES: That’s my job, that’s my skill. I think about it for a long time. There are problems; good problems. I like problems—they define how you tell things. The tough thing about telling an AIDS story is that it’s an opportunistic infection that can take many shapes and forms. Everyone dies of a different form of illness and at different speeds. It’s hard to span that out over a decade. Sometimes you can die very quickly. Most times, there’s quite a while to die. And not everyone did die. The biggest challenge was that there are [multiple] deaths; I had to make each one different. That pushes you, but I’m glad to be pushed in that area; it’s where I want to be, where it’s difficult. WS: You also intersperse those tough scenes with moments of lightness and joy. DAVIES: That’s what life was like. I wanted to remember those people we lost with joy and fun and laughter because that’s what it was like at the time, even in the hospital wards. WS: As a writer working in this super-competitive drama landscape today, with the global streamers spending so much money on the genre, are you finding more opportunities to tell different types of stories? DAVIES: It’s a good time. More drama means higher standards for all of us. The battle in drama is enormous now because the work out there is ferociously good. I’m not an expert in [producing for the SVODs] because I’m 57 and kind of an old-fashioned terrestrial broadcaster. This is the first thing I’ve done that’s been dropped with all five episodes available. It still had a terrestrial transmission of one a week [on Channel 4].

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I think this drama beneﬁts from being watched [in one sitting] because it doesn’t depend on plot twists, there are no great reveals, you don’t ﬁnd out who the murderer is; it’s just life being lived. You look at the dramas that went out last year, like I May Destroy You and I Hate Suzie and Succession—the intelligence level of drama is rapidly accelerating. Those shows were as bright and bristling and clever as you could possibly imagine. That’s good for all of us. There’s not a writer in the land thinking, I’ll just take it easy and write a quick murder mystery. Stories and writers are getting more varied and more true and honest and insightful. That’s brilliant. It’s great news.

“I’ve been writing and telling these gay stories for a very long time, and in some ways, I hadn’t told the biggest one.” WS: Do you think you’ll ever return to sci-fi/fantasy? DAVIES: The trouble is, I did the best. I do get offered sci-fi projects, and I’ll never say never because if the right one comes along and I fancy it, I’ll do it. But Doctor Who was the best, maddest, most fun science-fiction you’ll ever make in your life, so it’s very hard for me to imagine something better. Nothing has tempted me or touched my imagination that way since. Also, there’s a lot of [sci-fi] out there! I get offered stuff and think, do you need this? With all these Netflix shows and Amazon shows, do you need this? We could do with a good cull! WS: I read somewhere that It’s a Sin is your most personal show yet. Does it get easier to reveal yourself in your scripts as you get older? DAVIES: It’s never easy, but then that’s the job, I suppose. You keep digging deeper and deeper. You don’t have to do that—you can tell funny adventures about murders and medics if you want to. [Being personal] works for me, so I’ll keep doing it. It’s constructive.

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All3Media International’s Eden.

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A New Distributors are finding ways to fulfill the endless need for programming resulting from new streaming platforms, viewers stuck at home during lockdowns and delayed productions. By Anna Carugati or quite some time, we have heard repeated references to Peak TV— hundreds of series produced and rolled out year-round. This astonishing amount has created problems for channels and platforms, which have struggled with ensuring their shows get sampled, and for viewers who have to find the shows and the time to watch them. In the past year, the industry has seen a shift to Peak Demand. The coronavirus forced productions to shut down, delayed delivery of shows and halted sports events, leaving channels and platforms with holes in their offerings. But viewers, whose lives had been disrupted by lockdowns and limited socializing, had more time on their hands and were desperate for new shows to watch. In the first quarter of 2020, sales teams quickly and creatively pivoted to find product that would satisfy their clients’ changing needs. And they had to conduct business virtually since in-person meetings, markets and conferences had also been shut down by Covid-19. Companies with sizable libraries and popular shows from the past were in pole position to meet Peak Demand.

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Grantchester, an ITV and Masterpiece commission from Kudos, is distributed worldwide by Banijay Rights.

“One of the great things about the Banijay catalog is the amount of rights retained, especially for the big international franchises,” says Cathy Payne, the CEO of Banijay Rights. “We have product available for both ends of the spectrum— that which travels widely internationally alongside the domestic library that has strong traction for relicensing in its home market. In addition to the growing number of global OTT services, demand is high from linear broadcasters who are expanding their domestic VOD platforms.” While rewatching favorite shows has provided pleasure to many viewers, the desire for new stories was stronger than ever. “One thing that Covid has highlighted is that new programming is in demand,” explains Matt Creasey, executive VP of sales, coproductions and acquisitions outside EMEA at Banijay Rights. “If you’ve got shows going into production and coming out the other end, scripted or unscripted, the demand for that programming is unprecedented.” “With the impact of the pandemic, there was an instant need for schedules to be filled; sports were off the air, and production was put on hiatus,” says Katie Benbow, the director of sales planning at BBC Studios. “There was a significant need for content, which has continued throughout the whole year, not just to fill schedule gaps but also to fill that insatiable audience appetite for new content to keep us all busy. There’s been an interest in what we’ve got available, what we’ve got in the archive that hasn’t yet been explored. There’s also an interest in what we’ve got coming down the pipeline. Even among all the uncertainty, all the buyers have been really keen to hear about what we’ve got coming—just a more insatiable need for content than ever.” Louise Pedersen, the CEO of All3Media International, notes that as productions were postponed, “particularly some of the big American projects, we have seen continuing demand for new content to fill those slots and for last-minute replacements for live events that were canceled. People are also reverting to things that worked well in the past and will look for second cycles or repeats. For example, for shows like the thriller The Missing, which did very well internationally and led to the breakout detective show Baptiste, clients are requesting extra runs within their window. Overall, it’s been a buoyant time for distribution, which is good, though it’s all about getting the content. We’ve been lucky. We have shows that film in Australia and New Zealand, two countries where production has been largely unaffected. And the U.K. production sector restarted in August. Some shows have had incidents, there have been some delays, but, generally, they have been able to shoot, so our pipeline is back up and running.”

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Like his colleagues, Stuart Baxter, the president of international distribution at Entertainment One (eOne), has also had requests for library product. “From last spring through to autumn, buyers were initially focused on their immediate schedules and needing content that was already available and dubbed. Our strong portfolio of library series helped to meet those needs with triedand-tested content like Rookie Blue, Saving Hope and Haven, which were delivered quickly.” Since then, Baxter has witnessed another trend: “There is much more willingness to look at broader sources for content rather than the traditional way of sourcing programs. Buyers are acquiring shows from many more international markets than ever before, like the Australian drama Between Two Worlds and the French-produced limited series La Garçonne. In addition, buyers are looking at

“The challenges in financing premium scripted have been around for the past couple of years.” —Cathy Payne

second-window options for shows like Nurses, which is now in production on its second season and launched on NBC in the U.S.” Though the pandemic brought about entirely new sets of challenges, it also accelerated shifts that were already happening in the market. One of the evolutions in the industry was shrinking budgets. “While Covid caused the immediate issue of costs due to shutdowns and a longer production process with additional protocols, pressure on budgets existed before the pandemic,” says Banijay’s Payne. Fred Burcksen, the president and CEO of ZDF Enterprises, agrees on the cyclical nature of available programming spend: “It’s part of the industry; budgets go up and budgets go down. In this case, the commercial channels were affected by the decrease in advertising sales, especially in the first half of 2020. It got better by the end of the year. We consider ourselves to be fair partners, so we try to find solutions. It’s not only about the license fee per hour; it’s also about the size of the package and the duration of the license, so we try to

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find a solution and make things possible and build on the relationship, as well.”

CLIENTS FIRST

Mangrove is the first installment in BBC Studios’ Small Axe anthology, which aired in the U.K. on BBC One and streamed on Amazon Prime Video in the U.S.

BBC Studios’ Benbow says her team also showed flexibility in dealing with clients’ varying financial situations: “We worked very closely with our customers to offer them a package of measures and allow them to exploit the content they had more extensively. We offered additional linear transmissions. We also offered a package of content at cost. That’s worked well for us, and we’ve maintained close relationships with those key buyers to keep understanding their needs.” Formulas for jointly financing and producing shows also began changing before the pandemic. Like many of her colleagues, All3Media’s Pedersen works with producers to help position shows for the international market and find financing for them. “We’re financing some big shows that are going into production a year ahead of delivery,” she says. “It’s a Sin, the series from Russell T Davies and Nicola Shindler, for example, was filmed just before the pandemic. It’s a show from RED Production Company and Channel 4. We raised between 40 percent and 50 percent of the financing by bringing in HBO Max and a distribution advance. We found presale partners, for example Stan in Australia, and the show has [sold] really well around the world. “What is now disappearing is the model where an expensive show can be financed by a U.K. broadcaster with a distribution advance of 10 percent to 20 percent of the budget,” Pedersen continues. “As budgets are so much higher now, you do need one strong additional partner from somewhere, probably America if it’s a British show, plus the distribution advance. This was happening in advance of Covid, though.” For Banijay’s Creasey, it’s been business as usual, with Covid accentuating factors that were already at work: “We’ve been actively working with our producers for a long time, from development through to production and delivery of the shows. The need to find financing on shows has never been more vital, and our role within that has been key to a) help the deficit financing and b) find partners for shows.” Production delays and a wave of new on-demand services in the U.S. have increased platforms’ willingness to produce, Creasey says. “Our position working and pitching with our producers has been accelerated in the last year.” As Banijay’s Payne explains: “The challenges in financing premium scripted have been around for the past couple of years. If a channel or platform wants a show that costs 3x and their domestic market is only paying 1x, it will only happen with a partner

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and a contribution from distribution. What has hit those premium dramas during Covid are the delays and additional protocols needed that result in not only production hiatus costs but ongoing costs once production commences. In general, broadcasters have been very good and stepped up, as have the distributors. Everyone has been amazing because they want those shows to continue.” That spirit of working together has brought projects to the screen that maybe wouldn’t have been completed. “Recently, because there has been a bit of a hit in advertising revenues and the contributions to budgets have been readjusted on certain projects, we’ve brought in partners, or we had partners before who have become a greater partner,” explains Creasey. “We’ve had shows that would have fallen over if other partners hadn’t stepped up. Everyone wins in that situation because the commissioning broadcaster is still keeping the show going, which they wanted. Another partner gets maybe more rights than they previously would have had because of their step up, and we’re then able to take that show internationally as well.” For quite some time, linear and nonlinear platforms have been asking for more rights, with exclusivity the holy grail of many negotiations. From a channel or VOD service’s perspective, the reason is simple. There is a lot of competition and offering a show that can’t be found elsewhere is an effective way of attracting viewers and subscribers.

WANTING IT ALL As BBC Studios’ Benbow points out, the issue of exclusivity is complex: “I think it’s more nuanced than we’d like to believe. Every deal, every customer, is different, but also every show is different. Our job in sales is about working closely with that piece of IP and the producer to understand the right way to get it to the best audience. For A Suitable Boy, we did an exclusive deal with Netﬂix for most of the world. We worked with Acorn TV in the U.S. and Canada. With our naturalhistory programming, we premiere in some regions on our own branded channels; we have co-productions in places like Germany, France and China; and then we have the SVOD premiere with discovery+. So, I would say ZDF Enterprises distributes the Italian drama series Standing Tall.

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eOne catered to the needs of its clients amid the pandemic with series such as Private Eyes.

exclusivity is always a benefit to a buyer, but we are seeing a great willingness for people to work collaboratively and find the right audience for that piece of IP.” “With the rise of SVOD platforms, you need to be recognized by original content,” adds ZDF Enterprises’ Burcksen. “Having said that, there is a greater trust for what I call true co-productions—dividing territories or finding solutions for working with SVOD platforms on a co-production basis. What remains difficult is sharing rights in a certain territory. If a broadcaster or platform steps in for a co-production, they want to defend their own territory. So that remains difficult. But around that, it’s all about fair deals, creativity, finding financing models—it’s very inspiring.” Finding the right home for a show and satisfying the insatiable demand for content of so many outlets have increased the need for skillful windowing. As All3Media’s Pedersen explains: “We’re seeing a little bit more flexibility from some of the SVODs, not necessarily around exclusivity but around territories. So they may request a bespoke clutch of territories rather than global rights.” And windowing is getting even more complicated. “You can have a show on pay TV, then you have a linear window, and then a limited SVOD service window,” continues Pedersen. “You might have AVOD at the same time that is nonexclusive. There is no one-size-fits-all. A show like Midsomer Murders, an established brand in a market like the U.S., is on PBS syndication via APT. We work with Acorn TV and other SVOD clients in the U.S. on this series, then on some of the AVOD services like Pluto TV. It’s running in different places at the same time, but perhaps they’re not all doing the same [season], and you’re releasing a premiere to one, and the library is playing on another platform. We have people on our team now who are basically just helping the sales team with availabilities and windowing, which we didn’t have three years ago.” Banijay licensed the series The Fall to several outlets. In the U.K., it was on Netflix while simultaneously available on other platforms. In the U.S., it was originally on Netflix. “Those rights expired, and we’ve been able to do nonexclusive deals with a couple of platforms where it performs very well,” explains Creasey. “We’ve put it through Amazon Prime Video, on linear TV through Ovation and then another deal on Peacock for its launch.” When it comes to working with SVODs, the global ones are not the only nonlinear players offering distributors opportunities. Regional SVODs are proving to be reliable partners. “I’m pleased we’ve worked well with Stan in Australia this year on a couple

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of shows,” says All3Media’s Pedersen, referencing The Tourist and Eden. “They have been great as a high-end local Australian drama partner that shares our tastes and is willing to come in as an anchor broadcaster. HBO Max has also been a great partner recently on shows including It’s a Sin. I think we’ll see our relationships with both the local SVOD platforms and the studio SVOD platforms grow.” The launch of new AVOD services is providing distributors additional business opportunities. Their relevance to viewers had been increasing pre-Covid, but their libraries of “comfort” shows available for free have recently been of signiﬁcant appeal to consumers. “The number of minutes being watched in AVOD and the number of active viewers on platforms like Roku, IMDb TV or Pluto TV is rapidly growing,” says eOne’s Baxter. “AVOD is an exciting new medium, which is why we’re pleased to be in business

“With the rise of SVOD platforms, you need to be recognized by original content.” —Fred Burcksen

with a number of the AVOD players like Rakuten and Huawei in the U.K. and Spain, Globoplay in Latin America, Plex in Canada and Kidoodle.TV in the U.S. and U.K. We recently concluded a deal with Roku in the U.S., Canada and the U.K., which signifies a revenue stream not seen before.” All3Media’s Pedersen adds: “If you love Gordon Ramsay shows or motor and car shows, you can find them on AVOD. So AVOD has been particularly useful for filling that gap for people who have canceled their cable services but still want to find shows that satisfy their interests and hobbies. I suspect that over the next 18 months, we might see AVODs moving up to perhaps come in as a pre-buyer on a few shows or co-producer on shows. Not necessarily a drama, but perhaps in the case of an older series that’s worked very well for them, if we can offer a new season, maybe they will come in first. Their influence is growing. We’re projecting big growth in that area of our business. And we might see them put even more money on the table for perhaps a first window.”

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As Creasey explains: “For a distributor with the size of library that we have, the AVODs have proved to be a brilliant new source of content supply and income. The majority is still nonexclusive library. We’re not going there yet for exclusivity or certainly not for co-productions. It’s still mostly library; however, we are seeing that open up more.” ZDF Enterprises’ Burcksen likens AVOD to the new commercial television: “It’s on-demand commercial television, and it might, someday, be as strong as linear television. From the perspective of the platforms, the advertising can be pinpointed toward the user through algorithms and software solutions. That is amazing. You probably need two or three commercials per half-hour or hour, and they are targeted to your behavior, your age, your needs.”

“I think we’ll see our relationships with both local SVOD platforms and the studio SVOD platforms grow.” —Louise Pedersen ZOOMED OUT In addition to transitioning from Peak TV to Peak Demand, distribution executives have had to adjust to working with colleagues, motivating teams, guiding producers and negotiating with clients, all on a computer or smartphone screen instead of in person. ZDF Enterprises’ Burcksen observes: “If you had asked me a year ago, Can you go a year without markets and personal contact with clients? I would have said, No, that’s impossible. But we did well. We’ve even exceeded our turnover goals for this year by a bit. If we defeat this pandemic, we shouldn’t try to go back to working the way we did before the pandemic. Nothing will be as it was before. But we are very much looking forward to sitting down with clients again, having dinner with them and some profound conversations in person. That is something that we really miss and are looking forward to doing again.”

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IN THE NEWS

he already ultra-competitive SVOD landscape has a new entrant this spring: Paramount+. ViacomCBS’s new service— which rebranded from CBS All Access in the U.S. in March—spans the breadth of the company’s content engines, including CBS, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. Already available in Canada, Latin America and the Nordic markets as of this month, with the Australian arrival due later this year, Paramount+ is just one pillar in ViacomCBS’s global streaming strategy. The company has also been building the presence of its AVOD service, Pluto TV, which has fared well in Latin America since its arrival there last year. Kelly Day, the president of streaming and COO at ViacomCBS Networks International, tells World Screen about how the company is navigating the global direct-toconsumer landscape.

Kelly Day

ViacomCBS Networks International

By Mansha Daswani

WS: What was the thinking behind the rebrand of CBS All Access in the U.S. and branding the international service as Paramount+? DAY: We did a lot of research around an umbrella brand as we were bringing Viacom and CBS together and thinking about how to incorporate the Paramount studio titles, which included testing outside the U.S. in the key markets where we knew we would eventually want to go with the service. We always knew that the Paramount brand was very strong. Paramount is a 100-year-old iconic studio. But it was wonderful to see how incredibly strong the consumer research was in pretty much every market with regard to the Paramount brand; 91 percent brand awareness, 96 percent favorable recognition. These are exceptionally strong statistics. That gave us conﬁdence as we started to think about rolling out in various markets, particularly non-Englishlanguage markets. The Paramount [name], the mountain with the stars, that iconic branding, really did cut through and the consumer research completely supported that choice in brand.

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The Paramount+ lineup includes the true-crime drama series Interrogation.

WS: How did you determine the initial batch of markets for this year? DAY: We already have some presence in all of the international markets in phase one. We have CBS All Access and 10 All Access in Canada and Australia, respectively. We had what you might consider a light version of Paramount+ in Latin America. The Nordics was one of the ﬁrst markets where we introduced the Paramount+ brand back in 2017. It’s been a very popular service through our MVPD partners in the Nordics. So we already had some experience and a bit of a footprint in those markets as we thought about bringing a bigger super-service to drive direct-to-consumer subscribers and grow the Paramount+ brand. We have an ambitious rollout plan to launch in more markets relatively quickly over the next couple of years. When determining our rollout strategy, we look at everything from the strength and consumer adoption [of SVOD] to content availabilities and content rights situations to MVPD and telco partner relationships. We feel great about the ﬁrst four markets where we are launching, given we already have experience in those markets and have strong content and distribution partnerships. WS: Let’s talk about the AVOD proposition too. How is the Pluto TV expansion progressing internationally? DAY: Pluto TV has been phenomenal! When we acquired Pluto TV a couple of years ago, it had just launched in the U.K. and Germany, so it had a little bit of experience launching in some international markets. Last April, we rolled out in Latin America. At the end of last year, we launched in Brazil and Spain. This year already, we’ve launched in France and soon will launch in Italy. Honestly, the numbers speak for themselves. We are up to 13 million monthly active users internationally as of the end of last year. We see that number continuing to grow exponentially. The rate of growth has been exceeding our expectations. We expect that growth trajectory to continue. For consumers, it’s a no-brainer. We have great distribution and it’s a great product. It’s a wonderful lean-back experience—you can put it on and get immersed into any number of different channels. In all the markets we have a pretty great selection of local channels, which have proven to be very popular. In LatAm, we have lots of great local channels and people on the ground looking for content, talking to local content partners and curating and putting those local channels together. As we go into 2022, we will have more markets coming. Pluto TV creates a ton of value for a price-conscious consumer, advertisers like it, and it continues to take off.

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Paramount+ in the Nordics includes feature films such as Capone.

WS: Tell us about the importance of having a dual AVOD/SVOD strategy as you navigate the complexities of the global D2C landscape. DAY: We certainly have taken advantage of the fact that we are one of a handful of companies that can have a flexible market approach. When we think about our approach to streaming, we are looking at it market-by-market and making decisions around things like our content pipeline, the dynamics within a market in terms of consumer adoption of SVOD, the health and strength of the ad market on the AVOD side and thinking about whether it’s a strong opportunity with regard to AVOD. And then making choices, including: Do we want to launch Paramount+ first or Pluto TV first? Or in the case of Latin America, for example, have both products in the market. And when we have both products in the market, you have what Tom [Ryan, president and CEO of streaming at ViacomCBS] described on investor day as this super-funnel idea. I would say the super funnel goes beyond just Pluto TV into SVOD, but incorporates the entire scope of ViacomCBS assets. In Latin America, we own Telefe, which is the number one broadcaster in Argentina. We have pay-TV assets all across the region. We have a huge social media presence and footprint with digital channels. We have this incredibly fastgrowing Pluto TV service. And now we’re scaling up our Paramount+ offering. All of these things work together. You’re going to see our linear channels, social feeds, Pluto pop-up channels, the entire weight of ViacomCBS getting behind driving subscribers to SVOD. That’s the core of the strategy and why we think we have a good approach. WS: What role will ViacomCBS International Studios play as Paramount+ deepens its presence in markets with locally resonant content? DAY: We believe that local and original content are key to the selling proposition of Paramount+. Consumers love the big Showtime series, the big Paramount+ series and the Paramount pay-one movies. That is the core of our offering—it’s critical to the consumer value proposition. Those types of shows are recognized worldwide. What differentiates us and is a big driver of customer acquisition is local content. People want to see the faces, voices and stories that reflect their local culture and storytelling. We’ve been working with phenomenal producers, writers, directors and on-screen talent to try to put together a very strong slate of local originals. We’re super excited about the originals we announced at investor day, especially the new series from Juan

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Paramount+ has greenlit a prequel to the hit series Yellowstone.

José Campanella [Los Enviados]. But that’s just the beginning. We want to keep investing in other local markets as well. We announced Last King of the Cross in Australia, and we are going to greenlight some additional shows there, as well as one or two that we’ve greenlit in the Nordics, including Ib the Dog. We view that not only as a driver of local subscribers, but we also see that content traveling globally. So when we’re greenlighting a show, for example, in Latin America, yes, it’s going to be a big tentpole promotable in the region and it’s going to drive subscriber acquisition, but we also assume that it’s going to be able to travel everywhere. We look at scripts and stories that we think are going to be able to travel. If you look at the investments that all the big streamers are making in local content, it’s with the idea that local content appeals to global audiences now. People like seeing stories from all over. We think it’s an important part of the offering. WS: Tell us about the distribution strategy, be it with existing MVPD partners, device manufacturers or telcos. DAY: It’s all of the above. We believe in having the broadest distribution strategy possible. The service will be available on all the big global platform partners—web, mobile, iOS, Android, Amazon Channels, Apple TV Channels. But one of the big differentiators for our strategy is our local platform and distribution partners. ViacomCBS has a long history of deep relationships with MVPD and telco partners. When we launched in Latin America, we did so with over 50 local partners, including Roku, Claro Video, Mercado Libre, izzi, Megacable, Totalplay, Claro Brasil, Vivo, Oi, InComm and DISH, in addition to all the big global platform partners. So you can ﬁnd us on your local set-top box, on your mobile phone, some of your e-commerce partners. We’re being very expansive in our approach to distribution. We want to be everywhere; we want to have a product that appeals to people regardless of device or platform. WS: How can you tap into the strengths of the ViacomCBS brands to maximize the awareness of Paramount+? DAY: You’ll see the full weight of ViacomCBS behind Paramount+. Telefe will continue to support Paramount+ in Argentina, not only through things like sampling free episodes but also through talent integration and other integrations into news and some

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SHOWCASE YOUR NEW SERIES ON

Please visit

WorldScreenPremieres.com to see examples of previous Premieres.

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of our general entertainment programming. Also in Latin America, we launched a Pluto TV pop-up channel to coincide with the launch of Paramount+, which featured a sneak peek of what’s available on the premium service. In many markets, our pay-TV channels MTV, Comedy Central and Paramount Network will run roadblocks of Paramount+ programming. We’re putting the weight of all our assets behind supporting this launch and making it as successful as possible. WS: How do you determine a pricing strategy for Paramount+? Will it be dependent on the market?

“You’re going to see...the entire weight of ViacomCBS getting behind driving subscribers to SVOD.” DAY: We want to give consumers a premium content offering at a price point considerably lower than [our] competitors, making it essential for both consumers and distribution partners. We want to make this a service you have to have. For consumers, that equation [is based on] having a depth of library and the key titles that are the must-watch, combined with how much you have to pay for it. That is the value equation that consumers put together. Our service is going to be priced signiﬁcantly below other streamers in the market. We will be offering a seven-day trial across our markets during a time when a lot of other streamers have discontinued their trial offerings. We’re trying to make it as easy as possible for consumers to choose Paramount+. WS: Is there anything else you’d like to share with us about your streaming strategy? DAY: We’re very excited about these ﬁrst markets. That will put us in roughly 25 countries out of the gate. But this is just the beginning for us. We have a lot more markets coming, looking at other parts of Europe and Asia and assessing the right timing and execution strategy. There will be more to come.

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WWW.TVKIDS.COM

APRIL/DIGITAL MIPTV 2021 EDITION

Preschool Trends / Co-Pros in Flux / WildBrain’s Eric Ellenbogen / Jonathan M. Shiff

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6 TV KIDS

CONTENTS

Awesome Amity

Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing 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 Kids ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

I have been inordinately lucky to be in a profession I thoroughly enjoy. I know many people who work to pay the bills or feel trapped in their jobs or struggle to figure out what they want to do. Yes, when I was a young girl, I wanted to be a ballerina. As a tween, I thought my calling was medicine and saving lives. Too bad the sight of blood or a needle piercing skin made me woozy. Then a high school teacher praised my writing as having a strong voice. I was studying the muckrakers of the Progressive Era in the U.S. and I felt I had a mission— dig for the truth and report on it. First, though, I had to overcome extreme shyness and insecurity, but a girl can dream, right? Dream I did and aided by curiosity, serendipity and a willingness to work hard, I made it as a journalist. I love interviewing and moderating panels. I’ve had the privilege of speaking with numerous CEOs and top executives, allowing me to peer into the weight and responsibility that come with occupying the C-suite. But I especially revel in talking with creatives. I particularly enjoy the creativity involved in making shows for children, which can be found not only in crafting intriguing stories, lovable characters and designing compelling animation but, increasingly, also in financing and deal-making. I got the chance to jump into the world of kids’ television during the TV Kids Festival, which ran from February 2 to 5 (if you missed any of it, it’s still available on-demand at TVKidsFestival.com). I learned what serves as inspiration, how shows come together, how productions resumed with animation teams working remotely or following Covid-19 safety protocols on set. But what was palpable and most enjoyable to experience was the sense of camaraderie among executives. Even though they often compete for financing, or slots on broadcast schedules, or space on streaming services, they showed respect for one another’s work and could joke together. Covid has united this fellowship of kids’ creators and executives even further as they have all been facing the same challenges. I’m excited that we will be holding another TV Kids Festival from June 7 to 10. Stay tuned for more details. —Anna Carugati

GET DAILY NEWS ON KIDS’ PROGRAMMING

FEATURES

ALL ABOARD! Social and emotional learning, educational elements and an emphasis on diversity are all key trends on display in the preschool sector today.

TEAM SPIRIT Even though they take time, planning and precise alignment of interests, co-productions remain a viable way of bringing projects to the screen.

TOONED IN Yuliana Slashcheva, chairman of the board of SMF Studio and chairman of the board of the Russian Animated Film Association, talks about the studio’s rich history and modern animations.

INTERVIEWS Eric Ellenbogen WildBrain

Jonathan M. Shiff Jonathan M. Shiff Productions

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Donkey Hodie

16 TV KIDS

9 Story Distribution Donkey Hodie / Andy and the Band / Weird Waters 9 Story Distribution is highlighting numerous titles, including the preschool series Donkey Hodie, from Fred Rogers Productions; Andy and the Band, a music-driven comedy series that celebrates individuality; and Weird Waters, a brand-new show about a little ﬁsh on a big adventure. “Donkey Hodie is a series with universal appeal for children, with a focus on resilience and problemsolving for young viewers,” says Alix Wiseman, senior VP of distribution and acquisitions at 9 Story Media Group. “It is an imaginative series with a social-emotional curriculum that follows the adventures of Donkey Hodie and her pals as they empower preschoolers to dream big, persevere and discover that they are capable of overcoming obstacles on their own—laughing themselves silly along the way!”

“9 Story is committed to producing and distributing content that parents can feel good about.” —Alix Wiseman

Big Lizard

Aardman Big Lizard / Pop Paper City / Sol From Beakus, Big Lizard is a bridge preschool series that Aardman is distributing. For the upper-preschool audience, LoveLove Films’ Pop Paper City is billed as a “view and do” CGI craft show with adventure. Both are packed with comedy. “Kids want to laugh wherever they are in the world, and both of these series deliver on this,” says Alison Taylor, director of distribution and business development at Aardman. Sol is a co-viewing film with a message about finding the light on the darkest night. Taylor says that the company is looking to “find partners from all around the world to either edge a series closer to greenlight or to come on board with a fully funded show that will deliver a positive audience experience.”

“We have a diverse yet bespoke catalog of quality content at various stages of development and production to showcase.” —Alison Taylor

ADK Emotions NY Beyblade Burst Surge / Beyblade Burst Rise / Beyblade Burst Turbo The animated Beyblade Burst series continues to bring its characters and storylines to life with a relatable theme of sports, competition and the excitement of battle. “These central motifs appeal to audiences all around the world,” says Shunichi Ogawa, CEO of ADK Emotions NY. Beyblade Burst is the story of a group of passionate Bladers who follow their dreams on an unforgettable journey to the top. The franchise, which ADK Emotions NY has on offer, includes Beyblade Burst Surge, Beyblade Burst Rise and Beyblade Burst Turbo. “Our goal is to continue to boost awareness of our content,” Ogawa says. “We are in the process of placing Beyblade Burst season ﬁve with broadcasters globally at this time and will unveil season six later this year.”

Beyblade Burst Rise

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18 TV KIDS

Beyond Rights The World According to Grandpa / Ace My Space Produced by Saffron Cherry TV for Channel 5’s Milkshake! in the U.K., The World According to Grandpa is a colorful new series on offer from Beyond Rights for 3- to 7-year-olds. It blends live action and animation to follow the adventures as Grandpa whisks one of his four grandchildren away in each episode. “The series is uniquely designed for local reversioning of the live-action elements, if preferred, so this will only serve to enhance its appeal to buyers,” says Connie Hodson, Beyond Rights’ head of partnerships and business development. There’s a new season of Ace My Space, a Tailored Films production for RTÉ. In the series, YouTube stars Sean Treacy (aka Stellar Sean) and Mary-Claire Fitzpatrick (aka MC) lead a dedicated and creative design team through bedroom makeovers.

The World According to Grandpa

“The World According to Grandpa is a warm, witty and fantastic-looking series, and it is very funny, which really adds to the appeal.” —Connie Hodson

CAKE Dodo / B.O.T. and the BEASTIES / Tish Tash On offer from CAKE, Dodo features a portrayal of everyday school life told through the heightened emotions of 11-year-old Joe Connolly, who is totally unprepared for the pitfalls of his first year at secondary school. “Dodo perfectly captures kids’ everyday experiences in school; trying to fit in, making new friends and first girlfriends are universal themes that will resonate with kids everywhere,” says Ed Galton, chief commercial officer and managing director of CAKE. B.O.T. and the BEASTIES is the latest series from Ragdoll Productions. It introduces preschoolers to the comic adventures and misadventures of a lovable robot called B.O.T. (Beastie Observation Transmitter). Also for the preschool set, Tish Tash follows a young bear called Tish, her bear family and her larger-than-life imaginary friend Tash.

Tish Tash

“We recently set up CAKE Productions to support CAKE’s substantial rise in development and production activities on shared and originated projects.” —Ed Galton

Orange Moo Cow

Cyber Group Studios Droners / Orange Moo Cow / Bananimals Cyber Group Studios is bringing to MIPTV brand-new episodes of the animated series Droners, which follows Team Tikis as they strive to win the Whale Cup, the most extreme drone race of all time. The company is also showcasing Orange Moo Cow, the ﬁrst title from its partnership with Soyuzmultﬁlm (SMF Studio) under the joint label Cyber Soyuz Junior. The comedy series Bananimals caps off the highlights. “Bananimals is an amazing comedy series set for co-viewing where parents and children will have fun together,” says Raphaelle Mathieu, senior VP of sales, acquisitions and new media at Cyber Group Studios. She adds, “These three titles are very different from each other, but we always make our best efforts to bring the best quality to kids and their parents worldwide.”

“Our goal is to bring the best content thanks to the involvement of amazing talent coming from all over the world.” —Raphaelle Mathieu

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20 TV KIDS

Preston & Brianna

FilmRise Preston & Brianna / Lilly’s Light: The Movie / The New Howdy Doody Show Among the programs on the FilmRise slate are Preston & Brianna, Lilly’s Light: The Movie and The New Howdy Doody Show. “Our programs offer universally appealing stories to preschool and Gen Z audiences around the world by highlighting the life lessons, games, experiences and topics they seek out no matter where they live,” says Danny Fisher, president and CEO. “Kids can watch YouTube sensations Preston and Brianna play the world’s most popular video games, sing along with the lighthouse gang in the musical Lilly’s Light: The Movie, where life is full of possibilities, or play along with Howdy Doody, the iconic puppet personality that transcends borders.” Fisher adds that FilmRise is the largest and fastest-growing independently owned provider of streaming content in the world.

“FilmRise has what kids around the world love.” —Danny Fisher

KingstOOn April 21-25, 2021 The Caribbean’s leading creatives will come together with inﬂuencers in the global animation arena at this year’s KingstOOn Virtual. The event has a history of promoting Afrodescendant animated content, and this year will feature a panel discussion on the creation of Hair Love. The agenda has also been expanded to include a special focus on women in animation, Black animators and other advocates for diversity. On the roster are a Black Women in the World of Animation panel and sessions such as Diversity in the Media Industry. “A recurring theme throughout the conference will be inclusivity, as we are also looking to promote content created in underrepresented regions such as the Caribbean and Jamaica in particular,” says Robert Reid, animation specialist at the office of the Prime Minister of Jamaica.

“Jamaica has a cultural vibe like no other, and the agenda will be infused with Jamaican personalities, culture and entertainment.” —Robert Reid

Mattel Masters of the Universe / Thomas & Friends: All Engines Go / Barbie specials Mattel’s two new Masters of the Universe series, Masters of the Universe: Revelation and He-Man and the Masters of the Universe, will premiere this year. The ﬁrst is a fandriven anime show that will pick up the storyline from the ’80s series. The second is an animated adventure series that will introduce a new audience to the franchise. The latest take on the classic Thomas & Friends franchise, Thomas & Friends: All Engines Go, will premiere this fall in vibrant, 2D animation. There is a pair of new Barbie specials as well: Barbie & Chelsea The Lost Birthday and Barbie Princess Adventure. “Our mandate is to engage consumers through timely and compelling episodic television content and television movies based on our iconic franchises,” says Fred Soulie, senior VP and general manager of Mattel Television.

“We have a treasure trove of brands that offers numerous opportunities to create great television.” —Fred Soulie

Barbie & Chelsea The Lost Birthday

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22 TV KIDS

Sardine in Outer Space

Mediatoon Distribution Little Furry / Kid Lucky / Sardine in Outer Space Mediatoon Distribution is spotlighting a new season of Little Furry, a non-dialogue series that tells the story of an endearing character exploring the universe of his imagination. Kid Lucky, a prequel to the Lucky Luke comic book series, sees Kid and his friends exploring the Wild West. “Whether it’s catching and riding a horse, following in the footsteps of a grizzly bear, sleeping under the stars or challenging Billy the Bad with a slingshot, adventure and laughter are always right around the corner,” says Jérôme Alby, managing director of Mediatoon Distribution. In Sardine in Outer Space, the titular heroine and her team of intrepid travelers explore the universe while locked in a never-ending battle against the supervillain Supermuscleman. “These three programs are full of universal values: friendship, courage and self-improvement,” says Alby.

“We are always keen to meet new producers and creators with whom we can build the evergreens of tomorrow.” —Jérôme Alby

Mondo TV Group MeteoHeroes / Agent 203 / Annie & Carola Leading Mondo TV’s slate, MeteoHeroes’ theme centers on protecting the climate and the environment, featuring a diverse group of superpowered kids who can control weather phenomena. Agent 203, made for a generation of kids born into technology and a world increasingly run by AI, sees Zoe and her best friends save the planet from an evil alien kingpin and littering alien tourists. “The show itself is funny and adventurous, with clever solutions, lots of disguises, oldfashioned spy work and unexpected twists,” says Luana Perrero, head of content sales at Mondo TV. Annie & Carola features the social-skill-lacking Carola, who builds a robot clone called Annie to be her best friend, but she turns out to be her outgoing opposite. Sissi The Young Empress and Robot Trains are also among the titles on Mondo TV’s slate.

