World Screen April 2022

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APRIL 2022

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THE MAGAZINE OF INTERNATIONAL MEDIA

MIPTV Edition

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APRIL 2022

WWW.WORLDSCREEN.COM

THE MAGAZINE OF INTERNATIONAL MEDIA

Chasing Scale Fred Burcksen ZDF Studios Cathy Payne Banijay Rights Tim Gerhartz Red Arrow Studios Stuart Baxter eOne Tim Mutimer Cineflix Rights

Thomas Rabe RTL Group Johannes Larcher HBO Max International Cécile Frot-Coutaz Sky Studios Julian Fellowes David Olusoga KiKA @ 25

Jamie Dornan

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Joanne Froggatt & Kristen Bell

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CONTENTS

APRIL/MIPTV 2022 EDITION DEPARTMENTS Publisher Ricardo Seguin Guise

WORLD VIEW

By Anna Carugati.

Group Editorial Director Anna Carugati

VIEWPOINT

By Mansha Daswani.

Editor Mansha Daswani

UPFRONTS New content on the market.

Executive Editor Kristin Brzoznowski

TRENDING ON Trending clips on our video portals.

Managing Editor Chelsea Regan Associate Editor Jamie Stalcup

JAMIE DORNAN

JULIAN FELLOWES

Associate Editor, Spanish-Language Publications Rafael Blanco

SPECIAL REPORT

DRESSED FOR SUCCESS

Anna Carugati checks in with leading production and distribution groups about the arms race for the best IP.

ONE-ON-ONE

RTL GROUP’S THOMAS RABE

The CEO of the European media group on the need for consolidation to take on the global giants, trends in advertising and more.

HBO MAX’S JOHANNES LARCHER

The head of international at the streaming service talks global expansion, original content and the battle for consumers’ time.

IN CONVERSATION

SKY STUDIOS’ CÉCILE FROT-COUTAZ

The original content arm of the European pay-TV giant has ramped up its ambitions under its new CEO.

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BY THE BOOK JOANNE FROGGATT

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TVLISTINGS PROGRAM LISTINGS FOR 80-PLUS DISTRIBUTORS

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Business Affairs Manager Andrea Moreno Contributing Writers Steve Clarke Andy Fry Joanna Stephens Jay Stuart David Wood

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WORLD VIEW

BY ANNA CARUGATI

The Power of Programming As I’m writing this column, war rages in Ukraine, and the world is in a state of heightened alert. I hope with every cell in my body that by the time you read this, the death and destruction will have stopped. In the meantime, I can hardly disconnect from news reports from the region.

I receive updates on my cellphone. I read articles online. But it is the TV that I turn to the most, with its live, real-time coverage and attempted interpretation of events. I say “attempted” because developments are seen through the fog of war.

The newsflashes on my phone are useful, if not overwhelming. The articles I read offer background and context. But video’s blend of images and words, for me, is unmatched by other media. I choose to watch video on television from established news outlets that have earned their credibility, demonstrated journalistic standards and proven their independence. I have my favorite anchors and correspondents—many are the same who guided me through the pandemic. I rely on their presence. I allow them into my home daily. Watching them becomes part routine, part ritual. With so much uncertainty, it’s reassuring to have constancy.

But too much of a good thing can be bad. I’ve become addicted to news coverage from Ukraine, which is fueling my increasing fears and a sense of helplessness.

Fortunately, there is another side to video. Not only is it effective and efficient in informing (when used responsibly), but it can also provide a much-needed, welcome and salutary distraction. Didn’t we all just learn this during Covid? Doesn’t a favorite show, whether fiction, factual or entertainment, provide a much-needed escape—a salve for our mental health?

We become attached to beloved characters, intrigued by moral dilemmas, gripped by criminal investigations, transported by science fiction, tickled by comedy, absorbed by cooking and home improvement, and take sides in dating and competition shows. Regardless of the genre, if the show is good, we get inexorably caught up in the “what happens next?”

There is such an enormous range of shows from which to choose—too many, some say. Difficult to find, observe others. Oh, I have to pay another subscription to watch that, complain still others.

This abundance of programming is caused in large part by the competition among streaming platforms as they vie for subscribers. In reaction, broadcasters have been morphing from traditional, stand-alone linear channels to multiplatform content providers. They have expanded catch-up offerings, launched SVOD or AVOD services.

And they, too, are spending significant sums on content.

A perfect example is the RTL Group. As CEO Thomas Rabe tells us, the group is investing in programming, boosting its streaming offerings and consolidating assets, all to better serve consumers and compete with the global tech companies.

HBO Max has set its sights on being in the top three SVOD players in every market it operates in, and highquality originals from around the world will be key to that effort, Johannes Larcher, head of the platform internationally, tells us in this edition.

Aware of competition from the global streamers, Sky in Europe is doubling down on what it has always done best: provide a broad range of content, quality customer service and a user-friendly interface. As Cécile Frot-Coutaz, the CEO of Sky Studios, explains, premium original drama and comedy play a critical role in cementing the connection subscribers have to Sky. SVODs, AVODs, FAST services, linear channels and broadcast groups are all in a race for viewers, talent and great ideas. Sitting on the sidelines of this heated competition, and supplying a great deal of content, are production and distribution companies.

Audiences want to see relatable situations and characters. Though most often that means a show with domestic roots, fare from other countries and cultures— provided the storytelling is authentic and the execution of high quality—is capturing viewers near and far.

In our main feature, we talk to executives from leading production and distribution groups and hear how they have honed the skill of spotting shows that have the potential to travel. They know a good idea can come from anywhere and help writers and producers find funding and the right platform for their projects.

We also hear from one of the most successful writerexecutive producers, Julian Fellowes, the creator of Downton Abbey and, most recently, The Gilded Age; and Jamie Dornan, who takes us inside the grueling thrill ride that was the production of the critically acclaimed drama The Tourist.

Just by writing this column, I’m reminded of how many series I want to watch. Too many shows; not enough time! But, first, I will catch the latest updates on Ukraine—on TV.

Doesn’t a favorite show, whether fiction, factual or entertainment, provide a much-needed escape?

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VIEWPOINT

BY MANSHA DASWANI

20 Years, Already?

It’s pretty shocking how many of the most-watched shows in the U.S. in 2002—a time when American content still ruled the roost globally—are still on the air today, in some form or another.

The number one show that year was CSI: Crime Scene Investigation; after a six-year break, that drama was rebooted by CBS as CSI: Vegas. Joe Millionaire, which commanded a whopping 34.6 million viewers for its debut season finale, was resurrected this year as Joe Millionaire: For Richer or Poorer on FOX. American Idol premiered that year; more than 20 million people tuned in to see Kelly Clarkson crowned the show’s first winner. It’s on a different network today but still commanding loyal audiences, as is Survivor, another of 2002’s top-rated series. Law & Order was also in the top ten that year; that show, too, is back on NBC’s grid after a 12-year break. The spin-off Law & Order: Special Victims Unit is still on the air, making it the longest-running U.S. prime-time live-action series in television history. (So, if there’s one constant in the constantly changing media business, we can safely assume it’s Dick Wolf.)

What else happened in 2002? I strolled into World Screen’s (then much smaller) office, nervous and anxious and excited, to meet with Ricardo Guise and Anna Carugati in the hopes of scoring a job. I had just completed my Master’s degree at New York University.

With a background in writing about music and TV—in the dizzying heyday of the explosion of pay channels in Asia, as Rupert Murdoch was courting Wendi Deng and China—I had looked at every entertainment journalism job posting I could find and was coming up empty. But then I met Ricardo and Anna—who, as it turns out, knew my former boss and mentor—and, well, clearly, I’m still here!

And what a time to be covering this business. I’ve frequently blathered about diversity and representation on these pages over the years. To be honest, there are still things I hear and read daily that make me properly cringe about how far we still have to go. And yet, the progress has been amazing. I was talking to a fellow British Asian friend recently who mused that when he was watching CHiPs as a kid, he liked to pretend that Erik Estrada was of Indian descent to feel like there was someone on television who looked like him. What a different universe we live in now. South Asians and other “underrepresented”—I’ll stop using quotes around that term when we no longer need to have that conversation— communities, on television, and we’re not all terrorists, convenience store owners or doctors? (At the very least, there’s been diversity in our stereotyping.)

The sheer range of everything accessible to us, with a click of a button, is staggering. I was a bit lost in awe at the volume of what’s being made today in a remarkable two-week period earlier this year when I got to speak to the creative force that is Sweden’s Josephine Bornebusch (director, writer and actor, who also happens to sing); the brilliant British Nigerian historian David Olusoga; the delightful and funny Jamie Dornan about his new show The Tourist; and the fearless Roo Powell, a mother of three in her late 30s whose Investigation Discovery series, Undercover Underage, sees her pretending to be teen girls online to identify child predators. If I start to think about all the other amazing interviews I’ve conducted over the last two decades—giggling with Andrew Lincoln; being starstruck by Idris Elba; telling Gary Barlow that I had met him in a previous life when he was just a singer, not a TV show judge, and I was making my way as a music reporter—I honestly cannot believe my good fortune.

But perhaps my greatest pride, professionally and personally, has been the role I played in getting World Screen to where we are today: From starting our flagship daily newsletter, World Screen Newsflash, soon after I joined the company to driving our coverage of the Asia Pacific—a beat that I still adore—to helping to accelerate our digital expansion, especially over these last two years. It’s never been easy. And I’m glad it wasn’t. Blood, sweat and tears have gone into these stunning print issues over the years—especially the ones that clocked in at 700-plus pages (and I do recall seeing one being used to prop up a patio umbrella on the front lawn of the Grand one blustery night)—and I’m so proud of every single one.

I have to say, the prospect of being able to celebrate my 20 years with the company (and, insanely, 25 years of covering TV) in Cannes, as the world starts to adjust to living with this seemingly never-ending pandemic, brings me tremendous joy. This business is remarkable, isn’t it? How lucky are we that we’ve been able to convene in one fabulous city or another every few months, dig deep into this medium that we all love, and have some fun in the process? I know this MIPTV will be different, with a shocking war being waged on the continent and as we all fret about another variant on the horizon. But I know I speak for many when I say I honestly cannot wait to be back— hopefully for many more markets to come.

The sheer range of everything accessible to us, with a click of a button, is staggering.

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UPFRONTS

Starstruck

Banijay Rights Rogue Heroes / Then You Run / Starstruck Leading Banijay Rights’ slate, Rogue Heroes, known as SAS: Rogue Heroes in the U.K., gives a dramatized account of the SAS special forces unit, formed under the darkest days of World War II. Written by Steven Knight (Peaky Blinders), the series centers on a young officer who creates a radical plan for an undercover unit. Then You Run follows four friends whose perfect summer holiday turns dangerous after crossing paths with some of Europe’s most nefarious people.

Starstruck, a new entertainment format, sees ordinary members of the public team up to transform into music icons such as Tina Turner and Freddie Mercury. “All three of these titles have global appeal in abundance” and “epitomize Banijay Rights’ world-class, multi-genre portfolio,” says Claire Jago, executive VP of sales and acquisitions for EMEA.

“We continue to bring fresh programming and content from around the world to our buyers.”

—Claire Jago

Boat Rocker How I Got Here / Raufikat’s Better Bake Along / Mary Makes it Easy Boat Rocker’s MIPTV highlights include the travel and adventure series How I Got Here, which sees families recall the sacrifices, struggles and dramatic circumstances that led to their immigration to North America. “How I Got Here has a particularly global appeal, as it travels to different countries every episode and allows the viewers to see those countries through a very personal and touching lens,” says Natalie Vinet, VP of global factual sales. Also on the company’s slate are two culinary shows. In Raufikat’s Better Bake Along, The Great Canadian Baking Show season four winner Raufikat Oyawoye-Salami offers a step-by-step guide to creating confectionery delights. In Mary Makes it Easy, Mary Berg connects with viewers around the world who might need help with their cooking skills by sharing easy recipes.

Raufikat’s Better Bake Along

“Whether it’s heartwarming family stories or homely recipes, all of the shows have a very human perspective.”

—Natalie Vinet

Spy Date

Dori Media Group Spy Date / Power Couple / 4 Hours a Day Dori Media Group has on offer the reality dating show Spy Date. In the format, a former Mossad agent and a professional matchmaker use their talents to manipulate single people into meeting each other “by chance.” Power Couple, meanwhile, centers on partners who are already in longterm relationships. The couples participate in tasks that test different aspects of their partnerships. “In order to win, they need to function together in the relationship, work as a team and know each other,” says Carolina Sabbag, VP of sales for Western Europe, the U.S. and Canada. The documentary film 4 Hours a Day gives an inside look at the consequences of the kibbutz movement, in which mothers were only allowed to hold their babies for four hours a day.

“The last two years have been challenging, but together with our clients, we have managed to cope wonderfully.”

—Carolina Sabbag 20 WORLD SCREEN 4/22

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Eccho Rights Compulsion / Desperate Measures / Chrysalis Eccho Rights’ highlights include dramas from the U.K. and Turkey. From LA Productions, Compulsion stars Leanne Best (Young Wallander, Cold Feet) and Anna Chancellor (Pennyworth, The Watch) in the lead roles. Produced by Clapperboard, the action thriller Desperate Measures centers on an ordinary woman who finds herself deep in the criminal world in a bid to protect her son. The series is currently filming and is slated to air later this year. Compulsion and Desperate Measures were both commissioned by Channel 5.

The Turkish drama Chrysalis “continues to attract new buyers from around the world, with its addictive storyline that has seen it top the ratings charts almost uninterrupted for the past year in Turkey,” says Fredrik af Malmborg, managing director of Eccho Rights.

Chrysalis

“On top of the titles from the U.K. and Turkey, we continue to offer the best in Korean drama.”

—Fredrik af Malmborg

Escapade Media Hacking Evolution: Lionfish / For the Love of Pets / The Best Kind of Beautiful Among Escapade Media’s highlights, Hacking Evolution: Lionfish explores why some introduced non-native species are harmless, and even beneficial, while others, like the lionfish, become unstoppable and devastate regional biodiversity. The documentary “examines a global problem of the invasion of the lionfish across the Atlantic coast, the Mediterranean, the Caribbean and the Middle East,” says Natalie Lawley, managing director. The factual-entertainment series For the Love of Pets offers insights into the Animal Welfare League of South Australia’s state-of-the-art Animal Care Centre at a time when pet ownership has never been higher. Based on the novel by Frances Whiting, the musical drama The Best Kind of Beautiful centers on a family pop band as they learn to share their secrets and heal the wounds of their past.

Hacking Evolution: Lionfish

“These projects highlight Escapade’s offering across various genres and the ability to continue to deliver despite the pandemic.”

—Natalie Lawley

PrestonPlayz

FilmRise Dr. G: Most Shocking Cases / Iron Chef / PrestonPlayz FilmRise’s slate includes Dr. G: Most Shocking Cases, featuring medical examiner Dr. Jan Garavaglia as she provides explanations and theories for mysterious cases of death. Also in the catalog, the iconic Japanese culinary competition series Iron Chef sees guest chefs face off against an “iron chef” in a competition centered on one secret ingredient. The new game-streaming series PrestonPlayz sees YouTuber Preston Blaine Arsement tackle video-game challenges and fight battles in Minecraft. “FilmRise is committed to innovation,” says Melissa Wohl, senior VP and head of sales. “We continue to lead the industry in expanding FAST and AVOD globally by leveraging our expertise in identifying, securing and distributing to the international marketplace high-performing content for our partners.”

“Our proprietary research and data show that all of these programs have proven universal international appeal.”

—Melissa Wohl 22 WORLD SCREEN 4/22

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GRB Studios Death Walker with Nick Groff / Down to Earth with Zac Efron / On the Case with Paula Zahn GRB Studios has on offer Death Walker with Nick Groff, in which the eponymous paranormal investigator explores the most notorious hauntings in the U.S. “Paranormal stories always carry universal appeal, spiking human curiosity anywhere in the globe,” says Hud Woodle, executive VP of international sales and operations. In Down to Earth with Zac Efron, the actor is taken out of his comfort zone and around the world for travel and culinary adventures. The crime series On the Case with Paula Zahn explores intriguing murder cases, with Zahn providing in-depth interviews with those involved and examining forensic evidence. “No one can tell a crime story like Paula Zahn,” Woodle says. “The combination of a fantastic story and impeccable journalism conspire to keep audiences asking for more.”

“GRB is looking for acquisitions at any stage of development, from concept to ready-to-air.”

—Hud Woodle Down to Earth with Zac Efron

Aziz

Inter Medya Aziz / The Girl of the Green Valley / Destiny Inter Medya’s Aziz tells the story of a man whose fate is changed when he kills a French delegate’s son. He runs away and is presumed dead but returns two years later and has to start his life over again. “After his dense emotional chaos, he will get to know himself better and find his true love,” says Can Okan, founder and CEO. The Girl of the Green Valley traces the life of a girl who is tortured by her adopted family until she finds respite on a farm with Metin, a timid, middle-aged man.

Destiny centers on a young woman who, despite being abused and neglected her entire life, cannot be brought down by anyone. Since she grew up in darkness, she learned to fight in it. “This year, we expanded our catalog with this season’s brand-new and [hit] titles,” Okan says. “We are excited to present our newest titles to our business partners.”

“Our new dramas have great potential in the international market.”

—Can Okan

MarVista Entertainment

Cruel Instruction

#FBF / Cruel Instruction / A Godwink Christmas: Miracle of Love MarVista Entertainment, which is now part of FOX Entertainment, counts among its MIPTV highlights the young adult drama #FBF. Starring Ashley Judd, the movie centers on a daughter who winds up with her mom’s laptop and tries to repair her parents’ marriage. Cruel Instruction follows two troubled teen girls trapped inside a behavioral rehab that uses traumatizing tactics and their attempt to escape. In the latest installment of the MarVista Godwink Christmas holiday movie franchise, A Godwink Christmas: Miracle of Love, a young nurse and a local writer find inspiration in each other before realizing fate has brought them together. “MarVista’s slate provides a high volume of entertaining movies featuring notable talent and fresh, unique stories across a variety of genres,” says Jody Cipriano, senior VP of global distribution.

“MarVista is introducing more premium movies with elevated storylines and talent that will appeal to audiences worldwide.”

—Jody Cipriano 24 WORLD SCREEN 4/22

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SATOYAMA

NHK Enterprises SATOYAMA / Radioactive Forest 10 Years After / Hidden India: The Golden City of Jaisalmer (w/t) Narrated by Sir David Attenborough, the NHK Enterprises documentary series SATOYAMA captures the beauty of satoyama life. “Japanese regions known as satoyama embody a wealth of human wisdom for turning nature’s fury into agricultural bounty,” says Afumi Watanabe, chief manager for the content distribution department in the content development center. It is a co-pro with ARTE France.

Radioactive Forest 10 Years After, co-produced with Curiosity Stream, picks up ten years after the Fukushima nuclear accident to spotlight the residents and scientists trying to find a way back to normality. Hidden India: The Golden City of Jaisalmer (w/t) is a co-pro between NHK and India’s Séance Entertainment that looks at the maze-like streets of the fort and its buildings that are covered with intricate carvings.

“The world where life flourishes in the satoyama is revealed in this documentary in crystal-clear 8K detail.”

—Afumi Watanabe

Dark Doubt

Nippon TV Dark Doubt / Turbo Brain An escape game show with a horror twist, the Nippon TV format Dark Doubt sees contestants try to break out of pitchblack stages before attempting to clear missions. “Placed in various unknown locations, contestants must work together to navigate through the dark to try to escape,” says Tom Miyauchi, head of formats. “It is an ultimate challenge of horror, testing to see who will manage to go through the dark despite all doubts.”

In Turbo Brain, contestants must answer tough questions at top speed, with six individuals participating in a one-on-one knockout tournament to be crowned champion. “The universally themed questions are visually engaging and cognitively demanding,” says Miyauchi, adding that the format “allows viewers to immerse themselves in the show just like the contestants.”

“We are creating new game shows with innovative concepts that can be adjusted to fit buyers’ needs.”

—Tom Miyauchi

ORF-Enterprise Soko Linz / The Egg—Bursting into Life / Lake Tanganyika—Africa’s Blue Heart ORF-Enterprise is spotlighting the drama Soko Linz, a spin-off of Soko Kitzbuehel, which recently celebrated its 20th and final season. The new series follows a team operating out of the Austrian town of Linz, known for its steel and creative industries. ORF UNIVERSUM’s first new title kicking off the 2022 season of blue-chip documentaries, The Egg—Bursting into Life is a natural-history program that incorporates stateof-the-art science. Lake Tanganyika—Africa’s Blue Heart, meanwhile, gives viewers a glimpse of the shores of one of the largest lakes on Earth and the animals that call it home. “The lake shares many of the ocean’s characteristics,” says Armin Luttenberger, head of content sales international. “Glorious sunsets, occasional storms with terrifying waves and waters filled with sardines, colorful fish, crabs and even sponges.”

Lake Tanganyika—Africa’s Blue Heart

“Documentaries from ORF’s portfolio, as well as original fiction content from Austria, are the cornerstones of our catalog.”

—Armin Luttenberger 26 WORLD SCREEN 4/22

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Paramount Global Content Distribution From / Ghosts / Long Slow Exhale Paramount Global Content Distribution has a robust content lineup from Paramount Pictures, Paramount Television Studios, CBS Studios, CBS Media Ventures, CBS News, Showtime Networks, Nickelodeon, MTV Entertainment Studios, Smithsonian Channel, VIS and Miramax, as well as third-party partners. Highlights include From, a horror series set in a nightmarish town. Also on offer, Ghosts has been airing on CBS. “Ghosts is based on the popular BBC format and has received rave reviews in the U.S.,” says Lisa Kramer, president of international TV licensing at Paramount Global Content Distribution. The drama Long Slow Exhale is set in the high-stakes world of women’s basketball, following a coach in the middle of a potentially career-shattering scandal.

“From comes from the producers and a star of Lost— fan favorite Harold Perrineau.”

From

—Lisa Kramer

Red Arrow Studios International Plan B / The Friedmanns / Bet Your Lucky Stars

Plan B

In each season of Red Arrow Studios International’s anthology series Plan B, an individual employs the eponymous agency, which has the power to return them to the past and potentially alter their future. Another scripted series in the company’s catalog, the drama The Friedmanns centers on a family determined to rebuild their lives in the wake of tragedy. “It reflects life as it is and doesn’t shy away from tackling controversial themes, but it manages to do so in a positive and aspirational way,” says Tim Gerhartz, president and managing director. From Red Arrow Studios International’s format catalog, the game show Bet Your Lucky Stars sees contestants bet on the general knowledge and skills of celebrities to help them win. “It’s perfect family viewing,” says Gerhartz.

“We are really looking forward to returning to Cannes and showcasing our strong slate of scripted, formats and premium factual to our clients in person.”

—Tim Gerhartz

Best Sellers

SPI International The Bricklayer / Best Sellers / Mack & Rita Starring Aaron Eckhart and Nina Dobrev, The Bricklayer tops SPI International’s MIPTV highlights. The action-thriller centers on a former CIA operative who is forced out of retirement to unravel an international conspiracy. A dramedy, Best Sellers features Michael Caine as a retired author who reluctantly embarks on a final book tour to help out a young publisher (Aubrey Plaza). Another comedy in SPI’s catalog, Mack & Rita follows a woman in her 30s who wakes up as a 65-year-old after being struck by lightning. Diane Keaton and Elizabeth Lail star. “We pay close attention to bringing highquality, critically acclaimed productions with A-list stars to our audiences globally,” says Berk Uziyel, CEO. “Our portfolio of titles always includes movies with familiar faces that viewers from all over the world can recognize and enjoy.”

“Our highlights for MIPTV have high production values, catering to the needs and tastes of traditional television viewers as well as digital audiences.”

—Berk Uziyel 28 WORLD SCREEN 4/22

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STXtelevision Astrid & Lilly Save the World / Rise of Empires: Ottoman / Kid 90 From STXtelevision, Astrid & Lilly Save the World is a supernatural dramedy that follows two teenage besties hunting down monsters in order to close an interdimensional portal. It “fuses a classic sci-fi fantasy narrative arc with modern, diverse themes of inclusiveness, diversity and female empowerment and delivers a rocking story to its 16-to-24 audience,” says Danny Goldman, global TV distribution executive at STXtelevision. Rise of Empires: Ottoman tells the story of Mehmed the Conqueror. It “represents an evolution of historical programming, with its mix of dramatic and documentary coverage of the East-versus-West battle for control of Constantinople,” says Goldman. The doc Kid 90, meanwhile, offers an intimate exploration of the challenges of fame in the 1990s.

Astrid & Lilly Save the World

“The STX slate continues to grow, offering both finished programming in all genres and also a future slate of development projects that are anchored by access to the world’s top talent.”

—Danny Goldman

Trinity Broadcasting Network TBN / TBN Kids

Drive Thru History on TBN

TBN is a faith and family network featuring documentary, variety and scripted programming. A sweet spot is the highquality, doc-style series and specials that provide a faith-filled look at many of the most-talked-about events of today. All programming featured on the network is produced with a global perspective that represents TBN’s faith-based audience.

The network is interested in finding additional international partners to expand its reach. TBN Kids is a faith and values channel for children. It features a mix of high-quality, familyapproved live-action and animated content, including music, seasonal specials, daily devotionals and kid-friendly family movies. The selection is carefully curated and biblically-based.

TBN Kids is open to international partners looking for longterm partnerships to grow this content category.

Stories to Stay Awake

ZDF Studios Stories to Stay Awake / Africa from Above / Pettson and Findus From ZDF Studios’ drama catalog, Stories to Stay Awake refreshes Chicho Ibáñez Serrador’s horror anthology series with the help of contemporary Spanish directors. “The anthology revolutionized the Spanish television landscape back in the ’60s,” says Fred Burcksen, president and CEO of ZDF Studios. “Now, more than 50 years later, it returns to transform it once again.” In the factual highlight Africa from Above, viewers are taken on an aerial adventure to see the natural wonders and diverse habitats of the continent while also getting to know the people who live across its various countries. The animated series Pettson and Findus follows the adventures of an inventive farmer and his lively cat. “We are presenting 26 brand-new episodes full of creative, heartwarming and enjoyable stories,” says Burcksen.

“MIPTV 2022 is the first market for our just-rebranded company ZDF Studios.”

—Fred Burcksen 30 WORLD SCREEN 4/22

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Jamie

Dornan J

amie Dornan has become adept at seamlessly moving back and forth between film and television; indeed, the prolific Irish actor had two high-profile releases this winter, with Kenneth Branagh’s buzzy Oscar-bait feature Belfast and Jack and Harry Williams’ critically acclaimed BBC One series The Tourist.

Sold by All3Media International, the six-parter casts Dornan as The Man, who we meet driving through the Australian outback, belting out the Kim Carnes classic “Bette Davis Eyes” before being run off the road by a semi-truck. He wakes up in a hospital with amnesia, setting him off on a journey to figure out who he is and why someone is trying to kill him. Dornan tells World Screen about the grueling shoot, what attracted him to working with the Williams brothers and the opportunities he’s seeing across the film and television landscapes today.

By Mansha Daswani WS: What appealed to you about the script and the concept of The Tourist?

DORNAN: It was kind of peculiar in the best way. It had me questioning lots of different aspects of what was going on.

Whenever I felt comfortable with it, it changed in the best way. I loved the way it was playing with tone and structure. And I thought it was really funny. It was an interesting blend of darkness and humor. I had kept an eye on what Two Brothers Pictures had been doing in recent years. They’ve had their fingers in a lot of very tasty pies, and I do think they have a unique voice within television in the U.K. It was a departure from the things I’d done recently. And I had an eye on doing something in television because it had been a while for me. So I was intrigued by it all, particularly when I met [the director] Chris Sweeney. I had loved Back to Life. I think it’s one of the best things BBC has put out in years. So the combination of all those things was pretty alluring to me.