Annie & Carola

“New shows like Annie & Carola, Agent 203 and Hey Fuzzy Yellow are attracting strong broadcast interest.” —Luana Perrero

NBCUniversal Global Distribution The Mighty Ones / Cinderella: After Ever After / The Secret Life of the Zoo DreamWorks’ The Mighty Ones, sold by NBCUniversal Global Distribution, features the adventures of a gang of tiny creatures: a pebble, a strawberry, a twig and a leaf. The kids and family slate also includes Cinderella: After Ever After from actor, comedian and international best-selling author David Walliams. “For years, kids around the globe have been utterly entertained by Walliams’ gleefully mischievous and wickedly funny humor, and this latest TV special is no exception,” says Chloé van den Berg, senior VP, head of kids and family entertainment at NBCUniversal Global Distribution. The Secret Life of the Zoo is an observational documentary that follows life at Britain’s most popular zoo. “Children’s love of animals is universal, and this is fantastic family co-viewing,” says van den Berg.

The Mighty Ones

“DreamWorks’ The Mighty Ones is hilariously funny but in such a multi-layered way that it transcends age demographics and makes for fantastic viewing for the entire family.” —Chloé van den Berg

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24 TV KIDS

Odin’s Eye Entertainment The Beachbuds / Adventures of Kim & Kay / Daisy Quokka: World’s Scariest Animal A comedy-adventure series for kids 5 to 9, The Beachbuds leads the Odin’s Eye Entertainment slate. The 52x11-minute series is from Indonesia’s JToon Studios and Canada’s Syon Media. The catalog also features Adventures of Kim & Kay, a pitch-ready series for kids 6 to 12 from Stratostorm. “The strength of both properties is the characters themselves, who are wonderfully wacky and endearing,” says Michael Favelle, founder and CEO of Odin’s Eye. The Daisy Quokka: World’s Scariest Animal animated feature is part of the portfolio as well. Favelle adds, “As a company, Odin’s Eye Entertainment has been focused on features since 2006 and, on a personal level, it’s great for me to be able to return to my roots. We look forward to discussing our completed acquisitions as well as our projects in development.”

The Beachbuds

“With both Odin’s Eye Entertainment and Odin’s Eye Animation, we are excited to introduce ourselves to TV and streaming execs during MIPTV this year.” —Michael Favelle

Princess Sam Entertainment Group Tara Duncan and the Spellbinders Princess Sam Entertainment Group (PSEG) is proud to present its ﬁrst IP: Tara Duncan and the Spellbinders. The CGI animated series, targeted to boys and girls age 6 and up, is based on the best-selling book saga Tara Duncan, written by Sophie Audouin-Mamikonian and sold in over 27 countries. “The format of the series, the strength and diversity of the characters, the very rich and unique universe, the values—all of this constitutes the series’ DNA of friendship, teamwork and magic,” says Sonia de Moura, chief marketing officer at PSEG. “The series meets all international expectations with its editorial; the mixing of fantasy, humor and adventures; and its colorful and magical universe. To those who dream of heroes, dragons, elves and magic, please enter Otherworld, an urban fantasy universe where everything is possible—this is Tara Duncan.”

Tara Duncan and the Spellbinders

“The ambition of the group is to become one of the leaders in Europe within the next few years.” —Sonia de Moura

Serious Lunch Tulipop / Tik Tak / Operation Ouch! At MIPTV, Serious Lunch will showcase the new Tulipop TV series, which features fairytales that speak directly to the preschool market. “With the high production and storytelling quality, we have no doubt that the series will be a hit around the globe,” says Leila Ouledcheikh, director of global sales at Serious Lunch. Tik Tak features an exciting universe meant to stimulate the cognitive development of toddlers. The comedy/adventure series Welcome to Earth is about tiny aliens who explore and compete to ﬁnd the perfect headquarters from which to rule the Earth. Also in Serious Lunch’s catalog is Operation Ouch!, for which there are talks of a tenth season. “Despite the challenges from last year, the production team opened up to new interesting formats and bonus clips,” says Ouledcheikh.

Operation Ouch!

“The popularity of Operation Ouch! continues to be underpinned by the outstanding content.” —Leila Ouledcheikh

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26 TV KIDS

The Unlisted

Sinking Ship Entertainment Alma’s Way / The Demon Headmaster / The Unlisted Centering on a young girl who can pause the world around her, Sinking Ship Entertainment’s Alma’s Way gives a view into her fast-paced city life while teaching kids how to go about making the right decisions. Based on Gillian Cross’s book series, The Demon Headmaster is part science fiction and part psychological thriller. In The Unlisted, twins Dru and Kal and a group of underground vigilante kids fight against a secret society’s efforts to control children. “Sinking Ship Entertainment has garnered a reputation for high-quality content that features diverse stories, characters and voices; the three shows we are featuring at MIPTV 2021 fit within our Sinking Ship DNA,” says Mehmet Gunduz, manager of sales for LatAm and CEEMA. “These series all contain universal themes that will appeal to a multitude of buyers worldwide.”

“Every year at MIPTV, we connect with new buyers who value diverse, commercially friendly educational kids’ content, and we expect MIPTV 2021 to continue that tradition.” —Mehmet Gunduz

Studio 100 Media FriendZSpace / SeaBelievers / 100% Wolf—Legend of the Moonstone The Studio 100 Media highlight FriendZSpace is about three best friends on a mission to locate planets, ﬁnd alien kids, introduce themselves and make friends. Each animated episode of the eco-tainment series SeaBelievers leads with an adventure. “Whether in the sea or onshore, the positive SeaBelievers characters problem-solve and take action around key environmental issues,” says Dorian Bühr, head of global distribution. In 100% Wolf—Legend of the Moonstone, an heir to a proud line of werewolves “warfs” into a poodle on his 13th birthday. “We think it is important, especially now, to bring forward and offer exceptional productions like SeaBelievers, FriendZSpace and 100% Wolf—Legend of the Moonstone, which represent great entertainment that conveys important and positive messages,” says Bühr.

100% Wolf—Legend of the Moonstone

“Our mission in the kids’ entertainment world is to bring brands to life that are content-driven and entertain kids and families—on every platform and wherever they are.” —Dorian Bühr

TeamTO Jade Armor / Winter Is Here! / Tiny Island Jade Armor, an action-comedy series on TeamTO’s slate, follows martial arts-loving Lan Jun, who must learn the secrets of her family’s magical suit of armor and navigate teenage life. “Every kid, wherever they are from, goes through an I-wantto-be-a-superhero phase, and that fantasy is what Jade Armor delivers,” says Corinne Kouper, co-founder and senior VP of development and production. TeamTO is also bringing to the market three animated Winter Is Here! holiday specials. They are based on the children’s books The Winter I Met the Fox, Penguin’s Ice Time and Snowy and the Snowman. In Tiny Island, small island Tiny travels the world with companions Rocco and Dee Dee. “Tiny Island is a different kind of helpful hero who also appeals to younger kids and their need to ﬁnd solutions to problems and help others,” says Kouper.

Jade Armor

“We use MIPTV to connect with our established longterm partners and friends and to meet with creative talent to help support the constant growth of our two studios.” —Corinne Kouper

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GOGOBUS

28 TV KIDS

Winsing Animation Undersea Journey / GOGOBUS / Team S.T.E.A.M.! Winsing Animation’s Undersea Journey is designed to popularize scientiﬁc knowledge of the undersea environment, with characters that search for various marine creatures and record their ecological materials. A series for preschoolers, GOGOBUS centers on Gordon, a school bus that can transform into different vehicle shapes. Team S.T.E.A.M.! sees a tight-knit team of kids who genuinely like each other enjoy solving problems and sharing knowledge with one another. “Young people all around the globe will enjoy seeing themselves reﬂected in our diverse group of characters and cultural backgrounds,” says Ben Gu, the CEO of Winsing Animation. “Young viewers will come away from our exciting episodes with an appreciation for school subjects before encountering them in classrooms.”

Xilam Animation

“We are expanding the company horizontally and geographically, and we’re looking for partners from all over the world to cater more to huge regional markets.” —Ben Gu

Pffﬁrates

Oggy Oggy / Tangranimals / Pfffirates Oggy Oggy, the new preschool spin-off to Xilam Animation’s Oggy and the Cockroaches franchise, is a CGanimated non-dialogue series that sees a young Oggy living in a fantasy world inhabited by a community of cats. “The series already comes with built-in awareness and crossgenerational appeal, as well as having a strong international legacy behind it,” says Morgann Favennec, executive VP of distribution. The comedy-adventure series Tangranimals follows young Geo as he explores Tangra planet and its geometrical landscapes along with the Tangranimals, creatures that can link together like Tangram pieces and create all sorts of vehicles, creatures and objects. In the Calypso Island-set Pfffirates, three crew members are taught Pfffiracy by the legendary Captain Lamar.

“We’re busy continuing the expansion of our international footprint— whether that’s by building upon our long-lasting relationships with linear broadcasters or growing our partnerships in the digital world.” —Morgann Favennec

ZDF Enterprises Zoom—The White Dolphin / Pan Tau / Space Nova Leading ZDF Enterprises’ kids’ content slate, Zoom—The White Dolphin tells the story of Yann, a teenager who heads off on exciting adventures with a mysterious and remarkably intelligent white dolphin. “Comedy and humor are central to the series, expressed through a host of colorful characters,” says Peter Lang, VP of ZDFE.junior. Pan Tau, a reinvention of the much-loved children’s classic, sees the dapper character supply help with a smile and his magical bowler cap. The animated series Space Nova follows the Aussie space-exploring Nova family. “Space and understanding Earth’s place in the universe is one of the major topics of the series, and through this, connects kids with authentic engagement in STEM,” says Lang.

Pan Tau

“ZDF Enterprises’ junior department has been able to boost its production slate with a handful of new high-class commissions in live action and animation.” —Peter Lang

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ALL

Mattel Television’s Thomas & Friends: All Engines Go.

Leading distributors tell Mansha Daswani about the latest developments in the always in-demand preschool space.

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arlier this year, WarnerMedia announced plans for the U.S. introduction of Cartoonito. The new preschool programming block for Cartoon Network and HBO Max is, per Tom Ascheim, president of Warner Bros. Global Kids, Young Adults and Classics, the company’s “biggest commitment to preschool programming in 100 years.” Cartoon Network and HBO Max making a big bet on preschool heralds the arrival of another buyer and commissioner in an already über-competitive space. That, combined with the increased need for high-quality, enriching content for young ones conﬁned at home amid the coronavirus pandemic, has upped the stakes in the preschool business as a whole. So what does it take to cut through the clutter? “Diverse, recognizable and relatable characters; strong role models and positive values that resonate with both kids and parents are constant pillars in the preschool space,” observes Chloé van den Berg, the senior VP, head of kids and family entertainment at NBCUniversal Global Distribution. Christopher Keenan, the senior VP of content development and production and executive producer at Mattel Television, also stresses the importance of relatability and highlights the role of aspirational characters. “When children are able to identify with these stories and want to spend time with the characters—whether they’re heroes, friends or just make them laugh (ideally, all three)—they are much more likely to place a show at the top of their list of favorites. And, if they can continue the engagement with these characters by playing out their stories when not watching the show, a series truly stands out.”

FROM THE HEART Emmanuèle Pétry Sirvin, partner and head of international at Dandelooo, says she frequently hears requests for wellknown, established brands in the preschool space. Still, her company is more interested in focusing on the brands of tomorrow—with an emphasis on titles that viewers develop an emotional connection with. “For example, programs that touch your heart, talk about emotions and have characters who are not just heroes but are human and have

NBCUniversal Global Distribution is showcasing DreamWorks Animation’s Gabby’s Dollhouse.

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Dandelooo’s Pompon Little Bear presold into a raft of European markets.

weaknesses and ﬂaws. We aspire to have relatable characters and shows that deal with ‘real’ daily issues. And humor, of course, that’s important too!” Picture books have been a major source of inspiration at Dandelooo, Pétry Sirvin adds. “Most of our programs at Dandelooo are book-based because we are lucky in France, like the U.K., to have an extremely wide range of children’s literature talent fostered through many large, medium and small publishing houses, ready to take risks and tell different stories. The books pre-exist the series but also accompany the development through international extension and continue to grow after broadcast.” Nathalie Pinguet, the deputy managing director of sales and acquisitions at Superights, stresses the importance of strong characters, especially those that allow children to “identify themselves with the heroes of the story.” She also references the use of kids’ voices “for the program to be more authentic.” Beyond storytelling and character development, Lionel Marty, managing director at APC Kids, addresses the need to build a robust 360-degree campaign “to build awareness in the long term.” He also notes the critical nature of delivering broad exposure for shows “so they can engage with increasingly fragmented audiences. Additionally, as we’ve seen with the success of Kid-E-Cats, clear brand values are needed to guide every aspect of the licensing program from the series and product lines, right through to the brand’s marketing activity.” Having a piece of known IP is certainly a leg up when cutting through a competitive landscape, and on that front, NBCUniversal Global Distribution is well served. “Parents have to ‘approve’ the programming and whatever channel or platform the program is on, but kids also need to be entertained and want to keep coming back

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APC is rolling out the new series DinoCity.

for more,” says van den Berg. “This can easily be achieved if the programming exudes positivity, depicts the importance of friendship and has the right mix of characters. The success of DreamWorks Animation’s new animated kids’ series Madagascar: A Little Wild is a perfect example of this, with the characters already known from the hit film franchise, which is a big draw for parents. All of the songs and dance routines are highly repeatable and easy for preschoolers to learn because they were created and performed by professional choreographers and kid dancers to ensure that we were getting it just right for the preschool audience. Similarly, thanks to the success and popularity of the Dragons films, coupled with the truly relatable brother-sister relationship depicted in the show, the animated series Dragons Rescue Riders: Heroes of the Sky has garnered kudos from parents and kids alike. (Having a hilarious burping dragon in the show doesn’t hurt either!)” Mattel, too, has a treasure trove of well-established brands, among them the beloved Thomas, soon to appear in the 2D-animated Thomas & Friends: All Engines Go. “This show brings an entirely new creative approach to Thomas series content, which first premiered 1984,” Keenan says. “With new art direction, more physical comedy and a greater range of character expressiveness, this fast and colorful show is crafted to appeal to contemporary audiences’ sensibilities while, of course, maintaining Thomas content’s core ethos: the great importance of friendship.” Of course, you don’t need a 75-year-old brand like Thomas to find success in the preschool business today. APC Kids’ Marty points to the success of Kid-E-Cats. Originated in Russia, the series has traveled to 150-plus markets courtesy of Nick Jr. and has landed on 30-plus free-to-air broadcasters, with more than 70 consumer-product licensees. “In 2021, we will keep taking steps to consolidate the brand, with the fourth season greenlit and the toy range being launched in new key markets, including Italy, Spain and Poland,” he adds.

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Superights has a signiﬁcant slate of preschool titles, across live action and animation—2D and CGI—and with varying formats, from 2-minute episodes up to standard half-hours. “We try to cover all genres with boys and girls,” Pinguet says, listing key highlights such as Anna & Friends, Clay Time, Koumi’s Animated Picture Book, Percy’s Tiger Tales and Bo Bear. Dandelooo is also showcasing a broad array, led by Billy the Cowboy Hamster, a new season of The Treehouse Stories, Pompon Little Bear, Shooom’s Odyssey, Petit, Cubs and Kosmix. Pétry Sirvin emphasizes the importance of diversity in the company’s approach.

SOMETHING FOR EVERYONE “There is a continued increase in demand for strong female/girl lead characters and, most of all, there’s an urge for diversity,” Pétry Sirvin says. “As the company continues to grow and develop, we have given ourselves a parity and party rule— to have in equal amounts as many female characters as there are male characters. Also, we want to express to kids that there are different kinds of families, made up of different dynamics. In Billy the Cowboy Hamster, Billy is raised by a single parent, his dad. It is also very important for us, as it is for the broadcasters, to represent diversity. In The Treehouse Stories, we had to organize four castings to ﬁnd the perfect quota of kids from different backgrounds.” Another key trend that has developed in the preschool business is a focus on “soft learning,” NBCUniversal’s van den Berg says. “We see this ‘lean into’ social-emotional learning demonstrated in DreamWorks’ Gabby’s Dollhouse. This show’s unbelievable global success reinforces how much parents and their preschoolers need this additional support right now. We’re also seeing more mindfulness and activity-based shows, which, again, is a sign of the times we’re living through.” Mattel’s Keenan expresses a similar view, stating: “One of the most common, current trends in preschool programming is a movement toward content that helps with kids’ social and emotional development, introducing themes such as navigating emotions, dealing with disappointment and resolving conﬂicts.” At Superights, meanwhile, Pinguet says she’s witnessed an increased demand for educational programs as well as “do-it-yourself” series such as the company’s own Clay Time and Koumi’s Animated Picture Book. The Covid-19 pandemic has turbo-boosted the interest in “edutainment,” a phrase that, pre-coronavirus, was rarely a selling point when pitching to commercial broadcasters. “Every week we receive requests for edutainment shows because ‘traditional’ broadcasters, VOD platforms, DVD players, etc., want to supply meaningful programs to parents and kids during lockdowns and home-schooling,” says

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Pétry Sirvin. “Currently, ‘entertaining’ shows are simply not enough.” Keenan adds, “As families spent more time at home in 2020, parents and caregivers sought out programming that delivered meaningful and substantive content without compromising on the entertainment value. To that end, we saw significant consumer excitement for our Thomas & Friends early learning and birthday-themed content on YouTube, as well as our series content on other platforms.”

PLUGGED IN With kids homebound, they were also spending way more time on their devices, continuing a shift that has been happening in the business for years. As such, digital extensions—from audiobooks to games—are more critical than ever. “Preschoolers want to interact with their favorite characters in different ways,” Keenan adds. “That’s why we take a franchise approach to content, ensuring we extend these brands and enable children to interact with their favorite characters in as many ways as possible, including the television show, toys, books, shortform content, games and more. Thomas & Friends is a great example of this. Last year, we celebrated Thomas’s 75th anniversary and we launched new content across many platforms, including four made-for-YouTube series, a Thomas & Friends Storytime podcast, a partnership with the wellness app Calm and more.” Being everywhere kids are also means an increasingly sophisticated approach to slicing and dicing the rights to a show. And AVOD has become an especially compelling opportunity. “We have a strong AVOD presence, with billions of views on our official YouTube channels,” Marty at APC Kids says of the Kid-E-Cats brand. “With 24 mobile apps accounting for more than 39 million downloads, this mobile rollout has become a very interesting path to explore in terms of brand awareness.” Ultimately, though, it all starts with a strong story and compelling characters that preschoolers will fall in love with. “If a program becomes a viral hit, there is a natural expansion to all other exploitation,” says Pétry Sirvin at Dandelooo, “but in our view, it should not be the objective.”

Anna & Friends is one of the new highlights from Superights.

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Mondo TV and Toon2Tango’s Agent 203.

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TEAM Even though they take time, planning and precise alignment of interests, co-productions remain a viable way of bringing projects to the screen. By Anna Carugati

nventiveness and innovation are traits most often associated with crafting storylines or designing animated characters. However, they are increasingly necessary for the ﬁnancing and dealmaking side of the kids’ content industry. In navigating the evolution of the sector, producers have had to become creative in the business models they structure and the partnerships they form. Despite all the change, one factor has remained constant—children want entertainment, even more so during the pandemic when so many have not been in school or participating in extracurricular activities. And kids demand engaging stories and high production values, and these come with a high price tag. Pierre Sissmann, the chairman and CEO of Cyber Group Studios, explains that his company prefers to produce on its own when possible. “Because we are a French studio and we are supported by the French government and have subsidies and tax credits, the best model for us is to create something that is 100-percent original. You want to retain a maximum amount of rights and creative ideas and be a master of your own destiny. That is not

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Cyber Group is one of three production partners on Droners, alongside La Chouette Compagnie and Supamonks Studio.

always possible, so sometimes you co-produce because you need to or because someone is coming to you. “Having said this,” he continues, “the preferred way of coproduction is always to do it with one entity. This has evolved because, over the years, the market has been evolving. We have found that we can coproduce with three entities. For instance, Tom Sawyer was a Franco-German-Italian co-pro. Nefertine on the Nile was France and Italy and it even has other territories in it. We are executive producers, but we are [one of] three partners in France on Droners. So new models appear all the time. It is more difficult because you have to align more interests. The math and the model are more complicated.” Despite the complexities and the labor-intensive nature of jointly financing and producing, for many years, a popular co-production formula has been two commissioning broadcasters combined with funding possibilities and presales to close the gap.

REINVENTING A CLASSIC “The classic model as described has proven its worth,” says Martin Krieger, the CEO of Studio 100 Media. “Naturally, it varies in terms of the weighting of the individual financing aspects, but it is still there as a basis for financing via broadcasters, funding, tax incentives and presales. The players involved vary, too, looking at streamers and other commissioning partners, but the known financing sources remain the same. We are constantly monitoring the possibilities and want to use the best possible constellations for our productions and co-productions.” “I’m still really keen on the old-school model because I like to own the intellectual property and also to keep the distribution rights,” says Genevieve Dexter, the founder and CEO of Serious Lunch and CEO of Eye Present. “If you go with a VOD model, there’s not a lot left after that contract. So, I’m still keen on the two-broadcaster international co-production, but I’m finding that there are more co-producers required

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Flying Bark Productions, Studio 100 and T&B Media Global partnered on FriendZSpace.

now to try to make the cake ﬁt. You used to be able to do it with two countries, and increasingly, you’re doing it with three.” Cyber Group’s Sissmann stresses the critical importance of ensuring all partners are on the same page before starting production: “The most important thing is to not only think about your interests but also about the interests of others. [You can] eliminate disagreements in the middle of production if you align interests in the beginning. That can make things go faster and time is of the essence when you co-produce. Each delay costs money, and each delay ultimately upsets your final client.” Knowing at the outset what all the components of a project could be make completing the co-production less complicated. “The traditional model does still seem to be the leading option, even if there are more ways to finance the

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Boat Rocker has several co-pros with the BBC, including The Next Step.

production of a show these days,” says Matteo Corradi, the president and CEO of Mondo TV Group. “However, it is not just a matter of how you finance your show. Your choice also depends on what expectations you have of your IP. If you need to support consumerproduct programs, broadcasters and big chains still play a primary role. That’s why independent producers need to take what you might call an opportunistic approach. They must try to be flexible to benefit from the different chances available in the market. In fact, creativity may not just be part of developing content but can also play a role in implementing business strategies!” Identifying the core attributes of a property helps producers ﬁnd partners and the right home for a show. As Jon Rutherford, the president of Boat Rocker Studios, Kids & Family and Rights, says: “It goes back to what we as companies, as brand builders, are prepared to do to support a brand. Traditionally, it was always great to

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Eye Present, Gigglebug Entertainment and Nelvana are partnering on Best & Bester, which has been prebought by Nickelodeon International.

be on a very prominent linear broadcaster that had the eyeballs and the visibility. The reality is the money is just not spread around the same way it once was.” With often bigger spending power than linear channels, streaming services have offered producers new opportunities and spawned a series of dilemmas for production partners. “Working with streamers is more of a realistic way of getting shows sold than ever before,” says Rutherford. “So it does put the emphasis back on us as a company. If we want to build a brand or franchise around this, what are we doing to support that? How are we adding more eyeballs around the streaming visibility, whether it’s through strategic negotiation around second windows, additional publicity and promotion or brand-activation events? It’s the always-on approach to digital and YouTube and other elements that you can bring in. It’s costly; it’s time, it’s resources, it’s money, it’s people.” As Mondo TV’s Corradi explains, streaming services “have huge budgets, but these will come with the demand for holdbacks. In many cases, there is a shifted window for consumer-product revenues that starts only with freeto-air broadcasting. “Of course, we believe platforms are good for spin-offs and subsequent seasons of a show as they allow kids to binge-watch as much as they like,” Corradi continues. “However, in our experience, the ﬁrst boost on the consumer-

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product side comes from the multiple reruns on free-to-air channels. Platforms are learning to release the shows at a more gradual pace as it is not worth their while to burn through shows too quickly. Thus, we are now seeing releases of seasons made up of small batches of episodes at a time.” Frank Falcone, the president and executive creative director of Guru Studio, notes, “If we feel a show has legs and several seasons under it, we sort of keep it away from the streamers because we’re looking for better models. It takes longer. You can potentially miss your opportunity if it takes too long to put the ﬁnancing together. So you are always weighing the risks of putting it all in with a VOD and getting your commission going sooner and getting into production. You have to respond based on your needs and the needs of the show.”

WINDS OF CHANGE “I remember when Nick UK used to put up 25 percent of your budget just for the U.K. Now you’re looking at that across multiple territories,” says Serious Lunch’s Dexter. “We have to work harder and harder to find the revenue for each coproduction. I can understand the temptation if an SVOD channel says, ‘I want to fully fund your show.’” Falcone argues that streamers’ propensity for renewing shows season by season, instead of making a long-term commitment, is not a way to build a brand. “Your kids’ audience ages up quickly and, if you don’t get more content in front of them, you lose your opportunity. It’s always challenging to work in a model that gives you a lot of money up front and then waits a long time before they give you more.” Despite the effort involved in getting a co-production up and running, many are being done and in several different ways. At Studio 100, a recent co-pro is FriendZSpace, with Flying Bark Productions, its studio in Australia, together with T&B Media Global in Thailand. Worldwide distribution is handled by Studio 100 Media. “We are currently looking for further partners to come on board to close the gap,” Krieger says. Studio 100 has animation studios based in different countries, and as Krieger explains: “We can use the various country models for our productions and allocate the productions accordingly. Here, too, new options are always opening. For example, we are currently active in co-productions with partners in the Canary Islands and recently, attractive new tax refund models have also opened in Italy.” “On Grisù, we are working with a popular model: one commissioning broadcaster (ZDF Enterprises) and presales to another national leading broadcaster to close the gap,” says Mondo TV’s Corradi. “Also, thanks to our partnership with Toon2Tango, we have other different projects, like Agent 203, for which we are building a similar ‘traditional’ strategy. We’ve mostly worked with this model, which we believe

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grants shows greater longevity and helps build the consumer-products strategy, even when broadcaster budgets are shrinking as they try to ﬁnance more shows and producers. Agent 203 and Hey Fuzzy Yellow are among the ﬁrst results of our partnership with Toon2Tango, the kids’ and family entertainment venture headed up by longtime television and movie industry experts Ulli Stoef and Jo Daris. It’s a partnership that promises to bring many more innovative new shows to multiple platforms and expand our reach in the international market.”

MIX OF MODELS

Guru Studio secured Playmates Toys as an early partner on Pikwik Pack.

However, Corradi continues, “in the recent past, we’ve worked with other models. For instance, for VOD platforms, we’ve been keeping the VOD as a second window and rolling out the consumer-products strategy in the countries we handle directly and funding the shows just among co-producers without any particular prebuy or commissioning broadcaster on board. This is relevant for MeteoHeroes, a show where the editorial input from the co-producer—a weather forecasting center—was so strong that we did not feel allowing additional co-production on board would be worthwhile. In other cases, we have been able to fund the whole show by ourselves.” “It’s really important to keep your business model wide and diversiﬁed,” says Dexter at Serious Lunch. “We talk about diversity on-screen; we need diversity in our businesses. If last year has taught us anything, it’s that we really have no idea what’s going to happen.”

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June 7 to 10

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Eric Ellenbogen

WildBrain n 2019, when Eric Ellenbogen became CEO and vice chair of DHX Media—since rebranded as WildBrain—he brought with him more than three decades of experience in running entertainment companies, including Marvel Enterprises, Classic Media (which he cofounded) and DreamWorks Animation. He saw significant potential in WildBrain’s roster of classic brands such as Teletubbies, Strawberry Shortcake and Peanuts—which Ellenbogen calls the jewel in the crown—and its AVOD network. He tells TV Kids about the necessity of remaining nimble in a continually evolving media environment while focusing on creativity and reinventing legacy properties for new audiences. By Anna Carugati

TV KIDS: What must a media company do to remain responsive to changes in the media landscape? ELLENBOGEN: It is about being nimble. The one thing that has not changed in the media landscape is that great shows are watched by a lot of people. With an incredible focus on creating great content and recognized IP, it doesn’t matter whether it is a holographic projection on the moon or a GAF View-Master; it’s just about great content. That said, we’ve obviously leaned into AVOD. We think it is very much the future. We’ve become obsessed with data analytics. It isn’t just about being a content creator and distributor and a center of creative excellence—now you’ve got to know the numbers. Because of our Spark division, we have become much more sophisticated about how we serve up content and we understand so much more about our audience. There isn’t the disintermediation that there always has been, where we would have to depend on our telecast partners to learn anything that was going on with our rating numbers. Now we are speaking directly to the audience. TV KIDS: Tell us about WildBrain Spark. ELLENBOGEN: We arguably are the number one or number two AVOD destination for kids. Something like one in three kids visits WildBrain Spark. We are a globally COPPA-compliant network. Safety ﬁrst has been critical and the curation aspect has been essential to our ethos as a company.

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WildBrain’s extensive deal with Apple TV+ for Peanuts content includes the series Snoopy in Space.

There was a signiﬁcant change with YouTube at the beginning of 2020 with its “made for kids” [policies]. No longer were the participants able to have any social media interaction with one another. And importantly, no more data was collected directly on individual viewers. That was an interesting change. We are also in the traditional cable-TV business with four channels in Canada. Ad sales are now more closely aligned to how we would sell cable TV, which is a contextual advertising sale. It’s something we understand well and already had built an ad-sales organization to serve that particular requirement. That’s what has changed in the AVOD space for us, and it is evolving. We are now building a very robust ad-sales team and are helping to educate advertisers on how to reach this audience. What many don’t recognize is that it is a co-viewing audience. Particularly with our emphasis on preschool, we are reaching caretakers and parents. That has evolved the opportunity for advertisers in our business. TV KIDS: Given the media landscape today, with so many linear and nonlinear platforms, how do you and your teams give your brands the best exposure and monetization possible? ELLENBOGEN: Exposing the content, both new production and library, on as many platforms as possible is the way to go. We’re blessed to have Deirdre Brennan [executive VP of content partnerships] leading our distribution efforts. There is an emphasis now on multiple platforms and AVOD distribution. [For example] one of our premier shows had been sought after by one of the platforms on an exclusive basis. We thought it to be not so attractive and eschewed a ready deal and instead syndicated the content across rev-share deals in AVOD. I think we did better in one year than what had been on offer for something like a three- or fouryear deal. A lot of it is understanding the content. One of the things that we love about working with platforms like Samsung, Comcast Xﬁnity and others is the availability of data. We get numbers back. We know who’s watching our shows, which informs our development process and our distribution strategy. TV KIDS: Will linear channels remain important players in the kids’ business in years to come? ELLENBOGEN: I don’t have a crystal ball on that. Linear viewing is declining, and it’s been in decline for a decade. That said, many of the linear telecasters are smartly diversifying

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into on-demand viewing. I think it’s about offering a suite of opportunities to viewers and ways of delivering the content wherever the audience is, whenever they are watching and curating that content as well. In that respect, linear still plays a signiﬁcant role. Perhaps more so outside the U.S. than in the U.S. They remain an important foundation for our business and our relationships, and we’re in a number of co-production deals with linear telecasters globally. That said, we love the SVOD platforms, largely because they have funded incredible content. The level of quality now across the board is exceptional. One of the exciting things for me is the amount of great international content that has found its way to global audiences. TV KIDS: What are the most signiﬁcant challenges and opportunities you see for WildBrain in the next 12 to 24 months?

“It isn’t just about being a content creator and distributor—now you’ve got to know the numbers.”

ELLENBOGEN: On a proprietary basis, it’s about reigniting so many of the beloved brands that we’re the fortunate stewards of. When you have a piece of library content that has succeeded over the decades, there is something that the audience responded to—whether it’s about values or delightful characters or relationships. That gives you an enormous head start. Often the reinvention process, while preserving the DNA of what made something work, has so many possibilities. The other priority is the AVOD business and continuing to build our WildBrain Spark network and the advertising side of that business, which drives the entire network. It is an incredible brand megaphone. We view it as driving not only views and advertising revenue but also consumer products, [and helping us] better understand audience tastes and patterns. It’s a two-way communications channel for us that I have to say informs a lot of our efforts. It also allows us to do a great deal of experimentation. It gives our studio in Vancouver an incredible canvas to experiment with new IP.

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SMF Studio’s Rockoons.

Tooned In Yuliana Slashcheva, chairman of the board of SMF Studio and chairman of the board of the Russian Animated Film Association, talks about the studio’s rich history and modern animations. By Kristin Brzoznowski

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his year, the oldest Russian animation studio, Soyuzmultﬁlm (SMF Studio), is celebrating its 85th anniversary. The studio has released about 1,500 animated movies, which have become embedded in the history of Russian culture and have been recognized internationally.

“Our mission today is to unite different generations that grew up or are growing up

watching SMF’s ﬁlms, different animation techniques and technologies, commercial companies and state offices, within the country and in different Russian-speaking countries of the former Soviet Union,” says Yuliana Slashcheva, chairman of the board of SMF Studio and chairman of the board of the Russian Animated Film Association. “That is why the studio is developing in many areas and is open for cooperation with both national and foreign studios and production companies. We have vast experience, traditions and creative potential that we started to successfully realize thanks to bringing in strategic investors and partners from all over the world.” SMF Studio is one of the few studios working in all existing animation techniques, Slashcheva explains. “We are preserving puppet animation, clay animation, handdrawn animation and various kinds of cutouts. These techniques were developed in our studio, and it’s important to us to preserve and develop them in the modern world.” Slashcheva says there’s a special creative environment that has formed in the studio from the synergy of these various styles. “Two years ago, SMF Studio got a new status: it became a technology park, which means that we, as a major company, unite several more companies under our roof. Each of them is special and contributes to the creative atmosphere.” SMF Studio is involved in content distribution for its vast portfolio consisting of

the Golden Collection and new IP. Its films have been sold across more than 50 countries for broadcast or streaming. The company has series, full animated features and short films for different age groups. This year, SMF Studio is presenting its new animated series for Meow Magic and I’ll Get You! Holidays, a reboot of the popular Soviet animated films. The latter is made in a non-dialogue comedy genre. Another new animated series from SMF Studio is Rockoons, a preschool show filled with music. Read more about SMF Studio here.

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onathan M. Shiff has devoted most of his career to creating live-action programming for tween and teenage viewers. His passion for the ocean has led to shows centered on mermaids, as in H2O: Just Add Water and Mako Mermaids. An equal love of the fantastical inspired his latest series, The Bureau of Magical Things. He talks to TV Kids about his creative and storytelling process, the challenges of shooting within Covid-19 safety protocols and crafting epic tales that appeal to global audiences. TV KIDS: Why have you felt it is important to provide quality live-action programming for tweens and teens? SHIFF: The programming I do tends to be about stories I’m passionate about and engaged with. I often think the 12-year-old Jonathan might have

Jonathan M. Shiff By Anna Carugati

got the bug and started this process! I relate very much to that preteen age when I had a vivid imagination and was full of stories or engaged with going to the movies. From the outset, I think it’s an age of engagement. You’re on the verge of being an adult; your expectations are with you. Tweens and teens are two different audiences, obviously, so for live-action, tweens engage because it’s aspirational. We can reach down to 7-, 8-, 9-year-olds. [They’re thinking], I’m going to be a teenager soon. What’s it like when I have an argument with one of my girlfriends or the group dynamic or whatever? What’s it like to face real danger? Because there are real dangers in life as we see all around us today. Teens are watching because they are hopefully engaged in the story, but also because they sometimes relate to the cast. I often think that a lot of the kids watching, particularly the teens, are siblings [and are] co-viewing because it’s kind of cool to watch superhero teenagers battling things.

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TV KIDS

TV KIDS: Where have you derived inspiration for the shows you’ve created? SHIFF: At the outset, it has to come from within. If you don’t have a connection with your story, it’s very hard to expect the audience to go [on] that journey. You’ve got to have a personal connection with the story to make it real, make it valid, and bring your passion to it. There are so many influences. You look at what’s going on with the world we’re in. I look for inspiration in genre, in what sort of show I’d like to make: would it be a period show, would it be a contemporary show, would it be a sci-fi show? Fantasy plays a huge part in what I do. I love the world of just letting go and being fantastic a little bit. You just can’t open a book and learn storytelling. The more I’ve learned over the years, the less I think I know. You just have to go with the story and allow it to evolve. Sometimes, you get one piece of the jigsaw, but you can’t just put it on a table and make the rest of the jigsaw work as a straight pattern. Stories evolve and change. I often think that the jigsaw is in the air around me, and I’ve got to build it, but it keeps moving. The piece that I got the first time might now be behind me and not in front of me. You’ve got to have the ability to let the story take you somewhere, even though it isn’t what you originally intended. But you sometimes get a fragment of a character, you sometimes get inspiration from an emotion, you sometimes have a deep resonance for the plot, but later realize we need to find the story, not just the plot. So it’s very organic and a little bit scary at times. TV KIDS: Why do you think viewers in so many countries relate to the stories you tell? Do you think about the international audience when you’re creating, or is your focus on telling the best story possible? SHIFF: It’s both. You must tell the best story possible, not only in terms of the craft skills of storytelling.

The Bureau of Magical Things is sold by ZDF Enterprises.

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Nobody wants spoilers or too much exposition. But you also want to be able to be true to that little first piece of the jigsaw that popped into the air in front of you, and you grabbed on to it and thought, There’s a story here. Whatever culture you’re in, whatever country you’re in—there are nearly 200 countries that watch our stories—you want to be able to reach out to the humanity of the story, the universal picture of the story. At the same time, you’re dealing with high production values, high budgets. You’re going to need an international audience to bring the story to life. It is very difficult to tell a story for just a handful of people. I was schooled in Australia and England, my mom lived in Florida for many years, so I have

“Whatever culture you’re in, whatever country you’re in, you want to be able to reach out to the humanity of the story, the universal picture of the story.” traveled a lot. I was in Europe a lot, so I tend to be very comfortable in that milieu. I figured we’re going to need a global audience, but also, I want to tell a story that’s epic in scale. So epic that it doesn’t matter where you live; you’ll just jump in and want to be part of it. TV KIDS: Do you have other projects you’re working on? SHIFF: I still have in my heart a deep affection for the mermaids. Whether it’s H2O, whether it’s Mako, whether it’s some sort of hybrid, I still want to get back in the water and underwater. It’s a special realm to me—the water and the ocean—so I think there might be something like [that bubbling away]. I also did a project back in the early ’90s on Disney U.S., Ocean Girl, a super, super hit for me, and we did four seasons. I don’t want to give too much away, but the technology exists now to revisit that in an exciting and epic new way.

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w e N r u O Visit

d n u o r g y a Pl b u H r e i m e r The P a i d e M ’ s d i for K s w e N

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THOMAS BELLUT ZDF uch like people in other nations, for the past 12 months, Germans have had to adapt to lockdowns, isolation, disruption in routines and unrelenting cycles of sobering news. With the arrival of Covid-19 vaccines, this year brings the promise of a return to some level of normalcy, but change will continue. German citizens will see shifts in their political landscape with several elections, particularly the one in September, after which Angela Merkel, who has been chancellor since 2005, will step down. Through all the adjustments, Teutonic viewers have had a source of trusted, impartial news and quality entertainment: the public broadcaster ZDF. From current-affairs shows offering analysis to historical documentaries, entertainment series, gripping dramas, sports and the respected daily newscast heute, ZDF is committed to public service. And the audience responds. In 2020, ZDF maintained its position as the most-watched channel in Germany, with a share of 13.6 percent among total viewers. Well aware of changing consumer habits and streaming platforms that compete for viewer loyalty, ZDF is making its content available on its linear channels—which include ZDF and the thematic channels ZDFneo and ZDFinfo—jointly managed channels, branded online destinations and apps, and on thirdparty sites. Director-General Thomas Bellut tells World Screen how ZDF’s range of programming helps support democracy and contributes to political culture and social cohesion, and how the industry may change post-pandemic. WS: What does ZDF represent for German viewers and citizens? What does ZDF provide that other linear and nonlinear platforms do not? BELLUT: ZDF is the most successful national public-service provider on TV and online. We offer a wide-ranging, high-quality portfolio of entertainment, culture and information via all channels, almost all entirely without advertising.

By Anna Carugati

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We are independent in terms of financial and political influence. As we are financed by the general broadcasting license fee, we can help shape opinions among the general population.

ZDF Enterprises is launching Ku’damm 63, the latest in ZDF’s hit Ku’damm period

WS: Democracy is being threatened in several countries. How has ZDF contributed to upholding democracy in Germany? BELLUT: Fortunately, democracy is very stable in Germany. The relationship between the federal government and the 16 states contributes to this. The media landscape is also an important aspect. In addition to critical reporting, the various interests and opinions in society are reﬂected. ZDF offers independent and factual information. Our editorial teams research and review information from all parts of society. We also deal ﬁrmly with mistakes. If we make any, we are transparent about it. This strengthens trust, and we have a high level of credibility in large parts of society. Despite all the criticism that is voiced, there is still broad support for democracy in Germany.

drama series.

WS: What can ZDF and its news division do to combat misinformation on social media? BELLUT: We have an experienced and well-trained editorial team. Information and sources are critically checked before they are published. The audience can always rely on that. We also continuously provide fact-checks. This is how we counteract the large amount of misinformation that exists in the market. Our news team has a dedicated unit for this. Users can form their own opinion when they have this information. We also identify fake news on TV and confront it with factual information. Last but not least, we use journalistic rigor to address the phenomenon of conspiracy theories. This is an important task, especially in light of the coronavirus deniers, who are unsettling a lot of people with their theories. WS: How has ZDF been serving its viewers during the pandemic? BELLUT: By reporting intensively and thoroughly about the virus and its consequences for society. Since the beginning of the pandemic, we have given scientists, politicians and those who have been affected a place to express

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their perspectives. We have also conveyed the many learning and knowledge processes that have taken place over the past year. It is important that people understand that this pandemic is a process. The world of science is also learning. All of humanity has had to learn how to live with uncertainty. The media can help promote an understanding of this. People’s interest in information and the background context of the pandemic is certainly extremely high. But entertainment is also important. Many people are spending a lot of time at home. The pandemic is stressful, so there is also a need for distraction and diversion. We have also created a dedicated range of online content for schoolchildren. We are supporting homeschooling in the lockdown phases by providing tutorials and documentation.

Wilsberg is a popular crime drama on ZDF that has been

WS: What are the most significant investments ZDF has made in programming across all genres during the last year? BELLUT: We have increased the number of staff working on our digital information output. But the biggest investments continue to be made in commissioned fiction and documentary productions. Despite the production restrictions due to the pandemic, we have increased our investment in this area. We are covering most of the additional costs arising from the restrictions resulting from the pandemic. We are working very closely with producers, and together we have managed to ensure that the important flow of new content remains steady. WS: Are there any particular age groups or genres you are focusing on? BELLUT: As a public-service broadcaster, our range of content and programs is generally aimed at society as a whole. But, of course, in the digital world, we also differentiate our content and output based on the relevant target audience. One example is the content for the funk service aimed at young people, which we create in conjunction with the public-service provider ARD. We also have linear themed channels like

on the air since the mid-1990s.

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ZDFneo and ZDFinfo, which are aimed more at a middle-aged audience. And we place relevant online content on various social media platforms, via which we can reach appropriate user groups. The greatest challenge is undoubtedly getting young people interested in our content.

UFA Fiction produces This House is Mine for ZDF, with ZDF Enterprises handling distribution.

WS: Could you give some examples of how ZDF is reaching viewers beyond the linear channel? What are some of ZDF’s most popular services? BELLUT: Science topics work well online. We have, therefore, further developed our Terra X core brand accordingly and launched it online as well. For example, we have content on YouTube, including short explanatory videos and also longer documentaries. This allows us to reach a large and primarily younger audience. Comedy is another element. ZDF brands such as the satirical heute-show and the weekly late-night show ZDF Magazin Royale with Jan Böhmermann work extremely well on the internet. There is, of course, a dedicated ZDF news service online as well. The ZDFheute app has gained lots of new users during the ﬁrst year of the pandemic with its news, background information and lots of live streams. WS: Is ZDF reaching new viewers via Joyn? BELLUT: We are extending our linear and nonlinear content to as many platforms as possible, and Joyn is one of these. It is not a separate content offering but an additional output channel. It enables the audience to ﬁnd our content on portals where they would otherwise not look for it. Our goal is to reach people where they already use media content. WS: There has been an ongoing debate about the cost and validity of license fees in several countries. In Germany, what groups of people or political factions oppose an increase in, or the very existence of, the license fee, and why? BELLUT: Germany has a wide range of public-service content. The foundations for this were laid in the early post-war period. The idea behind this is that a diverse range of content leads to better quality and objectivity. Over the last few decades, politicians have commissioned the creation of new channels, such as a channel for children,

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international cultural channels and the funk content offering for young people. These are not always greeted with enthusiasm by everyone—for example, by the commercial media. It is currently being discussed whether the statutory broadcasting mandate is still relevant or should be made more ﬂexible. WS: Conversely, why is public-service broadcasting important for German society and culture? BELLUT: The coronavirus pandemic has demonstrated the importance of having public and independent broadcasters. Public-service broadcasting has contributed to

“We are working very closely with producers, and have managed to ensure that the important flow of new content remains steady.” the cohesion of society for decades. It helps people form opinions about social and political issues. In this age of fake news and conspiracy theories, reliable and credible output with strong and trustworthy brands has become even more important. A key advantage is also that socially disadvantaged people can access the whole range of content. They can make use of the full range of services without having to pay for it. WS: What have been ZDF Enterprises’ main accomplishments in the last year? How has the business contributed to ZDF, for example, in terms of international reputation? BELLUT: ZDF Enterprises’ main business areas are the rights and license trade and the management of an efficient portfolio of 18 media companies as a direct shareholder. Due to its comprehensive international network and experienced staff with their deep knowledge of worldwide markets and industries, ZDF Enterprises and its production group can provide us with information on the latest programming trends and economic and production developments at a very early stage.

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ZDF Enterprises recently picked up the distribution rights for the modern version of the children’s classic Pan Tau.

ZDF, as a public broadcaster, cannot operate in the marketplace like a private company, nor can we take the same risks. For this reason, ZDF Enterprises often acts as our co-production partner in the realization of important national and international projects, acquiring additional rights at its own risk. Thus, the company’s global success also strengthens ZDF’s reputation as an innovative and high-quality broadcaster. As the shareholder, we are proud of the development and accomplishments of the ZDF Enterprises group since its foundation in 1993, but in particular in these very difficult times of the pandemic. Its activities contribute to the fulﬁllment of our mission as a public broadcaster. WS: What are the major opportunities and challenges that ZDF will face in the next 12 months? BELLUT: This is a big election year in Germany. There are a lot of state elections and there will be a national parliamentary election in the autumn. ZDF will make its contribution by reporting independently and critically on all the political developments. There will be a wide range of content, lots of documentation, interview programs, background reports, analyses and the latest news and updates. We are also faced with the challenge of having to do all this under difficult pandemic conditions. But it is a good opportunity to show how relevant public-service media is for democracy, political culture and social cohesion.

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APRIL/DIGITAL MIPTV 2021 EDITION

Crime Drama / Bulletproof ’s Ashley Walters & Noel Clarke

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CONTENTS

A Great Reckoning?

CRIME WAVE Several leading distributors share their perspectives on what’s driving the always in-demand crime-drama genre.

Amid the Black Lives Matter protests last summer, as two high-profile true-crime shows were axed, I found myself wondering: what happens to all those police dramas that drive ratings in the U.S.? Ricardo Seguin Guise Publisher Anna Carugati Group Editorial Director Mansha Daswani Editor Kristin Brzoznowski Executive Editor Chelsea Regan Managing 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 Drama ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvdrama.ws

Well, watch this space, because the work has only just begun. The likes of The Rookie, Law & Order: SVU and Blue Bloods have attempted to address the issue of racial bias and policing in their storylines. The executive producers of S.W.A.T., Aaron Thomas and Shawn Ryan, issued a statement last summer pledging to do more to tackle the issue, stating, “We will continue to mine the truth about these issues in the writing of our upcoming season as we all work towards a fairer, better system.” More recently, Warner Bros. Television Group inked a creative partnership and exclusive overall deal with Dr. Phillip Atiba Goff, a Yale University professor and the co-founder and CEO of the Center for Policing Equity. “This year, the world was reminded of the power stories have to define our lives,” Goff said. “That creates an unprecedented opportunity to direct that power towards uplifting vulnerable communities. Our goal will be to help storytellers un-tell the lies we tell about ourselves.” —Mansha Daswani

GET DAILY NEWS ON TELEVISION DRAMA

MAKING BULLETPROOF Stars and co-creators Noel Clarke and Ashley Walters and Vertigo Films’ Allan Niblo talk season three of Bulletproof and the ongoing battle to see the U.K. television industry step up to ensure on- and off-screen diversity.

WORLDSCREENINGS An in-depth look at MISTCO’s new family drama The Innocents.

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Atresmedia TV Veneno / Debts / The Boarding School: Las Cumbres Based on the memoir Not A Whore, Not A Saint: The Memories of La Veneno by Valeria Vegas, the Atresmedia highlight Veneno brings to the screen the story of a transgender icon. “It is a tribute to the LGBT community through a real story that is captivating people around the world,” says Diana Borbón, sales manager. Further titles on offer from the company include Debts, a sitcom about a long rivalry between two families, and The Boarding School: Las Cumbres, a reboot of the hit Boarding School series.

The Boarding School: Las Cumbres

“Atresmedia has managed to maintain the rhythm of original series production with the same quality guarantee that distinguishes its brand.” —Diana Borbón

Maria and Mustafa

ATV For My Family / The Ottoman / Maria and Mustafa ATV has launched to the global market the family drama For My Family. “It attracts the audience with the sincere story of four orphans who never give up hope despite difficulties,” says Muge Akar, content sales deputy manager. The historical drama The Ottoman charts the formation of the Ottoman Empire and the challenges Osman Bey faces during this journey. ATV has 58 episodes of Maria and Mustafa to offer, featuring an international love story set in Turkey’s Cappadocia.

“Each of these titles has a distinctive story with high-quality production.” —Muge Akar

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Last Summer

Inter Medya Ramo / Last Summer / Scorpion The Inter Medya highlight Ramo, inspired by a real person, tells a dramatic tale about the deep conﬂicts of family, justice, revenge, friendship and love. Last Summer, meanwhile, centers on an idealistic prosecutor who receives an offer from a mob boss that is too good to refuse, which leads to life-changing consequences for all involved. Scorpion is a family drama on Inter Medya’s MIPTV slate from 1441 Productions. “We expanded our catalog with this season’s brand-new and phenomenal titles,” says Can Okan, the founder and CEO of Inter Medya.

“With a great start in Turkey, we believe that all of these new dramas have [strong] potential in the international market too.” —Can Okan

Kanal D International Hekimoglu / Ruthless City / Love Trap Hekimoglu, a remake of the hit U.S. drama House starring Timuçin Esen, is among Kanal D International’s top series. Also in the catalog, Ruthless City follows the twisted lives and love stories of Karaçay and Yılmaz. It has been on the air in Turkey for two seasons and 136 commercial episodes. The title has also been distributed in various countries in Europe and Asia. Love Trap, starring Burcu Özberk and Çağlar Ertuğrul, features the romance between poor girl Ayşe and rich boy Kerem.

Love Trap

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The Mediapro Studio Distribution Paraíso / The Boarding School: Las Cumbres / Paco’s Men Set in the ’90s, Paraíso leads off the new productions being presented by The Mediapro Studio Distribution. The series will premiere this year on Movistar+. The Boarding School: Las Cumbres, meanwhile, successfully debuted worldwide on Amazon Prime Video in more than 200 markets, and the new reboot of Paco’s Men brings the iconic series back to Antena 3. These series “talk about universal feelings in very different ways and genres, with plots that are interesting for audiences from around the world,” says Marta Ezpeleta, the company’s director.

Paraíso

“All of these series have something in common: their storytelling doesn’t belong to a particular place.” —Marta Ezpeleta

ZDF Enterprises ANA. all in. / Voltaire in Love / Ku’damm 63 In ANA. all in., lawyer Ana Tramel seeks justice in a corrupt system for her brother, who has been accused of murder. The new French series Voltaire in Love is a historical action drama that explores the early life and evolution of the philosopher. Ku’damm 63 is set in post-war Berlin and follows a conservative matriarch and dance school owner and her daughters. “We have been busy the last year adding more genres and more quality drama from all over the world,” says Robert Franke, VP of ZDFE.drama.

ANA. all in.

“Buyers can expect high-quality drama series that we are extremely proud to represent.” —Robert Franke

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ZDF Enterprises’ Before We Die.

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Crime Wave Mansha Daswani checks in with a range of distributors to hear about what’s driving the brisk business in crime dramas today. hile conventional wisdom these days indicates that viewers (and, by extension, content buyers) are in the mood for light, uplifting stories to ﬁll their downtime as the world struggles to emerge from life under Covid-19, the crime drama business is as busy as ever. Everyone loves a good whodunit, and the genre’s biggest selling point is perhaps that it can encompass multiple styles, from blue-sky procedurals to grisly, twisty-plot thrillers and everything in between. “There is a trend towards lighter themed crime, but the classics are classics for a reason—narrative superiority always sells,” says Robert Franke, the VP of ZDFE.drama at ZDF Enterprises. “So even though the trend for new productions is lighter in tone and storytelling, it’s the mix of tones and styles that makes a good crime catalog. We offer something for all tastes and preferences.” David Swetman, senior VP of scripted content at All3Media International, agrees, noting, “The great thing about the detective genre is that there is something for everyone.”

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All3Media International is launching Annika, a crime drama starring Nicola Walker.

Plus, as Tim Gerhartz, senior VP of global sales at Red Arrow Studios International, observes, “The rapid proliferation of options for content means there is now room for all types of shows. We’re seeing linear channels and platforms look to procedurals and series that are lighter in tone and easy to schedule. Whereas with pay-TV and VOD platforms, there is scope for more complex programming, which is maybe darker in tone and themes but keeps audiences gripped and returning episode after episode.” One emerging trend is the “semi-procedural” crime drama, Franke says, with “case of the week-style shows with a strong story arc over a season. Also, the characters are becoming more balanced. There was a strong trend after Breaking Bad to similarly dark characters with almost no redeeming features. We see that this is changing and writers also show light within the dark, which is a good thing and helps make these shows more digestible.” At All3Media, Swetman has observed increased interest in setting stories “in more diverse precincts, and within communities or locales that we’ve not seen before in crime television.”

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Hybrid storytelling, combining crime with fantasy, comedy, or historical settings, is also increasingly prevalent in the landscape, Gerhartz says. “Hybrid stories that promote co-viewing seem to be hitting a strong note with audiences around the world,” agrees Paula McHarg, the head of Europe and North America at GoQuest Media. “Whereas in the past, straight, tough crime stories were an enduring pastime, audiences during the pandemic have taken to dramedies, crime-inspired family dramas, thrilling love stories and various other types of hybrids.” Distributors are also seeing a continued need for volume. ORF-Enterprise, for example, has fared well with its long-running series Soko Kitzbuehel and Fast Forward, which is heading into its seventh season. “Broadcasters and platforms from all over the world have been picking Austrian crime dramas for years and had great ratings and audience feedback,” reports Armin Luttenberger, head of content sales international at ORF-Enterprise. At All3Media, meanwhile, the detective brand Midsomer Murders has been a strong seller for two decades. “The absolute Red Arrow’s Vienna Blood, a period crime drama, is now in its second season.

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ORF-Enterprise continues to find slots for the popular procedural Soko Kitzbuehel.

key is to keep a strong focus on the scripts so that stories remain compelling, exciting and innovative,” says Swetman on how to build a long-running show. “Detective shows also provide great opportunities to bring in well-loved actors for guest roles, which keeps the audience engaged.” The key, distributors argue, is having a breadth of different formats and types of stories. “We feature a wide variety of crime-themed shows from all European territories,” says ZDFE.drama’s Franke. “Most notably, of course, is our slate of Scandi noir classics like The Killing and The Bridge, but also newer shows like Before We Die or our upcoming highlight Agatha Christie’s Sven Hjerson for later this year. We also offer English-language crime shows like London Kills and the upcoming U.K. remake of Before We Die and our extensive catalog of best-selling German procedural crime.” Swetman highlights the depth of the All3Media offering, ranging from “lighthearted adventure” in shows like Agatha Raisin and

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Ms Fisher’s Modern Murder Mysteries to the “darker edge” of a Van Der Valk and Mystery Road. Red Arrow is showcasing returning seasons of two successful shows: the period piece Vienna Blood and the Canadian conspiracy thriller Departure. It also has a stable of crime dramas based on literary IP, including Bosch for Amazon Prime Video—with production underway on the seventh and final season—and Stella Blómkvist, which is heading into season two on Síminn TV and Viaplay. Gerhartz notes that the Red Arrow portfolio not only features diversity in storytelling modes, but in financial models too. “We have a mix of both locally produced and international coproductions within our crime drama slate,” Gerhartz says. “For example, Bosch is a local production from Fabrik Entertainment, while Vienna Blood crosses borders within Europe and is produced by Endor Productions and MR Film in Austria for ORF and ZDF. Our series Dignity is a Chilean and German co-production.” Co-productions are undoubtedly key to the financing of many new crime dramas on the market, especially as production costs rise due to Covid-19 safety measures and broadcasters look for smarter, financially sound ways to bring high-end stories to the screen. One of All3Media’s new launches is Dalgliesh, based on the beloved P.D. James’ detective, with Bertie Carvel in the lead and Channel 5 and Acorn TV on board as commissioning partners. The company is also showcasing Annika, with Nicola Walker, set in Glasgow and made with UKTV and PBS Masterpiece. All3Media International has a strong track record in negotiating financial and creative partnerships with U.S. outlets and is now looking to do the same in Europe, “building on ARD Degeto’s involvement in commissioning Van Der Valk with U.S. and U.K.

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partners,” Swetman says. “We are presently collaborating on a new show from Iceland called Black Sands and are discussing the show with other partners now.” ZDFE.drama’s Franke observes that all markets have their own strong traditions in crime drama, “and every territory does it a little differently,” he says. “Local shows tend to be fully financed by either a GoQuest’s Rats is set in the world of drug trafficking. local channel or platform since they generally travel a bit less compared to these bigger types of event crime shows with more complex setups. The Bridge and The Team are good examples of shows that are perfect for co-productions. So it is important to understand the story and if it is strong enough to fly as a co-production.” GoQuest’s McHarg agrees, adding, “The opportunities for cross-border co-productions continue to grow immensely, but as always, there must be a true and real connection between the locations.” In an industry in flux as it deals with the fallout of the pandemic, business models for drama, in general, will continue to evolve, Gerhartz says. “We’re increasingly finding many platforms open to a greater degree of flexibility when it comes to windowing across all genres of drama content, including crime. We expect this to continue as the cost of producing drama remains high, and the trend for producing local content continues.”

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The Innocents urrently among the highest-rated dramas on TRT this season, The Innocents is one of the latest offerings from MISTCO. Produced by OGM Pictures and broadcast on TRT 1, the series follows the life of Han, his family and his love story with İnci, who has her own complicated relationships with family and friends. Han is a very attractive man and a very successful businessman, but his private life is complicated. He lives with his father and three sisters, all of whom have obsessive-compulsive disorder as a result of a very traumatic childhood. The story begins with an accidental encounter between İnci and Han.

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The Innocents is inspired by the memoirs of Turkish psychiatrist Gülseren Budayıcıoğlu, as chronicled in the novel Inside the Medallion, and presents real experiences. “Even with such a short period since its launch, we have seen a lot of interest in the series from our international partners,” says Ayşegül Tüzün, managing director of MISTCO. “It is based on real-life stories, which makes it easy for people to connect with the characters.”

“The message in The Innocents is that everyone has problems in their life, but you can change yourself.” —Ayşegül Tüzün

With each episode, the series has been increasing its ratings and creating social media buzz. It has maintained its position as the highest-rated drama of the season among all dramas currently broadcasting in Turkey. In this video interview, we hear from Tüzün about the international appeal of The Innocents, producer Onur Güvenatam gives a behind-the-scenes look at how the series came together and lead actors Farah Zeynep Abdullah, Birkan Sokullu, Merve Dizdar and Ezgi Mola discuss the characters they play in the drama.

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Bulletproof Stars and co-creators Noel Clarke and Ashley Walters and Vertigo Films’ Allan Niblo take TV Drama behind the scenes of Bulletproof. By Mansha Daswani

ulletproof was an immediate hit for Sky when it premiered in 2018 and has continued to build throughout its run, with a fourth season already in the works. But as star and producer Noel Clarke tells TV Drama, the show almost didn’t happen. Long in the works, Bulletproof was conceived by Clarke and Top Boy star Ashley Walters at a coffee shop in London after a chance encounter at an awards show. “We just felt like we had been doing so well individually in our careers, we hadn’t crossed paths enough when it came to doing projects together,” Walters tells TV Drama. Clarke, who has his own production company, Unstoppable Film and Television, with fellow British actor and producer Jason Maza, began pitching the show far and wide. In the tradition of American movies like Bad Boys, a favorite of Clarke and Walters, it was to star the duo as detectives and best friends working to take down an assortment of dangerous

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criminals. “I was pounding the pavement,” Clarke says. “I sat in meetings where people would say to me, We’ll make it if it’s you and this person, and mention white actors. I would be like, No, this show is going to be Ashley and me, or it’s never going to get made.” Clarke did finally find a receptive partner in Vertigo Films. The British indie had been well known for films like The Football Factory, Pusher and The Sweeney. “We were making a big move into TV and various broadcasters were courting us,” Allan Niblo, co-founder, tells TV Drama.

“If [Netflix] didn’t change the game the way it did, we would still be struggling for work.” —Noel Clarke “Allan called and said, ‘Remember that idea for you and Ashley? Do you still have it?’” Clarke recalls. “I was like, ‘Yeah I still have it because no one will make it!’ He said, ‘If you come in with us, we can get this over the line.’ I spoke to Ashley, he said, let’s try them.” Vertigo set out pitching the show to U.K. broadcasters and “Sky came back most enthusiastically,” Niblo says. “We had a deal within weeks and were off to the races.” While seasons one and two encompassed eight episodes each, the third season had a run of three episodes—and sees the show take the action to South Africa. “We were plotting season three, but both of us had ﬁlming commitments,” Clarke says. “It was either

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wait for [Ashley’s show] to finish or squeeze in another shorter version. Thank god we didn’t decide to wait because corona hit.” The pair knew they wanted the shortened season to film outside the U.K. “Ashley and I originally chose Hong Kong or Japan because we wanted a real fish-out-of-water thing, and then logistics didn’t make that happen. We went through the list of places, as you do. And we ended up in South Africa.” The experience was enriching, personally and creatively, Walters says. “It was just a beautiful place, and we quickly realized

“My 4-year-old son said he wants to be Pike. He doesn’t want to be me; he wants to be Pike. For me, that’s job done!” —Ashley Walters it would become another character for this season. We had to come up with some good stories and put some effort into acting, but a lot of the work was done by just being there. We learned a lot from that experience as well; about each other, about not taking the good things that happen in your life for granted. And it did wonders for the show. We used our environment to tell a really good story.” As for what makes the show work, the dynamic between Clarke’s Aaron Bishop and Walters’ Ronnie Pike Jr. is critical. Whereas their characters have been friends for years, Clarke and Walters were only casual acquaintances before the show started production. “It was interesting to get to know each

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other and realize that we had a lot in common, contrary to even our popular beliefs,” Clarke says. “We had the same sort of humor, the same mentality and attitude toward certain things. I learn a lot from Ashley about how considered he is when he thinks about things. I think Ashley has learned from me when sometimes I’m more instinctual. Those elements are also in the characters. We barely row. We have this relationship where we can, like the characters, talk to each other. I can call him and say, I love you, you know? As Black men,

“It’s a radically different environment—you can be as bold and cinematic and challenging as you want.” —Allan Niblo you’re conditioned to side-eye each other; you’re conditioned to battle. It’s crabs in a barrel. It’s like Highlander—‘there can be only one.’ And actually, with a lot of the stuff that we’ve done and the doors we’ve opened, we’ve broken that down.” Walters adds, “If we weren’t able to have that closeness offcamera, I don’t think the show would be as good as it is. As Noel said, you don’t see the so-called ‘bromance’ or whatever you want to call it between two men too much on the screen, especially in the U.K. The ability to share, be humble, practice humility without feeling humiliated. That’s what Bishop and Pike do well.” Read the full version of this story here.

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ON THE RECORD

JANE TURTON ALL3MEDIA n 2019, All3Media brought in a record £745 million ($1.02 billion) in revenues. At the start of 2020, CEO Jane Turton looked enthusiastically toward building on the group’s many successes developing, producing and distributing drama, factual and factualentertainment programming. Then the pandemic hit, shutting down production and delaying delivery of shows. But the broad footprint of the group’s 40-plus production entities (located in the U.K., the U.S., Germany, the Netherlands and New Zealand), its diverse output and a sizable catalog of finished shows and formats allowed All3Media to have an almost business-as-usual year. Turton does not minimize the challenges faced by the group’s employees but has confidence in their determination and creativity in developing new IP, refreshing existing formats, complying with Covid-19 safety protocols to keep production going, securing financing and finding the best homes for shows. Yes, the market is extremely competitive and complex, but as Turton explains, it’s ripe with opportunities. WS: What were your priorities at the beginning of the pandemic? And what did you ﬁnd were the best ways to manage the group through so much uncertainty? TURTON: We had our strongest ever year in 2019, and we were looking into a very positive 2020. We had real commissioning momentum, a strong development pipeline and the talent across the group was in great shape. Then in February and March, the world suddenly changed with the arrival of the coronavirus and a near-total shutdown of normal activity. As a sector, and at All3Media, I think that we have done a remarkable job of managing through the past 12 months. All3Media is back in production with virtually all of our shows—scripted and non-scripted— and we anticipate being back to pre-Covid levels of program delivery this year. A fantastic achievement from all of our teams around the world. We learned a lot during a crisis. The quality of our leadership, and especially our production teams, is paramount. Good, clear communication is a must with everyone sharing insights into best practices and how to deliver a safe environment for people to work in—whether production itself or any

By Anna Carugati

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Celebrity Gogglebox, an extension of the megahit format Gogglebox,

of the support areas that are also critical to making shows. Sara Geater, our COO, involved teams of people from across all companies in the group in making sure that we were focused on people’s mental wellbeing and adapted the way we worked to ensure that we remain healthy and productive. We also took the lead in pan-industry working groups to tackle subjects such as production protocols and insurance to cover the risk in getting the industry back to work. The fundamentals of the All3Media business are stronger than ever, and the demand for high-quality content is growing fast, so we feel conﬁdent that our prospects are excellent. Plus, we have supportive shareholders and that, too, is important.

hails from Studio Lambert, which is part of the All3Media group.

WS: What factors contributed to such good performance across the company in 2019? TURTON: We had a very good year across the board. In scripted, we had series including The Widow, The Feed, Catherine the Great and Baptiste. Our non-scripted formats business did very well with good performances out of the U.K. and U.S. We had new shows coming through alongside established hits like Gogglebox, Snackmasters, Flirty Dancing, Race Across the World, and The Circle, as well as Cash Cab, which has sold in 50 different territories. And we are continuing to work our IP catalog hard with new versions of formats like Lingo, which has been recommissioned by ITV, and The Cube for ITV and WarnerMedia in the U.S. Our documentary slate featured powerful stories, including RAW’s award-winning Don’t F**k with Cats, which was in the top five mostwatched Netflix documentaries in 2019, Generation Porn from Story Films for Channel 4, Caravan’s Killer Ratings for Netflix and Optomen’s Call the Cops. The strong performance in scripted and formats saw our distribution business perform really well with a record year. Our digital business, Little Dot Studios, also had a stunning year as it accelerated its growth in the creation and distribution of highquality content on platforms like YouTube, Snapchat and Facebook. WS: All3Media recently acquired Silverback Films. Why was that acquisition important? TURTON: As the first test for any potential acquisition, we look at two things—talent and IP. In both cases, Silverback Films passes with flying colors; they are worldclass. Just look at the quality and reputation of the team, their programs and films. For us, the cultural fit is also critical and, on that basis, too, we liked them very much.

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And, in this case, as a further plus point, we were excited to become a part of a Bristolbased independent that produces stunning natural-history content that travels the world. The global appeal of their programs to such a large and diverse audience is exciting. The opportunity is vast, with OTT players and the cable and linear terrestrial television platforms equally keen to commission from them. David Attenborough: A Life on Our Planet had a worldwide theatrical release and became the widest-ever documentary release in British cinema history before launching globally on Netflix, and A Perfect Planet, a co-production with the BBC and Discovery, launched this year with fantastic ratings. The team has recently launched a new venture called Studio Silverback that is producing environmental programming. This, too, is important on many levels, not least in communicating to mass audiences about the role that everyone can play in helping to save the planet. It has a number of projects underway and has been selected as the filmmaker for the Earthshot Prize—launched by the Royal Foundation of the Duke and Duchess of Cambridge—which is the most prestigious global environmental prize in history. The first production is a major series for the BBC about the five missions of the prize, airing this autumn. WS: What is All3Media’s acquisition strategy? TURTON: The strategy is, first and foremost, as I said in relation to Silverback, about the best talent and IP. In terms of production footprint, we have a core market strategy, which has worked extremely well. For us, the core markets are the U.K., the U.S. and Germany, with a strong scripted company in New Zealand, South Pacific Pictures, and a very successful producer in Holland, idtv. Even though our production footprint is relatively narrow, our IP travels the world with All3Media International, our distribution company, playing a critical part in the group’s success. And Little Dot, our digital studio, creates and distributes content in a way that pays no heed to geography. Covid has changed the view of geography as well. Development and production have adapted to a virtual world. Pitches via Zoom are now commonplace and producing in remote locations where teams are based all over the world is possible. Look at The Circle made by Studio Lambert in Manchester for multiple territories for Channel 4 and Netflix, and North One, which remotely produced live MotoGP shows for BT Sport with a 22-strong team based in more than 20 different locations in the U.K. and around the world.

New Pictures’ Des for ITV was sold by All3Media International to Sundance Now in the U.S.

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Credit: Olly Scholey

All3Media acquired Silverback Films, producer of natural-history fare such as Dolphin Reef.

WS: Covid had a severe impact on scripted, more so than non-scripted. What is the strategy now for scripted? TURTON: We love the strength of our scripted business; both comedy and drama are now back in production across the board. The hiatus in 2020 meant that series have slipped, but I’m delighted to say that commissioning is strong and new titles have been picked up from all producers in the group. Critical and rating successes for shows like Des, White House Farm, Fleabag and Britannia have contributed to the commissioning momentum. I am confident that the series that are currently in production will do really well. The demand for high-quality scripted has never been greater. All3Media is well-positioned to benefit with series set to deliver this year, including Angela Black, Hollington Drive, Baptiste, Midsomer Murders, Van Der Valk, Agatha Raisin, Call the Midwife and The Tourist. WS: And factual and factual entertainment are still important for you. TURTON: Incredibly important and an area where we have been very focused on growth. With shows like Gogglebox, Naked Attraction, Chrisley Knows Best, Undercover Boss, Gold Rush, Worst Cooks in America and The Circle, you can build long-running franchises that resonate with millions of people and become an important underpinning to the buyer and the producer’s business. Then, you build off them to create new shows, and so on. During Covid, the value of well-established and popular brands has become very evident. We have benefited from formats in the catalog like The Cube and Lingo that we have rebooted and are now back on TV in numerous markets around the world.

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We are also strong in factual with a range of commissions like RAW’s Fear City and The Ripper for Netﬂix, CNN’s The Lost Sons, Caravan’s The Wimbledon Kidnapping for Sky and Story Films’ Premier League documentary with David Beckham. WS: Assuming the rollout of the vaccine will go as smoothly and quickly as possible, are you looking to increase production in territories outside the U.K.? TURTON: Assuming it’s safe and operationally viable, we will produce in as many markets as makes creative and economic sense. The buyers are frequently global platforms and, especially in non-scripted, want versions of their hit shows for their key

“The fundamentals of the All3Media business are stronger than ever, and the demand for high-quality content is growing fast.”

geographies. As producers, we want to make those shows—either through production hubs or, in other cases, through multiple locally produced versions. In some cases, we are also more than happy to partner with a local production company. The model is very ﬂexible, and we will do the right deal for the show and the commissioning platform; it’s whatever works best. WS: Several Hollywood studios are holding the vast majority of their product for their streaming services. Does this create more opportunity for a company like All3Media to sell programming to broadcasters and platforms around the world? TURTON: What we need as content creators is buyers with slots to ﬁll and cash to spend. So, every time there is a withholding of rights or a repatriation of a catalog by one of the studios to put on their SVOD or AVOD platform, gaps are created elsewhere. That, plus the arrival of newer platforms like discovery+, Disney+ and HBO Max, which want high-quality content to establish their consumer proposition, means there are lots of buyers for shows. The market is dynamic

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WarnerMedia has ordered a U.S. version of the British game show

and investment in content is growing—all of which is a positive force for content creators. You asked why 2019 was so successful. A lot of that came from the increase in demand from the SVOD platforms. Both in scripted and non-scripted.

The Cube from All3Media’s Objective Media Group America.

WS: As there are more platforms and channels buying product, the whole windowing strategy becomes more complicated for All3Media International, doesn’t it? TURTON: I don’t think you could be a successful producer in a modern world without a very good, strategically minded and ﬁnancially solid distribution partner. The market is more complex than ever, and this complexity creates opportunity—if you know what you’re doing! We are very lucky to have Louise Pedersen and her team at All3Media International sitting at the heart of the group. Her team’s role is as a longterm partner to the producers. They routinely get involved at the early stage in development conversations, funding rights deals, opening doors for international partnerships, designing the optimal sales strategy and so on. Their experience allows us to take an informed view of opportunity and risk and is invaluable in a world where everything is so dynamic and windowing and the medium is all changing so fast. WS: How do you see All3Media and the media landscape as you look past the pandemic? TURTON: The ﬁrst point is that content is the single most critical part of any media proposition. Our job is to make sure that we remain at the top of the list as a leading world-class content producer that can and will sell to multiple platforms for an audience that will view all types of shows and on multiple devices. It is a competitive market, and we face lots of disruption. But this was always the case and the opportunities are exciting! There’s no doubt that this is a fantastic time to be in production.

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WWW.TVREAL.WS

APRIL/DIGITAL MIPTV 2021 EDITION

Andrew Zimmern / Wipeout’s Matt Kunitz / Mike Rowe

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TV REAL

CONTENTS

The SVOD Gambit

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Real ©2021 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvreal.ws

MATT KUNITZ Wipeout is back with a brand-new look and feel. Co-creator and showrunner Matt Kunitz on rebooting the iconic format.