WS: How do you even go about preparing to play a character like The Man?

DORNAN: It’s a difficult one! [Laughs] I’ve played characters before who have lost their memory. I’ve dealt with what that is, the trauma of that, and the panic. Not that I don’t have to plug back into what that is, but I have dug around in that area before, which is good. I had a chance to really play. The backstory was being written for me, and then I was able to add to that from everything we don’t hear about pre what [Jack and Harry Williams] put in the script, as we reveal and discover as the series goes on. There’s so much of that confusion and dismay and horror of what he was finding out. I wanted it to feel as much as possible like he was finding it out for the first time.

A lot of it is trying to have an understanding of where you think his origins are, what his backstory is, but also trying to forget it! [Laughs] I’m trying not to know too much because the sincerity of that news is impactful for him. That was a fun challenge. Luckily, it was so cleverly written on the page. Trying to play each beat with total conviction and sincerity—you don’t want the audience to think that maybe he’s trying to hide something. We’re trying to keep it at: This is news to him; he is on this journey with you. If we lost that, it wouldn’t work. I’ve been mindful of that the whole way through. This

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shouldn’t work in so many ways, and they’re both so confused, yet they find themselves needing each other. We didn’t have a huge amount of time for rehearsal. I did one Zoom rehearsal with Danielle and one with Shalom [Brune-Franklin, who plays Luci Miller]. It’s complicated—there’s a delay, and we don’t know each other yet.

We haven’t worked with Chris Sweeney yet. You are thinking, will this work? But I remember our first day together going, this is going to be fine. You get a vibe from someone, you pick up on an energy, you fall in line with someone, and it was very easy to do that with Danielle. She’s brilliant. I love what she did with that character. And I love that The Man was able to fit into that in a fairly galvanized way.

BBC One, HBO Max and Stan are among the partners on the All3Media Internationaldistributed The Tourist.

is difficult when it’s jumping around so much—particularly in episode five, where there are all these trippy flashbacks.

The whole thing was a trip! [Laughs] WS: I imagine it was also a grueling shoot, given The Man is having a terrible few days, and you’re out in the middle of the Australian outback.

DORNAN: It was the toughest shoot of my life. It’s the longest shoot of my career so far. We had 92 shooting days. I worked 85 of them. That’s a lot! To put it into context, [my co-star] Danielle Macdonald worked like 42. It was just a very physically and emotionally demanding job. My father died ten days before we started shooting. So it was a rough ride for me, to be honest. But what I’m thankful for is that I’m surrounded by an unbelievable cast and crew who were just the floating aides that I needed for that time to get me through that whole five months. And even just the landscape, which looks so beautiful on-screen and is so beautiful, it’s a tough environment to shoot in. There are flies and heat, and then it’s cold. It was mainly hot when we began, freezing cold when we ended, and everything in between. Sandstorms. It’s not easy. But it’s still easier than most people have it in the world, so I’m trying not to complain too much! But in terms of getting a production over the line and finishing your days, it was a task for everyone. There wasn’t one department that didn’t have a very tough shoot! When you go through something like that, and you put it all out there, it’s all the more rewarding to have it be received the way it’s been received and to have been loved by so many and watched by so many.

WS: The Man has such fantastic chemistry with Danielle Macdonald’s character, Helen Chambers, and you feel it right from that first scene with both of you.

Did it click that quickly on set too?

DORNAN: It did just click! It was cool. Danielle is an absolute pro. For a start, she’s an unbelievable actor.

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WS: Was it strange to be back on set after being isolated for so long during Covid?

DORNAN: I did Belfast in Covid, and that was all the weirder because it was the first job in the whole industry to shoot in the U.K. There were no vaccines. This was a different Covid landscape entirely.

That was crazy; I couldn’t believe we were getting to shoot something. By the time [filming] The Tourist came along, the U.K. was not in good shape, but Australia, particularly South Australia, was totally free. So it was like a holiday going over there—we didn’t have to think about it. In the penultimate week, there was an outbreak, and it spread quite badly for a while. But I feel like any actor who has been able to work on anything in the last couple of years should consider themselves lucky given the heartache of so many people.

Particularly people in the theater who basically lost their careers. It’s heartbreaking. So we just felt fortunate that we could be somewhere, in a safe environment, do all the precautions a nd get something over the line. I cannot wait to be on a set where Covid isn’t mentioned!

WS: You continue to move seamlessly back and forth between movies and television. How do you manage a schedule, given that I know the timelines can be quite different for the two mediums?

DORNAN: I think you just feel lucky that either of those two mediums wants you to be involved, let alone both!

I’d love to try to continue both throughout my career.

It’s tough, isn’t it? You just have to lay it all out and see how to make it work. I feel fortunate that I’ve had success in both. And my future looks very much both!

[Laughs] I’m doing a movie next and probably a movie after that, but then there’s a couple of TV things I want to do. It all becomes a juggling act. I’ll have my say, but then it’s not up to me to be up on all the logistics of it!

It all becomes other people, who take a cut of my money; that’s where they come into force. It’s a balancing act.

But I will continue to follow the scripts and the work that challenge me; I don’t care if it comes as television or film or theater even, which I haven’t done.

Whatever form it comes in, if I’m drawn to it, I’ll find a way to do it.

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Julian Fellowes J

ulian Fellowes began his career as an actor who was writing on the side. His passion for storytelling has paid off critically and commercially. He won an Academy Award for best original screenplay for Gosford Park in 2002 and continued to pen more movies, in addition to plays, novels and TV series. He created, wrote and executive produced Downton Abbey, which depicts the relationships, trials and tribulations of the aristocratic British Crawley family and its loyal servants at the beginning of the 20th century. In HBO’s The Gilded Age, Fellowes turns his attention to the super-wealthy of New York City in the 1880s, as established “old money” families look disdainfully upon the ostentatious “new money” of the robber barons.

WS: What did you want to explore in The Gilded Age? FELLOWES: I read a book about Alva Vanderbilt and her daughter, Consuelo, who was one of the more famous of the “dollar princesses.” I started to read about this period, and I realized, as always with history, that I had been walking past the houses of these people ever since I first went to America a half-century ago and never really taken them in. I sort of knew about the Gilded Age, this period of extraordinary consumerism after the Civil War and these enormous amounts of money before inheritance tax, before income tax, before practically any tax. It wasn’t just that some people were richer than you could imagine; it was that there was an almost whole tier of society that was richer than most of us could imagine. I started to read about the Goulds and Carnegies and Fricks and the double side of the Gilded Age, the ruthless robber barons and their palaces. And then I got interested in the Vanderbilt family.

For a time, I toyed with the idea of doing a series about them. I half sold it to Bob Greenblatt when he was at Showtime. I forget now, but I think I wrote a pilot script. I found my difficulty was that when dealing with real people, I have an obligation to write about what really happened and make them say things they really would have said. This is quite limiting. Some people don’t see it as limiting because they don’t pay any attention to it, and they write what they like. But that doesn’t work for me.

So I gradually came to think that if we were going to do a television series about the Gilded Age, we would do better with fictional families living through very possibly truthful events. And also reference events and news [of the time]. The principal characters, however, would be fictional. The only two I have half-broken that rule on are Mrs. Astor and, I suppose, Ward McAllister. I don’t think you can do the Gilded Age without Mrs. Astor and Ward McAllister. They fashioned and shaped it and made this uniquely American society. That’s what appealed to me.

WS: This world was uniquely American.

FELLOWES: This is a piece of history that could only happen in America. The Americans in the 1870s, 1880s and 1890s were moving on from imitating the Europeans, as they’d done largely

before the war. They were making a way of life that suited them and wasn’t a pastiche of Europe. Their resorts in Newport, these enormous palaces only 20 feet away from the other, with no land, no park, no garden, just enough to get out and walk the dogs and that was it! Because [land] just didn’t interest them. I loved all of that! One of the big plusses of making the show was Newport. I had read about Newport and seen lots of pictures of the cottages, but the insanity of the place is so extraordinary when you are there! Of course, I rather lamented the number of houses that have been pulled down. But I thank the Lord for the Preservation Society there because they saved The Elms [which belonged to Edward Julius Berwind], my favorite of the cottages. It had six weeks to go before the demolition ball arrived. It was saved just in time. All of them were, including [William K. Vanderbilt’s] Marble House.

America, as you know, doesn’t look back much. It’s always looking forward. What’s the next big thing? What are we all going to be doing next year? The idea of preserving the way people spent their holidays 80 years before just didn’t occur to them. They hoped their holidays were enjoyable, but that was then, and this is now! Until the 1970s, preserving houses in New York didn’t get much of a hearing. If it was a piece of valuable property on Fifth Avenue or on one of the cross streets between that and Park Avenue, who cares that this palace was designed by so and so and built in 1881? Get it down, and let’s put up a block of flats! I saw America become more aware of its own history in my own time there. [My interest in the Gilded Age] grew from there, and I thought I would explore it. I hoped we could find an American audience for it, that we could get them interested in their own history instead of being interested in ours. I’m rather pleased that the show seems to be doing well.

WS: What view of class differences in the U.S. does The Gilded Age present, and how do these differences compare to the class differences in the U.K.? I think we Americans own the word “ostentatious”!

FELLOWES: [Laughs] Well, of course, a lot of it in America has always been about money, but quite a lot in Europe has been about money. The poor aristocrat has been a figure of fun for 4/22 WORLD SCREEN 37

By Anna Carugati

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The Gilded Age premiered on HBO earlier this year and has been renewed for a second season.

quite a long time, so I don’t want to make barriers that don’t exist. Of course, the American aristocracy from before the Civil War was very aware of birth. They were often younger sons of gentry families who had come to America—not the sons of dukes but landowners. They came because they were the younger sons, so nothing [of the family inheritance] was headed their way. If they came to America, they could get a reasonable estate. They were continuing the traditions of land ownership they had brought with them. You see that, not all over America, but on the East Coast. Then you have this unique situation that after the war, these fortunes started to arrive of such a magnitude that they really couldn’t be ignored. And the old aristocracy of New York, living in their rather modest houses in Washington Square, sitting in circles to make decent conversation, regarded these newcomers who were building the Petit Trianon [a neoclassical style château on the grounds of the Palace of Versailles] at 45th Street as very suspicious! But Mrs. Astor—whom I think must have been a cleverer woman than she has left evidence for—must have had an understanding of the nature of what she was dealing with. She saw that if these new people were left out and excluded entirely, they would just form a society of their own. It was necessary to find a compromise. She would examine these new people who came to town and make her decision on whether to let them in or not. The society that Mrs. Astor forged was an extraordinary mixture.

WS: You mentioned earlier the “dollar princesses.”

FELLOWES: Yes, then you have the “dollar princesses.” [They were the beneficiaries] of this extraordinary tradition that was quite different from Europe, where a rich American man made all his children rich. To get an heiress in Europe, all her siblings had to be dead! If one brother survives, she gets nothing. The great philosophy of Europe in those days was that once you started to divide a fortune, you began its end. No fortune could survive more than, at most, three generations.

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The British and French couldn’t understand this system whereby Anna Gould could arrive with millions and become the Duchesse de Talleyrand [even though she had] perfectly healthy brothers. Consuelo Vanderbilt had two perfectly healthy brothers, who were both very rich by the time their father, Willie K., had popped his clogs. The British, though, my God! Normally in a season, there might be two heiresses if you were lucky, and everyone concentrated on who was going to get them. Whereas suddenly, these American girls were arriving by the dozen, and all of them could save a noble house from obliteration. So, they were pounced on. I don’t think it was only that. They were also taught very differently socially.

They were encouraged to join in the conversation, have political opinions and weigh in on some historical argument. Whereas [in Britain], a married woman was expected to have a salon if she wanted one to entertain and bring on the arts. But not a young girl. She was supposed to sit there, more or less staring at her feet, until someone asked her to dance. She didn’t jump into a conversation or disagree. And yet, an American girl, sitting next to some minister, says, Oh, I don’t agree with that at all! Of course, they were amazed by this! And the most amazed one was the Prince of Wales, the future King Edward VII. People were a little shy at first, introducing him to these American girls as they arrived. But they soon got over that because once he’d met a couple, and they questioned him and made him laugh and told him jokes, he thought they were great. And so the American girls started to be in the court balls. They became a real crowd within a crowd in society. And by the end, something like 600 of these heiresses married into British families.

It wasn’t all the money. Of course, the money was great, and it gave that society one more generation than it probably would have had in the normal way of things. It was also that they were free and fun. They were so unfussed about [everything] that the English girls had been brought up to fuss about.

WS: I find the character of Peggy Scott in The Gilded Age fascinating for several reasons. Why was it important to include her and her family?

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FELLOWES: To start, I wanted the series to feel very not English.

There wasn’t a big Black community [in England]—although there were people in the ports—because there wasn’t a specific part of the economy that connected with them. That didn’t change until the end of the 1940s when they came in to supply gaps in the labor market. The building trade became very much dependent on this immigrant community. That wasn’t true in the 1880s. I felt that having a Black story would stamp the series as American in a way. But also, I didn’t feel 15 years after the end of the Civil War that we could have a whole drama without some reference to all that. I was puzzled as to how I would do it. Then I read Black Gotham by Carla L. Peterson.

She was describing her own family, writing about her ancestors at the end of the second half of the 19th century and about this Brooklyn community, which I hadn’t known anything about. I was the same as everyone else, thinking of this oppressed minority. The discovery that there was this perfectly established middle class. They weren’t aristocrats, but they were perfectly prosperous. Peterson’s family had had a chain of drug stores, which is why Arthur Scott [Peggy’s father in The Gilded Age] has a chain of drug stores. I felt the combination of having an established position and a perfectly respectable life, but at the same time, those elements of racism crept in, in what was a fundamentally very racist society. These things seemed to me to be an interesting addition to life on 61st Street. I didn’t see how to bind it all together [if I had focused on] the struggling, recently released slave trying to get manual labor. Whereas with the Scott family, I could see how to bind it all together. Then it gave me the opportunity [to include] the Institute for Colored Youth in Philadelphia, which is entirely truthful. That was the principal school

for privileged Black children. I think a lot of people don’t know anything about all those elements of life at that time. I hope it’s interesting for them to discover that whole side of things. I feel that having found this one community—and, of course, there were similar communities in other cities, but we’re in New York for this drama— answered a lot of questions as to how to make it work.

WS: What can you reveal about Downton Abbey: A New Era? FELLOWES: I’m not allowed to reveal all that much! But I can reveal that there are essentially two principal stories and lots of little stories in the Downton movie. One principal story is that a group of them go to the south of France to this wonderful villa.

The other story is of a film being made at Downton, toward the end of the silent era. The servants and Mary are more involved in the film, but a lot of the other family members are involved in the south of France.

WS: Do you have a process when you write?

FELLOWES: I started writing when I was still acting. That was quite a plus for me because when you are acting, you go where the work is. You get on a train; you get on a plane.

You sit in your trailer or dressing room or hotel room. I couldn’t afford to say, Oh, I can only write in my study in Dorset. I’ve always been quite happy to write wherever I am. I have to get on with it. I try to get started at least by about 10 o’clock. Then I break for lunch and bang on after lunch. Of course, you’re always fitting it around things. I comfort myself with the fact that Anthony Trollope said no one should write for more than three hours a day. So, I use this as my excuse when I feel I’ve been rather lapsed! If it worked for him, who am I to quarrel with that?

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Banijay Rights’ Marie Antoinette.

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DRESSED FOR

SUCCESS As the streaming wars shift into high gear, Anna Carugati checks in with a range of leading production and distribution groups about the arms race for the best IP. ardly a day goes by without news about one of the major streaming services. Netflix subscriber growth slows. Disney’s increases and exceeds forecasts.

The Discovery and WarnerMedia merger receives regulatory approval. What shape will their streaming services—discovery+ and HBO Max—take? ViacomCBS rebrands to Paramount and bets heavily on Paramount+.

Comcast’s NBCUniversal will shift content from Hulu to Peacock. AVOD is poised to overtake SVOD this year. And on and on it goes.

Behind the headlines, the streamers are battling for subscribers, talent and IP. Broadcast groups, meanwhile, not believing their days are numbered, are fighting back by commissioning programming tailored to their domestic audiences.

Viewing the battlefield from the sidelines, leading production companies and independent studios see myriad business prospects. Having scale, ongoing contact with producers and jumping on projects early are the secrets to success.

“In the last two years, there has been an amazing explosion of opportunities,” says Stuart Baxter, the president of international distribution at Entertainment One (eOne).

“More broadcasters and platforms are

H

commissioning shows than ever before, and the major beneficiary is the production community. Our distribution business is also benefiting from the culmination of streamers, AVODs and broadcasters, resulting in more choices and sales opportunities for our vast library. These are the golden days for both the producer and distributor.”

WAVES OF CHANGE Cathy Payne, Banijay Rights’ CEO, sees three concurrent waves impacting the distribution business: “Firstly, studio-backed streamers continue to hold their product for their own direct-to-consumer services while reclaiming certain library content as it comes out of license off other platforms. This has reduced the amount of content available to other services and traditional linear clients, which means they need to look elsewhere.”

But at the same time, Payne continues, “linear broadcasters are still performing extremely strongly. [They] are competing by expanding what were originally their catchup services into unique VOD offerings in their own right—often comprising a heavily domestic flavor. This allows broadcasters’ commissioning budgets to focus across linear and VOD. Going forward, you will see an increasing number of content partnerships 4/22 WORLD SCREEN 45

aligning with linear broadcasters to fund their original shows.

“Finally,” adds Payne, “there’s the area of regulation and audience preference to consider. Local viewers like to see local stories, as well as international ones. Layered on top of that, we are seeing increased regulation in relation to streaming services around local market spend. International streaming companies know they need to cater to those local audiences for both reasons, and this is evident through their increased domestic market commissioning.”

These three waves combined create quite an exciting time, Payne explains: “It’s competitive for the best talent, best stories, best IP, and you have to be in a position to be able to offer that. When you have something that everybody wants, leverage can be very high.”

“It’s fantastic,” agrees Tim Mutimer, the CEO of Cineflix Rights. “There is so much demand for content, which is great news for producers and distributors! AVOD has added another dimension, providing a buoyant market with big audiences coming to find content, particularly factual content.

“So, for us, at the moment, that increase in competition has been great,” Mutimer continues. “It means there is a real appetite, whether it’s for premium scripted, premium

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ZDF Studios operates across all segments of the content business, from drama to high-end factual to premium kids’ series such as Theodosia. unscripted or returning shows, which form a staple of our catalog. Broadcasters want shows they know are going to work, will come back again and again, and only have to [invest in marketing] once.”

SIZE MATTERS Undoubtedly, a company consisting of numerous production studios has advantages in today’s competitive market.

“We are very fortunate to be part of the Banijay group, as this provides Banijay Rights with a product pipeline from our companies,” notes Payne. “That said, we still have to compete for said product, and my mantra remains in place that I don’t want any internal producer to work with Banijay Rights unless they feel we’re doing the best possible job for them.

“When you work with Banijay Rights, you’re dealing with a global team of sales experts located in key territories,” continues Payne.

“They know their markets and are deep into the individual ecosystems of those territories.”

Production companies within a large group can also share knowledge and best practices.

But mostly, being part of a group sends a message to the market: We have heft; we can source talent and fund projects.

An example of the importance of scale and message is ZDF Studios, the commercial arm of the German public broadcaster ZDF (formerly known as ZDF Enterprises). As Fred Burcksen, president and CEO, explains,

the new name “expresses more precisely and more accurately what we are. On the one hand, we are a large licensing company selling, co-producing and buying rights. On the other hand, we are a big production group—one that we have built over the last ten years. We are a studio that covers all the elements of the creative process, from early development to the long-tail sales and everything in between.”

“Having scale also means we can make investment decisions fast and early,” adds Banijay’s Payne. “It also boosts the group’s ability to provide resources that support producers in longer-term development or acquiring specific IP. As a result, this certainly provides more options to our production companies.”

However, sourcing programs within a large group is not the only way to successfully service the current high demand for content.

“Being part of a group helps because you get access early, information early and can start sorting out the path [to market],” explains Tim Gerhartz, the president and managing director of Red Arrow Studios International. “Yes, it helps, but I should stress that it’s also part of our ambition and tradition to show the same collaboration and aspirations when we work with third-party producers. Even throughout the pandemic, we increased our investment in shows from both the Red Arrow Studios group and thirdparty productions.”

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“Whereas some distributors can be somewhat forced to work with affiliated production companies in whatever territory they’ve got them, we can scour the world for interesting stories we think resonate,” adds Cineflix Rights’ Mutimer. “We can work with everyone. Experience has taken us to territories such as Israel, France and the Nordics, where creatives are coming up with globally appealing shows that stand out like Rebecca, Manayek, Tehran and Happily Married.”

ENABLING CREATIVITY In today’s race to secure talent and ideas, finding out about projects at their inception has become critically important.

“Getting involved at a very early stage, investing in development, making sure you are in the game as early as possible,” explains Gerhartz. “It’s making sure you are a good partner for everybody in the ecosystem, including the client, the streamer, the platform and the producer.”

Whether a show is from your group or a third party, the key “is getting involved and positioning yourself as an enabler rather than just a distributor,” Gerhartz adds.

ZDF Studios also works closely with producers. “We invite them to come to us; we go to them, especially to independent producers, production companies, writers and talent,” says Burcksen. “We like to talk about ideas with them. What would you like to do?

And how can we help you? Very soon, we are

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Unscripted forms a key part of Cineflix Rights’ multi-genre catalog, with properties such as Channel 5’s popular returning series My Big Family Farm. talking money, so we try to help with development money. We try to help with the financing of the project. We try to find coproduction partners for their projects. Sometimes we bring in our own production companies if that is helpful. It’s a complete spectrum of what we can offer as to how they can realize their visions.”

“For us, it has always been about finding the right talent,” says Jean-Michel Ciszewski, cohead of international drama at Federation Entertainment. “If you look at how we have been interacting with new companies, it’s been focusing on finding the best talent all over the world. We look for local shows that can travel globally—that has been our focus from the beginning—but the range is becoming bigger.

We are still considering the best talent locally who can make a show that can travel globally.”

SCOUTING TALENT Partnerships and first-look deals with talent have become indispensable to securing ideas and projects.

“These relationships are especially key for production and commissioning,” explains eOne’s Baxter. “Traditionally, many of the longer-term deals we’ve had were with producers. However, we’ve seen an evolution over the last couple of years under Michael Lombardo’s stewardship [as eOne’s president of global television], with increased investment in talent-driven deals with actors, writers and showrunners, in addition

to first-look deals with producers. We partnered with a variety of talent and storytellers, including James Patterson for a new series based on his book The Noise; Freida Pinto’s Freebird Films Entertainment on the adaptation of Anuradha Bhagwati’s memoir Unbecoming; [Michael and Paul] Clarkson on Red Rose; and Rawson Marshall Thurber on a live-action series based on Hasbro’s Dungeons & Dragons.”

Cineflix Rights also benefits from working with partners and having early access to content. “We have a joint venture with Buccaneer Media in the U.K.,” says Mutimer. “They produce Irvine Welsh’s Crime and Whitstable Pearl and have lots of other projects on their slate. We work very closely with them. We can help bring in partners early and find presales or co-production partners. It’s important to have that flow of content. Obviously, we work with Cineflix Studios. They produce Coroner, a great show that is four seasons in and doing well all around the world. Reginald the Vampire is also co-produced by Cineflix Studios. And, of course, there’s Tehran, which they co-produce.”

These experienced production and distribution entities have the connections and resources to shepherd a project from its initial idea to financing to placement on a linear or digital platform.

“We have the benefit of being a studio with significant infrastructure and a global presence that allows us flexibility and creativity in our financial models to support writers 48 WORLD SCREEN 4/22

and producers,” says eOne’s Baxter. “We offer a lot of development funding. We attach funding for getting writers or showrunners on board or simply to package and build the story premise. We fund scripts. We help identify where to produce a show. We bring knowledge of tax credits and treaty co-pros that can be very complicated and differ market by market—and even those are changing very quickly. We believe that opportunities will only continue to grow.”

Baxter references eOne’s relationship with Alexi Hawley. “We partnered with him on The Rookie four years ago, and recently he created another project, Graymail. We worked closely with Alexi on the funding and scripts and brought it to Netflix. In the meantime, The Rookie has been so fabulous and consistent for ABC and successfully sold around the world. That led Alexi and our team to recognize that this series is also a great proposition for broadening out, much like other strong franchises. So, he has created an FBI spin-off for The Rookie.”

Not surprisingly, with the wide variety of genres being produced, there is an equally broad range of financing models.

FUNDING FORMULAS “The rule nowadays is that there is no rule anymore,” says Red Arrow Studios International’s Gerhartz. “None of the standard or traditional models are completely disappearing, but the entire market is getting even more complex.

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Red Arrow Studios International is launching The Friedmanns, a drama series from Redseven Entertainment for RTL and RTL+ in Germany, at MIPTV. Financing shows is a game that offers more opportunities than ever, but it also comes with a lot of complexity—it’s our job to put the pieces of the puzzle together.”

“Each show is a new show, fighting for itself,” says Federation’s Ciszewski. “Some are premium shows, for which we look for a coproduction or presale and try to aggregate as many people as possible from an early stage.

Other shows will take two or three key partners and then be distributed traditionally. But we are trying to [create a new model] each time to make a project happen. There are several combinations [available], whether between this streamer and this broadcaster or these two streamers that will join at one point— it’s fascinating how we can make it work.”

Financing models are becoming more flexible, and, as Cineflix Rights’ Mutimer explains, the deficits are getting bigger. “Part of a distributor’s role now is to work with the producer to get content funded. We talk about presales as a route [to greenlighting a project].

We will work with a producer who has a great idea and maybe interest from a broadcaster, but that will not cover anywhere near the whole budget. Even with what they can get from the commissioning broadcaster, combined with a distribution advance, we still need to bring in a presale or co-production partner. We will work with them on those projects; talk to them about the talent and editorial that we think will make the project appealing. We also look for a partner that can

help fund it, and that’s usually in North America. We’ve also got a lot of expertise working with tax credits, particularly in Canada. It’s about working with partners, looking at the show they are trying to fund, figuring out if there is anything we can do and bringing on partners. We’ve been quite successful at that. That used to be the exception; now, it’s becoming the more natural way for us to invest in content.”

SPACE TO CREATE Innovation is not just happening in funding models; it’s been in narrative techniques too, driven by streamers’ need to cast a wide net, limit churn and attract as many new customers as they can.

“In production now, basically everything is possible,” notes ZDF Studios’ Burcksen. “There is much more respect for original stories than there used to be. [The new platforms] boosted creative possibilities. We’re very grateful for that.”

The streamers have helped non-Englishlanguage programming reach a broader audience. “It comes down to the story being as original as it can be; no matter what language, no matter the topic, anything is possible,” adds Burcksen.

Burcksen is noticing a few shifts in buyers’ needs. Though the demand for diverse stories and casts remains strong, there is a trend toward series with fewer episodes. “Two or three years ago, the standard was that a season 50 WORLD SCREEN 4/22

had ten episodes, maybe 12. Now it’s going down to six or eight episodes in serialized projects. [Also], the demand for stand-alone episodes is increasing slightly, probably as a reaction to all the serialized stories. Now there is demand for series with stand-alone episodes.”

Demand remains robust for big-budget drama. Banijay Rights is rolling out Rogue Heroes, based on a book about the SAS special forces unit and adapted for the small screen by Steven Knight of Peaky Blinders fame; and the historical drama Marie Antoinette from Deborah Davis, the writer behind The Favourite.

“I’m also really surprised at how much business we’re doing with what I call our ‘superdomestic programming,’ which by nature can often be a little lighter in tone,” says Payne.