As Quibi wound down in October 2020, founders Jeffrey Katzenberg and Meg Whitman pondered if their expensive bet was misguided (premium mobile-first content for a fee) or if launching in the middle of a pandemic was simply too much of a hurdle to overcome. Meanwhile, discovery+ also launched mid-pandemic and, by all accounts, is faring well. David Zaslav, president and CEO of Discovery, Inc., referred to the new SVOD platform as “the most distinct, clear and unique streaming service in the world,” in introducing it to investors and press last November. By the end of February, Discovery had reportedly hit more than 11 million direct-to-consumer subs worldwide. To drive those numbers, discovery+ is aggressively acquiring and producing new content after launching with more than 55,000 episodes from Discovery’s own brands, the BBC’s natural-history slate and A+E Networks, among others, as well as 50-plus original series. Among those is Six Degrees with Mike Rowe, who in this edition tells us about the inspiration for this show. We also check in with Intuitive Content’s Andrew Zimmern about his approach to making content and hear from Matt Kunitz about rebooting Wipeout for TBS. We also go behind the scenes of the new travel series Extraordinary Escapes. —Mansha Daswani

GET DAILY NEWS ON THE FACTUAL BUSINESS

ANDREW ZIMMERN The popular television personality is producing a raft of shows at his Intuitive Content outﬁt focused on feeding a thirst for “adventure learning.” MIKE ROWE The Dirty Jobs star on his latest show, Six Degrees with Mike Rowe. EXTRAORDINARY ESCAPES Tuesday’s Child’s Steph Harris and All3Media International’s Rachel Job introduce the new travel show. SKY-HIGH DEMAND Loren Baxter, head of acquisitions at Off the Fence, and Stefanie Fischer, managing director of sales, on what makes for content that can prove compelling in a multitude of regions. HUNTING DOWN HITS Passion Distribution’s Nick Tanner highlights the company’s spring product launches.

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A+E Networks Assembly Required / Great Escapes with Morgan Freeman / History’s Greatest Mysteries presented by Laurence Fishburne Assembly Required, distributed by A+E Networks, takes place in the workshops of everyday DIYers, who compete against each other for a cash prize. “Assembly Required is a fun, family-friendly, close-ended competition format that can be regionally replicated and is quite producible within Covid-19 guidelines,” says Robyn Hurd, VP of content sales for EMEA. There are also Great Escapes with Morgan Freeman, which unearths the stories behind infamous jailbreaks, and History’s Greatest Mysteries presented by Laurence Fishburne.

Assembly Required

“We boast an incredible roster of A-list, diverse talent in front of and behind the camera.” —Robyn Hurd

Albatross World Sales Wild Horses—A Tale from the Puszta / Metamorphoses—The Return of the Wilderness / Wild Heart of Europe—The Return of an Ancient Forest Albatross World Sales’ Wild Horses—A Tale from the Puszta introduces viewers to the rare Przewalski’s horses that occupy the grassy plains of Hungary. “Filmed over a three-year period by an award-winning team, the ﬁlm is a journey into their secret world,” says Lisa Anna Schelhas, sales manager. The series Metamorphoses—The Return of the Wilderness takes the audience to regions that have undergone radical change. The Bavarian Forest National Park is the setting for Wild Heart of Europe—The Return of an Ancient Forest.

Wild Horses—A Tale from the Puszta

“With many productions canceled or halted, we were able to acquire relevant content from award-winning producers covering topics from all over the world.” —Lisa Anna Schelhas

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TV REAL

ARTE Distribution Dates That Made History / Anti-Semitism, 2000 Years of History / Emoji Nation ARTE Distribution is showcasing the second season of Dates That Made History. After episodes spotlighting 1492 and the beginning of the Black Death in season one, new dates include 753 B.C., the foundation of Rome, and 1776, the signing of the U.S. Declaration of Independence. ARTE Distribution is also highlighting Anti-Semitism, 2000 Years of History, which follows historians as they retrace the genealogy of anti-Semitism from its origins to the present day. Additionally, the playful and offbeat investigation Emoji Nation explores the world of the little ideograms.

Emoji Nation

Beyond Rights Pooch Perfect UK / Saved & Remade / Countdown to War Beyond Rights launched the Australian series Pooch Perfect at MIPCOM and heads to MIPTV with a new U.K. version. “Buyers are going to love Pooch Perfect—whether it’s the new ready-made series for BBC One or the format—as it combines our great love of dogs with the huge popularity of competition shows and makes for perfect family viewing,” says Connie Hodson, head of partnerships and business development. Saved & Remade sees neglected items transformed, while Countdown to War looks at the run-up to World War II through the eyes of Adolf Hitler.

Saved & Remade

“We want buyers to know that we are a reliable partner with signiﬁcant volume and a constantly refreshed catalog.” —Connie Hodson

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TV REAL

Boat Rocker Studios COVID America / My Trans Journey / Relative Race Boat Rocker Studios’ slate includes the docuseries COVID America, which looks at how people in the U.S. have dealt with the pandemic. In My Trans Journey, Dr. Carys Massarella’s patients work to overcome personal challenges and thrive in their transitions. The competition series Relative Race follows contestants’ ten-day odyssey to discover new relatives and compete for a prize. “All three tell powerful and emotional stories with immense human interest while tackling subjects with global resonance and real contemporary relevance,” says Natalie Vinet, VP of global sales for factual.

COVID America

“The COVID America team set out to capture the true stories of Americans, discovering strength and hope among the anguish and uncertainty.” —Natalie Vinet

BossaNova King of Tigers with Ross Kemp / Cats and Dogs at War / Borderforce USA: The Bridges Paul Heaney and Dina Subhani, the founders of TCB Media Rights, opened the distribution and co-production outﬁt BossaNova late last year, and MIPTV marks the company’s ﬁrst market. Highlights of the slate include King of Tigers with Ross Kemp, produced for ITV. “We believe that a noisy human-interest show with a popular host made for a major network in a prime-time slot is a pretty good start,” says Paul Heaney, co-founder and CEO. There’s also Cats and Dogs at War, along with three seasons of Borderforce USA: The Bridges.

Cats and Dogs at War

“We have a track record from TCB that shows that we listen to what the buyers want and very often then return to provide them with content that ﬁts their brief.” —Paul Heaney

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Hunan TV Key to Heart / The Sound / Super Vocal Key to Heart is a new Hunan TV dating show in which singletons stand on either side of a giant screen representing a smartphone that browses through photos and information to select potential matches. “It was the most popular show in its time slot with the highest share for Gen Z,” says Lester Hu, head of formats and international business for the R&D Center at Hunan TV. The company’s catalog also features the awardwinning celebrity dubbing reality competition The Sound and ratings juggernaut classicalcrossover singing competition show Super Vocal.

Key to Heart

“As renowned risktakers in China, we are constantly on the hunt for fresh, entertaining and innovative ideas.” —Lester Hu

Media Ranch What’s Your Problem? / Good Times / Recipe for Love What’s Your Problem?, a celebrity talk and game show on Media Ranch’s slate, tests the limits of what you can say and do in public. Each episode of the quiz show Good Times revisits a speciﬁc year, with celebrities competing to guess which year is being referred to. A dating show with a cooking twist, Recipe for Love celebrates romance for those over 50. “We use MIPTV as a true launch for the coming year to present our freshest shows,” says Sophie Ferron, founder, president and executive producer at Media Ranch.

Recipe for Love

“For the past several years, this is the time that people have been focused on formats, and Media Ranch brings some of the best in the world.” —Sophie Ferron

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Off the Fence Cher and the Loneliest Elephant / 5G. The Speed of Wave / Plane Crash Recreated Cher’s campaign for the release of an elephant named Kaavan is at the center of the Off the Fence highlight Cher and the Loneliest Elephant. 5G. The Speed of Wave explores the technology’s impact on the present and future. Plane Crash Recreated takes a look at famous airline disasters from a new angle. “We unpack each crash using a state-of-the-art simulator, asking what would happen if pilots were under the same conditions that caused these fateful crashes today,” says Loren Baxter, head of acquisitions at Off the Fence.

Cher and the Loneliest Elephant

“We expect to continue to secure more shows as the months go on to enable and entice further conversations over the summer and up to the fall.” —Loren Baxter Hemingway

PBS International Hemingway / Pandemic 2020 / First We Eat From Ken Burns and Lynn Novick, Hemingway delivers a portrait of the esteemed writer that delves into his complicated existence. “In an era when people are reevaluating so many icons, Hemingway is a particularly compelling figure to revisit,” says Tom Koch, VP of PBS International. Pandemic 2020, filmed around the world, shines a spotlight on a year of living with Covid-19. First We Eat sees filmmaker Suzanne Crocker feed her family of five only food that can be hunted, fished, gathered, grown or raised around Dawson City, Yukon.

“We look forward to connecting with buyers online to share our new lineup.” —Tom Koch

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Survivors

Rive Gauche Disaster Déjà Vu / The Killer Truth / Survivors Disaster Déjà Vu on Rive Gauche’s MIPTV slate sees history repeat itself as it showcases cities that have been hit by devastating disasters both in historical and modern times. The Killer Truth tells the story of a single murder through the ﬁve people most intimately connected to the case in each episode. In the documentary Survivors, interviews with victims and medical experts tell the stories of those who’ve dealt with opioid addiction. “All three titles are quite universal,” says Marine Ksadzhikyan, Rive Gauche’s COO and executive VP of sales.

“We’re looking forward to connecting with our clients virtually to hear their programming needs.” —Marine Ksadzhikyan

Terra Mater Factual Studios Critical Kingdoms: Stories of Hope / Cheetahs United / Cher and the Loneliest Elephant The Terra Mater Factual Studios highlight Critical Kingdoms: Stories of Hope showcases individuals and organizations that have gone to great lengths to restore the Earth. “The world needs stories of hope; we intend to deliver them,” says Sabine Holzer, head of specialist factual. Set in South Africa, Cheetahs United centers on two cheetah mothers who joined forces to raise nine cubs in an unforgiving landscape. Cher and the Loneliest Elephant follows the icon’s mission to relocate an elderly elephant to a new home and safety.

Cheetahs United

“Cheetahs United is an absolutely unique story.” —Sabine Holzer

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The Wall Duet

Workpoint Group The Wall Duet / The Rapper / 10 Fight 10 The Workpoint Group highlight The Wall Duet offers up an amusing test to determine the identities of singers performing behind a wall. “With seemingly deceitful clues from fellow singers, you’ll never know who it is—until the wall is lifted!” says Dhanasak Hoonarak, the chief business development officer at Workpoint. The rap competition series The Rapper has been produced for two seasons in Vietnam, and a deal has also been made for the program in France. 10 Fight 10 features famous faces battling it out inside a ring in real boxing matches.

“Workpoint serves a unique taste of TV formats to the world.” —Dhanasak Hoonarak Crime Scene: Antiquity

ZDF Enterprises Myths—The Greatest Mysteries of Humanity / In Touch with a Giant Pacific Octopus / Crime Scene: Antiquity ZDF Enterprises’ Myths—The Greatest Mysteries of Humanity aims to determine how much truth is in historical lores. In Touch with a Giant Paciﬁc Octopus delves into the private lives of these sea creatures, while Crime Scene: Antiquity sees modern forensics and experimental archaeology used to identify criminals. “These programs use the latest scientiﬁc knowledge, provide deep insights and tell fact-based stories in an entertaining manner,” says Ralf Rückauer, VP of ZDFE.unscripted.

“ZDFE.unscripted’s aim is to enhance the genre and deliver the best-quality factual programs.” —Ralf Rückauer

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Matt Kunitz

Wipeout O

nce deemed the king of reality television, Matt Kunitz has been behind a string of non-scripted format hits, including Wipeout. Upon its launch on ABC back in 2008, the series quickly blazed a trail across the globe, notching up local versions as well as a slew of tape sales on the U.S. version. The show went off the air in America in 2014 and this year was resurrected by TBS. Produced by Endemol Shine North America and distributed by Banijay Rights, the reboot premieres on TBS at the beginning of April. Kunitz, cocreator and showrunner, tells TV Real about bringing back the beloved show with a new look and feel. By Mansha Daswani

TV REAL: Take us back to the beginning; what inspired you to create Wipeout? KUNITZ: I was the executive producer on Fear Factor, which had just come to an end. One of the things I loved about Fear Factor was the big physical side of it. But whenever people talked about Fear Factor, all they ever talked about was the gross! Scott Larsen, co-creator of Wipeout, and I spoke and said, Is there a way we can come up with a show that has all the fun of Fear Factor, without the gross? From that conversation, Wipeout was born.

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A brand-new edition of the Banijay Rights format Wipeout landed on TBS in the U.S. in April.

TV REAL: Did you update the obstacle course? KUNITZ: TBS wanted it to be a little more athletic than it was in the past. So we worked on a balance between athleticism and humor. They wanted decision points, so on many of the obstacles, the contestants have to make choices: this route or that route. Those choices make it more of a competitive show. We also wanted a bigger focus on the contestants. We’ve done that in two ways. One is we’re doing all pairs. If you’re out there running the course by yourself, you’re not talking that much. You’re just trying to power through the course. If you’re out there with your mother and she’s screaming at you, you’re communicating and that communication helps the audience get to know you. The other thing we’ve done to get to know the contestants better is, in addition to having Camille [Kostek] do interviews, we’re doing packages on them. For me, with reality casting, it’s always been [to ﬁnd people who are] super relatable, so you can live vicariously through them when you’re watching the show. You don’t have to be a super athlete to be on this show. That’s what sets us aside from many of the other competition reality shows. The people who come on maybe didn’t train that much, but that’s what makes it fun. It’s the world’s

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largest obstacle course, designed for people who probably shouldn’t be on an obstacle course! TV REAL: What are some of the biggest shifts you’ve witnessed in reality television over the last few years? KUNITZ: The biggest shift is where you ﬁnd the viewers. Back in the day, it would not be unheard of for us to get an 8.0 in the demo. Today, 1.4 is considered a success! We used to have 18 million people tune in on a single night to watch a show. Those numbers

“We used to have 18 million people tune in on a single night to watch a show. Those numbers don’t happen anymore.”

don’t happen anymore. But we’re still ﬁnding the viewers—through social media, streaming, video on demand. When you’re editing these shows, you’d have the traditional thought of saying, We’ll be right back after the commercial. Now, most people aren’t watching that commercial because they’re streaming the show, they’re watching clips on Facebook, it’s on-demand. So we tweaked the language there. We’re aware that our audience is coming from many different places. You may not have 18 million people tune in on the ﬁrst night, but we’ll still get those numbers—it’ll just be spread out over a couple of weeks.

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Andrew Zimmern Intuitive Content ndrew Zimmern has a long list of credits to his name, among them: four-time James Beard Award-winning chef, TV personality, writer, teacher and social justice advocate. His television work has included serving as the creator, executive producer and host of Travel Channel’s Bizarre Foods franchise and Food Network’s Big Food Truck Tip, among others. Over the last five years through his production company, Intuitive Content, Zimmern has continued to create impactful stories and brand-focused entertainment through the lenses of food, culture and travel. By Kristin Brzoznowski

TV REAL: What led to the launch of Intuitive Content? ZIMMERN: For years, I wanted to start my own production company because I noticed a considerable amount of tension among the various departments and stakeholders at the networks and the makers. I realized that creating great content could be done differently and could solve some problems for the buyers. Having been in the talent seat, I have a unique perspective, which I knew would be invaluable to the content I’d create within my own production company. So I began my research, and I learned that many other people with roots in the TV and ﬁlm industry had started their own production companies. I’m a serial entrepreneur—a chef, author and content producer—and the most exciting part about what I do is ideation, developing

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The Intuitive Content slate of projects includes Family Dinner for Magnolia Network.

concepts that have resonating public appeal. I found that my particular voice would be meaningful to creating impactful television, so I launched Intuitive Content. It’s been a thrilling ride. TV REAL: What are the types of stories you want to tell? ZIMMERN: It’s important to tell stories that will make the world a better place after having told them. This is my top priority: a framework for efficiently creating robust content that cuts through the daily noise. Recognizing the virtues of entertainment, I want to create television that will put a smile on viewers’ faces; that will, in essence, release them from their tough, arduous days and help them relax with a glass of wine. There are incalculable ways to actually make the world a better place through content, so that’s the chief tentpole at Intuitive. Another tentpole is what I’ve deﬁned as “adventure learning” because I think that learning should be a fun adventure where we collectively remain teachable. While that sounds onerous, in my opinion, it’s an incredibly freeing concept. No matter the genre of

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show, I want viewers to relate their own experiences to whatever they’re watching; I want them to be amazed by what they learned. I’m conﬁdent that content production, at its best, can satisfy these desired life experiences. TV REAL: What other genres would you like to move into? ZIMMERN: We’ve had immense success with our ﬁrst-ever truecrime series, How to Survive a Murder, so it’s a genre I’d like to see the company further develop. We also are moving more into

“There are incalculable ways to actually make the world a better place through content, so that’s the chief tentpole at Intuitive.”

documentary specials and series, which began with MSNBC’s What’s Eating America, and making great progress with several titles that will go to the big streamers. We’re also experimenting with the game and competition space. And, 2021 is going to be our year for dipping into the scripted landscape. No matter how we explore new genres and formats, Intuitive Content’s through line has always been about crafting and telling great stories. Through our superb storytelling, we hope to inspire an unyielding thirst for “adventure learning” and make the world a better, more curious place.

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Mike Rowe

he creation of the humble horseshoe is just six stops in history away from digital dating and right-swiping to marriage matches in Six Degrees with Mike Rowe, a new series fronted by the Dirty Jobs star that launched on discovery+ earlier this year. Inspired by his father’s career as a history teacher, Rowe unexpectedly links fascinating people, places and things across time periods and timezones, hoping to pique the interest of those who might not consider themselves history buffs with a fun approach to learning more about the world we live in. Rowe talks to TV Real about what sets Six Degrees apart in the factual genre. By Chelsea Regan

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TV REAL: How did Six Degrees come about? ROWE: This show is for my dad, who was a history teacher. He always said, My job as a history teacher is not to hit the kids over the head with facts or information; it’s to get them interested in the past in some way. I always thought that if I could ﬁnd a way to make a history show for people who normally wouldn’t watch a history show, then we might be onto something. That general idea was always in the back of my mind. Suddenly there was a pandemic, and we had some time on our hands and an opportunity to shoot in a way that was a little more controlled. But it turned into something very different than I thought it was going to be. Each episode starts with a seemingly ridiculous question like, Can a horseshoe ﬁnd your soulmate? The more weird and random the question, the better. The answer to those questions is always yes, but the fun of answering them is what the show is about. I travel through time on a budget. We have animation, we have re-creations, we have puppets. TV REAL: What do you hope your viewers take away from watching this series? ROWE: First and foremost, I hope they have a few laughs, have fun. I hope they wind up learning something, or maybe even becoming interested in something that they didn’t know they cared about. [Dirty Jobs] connected a lot of people because everybody has work in common. That show attracted a lot of people from both sides of the political aisle. Today, the idea of finding a topic that unites us a little more than divides us is good. History is one of those topics.

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Extraordinary Escapes hether a lofty lighthouse, a towering treehouse or a seaside sanctuary, Extraordinary Escapes offers the perfect chance to satisfy your travel bug. This brand-new factual series, produced by Tuesday’s Child Television for the U.K.’s Channel 4 and sold by All3Media International, follows Sandi Toksvig and some of the very best names from her little black book of travel companions as they explore the delights of the wildest, most remote and beautifully designed holiday hangouts the U.K. has to offer. In the initial four-part series, there are 12 very different properties visited by Toksvig and a cast of female friends. As the show was ﬁlmed amid the Covid-19 lockdown in the U.K., Steph Harris, executive producer of Extraordinary Escapes

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and creative director of popular factual at Tuesday’s Child Television, describes the production process as “a bit of a jigsaw” strategically to work out what the properties would be, the locations available, how the cast and crew could get in and how long they could be there for. Along with the locations featured in the show, having Toksvig on board is a key draw. “Sandi is very much a national treasure in the U.K.,” says Harris. “Although Danish-born, we have taken her into our hearts. She’s been a stalwart on our screens. She’s known for her comedy, for her presenting; she has an incredible depth of knowledge, a curiosity, sharp wit and sense of humor.”

“Sandi Toksvig is very much a national treasure in the U.K.” —Steph Harris

“Extraordinary Escapes was particularly attractive to us because right now everybody just wants to escape,” says Rachel Job, senior VP of non-scripted content at All3Media International. “Travel shows are always really interesting and popular with international buyers, but escapism is what everybody is saying is on the top of their must-have list.” She adds that this is more than just a travel show; “it’s a companion show, and it’s relaxing to watch,” she says. “It’s funny as well. This is what escapism TV really is.”

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SKY-HIGH DEMAN

Loren Baxter, head of acquisitions at Off the Fence, and Stefanie Fischer, managing director of sales, on what makes for content that can prove compelling in a multitude of regions. By Chelsea Regan

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MAND

leading 360-degree nonﬁction content company, Off the Fence develops, ﬁnances, produces, coproduces and distributes top-tier Off the Fence’s Plane Crash factual programming for the global Recreated. marketplace. With titles that cut across natural history, science, travel and adventure, lifestyle, history, people and culture, crime and feature docs, Off the Fence knows what makes for content that can prove compelling in a multitude of regions, with international relevance, alongside access, style and story proving to be the winning ingredients for successful shows. “The stories really are key, and if you can craft a great story, then that really sells itself,” says Loren Baxter, head of acquisitions at Off the Fence. The company is interested in such documentaries that have a strong narrative interwoven among internationally trendy topics such as ancient history, crime stories, aerial travel shows or those that explore unique places around the globe. Also of high priority are natural-history shows that explore environmental solutions and science series that cover engineering or health topics. With headquarters in Amsterdam, London and Bristol, Off the Fence has long had to think and operate on an international scale, says Stefanie Fischer, managing director of sales, pointing to the relatively limited commissioning appetite in the Netherlands. “We have had to rely heavily on pan-regional channels such as National Geographic, Discovery

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and European broadcasters, including ZDF, ARTE, the BBC and similar,” says Baxter. Like thinking internationally, co-productions and early development ﬁnancing have also long been a part of the Off the Fence DNA with its Bristol- and Amsterdam-based production arms. “We consider ourselves an international company, whose remit has grown to include Netﬂix, YouTube, Amazon, CuriosityStream and many more,” says Fischer. “With more

“If you can craft a great story, then that really sells itself.” —Loren Baxter

options and choices for content, it can be difficult to navigate which is the best deal financially or editorially. With our team of ten salespeople, we can penetrate territories deeper than most and provide continuous sales after the first financing window.” Amid the ongoing restrictions due to Covid-19, Off the Fence, like many companies, has relied on technology to keep the deals coming and production moving, finding an environmental silver lining in the disruption of business-as-usual. “Stories have become, by default, more internationalized, and we’ve reduced our carbon footprint in the process by traveling less!” says Fischer. “Hopefully there’ll be some takeaways here to stay with regard to our global footprint when producing these shows now and in the future.”

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Passion’s Murder in a Small Town.

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Hunting Nick Tanner, director of sales and co-productions at Passion Distribution, highlights the company’s spring content launches. By Kristin Brzoznowski

assion Distribution’s focus remains, as always, to offer high-quality, differentiated non-scripted programs that have broad appeal. “Our showcase reveal leading to our spring content launch does just that across deﬁnitive true crime, aspirational lifestyle, extraordinary documentary projects and premium factual entertainment,” says Nick Tanner, director of sales and co-productions. “We’re proud that a number of our biggest franchises are back for new seasons and new localizations. Be it RuPaul’s Drag Race reaching new heights or Stacey Dooley back for a new season [of Stacey Dooley Sleeps Over] embedding (literally) in unusual family life, we continue to bring the biggest entertainment and uncover remarkable human stories.” In the unscripted space, Tanner has seen a trend toward programming that provides an escape for viewers and a desire for entertainment that takes people away from the reality of the current times. “Escapist lifestyle or travel (where possible!), absorbing history series, makeovers and provocative social experiments do just that,” he says. “Premium true crime

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is drawing big audiences on linear TV as broadcasters up the ante in this genre.” He adds that Passion is continuing to respond to the trends that are important now, while also looking to the future. Highlights from the company’s spring slate include Untold, featuring four true-crime miniseries that give the deﬁnitive story of some of Britain’s most notorious crimes; Here Comes the Gypsies, a

“Premium true crime is drawing big audiences on linear TV as broadcasters up the ante in this genre.” —Nick Tanner

documentary series that reveals the hidden world behind this community; and Murder in a Small Town, which hears from Luke Mitchell, who was accused of murdering his high school girlfriend 17 years ago and continues to maintain his innocence. There are also the lifestyle series Lap of Luxury: Ultimate Escapes Down Under, which explores the extravagant lodges of New Zealand and Australia; a second season of Inside the Police Force, which takes viewers behind station doors; and RuPaul’s Drag Race Down Under, the Australian and New Zealand adaptation of the hit series. With this spring slate, as well as all of its programming, Passion aims to “continue to be the provider of thought-provoking and entertaining non-scripted content to all platforms,” Tanner says.

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IN CONVERSATION

HENRIK PABST PROSIEBENSAT.1 MEDIA hrough the years, Henrik Pabst has gained firsthand experience of the television business across development, production, distribution and acquisitions. Early in his career, he developed and produced TV shows, particularly sports, formats and factual. He joined ProSiebenSat.1 Media’s Red Arrow Studios in 2011, where he was involved in sales and helped devise a scripted programming strategy. In 2014, he was put in charge of international distribution and tapped into the output of numerous production companies in the Red Arrow Studios family. He oversaw deals for a range of shows, from dramas like Bosch to the formats The Taste and Married at First Sight and factual hits like Galileo. In 2018, Pabst was named chief commercial officer of entertainment for ProSiebenSat.1 and put in charge of the TV businesses in Germany, including ProSieben and SAT.1 and the streaming service Joyn, a joint venture with Discovery. As of January, ProSiebenSat.1 restructured into three segments: Entertainment, Dating and Commerce & Ventures. Red Arrow Studios, as well as the digital studio Studio71, are integrated into the Entertainment segment. The group’s minority and majority investment areas have been bundled in the new Commerce & Ventures segment, which includes the investment arm SevenVentures as well as the companies of NuCom Group. The Dating segment includes the ParshipMeet Group. Pabst is chief content officer and managing director of the Seven.One Entertainment Group. He talks to World Screen about running the division, offering quality entertainment across platforms and maintaining valuable takeaways from the challenges faced in 2020. WS: What motivated the recent reorganization and what’s the new structure? PABST: In an ever-faster changing media industry, we decided to simplify things by putting our core entertainment functionalities under one roof. The Seven.One Entertainment Group combines our content, distribution and sales business all in one unit. Now, after a year in practice, we see how much we all have grown together. Today we think of projects from an end-to-end perspective. We all have the same goals. Our decision-making has become much faster. The entire organization has become more flexible. And on the whole, our way

By Anna Carugati

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of working has become much more efficient and synergetic. But, of course, we aren’t done yet. We have reached the first milestones, but there still is a way to go for us, and after seeing the first results, we are looking forward to it.

CBS in the U.S. is developing its own version of Danni Lowinski, which originated on SAT.1.

WS: From a content perspective, what have been the most strategic steps so far? PABST: Coming from rather U.S.license-heavy programming grids, we are now constantly shifting our grids toward more local and live programming. We have a very close look at specific time slots that are our backbone as a broadcasting company. For instance, with our locally produced entertainment shows, we are able to reach very broad target groups—including even those young demographics that are often said to have left their TV sets for good. In 2020, ProSieben had the best prime time in five years, and SAT.1 had the best prime time since 2017. By investing in local programming, we are able to reach the most attractive target groups for our sales business and win back viewers that may have left the TV set. ProSiebenSat.1 is concentrating on what it does best, creating great entertainment, and it pays off. Sports rights are another important piece of our local and live strategy. We acquired a free-TV rights package to the German Bundesliga. Bundesliga is the German soccer league and probably the most popular sports rights in the country. Speaking of live sports, we managed to grow a solid and loyal audience around the NFL in Germany over the last few years. This year’s Super Bowl reached a record-breaking share within ProSieben’s key demographic. We are well aware of our role as a broadcaster within society and the responsibilities that come with it. And that is why we are constantly increasing our socially relevant program offering, be it critical one-off documentaries like our piece on racism in Germany or specials on the coronavirus or social experiments. We see that we can use our reach to shed light on important topics and, luckily, our audience shows great interest in these kinds of programs. That, in a nutshell, is what we’ve done on the content side. We are very happy about it. Do we still have U.S. programming in our grids? Yes, we do, and some of it is still

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working well. But many brands can be found on various platforms and when you do not have a program exclusively, it’s difficult to make sure the audience is going to watch it with you. But to make it clear, we still love our U.S. partners. WS: Which shows have performed particularly well? PABST: We have had some successful shows in early 2021, such as Stealing the Show! with German TV stars Joko Winterscheidt and Thomas Gottschalk, which captivated audiences on ProSieben with market shares of up to 20.5 percent among viewers aged 14 to 49. The Super Bowl live on ProSieben earned record shares of 58.6 percent. The 16th season of Germany’s Next Topmodel—by Heidi Klum is currently running on ProSieben with successful audience shares on Thursdays, whereas The Masked Singer recently started a new season with record ratings on Tuesdays. WS: How are you using data to understand the audience’s preferences and to serve viewers better? PABST: We truly embrace data here at ProSiebenSat.1. We never before had the opportunity to gain so many valuable insights into our core business. Data stands at the beginning and at the end of what we do. Data helps us select the right content for our audience. It also allows us to schedule our content across our linear and nonlinear platforms perfectly, and each day, we are getting more valuable data for our future programming decisions. It’s like a cycle, and if you get this cycle right, it is a key factor for success in our business.

Distributed by Red Arrow Studios International, Dignity was commissioned by Joyn.

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Promis unter Palmen is among the hit local reality series airing on SAT.1.

WS: How are you bringing together the linear and the nonlinear worlds and what have you learned so far? PABST: We no longer divide these two worlds at our company. Merging the linear and the nonlinear departments was one of the most important actions at the beginning of our new entertainment strategy. For us, the windowing of a speciﬁc program across linear and nonlinear platforms must always start with the program itself. As I mentioned before, data helps us make the right decisions for each program, and as an outcome, we can deliver the best viewing experience to our viewers and the best ﬁnancial results for us. WS: How did Joyn perform in 2020? PABST: Joyn has managed to establish itself as a pretty serious player in the German streaming market. We now have over 16 million app downloads and nearly 4 million unique users every month. In 2021, Joyn will have about 20 originals, and that is on top of more than 70 TV channels and the extensive VOD catalog. That is a lot. We will continue to offer Joyn customers our whole entertainment portfolio as Joyn plays a vital part in our windowing strategy; it is our dedicated OTT destination for catch-up, bingeing, exclusive and original content. WS: Last year was incredibly challenging, and the pandemic continues. How has the group been serving its audience during this time? PABST: After the initial shock of being confronted with this unpredictable scenario, we quickly had to determine how to handle the new situation. Together

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with our top management team, we decided against cutting costs but continue to invest, which probably was not an easy decision at that time. But as we know today, it was the right decision for us. We looked into any production that was at risk. We went into dialogue with the producers, and we tried to find ways to bring our brands to the screen. And that strategy paid off. At the beginning of the coronavirus pandemic, everybody was looking for information, so we offered specific programs dealing with the virus. But as the lockdown continued, people were more interested in distraction, so we did what we are best at and offered our audience entertainment. That worked out very well for us.

“For us, the windowing of a specific program across linear and nonlinear platforms must always start with the program itself.” WS: The pandemic delayed the production of many shows. How did your group overcome these problems, and how did it ﬁll gaps for shows that could not be delivered on time? PABST: To say the coronavirus didn’t hit us at all would be wrong, but it did not hit us too strongly on the content side. We always had enough fresh programming on our shelves to avoid a black screen. Of course, we had to adjust our ongoing productions quickly, and there might be fewer U.S. shows coming in, but we can handle that. Corona even encouraged us to organize a virtual pitch day. The event was a big success and very well received by the producers. That is why we have decided to have a second edition very soon. WS: How are your teams working with Red Arrow Studios, and what is its role within your content strategy? PABST: Red Arrow Studios and its related companies play an important role in our ecosystem. Our German company Redseven Entertainment is producing some of

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our most popular highlights, like Germany’s Next Topmodel, The Biggest Loser, The Taste and Married at First Sight. Through our close connection to the different international production houses, we are always fully aware of their local development slates. Whenever they ﬁnd the next big hit, we can be sure to see it ﬁrst.

Redseven Entertainment produces the German version of the format The Taste for SAT.1.

WS: The pandemic also impacted advertisers. Have you seen a rebound in advertising? How has the group been working with advertisers? PABST: When the crisis hit during the second quarter of 2020, advertising revenues dropped by nearly 40 percent. I think nearly everybody experienced this. But the third and fourth quarters came in better than expected. As an earlycyclical company, we beneﬁted more quickly from the recovery of the economy and ad market. We know the second wave of Covid is bringing another drop in ad spend; let’s see how that goes. But throughout the crisis, the need for guidance and support among our ad clients has been great. We’ve seen a boost in creativity and corporations helping each other because we all have the same problems. Their spots maybe didn’t work any longer because of the topics, so we had them meet with our creative heads to develop spots that fit in the time of Covid. Knock on wood, that is going well because advertising is one of our bloodlines. WS: As you look ahead, what prospects for growth do you see at the end of this year and even post-pandemic? PABST: Covid is speeding up the shift from linear to nonlinear consumption. And as a broadcasting company, we always need to make sure that our brands are where our audience will ﬁnd them. That is why we established our unit responsible for windowing at the heart of our content decision-making process. We are taking a very customer-centric approach by continually adapting to our audiences’ changing viewing habits. But regardless of Covid-19, our top priority remains the same: we simply have to entertain our audience in the best possible way.

TVLISTDIG_421.qxp_LIS_1006_LISTINGS 3/29/21 1:43 PM Page 1

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IN THIS EDITION 9 Story Media Group Aardman ABS-CBN Corporation ADK Emotions NY Albatross World Sales All3Media International APC Kids ARTE Distribution Artist View Entertainment Atresmedia TV ATV Bavaria Media International Beyond Rights Boat Rocker Studios BossaNova CAKE Calinos Entertainment Cineflix Rights Cyber Group Studios Dandelooo Dori Media Group Eccho Rights Escapade Media FilmRise Global Screen GMA Network GoQuest Media GRB Studios Hunan TV Incendo Inter Medya Just for Laughs Distribution Kanal D International KO Distribution Lionsgate Entertainment Little Engine Moving Pictures

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TV LISTINGS

9 STORY MEDIA GROUP

O (1-416) 530-9900 w www.9story.com

Contact: Alix Wiseman, SVP, dist. & acq.; Stephen Kelley, VP, dist.; Joss Duffield, VP, dist., EMEA; Elianne Friend, snr. dir., digital; Brian Nolan, sales & acq. mgr. PROGRAM HIGHLIGHTS Weird Waters (Kids 4-7 animation, 10x7 min.) Three BFFs (best fish friends), BZ, I.M. Tiger and Jam, are thrown into the deep end of a secret pond full of hidden realms, fish with powers and ancient monsters. Donkey Hodie (Kids 3-5 puppet comedy, 80x11 min.) In the land of Someplace Else, Donkey Hodie and her pals empower preschoolers to dream big and overcome obstacles, work hard and persevere, be resourceful and discover they can solve programs on their own—and laugh themselves silly along the way.

the Puma and a madcap menagerie of misfits as they delve into the disgusting but truly amazing things that animals do. Guitar & Drum (Kids 3-5 CG, 52x5 min.) Follows the adventures of two musical instruments who are also best friends. Book Hungry Bears (Kids 3-5 3D, 52x11 min.) Join Crystal, Boomer, Melody and Scout as they play and explore together, learning lessons from the books that flit and flutter like birds amid the paper trees. Clifford the Big Red Dog (Kids 2-5 2D, 78x11 min.) Join Emily Elizabeth and her big red dog, Clifford, as they explore their island home and go on big new adventures. Xavier Riddle and the Secret Museum (Kids 4-7 2D adventure comedy, 74x11 min. & 1x55 min.) Xavier, Yadina and Brad travel back in time to meet famous heroes of the past and learn how to be their own heroes of the present. The Magic School Bus: Rides Again (Kids 4-8 2D adventure, 26x22 min. & 4x44 min.) Follow eccentric teacher Ms. Frizzle and her eager students on a new set of science-based adventures aboard the magical school bus.

AARDMAN

Weird Waters

Andy and the Band (Kids 4-8 live action, 15x14 min.) A music-driven comedy series with a madcap mix of songs, slapstick and silliness. Bad Nature (Kids 6-11 live-action comedy, 25x5 min.) Join talking animals Marv the Mandrill, Gloria

O (44-117) 984-8485 m hello@aardman.com w www.aardman.com Contact: Alison Taylor, dir., dist. & business dvpmt.; Robin Gladman, snr. dist. & acq. mgr.; Miguel Mestre, snr. sales mgr.; Ruth Preston, snr. sales mgr.