“Signora Volpe, My Ballerina and Detective Maria Kallio are three that sit in this banding, all of which are attracting a lot of attention.”

KNOWN OR NEW? In the costly world of programming, mitigating risk is a top priority for buyers and commissioners. That is why the trend for movies and shows based on existing IP is as strong as ever.

“We’re getting a lot of traction with the established Hasbro brands because there is a fan base waiting for them, and to a degree, some of the risks of marketing [for them] is mitigated,” says eOne’s Baxter. “We’ve partnered with Jonathan Entwistle to develop Power Rangers and teamed up with Beau

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Willimon to develop a series adaptation of the board game Risk.”

“The trend to look for shows based on books, IP or shows that are spin-offs or reboots has been around for a long time, and we have had a lot of success with series like Bosch and Vienna Blood, which are both based on books,” notes Red Arrow Studios International’s Gerhartz. “The pandemic just exacerbated that trend because it was all about playing it safe and managing risk. What better way to do that than betting on something that has already been successful?”

STAR POWER “People want shows they can market,” explains Cineflix Rights’ Mutimer. “They are operating in an incredibly competitive arena, and they want to know what can be used as a hook to bring in audiences. We’re looking to package talent into our content. Dougray Scott was in Irvine Welsh’s Crime. It was important for us to have a strong marketable name. Jacob Batalon is the star of Reginald the Vampire. He had a big role in Spider-Man: No Way Home, so we know it’s going to be very easy for broadcasters to market him. Reginald the Vampire is based on a series of novels. Established IP also helps. Irvine Welsh’s Crime is adapted by the author from his best-selling novel.

Whitstable Pearl is also based on a series of

novels. We’re looking at hooks that can help people market a show, but it’s got to be an authentic original story. That’s why we look around the world for ideas we think will resonate and might be a little bit different.”

LOCAL WINS “At the same time, especially on national television, it’s original, authentic, local ideas that make a difference,” Gerhartz adds. “Local content is king for local platforms, especially as projects based on preexisting IP can come with a price tag that not everybody can afford. Original ideas are key, and if they are really good, they can take off and travel as well.”

One such example is the family drama The Friedmanns. “Commissioned by RTL in Germany, it is the first drama series produced by Redseven Entertainment and is a good example of how a locally developed show can capture the zeitgeist and a tone that works for a national platform but still has the potential to travel internationally,” explains Gerhartz.

For eOne, Cruel Summer, “a huge success both critically and ratings-wise for Freeform, is a brand-new original idea,” notes Baxter. He points to another original series, Yellowjackets.

“Showtime’s second-highest, most-streamed drama series in their network’s history.”

Production and distribution companies have been nothing if not busy, keeping up

with requests for programming from an increasing roster of buyers.

“As all these streaming services aim to grow and drive subscriptions, the hunt for content will remain competitive,” notes Banijay’s Payne. “And in terms of library content, the advent of AVOD platforms— including FAST offerings—is driving demand for well-established library franchises.

“Seemingly, there have never been more places to watch content, and we will no doubt see how all these services team up or consolidate to compete in this ever-competitive space,” continues Payne. “For instance, the linear carriage platform deal becomes a VOD platform carriage arrangement. Meanwhile, the market will continue to be hot for IP, and the recent investments made in music and literary intellectual property proves that horizons continue to expand in this world.”

Of course, there are questions about the sustainability of all the streamers. How many SVOD services can people afford? What about audience availability—will it decline as people return to “normal” post-Covid-19? Whenever that normal arrives—there could be another variant that emerges. But the industry has largely learned to live and work with life as we know it now. Like many of his colleagues, ZDF Studios’ Burcksen is optimistic about the coming year: “We are better prepared now, so there are reasons to be confident.”

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APRIL 2022 EDITION

Crime Drama / Book Adaptations / Joanne Froggatt

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CONTENTS

Familiar Faces Peak TV has made a forceful return after pandemic woes slowed the production of shows over the last two years. Per FX Research, a whopping 559 original scripted series for adults played out on U.S. services in 2021.

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

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Drama ©2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvdrama.com

And that figure doesn’t even take into account the booming number of non-English-language series being commissioned across the globe—and increasingly striking a chord with American audiences.

So how does one even begin to make an impact amid that sheer volume? As we showcase in this edition, known IP helps. We see it in the crime-drama genre, where a wealth of producers are looking at real-life mysteries to bring to audiences. We see it in the frantic book-adaptation market, where the quest to secure the buzziest, best novels is at a fever pitch.

And we see it in what’s resonating on social media. Take a look at a recent Social Wit List, which we at World Screen roll out every month in association with The WIT, exploring what new shows generated traction on Instagram. In February, of the eight dramas in the top ten new shows with the most Instagram followers, seven were based on recognizable names and brands, including Pasión de Gavilanes, a sequel to the 2003 Telemundo telenovela; Power Book IV: Force, the latest in STARZ’s hit 50 Cent franchise; and Inventing Anna, Shonda Rhimes’ limited series about fraudster Anna Delvey. Other shows that created buzz in February? Hulu’s Pam & Tommy, about former Baywatch star Pamela Anderson and Mötley Crüe drummer Tommy Lee; Bel-Air, a dramatic reboot of the 1990s sitcom The Fresh Prince of Bel-Air; and the spin-offs All American: Homecoming and Vikings: Valhalla.

Of course, with the market so enamored with reboots and franchise extensions, one does wonder about the hopes for truly breakthrough ideas, like Netflix’s global hit Squid Game.

If anything, the eye-popping success of the South Korean original speaks to the value of good, old-fashioned word-ofmouth marketing. After everyone you know has said some version of, “I’m watching Squid Game, I’m obsessed,” how can you not tune in? I’m partial to that vintage idea of actual recommendations—not some AI algorithm trying to decipher what I should watch based on what I last watched. So drop me a line, dear readers (mdaswani@worldscreen.com). I know there are more than 500 series available for me to view—fancy helping me choose a few?

—Mansha Daswani

GET DAILY NEWS ON TELEVISION DRAMA

FEATURES PRIME CRIME From fusing genres to taking inspiration from real-life misdeeds, the crime-drama genre continues to evolve to satisfy audiences across the globe.

BY THE BOOK With known IP proving to be a winner, book-based TV adaptations are in high demand.

INTERVIEW

JOANNE FROGGATT

The star of Angela Black shares what drew her to Jack and Harry Williams’ psychological thriller.

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Two Years and One Day

Atresmedia Televisión Thistle (Cardo) / The Age of Anger / Two Years and One Day Atresmedia Televisión has on offer Thistle (Cardo), which tells the story of a Madrid woman in her 30s who is hooked on drugs and tied up in toxic relationships. An accident will change her life and force her to face uncomfortable truths. Based on the novel by Fernando J. López, The Age of Anger centers on teenager Marcos, accused of murdering his father. Teachers and students are thrown into a sea of doubt, as Marcos’ charisma made him seem almost perfect. Two Years and One Day narrates the downfall of an actor who is sentenced for a crime of religious offense for an innocent but unfortunate joke. Jose Antonio Salso, head of acquisitions and sales, notes that the series cover “current issues that take place in almost all countries around the world.”

“These are big premium TV series with amazing new stories that reflect today’s social concerns.”

—Jose Antonio Salso

ATV Destan / Lone Wolf / For My Family ATV’s Destan centers on Akkız and Batuga, each of whom carries lies that could cost them their lives. The two become allies by fate and end up proving to the world what a disabled prince and a slave girl can achieve. The highlight Lone Wolf centers on Altay, a man who earns his living by participating in an illegal fight club. When a woman asks for his help to escape and reunite with her little girl whose life is in danger, Altay accepts, but the club owner comes after them. Also included in ATV’s catalog, For My Family begins when Kadir and his three younger siblings are thrown into poverty with the sudden death of their parents. The wealthy man responsible for the deaths takes them in. Another highlight is Wounded Heart, a story of revenge between two families.

Destan

All You Need

Bavaria Media International Dark Lake / Manners / All You Need Leading Bavaria Media International’s highlights, the mystery series Dark Lake sees city cop Valerie transfer with her 17-year-old son to Lac-Noir, a seemingly serene and secluded village in the forest. Soon enough, though, Valerie and her son are faced with a mystery when people start to disappear without a trace. The Icelandic miniseries Manners, created by María Reyndal, centers on a 19-year-old student accused of rape. Based on a true story, Manners “is a contribution to the #MeToo debate,” says Carlos Hertel, director of international sales. All You Need, created by Benjamin Gutsche, follows the everyday lives of four young gay men in Berlin. The series is “an innovative LGBTQI format that has sparked a lot of interest internationally,” says Hertel. A second season is planned to launch this year.

“We are happy to bring a diverse and young lineup to MIPTV.” —Carlos Hertel 62 WORLD SCREEN 4/22

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Cineflix Rights Reginald the Vampire / Sugar / Whitstable Pearl Jacob Batalon (Spider-Man: No Way Home) stars in Cineflix Rights’ Reginald the Vampire as an unlikely hero who crashes into a world populated by beautiful, fit and vain vampires while navigating numerous obstacles in his new undead life. The show “turns traditional vampire tropes on their heads while draining the blood from modern-day beauty standards,” says James Durie, head of scripted at Cineflix Rights. The feature Sugar is inspired by the dramatic real-life story of the Canadian women who became known as the Cocaine Cowgirls. Set in a beautiful English seaside town, Whitstable Pearl centers on Pearl Nolan, who divides her time between serving up seafood delicacies in her restaurant and solving the crimes, debauchery and murder regularly brought in by the tide.

Kanal D International

Reginald the Vampire

“Alongside our MIPTV premieres, our slate is packed with returning shows: critically acclaimed standout dramas that provide buyers with multiple seasons of proven hits for their schedules.”

—James Durie

Three Sisters

Three Sisters / Twist of Fate / Recipe of Love Kanal D International is presenting the drama series Three Sisters, made by Süreç Film. Set in a Turkish coastal town at the end of the ’90s, the family drama centers on three sisters who will face the harsh facts of life. Produced by ARC Film, the romantic comedy Twist of Fate tells the story of a superstitious young woman who tries to keep her “marriage fraud” alive while working with a handsome boss with whom sparks fly. In Recipe of Love, Chef Fırat is abandoned by his fiancée on their wedding day and sees his quest for revenge turn into a search for a recipe for romance. “Recipe of Love is not a standard rom-com, but also will have an essence of drama in it,” says Ekin Koyuncu, executive director of Kanal D International.

LEONINE Studios

“Three Sisters is a heartwarming family drama set at the end of the ’90s.”

—Ekin Koyuncu

JGA: Jasmin. Gina. Anna.

Bonn / Herzogpark / JGA: Jasmin. Gina. Anna.

A historical event drama and political espionage thriller, Bonn leads the LEONINE Studios slate. It spotlights a young woman struggling to find her own place in a male-dominated society in the zeitgeist of the 1950s. The catalog also features the juicy comedy-drama Herzogpark. “In Herzogpark, the perfectly polished existence of a glamorous, champagne-fueled world is on the brink of chaos, as carefully hidden secrets threaten to surface,” says Patrick Phelan, director of world sales. “It’s a captivating, entertaining and emotional series about the very different lives of four women in Munich’s posh Herzogpark district.” The feel-good comedic feature JGA: Jasmin. Gina. Anna., meanwhile, tells a story of friendship and saying goodbye to being single “in an intelligent way, full of humor and with great witty dialogue,” says Phelan.

“We are very keen to talk about our latest content and great lineup of new upcoming shows in the works and to discuss potential partnerships for international scripted drama.”

—Patrick Phelan 64 WORLD SCREEN 4/22

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The Mediapro Studio Distribution The Head / Código Implacable / The Age of Anger

Código Implacable

The catalog that The Mediapro Studio Distribution is presenting includes the second season of The Head, a murder mystery and survival thriller set in Antarctica produced by The Mediapro Studio (TMS). A co-production between TMS and Sony Pictures Entertainment, Código Implacable is a Mexicoset police thriller centering on sexual assault. Produced by TMS for Atresmedia, The Age of Anger (La Edad de la Ira) tells the story of 17-year-old Marcos, whose father has been murdered, with all the evidence pointing to the teen. Código Implacable and The Age of Anger “are already having a very good response from non-Spanish-speaking markets,” says Marta Ezpeleta, director of distribution, co-productions, acquisitions and international offices at TMS, who also notes interest from Spain, Latin America and the U.S. Hispanic market.

“The studio and its distribution arm are stronger than ever.”

—Marta Ezpeleta

Nippon TV CONNECTED / Tall Order Co-created by Nippon TV and Envision Entertainment, the crime drama CONNECTED centers on international sleuths, working primarily from their own homes, who use their research skills to solve crimes. “This series was specifically designed to expand to a number of localized versions, featuring diverse characters from different countries, while all belonging to the same shared online universe,” says Sayako Aoki, head of formats, international business development, at Nippon TV. A romantic comedy, Tall Order follows an executive assistant to the CEO of a startup company who gets appointed CEO of a subsidiary as complicated feelings develop with her boss. “This is another Nippon TV series that we have added to our catalog with a strong female protagonist that viewers around the world are sure to relate to,” says Aoki.

CONNECTED

“We are so looking forward to returning to MIPTV in person and welcoming buyers to our booth.”

—Sayako Aoki

ZDF Studios Stories to Stay Awake / White Night / Between Two Worlds Top Spanish directors bring Chicho Ibáñez Serrador’s horror anthology series back to life in the ZDF Studios highlight Stories to Stay Awake. The title’s four stand-alone episodes “pay homage to the past and are on the cutting edge of the future,” says Fred Burcksen, president and CEO. White Night centers on the Hébert family after the sudden death of their matriarch, with flashbacks to the ’70s that retrace the former supermodel and businesswoman’s life. The series “follows a family struggling to cope with an imbalance of power wielded by a person who is no longer alive, interwoven with a murder mystery,” says Burcksen.

Set in the fictitious town of Kaltenstein, Between Two Worlds tells a story of friendship between two women in West Germany amid the U.S. military presence in the ’50s.

“We invite anybody with good ideas to talk to us at ZDF Studios.”

Between Two Worlds

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—Fred Burcksen

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ZDF Studios’ Decision Game.

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Prime Crime Mansha Daswani checks in with a range of distributors about what’s new in the always popular crime-drama genre.

W

ar in Europe. Lingering Covid-19 restrictions. Inflation. After a rocky start to 2022—following two years of pandemic-induced stress and upheaval—audiences are still in the mood for a little bit of uplift; and seem to be looking for it in a television staple: crime dramas.

“They are looking for empowered female lead characters and diverse casts, positive and uplifting resolutions, regular people mixed up in investigations, unusual locations and communities and authentic and grounded stories that are easily digestible,” observes Robert Franke, the VP of drama at ZDF Studios.

FLIPPING THE SCRIPT Julia Weber, the head of international sales and acquisitions at Global Screen, is of a similar view, noting, “Audiences around the world are looking for innovative approaches to crime stories with new ways of creating the genre rather than the norm,” she says, pointing to the new Global Screen launch Recipes for Love and Murder. The ten-part series is a South African and U.K. co-production starring Maria Doyle Kennedy, based on the best-selling novel by Sally Andrew.

“It is a unique and escapist premium drama—‘crime light,’ in fact,” Weber explains. “The combination of the stunning South African scenery and the warmth of the diverse range of characters makes for a wholly different viewing experience.”

Kit Yow, VP of sales for the Asia Pacific at All3Media International, is of the perspective that “audiences thrive on all elements of the crime genre, whether it’s the ‘whodunit’ or ‘whydunit’—the interesting plot

twists, charismatic characters or unexpected revelations.

There is also now more of a desire for high production values across the genre.”

Yow also has seen continued interest in true-crime stories, referencing All3Media International’s new launch, Story Films’ The Thief, His Wife and the Canoe, from acclaimed writer Chris Lang, which tells the story of fraudster couple John and Anne Darwin.

STANDOUT DRAMA “With the rise of streamers, both local and global, the competition in creating good drama stories that can attract viewers is getting fierce,” reports Sayako Aoki, head of formats, international business development, at Japan’s Nippon TV. “The essence of developing a good crime drama is to create a relatable story accompanied by strong visuals that quickly capture the audience’s attention. Although never-before-seen stories are always welcome, how they can resonate with viewers’ hearts would be more important. From our experience, producers’ enthusiasm and persistence in finding a perfect way to tell the story they believe in is also a key ingredient to a successful project.”

Jimmy George, the VP of sales and acquisitions at GoQuest Media, says that whatever the style of a crime drama, “fresh stories” are essential. Audiences, he says, “seek new in-depth worlds in crime that are set apart from what’s been explored before. The success of non-English-language crime dramas like Dark and Money Heist just goes to show that while audiences will always be fascinated with the genre, they are seeking novelty in characters and settings.

“Finding novel ways of entertaining the audience in the same genre is the toughest ploy today,” George continues.

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All3Media International’s The Thief, His Wife and the Canoe is based on a true story.

“However, strong anti-heroes and the audiences they garner are helping break the mold to a great extent. A non-altruistic, charismatic character with a singleminded devotion to their goal has broad appeal and stickiness with the audience.”

One method producers use to deliver that “stickiness” is fusing genres. “Hybrid storytelling with a mix of genres to make the crime genre more interesting is a technique we see writers deploy nowadays,” George notes.

“Hybrid storytelling is constantly present and transformed,” observes ZDF Studios’ Franke. “From the butterfly effect narrative of Chain Reaction around the investi-

gation of one robbery gone wrong to the contemporary adaptation and mix of Scandi noir and light whodunit of Agatha Christie’s Hjerson to the Spanish film anthology [Stories to Stay Awake] mixing crime, thriller, horror, sci-fi and the absurd.”

Franke adds that “blue-sky appeal” and exploring untapped or unusual locations are consistent trends in crime drama.

GENRE BENDING

“A hybrid storyline can attract as wide an audience as possible,” reports Global Screen’s Weber. Recipes for Love and Murder, for instance, “looks at crime detection with the additional pull of delicious food and beautiful landscapes along with humor and a gentle, non-violent approach.”

Weber adds, “While the storylines refer to difficult acts such as murder and domestic violence, they are dealt with in a considered and non-gratuitous way. And, as the title suggests, there are lots of opportunities to talk about food and its healing properties!”

Carlos Hertel, director of international sales at Bavaria Media International, mentions the eight-part Dark Lake, produced by Québec’s Pixcom for Club illico in Canada, calling it “thrilling entertainment for younger audiences, combining the elements of horror and mystery.”

The company is also bringing the Icelandic title Manners (available as a movie or a twoparter) to MIPTV. “It is based on a true story Produced by Pixcom, Dark Lake, a Bavaria Media International highlight, merges mystery and horror.

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and is a contribution to the #MeToo debate, but this time focusing on the view and experience of the alleged offender and his family,” Hertel says.

For Yow at All3Media International, a critical development in crime dramas has been the genre becoming more inclusive and diverse. She mentions Drama Republic’s new series The Confessions of Frannie Langton, “which is in part a murder mystery but also a period romance that explores themes of race, gender, oppression and sexuality.”

She also points to the appeal of “genre-bending” shows like the true-crime-based Deceit, which “shifted the traditional narrative to focus on the experience of the female detective investigating the crime, presenting an innovative female lens on this genre.” Meanwhile, Black Camel Pictures’ Annika, starring Nicola Walker, “breaks the fourth wall [as she] solves crimes through her unique literary knowledge and sharp wit.”

With the changes in viewing habits brought about by the pandemic, “hybrid storytelling has become a major part of our creative development process, given the unpredictable nature of the world we live in now,” notes Nippon TV’s Aoki. “With each new project, it is our goal to create stories that are both out-of-the-box and easily adaptable.”

STAYING CONNECTED

Express is a Spanish-language STARZPLAY commission from The Mediapro Studio.

There is a lot of room to play when it comes to mixing locations, genres, tones and styles, as long as the final proposition is convincing and authentic.”

At Global Screen, too, Weber reports that the crimedrama slate is predominantly made up of local stories.

“We are currently expanding into the co-production arena and are very interested in productions that cross borders,” she says. “Recipes for Love and Murder is a blueprint for us, as it is an innovative program that is local but also translates very well for global audiences.”

Nippon TV has emerged as a significant provider of scripted formats, so Aoki and her team are already exploring adaptation opportunities for CONNECTED, a co-production with Envision Entertainment in the U.K. inspired by the Japanese media giant’s Double Booking about a group of armchair detectives.

“CONNECTED is a great example of a cross-border co-production,” says Aoki.

“This series was designed to expand to localized versions featuring diverse characters from different countries, while all belonging to the same shared online universe.

We created this crime drama with the intention that the mystery would spread over international borders. It is our ultimate goal to create quality content that transcends across multiple territories.”

While shows involving storylines and characters from more than one territory are emerging, ZDF Studios’ Franke observes that crime dramas today are still mainly “grounded in local cultures and societies. But we do come across authentic cross-border co-productions from time to time. We appreciate when unusual countries or contrasting cultures co-produce, as the effect is often spectacular. Global Screen’s Recipes for Love and Murder is a U.K.-South African co-production for M-Net and Acorn TV. 4/22 WORLD SCREEN 71

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episode after episode,” says Aoki at Nippon TV, citing the broadcaster’s own Guilty Flag, which tackles “one giant mystery, with dramatic twists and turns through 20 episodes. It’s been successfully creating enthusiastic fan groups online that ‘investigate’ the mystery themselves.

However, I see the demand for procedurals is also still there, as some stories, especially those with strong, lovable characters, can reach and entertain viewers more in procedurals. If we can provide a satisfactory viewing experience in the first episode, viewers would come back for the next episodes, as they know they can get catharsis in every episode of this form of storytelling.”

ROOM FOR EVERYTHING

Traitor is an Estonian drama available from GoQuest Media.

ZDF Studios’ Franke has seen an increased demand for straight-ahead procedurals in the last two years, calling it a “solid comeback trend,” but adds: “We would say there is no competition between the two genres—the allocated slots are different, so both are equally in demand.”

All3Media’s Yow is of a similar opinion, adding, “Both genres still have their fan bases, and the demand more depends on the type of platforms in different territories. We are proud to offer a brilliant range of crime dramas, from the procedural cases in Dalgliesh and Annika to serialized character-driven crime stories such as The Thief, His Wife and the Canoe and Deceit.

The distinction between serialized and procedural is largely led by the duration and series commitment set by the commissioning broadcaster. Still, whether the series is procedural or serialized, there is always demand for high-quality drama with strong characters you want to spend time with and a compelling plot that makes the drama entertaining to watch.”

The series is a co-production of M-Net, AMC Networks’ Acorn TV and Both Worlds Pictures, together with Global Screen. Thierry Cassuto of Both Worlds Pictures is producing the series in collaboration with Scotland-based Pirate Productions, with development support provided by Creative Scotland and Paris-based Paradoxal.

The Mediapro Studio Distribution is bringing to MIPTV the second season of the murder mystery The Head, which boasts a multinational cast and counted HBO Asia and Hulu Japan as co-production partners on season one. That first season sold into 90 markets, according to Marta Ezpeleta, the director of distribution, co-productions, acquisitions and international offices at The Mediapro Studio. The show, she adds, “gives an idea about the internationalization of the studio’s productions and our reach as distributors.”

Recipes for Love and Murder revolves around its lead character’s investigation into a single murder mystery, in line with the broader shift in crime drama to serialized storytelling.

“While procedurals will always have a dedicated audience, serialized stories meet the triple criteria of novelty, appealing characters and unique settings more frequently, helping us reach a wider audience,” Weber reports.

“Most of the players, especially streamers, seem to be focusing more on serialized storytelling that can induce binge-watching Nippon TV is offering the Japanese crime thriller Guilty Flag as a scripted format.

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Red Arrow Studios International’s Stella Blómkvist.

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By the

Book

With known IP proving to be a winner, book-based TV adaptations are in high demand. By Kristin Brzoznowski

F

rom page to screen, some of the hottest TV properties these days have sprung straight from the bookshelf.

While there’s no shortage of fantastic literary pieces to mine—from contemporary works to classic novels—the battle for high-profile book-based IP is fierce, with competitive bidding situations to land the rights to adapt bestsellers (or the latest works from authors whose last project set the television world abuzz).

“A hot piece of IP with the right talent attached creates an undeniable package,” says Lars Blomgren, head of scripted at Banijay. “When it comes to adapting books into premium scripted series, there is a treasure trove of available content out there, and this will always be popular.

These titles can be evolved and produced for audiences who will expect a certain quality to a series when it is based on a story they love. As creatives, it is fantastic for us to be able to bring these shows to life for audiences.”

Rodrigo Herrera Ibarguengoytia, senior scripted acquisitions and co-productions manager at Red Arrow Studios International, says that it comes down to IP giving decisionmakers confidence. “There are a lot of other advantages: the fleshed-out settings, characters and plots and an established basis for a quicker turnaround on development, and it brings an existing fan base,” he adds. “All of those reasons make it easier for executives to evaluate. There’s a proof of concept for potential success, and ultimately, side by side with an original piece, IP gives the perceived notion of a safer bet. For us, they are a great starting point to find

common ground for a new collaboration; that’s always been seen as the biggest value at Red Arrow.”

In the commissioning process, the speed from interest to greenlight has shortened dramatically, according to Nicola Söderlund, managing partner at Eccho Rights, especially since the arrival of the streamers. “In order to get maximum safety, the easiest way forward is to rely on an existing, well-known and, in the dream scenario, hugely popular IP,” he says. “Books provide safety but also an already existing story with characters, plotlines, opening and ending. Adapting is easier than inventing.”

The book-to-screen adaptation process is not without its challenges, though. “Very often, a book has room for a lot of inner thoughts, reactions and impressions,” Söderlund notes.

“This could prove to be tricky to convert into a scene. And that is very often a challenge in dramatizing scenes out of books.

The more plot-driven the book is, the easier to make it work.”

A FAMILIAR STORY While turning to the literary world for inspiration is hardly a new phenomenon, the trend has heightened in recent times, says Tom Misselbrook, senior VP of scripted sales and development at Cineflix Rights. “There is now more importance [placed] on securing rights to valuable IP than there ever has been,” he adds. “We’re seeing this as the proliferation of drama content creation continues and competition between streamers and broadcasters increases. In this market, shows that really stand out and make a lot of noise are key to audience growth and subscriber loyalty. Series adapted from successful IP come with a built-in audience, which, coupled with great storytelling and rich characters, is really compelling.”

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Eccho Rights’ Maria Wern is based on a series of novels by author Anna Jansson.

Given the wealth of material out there, the genre spectrum for adaptations is broad, Misselbrook says, “from crime, fantasy and thrillers to psychological dramas and more socially conscious pieces. We’re seeing a real range of material being developed for audiences of all ages and demographics.”

“Fantasy, sci-fi and dystopian pieces have always been popular for introducing us to expansive new worlds that are full of possibilities,” notes Red Arrow’s Ibarguengoytia on genre trends. “It’s been interesting to see the rise of drama adaptations and their success, projects like Big Little Lies, The Queen’s Gambit and Normal People. It’s very interesting to see how a successful adaptation translates into a lot of other novels from that specific author getting optioned. It’s a proven track record that gives everyone more confidence to invest.”

Ibarguengoytia says that, at Red Arrow, the question of how closely to stick to the source material is one that’s weighed with

Ben Macintyre’s best-selling book serves as the basis for Banijay Rights’ Rogue Heroes.

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great care at the start of any adaptation. On the Inspector Maigret series, he says, “We went through that conversation in detail, considering the different alternatives, whether to do a period or contemporary adaptation. Our writer on this project made the observation that Maigret was a contemporary character at the time of release, as the novel was set in the present. It was a simple thought, but it really made me look at this and other adaptations differently. Sometimes we look at it far removed, and we forget the context in which it was written and released and what the author was originally intending. All of that plays into the decision about how close to adapt. It’s not a simple answer of just following the plot straight through.”