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TV LISTINGS

PROGRAM HIGHLIGHTS Lloyd of the Flies (Kids 7-11 CGI & 2D comedy, 52x11 min.) It is estimated that there are some 10 quintillion individual insects alive at any one time. This series is about one of them: Lloyd.

creations, is back with his gang for a brand-new series of action-packed slapstick adventures. Timmy Time (Stop-frame comedy, 78x5 min. & 2x22 min.) Timmy is the littlest lamb in Shaun the Sheep’s flock, and star of his own award-winning series that is loved by fans around the world. Shaun the Sheep (Stop-frame comedy, 170x7 min. & 2x28 min.) Aardman’s family-favorite TV series is recognized the world over for its slapstick humor, distinctive look and strong, quirky characters and enjoyed across multiple media platforms. Wallace & Gromit (Stop-frame comedy, 10x1.5 min., 1x23 min., 2x29 min. & 1x30 min., specials) Lloyd of the Flies Aardman’s most-loved and iconic duo has been Big Lizard (Bridge preschool CGI, 52x7 min.) delighting family audiences around the world for over Imagine having a whole alien planet to explore 30 years with four award-winning half-hour specials. with your new best friend, who happens to be a fun-loving big lizard. ABS-CBN CORPORATION Sol (Kids 7-18/family 2D, 1x28 min.) This film celO (6323) 415-2272 ebrates the light that true love brings into the world. m internationalsales@abs-cbn.com Brave Bunnies (2D edutainment, 52x7 min.) The w www.abs-cbn.com/internationalsales Brave Bunnies set off on an adventure-filled road trip around Bunny World, to explore, meet new friends, Contact: Cory V. Vidanes, COO; Ruel S. Bayani, head, intl. coprod.; Pia B. Laurel, sales head, play games and learn new things. Pop Paper City (Kids 4-6 CGI view-and-do new media & intl. coprod.; Laarni J. Yu, sales adventure, 52x11 min.) Focuses on creating adven- head, EMEA; Wincess Lee Gonzalez, sales tures together, encouraging “doing as well as view- head, Asia, LatAm. PROGRAM HIGHLIGHTS ing” through lovable characters and adventures. Numberblocks (CGI educational, 90x5 min.) A The Law of Revenge (Drama, 75x45 min.) Two revolutionary maths brand that uses humor, music, former close friends go head-to-head trying to delightful characters and engaging storylines to bring each other down in both business and love. But deep resentments can lead to deadly conflicts. show children how numbers really work. The Epic Adventures of Morph (Stop-frame Irreplaceable (Drama, 45x45 min.) Hoping to comedy, 15x5 min.) Morph, one of Aardman’s first reconnect with his family after serving time, a disgraced

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TV LISTINGS

agent instead teams up with his ex to rescue their son part due to the heated rivalry between two halffrom a syndicate. sisters and their mothers. Bagman (Action, S1: 12x35 min., S2: 8x35 min.) A simple barber must navigate the political maze he’s ADK EMOTIONS NY trapped in when he starts working as a governor’s O (1-646) 284-9825 bagman, handling all sorts of illegal transactions.

m info@adkemotions.com w adkemotions.com

Contact: Shunichi Ogawa, CEO; Daichi Wakabayashi, COO; Ayako Tsunekawa, VP, mktg. & creative; Natasha Khavin Gross, dir., TV sales & lic. PROGRAM HIGHLIGHTS Beyblade Burst (Kids action/adventure, 51x22 min.) This is the story of a group of passionate Bladers who follow their dreams on an unforgettable journey to the top.

Irreplaceable

Hello Stranger: The Movie (Romance/comedy, 1x101 min.) Two young men attend a writing camp that ends up forcing them to confront conflicts from their past and the uncertainties of a future together. Unbreakable (Drama, 1x119 min.) Two best friends find their relationship tested by family obligations in addition to a tragedy that forces them to reevaluate the true meaning of loyalty. Executive Class (Lifestyle/travel, 338x25 min.) The longest-running luxury, lifestyle and travel program in the Philippines that dives into various topics of exquisite tastes and experiences. The Crawl (Lifestyle/travel, 18x45 min.) A food and travel show with changing hosts who will tempt you to expand your palate and venture into the hidden gems of a certain locale. Love Thy Woman (Drama, 47x45 min.) An affluent family finds itself being torn apart from within, in

Beyblade Burst

Beyblade Burst Evolution (Kids action/adventure, 51x22 min.) Valt Aoi, runner-up at the Japanese National Tournament, travels to Spain after being scouted by the prestigious Spanish club, BC Sol. Beyblade Burst Turbo (Kids action/adventure, 51x22 min.) Aiger Akabane sets his sights on defeating Valt Aoi and becoming an invincible Blader with the help of his Turbo Bey, Z Achilles.

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TV LISTINGS

Beyblade Burst Rise (Kids action/adventure, growing out of the former commercial forests, turning 26x22 min.) After training with Valt Aoi, Dante into a unique ecosystem and refuge of biodiversity Koryu is ready to take on the world with his new free from human intervention. Bey, Ace Dragon. Beyblade Burst Surge (Kids action/adventure, 26x22 min.) Brother Bladers Hikaru and Hyuga Asahi vow to topple the ruling class of the Blading elite with their Solar Beys.

ALBATROSS WORLD SALES

O (49-341) 4428-2450 m info@albatrossworldsales.com w www.albatrossworldsales.com

Wild Horses—A Tale from the Puszta

Contact: Anne Olzmann, mng. dir.; Lisa Anna Schelhas, sales mgr., Europe (ex. Eastern Europe), Americas, Australia, New Zealand, inflight; Eleytheria Heine, sales mgr., Asia, MEA, Russia, CIS; Claudia Zell, sales mgr., Eastern Europe; Linda Kujawski, mktg. & acq. PROGRAM HIGHLIGHTS Wild Horses—A Tale from the Puszta (Nature/science, 1x52 min.) The story of a beautiful wild Przewalski horse foal born on the Hungarian plains called the Puszta, home of the largest herd of this rare wild horse species. Glorious Bustards (Nature/science, 1x52 min.) The Great Bustard is the Dodo of our time. From the heart of Europe comes an immersive story, revealing the odyssey of its species, the passion of its safeguards and their endeavors to ward off extinction. Wild Heart of Europe—The Return of an Ancient Forest (Nature/wildlife, 1x52 min./90 min.) In the Bavarian Forest National Park, a primeval forest is

Monkey (R)Evolution—Thailand’s Diving Macaques (Nature/science, 1x52 min/43 min.) The cheeky macaques on the island of Piak Nam Yai are a real scientific sensation. Scientists are setting off to discover the traditions of this special monkey society. Wolf—Wanderer Without Borders (Nature/ wildlife, 2x52 min./1x90 min.) The wolf was almost completely eradicated in Europe. Now the species is finding its way back from Poland through Germany to the Netherlands and Belgium. They Came to Stay—Our Alien Animal Neighbours (Nature/wildlife, 3x52 min.) Takes a closer look at three species in Central Europe who seem determined to stay. The Otter—A Legend Returns (Nature/wildlife, 1x52 min.) After the otter went extinct in the Netherlands, people have worked for decades to reintroduce it. Accidental Wilderness—Europe’s Everglades (Nature/wildlife, 1x52 min.) In the middle of Europe, a

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TV LISTINGS

mysterious, irreplaceable wilderness draws migrating birds from across the continent and beyond. Metamorphoses—The Return of the Wilderness (Science/sustainability, 3x52 min.) Takes us to regions that have undergone radical change. In some places, where flora and fauna were once eradicated to make room for agriculture, mining and industry, nature is coming back into its own. Jewels of the Alps—Italy’s Great Lakes (Travel/adventure, 5x52 min./5x43 min.) The lakes Snackmasters of Italy’s far north are known for their enchanting Snackmasters (Ent. format, 60 min. eps.) Each allure. The series explores the five largest of them. episode follows two of a country’s greatest finedining chefs as they battle it out to make perfect replicas of one of the nation’s best-loved snacks. ALL3MEDIA INTERNATIONAL A Whole New Ball Game (Doc., 4x60 min.) The m rachel.glaister@all3media.com definitive story of how business brains, players, w www.all3mediainternational.com agents and journalists transformed English football Contact: Janel Downing, VP, LatAm (Central, South and created an off- and on-pitch soap opera that & LatAm); Sally Habbershaw, EVP, Americas; Maria enthralls nearly five billion people around the world. Ishak, SVP, North America (U.S. & Canada). Sex Traffickers (Doc., 3x60 min.) Explores human PROGRAM HIGHLIGHTS trafficking through the eyes of the victims and the highAngela Black (Drama, 6x60 min.) Angela Black is level, covert law enforcement teams fighting it. a domestic violence victim. When a private investigator reveals her husband’s darkest secrets, she is APC KIDS faced with horrifying truths and must risk everything O (33-1) 8508-7017 to fight back against her abuser. m lionel.marty@apckids.com New Gold Mountain (Drama, 4x60 min.) This w www.aboutpremiumcontent.com period drama presents an unprecedented look into the Wild West era of the Australian gold rush while Contact: Lionel Marty, mng. dir. following a group of compelling, morally gray char- PROGRAM HIGHLIGHTS Kid-E-Cats (Preschool 2D, 156x5 min., 3x10 min. acters brought together by a mysterious murder. The Cube (Ent. format, 60 min. eps.) Contestants’ & 5x2 min.) Three little kittens—Cookie, Pudding complete nerve-wracking physical challenges for a and kid sister Candy—are forever ready to jump into action with endless enthusiasm and energy. cash prize.

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TV LISTINGS

Dinocity (Kids 3-7 2D, 52x5 min.) Fun stories around a family of city dinosaurs: little Ricky and her sister Tira—who can turn everyday situations into something extraordinary—and their parents.

Hello Maestro (2D educational, 7x26x26 min.) The cult series to learn about the human body, the history of humankind, the discoverers and explorers of the world, sustainable development and more. Roger (Kids 6-9 3D, 78x7 min.) The lively adventures of a little girl, the carefree, joyful and occasionally perky Fatou; and an alien, the clumsy Roger, on a tropical island. Go Green with the Grimwades (Live action/format, 30x10 min.) Tim and Ella Grimwade and their six children set themselves a challenge to go green through five “R” words: refuse, reduce, reuse, repair and recycle.

Dinocity

Little Tiaras (Kids 5-8 3D, 52x7 min.) Five princesses arrive from faraway lands to study wizardry on the mysterious island of Wondermont. Adventures, secrets and dangers await them. Tinka (Live-action family, 48x26 min.) Fifteenyear-old pixie Tinka discovers she is also half human and embarks on a true adventure to save the kingdom with her new friend Lasse. Fox and Hare (Kids 3-7 3D, 26x11 min.) The cheerful adventures of the most unexpected forest friends: Fox, with a taste for the finer things in life, and Hare, who is more responsible and gentle. Huggleboo (Preschool 2D, 26x7 min.) A wayward little girl goes on small adventures in and around her house, exploring things that seem normal to us but are very special to her. Galactic Agency (Kids 6-9 2D, 52x11 min.) These all-repair specialists come to the rescue at any destination in the galaxy. But with freaky creatures and oddities, nothing ever goes as expected.

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ARTE DISTRIBUTION

O (33-6) 1645-1603 m infosales@artefrance.fr w distribution.arte.tv/home

Contact: Audrey Kamga, sales mgr.; Isabelle Monteil, sales mgr.; Franka Schwabe, sales mgr.; Sophie Soghomonian, sales mgr. PROGRAM HIGHLIGHTS Planet Reef (Nature/discovery, 3x52 min.) Our crew has followed a team of scientists for five years. Their mission: to develop groundbreaking technological solutions to save the Great Barrier Reef. Braving the Tides (Nature/discovery, 4x52 min.) To the rhythm of the tides, we will sneak into the tumultuous life of the animals of the shorelines to discover their incredible way of life. Tom Cruise—An Eternal Youth (Art/culture, 1x52 min.) This film unveils the man behind the film icon.

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TV LISTINGS

Music of Ancient Greece (History, 1x52 min.) An investigation has revealed a very ancient Greek score. But how can we know who composed it? How do we interpret this music?

ARTIST VIEW ENTERTAINMENT

Planet Reef

Napoleon, Destiny and Death (History, 1x52 min./90 min.) Draws the psychological portrait of a man who constantly defies death. On six occasions, this confrontation will change the course of his life. The Georing Catalog (History, 1x52 min./90 min.) For more than a decade, the number two in the Third Reich amassed a collection of more than 5,000 art works, all meticulously detailed in a catalog. Gluten, Public Enemy N°1 (Current affairs, 1x52 min./78 min.) Isn’t wheat the good old grain we’ve been eating for 10,000 years? Scientists, activists and farmers are trying to discover the truth about industrial foods. The Lost Film of Nuremberg (History, 1x52 min.) This is the story of the film that contained horrific evidence of Nazi crimes, how and why it was censored and then found. Gospel of Wealth, A Story of Capitalism (1820-2020) (History, 3x52 min.) Dissects the capitalist storytelling that has succeeded in perpetuating the American Dream, from Andrew Carnegie to Jeff Bezos. Citizen Kitano (Art/culture, 1x52 min./90 min.) Takeshi Kitano is an international icon. Can we dream of a better guide to introduce us to the cultural history of Japan?

O (1-818) 752-2480 m sales@artistviewent.com w www.artistviewent.com Contact: Scott J. Jones, pres.; Rachel Jones, sales & acq. asst. PROGRAM HIGHLIGHTS Saving Paradise (Holiday drama, 1x98 min.) A successful corporate raider is forced to return to his small-town roots when he suddenly inherits his father’s nearly bankrupt pencil factory.

Saving Paradise

The Believer (Thriller, 1x90 min.) Lucas, an outof-work nuclear scientist, struggles with tension in his marriage after his wife Violet mysteriously terminates her pregnancy. As his health begins to deteriorate, his wife’s behavior grows increasingly bizarre.

Video interviews with leading players in the media business, industry analysis and a recap of the week’s events—delivered to your inbox every Thursday.

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TV LISTINGS

100 Days to Live (Thriller, 1x90 min.) When a serial killer abducts a young woman’s fiancé, she must race against the clock to discover the identity of the killer, and more importantly, his motive. Navigating Love (Romantic drama, 1x89 min.) A talented, beautiful woman finds herself riding the ups and downs of her rocky romantic love life. After catching her husband cheating, suddenly she is forced to figure out life in NYC as a single woman. Paint (Drama, 1x94 min.) Three friends from art school try to start their careers in the competitive NYC art world. 3 Day Weekend (Thriller, 1x90 min.) Deep in the woods, Ben stumbles upon Shan, who is bound in the trunk of a car, and before he can free her, his threeday weekend turns into a complex mystery, left unresolved until the last moment of his adventure. Here Awhile (Drama, 1x87 min.) While dealing with her terminal illness, Anna returns home to reconnect with her estranged brother as she considers putting to use the Death with Dignity Act. The Adventures of Thomas and Felix (Family/kids, 1x88 min.) Thomas has an imaginary best friend, Felix the Fox. His parents want him to make “real friends,” so they send him to summer camp. Thomas hates it there, which inspires a latenight escape and the adventure of a lifetime. Acquainted (Romantic adventure, 1x90 min.) Old acquaintances Emma and Drew run into each other and there is instant chemistry between them. However, both are already in relationships. Break Even (Action, 1x90 min.) Four friends find $50 million in cash, only to learn it was left by the DEA for the cartel in a rogue deal.

ATRESMEDIA TV

O (34-91) 623-0884 m pgardon@atresmediatv.com w international-sales-atresmedia.com Contact: Diana Borbón, sales mgr.; José Antonio Salso, head, acq. & sales; Laura Sampedro, sales exec.; Pilar Gardón, sales exec. PROGRAM HIGHLIGHTS Veneno (Drama, 8x50 min.) Narrates the life and death of Cristina Ortiz, La Veneno, one of the most important and popular LGBTQ icons in Spain since the 1960s. Deudas (Debts) (Comedy, 13x50 min.) Centers on the enmity between Pepa Carranza, a humble woman who will need €400,000 to save her family, and Doña Consuelo De La Vega, an old, crippled wealthy woman full of hate, who wants to finish Pepa off. El Internado: Las Cumbres (Las Cumbres Boarding School) (Drama, 8x50 min.) At a remote boarding school located in an old monastery, disappearances and ritual murders prove that a medieval satanic cult continues to spread terror.

El Internado: Las Cumbres

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TV LISTINGS

Luimelia (Drama, S1: 6x15 min., S2: 6x15 min., S3: 6x15 min.) Shows the relationship between Luisita and Amelia, two young millennials who have the freedoms and opportunities that society offers, but they will find difficulties. Carolina Marín: I Can Because I Believe I Can (Educational/sports/youth doc., 4x30 min.) Carolina Marín has dedicated more than half of her life trying to becoming the best badminton player in the world. Futbolistas Por El Mundo (Footballers Living Abroad) (Sports/youth doc., 4x35 min.) Exclusive access to the private lives of Xavi Hernández, David Villa, Javi Martínez and Juan Mata. Natural (Current affairs doc., 8x60 min.) The program appeals to the urgent need to protect the environment. Benidorm (Comedy, 8x50 min.) A rigid notary, after discovering he has just three months to live, travels to Benidorm to search for his first and only love—and unwittingly becomes the target of a con. Eso Es Lo Que Me Das: La Última Entrevista De Pau Donés Con Jordi Évole (That Which You Give Me: Pau Donés’ Last Interview with Jordi Évole) (Doc., 8x50 min.) Fifteen days before the singer Pau Donés of Jarabe de Palo died after a battle with cancer, he had his last talk with Jordi Évole.

ATV

O (90-212) 354-3701 m info@atvdistribution.com w www.atvdistribution.com

Dinc Ozcan, content sales specialist; Merve Dogan, content sales specialist. PROGRAM HIGHLIGHTS For My Family (Drama, 45 min. eps.) Four bright orphans have to live in a chicken cage in their uncle’s backyard. While life is cruel to them, they do their best to survive. Akıncı (Drama, 45 min. eps.) During the day, Fatih is an idealistic history teacher; at night he puts a mask on, concealing his true identity to be an Akinci, a hero battling dark forces. Maria and Mustafa (Drama, 58x45 min.) Maria and Mustafa will have to overcome obstacles as they try to manage plots against their love. The Ottoman (Drama, 185+x45 min.) Osman will fight for the future of the Kayı tribe and to be reunited with his love, Bala Hanım. Hercai (Drama, 250+x45 min.) Reyyan and Miran try to appreciate their love despite all obstacles.

For My Family

Lifeline (Drama, 207x45 min.) Sold to a businessman as a child bride, Nefes suffers at the hands of her husband’s abuse. Contact: Muge Akar, content sales deputy mgr.; Love and Secrets (Drama, 85x45 min.) Ali and Emre Gorentas, content sales deputy mgr.; Gozde Pilot, unaware that they are brothers, will begin to

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fight each other. Ali and Sevda, completely opposite characters, will fall in love. Grand Family (Drama, 45 min. eps.) Hizir, a highranking member of a weapons smuggling syndicate, attempts to hold his family together and survive without choosing between his wife and his mistress. Don’t Leave Me (Drama, 147+x45 min.) Arzu, her husband Cengiz and her two sons, Tarik and Emre, live together in Ankara. Love and Hate (Drama, 280x45 min.) Ali, who spent his youth in prison and didn’t learn to love, and Mavi, who never loved anyone, get to know each other only by the letters they exchange. Now it’s time to meet face-to-face.

to justice, whether from outside or inside the system, with a righteous hunger. Imagining Murder (Crime, 16x90 min.) Cop personas: whether the experienced and by-the-book leader, the damaged and rule-breaking renegade partner, the young buck out to make a mark or the natural intuitive police talent, the team’s friction serves their unified passion to crack impossible cases. Falk (Drama/comedy, S1-2: 12x50 min.) When his dream of running a tasteful restaurant blows up in his face, ex-lawyer Falk is coaxed back to his former profession.

BAVARIA MEDIA INTERNATIONAL

O (49-89) 6499-3097 m alexandra.kudelina@bavaria-media.de w www.bavaria-media.de

Contact: Eva Pfaudler, deputy CEO; Carlos Hertel, dir., intl. sales; Iowanka Sprehe, snr. sales mgr.; Brianne Bonney, snr. sales mgr. PROGRAM HIGHLIGHTS Exit (Sci-fi thriller, 1x90 min.) In this near-future thriller, loved ones can stay by our side as virtual copies, even after their deaths. Maleficius (Crime, 1x90 min.) Prof. Dr. Bordauer is an inventor and a famous scientist in the field of neurology with lofty plans for merging the human brain with artificial intelligence. However, doubts about his credibility are growing. Crimescapes (Crime, 15x90 min.) Committed and experienced investigators face down obstacles

Crimescapes

Dr. Dog (Drama, 4x90 min., more eps. in prod.) An innovative psychologist named Paul and his therapy dog Käthe take on the tough cases even the patient has given up on. Zoo Doctor—Wild Side of Life (Drama/romance, S1-7: 84x45 min.) Attractive young zoo doctor Susanne Mertens courageously devotes herself heart and soul to her turbulent work and family. Toni, the Midwife (Drama/comedy, 4x90 min., more eps. in prod.) Toni, a male midwife, loses his job at the hospital and is offered a place in the

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TV LISTINGS

surgery of gynecologist Luise. Events from the past seem to complicate their collaboration. Freedom to Kill (Thriller, 1x90 min.) The intricacies, corporate corruption and violence of the international arms trade is taken head on into court by two sisters in arms. Merkel (Drama, 1x120 min.) A political drama about the defining moment of Angela Merkel’s chancellorship: the refugee crisis of 2015.

BEYOND RIGHTS

Pooch Perfect UK

Contact: Kate Llewellyn-Jones, CEO; Connie Hodson, head, partnerships & business dvpmt.; Simona Argenti, head, sales, U.K., Italy; Joanne Azzopardi, EVP, sales, Australia, New Zealand, Asia; Sherry Fynbo, EVP, sales, U.S., Canada; Holly Cowdery, VP, sales, France, CEEMA, Nordics; Lenneke de Jong, VP, sales, Benelux, Germany, Iberia, LatAm; Sarah McCormack, SVP, acq. & coprod.; Nicola Davey, VP, acq. & coprod.; Sean Harris, head, intl. mktg. PROGRAM HIGHLIGHTS Pooch Perfect UK (Ent./competition, 8x60 min. & format) Sheridan Smith hosts this prime-time BBC series featuring professional dog groomers competing in a series of “pawsome” challenges to create epic “transfurmations” of family pets. Countdown to War (History, 3x60 min.) A radical new examination of Hitler’s actions and mental state, day-by-day in the 18 months leading up to the outbreak of World War 2.

Saved & Remade (Lifestyle, 15x60 min. & format) A joyous and heartwarming series that sees highly skilled crafters use their talents to transform treasured but neglected items into completely reimaged objects. Impossible Repairs (Engineering, 6x60 min.) Mike Davidson takes us behind the scenes of the world’s biggest and most complicated machines to look at some remarkable missions across the globe. Aussie Snake Wranglers (Wildlife, 16x30 min.) We follow the Sunshine Coast’s busiest snakecatching team as it goes head-to-head with some of the deadliest creatures on the planet. The World According to Grandpa (Kids, 25x11 min.) A vibrant blend of live-action and animation that sees Grandpa taking his grandchildren to colorful new worlds, all from the comfort of his sofa. Abandoned Engineering (Engineering, S6: 12x60 min.) More spectacular examples of abandoned engineering from across the globe, exploring why structures were built, what led to their demise and the impact this had.

O (44-207) 323-3444 m sales@beyondrights.tv w www.beyondrights.tv

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Massive Engineering Mistakes (Engineering, S3: 10x60 min.) Traveling across four continents, we uncover the epic fails and ridiculous near misses that engineers would rather not talk about. Halifax: Retribution (Drama, 8x60 min.) In this procedural, forensic psychiatrist Jane Halifax works on a difficult sniper case with Commander Tom Saracen. Walking Britain’s Lost Railways (History, S3: 8x60 min.) Rob Bell explores the landscapes and communities transformed by the since-abandoned train routes that once made Britain’s railways the envy of the world.

BOAT ROCKER STUDIOS

COVID America (Factual/current events, 2x60 min.) Uncovers how everyday Americans are dealing with the pandemic and the new structure of their lives. Borrowed from Nature (History/culture, 1x60 min.) Exploring the rich and complex history of Japanese gardens in western Canada through the principles and philosophy of famed JapaneseCanadian designer Roy Tomomichi Sumi. My Trans Journey (Factual, 4x30 min.) Dr. Carys Massarella’s patients work to overcome personal challenges and thrive in their transitions. Their journeys culminate in big gatherings with their friends and families.

O (1-416) 591-0065 m sales@boatrocker.com w www.boatrocker.com

Contact: Jon Rutherford, pres., Boat Rocker Studios, kids & family & rights; Kate Schlomann, EVP, brand mngmt. & content mktg.; Bob Higgins, EVP, content, kids & family; Gia DeLaney, SVP, global sales, kids & family; Henry Or, SVP, strategic partnerships, Asia; Natalie Vinet, VP, global sales, factual; Chapman Maddox, VP, content, kids & family; Shaleen Sangha, VP, content, kids & family; Jessica Watson, snr. dir., global sales & acq.; Kelsey Griffin, snr. mgr., global sales & mktg.; Fabien Ching, mgr., global sales & lic., Asia. PROGRAM HIGHLIGHTS Anna’s Occasions (Lifestyle/food, 10x30 min.) Globally noted chef and baker Anna Olson seeks out any opportunity to celebrate so that she can bake a dessert.

GET DAILY NEWS ON KIDS’ PROGRAMMING

Anna’s Occasions

Relative Race (Competition, 60x60 min.) Four teams take a ten-day journey across the country to discover new relatives and compete for a $50,000 grand prize using the contestants’ DNA as a road map. Dino Ranch (Preschool 2-5 3D comedy/adventure, 52x11 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam.

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Kingdom Force (Preschool 3-6 3D action/adventure, 52x11 min.) Follows the exploits of five mighty animal heroes as they serve and protect the citizens of five unique animal kingdoms. Remy & Boo (Preschool 2-5 3D adventure, 52x11 min.) Remy is an adventurous 6-year-old girl with a unique best friend Boo, a big, squishy, pink robot. Their days in Dolphin Bay are filled with new adventures both big and small. Love Monster (Preschool 2-5 2D comedy/adventure, 54x7 min.) Love Monster happens to be the only monster among a sea of cute baby animals. The Strange Chores (Kids 6-11 comedy/adventure, 52x11 min.) Two teenage wannabe warrior heroes and a super high-spirited ghost girl master the skills they need to replace the world’s greatest (and oldest) monster hunter by doing his strange, supernatural chores.

King of Tigers with Ross Kemp

Cruising: The Biggest Storm (Doc., 1x90 min.) Investigates the massive cruise industry. It’s a story of tropical dreams, adventure and an arms race to build bigger and better ships. Borderforce USA: The Bridges (Reality, S1-3: 30x60 min.) Follows the work of U.S. Customs and Border Protection officers as they attempt to stop terrorists, drug smugglers and arms traffickers from crossing the world’s busiest border. BOSSANOVA The Car Years (Motoring, S1-2: 14x30 min./7x60 m sales@bossanovamedia.com min.) Vicki Butler Henderson and Alex Riley are on a w www.bossanovamedia.com mission to champion the very best cars from a Contact: Paul Heaney, CEO; Dina Subhani, co- moment in time. fndr. & COO. PROGRAM HIGHLIGHTS CAKE King of Tigers with Ross Kemp (Doc., 2x60 O (44-207) 307-3230 min.) Ross Kemp goes on the trail of the largerm info@cakeentertainment.com than-life characters that are Britain’s very own tiger w www.cakeentertainment.com and lion kings and queens. Cats and Dogs at War (Fact-ent., 4x60 min.) Cat Contact: Ed Galton, chief commercial officer & expert Chirag and dog trainer Nanci are coming mng. dir.; Bianca Rodriguez, head, sales; Julien together on a mission to help families across the Farçat, sales mgr.; Bassma Rassi, sales exec.; Zoe Durand, sales asst. nation and call a truce on cats and dogs at war.

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PROGRAM HIGHLIGHTS Dodo (Kids 8+/family animation, 20x11 min.) A funny, heartwarming portrayal of everyday school life as experienced by 11-year-old Joe Connolly navigating the dramas and pitfalls of his first year at secondary school.

B.O.T. and the BEASTIES

B.O.T. and the BEASTIES (Preschool animation, 50x5 min.) From Ragdoll Productions, introduces the comic adventures of a lovable robot as he discovers new worlds and an assortment of bizarre beasties that inhabit them. Tish Tash (Preschool animation, 52x5 min.) Young bear Tish, her bear family and her largerthan-life imaginary friend Tash embark on fun adventures while inspiring imaginative play and problem-solving in young children. Angry Birds Bubble Trouble (Kids 8-12 & family animation, 20x1 min.) Following a younger version of the iconic Angry Birds in a garden surrounded by colorful bubbles, where everything imaginable comes true. Mush-Mush & the Mushables (Animation, 48x11 min./2x22 min.) Follows the exciting outdoor adventures of the Mushable community,

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pocket-sized Guardians of the Forest, as they embark on a fun journey of self-discovery. Jorel’s Brother (Kids 8-12 animation, 104x11 min.) Multi-award-winning Brazilian animated comedy that follows the daily adventures of a shy and nameless 9-year-old boy, who is overshadowed by his more infamous sibling. Pablo (Preschool animation, 104x11 min.) Pablo, a 5-and-a-half-year-old boy who is on the autism spectrum, turns his life challenges into imaginative drawings to help him face the real world with confidence. Kiri and Lou (Preschool animation, 52x5 min.) Kiri, a feisty little dinosaur, and Lou, a gentle and thoughtful creature, navigate a forest of feelings with laughter, song and adventure. Mighty Mike (Kids 6-12 animation, 78x7 min.) Non-dialogue slapstick comedy featuring a refined pug who longs for a quiet life but is instead forced to defend his house from a bunch of furry intruders. Total Dramarama (Kids 6-12 animation, 156x11 min., S3 available) The prequel to the franchise reintroduces favorite cast members and ages them down from teenagers to toddlers.

CALINOS ENTERTAINMENT

O (90-216) 999-4999 m info@calinosentertainment.com w www.calinosentertainment.com

Contact: Jose Luis Gascue, EVP, head, worldwide sales; Ismail Dursunov, deputy GM; Asli Serim Guliyev, head, intl. sales; Duda Rodrigues, intl. sales exec., LatAm; Goryana Vasileva, OTT & format sales mgr.; Ebru Mercan, intl. sales rep., Africa, Baltics.

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Better Together

PROGRAM HIGHLIGHTS Better Together (Drama) Four people turn 35 on the same day. All four of them are about to go through the most important day of their lives. Forbidden Fruit (Drama/romance, on-air, 223+ hrs.) Yıldız and Zeynep are two sisters whose lives will take an unexpected turn when Istanbul socialite Ender asks Yıldız to seduce her husband. Our Story (Drama/romance, 200 hrs.) Filiz (Hazal Kaya) has been struggling to survive in one of the poorest neighborhoods in Istanbul with her five younger siblings and her useless alcoholic father. Filiz thinks that there is no place for love in her life— until the day she meets Baris. Woman (Drama, 242 hrs.) The survival story of Bahar, a young widow with two children.

CINEFLIX RIGHTS (44-20) 3179-5050 m sales@cineflix.com w www.cineflixrights.com Contact: Richard Life, head, acq.; Catherine McCormick, snr. mgr., acq.; Chris Bluett, SVP, sales, AsiaPac, Benelux; Tom Misselbrook, SVP, scripted sales & dvpmt.; Kai Rowley, VP, sales (FTC), MEA,

GET DAILY NEWS ON FACTUAL TV

CEE, Southern Mediterranean; Sandra Piha, SVP, sales, pan-regional, U.K., Eire, Scandinavia; Lucinda Gergley-Garner, SVP, sales, North America, Germanspeaking territories; Meghan Baxter, snr. sales exec., OTT, inflight, non-theatric, footage, home ent.; Charo Penedo, sales cnslt., France, Italy, Iberia; Daniel Rodriguez, sales cnslt., LatAm, Hispanic USA. PROGRAM HIGHLIGHTS The Story of Late Night (Doc., 6x60 min.) Featuring the funniest people on the planet and behindthe-scenes stories from A-list Hollywood insiders, this docuseries tells the story of late night. Extra Life: A Short History of Living Longer (Science, 4x60 min.) A timely look at modern medicine, guiding viewers across 300 years of innovations in science and medicine that doubled the human lifespan in less than a century.

Extra Life: A Short History of Living Longer

Ainsley’s Food We Love (Fact-ent., 10x60 min.) Ainsley Harriot is back in the kitchen cooking up some all-time favorite recipes with his celebrity pals. Green River Killer: Hunting the Monster (True crime, 4x60 min.) Documents the story of Gary Ridgway, one of America’s most prolific serial killers. My Big Family Farm (Fact-ent., S1-3: 18x60 min. & 1x90 min.) Chronicles the adventures of extreme hill

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shepherds as they raise nine children and a thousand sheep on one of Britain’s most spectacular farms. WWII By Drone: Scanning the Evidence (History, 6x60 min.) As military experts crisscross the continent to uncover long-forgotten secrets, this series brings Europe’s sleeping battlefields to life with cutting-edge CGI and drone-mounted technology. Rebecca (Scripted, 8x60 min.) A tormented yet brilliant Parisian detective battles depression and a series of blackouts while piecing together a brutal murder investigation. Whitstable Pearl (Scripted, 6x60 min.) The beautiful English seaside town of Whitstable is home to Pearl Nolan, who divides her time between serving up tasty seafood delicacies in her restaurant and solving the crimes, debauchery and murder regularly brought in by the tide. An Ice Wine Christmas (TV Movie, 1x120 min.) A bigcity sommelier returns to her hometown for the annual ice wine harvest, but traditions are upended with a surprise announcement and a holiday romance. I Got Lucky (Science, 14x30 min.) From freak accidents and explosions to extreme stunts gone awry, chronicles the most spectacular close calls and explains how these survivors managed to walk away.

K. Miller, pres. & CEO, Cyber Group Studios USA; Dominique Bourse, COO; Merritt D. Farren, general counsel & COO, Cyber Group Studios USA; Olivier Lelardoux, SVP, studio & associate producer; Pierre Belaïsch, SVP, creative dvpmt.; Bruno D’Aumont, lic. & mktg. VP; Michèle Massonnat, snr. sales mgr.; Jessica Laloum, intl. sales exec. PROGRAM HIGHLIGHTS Droners (Kids 6-10 2D-CGI adventure/comedy, 26x22 min.) In Terraqua, a world 95 percent covered by oceans, Corto, Arthus, Enki and Mouse firmly intend to win the Whale Cup, the most extreme drone race of all time.

Gigantosaurus

Gigantosaurus (Kids 4-6 2D-CGI comedy/ adventure, 52x11 min.) Four young dinosaur O (33-1) 5556-3232/ friends are about to leave the family and explore a (1-424) 394-1310 world full of mysteries and danger. m sales@cybergroupstudios.com Taffy (Kids 6-10 & family 2D comedy, 78x7 w www.cybergroupstudios.com min.) Follows the non-stop, slapstick extravaContact: Pierre Sissmann, pres. & CEO; Raphaelle ganza faced by loyal hound dog Bentley when his Mathieu, SVP, sales, acq. & new media; Karen billionaire old lady owner, Mrs. Muchmore, takes

CYBER GROUP STUDIOS

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in an imposter posing as a wide-eyed, fluffy angora cat. Tom Sawyer (Kids 6-12 CGI adventure, 26x22 min.) Tom Sawyer, a boy called to adventure from the moment he wakes up, and his friends are always on the go. Each episode will tell one of their great adventures, escapades or explorations. Sadie Sparks (Kids 6-12 2D-CGI comedy, 52x11 min.) A teenage girl discovers she has extraordinary powers—which can only be harnessed in partnership with an ancient and extremely grumpy magical rabbit who just wants to retire. Orange Moo Cow (Kids 3-6 2D comedy, 52x7 min.) Follows the daily life of Zoh, an energetic 6-year-old cow, and her little brother, Boh, a sensitive and curious 4-year-old bull. Bananimals (Kids 5-8 2D comedy, 78x7 min.) Follows the daily lives of the animal inhabitants of a farm village whose primary activity is to go and ask Gordon the Bull, their mentor, for help and advice. Ernest and Rebecca (Kids 5-8 2D comedy, 52x13 min.) Tells the story of Rebecca and her adventures with her “microbe” Ernest, which she caught on a rainy day. Purple Turtle (Kids 3-6 CGI comedy/edutainment, 52x7 min.) Purple Turtle and his friends Roxy the Chameleon, Zing the Rabbit, Melody the Bird and Tadley the Bear celebrate the joy of childhood, curiosity and discovery. Mini Ninjas 2 (Kids 6-12 CGI-2D adventure/comedy, 104x11 min.) Discover a new generation of 12-year-old ninjas, trained by the wise (and rather eccentric) Ninja Master to defend the Land below the Clouds from the warlord Ashida.

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DANDELOOO

O (33-9) 7264-4601 m contact@dandelooo.com w www.dandelooo.com Contact: Emmanuèle Pétry Sirvin, head, intl.; Gennarino Romano, intl. sales mgr.; Melissa Vega, intl. sales mgr. PROGRAM HIGHLIGHTS Jasmine and Jambo (2D, 26x7 min.) Jasmine and Jambo are two friends who share a passion for music. And, they live in the perfect place: Soundland, a surreal land where music reigns.

Billy the Hamster Cowboy

Billy the Hamster Cowboy (2D, 52x11 min.) Growing up in the Wild West and raised on the exciting stories told by his father, Billy, with his cowboy outfit, has a burning desire to hit the trail. He takes with him his faithful friend Jean-Claude the worm, and his accomplice Suzie the stone marten. Mum Is Pouring Rain (2D, 1x26 min.) Eight-yearold Jane must spend Christmas with her grandma. As she makes new friends—Cloclo, the gigantic hobo who lives in the forest, and Sonia and Leon,

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two local kids—she learns to open up to others and will inspire her mother to get back on her feet. Pompon Little Bear (2D adventure comedy, 39x7 min.) In bear cub years, Pompon is 6-and-ahalf years old. He has an incredible and precious gift that brings great delight and tremendous enjoyment to his best friend Rita and his parents: he adds a bit of “extra” to the ordinary. Kosmix (2D, 26x5 min.) Kosmix, the cute robot, and his buddy Mr Battery head out in the big wild space to discover the sky’s mysteries. Shooom’s Odyssey (2D, 1x26 min.) Shooom, a baby owl, hatches just as a storm turns the bayou surrounding her tree upside down. No sooner has she fallen from her nest, the little fledgling totters off determined to find a mother—even if that mom turns out to be an alligator or a raccoon. Royals Next Door (2D, 52x11 min.) Water damage in the castle leads the royal family to move to a normal house in an ordinary suburb. Crown Princess Stella, who has her own Royal Vlog on YouTube, will share anecdotes about her new life as a normal girl. The Upside Down River (Serialized 2D, 9x26 min.) An adventurous quest in a poetic fantasy world following Hannah’s search for water drops from the Qjar river in order to heal her sacred bird. She’s followed in her hunt by Tomek, a shy boy whose world is turned upside down when she enters his shop. Stinky Dog (2D, 52x13 min.) Presents the hilarious and hectic adventures of a maverick mutt and a flattened cat. Taina and the Amazon’s Guardians (CGI, S1: 26x11 min., S2: 26x11 min.) When the forest is in distress, the “Cru-Cru” call echoes all the way to the

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Great Tree, where Taina and the Guardians of the Amazon are always ready to help.

DORI MEDIA GROUP

O (972-3) 647-8185 m sales@dorimedia.com w www.dorimedia.com

Contact: Nadav Palti, pres. & CEO; Carolina Sabbag, VP, sales, Western Europe, U.S., Canada; Maria Perez Campi, dir., sales, LatAm, U.S. Hispanic; Camila Premet, sales mgr., CEE, CIS, Africa; Haikal Jamari, sales mgr., Asia, Middle East; Einat Borovich-Naim, VP, mktg. PROGRAM HIGHLIGHTS Normal (Drama, 8x35 min.) When 24-year-old Noam Ashkenazy hits rock bottom, he finds his own route to normality in the unlikeliest of places: the psych ward. Power Couple (Reality format) Puts love to the test like you’ve never seen before as eight couples face extreme challenges that will test how well they really know each other.

Normal

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TV LISTINGS

Las Estrellas (5 Stars) (Romantic comedy, 120x60 min.) The death of Mario Star leaves his five daughters facing a challenge to successfully manage a boutique hotel, which they will have to fulfill in order to claim the inheritance. AHA! Experience (Studio game show) An entertainment quiz show that wants to find out not what you know but what you see. Visuals are universal; no matter what language you speak, it’s all right there in front of your eyes. The Best of All (Shiny-floor game show) Is the average answer from a large group of people always closer to the right result than the answer of one? In Treatment (Drama, 45x30 min.) Takes viewers on a journey through the intriguing and fascinating world of psychotherapy, following five ongoing treatments of five different patients. El Buscador (The Browser) (Interviews) A TV format centered on face-to-face interviews triggered by web content that anyone can easily access online. Esau (Drama, 4x60 min.) Follows a 40-year-old writer who returns to his family home after half a lifetime to face the brother who stole both his love and livelihood. The New Black (Comedy, 12x30 min.) They live the dream—on the one hand, they enjoy the benefits of the prestigious yeshiva student status in the orthodox society, and on the other hand, they enjoy the pleasures of modern life. La Entrega (The Drop) (Crime thriller, 10x50 min.) A series about the huge number of missing people disappearing daily in Bolivia, revealing a world of power games, sex cravings and violence.

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ECCHO RIGHTS

O (46-8) 55-6-9380 m info@ecchorights.com w www.ecchorights.com Contact: Fredrik af Malmborg, mng. dir.; Nicola Söderlund, mng. partner; Handan Özkubat, dir., Turkish drama; Barbora Suster, head, LatAm & Iberia; Berkin Nalbantli, sales exec., CEE & Africa; Deborah Youn, head, Asia business. PROGRAM HIGHLIGHTS Chrysalis (Drama, 95x45 min.) A Cinderella story set in modern-day Istanbul from OGM Pictures, producers of My Home My Destiny and The Red Room.

8 Words

Honour (Drama, 16x45 min.) The thriller returns for its second season, with the female lawyers once more hunting criminals while keeping their own dark history under wraps. The Red Room (Drama, 95x45 min.) The number one series in the most competitive slot in Turkey every week since September continues to draw viewers with its moving stories and rolling cast of guest stars.

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My Home My Destiny (Drama, 135x45 min.) The most talked about romantic drama from Turkey of 2020 has won huge audiences and millions of passionate fans worldwide. Hammarvik (Drama, 16x45 min.) The most watched Viaplay original of all time, the Swedish blue-sky crime drama from creator Camilla Läckberg continues to find new fans worldwide. Love Child (Drama, 36x45 min.) A drama telling true stories of young unmarried pregnant women forced into boarding houses to then give up their babies for adoption in 1960s Australia. Legacy (Drama, 255x45 min.) The latest daily drama sensation from Karamel Yapim in Turkey. 8 Words (Drama) The top rating drama series from Greece since its launch in summer 2019, its romance, family intrigue and political thrills continue to attract huge audiences.

of people and pets at a unique time, when pet ownership has never been higher. Chasing Chaos (Factual, 4x60 min.) Offers a rare and exclusive look into the fight to provide the best standard of emergency medical response in the world’s worst situations. Killer Soundtrack (Factual/crime, 13x60 min.) Spins tales of murder and mayhem with memorable music and record industry accounts that cut close to the bone. The Best Kind of Beautiful (Drama, 6x60 min.) A series about the relationship between Florence St. Claire and Albert, whose journey is filled with deeprooted feelings and anxieties, opposition and obstacles, mixed with true moments of candor and humor.

ESCAPADE MEDIA

O (61) 411-035317 m natalie@escapademedia.com.au w www.escapademedia.com.au Contact: Natalie Lawley, mng. dir.; Anthony Mrsnik, dir.; Jessica Stonehouse, head, sales, partnerships & business dvpmt., U.S. & U.K.; Torquil Macneal, cnslt., Korea, China, Thailand, Taiwan; Stephen White, cnslt., completed sales, Australia, New Zealand, Germany, France, Canada & scripted projects in dvpmt.; Damien Naughton, cnslt., CEE, Russia. PROGRAM HIGHLIGHTS For the Love of Pets (Fact-ent., 8x60 min.) A heartwarming series offering insights into the world

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Chasing Chaos

Crash Test World (Factual, 6x30 min.) Starring Kari Byron, this series is all about dropping in and testing out a culture to see how it works while Kari asks the important questions of our time. Back to Nature (Factual/lifestyle, 8x30 min.) Explores our need to reconnect with the land around us for our physical, emotional and spiritual wellbeing. Starring Aaron Pederson and Holly Ringland.

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TV LISTINGS

Back to Nature Finland (Factual/lifestyle, S1: 9x30 min., S2: 6x30 min.) Set across stunning Nordic locations as it explores our need to reconnect with the land around us for our physical, emotional and spiritual wellbeing. Big V Small (Factual, 1x60 min.) A modern-day fairytale stretching from monster waves in Portugal to the dark stillness of a far-north, frozen Finnish lake. Devolution: A Devo Theory (Factual, 1x60 min.) Forty years ago, five musicians joined forces. In music they found a vehicle to share their dire prediction of human decay. They were DEVO, short for De-evolution. Cloudy River (Drama, 6x8 min. & 1x47 min.) Asks whether you can truly be there for each other in an open relationship while pursuing the individual freedoms the relationship is founded on.

FILMRISE

O (1-718) 369-9090 m sales@filmrise.com w www.filmrise.com Contact: Danny Fisher, pres. & CEO; Melissa Wohl, head, sales; Max Einhorn, SVP, acq. & coprod. PROGRAM HIGHLIGHTS Broken Diamonds (Drama, 1x90 min.) Scott Weaver, a twentysomething writer, is forced to temporarily take in his mentally ill sister, Cindy. The Life and Legend of Wyatt Earp (Drama, 226x30 min.) Loosely based on historical fact, the series portrays the gun-slinging Wyatt Earp and his successful determination for law and order. (Digital rights) Highway to Heaven (Drama, 111x60 min.) Follows a probationary angel sent back to Earth who teams up with an ex-cop to help people. (Digital rights)

Broken Diamonds

Lilly’s Light: The Movie (Children’s musical, 1x87 min.) An uplifting family musical about a loving foster mom and keeper of an enchanted lighthouse. Mr Beast (Reality/unscripted, 30 min. eps.) YouTube’s challenge master is coming to streaming. Watch the popular Jimmy Donaldson, aka Mr Beast, perform the most outrageous and charitable stunts and challenges. Preston & Brianna (Reality/unscripted, 30 min. eps.) Known as two of YouTube’s most hilarious pranksters and wholesome video game streamers, power couple Preston and Brianna share their life and love with their diverse set of fans.

GLOBAL SCREEN

O (49-89) 244-1295-500 m info@globalscreen.de w globalscreen.de Contact: Julia Weber, head, intl. sales & acq.; Stefanie Hofferbert, VP, intl. TV sales & acq.; Helge Köhnen, SVP, intl. TV sales & acq.; Stéphanie Wang, VP, intl. TV sales & acq.; Dana Höfinger, VP, intl. acq. & coprod.; Ulrike Schröder, VP, intl. acq. & coprod. PROGRAM HIGHLIGHTS FAST (Crime, 10x42 min.) One fugitive, a team of five criminal investigators, 48 hours before the trace gets cold. Their chase is on.

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Turbulent Skies (Drama, 8x50 min.) This adventurous drama series portrays the feud fought between the pioneers of civil aviation in Europe, Albert Plesman and Anthony Fokker. A Good Year (Crime, 8x45 min.) A disgraced engineer and a down-on-his-luck small-time crook hope to strike it rich by claiming to have found Hitler’s wine cellar. Sune—Mission Midsummer (Family ent., 1x88 min.) Trying to win Sophie back, Sune makes the mistake of listening to his little brother, who supposedly watched thousands of romantic comedies. Coastal Pilots (TV movies, 2x90 min.) Swantje’s family business is in trouble due to her father’s forced retirement, and then her prodigal brother returns to push her aside.

FAST

Sleep (Thriller, 1x101 min.) Marlene suffers a nervous breakdown in a remote village. As her daughter follows, she comes upon a secret and an old curse that threatens her life. Buried Truth (Crime, 18x60 min.) Prime-time crime series akin to local mysteries like Lillehammer, Top of the Lake and Fangar, combining off-beat locations and gripping psychological profiles. Enemies (Event TV movies, 2x90 min.) One story, two perspectives, two films. A police officer and a

defense attorney struggle for what is right and what is just. Mountain Murders (Crime, 28x48 min.) The stories of a mismatched pair of detectives and their family entanglements provide the perfect blend of incidental humor, family life and a varied array of criminals. Veins of the World (Drama, 1x97 min.) After the tragic death of his father, 11-year-old Amra sets out to fight in his father’s spirit against a global mining company threatening their Nomad culture.

GMA NETWORK

O (632) 8333-7633 m gwi@gmanetwork.com w www.gmaworldwide.tv Contact: Roxanne J. Barcelona, VP, worldwide division (content sales, synd. & dist.); Reena G. Garingan, adviser, content sales, synd., partnerships & dist.; Joseph Jerome T. Francia, first VP, GMA Intl. (linear channel dist. & content synd.); Dennis Augusto L. Caharian, pres. & COO, GMA New Media; Jose Mari R. Abacan, first VP, pgm. mgmt. (content acq.) PROGRAM HIGHLIGHTS The First Nanny (Romantic comedy, 30x45 min.) A simple nanny who aspires for a better life gets to lead an extraordinary life as the nanny of the children of a widower president. All or Nothing (Drama, 30x45 min.) Iris’ perfect life turns upside down when she discovers her father’s secret illegitimate family. The Lost Recipe (Romantic comedy, 25x45 min.) An unsuccessful chef travels back in time and accidentally takes a famous recipe with him back to the present, consequently erasing the restaurant empire built upon it.

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Hidden Lies (Drama, 30x45 min.) Two best friends will be caught in between their feuding mothers. Will they also become enemies or will their friendship lead to the reconciliation of their mothers?

GOQUEST MEDIA

O (91-22) 495-591-00 m contact@goquestmedia.com w www.goquestmedia.com All or Nothing

Love of My Life (Drama, 40x45 min.) A rich matriarch grants the wish of her dying son to live with his wife, ex-girlfriend and estranged brother under one roof before his time runs out. Descendants of the Sun (Romantic comedy, 31x45 min.) A soldier who must kill to protect lives and a doctor who saves lives must find common ground to keep their relationship alive. I Can See You (Drama anthology, 4 series: 5x30 min. each) Thrilling stories that use a common visual storytelling device, a camera (drone, cellphone, CCTV, etc.), as the silent witness to tales of love and mystery. Legal Wives (Drama, 40x45 min.) Ishmael, an upright Muslim man, marries three different women: the first, to fulfill his family duty; the second, because of true love; and the third, to save the honor of a friend’s daughter. Owe My Love (Romantic comedy, 40x45 min.) In order to pay her debt, Sensen agrees to become the caregiver of Migs’ senile grandfather, who thinks that Sensen and Migs are married. Prima Donnas (Family drama, 110x45 min.) Fraternal triplets separated from their father must find their way back home and earn their rights as heiresses to the family wealth.

Contact: Vivek Lath, fndr. & CEO; Jimmy George, VP, sales & acq.; Paula McHarg, head, Europe & North America; Harshad Wadadekar, GM, content sales; Akshit Sandhu, mgr., content acq. PROGRAM HIGHLIGHTS Civil Servant (Spy thriller, 24x50 min.) A young, ambitious Serbian Secret Service agent negotiates the dangerous rules of the modern century international spy game.

Civil Servant

Debt to the Sea (Mystery/thriller, 11x50 min.) The arrival of a mysterious stranger triggers an unstoppable wave of events for the unsettled inhabitants of a beautiful but deadly Montenegro coastal village. Rats (Crime thriller, 6x55 min.) In the world of the Czech-Vietnamese meth syndicates, the lines

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between order and anarchy shatter for a naive young drug dealer and an ambitious female cop. Mother’s Choice (Family drama, 16x45 min.) A young schoolteacher decides to rescue her favorite 7-year-old student from her negligent mother. They plan to flee the country, but a chain of deadly events will put a stop to their desperate escape. What the F***?! (Format, 10x45 min.) Members of the public secretly spend weeks training in a skill that neither they nor their loved ones ever expect of them. Hidden cameras capture the big reveal and reaction of family and friends. Three Days Before Love (Romantic drama, 16x45 min.) Her perfect life under threat, Dana meets a handsome stranger, Pavel. She’ll pay off his debt if he spends three days with her. Three days that will change everything. Queen (Biopic/historical drama, 11x50 min.) Inspired by true events, follows the life of Shakti Sheshadri from her days as an ordinary student to her rise as a successful film star to her final ascent into political prominence. Markuss (Crime drama, 8x45 min.) Her only son’s kidnapping from kindergarten leaves her devastated. Five years later, she sees him on TV. Resuming the search, will she be reunited with her son? Ek Thi Begum (Action thriller, 14x30 min.) When a Mumbai housewife’s ex-gangster husband is murdered by a don, she is determined to avenge his death and transforms into a femme fatale to play the criminals at their own game. Behind the Shop Window (Romantic drama, 16x45 min.) Orphan shop girl Galya is too busy with her new job and taking care of her brothers to look for love. What will she do when it comes from a very unexpected admirer?

GRB STUDIOS

O (1-818) 728-4140 m sales@grbtv.com w grbtv.com Contact: Gary Benz, CEO; Hud Woodle, EVP, intl.; Liz Levenson, sales cnslt.; Torquil Macneal, sales cnslt. PROGRAM HIGHLIGHTS The Center Seat: 55 Years of Star Trek (Doc., 8x60 min.) From the original writer’s room in 1966 to the newest set of Star Trek: Picard, will take audiences through the all-encompassing history of Star Trek.

Death Walker

Close Up with The Hollywood Reporter (Docuseries, 56x60 min.) This roundtable interview series features A-list stars and directors from the year’s most acclaimed films and television series. Death Walker (Paranormal, 20x60 min.) Nick Groff theorizes and investigates the origins of some of the most notorious hauntings in America, redefining our understanding of the paranormal. Joel McHale: Live from Pyongyang (Comedy, 1x58 min.) The host of The Soup on E! and star of Community in his first-ever stand-up special. Love That Girl (Scripted, 55x30 min.) Follows the life of Imunique Jefferson, a dynamic and

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ghetto-fabulous chick who wreaks either havoc or harmony. On the Case (Crime, 257x60 min.) Explore intriguing murder mysteries through in-depth interviews with those closest to the case and examine the evidence that helped unravel the mystery. Ready to Love (Docuseries, 24x60 min.) Explore the real-life dating interactions of sexy, successful men and women in their 30s and 40s looking for lasting love and an authentic relationship Served: Harvey Weinstein (Doc., 1x60 min.) On February 24, 2020, disgraced media mogul Harvey Weinstein was sentenced to 23 years in prison. Witness the rise and fall of one of Hollywood’s most powerful men. Turquoise Fever (Docuseries, 7x60 min.) Follow the Otteson family as they hunt for the most sought-after turquoise in the world. For them, every day is an adventure. Untold Stories of the ER (Health, 150x60 min.) These intense true stories demonstrate the dramatic nature of medicine practiced under pressure, where every moment can be a turning point.

HUNAN TV

O (86-0731) 8287-1224 m international@hunantv.com Contact: Lester Hu, head, formats & intl. business, R&D Center; Eric Liu, business dvpmt., AsiaPac & format sales, R&D Center; Cesar Chen, brand & comms., R&D Center. PROGRAM HIGHLIGHTS Key to Heart (Dating, 10x90 min.) In this dating show, young singletons have a chance to scrutinize potential dates’ smartphones before seeing what they look like.

The Sound

Super Vocal (Music competition, S1: 12x90 min., S2: 12x90 min.) A classical crossover music competition in which 36 young male vocalists compete to win a place in the nation’s first-ever popera idol group. Sing or Spin (Singing competition, S1: 12x90 min., S2: 12x90 min.) While performing on a rotating stage, singers have to impress the judges and the audience to stop spinning—or they will spin off the stage and out of the competition. The Sound (Competition/reality, S1: 11x95 min., S2: 12x95 min.) Established celebrities compete to showcase their voiceover skills. The Rocking Bridge (Game show, S1: 102x50 min., S2: 90x50 min.) The only bridge in the world that tries to shake you off into the water. Friends and families work together to win big prizes. Magic Chinese Characters (Game show, 48x30 min.) Can you win rapid-fire word puzzle games on an ejector seat? This in-studio game show celebrates the profoundness of Chinese characters and idioms with puzzle games and an iconic twist. Do-Re-Mi: I Love My City (Competition/reality, 12x90 min.) Discover the hidden gems of your city through social media. Do our celebrities have what it takes to impress the audience? Postbox of Miracles (Fact-ent. paper format.) Kids make unfulfilled childhood dreams come true for seniors. An intergenerational bond is built around the iconic giant postbox. This paper format was a finalist at 2018 ATF Formats Pitch competition.

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INCENDO

O (1-514) 937-3333 m greardon@incendo.ca w www.incendo.ca Contact: Gavin Reardon, intl. sales & coprod. PROGRAM HIGHLIGHTS A Love Yarn (Romantic comedy, 1x90 min.) With the help of a handsome auditor, the owner of a yarn shop must raise enough money so she can buy a local mill. You May Kiss the Bridesmaid (Romantic comedy, 1x90 min.) A young food influencer and her childhood flame work to pull off her sister’s wedding, located at her family’s former home/bed & breakfast. One of a Kind Love (Romantic comedy, 1x90 min.) With the help of her childhood nemesis, an inspired jewelry designer enters a contest to raise money for a retail space to showcase her collection. Seasoned with Love (Romantic comedy, 1x90 min.) Traveling to audition for her own cooking television show, a chef’s car breaks down in a small town where she meets the local inn owner. Together Forever Tea (Romantic comedy, 1x90 min.) Teaming up with a local flower expert, a young marketing whiz hopes to re-create a “love potion” tea to help fulfill her late aunt’s dream.

As Gouda as It Gets

As Gouda as It Gets (Romantic comedy, 1x90 min.) A cheese shop owner joins forces with an influential food critic to compete for a first-place cash prize in her town’s local Cheese Festival. Cupids on Beacon Street (Romantic comedy, 1x90 min.) A skeptical romance book editor inadvertently shares house-sitting responsibilities with a self-help coach just in time for Valentine’s Day.

INTER MEDYA

O (90-212) 231-0102 m info@intermedya.tv w www.intermedya.tv Contact: Can Okan, fndr. & CEO; Pelin Koray, sales exec.; Sinem Aliskan, sales exec. PROGRAM HIGHLIGHTS Last Summer (Drama) An idealistic prosecutor agrees to protect Akgun in exchange for testimony from the young man’s father, an imprisoned mob boss. Scorpion (Drama) Perihan Emgen, her daughter, grandchildren and her son in law Fikret, who she only tolerates for her daughter Berna, live under the same roof comfortably and prestigiously due to Perihan literally clawing her way to the top. Ramo (Drama) Inspired by a real person, tells the extraordinary story of a man who goes against his superiors and falls in love with the daughter of his arch nemesis. The Ambassador’s Daughter (Drama) Nare, an ambassador’s daughter, disappeared the night she was due to marry Sancar, the son of a poor woodchopper. On another wedding night, she reappears. Bitter Lands (Drama) The story of a legendary love that begins in Istanbul during the 1970s and continues in the fertile lands of Çukurova in southern Turkey through the trials of evil, ambition and tyranny.

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Last Summer

hilarious situations, concocted by the Just For Laughs Gags’ experts. Just Kidding (Non-verbal unscripted kids comedy, S1-4: 65x30 min.) Kids prank unsuspecting adults. They ensure that the adults fall for the ploy, while their candid reactions are caught on camera. Live from Just for Laughs Festival (Comedy stand-up, S1-14: 120 eps/114 hrs.) Just for Laughs, the world’s biggest comedy festival in the world, brings you the top comedy names and rising stars.

The Light of Hope (Drama, 164x60 min.) Tells the heartbreaking story of a family torn to pieces. A mother, father and child must overcome obstacles to find each other and become a family again. Respect (Drama, 8x60 min.) Ercüment Çözer is a sociopath obsessed with the idea of respect. Interrupted (Drama, 8x60 min.) Ozan, a young and idealistic journalist, dies in an unfortunate traffic accident but is given a second chance and comes back to life in the body of Kadir. Miracle in Cell No. 7 (Drama, 1x132 min.) Set in the early 1980s during Turkey’s coup d’état period, tells the heartbreaking story of Memo, who lives with his beloved little daughter and grandmother in an Aegean town.

Humour Resources (Scripted comedy, 6x30 min.) Jon Dore, a retired entertainer turned HR manager for the comedy business, meets with comedians to evaluate and consult on the appropriateness of their material and overall “workplace” behavior.

JUST FOR LAUGHS DISTRIBUTION

KANAL D INTERNATIONAL

m distribution@hahaha.com w www.justforlaughs.com

Contact: Frédéric Joubaud, dir., content & strategic partnerships; Marina Di Pancrazio, chief content revenue officer; Lindsay Nadeau Langevin, content dist. & IFE mgr. PROGRAM HIGHLIGHTS Gags (Non-verbal unscripted comedy, S1-21: 368x30 min.) Unsuspecting people get roped into

Just Kidding

O (90-212) 413-5666 m sales@kanald.international w www.kanald.international

Contact: Kerim Emrah Turna, exec. dir.; Mikaela Perez, sales mgr., Americas & Spain. PROGRAM HIGHLIGHTS Hekimoğlu (Medical drama, S1: 44 commercial hrs., S2: ongoing) The local version of the hit U.S. series House about an acclaimed infectious

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diseases and nephrology physician who does whatever it takes to solve the most puzzling cases. Ruthless City (Drama, 136 commercial hrs.) The story of two family members’ test with sin after an indecent deal. While the first season reflects the duality of the good and the evil within each person, the second reveals the evil side of the characters.

Flames of Desire (Drama, 186 commercial hrs.) Adapted from a Korean drama, explores the old Turkish tradition of “betrothed in the cradle” and its consequences in modern life. War of the Roses (Drama, 168 commercial hrs.) The story of a love triangle between a wealthy woman, a handsome man and a beautiful young girl. Meryem (Drama, 94 commercial hrs.) The story of a love triangle between a woman who undertakes a crime for the man she loves, a prosecutor who will do everything for his career and a man who is searching for revenge. For My Son (Family drama, 241 commercial hrs.) Suspended from the police force for a crime he didn’t commit, Poyraz Karayel loses everything he cared for.

KO DISTRIBUTION

Hekimoğlu

Love Trap (Romantic comedy, 136 commercial hrs.) The marriage game between poor girl Ayşe and rich boy Kerem started as a “love trap” and will bind them forever. Romance Next Door (Romantic comedy, 60 commercial hrs.) A love story and also the story of friendship between four young people from different social classes and cultures, whose characters are opposite to each other. Price of Passion (Romantic drama, 96 commercial hrs.) Can a doctor fall in love with a hitman? Can a woman heal the lost soul of her kidnapper? The answers to these questions are revealed through the story of Aslı and Ferhat. Wounded Love (Period drama, 168 commercial hrs.) The story of one of the most tragic heroes of his time. Can love stay unwounded in the face of betrayal?

O (1-514) 933-2462 m vallant@aroma-tv.com w kotv.ca Contact: Barbara Vallant, head, formats, sales & acq., aroma-TV; Louis-Philippe Drolet, VP & exec. producer; Alain Chicoine, pres., creation & dvpmt. & dir. PROGRAM HIGHLIGHTS Perfect Storm (Comedy, 13x30 min., S2: TK) This show about a single mother of three children will show that custody can be shared, but that concerns are never-ending.

Simone

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Pillow Talk (Sketch comedy, S1: 10x30 min., S2: 20 eps. confirmed) Sketch comedy featuring the daily lives of four couples and two roommates of different ages and backgrounds, exploring all the situations experienced in the intimacy of the bedroom. Judgement Call (Quiz, 72x30 min.) A quiz show— featuring four celebrities, two contestants and surprising and hilarious questions—where truth and bias collide. Simone (Dramatic comedy, 39x30 min.) As Simone de Beauvoir once said: “One is not born, but rather becomes, a woman.” 14 Thousand Million Things to Know (Kids, 70x15 min.) Their crazy quest: draw up the longest list of all useful and useless knowledge. Each number on this list, presented in no particular order, conjures up an actual fact that is then turned into a sketch, a song, a challenge, a record or a quiz. How to Survive My Family + Clovis (Family comedy, 101x30 min. & 12x30 min.) The world of 13-year-old Clovis and his family, who are united by love but separated by everything else. At home, each person is faced with an existential crisis. 422 (Kids, S1: 13x30 min., S2: in prod.) Five teens jump head first into a parallel universe with the hopes of finding a treasure with exceptional powers. Extreme Expedition (Doc., 28x60 min.) Francis Bouillon and a celebrity guest are sent on a perilous 48-hour expedition based on real-life survival situations, which are recounted by one or more survivors. Ultimate Rescue (Doc., 12x30 min.) The Quebec police force’s search-and-rescue helicopter team agreed to give our cameras exclusive access. The Verdict (Ent., 22x60 min.) Invites two celebrities (e.g. singers, comedians, athletes, politicians) to discover, on air, the results of a survey that addresses how the public perceives them.

LIONSGATE ENTERTAINMENT

O (1-310) 449-9200 m general-inquiries@lionsgate.com w www.lionsgate.com

Contact: Agapy Kapouranis, pres., intl. TV & digital dist.; Alice Dickens-Koblin, SVP, unscripted TV, Lionsgate & Starz; Amit Dhanuka, EVP, India operations; Annie Yim, VP, AsiaPac; Chase Brisbin, SVP, worldwide TV & digital dist.; Jim Packer, pres., worldwide TV & digital dist.; Kevin Beggs, chmn., LGTV Group; Nicky Wood, SVP & head, EMEA TV sales, U.K.; Sandra Stern, pres., LGTV Group; Susan Hummel, EVP, digital dist. & sales. PROGRAM HIGHLIGHTS Zoey’s Extraordinary Playlist (Drama, 25x60 min.) Zoey Clarke is a whip-smart computer coder forging her way in San Francisco. After an unusual event, she starts to hear the innermost wants and desires of the people around her through songs.

Motherland

Love Life (Dramedy, 20x30 min.) The romantic comedy anthology follows a different protagonist’s quest for love each season, with each episode telling the story of one of their relationships. Home Economics (Comedy, 7x30 min.) Takes a look at the relationship between adult siblings:

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Tom, the middle-class writer; Connor, the little brother in the one percent of the one percent; and Sarah, the do-gooder sister who’s barely getting by. The Pact (Drama, 6x60 min.) Seeking revenge on their misogynistic and abusive boss, five friends enter a pact of silence. However, their friendships start to disintegrate as they struggle to keep their involvement a secret. The Girlfriend Experience (Event series, 37x30 min.) An anthology series reimagining Steven Soderbergh’s critically acclaimed movie. The third installment is set amidst the London tech scene where Iris, a neuroscience major, begins to explore the world of transactional relationships. Run the World (Comedy, 8x30 min.) The story of a group of four Black, vibrant, fiercely loyal best friends who work, live and play in Harlem as they strive for world domination. The Goes Wrong Show (Comedy, 14x30 min.) Follows the fictitious Cornley Drama Society undertaking yet another overly ambitious endeavor that is destined to be undermined by several overacting screen-hogging actors. House of Ho (Unscripted, 7x30 min.) Binh Ho and his wife immigrated to the United States. They had little money and relied on hard work to establish the ultimate American dream: a multi-million-dollar bank, a real estate development company and a new generation of American Ho’s. Motherland (Comedy, 19x30 min.) A comedy about navigating middle-class motherhood, while taking a unique look at the hyper-competitive and unromantic sides of parenting. Power Book II: Ghost (Drama, 20x60 min.) Tariq St. Patrick grapples with a new world order: his father dead and his mother, Tasha, facing charges for the murder her son committed.

LITTLE ENGINE MOVING PICTURES

O (1-416) 892-0918 m maria@littleengine.tv w www.littleengine.tv

Contact: Maria Kennedy, owner & exec. producer; Ben Mazzotta, showrunner & exec. producer; Nicole McKechnie, head, business affairs; Suzi Choueiri, head, prod.; Kyle Perez, dist. coord. PROGRAM HIGHLIGHTS Cutie Pugs (Preschool 2-5 live action, 26x7 min.) Transforms simple childhood play into grand learning adventures, seen through the eyes of a little girl and her talking puppies.

Cutie Pugs ABC

Cutie Pugs ABC (Preschool 2-5 2D, 30x2 min.) The Cutie Pugs learn their ABCs, simple first words and seasons of the year in a series of fun, educational and accessible animated shorts. Now You Know (Bridge 4-6 live-action hybrid, 78x7 min.) Follow an imaginative 5-year-old boy and his hilarious non-verbal monkey best friend through a series of adventures linked to a different question each episode. Canada Crew (Bridge 4-7 live-action hybrid, 26x7 min.) Join Bebe the Beaver, Mo the Moose and Gavin the Canada Goose on a playful cross-Canada tour sharing adventures, incredible sights and “fun facts.”

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Starseeker (Kids 8-12 live-action space adventure comedy, 26x22 min.) The story of three dissimilar kids who “zap” between everyday life at home and school on Earth and explore the farthest reaches of the universe. Laugh Therapy (Comedy, 52x22 min.) Follows the day-to-day life of Maggie, an uncertified therapist, her dysfunctional family, misfit friends and over-the-top online clientele as they emerge from lockdown. The Picco Incident (YA sci-fi mystery thriller, 26x30 min.) When a shadowy government agency investigating a plane crash interrogates the Picco family, Jack and his parents must conceal the survivor that’s crashed on their farm. The Limits (YA drama/thriller, 1x90 min.) Four troubled individuals find refuge at a motel where their lives collide in a chain reaction that affects them all in different ways.

company, Eda couldn’t be more horrified, but the unlikely pair come to an arrangement. Nehir (Drama) A white lie will lead to a variety of issues as two men struggle to assume each other’s roles, while Nehir tries to escape a dark past that seems to not want to let her get away.

A Woman Scorned

The Agency (Drama) Dicle, a fresh-faced university graduate from a small town, lands a job at Ego Ajans, the most famous talent agency in Turkey. MADD ENTERTAINMENT A Miracle (Drama) Ali is a young, autistic savant O (90-212) 273-2434 medical school graduate who had a difficult m info@madd.tv upbringing. He is quite the genius, but has trouble w madd.tv communicating with people because of his condiContact: Ateş İnce, mng. dir.; Özlem Özsümbül, tion. His biggest dream is to become a surgeon. head, sales; Alaa Elabasy, snr. sales mgr. PROGRAM HIGHLIGHTS MARVISTA ENTERTAINMENT A Woman Scorned (Drama) Asya refuses to be a vicO (1-424) 274-3000 tim of her life and she dedicates herself to getting m sales@marvista.net revenge on her husband and everyone else who w www.marvista.net betrayed her. Flames of Fate (Drama) Three women whose Contact: Fernando Szew, CEO; Hannah Pillemer, characters and stories are very different from one EVP, creative affairs; Deena Stern, head, mktg., another cross paths during a fire in a cistern. comms. & acq.; Jody Cipriano, head, global dist.; Love is in the Air (Drama) When the media mis- Andrew Whiteman, dir., worldwide dist.; Michol takenly links her with the heir to a major holding Hatwan, dir., dist.

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Evil Stepmom

PROGRAM HIGHLIGHTS All For Her (Drama, 1x90 min.) When a woman finally becomes pregnant but is diagnosed with a deadly condition, she must lean on her family to save her unborn child. The Right Mom (Drama, 1x90 min.) A woman assigned to be a child’s guardian while he’s in the hospital alone becomes determined to ensure no harm comes to him again. The Miseducation of Bindu (YA, 1x90 min.) Hijinks ensue when a bullied teenage girl forges her mother’s signature to test out of high school before the end of the day. Faith Heist (Dramedy, 1x90 min.) When a preacher finds his church in financial ruin, he rallies members of his congregation to pull off a heist to get their money back. Evil Stepmom (Thriller, 1x90 min.) A daughter must prove her dad’s fiancée is targeting him for his wealth before she becomes her evil stepmom. Family Seductions (Thriller, 1x90 min.) When a man manipulates a mother and daughter into falling in love with him, the daughter must expose his scheme before they’re his next victims. Hidden Family Secrets (Thriller, 1x90 min.) A woman determined to save her dying daughter uncovers her mother’s sinister secret.

Hostage House (Thriller, 1x90 min.) When an ambitious realtor and her daughter are held hostage during an open house, they must work together to outsmart their captors. Sinister Sorority (Thriller, 1x90 min.) An ambitious college student is excited to have a new sorority sister—until she uncovers her sister’s dark past. Trapped Daughter (Thriller, 1x90 min.) When two young women are kidnapped, they must put aside their differences and work together to survive.

MATTEL TELEVISION

m content_sales@mattel.com w www.mattel.com PROGRAM HIGHLIGHTS Barbie Princess Adventure (Animation, 1x72 min.) In this all-new musical, Barbie meets Princess Amelia, who looks a lot like Barbie. The princess is nervous about becoming queen, so she comes up with a plan to switch places with Barbie.

Thomas & Friends S24

Barbie Dreamhouse Adventures (Animation, S2: 22x22 min.) Follow the everyday life of Barbie as she embarks upon exciting adventures with her family and friends (including Ken), from fun road trips to sister shenanigans. Barbie & Chelsea The Lost Birthday (Animation, 1x60 min.) Enjoy high-seas thrills as Barbie,

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Chelsea and the rest of the Roberts family set sail on an adventure cruise. Enchantimals Spring into Harvest Hills (Animation, 1x44 min.) The Enchantimals mount an epic quest for Harvest Hills, where they must ask the heart of nature to restart spring before Everwilde and everyone in it ceases to exist. Enchantimals Secrets of Snowy Valley (Animation, 1x44 min.) Pristina Polar Bear embarks on a harrowing search for her missing bestie, Glacier, that leads her to Snowy Valley. Thomas & Friends S24 (Animation, 20x11 min.) Adventure and excitement abound for Thomas and the Steam Team on the island of Sodor. Thomas’ new friend Ruth shakes things up with exciting new intentions and technology. Thomas & Friends Marvellous Machinery (Animation, 2x22 min.) When the Earl and his inventor friend Ruth host a Technology Fair, all sorts of amazing inventions find their way to Sodor. As two sneaky thieves and their engine, Sonny, try to make off with one of the Marvellous inventions, it will be up to the Steam Team to stop them. Thomas & Friends S25 (Animation, 104x11 min. & 2x60 min.) With an amazing new animated look, Thomas is joined by a wonderful group of familiar friends, including Percy, Diesel, Gordon, Nia and Sir Topham Hatt.

sales, French Canada, Development Ninja; Owen Kelly, sales cnslt., English Canada; Malgorzata Gudel, format & pgm. sales, CEE, Russia CIS; Gabrielle Fortier, admin. PROGRAM HIGHLIGHTS What’s Your Problem? (Game-show format, 6x29 min.) A fun and timely celebrity talk/quiz game show debating sex, sexism, racism, religion and ethnicity. What is considered crossing the line?