FROM THE SOURCE It’s sometimes easier to stay close to the original on limited series, Ibarguengoytia adds. “With returning properties, the show is always evolving, and actors bring their own takes, and based on the response from audiences, we can decide to lean on or stay clear of certain characters and storylines for subsequent seasons,” he says. “So, it really starts taking its own shape and eventually forging its own path.”

With Vienna Blood, the series has now come to a point where the source material has been exhausted. With the third-season commission, the writer will be crafting an original story.

“It ultimately depends on the property and the reason why it’s being adapted in the first place—whether the interest is in the plot or if it’s more the setting and characters as the jumping-off point—but any adaptation needs some room for dramatic license,” Ibarguengoytia says. “I don’t think anybody sets course trying to create the best adaptation; you want to create the best series that stands on its own.”

Cineflix’s Misselbrook agrees that the approach varies from project to project. “Of course, you don’t want to lose the elements of the source material that make it interesting in the first place, but inevitably, you have to afford creatives some artistic license to create the best possible show.”

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Eccho Rights’ Söderlund is of the opinion that, most often, the best result is achieved if you regard the TV version of the IP “as an independent work of art.”

WRITERS’ RULES As for whether the author or estate should be involved in the adaptation, Söderlund views it in two distinct stages. “In the initial part, it’s absolutely essential to fully understand the storyline and the behavior of the characters, but once that is achieved, I strongly believe that the scriptwriter should have full freedom to make the best adaptation for the screen. After all, storytelling in a book and on-screen are two very different ways of communication and very much based on different craftsman’s skills.”

Red Arrow’s Ibarguengoytia agrees with Söderlund that having the author or estate on board at the start is important. “They are an incredibly valuable resource for additional insight into the property and its characters, but in the best-case scenario, the author or estate also understands that there are differences and provides the writers or producers with the freedom to adapt,” Ibarguengoytia adds. “Of course, it always adds complexity to have multiple voices in the mix, but when channeled effectively, being challenged by different perspectives only makes the final result stronger.”

As the competition for rights is as hot as ever, Ibarguengoytia admits that it can be a challenge to secure sought-after IP. “There is definitely value in a close relationship with scouting agencies, having an overview of how the market is developing and looking to find that hidden gem,” he says.

“It’s incredibly competitive, and the highlight properties go into high bidding wars before even being published.”

television is down to the fantastic storytelling, on- and offscreen talent and production values.”

Adapting a beloved property that has fans all its own can be a double-edged sword, Red Arrow’s Ibarguengoytia says, depending on the property and how fervent the fan base is. “A big fan base can create hype around a project and give it a boost,” he notes. “It definitely makes it easier to draw attention to the project and get people on board. But there is also more of a chance for backlash down the line if the project doesn’t resonate with the fan base.”

In this regard, there’s an advantage to a hidden gem, he says, “being able to use the strong source material more freely and present it to the world without being so scrutinized and maybe even have the reverse dynamic, where the adaptation brings renewed or wider interest to the original book. That said, I don’t think anyone would say no to the chance of tackling a very well-known property and character because there is a huge upside, and you know that along the ride, all the way to production, everybody is going to have a lot of confidence to push this project forward.”

SCOUTS’ HONOR To identify interesting IP, Red Arrow has taken the approach of asking writers and producers about their favorite books to develop as passion projects. “For starters, it gives you a very good sense of whether you align creatively and have common interests, and it’s a great way to connect with talent and establish a working relationship,” Ibarguengoytia says.

“Unlike an original idea, an adaptation is a true collaboration. Everyone brings their different perspective into the IP and works from common ground. So even if a particular development isn’t successful, it’s a great way to understand how to work together and develop longlasting relationships.”

Cineflix has gone about the scouting process by forging solid relationships with its production partners, “working closely with them to identify IP that we think will have global appeal,” Misselbrook says. “Our independent status and scale allow us to act quickly and aggressively when we identify great IP, and we are focused on building strong relationships with publishers and literary agents to get us ahead of the crowd.”

He acknowledges that working with known IP comes with both challenges and opportunities. “It’s always a challenge to do justice to the original source material, but equally, there is an opportunity to bring a successful book to the screen so that it resonates with an audience familiar with the IP and, just as importantly, can find a new audience,” says Misselbrook. “TV generally has a more limited scope to play out the material than a book because you have a fixed number of hours to work with, but a big part of why we’re in a time of great 4/22 WORLD SCREEN 77

Cineflix Rights’ Australian truecrime drama Last King of the Cross is inspired by John Ibrahim’s autobiography of the same name.

TV DRAMA Festival house Spread.qxp_Layout 1 3/21/22 5:48 PM Page 1

The TV DRAMA FESTIVAL is a free-to-attend virtual event taking place from June 28 to 30, 2022.

This must-watch summit will feature keynotes and panels with leading executives and creatives discussing the major trends in producing and selling scripted series today. It will be streamed and available on-demand for two months.

For sponsorship opportunities, please contact Ricardo Guise at rguise@worldscreen.com or Dana Mattison at dmattison@worldscreen.com.

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Joanne Froggatt

B

efore being cast in her breakthrough role as Anna Bates in Downton Abbey, Joanne Froggatt appeared in several British dramas. The hit series introduced Froggatt to international audiences, and her performance of Anna, the kindhearted, exemplary servant, won her a Golden Globe.

Froggatt has since worked with screenwriters Jack and Harry Williams on psychological thrillers that deal with serious but topical issues. In Angela Black, Froggatt plays a wife and mother whose idyllic-seeming life masks the horrible reality that her violent and abusive husband dominates her. Froggatt talks to TV Drama about taking on these roles, the research she does to prepare and the responsibility she feels in portraying victimized women.

By Anna Carugati TV DRAMA: What do you look for in a role, and what appealed to you about Angela Black?

FROGGATT: I don’t know exactly what I look for in a role. I think I look for a great script. [I can’t say no to] the Williams brothers because I know they’re fantastic. I’d worked with Jack and Harry before. They were the writers on a show called Liar, and I’d had a wonderful experience working with them. They contacted me and said they had written Angela Black and would I look at the role of Angela and see if I wanted to play her. They sent me the first three episodes, and I just sat and read all three episodes back-to-back. I couldn’t put them down. It was a nobrainer. I can’t not play this role; this is incredible. Also, they write thrillers so brilliantly, and this is a subtle-to-start-with, Hitchcock-style thriller that shifts and twists and turns, and I had no idea what was going to happen or where this character was going to be taken. There is also important subject matter running as a through-note, which is incredibly important to me to be talking about, especially after the world had been through one lockdown. We were going through lockdown by the time I read the script. The issue of domestic abuse had become so much more prevalent because everyone was [staying] in their homes. Jack and Harry wrote this script before Covid was a word on any of our lips, but, by chance, it was incredibly timely.

TV DRAMA: You mentioned Liar. That also dealt with a crucial issue. Of course, you want to give the best performance you can, but do you also feel an extra responsibility when dealing with these complex subjects?

FROGGATT: Yes, absolutely. Laura, my character in Liar, had suffered a sexual assault. Angela in Angela Black is a victim of domestic abuse. Approaching two thrillers based on very sensitive subject matter by the same writers, I will always want to make the characters as different as possible. I needed to know I could do that and do both characters justice

in very different ways; I had already done Liar. Jack and Harry did this for me because the style of Angela Black as a show is very different.

Laura in Liar is used to being listened to and respected.

She’s used to having a voice and has become obsessed with justice, and understandably so. That breeds real anger and resentment in her. Whereas Angela is a very different being. She’s in a very different space. She’s lost her sense of self. She’s lost her drive. She’s lost her confidence, her selfesteem. Everything is on very shaky ground. Then she is almost broken down further before she can rebuild herself again. Whenever I tackle sensitive subject matter, I feel a huge responsibility to give the most truthful performance that I can give, and I do everything in my power to make that happen. I don’t take them on lightly.

TV DRAMA: Does that involve research, too, to prepare for these roles?

FROGGATT: Yes, for Angela, I did a lot of research. I read three books: You Can’t Run by Mandy Thomas, Beautiful

by Katie Piper and Brutally Honest by Melanie Brown. All incredibly different scenarios and circumstances of domestic abuse, whether psychological or physical. All three women give incredibly honest and candid accounts of their experiences, emotionally and physically. Those accounts stuck with me. There wasn’t a day that went by on set that I didn’t think about all or one of those women. Women’s Aid is a British charity that helps and supports victims of domestic abuse, and they were very involved with our show from the beginning. They advised Jack and Harry during the writing process. When I came on board, they were incredibly helpful in pointing me in the direction of research material. I spoke to some of their counselors as well. I watched a lot of documentaries. I did immerse myself as much as possible to build a psychological profile 4/22 WORLD SCREEN 81

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Commissioned by ITV in the U.K. and Spectrum in the U.S., Angela Black is being rolled out by All3Media International.

of Angela and her scenario and make her as nuanced and real as possible. And make sense of what emotions she is feeling, when and why.

TV DRAMA: What was the atmosphere on set?

FROGGATT: With Angela Black, we were filming during the second lockdown in the U.K., so it was an even more intimate experience. On the best jobs, you do end up becoming a family for that length of time, especially when you come in every day. You spend more time with the cast and crew than you do with the people you love. It was a very supportive and safe working environment. I felt free to go to the places emotionally that I needed to.

Our director, Craig Viveiros, was just incredible; he supported and guided me through the scenes so brilliantly. It was fantastic because he directed all six episodes. I think I would have found it difficult switching directors, which is what usually happens. So that helped me as an actor a lot because I could build that relationship with Craig.

Once you’ve got that shorthand with each other, it makes the working relationship just flow, and after a few weeks, [it] makes everything easier and comfortable.

TV DRAMA: When you deal with difficult subject matter, do you take that home with you, or are you able to shut off as you leave set?

FROGGATT: You probably do, to a certain extent. I try to shut off. When I go to work in the morning, my routine is I put on the costume; I put on the character. And sometimes, when I put on the wig, I put on the character. When I’m in my makeup, I say, OK, I’m getting into this. When I take the costume off at the end of the day, I imagine I am leaving her there for the evening. In Angela Black, I was pretty much in every scene. It was consuming. I was on set all day. You get home, you learn your lines, you go to sleep. Then you spend the whole weekend learning your lines and working on the following week. And then you go over it again [each] night and 82 WORLD SCREEN 4/22

go to sleep. When I take on a role like Angela Black, I know the level of work involved. I’m fully aware of that, and I have to commit to this for four months of my life.

At the end of the four months when we’ve wrapped, that’s when I truly leave her behind. As long as I know I’ve put my heart and my soul into it, which I did, then I’m happy to leave her where she is.

TV DRAMA: I would be remiss if I didn’t ask about Anna Bates, the character you’ve played in Downton Abbey. You don’t see characters like her very often on TV. What did playing her mean for you personally and professionally?

FROGGATT: She’ll always mean so much to me, personally and professionally. Anna changed my life, unbeknownst to me. I don’t know what life would have been if another actress had played her. She’s a lovely character to revisit.

She’s a good person. She’s been through a lot, but she’s a good person. She’s a strong individual, and I always loved playing her. It’s nice to go back and do the movies and find her in a place of happiness. I feel I want that for her and Bates.

TV DRAMA: There is a lot of production going on in the U.K. Do you have many opportunities to play great roles?

FROGGATT: Yes, it’s been great. The second Downton Abbey movie is coming out in the spring. I also did a miniseries here in the U.K. called Sherwood, a big ensemble piece I’m excited about. That’s going to be on BBC One. I also just filmed a miniseries called Last Light for Peacock with Matthew Fox as the lead, and I play his wife. That’s [about] an eco-terrorist attack that brings down the world’s infrastructure. It’s an action-packed five-episode miniseries. It’s been a wonderful 18 months of work for me. I’ve been incredibly fortunate to be able to work through the pandemic and do such diverse roles. It’s been a joy.

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mong the many changes in the media business in recent years, the rise of SVOD and AVOD platforms has received the most attention and headlines. But broadcast groups have certainly not remained complacent. They have transformed from mere linear channels to multiplatform content providers. There is perhaps no better example of this than Europe’s RTL Group.

Comprising 67 TV channels, ten streaming services and 38 radio stations, the group includes RTL in Germany, M6 in France, the RTL channels in the Netherlands, Belgium, Luxembourg and Hungary, and Antena 3 in Spain. Furthering the reach of the linear broadcasters are the nonlinear platforms RTL+, Videoland, 6play and Salto.

Fremantle is also part of the group. A leading creator and distributor of scripted and unscripted fare, Fremantle produces nearly 13,000 hours of original programming a year and distributes some 30,000 hours of content worldwide.

Thomas Rabe is the CEO of RTL Group. He is also the CEO and chairman of the executive board of Bertelsmann,

the majority shareholder of RTL Group. Rabe has been building on the “total video” strategy of reaching viewers on several screens. He has focused on investing in and improving the streaming services in the past year. The strategy is working; RTL+ in Germany and Videoland in the Netherlands have more than doubled their subscriber bases.

Rabe has also spearheaded consolidation inside and outside the group to build scale and better compete with the global streaming platforms. In France, RTL Group is awaiting regulatory approval for the merger between M6 Group and TF1 Group. A similar strategic rationale is behind the merger of RTL Nederland and Talpa Network and RTL Deutschland’s acquisition of Gruner + Jahr’s publishing assets and brands.

In addition to telling World Screen about these deals and the benefits they will yield, Rabe talks about RTL Group’s work with advertisers, Fremantle’s content offering and the business opportunities that have arisen from increased viewing during the pandemic.

THOMAS RABE RTL GROUP

By Anna Carugati

WS: RTL Group reported positive financial results for 2021. What strategies and businesses have been driving revenues?

RABE: 2021 was a strong year for RTL Group in terms of operating performance and strategic progress. Revenue, operating profit and net profit were up significantly and back to pre-crisis levels, driven by the recovery of TV advertising markets and our growth businesses of content and streaming. This—combined with active portfolio management—led to a record group profit.

In addition, we increased our investments in our streaming services. At the end of 2021, we registered more than 3.8 million paying subscribers for RTL+ in Germany and Videoland in the Netherlands, meaning that our subscriber base grew over 70 percent year on year. If we exclude the streaming start-up losses, RTL Group generated its highest operating profit ever—just one year after the start of the pandemic. I believe this perfectly demonstrates our powerful rebound in 2021.

Finally, we made significant progress in executing our national media champions strategy throughout the past year. Major moves in France, the Netherlands, Germany, Belgium and Croatia will create significant value for RTL Group’s shareholders and put us in a strong position to compete with global tech platforms.

WS: Tell us about the increases in subscribers at RTL+ and Videoland. How are you investing in them to serve subscribers even better?

RABE: To further boost the growth of all our streaming services, we invest heavily in technology, marketing and content. In November 2021, we rebranded our German streaming service from TV Now to RTL+, with a growing number of original formats across all genres.

In the first half of 2022, we will expand RTL+ to a cross-media entertainment service comprising video, music, podcasts, audiobooks and e-magazines. We will 4/22 WORLD SCREEN 85

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The event series Sisi from Story House Pictures is part of the expanded offer on RTL+, RTL Group’s recently rebranded streamer in Germany. create Germany’s first cross-media champion, offering our audiences the most diverse spectrum of high-quality entertainment and independent information. The new RTL+ will use state-of-the-art technology with a high level of personalization and content recommendations based on artificial intelligence and editorial inputs for a true cross-media user experience.

Strong partnerships are vital for this strategy.

In November 2020, Deutsche Telekom and RTL Deutschland announced the expansion of their cooperation. We integrated our streaming service RTL+ Premium within Deutsche Telekom’s TV offer, MagentaTV, contributing significantly to the rapid growth of RTL+ in 2021. Both companies have also agreed to increase cooperation in advertising technology, advertising sales and content, with a particular focus on addressable TV. In June 2021, RTL Nederland and T-Mobile announced that Videoland had become part of T-Mobile’s new “Unlimited & Entertainment” proposition in the Netherlands. Customers gain access to both Videoland Plus and Netflix standard as well as unlimited 5G data, calling and SMS in the T-Mobile network in the Netherlands with an attractive price advantage.

As a result of the rapid growth of our streaming services and the planned cross-media expansion of RTL+, we have significantly raised our streaming targets. Compared to 2021, we will triple the annual content investments to around €600 million [$663 million] by 2026.

We aim to grow the number of paying subscribers for RTL+ and Videoland to 10 million by the end of 2026 in order to grow our streaming revenue to €1 billion [$1.1 billion] and to reach profitability of the two services by

2026. No other European broadcasting group has defined such ambitious streaming targets.

WS: RTL Group has embarked on three consolidation moves. First, M6 Group and TF1 Group merging. What can you tell us about the decision to merge and its benefits?

RABE: Since the summer of 2020, we expressed our conviction that alliances and larger merger moves and thus the creation of national TV champions in Europe are necessary. With this, we called on the regulators to be supportive.

Given the ever-growing competition with U.S. platforms such as Google, Amazon and Netflix, our answer is to scale up our broadcasting businesses. Scaling up can take many forms, from alliances and partnerships to acquisitions— such as the full takeover of Super RTL in Germany—to larger in-country consolidation. In bigger markets, in-country consolidation would generate significant synergies, which we could partly reinvest in expanding our streaming services. One year ago, we said, We are aware that there are both regulatory and cultural obstacles, but we are ready to act. And we promised that we would do this from a position of strength and confidence, acting in the best strategic interest of our businesses and our employees.

Today, we are leading the consolidation of the European media industry. In May 2021, we announced the first major transaction: the planned combination of TF1 Group and M6 Group to create a major French media group.

The completion of the transaction remains subject to condition precedents, in particular authorization from the [relevant] authorities.

The transaction is aimed to close at the beginning of 2023. RTL Group would then own 86 WORLD SCREEN 4/22

16 percent of the combined group, after selling an 11 percent shareholding to Bouygues—the principal shareholder of TF1—for €641 million [$709 million].

With full-year revenue of more than €3.4 billion [$3.8 billion], the merged company would be the fourth-largest European broadcasting group. The synergy potential, for example, the positive impact on operating profit EBITA, is estimated at €250 million to €350 million [$276 million to $387 million] per year, within three years from closing the transaction. This demonstrates the value-creation potential of in-country consolidation.

WS: What is the rationale behind the combination of RTL Nederland and Talpa Network?

RABE: The strategic rationale is the same as in France: scale—the pooling of resources and creativity to compete with global tech platforms. It is about higher investments in exclusive, local content to further boost the growth of our streaming services. And it is about investments in tech and data, in particular addressable TV advertising and personalization.

In June 2021, we announced the combination of RTL Nederland and John de Mol’s Talpa Network. The completion of the transaction remains subject to approval from the [regulatory] authorities and is expected to get approved in the first half of 2022. Talpa Network will contribute its TV, radio, print, digital, e-commerce and other assets to RTL Nederland and will receive a 30 percent stake in the enlarged RTL Nederland in return. RTL Group will hold the remaining 70 percent in the combined company and will continue to fully consolidate RTL Nederland in its accounts.

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In addition, Talpa Network’s content units— which are not part of the deal—and RTL Nederland will enter into a content agreement for newly developed formats for linear TV channels and Videoland. John de Mol has an outstanding entrepreneurial and creative track record. Our long-term partnership and collaboration in content development will be an important success factor for our linear TV channels and streaming offers. The potential synergies of the merger are again substantial, estimated between €100 million and €120 million [$111 million and $133 million] per year, to be fully realized in 2025.

Fremantle continues to serve up global reality formats such as Too Hot to Handle.

WS: What does the combined RTL Deutschland and Gruner + Jahr (G+J) offer consumers?

RABE: In January 2022, RTL Deutschland completed the acquisition of Gruner + Jahr’s German publishing assets and brands. The combination is a unique opportunity, creating a German cross-media champion with full-year revenue of more than €2.6 billion [$2.9 billion] and an operating profit of around €500 million [$554 million].

The two companies combined are a journalistic powerhouse with more than 1,500 journalists. The synergy potential is around €100 million [$111 million] per year, to be fully realized by 2025. Three-quarters of the synergies are growth-driven. First, more exclusive and diverse content from cross-media editorial teams, for example, with Geo-branded documentaries and new TV formats from Stern.

Second, better cross-promotion between different media categories, for example, crossmarketing for RTL+ to existing subscribers of G+J brands. Third, increased appeal for Germany’s top creative talents and media personalities.

Fourth, optimized cross-media advertising campaigns, and fifth, an overall more attractive and complementary brand and product portfolio.

The enlarged RTL Deutschland will increase investments into what matters most: premium content and journalistic excellence.

WS: Is RTL Group better positioned to compete with global streaming services and tech companies than it was a few years ago?

RABE: Absolutely. The elements I described, consolidation and boosting our streaming services, result in a clear target structure for RTL

Group’s portfolio. On the one side, we have national cross-media champions in Germany, France, the Netherlands and Hungary, complemented by well-established international cooperation in advertising sales, advertising technology, streaming technology and content development. This strategy will significantly strengthen our broadcasting businesses in the competition with global tech platforms. On the other side, we will continue to expand our global content business, Fremantle. Within this target structure for our portfolio, we have defined ambitious growth targets to achieve in the next four to five years relating to streaming, content production and addressable TV advertising.

WS: What is the group hearing from advertisers, and how is it helping its ad clients?

Make Up Your Mind is part of the entertainment offer from RTL Nederland, airing on linear as well as the streaming platform Videoland.

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RTL Group has expanded the news and information programs across its footprint, especially in the wake of the Covid-19 pandemic.

RABE: First of all, TV advertising continues to be powerful when it comes to brand-building, storytelling in a brand-safe environment and achieving high reach in a short period of time.

Once the economies started to recover during the Covid-19 crisis, TV advertising money came back quickly and strongly. And we have many reasons to be optimistic for 2022 and beyond.

Addressable TV advertising is one of the biggest growth opportunities for European broadcasters. In addition to the traditional strengths of TV advertising—creating brand awareness with massive audience reach— advertisers can use new data-driven capabilities to target audience segments that are more likely to generate a specific business impact and, ultimately, measure that impact. In essence, addressable TV promises to grow available inventory, attract new advertisers—local and regional—and deliver higher CPMs, with market studies predicting that addressable TV could account for 30 percent to 50 percent of all TV advertising spend in Europe in the long term. In Germany alone, the market for addressable TV advertising is expected to grow to more than €500 million [$553 million] by 2025, with RTL Deutschland taking approximately €200 million [$221 million] of this market.

To seize these opportunities, advertising technology remains a strategic priority for RTL Group. To transform our business successfully, two factors are particularly important. One is higher reach in both linear and nonlinear TV. The second is better monetization of our reach through targeting and personalization, and this requires state-of-the-art advertising technology and data management.

In October 2021, we announced a comprehensive cooperation with the U.S. ad-tech company Amobee. Amobee and our European ad-tech company Smartclip will establish TechAlliance, a jointly owned sales and services company. TechAlliance will set market

standards in the European TV industry to boost addressable TV, giving advertisers and media agencies seamless programmatic access to our premium video inventory.

WS: Tell us about Fremantle, its recent investments and its growth plan.

RABE: We have large ambitions for Fremantle.

We will accelerate the company’s expansion, both organically and via M&A, targeting revenues of €3 billion [$3.3 billion] by 2025. This means doubling the revenue compared with 2020. Since 2012, Fremantle has successfully expanded into scripted drama and established a global production network in 20 countries, organically and via acquisitions such as Wildside, Kwaï and Miso Film. This helped to significantly expand partnerships with global and national streaming services, which in 2021 accounted for more than 15 percent of Fremantle’s total revenue.

There is a strong and growing demand for high-end factual content and documentaries, particularly from streaming services. Fremantle reacted to this demand by establishing a new global factual division, with the aim to replicate its success in scripted. M&A is part of the €3 billion revenue growth plan for Fremantle, and we have been active with three acquisitions in 2021. We increased our stake in Abot Hameiri, taking full ownership of one of the leading entertainment producers in Israel. We also stepped up our shareholding in Eureka to a majority position, and we fully acquired 12 production labels from Nordic Entertainment Group. These transactions will add more than €300 million [$332 million] to Fremantle’s annual revenues.

WS: Despite the challenges Covid has posed, have any trends, business models or programming strategies emerged that have been positive for the group?

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RABE: First, the strong ratings of our news shows and information magazines during Covid-19 demonstrated again that when it matters, people turn to TV. And they can rely on the dedication and professionalism of our news teams. Over the past two years, we have expanded our news and information programs as they are a real USP for our linear channels in the competition with tech platforms.

Second, total video consumption has reached new highs during the pandemic.

Streaming services have become mainstream; for example, they reached new customers in terms of age and other sociodemographic factors. This is a big opportunity for us, in particular with the cross-media extension of RTL+ in Germany. We always had the ambition and philosophy to reach all audiences with our entertainment and information offerings. RTL+ will bundle them in one entertainment app.

The time has come for an easy-to-use, attractively priced and true cross-media entertainment experience that will allow us to gain a bigger share of our users’ daily media time. This is the concept of RTL+: one app, all media.

WS: What opportunities and challenges do you see in the next 12 to 24 months?

RABE: The fundamentals of our business are intact; video consumption is increasing, as is the demand for content. We are optimistic that we will receive all the regulatory approvals required to close the transactions in France and the Netherlands over the next 12 months. In Germany, we will implement our cross-media strategy and boost our streaming service. And we will continue to grow Fremantle. The challenges are primarily related to Covid restrictions and the competition with the global tech platforms for reach, advertising and subscription money. We believe in positive entertainment and independent news reporting—this is what we are good at and what our audiences want.

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WWW.TVKIDS.COM

APRIL 2022 EDITION

Diversity & Inclusion / STEM- & STEAM-Based Shows / Kristen Bell / KiKA Turns 25 DreamWorks Animation’s Peter Gal / Aardman’s Nick Park / Mattel’s Fred Soulie

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16 TV KIDS

CONTENTS

Lighting a Spark Convening some of the biggest names in the business for our TV Kids Festival this winter, we heard about many of the major trends today, from the importance of inclusion to the power of known IP to the complexities and opportunities of working with streamers.

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

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Kids ©2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvkids.com

But perhaps the most apparent theme was just how much people in the kids’ business genuinely love working in it. You could see it across every single one of our 20 sessions, involving a total of 32 speakers, all available to view on-demand on TVKidsFestival.com: a firm desire to elevate the content and find smarter, savvier ways of making shows that will amuse, entertain, educate and mold young minds across the globe.

You’ll find those same themes across this edition of TV Kids. We take a deep dive into something that weighs on my mind constantly: the need for greater diversity and inclusion across the kids’ media landscape. Progress over the last few years has been significant. However, there is still a ways to go before the industry gets to the point where that simple concept— that all kids, regardless of origin or ability or sexual orientation or gender identity, deserve to see themselves represented and respected on-screen—is fully implemented. We also explore shows that incorporate science, technology, engineering, arts and math in ways that young ones will respond to and not be bored by—at a time when broadcasters and platforms have, since the pandemic, truly understood the power and value of edutainment.

KiKA has long believed in the power to entertain and inform young ones; since its inception, in fact, 25 years ago. In this special report, we hear from Astrid Plenk, managing and programming director, and Sebastian Debertin, the head of international content acquisitions, about the pubcaster’s winning approach, its expanding digital arena and its content wish lists for acquisitions and co-productions in the months to come as it looks to enrich German kids’ lives.

We also hear from Kristen Bell, an executive producer and one of the voice talents on Do, Re & Mi, an Amazon original from Gaumont that uses music to help children learn; DreamWorks Animation’s Peter Gal on that studio’s approach; Aardman’s Nick Park on the origins of the Wallace and Gromit and Shaun the Sheep characters; and Fred Soulie on what’s new at Mattel Television.