Watch!

Good Times (Game-show format, 6x29 min.) Two celebrities compete to guess which year it is by singing, cosplaying, dancing and answering questions. Is it 1969? 1984? 1999? Recipe for Love (Dating/cooking-show format, 6x29 min.) A studio-based dating show with a cooking twist; a recipe for fun for ages 50-plus (age adaptable), showing it’s never too late for love. Things My Dad Failed to Teach Me (Factual, 5x29 min.) A celebrity host returns to his childhood home and is given a new skill to master. Dad teaches hunting, harvesting, construction and even how to cook. MEDIA RANCH Watch! (Game-show/variety format, 60 min. eps.) O (1-514) 315-4548 Pits two teams against each other in a game of m info@mediaranch.tv memory, challenging them to recall details of the w www.mediaranch.tv extravagant variety act they just witnessed. Contact: Sophie Ferron, fndr., pres. & exec. pro- Surprise Sur prise (Hidden-camera format) This ducer; Tanja van der Goes, SVP; Phil Kalin-Hajdu, unique hidden-camera series plays jokes on interhead, content & storytelling; Alexa Jorizzo, head, national celebrities. The format package includes

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500 complete production bibles featuring intricatelyexecuted practical jokes. Miracle Habits (Fact-ent., 12x40 min.) One small habit can change your life forever. Medical experts observe the daily routine of a celebrity, analyzing their habits, and give healthy lifestyle tips. Back to the 9th Grade (Factual/celeb ent., 3x30 min.) A fortysomething celebrity travels the country and into his past on a mission to surprise his classmates from Grade 9 with two questions. Mom, He’s a Dane (Factual/reality/dating, 5x30 min.) Immigrant families face many challenges in a new country, especially when dating locally, outside of their own community (race, religion, creed, class). Can love survive? Fish Bingo (Live/interactive/green, 1x110 min.) A live interactive game format about fishing. Fishermen/women, each wearing a number, go fish while the TV audience plays Bingo using those numbers.

THE MEDIAPRO STUDIO

O (34-917) 285-740 m themediaprostudio@mediapro.tv w www.themediaprostudio.com Contact: Miguel García, sales mgr., U.S. Hispanic, LatAm, MENA, The Mediapro Studio Distribution; Miguel Ángel Fernández, head, sales, Europe & Asia, The Mediapro Studio Distribution; Beatrice Nouh, sales mgr., Europe, The Mediapro Studio Distribution; Javer Esteban, head, business strategy & sales, The Mediapro Studio Distribution. PROGRAM HIGHLIGHTS Paraíso (Adventure/mystery, 7x50 min.) Levant, 1992. Three girls disappear. Javi, brother to one of them, along with his crew, goes to look for them at the now-abandoned club where they went missing. A fire

breaks out and the guys get trapped inside. When they wake up, something has changed. The Boarding School, Las Cumbres (Mystery/terror, 8x50 min.) In a boarding school isolated from the world and surrounded by a forest filled with ancient tales and living dangers, rebellious students living under strict discipline will experience terrifying adventures.

Fernando

Paco’s Men (Comedy, 8 + 8x50 min.) Inspector Paco Mirando will confront new situations together with his old mates, who will stick together in this new season full of action, love, friendship and justice. Fernando (Bio., 5x50 min.) The most private and personal portrait of the Spanish champion’s life on and off the track. Six Dreams Back to Win (Sports docuseries, 8x50 min.) An even deeper dive into the lives and emotions of six personalities whose dreams shape the Spanish soccer league. Caminantes (Terror/thriller, 7x20 min.) Five friends disappear while on their “Road to Santiago” pilgrimage. Thanks to the videos recorded on their phones by the teenagers, we can now retrace the 40-hour-long nightmare they lived as prey of a maniac family. Nasdrovia (Series, 6x30 min.) Edurne and Julian invest in Franky’s Russian restaurant in Madrid. Everything seems to go smoothly until the Mafia starts to feel a bit too much at home at the Nasdrovia.

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MEDIATOON DISTRIBUTION

O (33-1) 5326-3100 m info@mediatoon.com w www.mediatoon-distribution.com

Contact: Jérôme Alby, mng. dir., worldwide presales & dist.; Fanny Gilabert, sales & business affairs mgr.; Emilie Billaud, jnr. business affairs & sales; Franklin Cadre, jnr. business affairs & sales. PROGRAM HIGHLIGHTS Kid Lucky (Comedy/adventure, 52x12 min.) Kid Lucky wants to be the greatest cowboy of the Wild West, but until then his adventures in Nothing Gulch with his friends are enough to keep him entertained.

The Garfield Show

Little Furry (Adventure/edutainment, 78x7 min. & 39x7 min.) Learn all about the world with this endearing adventurer who speaks his own language and overcomes life’s obstacles. Season two coming soon. Sardine in Outer Space (Adventure, 52x12 min.) Join Sardine and her friends in an intergalactic space adventure, but watch out for the evil villain Supermuscleman. Tom and Lili (Comedy, 52x7 min.) These tornado siblings are always making up tricky plans to joke around. Creative, unstoppable and clumsy, with them, disaster is never far away.

SamSam (Adventure, 52x12 min.) Confront villains and zoom around space with SamSam and his stuffed animal SamTeddy. Garfield Originals (Comedy, 24x3 min.) Based on the classic comic strips, this new series sees the jokes take place without saying a word but end up in lots of laughs. The Garfield Show (Comedy, 214x11 min.) Join the lazy, overweight ginger cat on his enthralling adventures. Martin Morning CGI (Adventure, 52x13 min.) Every morning Martin wakes up as a new character, saving princesses one day and searching for buried treasure the next. Every day is a surprise. The Minimighty Kids (Action/comedy, 156x8 min.) Each episode narrates the story of a child mocked because he is different. This difference transforms into a superpower, making him a minimighty kid. Tintin (Adventure, 39x26 min.) Travel around the world with intrepid reporter Tintin and his dog, meeting all kinds of colorful characters along the way.

MONDO TV GROUP

O (39-06) 8632-3293 m silvia.darchivio@mondotvgroup.com w www.mondotvgroup.com Contact: Matteo Corradi, pres. & CEO; Maria B. Fois, CEO, Mondo TV Iberoamerica; Luana Perrero, head, content sales; Paolo Zecca, chief prod. officer. PROGRAM HIGHLIGHTS MeteoHeroes (2D comedy/adventure/edutainment, 52x7 min.) Six superpowered kids fight to protect our planet from climate change and pollution in a funny series full of adventures that both educates and entertains.

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MUSE DISTRIBUTION INTERNATIONAL

O (1-514) 866-6873 m sales@muse.ca w www.muse.ca

MeteoHeroes

Annie & Carola (2D comedy, 52x11 min.) Nerdy Carola builds Annie, a robot clone, as a friend. But the crazy, uninhibited Annie drags Carola into all the situations she fears the most. Agent 203 (CGI spy-fi adventure comedy, 26x22 min.) Presented by Mondo TV and Toon2Tango. Zoe is Agent 203, on a quest to save the universe and find her father, while also coping with everyday teenage social and emotional issues. Hey Fuzzy Yellow (2D/live-action preschool edutainment/emotainment, 52x11 min.) Presented by Mondo TV and Toon2Tango. An unconventional curriculum-designed show to equip children with 21st-century skills using an approach that mirrors the parenting values of millennials. Robot Trains (CGI comedy adventure, S3: 52x11 min.) When villainous Train X takes control of a deadly source of energy, an unexpected new ally joins Railwatch. Can they defeat their most dangerous foe? Sissi the Young Empress (CGI comedy adventure, S3: 26x11 min.) Sissi and Franz are now married. Sissi is still a free-spirited girl and doesn’t hesitate to help her human and animal friends around Schönbrunn Palace. Invention Story (CGI comedy, 52x11 min.) The tale of a creative young fox, whose brilliant and eccentric inventions delight the inhabitants of Carrot Town and infuriate the angry, jealous mayor.

Contact: Shawn Rosengarten, VP, dist. PROGRAM HIGHLIGHTS The Last Bridesmaid (Romantic comedy, 1x90 min.) Becca is always a bridesmaid, but at her cousin’s wedding she bonds with Kyle, the videographer. Perhaps she won’t be the last woman standing for long. Tut (Drama, 6x60 min.) Tells the story of King Tutankhamun’s rise to power and his struggle to lead Egypt to glory.

The Last Bridesmaid

The Kennedys (Drama, 8x60 min.) Special-event miniseries uses historical events to tell the intimate story of America’s most legendary family. The Kennedys: After Camelot (Drama, 4x60 min.) Covers the years in the life of the Kennedy family following the murders of President John F. Kennedy and his brother Robert. Flip That Romance (Romantic comedy, 1x90 min.) As rival house flippers find themselves competitively renovating dual sides of a duplex, the stakes of the renovation escalate and an old romance is rekindled.

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Frozen in Love (Romantic comedy, 1x90 min.) When bookstore owner Mary and hockey player Adam are teamed together, they soon realize that opposites attract and they find themselves unexpectedly frozen in love. Valentine in the Vineyard (Romantic comedy, 1x90 min.) Winery owners Frankie and Nate face new challenges in their relationship and in their business as they juggle planning the wedding of their friends. Past Malice: An Emma Fielding Mystery (Mystery, 1x90 min.) When archaeologist Emma Fielding discovers a body in a secret chamber beneath a castle, she calls in FBI agent Jim Conner to help her solve the mystery. More Bitter than Death: An Emma Fielding Mystery (Mystery, 1x90 min.) Upon discovering the dead body of an archaeologist at a conference, Emma Fielding and her colleagues become suspects and must solve the murder to clear their names. A Rose for Christmas (Holiday, 1x90 min.) Welder Andy bumps heads with supervisor Cliff when they must work together to build a New Year’s Day parade float, leading them into to a new year’s romance.

NBCUNIVERSAL GLOBAL DISTRIBUTION

O (1-818) 777-1300 w www.nbcuniversal.com

Contact: Belinda Menendez, pres. & chief revenue officer, global dist. & intl.; Don McGregor, EVP, head, worldwide dist., NBCUniversal; Chloe van den Berg, SVP, head, kids & family ent. PROGRAM HIGHLIGHTS Gabby’s Dollhouse (Animation/live-action, 40x30 min.) Join Gabby in her fantastical animated world full of adventure and adorable cat friends.

Jurassic World: Camp Cretaceous

Jurassic World: Camp Cretaceous (Animation/ action/adventure, 49x30 min.) Set against the events of Jurassic World, six teenagers’ once-in-alifetime camp experience on Isla Nublar is threatened as dinosaurs wreak havoc across the island. Cleopatra in Space (Animation/comedy/adventure, 26x30 min.) A teenage Cleopatra is transported 30,000 years to a futuristic Egyptian-themed planet ruled by talking cats, where she’s the prophesied savior of the future world. Kipo and the Age of Wonderbeasts (Animation/ adventure, 30x30 min.) After spending her entire life living in an underground burrow, Kipo is thrust into an adventure on the surface of a fantastical post-apocalyptic Earth. Spirit Riding Free (Animation/adventure, 72x30 min. & 1x60 min.) Lucky befriends a wild mustang she names Spirit. Along with her two best friends Abigail and Pru, they explore a world filled with endless adventure. TrollsTopia (Animation/music/comedy, 52x30 min.) The next chapter in the hair-raising adventures of the trolls. Poppy invites all the new troll tribes to live together in harmony in TrollsTopia. Where’s Waldo? (Animation, 40x30 min.) Join Waldo and Wenda on their international adventures as they travel the world to earn their stripes and become wizard-level wanderers.

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Dragons Rescue Riders Heroes of the Sky (Animation/adventure, 24x30 min.) Viking twins Dak and Leyla work alongside their dragon friends to defend and protect other dragons in adventures around their home of Huttsgalor. She-Ra and the Princesses of Power (Animation/ adventure, 52x30 min.) An orphan named Adora leaves behind her former life when she discovers a magic sword that transforms her into the mythical warrior princess She-Ra. Mighty Mustangs (Live-action/comedy/sport, 39x30 min.) United by their friendships and mutual love of the game, a group of girls set out to form the first all-female soccer team at their local club.

At first, it seems to be a success, but she is quickly forced to reevaluate her method when choosing between Kyle, the perfect match “on paper,” and Mason, the orchard owner who steals her heart.

A Christmas Wish in Hudson

NICELY ENTERTAINMENT

O (1-323) 682-8029 m info@nicelytv.com w www.nicelytv.com

Contact: Vanessa Shapiro, CEO; Laura Hoffman, SVP, sales & operations; Deanna Anderson, creative & mktg.; Rod Rodrigo, intl. sales; Ezequiel Olzanski, intl. sales, LatAm. PROGRAM HIGHLIGHTS Wedding Cake Dreams (Romance, 1x90 min.) A cake designer goes to her sister’s wedding and discovers that the “man of her dreams” is actually the best man at the wedding. A Christmas Wish in Hudson (Holiday romance, 1x90 min.) An unlucky-in-love designer travels to meet a widowed firefighter whom she saw compete on a TV cooking show. Once there, she gets help from his daughter, who believes she’s the answer to her Christmas wish—for her dad to find someone to love. 10 Steps to Love (Romance, 1x90 min.) Sophie decides to implement a ten-steps list for finding love.

Christmas in Crumbs (Holiday romance, 1x90 min.) Dedicated to preserving the east-meets-west traditions of her Indian family’s fruitcake company, a culinary executive matches wits with the marketing guru assigned to her company rebrand and falls in love while teaching him her holiday traditions. Lonestar Christmas (Holiday romance, 1x90 min.) When a single mom takes her daughters to spend Christmas with her estranged dad on his Texas ranch, she unexpectedly falls in love with a local restaurateur, Matteo, while learning to forgive her father for the past. Christmas on the Menu (Holiday romance, 1x90 min.) Josie, a celebrated chef, heads home for the holidays and creates a special holiday menu for her mom’s new restaurant, where she meets Tanner, a famous food critic who is in town to review the restaurant. Save the Wedding (Romance, 1x90 min.) As they work together to save the wedding of their best friends, Meg and Tyler, who never got along, begin to realize they’re a good team and that maybe there’s room at this wedding for a little romance of their own.

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Secret for a Million (Quiz/talk show, S1-9: 175x90 min.) Celebrities reveal their deepest secrets, face “truth or dare” challenges and donate all the winnings to charities. Fatherland (Drama, 10x48 min.) A journalist fighting corruption chooses a dark path and becomes one of the very people he fought before. KAMAZ. Extreme Racing (Drama/sport, 8x48 min.) A dramatic story of the best truck racers in the world fighting for personal and professional growth. Nevsky (Crime drama, S1-4: 112x48 min.) In a big city filled with temptation, this police captain has to fight both criminals and corrupt cops. Noble Detective (History/drama/mystery, 20x48 min.) A young nobleman in Tsarist Russia forsakes the life of luxury for the hardships of a detective’s job. NTV BROADCASTING COMPANY The Missing (Drama/adventure/crime, 16x48 RUSSIA min.) The policeman father and his estranged volO (7-495) 725-5718 unteer son work together to find missing people m sales@ntv.ru despite personal differences. w sales.ntv.ru/soap/ The Darkest Hour (History/crime/drama, 16x50 Contact: Timur Weinstein, general producer; Marina min.) In a city recovering from WWII, the police chief and his subordinate, a combat veteran, plan an underKataya, head, sales; Anastasia Lisova, CMO. cover operation to overthrow a ruthless crime lord. PROGRAM HIGHLIGHTS Superstar! (Talent show, 8x120 min.) Forgotten pop stars from the ’90s return to prove that they ODIN’S EYE ENTERTAINMENT still have it and compete for the judges’ approval & ANIMATION and the audience’s attention. O (61-2) 9657-2294 This Little Love of Mine (Romance, 1x90 min.) Laura, a successful lawyer, is sent to the island of Sapphire Cove to convince her childhood best friend Chip to take over his grandfather’s company. His Killer Fan (Thriller, 1x90 min.) Up-and-coming musician Ariana Kent’s obsession with rock superstar Josh Halliday turns deadly when Josh falls in love with her best friend Kaylee. A Very Charming Christmas Town (Holiday romance, 1x90 min.) City girl and lifestyle blogger Aubrey Lang goes to the little town of Solvang for her next holiday blog piece and meets Sawyer Larsen, a local community coordinator and chocolate shop owner who shows her around the small Danish village.

m michael@odinseyeent.com,

lauren@odinseyeent.com w odinseyeent.com, odinseyeanimation.com

Superstar!

Contact: Michael Favelle, CEO; Lauren Thomas, dir., sales & acq. PROGRAM HIGHLIGHTS Daisy Quokka: World’s Scariest Animal (Family/animation, 1x88 min.) An unbearably

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adorable, eternally optimistic Quokka named Daisy has an impossible dream—to win the “World’s Scariest Games.” The Beachbuds (Family/animation, 52x11 min.) Zoobak Resort is the home of world-class hospitality provided by the Beachbuds, who are the funniest feathered friends to ever serve you.

5G. The Speed of Wave (Science, 1x60 min.) This film is a journey around the world discovering how 5G technology is already changing our world and how it will change the future. History 101 (History, 10x30 min.) Using infographics and archival footage, delivers bitesize history lessons on scientific breakthroughs, social movements and world-changing discoveries. Hitler’s Last Stand (History, S2: 6x60 min.) Tells of the days and weeks after June 6, 1944, the stories of desperate battles to break the Nazi stranglehold and free Europe.

Daisy Quokka: World’s Scariest Animal

Adventures of Kim & Kay (Family/animation, 10x11 min.) Follows Kim, a smart and excitable schoolgirl, who dreams of one day becoming an NFL sporting superstar. She’s got the passion—but not the skills.

OFF THE FENCE

O (31-205) 200-222 m info@offthefence.com w www.offthefence.com Contact: Stefanie Fischer, mng. dir., sales; Rebeca Fernandez, sales dir.; Oliver Taprogge, dir., digital sales; Antoine Paul, sales mgr.; Monica Spulber, snr. sales exec.; Jia Zhao, sales & prod. exec.; Loren Baxter, head., acq.; Dylan Casella, acq. exec. PROGRAM HIGHLIGHTS Plane Crash Recreated (Science, 10x60 min.) Investigates the world’s most infamous plane crashes, using survivor stories, expert interviews and black-box data.

What a Colourful World

A Light in the Darkness (People/culture feature doc., 1x75 min.) A young teen, Marta, investigates why children’s education is failing, especially in developing countries, after a motivating conference at her high school in Spain. What a Colourful World (Nature/wildlife, 1x60 min.) Travels around the globe to discover a host of colorful creatures that make our world such a spectacularly diverse place. Magic Moments: The Spell of Nature (Nature/wildlife, 1x60 min.) Day or night, north or south, irrespective of the season or the location, our planet’s natural world produces truly magical moments all year round.

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Lost Temple of the Inca (History, 1x60 min.) The journey to discover Ausangate, a temple of the Inca Empire named after the most sacred mountain in Peru. Europe’s New Wild (Nature/wildlife, 6x60 min.) The story of the wild rebirth of a continent, revealing the spectacular resurgence of nature across Europe’s varied and breathtaking landscapes. Growing Up Hip Hop: Atlanta (Lifestyle, S5: 10x60 min.) A tight-knit crew reveal the perks and perils of Water of Life being born into Atlanta hip hop royalty. Season five On Thin Ice—Expedition into the Russian Arctic (Wildlife/nature, 1x50 min.) Presents a very special kicks off with them dealing with Covid quarantine. island, far from civilization. In the Russian Arctic, right on the date line, lies Wrangel Island. ORF-ENTERPRISE Victims of the Vikings (History, 1x52 min.) Why O (43-1) 87878-13030 did the Vikings hunt humans? The docudrama m contentsales@orf.at seeks answers to this and other questions and illuw contentsales.orf.at minates the history of the Vikings and their slaves. Contact: Armin Luttenberger, head, content sales The Salt Saga—White Gold of the Alps (Hisintl.; Marion Camus-Oberdorfer, sales dir., GST, tory, 1x52 min.) A filmic journey investigating music & performing arts & dist. investment; Monika the lives of the people of Hallstatt and exploring Kossits, sales mgr., TV; Johannes Stanek, sales the central role of the women in the prehistoric mgr., TV; Alexandra Hopf, sales mgr., TV; Mario salt mines. Leonhardsberger, digital content dist. mgr.; Valerie Suburbia—Women on the Edge (Series, 50x48 min.) The lives of the women are shaken up again in Schmitt, sales mgr., VOD. season five and, because no stone is left unturned, PROGRAM HIGHLIGHTS Water of Life (Wildlife/nature, 1x52 min.) Follows several new faces mingle among them. the stories of animal characters whose lives are Soko Kitzbuehel (Series, 257x45 min.) A young closely entwined with a distillery and the mountain team of CID ofﬁcers constantly encounters bafﬂing murder cases in the picturesque Alps. A longrivers that feed it. King of the Taiga (Wildlife/nature, 1x52 min.) running detective series with a hint of humor. Traces the experience of a giant Siberian tiger as he Fast Forward (Series/TV movies, 60x45 min./4x90 min.) Angelica Fast, a divorced single crosses the taiga forests to find a new territory. Rainforest First—Climate Protection in mother and successful investigator at Vienna’s Central Africa (Wildlife/nature, 1x52 min.) Cli- criminal investigation department, knows what she mate protection begins in the rainforest. This is wants and always keeps the facts in sight. not a new insight, but hardly anywhere has it Rookie Robot Explores the World (Kids animation, 26x3 min.) Curious, open and friendly Rookie been truly grasped.

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Robot explores his world and meets new friends, Emma Willis: Delivering Babies in 2020 discovers new things and experiences little adven- (Fact-ent., 4x60 min.) Emma Willis tells the stories of families who are having babies in the midst tures in each episode. of a pandemic. Chef vs Corner Shop (Fact-ent., 5x30 min. & forPASSION DISTRIBUTION mat) Some of the country’s best-known chefs travel m sales@passiondistribution.com to different neighborhoods to compete against local w passiondistribution.com chefs to create a two-course meal using ingrediContact: Nick Tanner, dir., sales & coprod.; Sean ents from the corner shop. Wheatley, head, acq.; Agnes Mbye, snr. sales mgr., Nuremberg: Nazis on Trial (Doc., 1x90 min.) formats; Alexa Dubard, sales mgr.; Eliana Barbosa, Uses archive and recently recovered, newly digisnr. sales mgr.; Rob Bassett, snr. sales mgr.; Tom tized filmed material from the most incredible war Burton, sales mgr. crimes trial the world has ever seen. PROGRAM HIGHLIGHTS Walking Hadrian’s Wall with Robson Green The Disappearance of Shannon Matthews (Doc., (Doc., 3x60 min.) Robson Green travels the length 3x60 min.) Tells the story of the extraordinary kid- of one of the largest and most impressive remnants napping of 9-year-old Shannon Matthews in 2008. of the Roman Empire. The Architecture the Railways Built (Fact-ent., S2: 10x60 min., S3: 10x60 min.) Showcases stunning railway architecture from across the U.K. and Europe. RuPaul’s Drag Race UK (Ent., S2: 10x60 min.) RuPaul has made the trip across the pond in search of a British queen with the most charisma, uniqueness, nerve and talent in all the land. RuPaul’s Drag Race (Ent., S13: 16x90 min.) RuPaul, the world’s most famous drag queen, continues her legendary search for America’s Next Murder in a Small Town Drag Superstar. Murder in a Small Town (Doc., 2x60 min.) Reexamines the case against Luke Mitchell, who was PBS INTERNATIONAL found guilty of the murder of his girlfriend, Jodi O (1-617) 208-0747 Jones, when he was 14 years of age. m semarks@pbs.org Lap of Luxury: Ultimate Escapes Down Under w pbsinternational.org (Lifestyle, 10x30 min.) Reveals the luxury lodges of New Zealand and Australia. Steeped in history, nat- Contact: Tom Koch, VP; Germaine Deegan Sweet, ural beauty and architectural magnificence, each mng. dir., coprod. & drama acq.; Betsy LeBlanc, dir., lodge has a story of its own. intl.; Tracy Beckett, dir., pgm. & media acq.; Anna

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Alvord, snr. sales mgr.; Nanci Church, snr. sales mgr.; Sarah Marks, mktg. & strategy mgr.; Carmel Nemirovsky, sales coord. PROGRAM HIGHLIGHTS The Black Church: This is Our Story, This is Our Song (Current affairs/history/social issues, 4x60 min.) Discover the rich history of the Black church and explore African American faith communities on the frontlines of hope and change. Hemingway (Arts/culture/history, 6x60 min.) This film by Ken Burns and Lynn Novick examines the visionary work and the turbulent life of Ernest Hemingway, one of the world’s greatest and most influential writers.

American Insurrection

American Insurrection (Current affairs, 1x60 min.) FRONTLINE investigates the rising threat of far-right violence, exposing the individuals and ideologies behind a wave of crimes, culminating in the attack on the Capitol. Pandemic (w.t.) (Current affairs/science/social issues, 1x60 min.) Using extensive personal video and local footage, explores how people and countries responded to the virus across cultures, race, faith and privilege. First We Eat (Arts/culture/lifestyle, 1x101 min., 1x55 min.) Follow one family’s year-long challenge to live off the land where the Arctic Circle is closer than any major city.

Looking for Life on Mars (Science, 1x60 min.) Follow along as NASA launches the Mars Mission, perhaps the most ambitious hunt yet for signs of ancient life on Mars. Does Sex Really Matter? (Science, 1x49 min.) Go on a journey of discovery to solve the mystery of why women are so much more robust than men. The Blinding of Isaac Woodard (History, 2x60 min.) Discover the 1946 incident of racial violence by police that led to the racial awakening of President Harry Truman and started the civil rights movement. The Voice of Freedom (Arts/culture/history, 2x60 min.) Explores Marian Anderson’s rich life story, exploring fundamental questions about talent, race, fame, democracy and the American soul. When Disaster Strikes (Current affairs/science, 3x55 min.) Reveals the mechanics of disaster relief and follows the local governments and people responding on the ground.

PRINCESS SAM PICTURES

O (33-4) 7854-3820 m tvsales@princess-sam-pictures.com w princess-sam-pictures.com Contact: Sophie Audouin Mamikonian, CEO & fndr.; Sébastien Branche, COO; Olivier Denéchère, CEO, consumer products; Sonia de Moura, CMO; Catherine Macresy, line producer; Raul Carbo, mktg. & advertising dir. PROGRAM HIGHLIGHT Tara Duncan and the Spellbinders (Kids 610 3D urban fantasy comedy adventure, 52x13 min.) To those who dream of heroes, dragons, elves and magic, enter Otherworld, an urban

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fantasy universe where everything is possible. the thrilling crime drama set in 1900s Vienna, from This is Tara Duncan. acclaimed screenwriter Steve Thompson. Departure (Thriller, S2: 6x45 min.) A high-octane conspiracy thriller about the tragic crash of a new high-speed train traveling from Toronto. Stealing the Show! (Ent. format) Everything you know about quiz shows is turned upside down in this extraordinary new format that gives contestants the chance to literally steal the show. Secret Treasures of the Museum (Reality format) Famous faces take a magical tour behind the scenes at a museum for a unique new twist on the treasure hunt format. The Weekly: Special Edition (Factual, 8x60 Tara Duncan and the Spellbinders min.) A powerful new collection of standalone, premium documentaries, driven by the unparalleled RED ARROW STUDIOS journalism and insight of The New York Times. INTERNATIONAL Behind History (Factual/history, 6x60 min.) An O (49-89) 9507-7303 in-depth look at the stories behind some of the m sales@redarrowstudios.com most momentous events, remarkable ideas and w redarrowstudios.com/international extraordinary people the world has ever known. Contact: Tim Gerhartz, SVP, global sales & panterritory; Shirley Bowers, VP, sales & acq., North America, U.K., New Zealand, Australia; Tobias Schulze, VP, sales, France, German-speaking territories, Benelux; Maria Arroyo, snr. sales mgr., Iberia, Italy, Turkey, Israel; Victor Ukmar, sales mgr., CEE, CIS, Greece, Middle East; Joyce Dröse, sales mgr., Asia, Nordics, Africa, inflight; Vienna Blood Arnaud Trottier, sales coord., North America, Surviving Australia (Factual/travel & adventure, U.K., Australia, New Zealand, Asia, Nordics, 4x60 min.) Australia has so much to offer; unfortuAfrica, inflight; Laura Beacall, sales coord., nately, a lot of it is deadly. Discover what it takes to France, German-speaking territories, Benelux, survive the dangerous world Down Under. Iberia, Italy, Turkey, Israel. Married at First Sight Australia (Reality/format, PROGRAM HIGHLIGHTS 32x90 min.) Season eight of the hit Australian verVienna Blood (Crime drama, S2: 3x90 min./6x45 sion of Married at First Sight, the world’s leading min.; total: 6x90 min./12x45 min.) Season two of relationship show.

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Married at First Sight USA (Reality/format, 16x120 min. & special) Season 12 of the supersized, hit U.S. version of Married at First Sight, the world’s leading relationship show.

RIVE GAUCHE

O (1-818) 784-9912 m marine@rgitv.com w www.rgitv.com Contact: Jon Kramer, CEO; Marine Ksadzhikyan, COO & EVP, sales; Justina Hamperek, SVP, acq. & sales; Tomas Silva, VP, intl. sales, LatAm & Iberia; Carrie Stein, intl. film/TV cnslt.; Jeff Ford, snr. exec., film/TV, U.K.; Dan Shires, VP, film/TV, U.K.; Christina Poray, dir., dvpmt., film/TV. PROGRAM HIGHLIGHTS Disaster Déjà Vu (Doc., 13x60 min.) Showcases cities that have been hit by disasters, not once but twice. Using cutting-edge GFX, original film footage and archival photos, step inside each of these disasters as they struck in both historical and modern times. Survivors (Doc., 1x90 min.) Through interviews with victims as well as medical experts, tells the heart-wrenching stories of those who “broke free” from opioid addiction, and of some who unfortunately have not. The Killer Truth (Crime, 8x60 min.) Each episode tells the story of a single murder through the five people most intimately connected to the case. The Beer Jesus from America (Doc., 1x90 min.) Greg Koch risks millions on a dream to become the first American to build, own and operate a craft beer brewery in Europe. Very Scary People (Crime, 36x60 min.) Chronicles the lives of some of the most frightening,

diabolical characters in recent history. Each individual is chronicled in two-hour-long episodes tracing their criminal acts and the eventual road to justice. Something’s Killing Me (Medical doc., 18x60 min.) Examines puzzling behaviors and diseases that result in near-death struggles. Each episode chronicles a race against time to discover what, or who, is killing the patient.

Survivors

I Saw the Unknown (Paranormal, 10x60 min.) Features stories of people recounting how they lived through terrifying experiences of unexplained phenomena. My Misdiagnosis (Medical doc., 26x60 min.) Each episode features two cases told by the people who were misdiagnosed, their friends, family and doctors. Genius Factory (Doc., 1x90 min.) In the 1980s, an eccentric billionaire named Robert Graham wanted to create the world’s smartest kids, so he funded the largest legal genetic experiment in human history. Homicide’s Elite (Crime, 24x60 min.) Features the most baffling, shocking and heartbreaking cases Detectives David Quinn and Vince Velazquez have worked in their combined 50 years on the street.

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RUSSIA TELEVISION AND RADIO/SOVTELEXPORT

O (7-495) 955-8920 m ref.ste@vgtrk.com w sales.vgtrk.com

Contact: Julia Matyash, dir., Sovtelexport; Maria Dorokhina, head, intl. sales (worldwide, ex. CIS & Baltic states); Elizaveta Shcherbakova, mgr., intl. sales (worldwide, ex. CIS & Baltic states); Nadezhda Kobzeva, mgr., intl. sales (worldwide, ex. CIS & Baltic states). PROGRAM HIGHLIGHTS The Terrible (Drama, 8x60 min.) The life of the most controversial and mysterious Russian ruler, Ivan IV. Despite being an incredibly educated and literary gifted person, a reformer and a creator, he was a cruel tyrant. The Optimists: Caribbean Season (Spy/detective drama, 8x52 min.) The Cuban Missile Crisis is in full swing. Spy star Dmitry Nesterov is urgently sent back to the Foreign Ministry in Moscow from his post in New York and ends up in the thick of things. Call Me Mother (Drama, 12x43-47 min.) In the 1930s, young Tatiana follows her husband to Moscow to avoid getting arrested. He betrays her and she finds shelter as a nanny in the house of a famous Soviet engineer. When the government comes after him and his wife, Tanya has to escape with their little sons. Zuleikha Opens Her Eyes (Drama, 8x53-55 min.) Zuleikha, a quiet and obedient Muslim wife, is living with her abusive husband and despotic mother-in-law in a remote Tatar village in the aftermath of the Russian Revolution. When her husband is murdered by communist

soldiers for hiding grain, she is arrested and sent to Siberia. The Blood Widow (Thriller/historical drama, 16x51-53 min.) Series about the most notorious female serial killer in Russian history, who tortured and murdered over a hundred innocent peasants. Ekaterina. Pretenders (Historical drama, 16x5253 min.) 1774. The rule of Ekaterina is threatened. Numerous pretenders appear with claims to the throne. Her personal life also is troubled.

Call Me Mother

Homo Sperans (Lifestyle/psychology, 1x73 min.) The heroes of the film are ordinary people who meet their requirements for eternal questions: What is being, what is happiness, what does it mean to love your homeland? Kresty (Current affairs/psychology, 1x90 min.) Kresty is one of the oldest and largest prisons in Russia, located in the center of Saint Petersburg. The Wall (History, 2x45 min.) A film by a Russian journalist Andrey Kondrashov about the destruction of the Berlin Wall and German reunification. Beslan (History, 1x109 min.) On September 1, 2004, terrorists captured a school in Beslan. There were 334 victims, 186 of them children.

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SERIOUS LUNCH

O (44-20) 8771-7310 m sales@seriouslunch.co.uk w www.seriouslunch.co.uk Contact: Genevieve Dexter, fndr. & CEO; Leila Ouledcheikh, dir., global sales. PROGRAM HIGHLIGHTS Bo & To’s Family (54x5 min./54x3.5 min.) Brand-new stop-motion series starring Bori, Toto and Mochi, three eccentric rescue cats living above a café with their barista “servant.” Gigglebug (52x5 min.) Based on the awardwinning mobile app of the same title, this series is set in an enchanted forest with a little bug with an irresistible laugh. Matt Hatter Chronicles (52x22 min. & 1x50 min.) The Hatter family move from NYC to London, where their new home is the gateway to a secret dimension known as the Multiverse. With his friends Roxie and Gomez, the new Hatter Hero must battle super villains, defend the realms and save his grandpa. Monty & Co (34x11 min.) A musical puppet sitcom series for preschool children featuring a blended family living together in a house above their bring, buy and mend shop. Operation Ouch! (100x26 min.) This ongoing, double BAFTA-winning, Emmy-nominated factualentertainment show helps kids combat their fear of hospitals by showing them how amazing the human body is at fixing itself. Ronja, the Robber’s Daughter (26x26 min.) The International Emmy Award-winning animated series from Studio Ghibli, based on the book by Astrid Lindgren.

The New Legends of Monkey (20x26 min.) Liveaction adventure kids’ and family series about a young girl who discovers a lost statue of the Legendary Monkey King, an ancient god who has been imprisoned for 500 years.

Tulipop

Tik Tak (104x5 min.) Toddler show that stimulates children’s cognitive development in a relaxed, simple way. Tulipop (26x7 min.) A modern-day fairy tale inspired by Icelandic folklore, set on a fantastical island full of diverse but relatable characters. Welcome to Earth (26x5 min.) Two ankle-high aliens, Mish and Klaus, are sent to Earth by Major Alpha to locate a new HQ ahead of her planned invasion. Alpha has also sent Klaus’ older sister, Erza, and partner Suzy with the same goal.

SINKING SHIP ENTERTAINMENT

O (1-416) 533-8172 m info@sinkingship.ca w www.sinkingship.ca Contact: Kate Sanagan, head, sales, Canada, U.S., France; Marilyn Kynaston, head, sales, Western Europe; Mehmet Gunduz, mgr., sales, CEEMA, LatAm.

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PROGRAM HIGHLIGHTS Demon Headmaster (Family live action, 10x22 min.) The worst school in the country becomes the best overnight. How? It’s up to a group of kids to crack the Demon Headmaster’s plan. Dino Dana (Live action/CGI, 52x22 min./or 11min. eps.) Dana is a feisty 10-year-old “paleontologist in training” who (like Dan and Trek before her) eats, sleeps and breathes dinos. Endlings (Live action/CGI, 24x22 min.) Follows four teenagers in foster care who discover they’re not alone in the universe, even though sometimes it can feel like they are.

SPI INTERNATIONAL

O (1-212) 673-5103 m info@spiintl.com w spiintl.com

Contact: Loni Farhi, pres.; Berk Uziyel, CEO; Haymi Behar, CMO; Revi Benshosnan, dir., acq. & sales; Magdalena Blasiak, acq. dir. HIGHLIGHTS My Dad’s Christmas Date (Christmas comedy) Two years after the death of her mum, Jules registers her grieving dad, David, to online dating sites without his knowledge. FilmBox (Channel) SPI’s flagship movie service provides entertainment to millions with a catalog that spans Hollywood blockbusters, classic evergreens, world cinema gems and local productions. Film1 (Channel) Provides four premium movie channels and a VOD service on all cable, DTH and IPTV platforms in the Netherlands. Dino Dana DIZI (Channel) SPI’s premium Turkish drama Lockdown (Live-action mystery, 8x26 min./or 13- (“dizi”) channel broadcasts the best Turkish series min. eps.) Follows a group of friends living in a big from major producers 24/7. city affected by Covid-19. The series is shot entirely via webcam and smartphones. My Home My Life (Kids unscripted, 13x22 min./or 7-min. eps.) Follows a child who invites the audience into their life to see their home, their family, their customs and traditions. Odd Squad (Live action/CGI, 114x22 min./or 11min. eps.) A live-action comedy about kid agents who work for a secret government agency run by kids. The Unlisted (Live action/adventure, 15x24 min.) Dru and Kal discover a secret society, named The Entity, who plan to impose global control over the My Dad’s Christmas Date world’s youth.

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DocuBox (Channel) Brings a collection of awardwinning documentary features and TV programming that explores the wonders of our world. Gametoon (Channel) Created by true gaming and esports enthusiasts and features game reviews, esports tournaments and exclusive game walkthroughs and sessions from popular streamers.

STUDIO 100 MEDIA

O (49-89) 960855-0 m distribution@studio100media.com w www.studio100group.com Contact: Hans Bourlon, CEO, Studio 100 Group; Martin Krieger, CEO, Studio 100 Media/Intl.; Dorian Bühr, head, global dist.; Tanja Aichberger-Schätzle, snr. sales exec.; Vanessa Windhager, sales exec.; Fabrice Laventure-Darival, sales exec. PROGRAM HIGHLIGHTS FriendZSpace (Comedy/adventure, 52x11 min.) Alice, Leo and Kim may seem like regular human kids, but behind their normal facade they are risktaking deep-space friend makers. SeaBelievers (CGI ecotainment, 52x11 min.) Each animated episode leads kids on an ecoadventure, as the positive SeaBelievers characters problem-solve and take action around key environmental issues.

FriendZSpace

100% Wolf—Legend of the Moonstone (CGI comedy adventure, 26x22 min.) Freddy Lupin, heir to a line of werewolves, was in shock when on his 13th birthday his first “warfing” went awry, turning him into a poodle. Enrolled in the Howlington Academy, Freddy is going to try to prove that despite his appearance, he still has the heart of a werewolf. Heidi (CGI adventure, S1-2: 65x22 min.) Heidi lives with her grandfather in the scenic idyll of the Swiss Alps. She makes friends quickly, and people know that they can call on her for help. Tip the Mouse (CGI preschool comedy, S1-3: 104x7 min.) The stories about the little mouse Tip appeal to the youngest kids, since Tip must go through all the adventures that each child faces while walking the extraordinary path to growing up. Wissper (CGI preschool adventure/comedy, S1-2: 104x7 min.) Wissper is a little girl who was born with the ability to talk to animals. She can transport herself to anywhere an animal is in trouble and in need of help. Arthur and the Minimoys—The Series (CGI adventure/fantasy, 26x24 min.) Arthur found the world of the Minimoys and visits his friends Selenia and Betameche. This time the King of the Minimoys is organizing the resistance against tyrant Malthazar. Maya the Bee (CGI preschool adventure, S1-2: 130x13 min.) New adventures with Maya and her very best friends, including the ants patrol peacekeepers with their star duo, silly Billy Joe and dumb Jimmy Joe. Mia and me (Fantasy/adventure, S1-3: 78x23 min.) The fantastic adventures of Mia and her friends in the magic land of Centopia, where they must protect unicorns from villains of all kinds. Ghost Rockers (Live-action mystery, 209x12 min. & 1x92 min.) Five teens with big dreams and raw musical talent discover that the school’s basement is haunted by spirits of an old rock band.

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TEAMTO

O (33-1) 7008-7979 m patricia.de_wilde@teamto.com, lisa@koko-media.com w www.teamto.com Contact: Guillaume Hellouin, pres., CEO & fndr.; Corinne Kouper, SVP, dvpmt. & prod. & co-fndr.; Mary Bredin, creative dvpmt. producer; Patricia de Wilde, dir., mktg. & new business; Lenora Hume, mng. dir., TeamTO LA; Shu Ye, mng. dir., TeamTO Beijing. PROGRAM HIGHLIGHTS Jade Armor (Action-adventure comedy, 26x26 min.) Martial arts-loving Lan Jun must learn the ancient secrets of her family’s magical suit of armor, uncover the unexpected and navigate life as a teen.

Mighty Mike (Slapstick comedy, 78x7 min.) A sophisticated pug is forced to defend his house from furry intruders and maddening pets while trying to impress Cindy, the neighbor’s elegant dog. Tiny Island (Preschool, 52x11 min. in dvpmt.) Tiny is a small island traveling the world with two trusty travel companions, Rocco and Dee Dee, to help any kid in need. Winter Is Here! (Animated holiday specials, 1x20 min., 3x5 min., 1x20 min. in dvmpt.) Based on the popular French children’s books The Winter I Met the Fox, Penguin’s Ice Time and Snowy and the Snowman. 2022 delivery. We Are Family (Teens & family, 26x5 min. in dvpmt.) Discover how and why talented musicians with incredibly different styles came together, revealing the oftenunexpected origins of new musical genres.

TERRA MATER FACTUAL STUDIOS

O (43-1) 87003-0 m office@terramater.at,

sven.westphal@terramater.at w www.terramater.at

Tiny Island

Presto! School of Magic (Comedy, 52x11 min.) A band of talented wannabe magicians join Lorenzo’s School of Magic to learn the secrets of illusion, conjuring and the art of magic. Angelo Rules (Comedy, S5: 1x60 min. & 46x11 min.) Angelo is on Santa’s naughty list, stuck reliving Christmas over and over. To escape, he needs a plan, a team—and a friend who speaks elf.

Contact: Sabine Holzer, head, specialist factual; Sven Westphal, dir., coprod. & portfolio mngmt.; Berend Dreier, coprod. & sales mgr. PROGRAM HIGHLIGHTS Cher and the Loneliest Elephant (Nature, 1x50 min.) An incredible story in which a superstar flies across the world during a pandemic to save a bull elephant from 35 years of incarceration. Cheetahs United (Nature, 3x50 min.) On South Africa’s Great Karoo wilderness, a magical story is unfolding: against all odds, two mother cheetahs and nine cubs form one big family.

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Rick Rosenthal and sci-fi writer Chris Carter team up to find out. Rooted: America’s Trees of Life (Nature, 3x50 min.) Each tree is a vast life-giving ecosystem; we crack the hard nuts of the Brazil nut tree, wander through Mangrove City and explore a living fossil: the monkey puzzle tree.

Cheetahs United

Critical Kingdoms: Stories of Hope (Nature, 3x50 min.) Travels to Australia, Africa and Indonesia to discover stories of hope of how we can revitalize the natural environments of these critical kingdoms. Planet California (Nature, 2x50 min.) It’s the home of Hollywood, Disneyland and the Golden Gate Bridge— and a place of refuge for wildlife: cougars, coyotes, twoton elephant seals and great white sharks. The Great Lakes (Nature, 3x50 min.) A spectacular visual exploration of the natural history of the largest freshwater ecosystem on Earth—North America’s Great Lakes and its many astounding inhabitants. Horse Power—American Legacies (Nature, 1x50 min.) American horses are icons that shaped a nation—a nation whose demands shaped them. And each breed has a unique story to tell. Hippo King (Nature, 1x50 min.) For the first time ever, we reveal the true character of one of the planet’s largest land mammals as we follow the life story of the “Hippo King.” New Forest—The Crown’s Hunting Ground (Nature, 1x50 min.) A wild and magical forest, once the Crown’s hunting grounds, is the scene for a remarkable year, featuring nesting goshawks, red deer stags, newly born foals and many more. Alien Contact (Nature, 1x50 min.) Are manta rays trying to make contact with us? Marine biologist

TORTUGA FILMS

O (1-418) 736-1223 m agendron@tortugafilms.ca w www.tortugafilms.ca Contact: Adam Pajot Gendron, CEO & exec. producer. PROGRAM HIGHLIGHTS Fear of Dancing (Fact-ent./culture doc., 1x52 min./1x78 min.) A lighthearted and humorous POV documentary about the paralyzing fear of dance through the eyes of those that just can’t “get over it.” The Fence (History, 1x52 min./1x78 min.) Reveals the little known and carefully guarded history of the darkest atrocities from WW2 committed by the Japanese Imperial Army in Hong Kong. Coasters (Social/culture doc., 1x52 min./1x85 min.) Immerses viewers in the lives of three distinctly different cultural communities that have learned how to coexist for centuries in isolated remote territories no roads can access.

Fear of Dancing

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Food or Danger (Health/lifestyle, 1x52 min.) Looks at the increasing numbers of food allergies and follows four individuals who are adapting their lives to them or treating them with experimental medical treatments. Overcoming Image (Social/society doc., 1x48 min.) Looks at socially accepted beauty standards and the way people build self-confidence and selfacceptance though technology, social media and body awareness. After Circus (Art/lifestyle/POV doc., 1x52 min./1x78 min.) Through a closely-knit community of retired circus “family” members in Sarasota, Florida, looks at an uncommon aspect of the circus world: retirement. Campesinos… We Will Inherit the Earth (Social affairs/green/youth doc., 1x52 min.) Looks at sustainable food choices and the extraordinary work being done by agricultural cooperatives in Central America through the eyes of three children. Green at Home (Green/lifestyle, 7x30 min.) Guided by various experts, each episode follows a family trying to make eco-friendly choices in their everyday lives. War Correspondences (History/POV, 2x52 min.) Explores solder’s stories from the First and Second World Wars through their letters from the frontlines.

TV ASAHI CORPORATION

O (81-3) 6406-1952 m ml-intl-contact@tv-asahi.co.jp w www.tv-asahicontents.com

Contact: Motoko Nakai, dir., intl. business; Yumi Shimizu, co-dir., intl. sales dist.; Maiko Sumida, head, animation sales & dvpmt.; Mayumi Nakamura, head, format sales; Miyuki Nakasone, sales exec.,

formats; Takahiro Kishimoto, head, animation; Setsuko Yoda, sales exec., formats; Sachiko Yoshida, sales exec., animation. PROGRAM HIGHLIGHTS 7 Secretaries (Drama, 8x60 min.) Brand-new hit series from the staff of Doctor-X about a hidden league of seven secretaries who work for the most powerful men in Japan. A Man Who Defies the World of BL (Comedy/drama, 4x25 min.) Comedy series based on a popular manga about a man who finds himself in a universe where everything turns into BL (Boys Love) relationships.

Red Light Green Light

Yokai Housemate (Comedy/drama, 8x60 min.) Uplifting story of a girl who hit rock bottom and was rescued by a group of Yokai (Japanese monsters) living together in an old house. What’s Wrong with Being Wily? (Ent./talk show, 15+x30 min.) A surprise international hit that discusses relationships, especially how one can justify being “wily” while dating, with fun reenactments by actors. Secret Hot Spring (Doc., 20x30 min.) Latest season of the long-running travel program that explores the most hidden hot springs in Japan. World Pro-Wrestling (Sports, 200x60 min.) The exciting action of New Japan Pro-Wrestling in a

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series of comprehensible one-hour packages with English commentary. #Hash Tag (Game-show format, 60 min. eps.) A good old game of tag with a twist, where the contestants have to run from the watchful eyes of social media users. Red Light Green Light (Studio game-show format, 60 min. eps.) The traditional kids’ game “Grandmother’s Footsteps” has been amusingly updated for the 21st century using high-tech sensors. Also a Covid-friendly production. Stuck Till You’re Done/Eat This Menu (Ent. format, 60 min. eps.) Contestants try to guess the top ten best-selling menus in a restaurant. Trick House (Game-show format, 60 min. eps.) A brand-new “mind-reading game show” that takes place in a luxurious mansion filled with distracting traps designed to surprise contestants.

VIACOMCBS/VIS

O (44-203) 580-3978 w b2b.viacom.com Contact: Kate Laffey, VP, ViacomCBS International Studios; Guillermo Borensztein, VP, dist. & coprod.; ViacomCBS International Studios; Lauren Marriott, SVP, ViacomCBS Content Sales, ViacomCBS International Studios Distribution; Laura Burrell, VP, intl. formats, ViacomCBS International Studios. PROGRAM HIGHLIGHTS Santiago of the Seas (Preschool animation, 20x30 min.) Fantastical pirate adventure for preschoolers features exciting and altruistic missions rooted in Caribbean culture. Most Musical Family (Format, 60 min. eps.) Singing siblings, rocking parents and harmonizing cousins get together to show off their abilities

in front of a live studio audience and a panel of three famous judges. R (Drama/comedy) A routine medical checkup for Franco Barron—mistreated by his boss, humiliated by his wife and ignored by his teenage kids—leads to a terminal cancer diagnosis. He decides to free himself to enjoy to the fullest extent the little time he has left.

Santiago of the Seas

Diana—Princess of Wales: In Her Own Words (Factual, 1x60 min.) As well as revealing and rarely seen archive, the program features testimony from the men and women who helped her craft her public words, and those who shared private words. The Story of the Songs (Factual, 10x60 min.) Each episode focuses on a different music legend, exploring the stories behind some of the most iconic songs of the last century. Guessable (Ent./comedy, 60 min. eps.) A funfilled celeb party. Every answer in the game provides clues to the identity of a famous figure or object hidden inside a Mystery Box. My Trip is Better (Ent./reality, 60 min. eps.) In this stripped factual-entertainment format, five strangers who love to travel will meet for the first time in a foreign city to spend five days sightseeing. The Hood (Drama, 60 min. eps.) Ben is a widower who struggles to support his five kids and after a string of failed businesses is on the verge bankruptcy and possibly prison.

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Rising (Drama, 50x30 min.) In 1946, two years before the State of Israel was founded, Emile and Elinore land at a Strike Forces training base and recruitment center for exceptional teens. The Greenhouse Academy (Drama/kids, S1: 12x30 min., S2: 12x30 min.) Eight months after losing their astronaut mother in a rocket explosion, Alex and Hayley Woods, brother and sister, enroll at a private boarding school for gifted future leaders.

and wife left to care for her brother’s two teenagers teetering on the brink of foster care. Fly Rocket Fly (Science/tech. doc., 1x90 min.) Tells of entrepreneur Lutz Thilo Kayser, who relocates to General Mobutus’ Congolese jungle in order to conquer space.

VUULR

m support@vuulr.com w www.vuulr.com PROGRAM HIGHLIGHTS A Private War (Bio./war drama, 1x110 min.) An American biographical drama film starring Rosamund Pike, based on the 2012 article “Marie Colvin’s Private War.” Ice 2 (Romance/family drama, 1x130 min.) A sequel to the film Ice that became the highestgrossing Russian film on opening day. The Longest War (War doc., 1x88 min.) Unpacks the human stories and drama behind America's involvement in Afghanistan. Youtopia (Drama, 1x92 min.) A contemporary tale that mixes neorealism with machinima, drama with fantasy, despair with hope. Lila and Eve (Mystery/crime drama, 1x94 min.) Lila, a grief-stricken mother reeling from her son's murder, meets Eve, who urges her to take matters into her own hands to track down her son's killers. El Dragon (Crime drama, 80x90 min.) Miguel’s family heads a drug cartel, and he will lead it with his abilities, giving the international criminal world a new vision. Detective McLean (Crime/family drama, 10x60 min.) Allison McLean is a police detective, mother

A Private War

Breaking Wild (Travel/nature doc., 10x60 min.) In the wild and remote Nemiah, among its wildlife are some of the oldest herds of wild horses, unique from the Spanish lineage found elsewhere in America. Space Kicks (Animation, 26x11 min.) An artificial asteroid Spaceball hosts the seat of the Interstellar Football Federation. Robert Lewandowski and four kids team up to form the Earth Representation.

WAZABI FILMS

O (1-514) 866-3020 ext. 102 m sales@wazabifilms.com w www.wazabifilms.com Contact: Anick Poirier, co-pres.; Lorne Price, copres.; Jasmine Caron, festivals & mktg. mgr.; Dounia Ismaïl, coord. PROGRAM HIGHLIGHTS Brain Freeze (Zombie comedy, 1x92 min.) A fertilizer used in a rich gated community becomes the source of a genetic mutation that transforms its

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residents into zombies. Can a teenager and his baby sister break free from the quarantined island? Underground (Souterrain) (Drama, 1x97 min.) Maxime works in a gold mine and he is trying to make up for his troubled past. After an explosion happens in the mine, he is forced to go underground to save his friends and colleagues.

Beans

Beans (Drama, 1x92 min.) In the summer of 1990, a 12-year-old Mohawk girl is forced to grow up fast and find her own inner warrior during an armed stand-off between her community and the Canadian government. The Vinland Club (Club Vinland) (Drama, 1x125 min.) The story of an exceptional educator in a boys’ college in late 1940s eastern Quebec. Nadia, Butterfly (Drama, 1x106 min.) Nadia, a professional swimmer in her 20s, faces the challenges of her imminent retirement. You Will Remember Me (Tu te souviendras de moi) (Drama, 1x107 min.) Edouard, a retired history professor, is slowly starting to lose his memory. He is placed under the care of Berenice, the daughter of Patrick, his daughter Isabelle’s new spouse. Goddess of the Fireflies (Déesse des mouches à feu) (Drama, 1x105 min.) It is the grunge era. Catherine is a teenager going through adolescence just as her parents are about to get a divorce.

Flashwood (Drama, 1x92 min.) Shot over a period of seven years. A group of young suburban friends get together during summertime. We meet up with them five years later, then one year later. Antigone (Drama, 1x109 min.) A modern take on the classic Greek tragedy. Antigone is a teenager caught in a clash between her moral code and the justice system when tragedy strikes her immigrant family. Fabulous (Fabuleuses) (Comedy, 1x109 min.) Three friends live the summer of every possibilities, experimenting in a chaotic way the paradoxes of the lives of all young modern women.

WINSING ANIMATION

O (86-20) 3763-5953 m sophie@winsing.net w en.winsing.net

Contact: Ben Gu, CEO; Echo Gu, VP; Jinming Lu, dir.; Sophie Lau, head, intl. mktg.; Tracy Lee, intl. lic. exec. PROGRAM HIGHLIGHTS Team S.T.E.A.M.! (Kids 4-8/family 3D edutainment, 104x15 min.) An upbeat series filled with high adventure, humor and heart. The kids overcome problems using the STEM curriculum. GOGOBUS (Kids 2-5/family 3D edutainment, 156x13 min.) A series based on social and emotional learning, revolving around an artificial school bus with the capability of transforming into the shape of different vehicles. GG Bond: Undersea Wonders (Kids 4-8 action adventure, 104x15 min.) GG Bond will lead his team members to explore a world underwater. They will meet the trapped Tina and the brave Princess Coral. GG Bond: Dino Diary (Kids 3-6 3D comedy/adventure/action, 104x13 min.) GG Bond

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and his fellows travel back to the Mesozoic Era to collect information on different dinosaurs. Diary of Dinosaurs (Comedy/adventure/action, 1x90 min.) Yaya overcomes her inborn fear and makes a decision to firmly stand her ground, just like her father, when the carnivores invade next time. The Wall Duet

Team S.T.E.A.M.!

GG Bond: Racing (Kids 4-8 action/adventure, 104x15 min.) GG Bond enters into an unknown space accidentally and has to participate in speed races to find his fellows and find a way back home.

Who Is My Chef? (100x60 min., ongoing) Do you think you can tell who the real chef is, just by their look or the food they cook? Fake Lovers (47x60 min.) Every couple has a story, but you must detect whether their unbelievable love tales or impressive cases of love at first sight are fake or real.

WORLD WRESTLING ENTERTAINMENT

WORKPOINT GROUP

O (1-203) 352-8600 m wweintl@wwecorp.com w www.wwe.com

Contact: Wirata Laksanasipin, lic. mgr. PROGRAM HIGHLIGHTS The Wall Duet (27x90 min., ongoing) An amusing quest to guess behind-the-wall mysterious singers with seemingly-deceitful clues leading to unexpected revelations. 10 Fight 10 (10x90 min.) Brings 20 male superstars into a merciless boxing competition. It offers all-round entertaining elements of live performances, lavish costumes and real boxing fights. The Rapper (16x90 min.) Talented rap artists nationwide compete in a competition by rapping to big-hit songs in any genres to impress the coaches.

Contact: James Frewin, VP, content media dist., EMEA & AsiaPac; Emilio Revelo, VP, content media dist., Americas & digital; Thomas Sitrin, snr. dir., content media dist. & affiliate relations; George Quick, mgr., content media dist., EMEA; Karen Lay, snr. dir., content media dist., AsiaPac. PROGRAM HIGHLIGHTS WWE Raw (Sports/ent., 52x60 min./52x120 min./52x180 min.) For more than 25 years and well over 1,000 episodes, Raw has been WWE’s flagship show. WWE SmackDown (Sports/ent., 52x60 min./ 52x120 min.) For nearly 20 years and more than 1,000 episodes, SmackDown LIVE has showcased WWE’s top Superstars and created countless memorable moments.

O (66-2) 833-2267 m international@workpoint.co.th w www.workpointworldwide.com

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NXT

NXT (Sports/ent., 52x60 min./52x120 min.) WWE’s hottest up-and-coming Superstars compete to prove they’ve got what it takes. WWE BottomLine (Sports/ent., 52x60 min.) Weekly highlight program that chronicles the action from WWE Raw with post-match analysis and exclusive updates. WWE AfterBurn (Sports/ent., 52x60 min.) Weekly highlight program that chronicles the action from WWE SmackDown Live with post-match analysis and exclusive updates. This Week in WWE (Sports/ent., 52x60 min.) A weekly review show featuring a behind-the-scenes look into the lives of WWE Superstars and all of the excitement of WWE Raw and WWE SmackDown.

ZDF ENTERPRISES

series about a criminal lawyer fighting a corrupt system to clear her brother’s name after he is accused of murder. Ku’damm 63 (Drama, 3x90 min./6x45 min.) The Schöllack sisters are now grown women confronted with their life choices and with a society that is not as free as it pretends to be. Pan Tau (Live action, 14x25 min.) Elegant, silent and yet full of fantastic surprises—whenever a kid needs help, Pan Tau steps in with a smile and incredible magic that will make you wonder and laugh. Hoodie (Live action, 52x11 min.) A superhero story centered on a perfectly normal boy with an exceptional talent for parkour and a heart for justice. Space Nova (Animation, 26x22 min.) The year 2162 has been a blast for the Aussie space-exploring Nova family, especially when they discover the first-ever proof that humanity is not alone in the universe. Zoom—The White Dolphin (Animation, 104x12 min.) Follows the adventures of Yann, an intrepid 15-year-old teen, and his best friend Zoom, a white dolphin of exceptional intelligence. Planet of Treasures (History/bio., 6x50 min. hosted or 3x50 min. non-hosted) There were seven wonders of the world in antiquity and UNESCO counts 1,121 treasures today. Half of them are threatened by natural disasters, war, urbanization or decay.

O (49) 6131-9910 m info@zdf-enterprises.de w www.zdf-enterprises.de Contact: Fred Burcksen, pres. & CEO; Robert Franke, VP, ZDFE.drama; Peter Lang, VP, ZDFE.junior; Ralf Rückauer, VP, ZDFE.unscripted. PROGRAM HIGHLIGHTS ANA. all in. (Crime/suspense, 6x48 min.) Set in the gambling world and inspired by real events, a

Ku’damm 63

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Construction Fails (Science/knowledge, 8x50 min.) A factual, fast-paced, adrenaline-driven show featuring the biggest, strangest and most jawdropping mishaps, using a combination of footage and original 2D animation. Crime Scene: Antiquity (History/bio., 5x50 min.) A criminal forensics series with a twist: it investigates serious unsolved crimes of the distant past, which have remained shrouded in mystery —until now. Myths—The Greatest Mysteries of Humanity (History/bio., 10x50 min. & 1x50 min.) Myths run across all periods of history. How much truth is in them? What is fact and what is fiction?

ZONE3

that illustrate the myriad facets—emotions, friendships and sex lives—of the millennial generation. Jérémie (Teen drama, S1-5: 90x22 min.) A drama series with hints of humor, following the trials and tribulations of an 18-year-old woman whose world has recently been turned upside down. Teodore Without the H (Short-form dramedy, S1-2: 12x6-8 min.) A thirty-something ADHD guy decides to finally get his high school diploma from a multiethnic adult school. One of Those Dates (Short-form comedy, S1-2: 27x4-10 min.) Each episode sees Thomas, a young man looking for true love, going on a new date as he faces impossible, hilarious or awkward situations one after another.

O (1-514) 284-0019 ext. 2228 m mratte@zone3.ca w www.zone3.ca/en Contact: Mélanie Ratté, mng. dir., creation & business relations. PROGRAM HIGHLIGHTS Patrick Senécal Presents (Thriller/horror/suspense, 10x22 min.) An anthology series featuring stories that delve into the world of horror, mystery, suspense, sci-fi and dark humor. Edgar (Procedural dramedy, 8x42 min.) Full investigations in which viewers witness a murder and know who the murderer is. What they don’t know is how Detective Edgar will unravel the riddle and gather the evidence to ultimately take the perp down. Call Me If You Die (Police drama, 8x60 min.) A lieutenant on a major operation to bring down the Italian mafia is forced to confront his lifelong best friend and a high-ranking mafioso. Like Me! (Sketch comedy, S1-5: 56x24 min.) A series of savage, often off-beat comical sketches

Edgar

A Dog’s Life (Factual, S1-2: 20x30 min.) The dayto-day life of canine behavior consultant Mathieu Lavallée at his wilderness-based treatment center, where he works at highlighting the true nature of dogs and their needs. A Chef A Day (Cooking, 145x30 min.) A dream team of chefs, each one assigned to one of the week’s theme days: Meatless Monday, Locavore Tuesday, Big Batch Wednesday, Taste the World Thursday and Fancy Friday. A Happy Homecoming (Short-form factual, 10x1315 min.) Chronicles the return home for some 2,500 Montreal Biodome resident animals from five different ecosystems in the Americas.

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Tony Hale T

ony Hale has starred and guest-starred in numerous TV series and films. He is perhaps best known for his roles as Buster Bluth in Arrested Development and Gary Walsh on Veep, a performance that earned him two Emmys for outstanding supporting actor in a comedy series. But Hale’s talents stretch far beyond portraying socially inept sons or subjugated aides. He co-authored the children’s book Archibald’s Next Big Thing about the adventures of a friendly chicken with a nonjudgmental, can-do attitude. DreamWorks Animation turned the book into a series, for which Hale is an executive producer and voices Archibald. He is also set to star in By Anna Carugati Disney+’s upcoming The Mysterious Benedict Society. WS: What served as inspiration for Archibald? And how did the book come about? HALE: All I wanted was to be on a sitcom and work as a comedy actor. I got my big thing, which was Arrested Development, and I found myself on the big thing still looking to the next thing. It was that big lesson for me: Wow, if I’m so focused on my next adventure, I’m going to miss the adventure that I’m on. It was a real wake-up call for me. So with my buddies Tony Biaggne and Victor Huckabee, and the art was adapted by Misty Manley, we put this book together. I fell in love with the story. Then, with my buddies Jacob [Moffat] and Drew [Champion], we brought it to Teri Weiss, the executive VP of television development at DreamWorks Animation. They liked the idea, and it came from there. WS: Did you bring to Archibald any elements of comedic timing from your experience in live-action comedies? HALE: Yeah, the cool thing for me was having worked on Arrested and Veep and being around these comic writers and performers. So much of comedy is in editing—taking out space that’s not needed, cutting something a certain way—and many times with just a noise. One of my favorite things that Archibald does is sometimes he’ll just make a noise. My character on Veep, Gary Walsh, really didn’t speak much; he just had a lot of random noises when he stood behind Julia Louis-Dreyfus. I was a huge fan of Beaker from The Muppet Show. Beaker was just so dear and so sweet, but he just made noises. Archibald reminded me of him. [There] was so much that he just said in little sounds and with his physicality. That kind of carried over from Veep a little bit too. He’ll go “OK, OK,” which, by the way, Gary Walsh does all the time on Veep. [Laughs]

WS: Tell us about some of the guest actors who have voiced characters. Julia Louis-Dreyfus is one of them. There are several other A-listers. HALE: Yep, Julia Louis-Dreyfus played a space monkey. We had RuPaul play a fashion designer. Henry Winkler came and played a manager for sock puppets, you know, as you do. I feel very fortunate to have worked with our cast: Chelsea Kane does Loy, and Loy is named after my daughter. We had Adam [Pally] do Sage and Jordan [Fisher] do Finly. Rosamund Pike is our narrator and has this calming, lovely voice compared to Archibald, who’s just loud. We work with these people on a consistent basis, so it’s fun to get to know them and what they’ve brought to the table. WS: Are you working on other projects? HALE: I [recently ﬁnished] shooting a show in Vancouver called The Mysterious Benedict Society. It’s based on this children’s series by Trenton Lee Stewart, and it’s going to be on Disney+. It’s about this gentleman named Mr. Benedict; that’s who I play. He sends these kids out into the world and is against his twin brother, who I also play, Mr. Curtain. It’s a message of breaking the noise that we hear in life, the negativity. I’m excited about it. Talk about a team that in the middle of the pandemic shot a show. This team has really stepped up, and I’m very proud to be a part of it. WS: How do you and Archibald feel about ﬁnally having a female vice president? HALE: Very, very exciting! Having been on Veep for seven years, I’m thankful that she’s the opposite of Selina Meyer. [Laughs] She [VP Kamala Harris] actually sees people, where Selina Meyer, I don’t even know if she knew people existed! So I am very excited about that!

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SPOTLIGHT

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Sam Branson HiddenLight Productions

passion for adventure and belief in the power of storytelling have been guiding forces for Sam Branson. He established HiddenLight Productions in partnership with Hillary Rodham Clinton and Chelsea Clinton to highlight stories that can effect change in the world, entertain and inspire, with a mission to celebrate the best of the human spirit and help us see the world in new ways. Branson tells World Screen about how his partnership with the Clintons came about By Kristin Brzoznowski and shares some of the projects in development.

WS: How did HiddenLight Productions come about, and how did you come to partner with Hillary and Chelsea Clinton for the endeavor? BRANSON: I am deeply passionate about the power of stories to entertain and engage people but also effect change in the world. I’d been working with Johnny Webb on my company Sundog Pictures for several years, and we were pitching to do a series based on [Hillary and Chelsea Clinton’s] incredible The Book of Gutsy Women. I just absolutely loved the book and what Hillary and Chelsea stood for, and the tone of the conversation was wonderful. That initial dialogue soon grew into something much, much bigger. We realized that we wanted to create similar sorts of content. We were aligned in our values, purpose and passion. It was a no-brainer to join forces and do something really special. WS: How do the three of you complement each other in terms of what you bring to the company? BRANSON: We each have different sets of skills and experiences. Hillary has decades’ worth of experience in public service, having spent so much of her life [working] for the public good. She’s deﬁed convention and has always stood up for the things she believes in. That wealth of experience is invaluable to something like this. Chelsea, who I’ve gotten to know better over the last year, is such a wonderful person and an advocate for people who need it most. She’s a global health expert, which at this time is in sharp focus. She’s a passionate defender of human rights. In meeting these people who I had heard so much about, I was struck by their warmth, how down-to-earth they are, their sense of humor, the bond between them and their family, and how intelligent and passionate they are. I thought, what a wonderful thing it would be to be in partnership with two wonderful women. Then there’s my experience of being a storyteller, a digital native, a songwriter and having set up businesses that aim to have a

positive impact in the world. At the heart of what I stand for is storytelling. It’s a really wonderful ﬁt. WS: What types of stories will you aim to tell through HiddenLight? BRANSON: Being lucky enough to travel the world and experience people from all walks of life, I’m fascinated by human stories and the experiences that we all have. No matter who you are, where you come from, your race, your gender, your political background or your religion, there are common traits between all of our human experiences. I’m interested in getting under the skin of that and what connects us all and celebrating the best of the human spirit. So much of media can focus on the negative aspects of life. There are wonderful, culturally authentic stories out there, right across the globe, that really will create a sense of hope and optimism—and that’s what we would like to focus on. WS: Tell me about some of the initial projects on the slate. BRANSON: Gutsy Women is our first straight-to-series order for Apple TV+. We’re in the business of premium content, so having Apple in partnership with us is just wonderful. I know that Hillary and Chelsea are very passionate about bringing the book to screen. The series spotlights a richly diverse cast of amazing women, and it couldn’t be more timely. There’s a lot in the pipeline. If I Could Tell You Just One Thing is based on a book by my friend, best-selling author Richard Reed, and we’re thrilled that this has been commissioned by YouTube. The series explores what motivates some of the world’s most renowned women and the stories and experiences that have shaped them. It’s exciting to be working with YouTube star Patricia Bright on this series, and she’s already talked about her hope that the show can act as a catalyst to support, lift and inspire women across the globe.

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WORLD’S END

IN THE STARS Almost every national constitution forbids the establishment of an official state religion. But this secular bent doesn’t stop people from looking to the heavens for answers to life’s most troublesome questions: Will I succeed? Will I find love? Will I take part in a hot wings challenge with Jennifer Garner? Every day, papers, magazines and websites worldwide print horoscopes— projections for people born in a specific month, based on the positions of the stars and planets. While many people rely on these daily, weekly or monthly messages for guidance in their lives, some readers skip over them entirely. The editors of WS recognize that these little pearls of random foresight occasionally prove pro phetic. But rather than poring over charts of the zodiac to pre-

Chelsea Handler

Katharine McPhee

scopes in an attempt to legitimize the science. As you can see here, had some of these media figures remembered to consult their horoscopes on significant dates, they could have avoided a few surprises.

Orlando Bloom

SHARON OSBOURNE

REBEL WILSON

Global distinction: British TV personality. Sign: Libra (b. October 9, 1952) Significant date: March 17, 2021 Noteworthy activity: Osbourne ﬁnds herself in hot

Global distinction: Aussie TV and movie star. Sign: Pisces (b. March 2, 1980) Significant date: March 22, 2021 Noteworthy activity: The Pooch Perfect host, whose fam-

water after defending her friend Piers Morgan’s unkind comments about Meghan Markle, as allegations of her own use of racist and homophobic language in the past come to light. Following a spat with her The Talk co-hosts, she claims she’s “been set up” and treated as a “sacriﬁcial lamb.” Horoscope: “Your Mars is in a heavy position so you will have to tackle with some hidden enemies. You need to be careful who you associate with this month.” (iwmbuzz.com)

ily members are dog handlers, gets tripped up by a pup while cycling in London. She posts a pic of her injured leg with the caption: “F**k people who don’t have their dogs on the lead and let them run onto the road!!” Horoscope: “The stars are making everyone, especially you, a little hasty and impulsive. Slow down and watch where you’re going, literally!” (smh.com.au)

CHELSEA HANDLER Global distinction: Comedian. Sign: Pisces (b. February 25, 1975) Significant date: March 21, 2021 Noteworthy activity: The former host of Chelsea Lately returns to the ski slopes after her topless birthday excursion to once again test her skills. Taking to Instagram, Handler reveals it’s been a clumsy day on the mountain despite her experience and doesn’t escape the outing unscathed. “I have a torn meniscus, two broken toes; one is deﬁnitely broken, the other might just be in a bad mood,” Handler says in her Instagram story. “My arm broke a tree. But I can ski down almost anything now!” Horoscope: “Be careful, you could trip yourself up with your overconﬁdence and recklessness.” (tag24.com)

dict world events, our staff prefers to use past horo-

Jennifer Garner

KATHARINE MCPHEE Global distinction: Country Comfort star. Sign: Aries (b. March 25, 1984) Significant date: March 17, 2021 Noteworthy activity: The 37-year-old actress and singer— who welcomed a child with her 71-year-old record producer husband, David Foster, in February—shares the name of their little one on the Today show after host Hoda Kotb asked her about her son’s moniker. She later reveals that her husband was “annoyed” that she divulged that information. Horoscope: “Some things should be kept sacred. Make certain that you keep your personal business, personal.” (drstandley.com)

JENNIFER GARNER Global distinction: Wholesome American actress. Sign: Aries (b. April 17, 1972) Significant date: March 18, 2021 Noteworthy activity: Promoting her new Netﬂix movie Yes Day, Garner says yes to an appearance on Hot Ones, participating in host Sean Evans’ hot wings challenge that sees celebrities attempt to answer interview questions while sampling a variety of hot sauces. Asked to share her best kitchen hacks after ingesting the spicy condiment, the actress snaps back, “Up your butt, Sean!” After gamely delivering some baking tips, the struggling Garner says to Evans: “I just wish I could hug your neck…with my hand.” Horoscope: “Don’t bite off more than you can chew unless you want to add extra stress to your life.” (stylecaster.com)

ORLANDO BLOOM Global distinction: British actor. Sign: Capricorn (b. January 13, 1977) Significant date: March 21, 2021 Noteworthy activity: The Lord of the Rings star opens up about his home life with ﬁancée Katy Perry and their new baby in an interview. Dishing about his morning routine, Bloom exposes his very Hollywood lifestyle to ample internet scorn. “I like to earn my breakfast so I’ll just have some green powders that I mix with brain octane oil, a collagen powder for my hair and nails, and some protein,” he says. “It’s all quite L.A. really.” Horoscope: “Be mindful about oversharing; not everyone will agree with your strong opinions or want to hear about your private matters.” (chicagotribune.com) Photo credits: Chelsea Handler (Bravo), Katharine McPhee (FOX), Jennifer Garner (NBC), Orlando Bloom (NBC).

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