—Mansha Daswani

GET DAILY NEWS ON KIDS’ PROGRAMMING

FEATURES

EVERYONE IS WELCOME

A look at how producers and distributors are embracing diversity and inclusion.

GET SMART!

Exploring shows that incorporate science, technology, engineering, the arts and math.

KIKA @ 25

Astrid Plenk, managing and programming director, and Sebastian Debertin, the head of international content acquisitions, share what’s driving the success of the German pubcaster as it marks its landmark 25th birthday.

INTERVIEWS Kristen Bell

Peter Gal DreamWorks Animation

Nick Park Aardman

Fred Soulie Mattel Television

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18 TV KIDS

Australian Children’s Television Foundation MaveriX / More Than This / Built to Survive The Australian Children’s Television Foundation (ACTF) has a slew of new titles on offer, including the adventure drama MaveriX. Filmed in Alice Springs, the series features a diverse group of teenagers who are driven to succeed in motocross.

The six-part series More Than This, written by teens for teens, follows the story of five 17-year-old students and their teacher, whose worlds collide when they are thrown together in an English class. “It explores the challenges facing Australian teenagers as they come of age: social, family and school pressures, bullying, body image, relationships and sexuality,” says Roberta Di Vito, international sales manager. The ACTF highlight Built to Survive sees outback survival expert Phil Breslin brave Australia’s most extreme environments to find species that have evolved to withstand the hostile conditions.

CAKE

MaveriX

“All three programs have a real highenergy, authentic and distinctive edge.”

—Roberta Di Vito

Angry Birds MakerSpace

Total Drama Island / Lucas the Spider / Angry Birds MakerSpace CAKE has on offer two new seasons of the original Total Drama Island format, an animated reality series targeted at tweens that launched in 2007. Now, the cast of quirky teen contestants returns to face hardcore competition, brutal eliminations and more drama than ever before. A CGI animated series based on the viral YouTube hit of the same name, Lucas the Spider “retains the authenticity of the original YouTube shorts created by accomplished animator Joshua Slice while introducing longer narratives, new characters and an expanded universe,” says Ed Galton, CEO. CAKE’s slate also includes the second season of Angry Birds MakerSpace, a series of non-dialogue shorts set in a busy workplace where birds and pigs experiment with the latest gadgets without destroying each other.

“We are always keen to become involved in development projects with unique stories told from all over the world.”

—Ed Galton

Cyber Group Studios Nefertine on the Nile / Gigantosaurus / 50/50 Heroes Nefertine on the Nile, based on a series of best-selling books, leads Cyber Group Studios’ highlights. “The series is a great mix between comedy and the discovery of ancient Egypt, in which our girl hero helps her friends when they’re in trouble,” says Raphaëlle Mathieu, senior VP of sales, acquisitions and new media. The second season of Gigantosaurus is available for free-to-air channels, and its third season is currently in production. The first ten episodes of the comedy 50/50 Heroes are on offer as well.

Cyber Group is also highlighting the feature animation film The Case, which tells the tale of a young migrant boy who wants to pursue his dream. “We believe that in these special times, it becomes absolutely key to enhance content with meaning,” Mathieu notes.

Nefertine on the Nile

“All the titles are, in their special way, feel-good programs.”

—Raphaëlle Mathieu 106 WORLD SCREEN 4/22

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20 TV KIDS

eOne Family Brands Transformers: Earthspark / My Little Pony: A New Generation / Power Rangers Dino Fury In eOne Family Brands’ Transformers: Earthspark, a human family welcomes a new generation of Transformers robots— the first to be born on Earth. Together, the Transformers and their human carers redefine what it means to be a family. My Little Pony: A New Generation, which debuted this past fall, reinvented the brand to introduce a new group of ponies to today’s children. The eOne Family Brands highlight Power Rangers Dino Fury sees the Rangers face their greatest challenges yet. Monica Candiani, executive VP of content sales, says, “Buyers know that these characters and stories resonate well with viewers—whether it’s the emphasis on friendship and acceptance in My Little Pony, the diversity and inclusion seen in Power Rangers or the leadership and teamwork in Transformers.”

“The key for all of our properties is that they tell universally appealing stories.”

My Little Pony: A New Generation

—Monica Candiani

Gaumont Bionic Max In Gaumont’s animated buddy comedy series Bionic Max, a malfunctioning bionic guinea pig and his goldfish friend escape from their laboratory into the bustling city streets of Woodchuck Woods. There, they must learn to adapt to an urban jungle and try to fit in with the local wildlife. For 6- to 11-year-olds, the series is “pure entertainment with visual gags,” says Cécilia Rossignol, executive VP of international sales and development. It also demonstrates how to deal with problems by “using good humor and a desire to see the sunny side of life,” Rossignol adds. “It all comes back to the universal elements of friendship and solidarity—with a little touch of madness to make it fun.” Gaumont’s children’s slate also includes Belle and Sebastian and Galactik Football.

Bionic Max

“Bionic Max meets the need for something ‘feel-good,’ which is always reassuring for young viewers.”

—Cécilia Rossignol

The Smurfs 2D series

I.M.P.S. The Smurfs 3D series / The Smurfs 2D series / The Smurfs and the Magic Flute I.M.P.S. has a variety of The Smurfs programs on offer, including a new 3D series, the classic 2D series and a feature film. In the 3D, CGI The Smurfs series, now with two seasons, viewers will “discover original stories with more complex characters, snappier dialogue, joyful anarchy and irresistible global appeal,” says Nele de Wilde, head of sales, production and business development, audiovisual and music. The new series also introduces the Smurf girls. I.M.P.S.’s slate features The Smurfs 2D series from the ’80s as well, which follows the magical adventures of the original blue characters. The Smurfs and the Magic Flute film sees the Smurfs attempt to save the day when the villain Oilycreep gets his hands on a magic flute and uses it to carry out his evil deeds.

“The Smurfs is known all over the world and continues to please those young and old.”

—Nele de Wilde 108 WORLD SCREEN 4/22

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22 TV KIDS

Silly Animals

Jetpack Distribution Alice’s Diary / The Mini Kids / Silly Animals Jetpack Distribution is presenting the upper preschool series Alice’s Diary, in which Alice’s curiosity and unconventional understanding of the world are relatable for young ones everywhere. The Mini Kids, NRK’s first show aimed at toddlers, combines live-action performances by real 1-yearolds with animation and playful props. “It’s hugely didactic and something that parents across the globe will welcome,” says Dominic Gardiner, CEO of Jetpack Distribution. It’s “safe, funny and enjoyable for the youngest sector.” For 5- to 12year-olds, the 20-episode spoof documentary Silly Animals caters to the adoration children worldwide have for animals.

Blending live action and animation, the series sees Gary the vlogging dog, voiced by British comedian Alan Carr, sneak into a secret vault to find the funniest animal clips.

“We come with a burgeoning library of 1,500 half-hours and the strongest lineup we’ve ever had.”

—Dominic Gardiner

Mattel Masters of the Universe franchise / Thomas & Friends: All Engines Go / Barbie franchise Barbie: It Takes Two

Mattel has on offer two series from the Masters of the Universe franchise: Masters of the Universe: Revelation and He-Man and the Masters of the Universe. From the Thomas & Friends franchise, Thomas & Friends: All Engines Go features new art direction, more physical comedy and a greater range of character expressiveness.

Mattel’s slate also includes three animated Barbie specials: Barbie Princess Adventure, Barbie & Chelsea: The Lost Birthday and Barbie: Big City, Big Dreams. A full-length TV series for the brand titled Barbie: It Takes Two is a new franchise extension. Fred Soulie, senior VP and general manager of Mattel Television, says, “Our brands have demonstrated their resilience, cultural relevance and multigenerational appeal.”

“Mattel’s purpose across all our franchises is to empower the next generation.”

—Fred Soulie

Mediatoon Distribution The Marsupilamis / Living with Dad / Versailles Unleashed—Belfort & Lupin The Marsupilamis, an adventure series, leads Mediatoon Distribution’s highlights. The 52-episode children’s show begins when Hope, Twister and Punch hatch in the big city.

The three love to play wildly, so living discreetly is hard. The sitcom Living with Dad centers on Baby Bella, Roxane, Ondine and Panda, four stepsisters who live together with their father.

Though they all have different personalities, they always team up against their dad. Fifty-two episodes of the series are available. In the 26-episode adventure comedy Versailles Unleashed—Belfort & Lupin, two intelligent dogs go on adventures through the Palace of Versailles and its menagerie.

Together, they explore the mysteries and secrets of the famed palace. Also on offer from Mediatoon are Samsam, The FoxBadger Family, Akissi and Kid Lucky.

Living with Dad

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24 TV KIDS

Goat Girl

MIAM ! animation Edmond and Lucy / The MiniWhats / Goat Girl MIAM ! animation’s first in-house production, the CGI preschool series Edmond and Lucy, leads the company’s distribution slate for MIPTV. Adapted from the Edmond and Friends books, it follows Edmond the squirrel, Lucy the bear cub and their group of friends as they go on outdoor adventures. “We are proud to bring to the market a highquality program respectful of nature on-screen and behind the screen,” says Mélanie Errea, sales and acquisitions manager. MIAM ! is also presenting The MiniWhats, a comedy show co-produced by Doncvoilà Productions and Silex Films for France Télévisions that sees kids use drawing to find answers to their life questions. Goat Girl, co-produced by MIAM ! animation and Daily Madness, centers on Gigi, a 13-year-old girl raised by goats, as she starts boarding school.

“We wish to bring a new and positive vision of ecology with our shows, through both our storytelling and our production pipeline.”

—Mélanie Errea

Mondo TV Group & Toon2Tango Agent 203 / Monster Loving Maniacs / The Wee Littles Mondo TV and Toon2Tango are presenting the new CGI “spyfi” series Agent 203, about a girl on a quest to save the universe and find her father while also coping with everyday teenage issues. Monster Loving Maniacs is a 2D comedy adventure series about three siblings training to become monster hunters. The preschool show The Wee Littles follows a family of four very small creatures in the big forest and is inspired by traditional Irish tales. “The partnership with Toon2Tango has added many new high-quality shows to our production schedule,” says Matteo Corradi, president and CEO of Mondo TV. “Since launching Toon2Tango just over two years ago, we have been able to develop, produce and distribute high-quality shows for all demographics,” adds Ulli Stoef, CEO and producer at Toon2Tango.

“All of these shows are part of the strategic development and production agreement between Toon2Tango and Mondo TV Group.”

—Matteo Corradi (left) & Ulli Stoef

Agent 203

NBCUniversal Global Distribution Dragons: The Nine Realms / Take Note / Gabby’s Dollhouse From NBCUniversal Global Distribution, Dragons: The Nine Realms marks the next chapter in the franchise from DreamWorks Animation. It has “the same adventure and heart as the How to Train Your Dragon films that fans know and love, but for the first time, it’s set in modern times,” says Chloe Van den Berg, senior VP, head of kids and family entertainment. Take Note is a Peacock and Sky coproduction that features family-centric comedy along with original songs and pop covers. “The series is centered on universal themes that audiences around the world can relate to and demonstrates the power of a loving family and the importance of following your dreams,” Van den Berg says. The preschool series Gabby’s Dollhouse rounds out the slate.

Gabby’s Dollhouse

“With music, friendship and an incredible ensemble cast of cat characters, preschoolers everywhere are falling in love with Gabby and friends.”

—Chloe Van den Berg 112 WORLD SCREEN 4/22

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TV KIDS

25

Incredibears

Odin’s Eye Entertainment The Beachbuds / Incredibears / Daisy Quokka Odin’s Eye Entertainment is spotlighting The Beachbuds, a series aimed at kids aged 6 to 11 that has been acquired by Disney for Southeast Asia. The recently completed Incredibears, which follows teddy-bear siblings as they embark on imaginative journeys, is currently available worldwide. “The Beachbuds is a lot of fun with its wit and zany cast of characters, whereas Incredibears is super cute and full of vibrant colors and situations for younger audiences,” says Michael Favelle, CEO and head of sales. Further highlights include Daisy Quokka, in which a crocodile tries to help an eternally optimistic quokka named Daisy win the annual World’s Scariest Animal sports championship. The adventurecomedy feature is targeted at families.

“We have great taste in IP and can deliver high-quality programming.”

—Michael Favelle

Operation Ouch!

Serious Kids Girls of Olympus / The New Legends of Monkey / Operation Ouch!

Serious Kids is bringing to MIPTV Girls of Olympus, an animated fantasy adventure series aimed at the 8-to-12 set made by The Animation Band for Rai Gulp. The animated series “centers on themes such as friendship, love and bravery, which are conveyed through the fantastic adventures and everyday lives of three teenagers,” says Leila Ouledcheikh, senior VP of global distribution and commercial development.

The second season of the See-Saw Films-produced drama The New Legends of Monkey is also on Serious Kids’ slate, as is the tenth season of the science show Operation Ouch! with Dr. Chris, Dr. Xand and Dr. Ronx. “Operation Ouch! goes from strength to strength and is breaking into new territories ten years on,” says Ouledcheikh. “It has proven itself time and time again in the most varied platforms and cultures worldwide.”

“Our most successful human science show, the new seasons of Operation Ouch! will offer brand-new adventures and experiments.”

—Leila Ouledcheikh

Sesame Street Mecha Builders

Sesame Workshop Sesame Street Mecha Builders / Bea’s Block / Play to Learn Sesame Street Mecha Builders, a series that reimagines Elmo, Cookie Monster and Abby Cadabby as robot superheroes-intraining with STEM superpowers, tops Sesame Workshop’s highlights. Bea’s Block follows 5-year-old Bea and her two best block friends as they go on “kindness adventures” to help others in their community. “Both series will include fully integrated educational curricula, engaging music and a whole lot of heart—everything parents expect from the makers of Sesame Street,” says Whit Higgins, senior VP of international media and education and distribution. A new collection of animated formats, Play to Learn is designed to engage preschoolers with playful early learning content. The first format, Big Feelings Explorers, is focused on understanding and managing emotions.

“Sesame Workshop is committed to creating content that makes a positive impact on today’s kids.”

—Whit Higgins 4/22 WORLD SCREEN 113

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Sinking Ship Entertainment Alma’s Way / The Fabulous Show with Fay and Fluffy / Odd Squad A Bronx-born Puerto Rican girl is living her best fast-paced city life in the Sinking Ship Entertainment animated highlight Alma’s Way. The live-action series The Fabulous Show with Fay and Fluffy is a storytime cabaret variety series that features books, puppet friends, animated characters and musical guests and is hosted by the titular drag artist duo. Another live-action title on Sinking Ship’s slate, the math-focused comedy series Odd Squad centers on a high-tech organization run by kids that investigates strange goings-on. “All three of these titles showcase qualities in top-tier children’s programming that Sinking Ship is known for worldwide: inclusivity, curiosity, learning objectives and entertainment,” says Kate Sanagan, head of sales and distribution at Sinking Ship.

The Fabulous Show with Fay and Fluffy

“We are excited to be back in Cannes in person.”

—Kate Sanagan

Sixteen South Rights Odo / Ivory Towers / The Coop Troop A 2D animation for preschoolers, Sixteen South Rights’ Odo follows the adventures of the eponymous little owl and his best friend Doodle as they confidently tackle challenges. “Odo has already proven globally popular,” says Alexandros van Blanken, general manager of Sixteen South Rights. “And now, more than ever, its themes of acceptance and self-belief seem even more pertinent.” Currently in development, the comedy series Ivory Towers, set in an old folks’ home for animals, celebrates intergenerational relationships. The Coop Troop, a CGI comedy series for kids aged 6 to 9, follows the exploits of an unlikely team of farm animal heroes. “All of [these titles] touch on universal themes, delivering important messages relevant to young children everywhere through fun and engaging stories,” says van Blanken.

Odo

“Sixteen South turned 15 this year, and we are thrilled at what we’ve achieved in that time.”

—Alexandros van Blanken

Studio 100 Media Vegesaurs / SeaBelievers / FriendZSpace Studio 100 Media is introducing Vegesaurs, a series that takes kids to a land populated by Vegesaurs like the Tricarrotops named Ginger and her friends the baby Pea-Rexes. Each episode of SeaBelievers takes kids on an eco-adventure to save the ocean and the environment. FriendZSpace follows best friends and deep-space friend makers Alice, Leo and Kim and BotDog, a half-puppy and half-high-tech Swiss army knife. “Their mission is simple and wonderfully weird: locate planets, find alien kids, introduce themselves and make friends,” says Dorian Bühr, Studio 100 Media’s head of global distribution. He adds, “It is important, especially now, to bring forward and offer exceptional programs like Vegesaurs, SeaBelievers and FriendZSpace, representing great entertainment that conveys important and positive messages.”

Vegesaurs

“Our mission in the kids’ entertainment world is to bring brands to life that are content-driven and entertain kids and families.”

—Dorian Bühr 114 WORLD SCREEN 4/22

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TV KIDS

Oggy Oggy

Xilam Animation Oggy Oggy / The Adventures of Bernie / Pfffirates Xilam Animation’s first CGI animated comedy series for preschoolers, Oggy Oggy sees Oggy and his cat pals head out on fun adventures in a colorful world. “The innovative series is a spin-off of our international hit franchise Oggy and the Cockroaches, and we’re sure it will capture buyers’ attention through its blend of fast-paced action and tender humor, as well as its adorable characters and bright visual style,” says Morgann Favennec, executive VP of distribution. A spin-off of Zig & Sharko, The Adventures of Bernie centers on the show’s beloved hermit crab character as he gets stuck at the bottom of the sea and must find a way to get back home. The CGI adventure comedy Pfffirates is set on Calypso Island, where three crews are taught pfffiracy by the legendary Captain Lamar.

ZDF Studios

“We’ll be heading to Cannes with some exciting new seasons, new series and new projects in our suitcase.”

—Morgann Favennec

Pettson and Findus

Pettson and Findus / Theodosia / Tilda Appleseed The ZDF Studios animated highlight Pettson and Findus follows the old and inventive farmer Pettson and his cat Findus, who always wants to discover and experience new and exciting things. “We are presenting 26 brand-new episodes full of creative, heartwarming and enjoyable stories,” says Fred Burcksen, president and CEO of ZDF Studios. A liveaction series, Theodosia takes its audience back to the year 1905, where 14-year-old Theodosia and her brother stumble on the mysterious Eye of Horus in a hidden tomb. Tilda Appleseed centers on a church mouse, her pet Snaily and best friends as they share exciting stories and tasty food.

“Tilda Appleseed and her friends are a wonderful ensemble that will immediately find a place in the hearts of all viewers of this lovingly animated series,” says Burcksen.

“Come and join Pettson and Findus on their new adventures.”

—Fred Burcksen

Zodiak Kids and Family Distribution

Yellow Yeti

Mumfie / Silverpoint / Yellow Yeti Based on Britt Allcroft’s Magic Adventures of Mumfie, the Zodiak Kids and Family Distribution highlight Mumfie features an optimistic young elephant and his friends Pinkey and Jelly Bean. The preschool series has recently launched on France 5 and Okoo. The live-action title Silverpoint is set at an adventure camp, where four friends stumble upon something buried in the woods that will turn their worlds upside down. “We are about to announce many new deals for Mumfie and Silverpoint, but some territories are still free to pick up,” says Delphine Dumont, chief commercial officer at Banijay Kids and Family, the parent company of Zodiak Kids and Family Distribution. “We are now ready to also share episodes of our newest comedy, Yellow Yeti, which many buyers are looking forward to fully reviewing.”

“We look forward to pursuing financing discussions for all of our developments face-to-face.”

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Serious Kids’ Bo & To’s Family.

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Everyone is Welcome Diversity and inclusion have become broadcaster and platform must-haves; Mansha Daswani hears from content production and distribution execs on how they are responding.

ll kids deserve to see themselves reflected onscreen—it’s not rocket science. But execution?

That is a whole other story. The industry is still playing catch-up as it looks to (quickly) diversify writers’ rooms, attract new talent and find intelligent, creative ways to deliver inclusion without taking a paintby-numbers, quota-based approach to true representation.

“We are hearing from all major broadcasters that diversity and inclusion are key requirements,” says Genevieve Dexter, founder and CEO of Serious Kids. “I say major not because smaller platforms do not also share these policies, but because the majors are able to influence editorial choices. More recently, this requirement has been extended, not only on-screen but also in production talent as part of the commissioners’ brief. However, the interpretation has become more sophisticated, focusing on diversifying voices and cultural experience rather than reflecting purely racial and physical ability profiles.”

“Creating worlds in which children and families can authentically see themselves is what continues to drive viewership and keep our brands top of mind,” observes Fred Soulie, the senior VP and general manager of Mattel Television.

“It becomes key for most of our clients one way or another— it has to be there,” agrees Raphaëlle Mathieu, the senior VP of sales, acquisitions and new media at Cyber Group Studios.

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For Hanna Mouchez, the founder and CEO of MIAM ! animation, “Animation is one of the best [tools] we could use for transmitting a diversity and inclusion message. Schools are very important; maybe you listen to a teacher. But you also listen to a character. Heroes have this power.”

Matthew Berkowitz, the chief creative officer at Atomic Cartoons and president and chief creative officer of Thunderbird Entertainment, highlights the creative possibilities being ushered in by the industry’s embrace of diversity.

“Everyone is very excited about the many different viewpoints being incorporated into shows through behind- and on-camera talent. And having these different creative perspectives is about strengthening the storytelling. Collectively, we’re all breaking down those walls that existed in the past, and it’s so great to see.”

DEFINING DIVERSITY When speaking to executives about inclusion, a recurring theme is that the approach needs to be all-encompassing, not narrowly focused on one definition of diversity.

“It can be girl empowerment like in Droners or Digital Girl, where girls are the heroes,” says Mathieu at Cyber Group Studios. “It can be visible minorities. Diversity can be as simple as being different, and that can take many aspects. We believe it’s the global awareness of society that becomes central. In Droners, the eco-friendly issue is central.”

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Serious Kids’ Dexter adds, “Diversity and inclusion are starting to be woven into shows as part of their DNA rather than editorial decisions about how many different skin colors to feature on-screen. More diversity behind the camera automatically leads to more diversity, not only in terms of the characters but also the themes, environments, color

Mattel Television’s Deepa & Anoop, which is being animated in India, is set to premiere on Netflix.

palette, comedic tone and music. Diversity and inclusion cannot be the USP of a program, but achieving a balance in a natural way can.”

MIAM !’s Mouchez agrees that behind-the-camera diversity is key to getting your on-screen product to deliver on your inclusion goals. The studio and distribution outfit has emphasized strong female leads, which broadcasters and platforms have shown a keen interest in.

“That’s a good start, but it’s not enough,” Mouchez explains. “Even if you have women on-screen, it doesn’t mean that the writing is aligned with what you want to say.

For instance, you could have girls starring as heroes, yet the writing, episodes and adventures transmit old-fashioned patterns and stereotypes. The best way to avoid that is to welcome girls behind the screen as authors, scriptwriters, directors and producers.”

At Thunderbird and Atomic Cartoons, Jennifer Twiner McCarron, CEO, points to the PBS KIDS and CBC Kids commission Molly of Denali as an excellent example of how embracing diversity behind the scenes resulted in authentic on-screen representation.

“The series was developed with the Indigenous community of Denali,” Twiner McCarron explains. “And along with helping to inform how the next generation will think about Indigenous people, it also prioritizes the Indigenous community of Denali’s role in shaping its representation. More than 60 Indigenous mentorships took place during the creation and production of season one, and as we are now working on season two, many of these talented individuals are now working full-time in the industry.”

NO FAKES

Adapted from a comic book, MIAM ! animation’s Brazen profiles forgotten women who made history.

GBH and Atomic Cartoons produced Molly of Denali for PBS KIDS and CBC Kids.

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Authenticity is another recurring theme in conversations about diversity in television. “Kids have a very acute sense of what is real and what is fake, and they can react badly to diverse characters or situations that are not believable or appear one-dimensional,” states Dexter at Serious Kids.

“Once authenticity is achieved at the foundation, then success will come from the quality of the writing and design without interruption from new diversity concerns that should have been intrinsic in the concept.”

“Don’t try to add diversity and inclusion as a layer,” Berkowitz adds. “It’s a matter of thinking about every part of the creative and related themes as organic pieces of the whole.”

And authenticity will only come when your behind-thescenes team can accurately reflect the diverse messages you want to be conveyed on-screen.

“Before the pandemic, there was a need to have your talent all gathered under one roof—and that has changed,” Twiner McCarron adds. “We’ve proven that we can work very effectively off-site, so we are now able to recruit from further afield with an eye toward EDI [equity, diversity and inclusion].”

“As we search for talent, we’re digging deep and looking all over the world,” Berkowitz adds. “We’re putting more emphasis on mentorship and developing our in-house talent. We’re also looking for our next generation of animators through our focus on schools.”

Mattel Television has also prioritized diversifying its talent pool, Soulie explains. “We strive to work with experts in the stories we are telling in order to ensure cultural accuracy and sensitivity.”

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TV KIDS

And the approach to authentic storytelling extends across the Mattel Television slate, Soulie notes, citing properties such as the rebooted Masters of the Universe franchise, Barbie-related content like the upcoming Barbie: It Takes Two for Netflix and the third-party show Deepa & Anoop. Even the perennial favorite Thomas & Friends has been updated to meet the needs of today. Thomas & Friends: All Engines Go has an expanded cast that includes Kana from Japan and Nia from Kenya.

Serious Kids has been working to diversify its catalog, Dexter reports, in recent years taking on Tik Tak, The New Legends of Monkey, Bo & To’s Family and Tulipop, “all of which have very diverse casts and crews. Our returning series Operation Ouch! from Maverick Television for CBBC, now in its 11th season, has always been diverse in terms of the doctors and patients featured but has recently welcomed Dr. Ronx Ikharia as one of the presenters, who is a trans, non-binary A&E doctor.”

At MIAM !, Mouchez says that Goat Girl is an excellent example of how the boutique studio approaches delivering diversity on-screen. A co-production with Daily Madness Productions, an Irish studio led by Lindsey Adams, the series “is about being comfortable in your own skin, being happy being you and embracing your differences and even your quirks,” Mouchez says. “The show is produced by an all-female team to remain coherent with the series’ storytelling and social ambitions.”

The MIAM ! lineup also includes Brazen, adapted from a comic book by Pénélope Bagieu, featuring 3-minute episodes about little-known women who changed history.

While the show has done well for MIAM !, Mouchez stresses that it was important for the company to highlight diverse shows aimed at younger demos. “Around 6 or 7 is when you integrate: Are you equal to boys, or are you different? We thought our catalog was missing those shows that address younger targets.”

Enter “A Girl’s Coming of Age Journey: Four Tales of Feminine Early Bravery,” a collection of four half-hour specials focused on young girl characters.

Cyber Group is similarly making sure that the full breadth of its slate touches on themes of diversity and inclusion, from the girl-empowerment and eco-friendly aspects of Droners to the mixed families in 50/50 Heroes and The McFire Family to the diverse talent behind the upcoming adaptation of the Press Start! novels for Peacock. “Diversity or awareness are present in every single series we’re doing,” Mathieu says.

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Cyber Group’s Droners features diverse characters and places environmental awareness at the center of the storytelling.

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ZDF Studios’ Space Nova.

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SMART! Mansha Daswani hears from leading producers and distributors about how best to incorporate science, technology, engineering, the arts and math into kids’ TV shows.

mong the handful of silver linings from the past two years of pandemic-era disruptions, the reemergence of a robust educational core for kids’ TV shows has been a boon for the industry at large. Indeed, distributors who were lucky enough to have curriculum-based shows on their slates found a wave of new opportunities as school closures began to hit— and that demand has continued even as kids’ lives have in many markets begun returning to some degree of ordinary.

“The demand rose for STEM shows during the pandemic, with virtual learning a global requirement, which has helped to commercialize these types of series and made them more appealing to partners,” says Alison Taylor, the director of distribution and business development at Aardman.

“There is a lot of demand,” agrees Dominic Gardiner, the CEO of Jetpack Distribution. “Many broadcasters are already explicit with that demand and have been that way for a long time. Even those who have experience doing edutainment shows stepped up even more. There was demand from parents as well. And the industry reacted quite quickly. Even commercially minded broadcasters would have noticed it was very popular. At the end of the day, they’re all in the business of eyeballs. So if edutainment works, then why not do more of it?”

Other factors are happening in the background, notes Arne Lohmann, VP, junior, at ZDF Studios, such as NASA’s Moon to Mars initiative, which aims to send humans to the planet in the

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2030s. “Space and understanding Earth’s place in the universe are major areas in the science education curriculum,” says Lohmann on the importance of a STEM (science, technology, engineering and math) foundation for kids’ TV shows. “This is most important in primary school, when students decide about the value of studying science. Seventy-five percent of the fastest-growing careers today require at least some STEM skills. Inspiration matters.”

SPECIAL ED And to be inspiring, STEM/STEAM-based shows need to get a lot of elements spot-on. Taylor mentions the basics of “strong and engaging” characters alongside “educational elements that are seamlessly integrated into the stories and touch upon characters’ traits and wants. This makes the educational side for kids not only easy and fun to digest, but also triggers their engagement with the characters beyond the show itself.”

Even when you do have all the elements in place, Jetpack’s Gardiner reports that sometimes when you’re pitching a STEM show, “your idea can be compared to pre-existing ones quite quickly. Once you even utter the word STEM, they may say, we have a STEM show! It’s frustrating because you know the world can exist with more than one STEM show. There’s almost that quota people have in their heads. It’s not strictly related to the audience’s appetite. And some channels could have edutainment all day. You have to be very distinctive. That 4/22 WORLD SCREEN 121

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Australian Space Agency has become an anchor for the audience to see an aspirational show about Australians in space. The series takes real science as a story starting point and expands it into a fantastical story encouraging questions like ‘what if.’”

SPACE AGE

Alice’s Diary is a new series from Jetpack that encourages preschoolers to learn through art.

point of difference needs to be clear in any educationally driven series.”

It also helps to have educators and experts on board, as SLR Productions did as it was making Space Nova, ZDF Studios’ lead STEM-based series, which features “rich science-learning sequences designed to target different learning ages and key science content,” Lohmann says.

“STEM involves critical thinking and problem-solving while also encouraging creativity. When taught at a young age, STEM encourages children to solve problems and think outside the box so that the skills they learn remain with them throughout their lives. Space Nova’s intended audience is 5- to 10-year-old girls and boys. The newly formed

The series does that through the adventures of siblings Jet and Adelaide as they venture through space with their parents looking for alien life forms. “Entertainment is always at the core of creating shows like Space Nova,” Lohmann adds. “However, combining STEM, especially in space, with science allows for the audience to see STEM in an entertaining way. We explore all kinds of areas: What is life like on other planets? What would it be like to have a robot as your best friend? How can AI and humans live and work together? What are sound and light like in space? The characters are also linked to key STEM themes and careers that you would find if you were in space.”

Jetpack’s Florida, meanwhile, focuses on the E in STEM, following a little girl living with her aunt, an ex-NASA scientist who runs a GEM (Gadgets of Everyday Marvel) shop. “Kids learn about where the item came from, what it was used for and how it works,” says Gardiner of the show, which hails from Paper Owl Films. “The emphasis is on storytelling, but the ‘how it works’ bit educates kids about engineering and science. There is also a great focus on imagination-based science and how you can invent a new tomorrow. It’s a show that can excite kids about engineering—the fun bits, like how magnets work and what a pendulum is; the real-world applications of science. For kids today, there’s no information you can’t find.

But the application of things in the physical world is

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something that kids probably don’t interact with in the same way as when we were growing up. Toys were based on scientific things. Now everything just comes out of the screen. We wanted to have principles of coding in the storytelling. We also wanted to match that with more classic science. We have new tech and old.”

BY THE NUMBERS

Aardman is touting Alphablocks and Numberblocks, which “help kids better understand (and love!) math, phonics and literacy,” Taylor explains. “Numberblocks and Alphablocks are unique in that numbers and letters come to life and help children learn in a fantastically visual way. Kids are learning without realizing they’re being taught, which is the ultimate goal of the educational shows we produce and distribute at Aardman.”

Aardman’s STEM-based shows, Taylor adds, were “developed in conjunction with the relevant educational experts.

This, alongside the strengths the animation studios bring to the development and production in terms of characters, story and humor, really help to achieve the perfect educational-entertainment output.”

Taylor also mentions the importance of edutainment shows promoting the arts, referencing Aardman’s upcoming rollout of Pop Paper City from LoveLove Films, “an adventure arts and crafts, ‘view-and-do’ series that inspires kids to join the characters in creating objects from paper as featured in each episode,” she says.

Jetpack, meanwhile, is unveiling Alice’s Diary. “The strapline is: Understanding the world through art,” Gardiner says. “Alice’s wonder, inquisitiveness and unique view on the world are shared with the audience through her off-beat, engaging conversations with her mum. And

as Alice talks, she draws, and her pictures become a captivating visualization of what she’s thinking. It’s animation about art. It’s one of those shows you’re drawn to because it’s so beautifully designed.”

The show, like many edutainment properties, targets preschoolers. Indeed, once you get into older kids’ demos, executing on a STEM- or STEAM-based curriculum can become much more challenging.

“To follow a curriculum, you have to have a broad approach because not all kids develop at the same rate,” Gardiner says. “Some subjects would be tough to get across in a story. It becomes factual. For younger kids, you can have a balance of story and education. And entertainment is the tone of it; it envelops it all. You can be completely madcap and irreverent and still have facts in there that kids can get out of it. When you get more into a factual show, the older kids appreciate it, but it really is education, and the entertainment gets dialed down. You have to be honest with older kids: This is a factual show that will help you with your schoolwork. The prominence is always the younger end. I’d say 95 percent of preschool shows have some loose curriculum.”

Lohmann at ZDF Studios emphasizes the importance of science—and wonder—in kids’ shows in general across a range of demos. “Scientists still have so many mysteries to solve when it comes to the universe,” he notes. “Their discoveries will help us to improve our everyday lives and better understand our planet and its role in the universe. Fostering a passion for space and space travel in children will lead to discoveries in the future that can benefit us all. Programming with STEM is important for audiences of all ages, to learn, inspire and be aspirational.”

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TV KIDS Summer Festival house Spread fin.qxp_Layout 1 3/7/22 4:05 PM Page 1

The TV KIDS SUMMER FESTIVAL is a four-day must-attend virtual event taking place a week prior to Annecy/MIFA and a month before Kidscreen Summit.

Taking place from June 7 to 10, 2022, the TV KIDS SUMMER FESTIVAL will feature keynotes and panels with leading executives and creatives discussing the major trends in the children’s programming business. It will be streamed live and available on-demand for two months on TVKidsSummerFestival.com.

For sponsorship opportunities, please contact Ricardo Guise at rguise@worldscreen.com or Dana Mattison at dmattison@worldscreen.com.

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Photo: Ricky Middlesworth

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Kristen Bell

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illed with toe-tapping original songs spanning multiple genres, Do, Re & Mi follows the musical adventures of three best birdie friends—voiced by Kristen Bell, Jackie Tohn and Luke Youngblood. The preschool series is a production of Amazon Studios and Gaumont for Prime Video and Amazon Kids+. Bell, whose voice is instantly recognizable to little ones from her role as Anna in the Disney hit Frozen, is also an executive producer on the show. She tells TV Kids about the value of music education in children’s lives and the show’s ability to “sneak teach” important life lessons.

By Kristin Brzoznowski TV KIDS: What was the genesis of Do, Re & Mi, and how did the collaboration with Jackie Tohn and Gaumont come about?

BELL: Jackie Tohn has been one of my best friends for 15 years. She came over one afternoon and said, “I’ve been writing this show with my friend Michael [Scharf]. It’s got music for kids. Can I play it for your girls?” When I heard it, I immediately wanted to know more. She told me about the show—and particularly the idea that in the midst of public schools slashing music and art programs, a show like this would keep that alive in kids’ lives. I had previously seen studies that an early music education or exposure to music at an early age actually impacts everything about a child’s brain. It improves their mathematic scores; it improves their social-emotional relationships— it’s endless. I asked what she was doing with it, and she said, “We don’t really know yet.” I asked, Can I help you produce it? I called Gaumont. I thought they had been doing great work, and I knew they had a great animation facility. We met with them, and everyone was on the same page. It was 0 to 60 from there.

Photo: Ricky Middlesworth

TV KIDS: What are the challenges in voicing animated characters compared to on-screen acting?

BELL: It’s a bit of a paradox: Animated characters are infinitely easier and infinitely harder than on-screen characters. It’s easier because I get to go in my pajamas, and there’s no hubbub around the whole thing. There’s no hair and makeup. Eliminating the visual component reduces the strain immensely from my point of view. But the challenge is that I have one tool to tell the story with, one tool to ask the audience to go on this journey, to engage the audience with this story—and that tool is my voice. I have learned a lot of tricks, which have mainly been gut instincts, about the tone of my voice, the pace of my voice, how I’m forming the vowels in my mouth versus how they sound, to try to engage the audience and tell the maximum amount of emotion with a sound.

TV KIDS: Through this show and in your experiences with your own kids, what have you learned about the importance of music education for young ones?

BELL: This type of engagement with a show like this will help them learn music fundamentals because the show is talking about, under the guise of entertainment, music theory and vocabularies like beats, lyrics and tempo. It can help create an interest in music from an early age. By children having the opportunity to discover and interact with a variety of music genres in a meaningful way, it creates more cultural exposure. The developmental benefits of music education don’t just inspire a love and appreciation for music; from a brain-development perspective, it gives them a head start on so many other things, including cooperation and sharing. You make music how? With other people! You cooperate while making music; the drummer listens to the pianist, and the pianist listens to the violinist. Music can make you feel a certain way, so there’s social-emotional education. When you’re sad, could you put on a happy song and pump yourself up? Could you put on an even sadder song and get your cries out? It can change your mood; it has a major effect on things. To say nothing of counting and the mathematical benefits. I have allowed my kids to plunk on a piano and sing songs, and I’ve talked about a four-four measure versus a three-four. We’ve clapped it out in the car from a very early age. But I realize the privileged parenting that I’m accomplishing; I have the time to do that. If you’re a single mom with four kids and your public music education was cut, we wanted to make Do, Re & Mi to help you out and give your kids the head start that they deserve.

TV KIDS: What do you enjoy most about the songs in Do, Re & Mi, and who is coming up with them?

BELL: Jackie is writing the songs, along with David Schuler, who is a friend of hers. They’ve written music for a lot of different pop artists together. What I love most about the music in Do, Re & Mi is that it genuinely covers all genres.

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Gaumont’s Do, Re & Mi was commissioned for Prime Video and Amazon Kids+.

And I mean niche genres! It’s not just country, reggae and pop. We have an Olivia Newton-John episode.

There are songs from artists who have created a minigenre that is all their own.

Because Jackie and David write pop hooks for people that I would listen to on the radio and do listen to, none of the songs feel like the ones that are stuck in your head late at night because you walked by whatever television show your child was watching and now you feel like you can’t fall asleep because it’s on repeat. They’re actually really fun songs to sing. They are all a bit like a Justin Bieber hook or a Jason Aldean hook or a Bob Marley hook. They are interesting for adults as well. One of my main goals in this show was that I don’t want music that will be grating on adults; I want adults to be singing along and excited about this music as well. I don’t want adults to desire putting the television in the microwave.

TV KIDS: Tell me about some of the ancillary touchpoints of the series—from toys to books to gaming to teaching guides—and why those are important.

BELL: When we chose Jazwares to make the toys, it was because they had an engaging amount of musicality to each of their toys. It would allow the kids to be creating music.

They are actual instruments. We want kids to learn about music, but the goal with music is not to study and memorize; it’s to learn the fundaments, go in your bedroom and make it yourself because it has an incredibly positive impact, even if you’re only playing songs and writing songs that no one else will hear. That’s an outlet for kids.

As far as making toys that aren’t musical, the benefit is that the story stays alive, the engagement stays alive. My youngest daughter is particularly into stuffies; she loves them, she cares about them, she anthropomorphizes them, she takes them places. When we first got the prototypes of the Do, Re and Mi birds, we had to go to the grocery store later that day, and she put masks on all of them and took them with us because they were important people in her life. I think that’s really cute!

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With books, we have The Mysterious Beat, which retells the first episode of Do, Re & Mi in storybook form.

We know that any amount of repetition with kids creates a deeper understanding. With the paperback edition, we put in stickers for a higher level of engagement.

It’s all about keeping it alive in children’s lives from a story and engaging narrative perspective and not like they watched a show that was a lesson. It doesn’t come across like a teaching show, even though it is what Jackie and I call “sneak teaching.”

One of the most exciting things is that the mobile game, Do, Re & Mi: Musical Adventure, has multiple mini-games that incorporate aspects of music education such as following a beat, instrument identification and music vocabulary. It’s giving kids a leg up on the music education they deserve, whether they have it in their schools or not, and those skill sets will bleed into a lot of other forms of education and development for a child.

TV KIDS: What are some of the underlying themes the show imparts?

BELL: Cultural exposure and learning from it. One of the ways my kids are able to keep a growth mindset is that we expose them to a lot of different things— we try different cultures’ foods; we talk about Chinese New Year or the Hindu holiday Holi. We remind them that there are people who live in other parts of the world who we could learn more about. When you’re popping your bubble and not limiting your exposure, you have a greater sense of empathy and compassion for sharing Earth. From an emotional standpoint, from an intimate, interpersonal standpoint, music can affect the way you feel, and you can use it as a tool. If you wake up and are really tired, maybe put on a pop song. It might get you jazzed. It has the ability to change your feelings, exposing kids to the fact that there are tools out there to help them along the way.

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group of kids who discover that dragons are real. They seek to protect these dragons and keep them safe in a modern world that is not always friendly. It’s exciting and breathes new life into this incredible franchise to see modern kids with modern sensibilities riding these dragons. Different [series] require different approaches.

TV KIDS: How do you decide what animation style to use when reimagining some of these franchises?

GAL: Most of what we’ve done has been in CG. But on certain franchises, we’ve decided to pivot for the TV series and do it in 2D. Many different factors drive those decisions, but usually, we let the creatives speak to it. When you’re talking about a big-budget DreamWorks feature, sometimes everything you can achieve in CGI might be too challenging to do on a TV budget. If you have a show that is traveling a lot and is incredibly character- and location-heavy, sometimes we consider the change for production. But we don’t want to take this big, expansive world of a film and make it feel small by limiting locations. A lot of factors go into it, but we generally follow the passion of our showrunners, film directors and creative teams.

Peter Gal

DreamWorks Animation

By Anna Carugati

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reamWorks Animation has thrilled movie-goers with animated feature films full of adventure, quirky characters and lots of laughs for more than two decades. Under the direction of Peter Gal, the chief creative officer of television, the company has been extending some of the most famous film franchises into TV series. It also creates original stories for the small screen, offering a broad portfolio to linear channels and streaming platforms.

TV KIDS: Would you give us some examples of how you’ve taken characters from films and created a series around them?

GAL: We are very lucky to have a lot of IP to draw from, and each piece of IP requires its own strategy and examination.

The Croods: Family Tree picks up after the events of the second film, The Croods: A New Age. We felt that with these new characters introduced in the second film and the comedic conflict between this new family, the Bettermans, and our original family, the Croods, there was so much comedy to drive from that. So that became a comedy set in the world of that second film. It was a new environment that just needed more exploration. [The Dragons] franchise requires a different approach. There have already been three Dragons [feature] films. There have been a number of How to Train Your Dragon TV series, all of which were set in the Viking world. So, with Dragons: The Nine Realms, we felt it was time to do something new in television to eventize this new series. We brought the action forward 1,500 years out of Viking times into the modern day. The show is about a 132 WORLD SCREEN 4/22

TV KIDS: Do streaming services provide creative freedoms that you didn’t have in the linear world?

GAL: Absolutely. For my entire career in TV animation, when I worked for linear networks like Disney and Nickelodeon, serialized storytelling was incredibly challenging. The environment was unfriendly to it because they wanted to be able to replay the episodes over and over and out of order. Serialization just didn’t [fit] how those networks worked. Now, in streaming, you can embrace serialization in a different way. I don’t know how I would have even approached doing a series like Jurassic World: Camp Cretaceous had it not been serialized, immersive storytelling. I don’t think I’d be excited about doing a straight episodic version of a show like that. [Given] the volume of animation being done by the streamers, I’m excited to see people taking some risks and trying things that are different.

TV KIDS: DreamWorks Animation provides programming to many outlets, and Peacock is a corporate cousin. Could you give some examples of how you decide on the right home for a given show?

GAL: We are a producer. We don’t greenlight our own shows. We have to sell them to partners. We generally follow the passion of the different platforms. Every platform has its own strategy, but the strategy comes down to the individuals who are the decision-makers at those platforms. The key buyers at Netflix are different people from the key buyers at Apple and Peacock, and they all have different tastes. We work hard to maintain a broad

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development slate and a lot of different projects tonally.

We have everything from the youngest preschool to bridge to older comedy to serialized adventure for the 6-to-8 age group, and serialized adventure that goes older, to [shows] that lean more teen. We try to manage the platforms by having a lot of different things always percolating up through the development pipeline. When a buyer says, I’m looking for a show that fits this tone or speaks to this part of the audience, we can step in and say, OK, we’ve got something that speaks to that. We listen to the buyers, and Peacock is very excitedly emerging as a significant buyer.

TV KIDS: In your development, how do you balance new ideas against what you can take from the library?

GAL: We try to have a healthy mix at all times. It’s hard because sometimes it feels like the business is pivoting one way or the other. Sometimes the market feels very driven by people only wanting known IP and shows that have that built-in marketing advantage. But then, a few months later, one of our buyers will surface and say, We’re craving something brand-new. Every franchise started as an original.

Obviously, we’re not going to overlook an opportunity to do something exciting based on DreamWorks or Universal IP. But we’re developing comedy originals. We’re also developing originals that are more in that serialized immersive storytelling space.

TV KIDS: Tell us about some of the partnerships you’ve initiated in the past year.

GAL: We’re always looking for great partnerships globally.

It’s more important than ever as a way to get top-quality work done. There’s more animation happening than ever.

We like to work with the best artists, wherever in the world we can find them, and with the best studios. That has led to incredible co-production opportunities. We’re producing Go, Dog. Go! in partnership with WildBrain. We had always

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loved the book. When we find a piece of IP that a studio somewhere else holds and that we really would love to play with them creatively on, we will pursue that opportunity. We respond very much to studios with a strong pool of artists, a strong creative point of view and a shared vision. We want to pursue more of those opportunities.

TV KIDS: How have you embraced diversity and inclusion?

GAL: I think we’ve been very thoughtful about it on-screen for quite some time. Animation takes years to get off the ground. Look at two of our biggest hits right now: Jurassic World: Camp Cretaceous, which features quite a diverse group of kids and a Black lead in Darius, and Gabby’s Dollhouse, which features a biracial lead in Gabby or Laila [Lockhart Kraner], as the actress is named. We’ve been thinking about putting diverse characters front and center on-screen for years. I think the biggest area for growth is behind the scenes on the talent side. We have worked hard over the past couple of years to ensure that the staff on each show have more diversity. Whenever there’s representation on-screen, we want to try and have some of that representation in the writers’ room or the directing staff. We’ve always looked at DreamWorks as a place where people can start and grow careers. We’re trying to build the next generation of talent. Like every studio now, we are looking for established and experienced female and diverse leadership for shows. We are attracting people to the studio, and at the same time, we’re trying to build the next generation of talent. When we decided to develop Jurassic World, taking one of the biggest, if not the biggest, family franchises in film history into animation, that was a great opportunity to say, We’re taking this commitment to diversity very seriously. We’re going to put characters of color front and center in a world in which they’ve not been. That’s emblematic of our passion for it.

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NBCUniversal Global Distribution is offering up the preschool series Gabby’s Dollhouse.

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Nick Park Aardman

By Anna Carugati

our-time Academy Award winner Nick Park, a codirector at Aardman, took a passion he had as a little boy and turned it into a fruitful and acclaimed career.

Driven by his love for animation, he created the characters of Wallace and Gromit and Shaun the Sheep, which have become beloved around the world. He talks to TV Kids about the advantages of claymation and imbuing animated characters with emotions even when there is no dialogue, and provides a sneak peek at the upcoming Chicken Run sequel.

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TV KIDS: When did you first become interested in animation?

PARK: I loved animation as a child. I always loved art and drawing cartoons, and I wanted to do comic strips. But then I discovered my parents’ home movie camera. It was a Bell & Howell 8mm—Standard 8mm, not even Super 8mm—and could take one frame at a time, which was unheard of back then. For me, living in this small northern English town, having access to an animation technique was quite a rare thing.

I didn’t know anyone who even worked in TV, never mind film, but I read books and my dad told me a bit about how to do it. I created my own cartoon characters. I made cut-outs in paper, cards and fuzzy felt and moved them around on a board. I made a handful of films when I was a kid, maybe even a dozen. I tried doing cartoons more like Disney’s, but I couldn’t afford the cells. I used tracing paper. I just watched animation, absorbed it and tried to emulate everything I saw, including stop-motion.

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TV KIDS: How did you start professionally?

PARK: I was at film school, the National Film and Television School, which is outside of London, and I was a big fan of Aardman, which then consisted of Peter Lord and David Sproxton, and maybe one or two others. They were venturing forth with their claymation and competing on the world stage with that. But they were very small and looking for animators. They took me on for a couple of summers as a student. There’s a character in the U.K. called Morph, which is our equivalent of Gumby. It was very big in the ’70s and the early ’80s. I got to animate him quite a bit. While I was at film school, I was developing these characters called Wallace and Gromit. Aardman kept offering me work, but I thought, Oh, I’ll never finish my graduation film if that happens. Eventually, I ran out of time at film school, and they said, Well, why don’t you come and finish your film with us? We’ll help you finish it if you work for us part-time. So that was a perfect solution. It took me another four years to finish A Grand Day Out. TV KIDS: Who or what served as inspirations for Wallace and Gromit? Did they spring from your imagination, or did they come from people you knew—or dogs you knew?

PARK: Well, a bit of both. I’m one of those people who absorbs everything. I loved all the stop-motion animation I grew up watching on British TV and in Eastern European films, or [from the] National Film Board of

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Canada, plus live-action comedy and cartoons like The Adventures of Tintin. Those were all influences. I always draw from my childhood. For A Grand Day Out, it was really a guy who builds a rocket in his basement.

It was an amalgamation of all these things that I loved and a story I wanted to tell. I hadn’t seen anything like it at the time, so that drew me to it as well.

TV KIDS: Gromit has the ability to express emotion even without speaking and so does Shaun the Sheep. How difficult is it to portray emotion in animated figures?

PARK: That’s a big question, and there are probably a number of answers. I was torn between the different techniques of animation that I wanted to do. The springboard for me was when I did a test of Gromit in A Grand Day Out at film school.

One of the first shots I did was Gromit, and he was stuck under a plank being sawed through by Wallace. He was being used as a trestle. Gromit was meant to have a mouth and behave more like a dog in the original script. Then I animated his brow, going up and down, looking really miffed about being stuck in this situation and being used as a thing. I was amazed at people’s reaction to that—there was so much emotion, pathos and feeling. That turned everything around for me because suddenly, he became, in a way, more human than Wallace. And that set up the whole relationship of master and dog. It was the strength of the eyebrow and the look in the eyes and not having a voice in the traditional sense. It brought forward the strength of mime and subtlety. What helped me choose clay was the subtlety and the humanity and minimalness of it all. There is another answer as well [and that is] you can do a lot with very little. Shaun the Sheep is a little harder because he doesn’t have the brow. But there are still things you can do with him—the way he may pose his head or move or even blink or react. There’s that movement in the neck.

TV KIDS: It’s very clear what Shaun is thinking and he’s a cheeky little fellow! What gives him such universal appeal?

PARK: He appeared in A Close Shave, the third Wallace and Gromit short. He was very much a victim that needed to be saved. He was cute-looking and innocent and turned into a bit of a hero as well. The two elements for me are his cute wide-eyed look, but also, he can be quite cool. I think he’s quite a cool design, and he developed that coolness a lot more in the series.

TV KIDS: What are the advantages and challenges of no dialogue?

PARK: With Gromit, it helps to have Wallace be able to speak. A lot of the situations are caused by Wallace; he’s the catalyst and the agent of chaos in Gromit’s world. We are very much seeing Gromit react to Wallace’s stupidity; it all hinges upon that. When we’re storyboarding, it’s Gromit’s story. Everything depends on what and how he reacts to anything because he’s the protagonist. The audience sees everything through his eyes. Shaun is equally a protagonist but doesn’t have that luxury of any dialogue.

He did in A Close Shave. But not since he’s had his own

series. My colleague Richard Starzak set up that series and directed it. At the time, he and the team decided no dialogue would make it far more international to sell overseas, which has worked very well. But it means the visual storytelling has to be very crisp and that is always very much a challenge. But the philosophy is that we should be able to follow the story without any dialogue at all.

TV KIDS: Whether Wallace and Gromit or Shaun the Sheep, how have you found ways to continue to tell new stories?

PARK: In the case of Wallace and Gromit, because they don’t have a regular series, we very much wait for a new idea to come. I’m often just waiting for those lightning strikes. I have a lot of ideas, but it’s which ones make the story, which ones have legs and lend themselves to tell the story that you really want to tell. With Shaun, because he’s had his own series for quite a while now, when we’ve needed more stories, we have brought in other writing teams. I’ve contributed a couple of story ideas. I can’t remember how many there are now. There are over 100 different Shaun the Sheep episodes, and we’re constantly coming up with more stuff. We had a new one out this [past] Christmas on BBC. TV KIDS: What can you tell us about the upcoming Chicken Run movie?

PARK: It’s very exciting! I guess it’s been 20 years since we made the first one. It’s been a great tale that’s become a classic over the years. A longtime colleague of ours, Sam Fell, is directing. It’s Ginger and Rocky again, and the whole gang of chickens that we knew from the first movie. And the rats are back again. It picks up from shortly after the last film, when Rocky and Ginger and the chickens have found their paradise and freedom on this private island where no humans come, are self-sufficient and living the perfect life. Ginger and Rocky have a daughter called Molly. Ginger’s thing is how to keep Molly safe and not let her ever on the mainland until they discover something quite sinister going on close by, which threatens chicken-kind. They need to do a rescue mission. This time they’re breaking in, [instead of flying away].

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A Close Shave is the third film featuring the beloved Wallace and Gromit, who will be returning for a new Netflix feature.

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@ 25

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he first generation of KiKA viewers have children of their own now. The service, then known as Der Kinderkanal, arrived in Germany on January 1, 1997, as a joint venture of public broadcasters ZDF and ARD. Its mission is as clear today as it was then, despite the radical transformation of the media landscape it exists in: deliver relevant, parent-approved content for kids aged 3 to 13 in a safe, ad-free environment. While it once lagged behind its commercial competitors, KiKA marks its 25th birthday as a market leader, entertaining and educating German kids with live-action and animated series, movies, magazine shows, documentaries and more. The KiKA DNA has been extended well beyond the linear screen, Astrid Plenk, the service’s managing and programming director, tells TV Kids in this special 25th-anniversary report. “Even when acceptance of linear programming tends to be on the wane, KiKA has been able to grow with its viewership,” Plenk says. “At KiKA, the new digital platforms are placed on an equal footing with the classic output path, television.”

To serve its viewers across multiple screens, KiKA has been investing in its own local productions, partnering as a co-producer on compelling new ideas and actively seeking the best the global market has to offer. “It is important that children can both relate to the programs from their own experiences and are taken beyond them to see other children’s lives locally and across the world,” says Sebastian Debertin, the head of international content acquisitions in the programming and management department. “While it is crucial for us to locally produce programs to ensure our viewers can find themselves represented onscreen, we are excited to offer them co-productions and acquisitions from further afield. We are interested in programs that are entertaining and informative, that bring joy to our viewers and promote values such as empathy, kindness, community, open-mindedness, diversity, inclusion, sustainability and creativity, without indulging stereotypes or merely ticking boxes. It is part of our mission to ensure that KiKA is a secure media space where children are considered for all that they are and where all are welcome. We offer content that takes children seriously.”

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Astrid Plenk

mid school closures and canceled playdates, parents across the globe were eager for safe, educationally enriching destinations to put their kids in front of as they juggled their own work-from-home concerns at the onset of the pandemic. KiKA, like so many pubcasters worldwide, made sure that young ones and their caregivers knew that it was going to be there to make things just a little bit easier. As Astrid Plenk, KiKA’s managing and programming director, tells TV Kids, KiKA was established with a mission to inform, educate and entertain, a 25-year-old mandate that extends across all of its numerous platforms.

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TV KIDS: What have been the most significant evolutions at KiKA since its launch in the German market 25 years ago?

PLENK: In 2021, KiKA was, for the third time in a row, the leader of the linear market in transmission slots for 3- to 13-year-olds. According to recent surveys, we came out number one in terms of image ranking ahead of Netflix and others, with KiKA having the full confidence of children and parents. From out of this successful and strong linear position, we have been gradually developing digital platforms, all of which display that particular KiKA DNA. The results have also proven that KiKA is indispensable as a digital brand. We will continue to establish the KiKA sphere in the nonlinear world and thus adapt it to our viewership’s ever-changing usage patterns.

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TV KIDS: How do you tap into the resources of KiKA’s coowners, ARD and ZDF? And how do you collaborate with these entities?

PLENK: Being Germany’s most successful and popular children’s medium, KiKA plays a pivotal role in children’s everyday media lives. The objective is to maintain and further expand that position. As the leading medium under public law for offers of a range of children’s contents, we cooperate, as part of a strong and friendly network of colleagues, with the editorial boards in charge of children’s programming for ARD and ZDF. Work involving formats and planning will be done by way of direct coordination, and portfolio gaps will be identified, with major brands being

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we swiftly derive the range we can offer. The usage volume of 200 million video retrievals in the past year is powerful proof of the success of the digital KiKA platforms and offerings kika.de, kikaninchen.de, KiKAPlayer, KiKANiNCHEN app and HbbTV. But we will also continue to bolster our linear pillar to reach all 3- to 13-year-olds, even those children who do not have a smartphone, tablet or notebook of their own.

Zodiak Kids and Family Distribution sealed a prebuy deal with KiKA for the preschool series Mumfie.

cultivated and developed further. The KiKA-Player app (with 1.5 million downloads at present) will be implemented in the ARD and ZDF Mediathek [ondemand services] as well.

TV KIDS: How has KiKA’s mission changed over the years, as the overall environment in which kids grow up has also changed?

PLENK: For this service under public law, the mission to inform, educate, advise and entertain children aged between 3 and 13 years, and at the same time to meet their needs, has not changed in the past 25 years. But the mode of implementation has been adapted continually to the evolving requirements of the viewership. After all, the media usage behavior of our young target group is subject to constant change. It is that change from which

TV KIDS: How do you see viewership trends evolving?

How important is linear for your overall range of offers?

PLENK: For the third time in a row, KiKA comes out the market leader, growing by a linear 0.4 percentage points compared to the previous year. Even within the sub-target groups—in the preschooler segment, with elementary-school kids and preteens aged from 10 years upward—KiKA is right in front in terms of popularity with viewers, just as during prime time between 6 p.m. and 9 p.m. Even when acceptance of linear programming tends to be on the wane, KiKA has been able to grow with its viewership. At KiKA, the new digital platforms are placed on an equal footing with the classic output path, television. Structurally, then, we develop further but will not lose touch with anybody.

TV KIDS: What does KiKA offer kids that they cannot find elsewhere?

PLENK: Cross-platform quality and diversity, proximity to their own living environment, authenticity and programming without advertising are convincing to children and their parents. At KiKA, children have always played the most important role, whether inside or outside of a program. In addition, interaction and

KiKA’s Sebastian Debertin is among the executive producers on Odo, a hand-drawn animated series produced by Sixteen South and Polish studio Letko.

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KiKA is among a number of pubcasters on board Dog Loves Books, a preschool series from iGeneration Studios.

participation are central concerns guiding our ideas related to developing projects. Across a large number of formats and platforms, we can offer the most varied and diverse approaches: from voting to chats, as creatives for ENE MENE BU (on KiKA), as songwriters for Dein Song (Your Song on ZDF), up to and including the co-creation of content; we will be integrating children, allowing for true participation. In its anniversary year, 2022, KiKA, with its children’s advisory board, will throughout the year provide participants with pivotal insights into the work of various editorial boards, offering an opportunity for co-determination.

TV KIDS: What is driving KiKA’s continued leadership position among kids and families?

PLENK: The children’s channel of ARD and ZDF, with its high usage and acceptance figures, is tipped for

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success. According to very recent results of an image survey conducted among 3- to 13-year-olds and their mothers, KiKA in 2021 was also the “most popular media offering,” thus taking first place ahead of, among others, Netflix and Super RTL. The carefully curated and imaginative preschoolers’ world for media beginners, the guiding and diverse offers of knowledge for elementary-school children and the extensive world of subjects for preteens are shaping and characterizing KiKA’s overall portfolio.

Traditional brands are developed further with care, with open space for innovation. This is certainly not always easy when subjects and framework conditions in the media attract and bind lots of attention. We give children our undivided attention.

TV KIDS: What are the greatest challenges and opportunities for KiKA in the year ahead?

PLENK: Keeping well-established brands such as Schloss Einstein (Einstein Castle; MDR/ARD/KiKA), Die beste Klasse Deutschlands (The Best Class in Germany; KiKA/hr/ARD) and Löwenzahn (Dandelion; ZDF) interesting for coming generations as well, and at the same time, preserving the brand essence certainly presents a challenge. We are focusing on permanent brand modernization. For new digital products, we collaborate with children to create a needs-oriented range of offers. What is going well? What should be going differently? In all these challenges, the opportunities and chances offered by digital change predominate. For instance, new sharing practices are developing in terms of participation and interaction.

Diversity is also an important subject that we are going to extend further. We define diversity as a special value and central foundation for the common good, for which we advocate both in terms of programming and outside of programming.

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KiKA’s extensive preschool lineup includes Sesame Workshop and Nelvana’s Esme & Roy.

TV KIDS: How is the overall financing situation for public broadcasting in Germany?

PLENK: The statutory mission of broadcasting stations is to provide as many people as possible, on a daily basis, with information, education, advice and entertainment. For the broadcasters to meet these requirements independently, the broadcasting fee is intended to fund ARD, ZDF and KiKA. The range of offers is as diverse as the interests of the people using it. Independence contributes to ensuring the diversity and quality of public-service broadcasting today and in the future.

TV KIDS: How important are collaborations with other pubcasters today as KiKA ensures it has access to the best properties the international market has to offer?

PLENK: For many years now, we have been working successfully, in a large variety of ways, with the European Broadcasting Union. International exchanges between editorial boards inspire people with ideas and help realize projects. The preschool documentary series ICH bin ICH (KiKA), in this context, can be named as a successful offer that also reflects content produced by colleagues in different countries. KiKA also participates in projects such as the Junior Eurovision Song Contest (NDR/KiKA) and the #SayHi international friendship campaign. Partners are important to us, both regionally and internationally. International formats play an important role in further developing our portfolio of offers. Animation produced across countries reflects diversity, both during their gestation

process and in the product. As an example of this, KiKA will, from April onward, be premiering the new series Die Schlümpfe (The Smurfs), a real highlight.

They stand for strong values and big emotions and therefore fit in excellently with KiKA. A large part of our portfolio, though, is created in Germany and Thuringia as a media location, right in front of our door, as it were.

KiKA is set to bring I.M.P.S.’s new The Smurfs series to German audiences as a co-pro partner.

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aving been with KiKA since its inception, Sebastian Debertin has been instrumental in crafting a programming strategy that has evolved as the needs of children have over the last 25 years. The fundamentals of delivering a strong lineup of educational and entertaining fare haven’t changed. But the media ecosystem is radically different, and so are the challenges children are facing today. Debertin, the head of international content acquisitions, tells TV Kids about what’s resonating with KiKA’s audiences and outlines his wish lists for co-productions and acquisitions in the months ahead.

Sebastian Debertin TV KIDS: What’s been resonating with your audiences over the last year?

DEBERTIN: Our programming in 2021 still was strongly influenced by the need to support kids’ lives [during Covid-19]. In 2020, we quickly adapted large parts of our programming to meet the changed needs of our audiences as children of all ages had to stay at home, being homeschooled for many, many months. We also immediately created appropriate campaigns, letting the kids know that we all are standing together in this crisis. And, besides all these measures of support, laughter and fun were needed too. From Robin Hood: Mischief in Sherwood to The New Adventures of Peter Pan, our audiences were fond of exciting new versions of classic stories—as the ratings show. The lively adaptation of Axel Scheffler’s beloved book series Pip and Posy made our youngest audiences’ eyes glance, thanks to ZDF! Last year, our partner WDR celebrated the 50th anniversary of Die Sendung mit der Maus. This true TV phenomenon has informed and entertained generations of viewers with a combination of animated stories and live-action explorations of how things work. While the knowledge-sharing and experiment-loving programs Checker Tobi and Checker Julian have resonated with older children, Baumhaus and Sandman [Unser Sandmännchen] have delighted our youngest with interactive fun and bedtime stories. KiKA co-productions like Dog Loves Books and Insectibles and WDR’s co-production Power Players have also done extremely well. ZDF’s Löwenzahn and Petronella Apfelmus remain favorites, too. In 2021, we also broadcast a highly anticipated new season of Schloss

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Einstein (ARD/MDR), our popular, long-running live-action series about a boarding school. [A new season of] Die Pfefferkörner (NDR), about a group of child detectives, premiered too. Besides many other premieres, there was also a new season of the Dutch series Floor Rules! (NDR), which surely brought a lot of much-needed laugh-out-loud moments to our viewers. We happily also received great feedback for our anti-racism comedy MOOOMENT!, which unpicks everyday situations and provides children with ways of recognizing and dealing with racism.

TV KIDS: Tell us about the approach to acquisitions. There’s so much content out there; what do you look for?

DEBERTIN: As a public broadcaster, we provide content for 3- to 13-year-olds that educates, informs and entertains. So we are looking for a variety of programs for the different age groups. It is important that children can both relate to the programs from their own experiences and are taken beyond them to see other children’s lives locally and across the world. While it is crucial for us to locally produce fiction and nonfiction programs to ensure our viewers can find themselves represented on-screen, we are excited to offer them co-productions and acquisitions from further afield.

We are interested in fiction and nonfiction programs that are entertaining and informative, that bring joy to our viewers and promote values such as empathy, kindness, community, open-mindedness, diversity, inclusion, sustainability and creativity, without indulging stereotypes or merely ticking boxes. It is part of our mission to ensure that KiKA is a secure media space where children are

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KiKA was among the partners on Cyber Group Studios’ Zorro the Chronicles.

KiKA airs a number of local and international live-action titles, including Sinking Ship Entertainment’s Endlings.

considered for all that they are and where all are welcome.

We offer content that takes children seriously.

TV KIDS: How much more complicated is the rights situation today?

DEBERTIN: The rights situation has always been complicated.

A more recent hurdle for us is the German media law, which favors European productions, co-productions and especially acquisitions. For example, we cannot use acquisitions from outside of Europe for our nonlinear platforms— truly problematic on the way into a completely digital media world. The audience does not understand this limitation, which means we have to work on this.

TV KIDS: With the global streamers taking all rights, how has that impacted KiKA’s access to the best content?

DEBERTIN: The best approach here is not to fall into the trap of competing with them. Instead, we go on building

our strong programs and brands as we have done for 25 years now, with the help of our shareholders and partners at ARD and ZDF, and through appropriate coproductions with local producers in Germany and Europe as well as worldwide.

TV KIDS: Tell us about the co-pros strategy.

DEBERTIN: Early involvement is key for ensuring that a project, for example, from another continent, will work for our audiences. At the same time, we also keep an eye on its international appeal. This makes co-productions successful—for us locally and our partners abroad. The result is that our co-pro partners will be interested in doing more shows with German co-pro partners, whether producers or broadcasters/content providers like KiKA, ARD or ZDF. I always feel truly satisfied when the shows work for our audience and pay off for our various co-producers internationally, too! Besides, co-productions are a great way of getting the most talented and skillful people to work together and create the best possible program.

TV KIDS: What are some of your original production initiatives for local content?

DEBERTIN: Since 2013, we have been part of Der besondere Kinderfilm, a funding model run by public broadcasters and the film industry, with state and regional funding. It supports the creation of films for children that are unique, closely reflect the lived experience of children today and contribute to the diversity of film offerings for the young. One of the most recent films to come out of this project is Träume sind wie wilde Tiger (Dreams Are Like Wild Tigers), which KiKA co-produced with NFP Media. It’s about a 12-year-old boy who, having just moved from Mumbai to Berlin with his family and facing difficulties in his new city, does everything he can to pursue his dream of succeeding at a Bollywood casting. This is an exciting, radiant film about belonging and unlikely friendships, with great dance moves, first premiering in German cinemas, and we can’t wait for it to come to

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dance and song competitions. MOOOMENT!, which I mentioned earlier, is another great example of local content, rooted in research conducted into children’s experiences of racism in Germany.

Wissper from Studio 100 Media is part of the KiKA offering.

KiKA. We also have long-running reality shows and documentary series that provide children with opportunities to share their perspectives. In Die Mädchen-WG, Die JungsWG and Die Mixed-WG, groups of teenagers from across Germany spend time living together in a new place (from Lake Garda to the Tyrolean mountains to Valencia), getting to know each other and solving tasks. In Schau in meine Welt!, children show the viewers how they live, their interests, hobbies and challenges in Germany and abroad. Formats like PUR+, Checkpoint, Wissen macht Ah!, Team Timster, logo! and Kummerkasten fuel our viewers’ curiosity about everything from everyday life to science, politics and media by asking scientific questions, experimenting and offering reliable and accessible information and emotional support. We also have successful game shows such as the popular quiz Die beste Klasse Deutschlands and music,

TV KIDS: What’s been the hardest gap to fill in your programming needs?

DEBERTIN: Shows that cleverly and intelligently address sensitive topics that resonate with our 8-plus audience and do not scare them away will continue to be the biggest challenge. Getting enough appropriate feature films can be difficult as we have three slots a week to fill. This is one reason we became an initiating partner of Der besondere Kinderfilm. We want to offer a broad mix, with animated features for the whole family and live-action feature films that transport sensitive issues appropriately for kids. Often, producers or distributors think a film about childhood is a film for children, which we don’t always find to be true!

Furthermore, we are working on identifying successors for funny shows like The Garfield Show (from Mediatoon Distribution) for our after-school slot, which is a tricky but fun task!

TV KIDS: As we head into MIPTV, are there any particular types of shows you’re looking for?

DEBERTIN: As you can see, we offer a broad variety of programs to make sure that everyone can find something that appeals to them and discover new things. We have game shows, science programs, cooking and crafting tips and other how-to content; documentaries about children’s lives, historical figures, festivities and places; dramas, sci-fi, fantasy, detective stories, horse adventures; sports series; and everyday school and home life comedies. We broadcast

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are animated and live-action feature films for a 6plus and family audience.

TV KIDS: Do you foresee any shifts in your programming strategy in the next year?

DEBERTIN: Changes and shifts have always been part of our programming strategy—in the last three years as well as in the 22 years before. We want to stay close to the topics and experiences that matter to children in a constantly changing world.

Gaumont’s Belle and Sebastian is among the well-known brands that have been successful for KiKA.

fiction, nonfiction, animated and live-action series, specials and features. In other words, we are always interested in programs across genres and topics that fit the criteria and values I outlined above. Everything that will interest children, affect them, concern them and fill them with enthusiasm is on our list—stories for children, about children, by children, with children. Stories that will touch hearts, open up worlds, invite them on fantastic journeys, widen horizons, have tangible connections with life, or are simply just fun like our co-pro The Smurfs! We are particularly looking for entertaining animated and live-action series for our afternoon slots. While we are quite well-covered in preschool programs, we still look at everything to find those gems we cannot miss out on, as we did lately with the Sixteen South animated series Odo or Zodiak Kids’ Mumfie.

And finally, one of our biggest demands at the moment

TV KIDS: You’ve been with KiKA since day one. What are you most proud of as you reflect on the past 25 years?

DEBERTIN: In 25 years, a lot has happened, for sure, in our industry as well as at KiKA. I am proud that we are a market leader in German-speaking Europe while offering entertaining and educational programs. In contrast, others, who concentrated on pure entertainment and failed, are now copying KiKA. And yes, I am also very proud of having brought a lot of great shows and huge hits to KiKA that became big brands! Yakari, Fireman Sam, Guess How Much I Love You, Mouk, Tib & Tumtum, Chloe’s Closet, Super Wings, Care Bears, The Cat in the Hat, Franklin, Blinky Bill, Lily’s Driftwood Bay and many more. Of course, The Smurfs! I have the pleasure to be working with the best people in our industry as well as at ARD and ZDF. And I am proud of always being true to the most important audience in the world: kids. With kids’ media, we can enrich kids’ perspectives and understanding of the world to help them become strong and self-confident and to make responsible decisions for themselves and others. To me, that is a wonderful and absolutely rewarding thing!

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Regarding [our] strategy, it takes a little bit of time to get content out. What we saw in 2021 were the results of a seed we had planted a couple of years prior. We have one of the largest libraries of IP at Mattel. Creating compelling content takes a bit of time. But we’ve been very busy in the last few years focusing on becoming a high-performing, IP-driven toy company. We were very happy with 2021, but 2022 will be even bigger.

Fred Soulie Mattel Television

By Anna Carugati

attel has been focused on becoming an IP-driven toy company for the past few years. Some of its well-known franchises have already come to life as feature films. Fred Soulie, the senior VP and general manager of Mattel Television, is leading the effort to bring several of the most iconic brands to the small screen while also offering young viewers new shows.

M

TV KIDS: Mattel Television has been ramping up its development and production. What motivated the strategy?

SOULIE: 2021 was the biggest year on record for Mattel and Mattel Television on the content side. We debuted more than nine series and specials based on our iconic IP. First was the big relaunch of the Masters of the Universe franchise with two different series. Then we had two Barbie animated movies, and then finally, the big relaunch of Thomas & Friends with a brand-new series where we changed the look a little bit. It was a big year, and it’s not just the quantity, but also the quality and the response from the audience, which was beyond our expectations.

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TV KIDS: You and your teams have also moved beyond existing IP and produced shows based on new ideas.

SOULIE: Indeed. We look at [our library] as a living, breathing thing. It grew over time. It was different five years ago, ten years ago. At Mattel Television, we feel it’s part of our responsibility to nurture it and make it grow—whether it’s creating new IP internally or sometimes we are presented with IP from other studios. Sometimes we auction, or we acquire. One great example is a show called Deepa & Anoop. It’s launching later this year on Netflix. This is a great illustration of Mattel going beyond what we already own in our library. This is a brand-new original preschool series that follows the adventures of a 7-year-old girl named Deepa and her best friend, a color-changing elephant. It’s all set in an Indian family’s bed-and-breakfast, and we follow their adventures. What’s great about this show is that it gives kids all over the world the opportunity to experience South Asian culture in a different way. We’re excited to be partnering with Netflix on a global level. It’s an important series for Mattel because it shows how focused we are on telling authentic stories from diverse voices in all areas of production. The ultimate goal is to represent the world kids see around them. This is our first Mattel Television original project. A call to action to the industry: We are always looking for more.

TV KIDS: Thomas & Friends continues to appeal to children. How have your teams woven important life lessons into the stories, and why has that been important?

SOULIE: In the DNA of Thomas, the value of friendship resonates with kids but also with parents and caregivers. These are important messages. We now have 25 seasons of Thomas. All have stayed true to the core of the DNA. What we did a couple of years ago, though, was to try to rethink Thomas: Where do we want to take Thomas next? Historically, Thomas has always been CG, very realistic, and we thought, what would it look like if we went more cartoony in a 2D animated way? We did some tests, and we loved what we could do with it. There was a lot more physical comedy. The expressions of Thomas and the other engines could be taken to a different place. We could do a lot more with the content while keeping it very simple. In terms of the life lessons, we went back to the basics. We took these 26 life lessons from The Railway Series books first introduced in 1945. We went back and looked at the DNA, focusing on three pillars of early childhood development: social-emotional, cognitive and physical skills. These are important, and they complement the action and the fun very well.

And we wanted to broaden the reach of Thomas. We expanded the distribution. We are now airing that new season, Thomas & Friends: All Engines Go, in 150 countries and adding more every day.

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ON THE RECORD

owered by its stable of iconic brands— including HBO, DC, Cartoon Network and Warner Bros. blockbuster films—and highprofile originals, HBO Max has been steadily building its global presence since launching in the U.S. in May 2020, smack in the middle of the early days of the pandemic. By 2025, WarnerMedia is looking to reach between 120 million and 150 million subscribers with HBO and HBO Max worldwide. For Johannes Larcher, the head of HBO Max International, signs are already looking good that the company will reach those benchmarks.

HBO Max’s international rollout began last summer in 39 countries across Latin America. A few months later, the service expanded to the Nordics and Spain as part of the first phase of its European rollout. This spring, HBO Max landed in a raft of additional markets, including the Netherlands, with Turkey and several other European territories on tap for later in the year. Key

markets like the U.K. and Germany are not in the cards yet given WarnerMedia’s existing output deals, but France could happen as early as 2023, Larcher tells World Screen. Plans for Asia are still in the works.

Original local content is key to HBO Max’s global aspirations, with the platform having announced plans for 100 originals in Latin America across a range of genres. The platform has also successfully experimented with sports in the region, having acquired marquee UEFA Champions League rights for Brazil and Mexico. Building out a portfolio of European originals will be key as the platform expands in the region.

As Larcher tells World Screen in this wide-ranging interview, HBO Max is also laser-focused on continuing to improve its service, determining the best pricing models for each territory and coming up with innovative marketing to power HBO Max into the top three SVOD models globally.

JOHANNES LARCHER

HBO MAX INTERNATIONAL

By Mansha Daswani

WS: Let’s start with the Latin American rollout. What have been some of the lessons from that launch?

LARCHER: We launched HBO Max in LatAm in the middle of last year, on June 29. We had HBO GO as a service there before, but it was limited in content, functionality and product features. Now that we have brought our flagship streaming service to the region, the demand for our content has been quite astonishing. Another lesson has been that local content choices matter greatly. The choices we have made are connecting very well with our audiences in Latin America.

That includes Días de Gallos, an Argentinian rap battle show that was very successful with young adults, and Bake Off in Mexico [El Gran Pastelero]. An experiment we’re doing in Brazil and Mexico around live soccer is working. That’s a big investment. We are the exclusive home of UEFA Champions League, and we have some regional cup games in Brazil. The live sports content has been acquisitive and engaging.

The most important learning, though, has nothing to do with content. It’s really about how we take our service to local audiences. Tailoring our service to the needs of the local audience is key for us to win globally. What does that mean? I’m talking about offering service levels that are tailored to each market. In Latin America, we launched a standard monthly plan and offer a mobileonly tier that has been quite successful. We did that because we realized that there’s a big opportunity to serve a large percentage of the population who only access the internet on their mobile devices in Latin America. Our pricing strategy has proven to be valuable and effective. We priced for value and penetration into the market. That has been well received by Latin American audiences. We also introduced a promotional offer when we launched that some saw as very aggressive. In the first month after launch, you would get our standard monthly plan at 50 percent off for life if you subscribed during that period. That has created a cohort of 4/22 WORLD SCREEN 157

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In time for its latest round of European expansion in March, HBO Max premiered its Swedish original comedy series Lust on March 18. super loyal subscribers—we call them the churn busters because they stick with the offer; they don’t want to lose that benefit. All of that has worked together very well. I couldn’t be more pleased with how LatAm has started to develop.

WS: How is the European rollout progressing?

LARCHER: The initial step was into the Nordics and Spain in October. We launched in 15 new markets on March 8. For the first time, this includes a market where we’ve never operated an OTT streaming service—the Netherlands.

We’re launching in Eastern Europe and Portugal, where we’ve had our DTC streaming for many years. By the end of the year, we’ll be in 27 countries in Europe, including Turkey, Greece and some others. We’re very pleased with how it’s gone. It’s important to say that HBO Nordic and HBO España were successful over-the-top services in their own right. However, we’ve brought Max to the market, and that means more content, a fully deployed service that is available on all platforms and that the experience for the consumer is now competitive, with all the key features available, such as user profiles, personalization, recommendations and continue watching.

We’ve stepped up the offer we’re making to the consumer. We brought the pay-one window to Europe for the first time with [Warner Bros. movies made available] 45 days [after the theatrical release]. We were an HBO-focused service, and now we have Warner Bros. and DC and Cartoon Network. The content offer is much better, it’s available on all the platforms, and the experience is better. We are extremely encouraged. We grew internationally last

year by almost 8 million paid subscribers, and we only started in the middle of the year. We ended the year at 27 million subs ex-U.S., which is ahead of our expectations. We’ve announced our aspiration to be somewhere between 120 million and 150 million subscribers worldwide by 2025. Most of that growth has to come from outside the U.S. I’m pleased to say that the initial signs and steps have been successful and affirmed we have a path to get there.

WS: Have there been advantages for HBO Max being a newer player on the SVOD streaming landscape?

LARCHER: I’ll talk about my experience launching Hulu in Japan 11 years ago. The challenge there was establishing not only Hulu as a brand and a service but the entire category.

No one understood what SVOD meant, what streaming was. It was all about building the foundation. Now, all of this is clear. We don’t have to do the heavy lifting of establishing the category for the consumer. Another advantage is that growth marketing and the science of it have come a long way since I was at Hulu. We are so much more sophisticated today in how we attract subscribers, engage them and retain them. Many tools and models are available today that didn’t exist back then. The talent pool has gotten much richer. We are also massive believers here at Max in the importance of constantly testing and iterating. We have seen other players make several mistakes when they were expanding internationally. We have the luxury of not having to repeat that. For example, we now know how to think about local content and originals and how to produce 158 WORLD SCREEN 4/22

them and create them overseas. We’ve learned a lot from what others have already done.

WS: Not much has been said publicly about the Asia rollout plans. What can you tell me about the strategy for that part of the world?

LARCHER: Asia is incredibly important to us.

We will not get to our goal of 190 countries without being in Asia. We have HBO GO in seven countries in Southeast Asia, so we already have a successful streaming service in the market. It’s been low investment, low focus. It started as a TV Everywhere product for our affiliate partners, but it also has an overthe-top direct-to-consumer component. And it’s been going well. We are looking very carefully at when to launch HBO Max in Southeast Asia. We have leadership in place. Jason Monteiro joined us, based in Singapore [as general manager for HBO Max in Southeast Asia, Hong Kong and Taiwan]. It’s fair to say we are neck-deep in planning our moves in Southeast Asia. I can’t give you a date yet, but we are keenly interested in bringing Max to our fans there. As for the rest of Asia, there are billions of consumers to serve in that part of the world. We will bring HBO Max to them as a direct-to-consumer service, just like we’ll bring it everywhere else we’re allowed to go, except for China and Iran and a few other places! We are well on track. We will be in Asia, and we are laying the foundation as we speak.

WS: You mentioned sports in Latin America. Is that something you’ll pursue in Europe? I know the costs for sports rights, especially in Europe, can be challenging.

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entry-level price point is around $3 for the mobile-only tier. We don’t need to make the service more affordable in most of our international markets. The willingness of consumers to pay for content and consume advertising at the same time is uniquely strong in the United States. In many countries, you see a lot of resistance. On top of that, you put issues around rights—having the ability to include content in an AVOD service—and challenges in how you successfully sell advertising and service advertisers. We are evaluating, but we haven’t found a need so far in any of the markets we’ve launched in.

U.S. originals are being deployed on HBO Max internationally, including the upcoming The Staircase.

LARCHER: I would never say never. We are very encouraged by what sports has done for us in Latin America. It helps us acquire new customers, a new segment of the audience. It is super engaging. Our concurrent streams are through the roof when Champions League is playing. We’re seeing real opportunity there.

We were able to make the economic model work partially because we, as WarnerMedia, are not only HBO Max but also have linear channels in the market. In Europe, the rights situation is extremely competitive. I would not preclude us from exploring this. When the Discovery merger is behind us, [you may see us] taking an aggressive strategy and approach to sports in Europe. We went into this in Latin America as an experiment. An expensive experiment! But everything we’ve seen so far

has validated the thesis that this could work for us. We’re open-minded about looking at similar opportunities elsewhere.

WS: There is an ad-supported subscription tier in the U.S. Is that something you’re exploring internationally?

LARCHER: In the U.S., we have an AVOD tier that allows us to offer HBO Max as a service with a price level that is more affordable. Our cost for the SVOD subscription ($15 a month) is at the high end. With AVOD, we successfully brought our service into the reach of more consumers in the United States. If you look at our pricing strategy overseas, we have more flexibility. Our price points are more reasonable and put our service in the reach of more consumers. In Latin America, our basic

WS: Let’s talk more about the content lineup.

How important are local originals and thirdparty acquisitions?

LARCHER: Our goal is to offer a service that is relevant for people in that country. We do not want to be a U.S. export business only. As great as our content is from the U.S., as much as it is the foundation of everything we do globally, it is important for the service to be from the market, for the market. Inevitably it leads you to evaluate original content creation, at least in the bigger territories. We’ve produced original content successfully for years in Latin America, Europe, Southeast Asia and Japan. We’ve been in this business as WarnerMedia for a long time. We’ve announced that we’re significantly stepping up our investment in originals in Latin America.

We’re doing the same in Europe. We’re

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The movie lineup on HBO Max includes a slate of direct-to-streaming feature films, including Warner Bros. Pictures’ Steven Soderbergh thriller KIMI. [making] original content in Turkey, which travels very well in certain parts of the world.

Our commitment is to find stories and invest in projects that resonate locally. The goal with these original stories is to be successful in the country of origin first and foremost.

We’re not trying to create global hits. The goal is to be relevant to the local audience—if we succeed regionally or, better still, globally, that’s great. We are making this happen organically, focusing on the local customer and the quality of original stories from the country of origin first. We’ve created some amazing shows. Patria from Spain was nominated for an International Emmy. There’s Kamikaze, a young adult show from Denmark that did well. In Latin America, we have Las Bravas coming up; it’s a really fun show out of Mexico about a female soccer team. We have The Thaw, a crime thriller drama out of Poland. It’s very gritty and compelling, almost like a Nordic noir. 30 Coins from Spain did well in Spain and the United States.

We work closely with Gerhard Zeiler [president of WarnerMedia International] and his team on creating those originals.

As for third-party acquisitions, our goal remains the same: to bring the very best content at the best price to audiences worldwide. As we start to produce more content at WarnerMedia—we’re spending some $18 billion on content this year—more and more is being held back for our own service. As that happens, our need to buy on the open market lessens, naturally. That said, we have some very strong relationships in place with third-party suppliers.

We have a relationship with Sony in Latin America for pay-one movies and NBCUniversal in Asia. We also have local and regional partners we license from. So, third parties still matter. But increasingly, the need for third-party content will lessen as more and more of our great content comes out of our own factory.

WS: How important is that 45-day pay-one window as a subscriber acquisition tool? Do you see spikes after releasing a big blockbuster tentpole?

LARCHER: In Latin America and Europe, we’ve seen that, yes, it is acquisitive. We’ve had great success acquiring customers who stay with us for very long periods of time through the pay-one movies we bring to the service. There’s also this notion that HBO Max is the home of wonderful movies coming every few weeks. This year, we have a slate of 12 movies that Warner Bros. produces that are direct to Max. They include amazing titles like Father of the Bride. There is a brand perception that we have a constant flow of wonderful movies coming to the service, especially in areas we also license from third-party studios. That has been working, both for acquisitions and for retention.

WS: As you look ahead at the next 12 to 18 months, what are your priorities for HBO Max globally?

LARCHER: I have four things at the top of my radar. First of all, continuing to expand our global footprint by launching in more countries. I’ve shared with you what we’re doing 160 WORLD SCREEN 4/22

in 2022, which is the 21 additional European countries we’re launching in, plus we’re working hard on Asia. In 2023 and 2024, that continues. In 2023, we hope to have an opportunity to add France to the mix. That’s a possibility.

Inside our launched countries, there’s a lot to do. We have to increase our marketing sophistication. We’re in the first inning of a very long game. We’ve done very well. We’re very happy. But there are plenty of opportunities to be smarter and more effective and efficient marketers of our service. We need to continue to experiment and invest in local content and find a way for that content to reliably connect with large audiences. We need to continue to improve our product and technology. We have a very credible service, but we have opportunities to make it more intuitive, more enjoyable, more relevant for our customers. And then maintaining and growing our team.

From an aspiration standpoint, the priority is on firmly becoming one of the top-three must-have streaming services in every country we’re in. We have achieved that in Latin America. We have achieved it in the Nordics and Spain. We need to make sure that HBO Max is top of mind when consumers think, I want to watch a great movie or a great show.

And we look forward to being in a position to combine our efforts with Discovery and fully leverage our respective capabilities and strengths. Both companies bring a lot. Combined, we’ll be even stronger. A focus this year will be making sure that combination, when it happens, goes well.

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TVREAL

WWW.TVREAL.COM

APRIL 2022 EDITION

Wildlife Docs / Uplands Television’s David Olusoga

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TV REAL

CONTENTS

A Call to Action

FEATURE WILD SIDE

A look at the latest trends in natural-history content, from innovations in filming technology to an increased focus on environmental awareness.

In time for the COP26 Climate Summit last year, the Behavioural Insights Team, working with Sky, issued a report on how television can be used to inspire viewers to change their lifestyles and reduce their carbon footprints.

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

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Real ©2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.tvreal.com

“Mass media, such as television, can play a pivotal role in encouraging consumers to decarbonize,” the Behavioural Insights Team said in issuing its report. “The majority of future emissions reductions—63 percent—will need to come from changes in how we travel, how we power and heat our homes, what we eat and what we buy. It seems only logical that broadcasters should use their unique platform to improve viewer knowledge, challenge their attitudes and inspire them to take action against climate change.”

Noting that some 4.3 billion people watch TV every day around the world, the Behavioural Insights Team argues that television has the power to encourage consumers to alter their ways, noting that one in three viewers have said that a TV program inspired them to make a change in their lives.

And wildlife docs are key in that effort, according to the broad range of executives we surveyed for a story in this edition on the latest developments in the genre.

We also take a deep dive into history programming with acclaimed British broadcaster David Olusoga, who set up Uplands Television with producer Mike Smith five years ago to make editorially and visually distinctive factual pieces for broadcasters and platforms in the U.K. and elsewhere. And while the pubcaster funding model faces questions in the U.K., Olusoga is bullish about the state of the high-end history documentary market, telling me, “One thing that feels notable about this period, which has as much to do with the podcast revolution as with the expansion of channels, is that people love stories. It seems to me that we’re struggling to grasp all the opportunities rather than trying to scan the horizon and see opportunities.” Olusoga is also of the belief that history docs are more important than ever, given the ridiculous “critical race theory” debate that has resulted in books being banned in some U.S. schools. “TV history can play an amazing role in this. TV history can reveal forgotten histories.

It can reveal them full of remarkable people. It can tell stories.

These are our histories; these are shared histories. There is a generation of young people who want to know these histories. They don’t feel threatened by these histories; they don’t feel these histories are divisive. They feel these histories are revelatory.”

—Mansha Daswani

GET DAILY NEWS ON FACTUAL TV

INTERVIEW

DAVID OLUSOGA The historian, producer and broadcaster discusses the new slate at Uplands Television, including a doc on the British empire, and his work behind and in front of the camera.

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TV REAL

Albatross World Sales Superbirds—The Secret Life of Tits / Why We Dance / Archipelago New York Albatross World Sales’ slate includes the nature and wildlife documentary Superbirds—The Secret Life of Tits, taking viewers into the entertaining and dangerous world of the brave little birds. The film delves deep into tits’ charisma and versatility. The science documentary Why We Dance provides a bold exploration of dance as an emergent phenomenon in evolution. The film “builds toward the thesis that, while we are all subject to the universe’s rhythms, and while dance is a continuum across species, humans are unique in that we cannot not dance,” says Lisa Anna Schelhas, sales director for Western Europe, the Nordics, Americas and Australia. Also on the slate, Archipelago New York takes viewers on a journey to discover the New York archipelago’s geography and nature, including dolphins, whales and seals.

“We’re bringing more projects in production or development to MIPTV than ever before.”

Why We Dance

—Lisa Anna Schelhas

APT Worldwide Hitler’s Mein Kampf: Prelude to the Holocaust / Sex, Lies and the Priesthood / J Schwanke’s Life in Bloom The history documentary Hitler’s Mein Kampf: Prelude to the Holocaust leads APT Worldwide’s highlights. The hour-long film looks at Hitler’s manifesto in a new light and is “very topical with the rise of white nationalism around the world today,” notes Judy Barlow, VP of international sales. The documentary Sex, Lies and the Priesthood demonstrates how one man’s contributions helped unmask the global issue of clergy sex abuse. Meanwhile, the lifestyle series J Schwanke’s Life in Bloom shows viewers how to have fun with flowers while offering a message of wellness. APT also has a variety of other new series on offer, including the lifestyle show Welcome to My Farm and the factual programs Frank Ferrante’s Groucho, The Bob Ross Experience and Secrets of Sacred Architecture.

“APT Worldwide always strives to offer content that is captivating and informative.”

—Judy Barlow

J Schwanke’s Life in Bloom

End of the Rope

Beyond Rights End of the Rope / Loot / Santa Claus the Serial Killer A new ob-doc series that offers a look into the world of rope access technicians, Big Coat Media’s End of the Rope leads Beyond Rights’ slate of factual highlights. It follows Trask Bradbury and his team as they take on gravitydefying work on dams, bridges, rollercoasters and statues across the U.S. “We have high hopes that this series will return,” says David Smyth, CEO of Beyond Rights. From EQ Media Group, Loot investigates the thriving stolen antiquities and art trade. Santa Claus the Serial Killer, produced by Forest, follows journalist Mobeen Azhar as he investigates a 2018 killing spree in Toronto. “It is a very contemporary and thought-provoking look at how society’s ignorance, bias and bigotry can allow terrible crimes to go unchecked,” says Smyth.

“We have a fresh new slate of factual content in all our key genres.”

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Murder: First on Scene

BossaNova Hindenburg: The Cover-Up / The Big Sex Talk / Murder: First on Scene From AMS Pictures, the BossaNova highlight Hindenburg: The Cover-Up explores new theories and documents that point to a possible cover-up regarding the German passenger airship across two 60-minute episodes.

Produced by Noble Television for CBC Gem, The Big Sex Talk delves into topical issues about sex while debunking some popular myths on the subject. Murder: First on Scene, made by Phoenix Television for CBS Reality, features five American episodes and five U.K. ones that each follow a police investigation that starts with the discovery of a body.

“All three shows carry a seminal appeal,” says Tatjana Kostovski, senior sales manager of BossaNova. “Buyers love a mystery, true crime is as popular as ever, and an eye-catching noisy series is on the menu or wish list for most platforms.”

“We know as much as ever about what buyers want, and this slate reflects that.”

—Tatjana Kostovski

Secrets of the Universe

Curiosity Secrets of the Universe / Doug to the Rescue Season 2 / Planet Insect Secrets of the Universe, which takes viewers along on adventures to uncover the truth about the universe’s enduring mysteries, is among the titles that Curiosity is spotlighting. The company also has on offer the second season of Doug to the Rescue, which sees aerial cinematographer Doug Thron use his cutting-edge infrared drone to find and rescue animals around the world across five episodes. In the three-parter Planet Insect, audiences will get a glimpse of the world of insects, which bears unexpected similarities to the human world. “Our high-quality factual content is brand-safe for all providers across all platforms,” says Bakori Davis, Curiosity’s managing director and head of international distribution. “We tell real stories about real people that satisfy customers’ appetites to know more about the world around them.”

“We’re eager to meet with potential partners about their needs and how Curiosity can deliver on them.”

—Bakori Davis

GRB Studios Death Walker with Nick Groff / Down to Earth with Zac Efron / On the Case with Paula Zahn GRB Studios’ Death Walker with Nick Groff sees the titular paranormal investigator delve into the origins of some of the most notorious hauntings in America. The series “constantly pushes the boundaries of our understanding of the afterlife,” says Hud Woodle, executive VP of international sales and operations. Also in the GRB Studios catalog, Down to Earth with Zac Efron sends the actor into the far corners of the world and “is simply the perfect mix of lighthearted travel and culinary adventures with a crucial ecological premise,” Woodle says. The crime series On the Case with Paula Zahn explores real murder mysteries through in-depth interviews with those closest to the cases and examinations of the forensic evidence.

“GRB is thrilled to return to the actual MIPTV floor representing a vast slate for international audiences.”

—Hud Woodle 168 WORLD SCREEN 4/22

Death Walker with Nick Groff

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Rive Gauche The Case Against Cosby / In Their Own Words / Disaster Déjà Vu Rive Gauche is bringing to MIPTV The Case Against Cosby, which follows the pursuit of justice by survivor Andrea Constand and her case against Bill Cosby. Featuring interviews, archive and animated content, In Their Own Words offers portraits of such world-famous names as Elon Musk, Pope Francis, former German Chancellor Angela Merkel, Chuck Berry, former U.S. President Jimmy Carter and Diana, Princess of Wales. “The individuals that are highlighted in both The Case Against Cosby and In Their Own Words were at one point inspirational figures all over the world, and there is an insatiable appetite to learn more about them,” says Marine Ksadzhikyan, COO and executive VP of sales. Disaster Déjà Vu tells the stories of cities that have been struck by disaster not once but twice.

The Case Against Cosby

“We can’t wait to see our amazing colleagues and learn from them the trends they see in their markets.”

—Marine Ksadzhikyan

Terra Mater Studios Once Upon a Time in Tsavo / Space Mission Senegal / Alien Contact Among Terra Mater Studios’ top factual programming highlights, Once Upon a Time in Tsavo travels to Kenya to give viewers an up-close look at a waterhole, the center of the world for a diverse selection of animal species. “The special way a waterhole forms—an unplanned cooperation between termites and elephants—and how it is a giver of life is the starting point of this captivating, emotional adventure,” says Sabine Holzer, head of specialist factual at Terra Mater. Space Mission Senegal centers on a Senegalese scientist, Maram Kaire, and his mission to find the asteroid Orus and capture a three-second occultation.

An underwater adventure, Alien Contact sees sci-fi writer Chris Carter and filmmaker and marine biologist Rick Rosenthal go on a journey to investigate manta rays.

Once Upon a Time in Tsavo

“We’re always happy to be approached with ideas and projects. Don’t be shy!”

—Sabine Holzer

ZDF Studios Africa from Above / Lions versus Hyenas / Going Circular ZDF Studios is spotlighting at MIPTV Africa from Above, a series that delivers a fresh perspective on the continent with a bird’s-eye view of its natural wonders and diverse habitats, while also celebrating its people. Lions versus Hyenas, meanwhile, seeks to correct misconceptions about the titular African predators. Telling the story of four visionaries, Going Circular explores the concept of circularity, an economic system based on the idea that nothing should go to waste. “It’s a deceptively simple idea that is at the heart of nature and the natural world, but very few of us actually live this way,” says Fred Burcksen, president and CEO. “And yet, it has the potential to save our planet’s resources and save us from the ravages of future climate change.”

Going Circular

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

—Fred Burcksen

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BBC Studios’ Dynasties II. 172 WORLD SCREEN 4/22

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Chelsea Regan hears from leading executives about trends in natural-history content.

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he United Nations’ latest Intergovernmental Panel on Climate Change (IPCC) report offered a grim outlook for the years to come should the global community fail to address the unchecked warming of the planet.

Among the many considerations in the report are the potential effects on wildlife. Almost half of all species have already lost a portion of their populations because of climate change.

Despite the report’s dark forecasts, there is still time for course corrections—with natural-history programming playing no small part in turning up the dial on awareness for the need to turn down the temperature and protect the planet and its diverse inhabitants.

RAISING AWARENESS “It’s essential that wildlife filmmaking is used as a hook to make people understand how climate change is impacting the world,” says Jorge Franzini, VP of original content, development and programming at Curiosity. “When you see wildlife, I think people are much more emotionally aware and empathetic to the fact that this is happening—fast.”

Anne Olzmann, managing director at Albatross World Sales, also believes that wildlife and nature programming have a significant role in raising awareness about climate change—but notes that it’s essential to fit the approach to the audience in question. “Typically, public broadcasters attract an older audience,” says Olzmann. “And I would say many of these viewers often need to be ‘picked up’ by showing them the beauty of our planet first and then reaching them via a protect-what-you-love approach. They first want to fall in love with nature and its species and need some kind of feel-good moment before they will become active.”

As for the younger audiences, they’re keener for media that pulls few punches when it comes to worst-case scenarios for the planet, as they’re also prepared to take action to avoid them. “They want the full truth, direct and without any whitewashing,” says Olzmann. “They are also interested in learning about the beauty of our planet, but at the same time eager to learn how to protect and, what’s more important, ready to act on it. Wildlife programs should feel much more inclusive for the younger audience.”

WaterBear Network, a factual VOD service backed by ZDF Studios and Off the Fence, “is more than just a video platform for sustainability; it is the only platform that unites almost all NGOs on the subject of animals and environmental protection worldwide,” says Ralf Rückauer, VP of unscripted at ZDF Studios. “It has already formed a large community after only slightly more than a year after launch, and it’s constantly growing and evolving.”

Rückauer also mentions the ZDF Studios-distributed documentary Going Circular, an Off the Fence production.

“This is not a wildlife program in the traditional sense,” says Rückauer. “But ultimately, it is about us humans and our place in this world and our relationship to resources of the Earth, nature and our role and responsibility in this.”

Tom McDonald, managing director of factual productions at BBC Studios, notes, “There is no question that our naturalhistory content plays a part in raising awareness. The Blue Planet effect changed behaviors and policy internationally, and we were invited to open COP26 in Glasgow with The Green Planet, attended by representatives from the Youth Advisory Group on Climate Change to the UN.” McDonald adds that audiences are clamoring for this kind of content. “In a [July 2021] BBC Pulse survey, 75 percent of the U.K. think the media should do more around protecting the 4/22 WORLD SCREEN 173

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environment and transitioning to a more sustainable world.

This is a massive creative opportunity for all of us—not just within natural history, but the entire industry.”

NATURAL DEMAND

Albatross World Sales arrives at MIPTV with Superbirds—The Secret Life of Tits.

Terra Mater’s America’s Arctic—A Refuge Imperiled explores the dangers of oil drilling to wildlife.

Curiosity’s extensive wildlife lineup includes The Humboldt Current.

This increased interest in the planet directly affects naturalhistory titles’ performance in the marketplace. “I am observing an ever-growing appetite for natural-history and wildlife content, which we are ready to fulfill by increasing our yearly output by 50 percent,” says Gernot Lercher, the head of natural history for ORF’s UNIVERSUM strand. “This is closely related to the general interest of our society in any kind of ecological issues and conservation topics. I am now 56 years old, and I have never experienced a time when all generations have been focused on saving this planet we call home.”

The proliferation of new platforms has strengthened and diversified an already strong market for natural history, observes BBC Studios’ McDonald. “The Natural History Unit’s (NHU) ambitious production collaborations with the likes of Jon Favreau, James Cameron and Warner Bros.’ Wizarding World just demonstrate the global appeal and influence of natural history—but also how rich in innovation the genre is at the moment. We’re working on over 25 NHU productions, spanning linear, SVOD, digital, audio and live events.”

“Blue-chip documentaries are still king,” reports Sabine Holzer, head of specialist factual at Terra Mater Studios.

Holzer confirms that demand remains strong for natural history and wildlife across free- and pay-TV channels alike.

“A huge amount of broadcasters air natural-history programs in very prominent slots or even dedicate their whole output to these genres, so there’s a huge demand for high-quality content from the international market. In addition, in the last years, there’s been an even broader variety of takers due to all the streaming services.”

Albatross’s Olzmann has witnessed the enduring appeal of classic blue-chip “coffee-table” programs. “However, now that people are becoming more aware of the importance of an intact ecosystem, we now see a stronger demand for naturalhistory programs that are connected to conservation, sustainability and environmental protection efforts.”

Whatever the central topic of a natural-history title, “it’s essential to reach an audience on an emotional level,” according to Olzmann. “This can be via a strong story that can captivate the viewers, or it can be via a humorous approach, but in any case, it needs to be strong visually, as the competition gets bigger with more affordable equipment to shoot films. The story now matters more than ever before.”

Advances in technology have indeed changed the filmmaking game, democratizing it and elevating the possibilities for everyone. “These tools are now becoming readily available to all filmmakers,” says Curiosity’s Franzini.

“Not just to the big production companies, not just to these big networks, but also to the storytellers who are on the ground in their locations and can now tell their own stories.”

Franzini points to the technology utilized in the Curiosity original David Attenborough’s Light on Earth, which enabled the filming of bioluminescence in a way that hadn’t been done before. He also mentions the ubiquity of drones: “It’s not just spending incredible amounts of money to be able to do helicopter aerials,” says Franzini. “Now, you can fly a drone anywhere.”

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As ORF’s Lercher puts it, “Ten years ago, aerials without a helicopter? No chance! Today, you have different kinds of drones that can fly in high-alpine regions and just one meter above the ground. How lucky are we to get all these new perspectives that help us find new narratives, telling stories in the most compelling way?” With a note of caution, Lercher adds, “But as much technology we have for our purposes, we shall never forget the impact of a good, unique story.”

UP-CLOSE While story is paramount to hooking viewers, the evolution of wildlife content has been driven by the development of specialist filming equipment, according to ZDF Studios’ Rückauer. “Wildlife filmmaking borrows and adapts the latest technologies—hi-speed ballistics cameras, camera traps, drones—but it also stimulates the innovations of videography— GoPros, underwater housings, filming in low light—as well.

What has developed is a powerful arms race of invention, evolution and innovation to capture astounding images of elusive creatures in inhospitable habitats. Bring it on!”

Constantly pushing its storytelling and technology potential, BBC Studios used a slew of technical gadgetry and hacking in The Green Planet, according to McDonald. “Using FPV drones is just scraping the surface of the extraordinary lengths our producers will go in pursuit of the perfect shot,” he says.

“Having found a plant photography tech enthusiast in the U.S., they promptly hired him for three years and set up a studio in the middle of Devon and built a bespoke time-lapse camera, which is named the Triffid, that can record and shoot from multiple angles. It’s painstaking work that would involve 7,000 individual camera positions to make a 3-and-a-half-minute sequence. And what is more, the team managed to shrink the tech down to create a mobile time-lapse camera that they took on location with them.”

Of course, platforms are developing as quickly as tech is, and developments in the FAST space are creating new opportunities. “We will probably see considerable growth in the following months and years,” says Albatross’s Olzmann.

“FAST has opened up many possibilities to increase the shelf life of our titles and to give younger audiences a chance to experience them for the first time.”

For Rückauer, there’s no doubt that FAST channels are already having a moment, as ZDF Studios currently has several partnerships in the space, with more to come this spring. “According to our first experiences, wildlife programs are particularly suitable for [FAST platforms],” he says.

When Curiosity Stream first started back in 2015, Franzini recalls going to markets and explaining what SVOD rights were. “People would say, Well, I used to just throw in my SVOD rights with my TV linear rights. And then you saw this amazing progression. I think you’re going to see the same with FAST. People are starting to understand how to monetize those rights; how they can help grow a brand.”

BASIC INSTINCTS The entry of SVOD and AVOD players in natural history is evolving funding and distribution models, but the fundamentals of blue-chip wildlife remain the same.

ZDF Studios’ Rückauer observes: “The only answer to the question of how best to relate to the viewers is this: a lot of heart and great feelings and astonishing and empathetic observation. This is much more popular than lecture-like explanations and fact-based processing of charts and bar graphs.”

According to BBC Studios’ McDonald, the scientists and field experts in the NHU network have helped its wildlife programming travel the globe, with working relationships that stretch back decades. “The same goes for our co-production partners and broadcasters across the world—having a global reach and relevance is baked into the DNA of the Natural History Unit,” he says.

“We’re convinced that even the seemingly dullest subjects can walk on global legs if they’re wrapped into the right narrative and if they have something new to them and can delight an audience,” adds Albatross’s Olzmann.

“Something never-seen or something never-before-filmed with state-of-the-art cinematography, allowing a new view on a certain species and an inviting—maybe even humorous—narration seems to be the key to success with broadcasters and the audience.”

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Lions versus Hyenas is a two-parter produced by Doclights and distributed by ZDF Studios.

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David Olusoga he extensive slate BBC Studios unveiled at its annual Showcase last month included several titles from indie production outfit Uplands Television, among them Union and Blackface with David Harewood. The venture— set up by producer Mike Smith and historian, producer and broadcaster David Olusoga to develop editorially and visually distinctive factual series and specials—sealed a three-year first-look deal with BBC Studios last year.

TV Real caught up with Olusoga to hear about all the latest developments at Uplands and his work behind and in front of the camera.

By Mansha Daswani

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TV REAL: Tell us about the slate you’re working on now.

OLUSOGA: A landmark for the BBC, Union is about the story of Britain, the union of the four nations and unity and disunity over the centuries. We think Uplands films are distinctive.

People know when they see an Uplands film—it has an editorial distinctiveness. We’d like to think that this film will show we’re also visually distinctive. We’re interested in how you tell stories; how you use television as a medium. It’s a very topical subject—these forces of history that have brought us together and separated us are alive and on the move at this moment, so it’s very much history as now. It’s also a project where we want to show that we spend a lot of time thinking about how this medium works and how we can tell complicated stories.

Another complicated story we’re telling is the story of Blackface minstrelsy. It’s a one-off with David Harewood as the presenter. That’s to tell the missing story of the first global form of American entertainment, Blackface minstrelsy, from the 1830s to the 1970s. I always think of minstrelsy as racism literally made into an art form. This program with David will show where it came from, how it evolved and how enormous it was, which explains why echoes live on in society.

OLUSOGA: I worry about public-service broadcasting, the same as I worry about the health of rule by law or by democracy. It’s one of those pillars of many societies that is enormously valuable. And you can see it under pressure. So in the big, political, almost philosophical way, I worry about that. In terms of the health of blue-chip history, I see loads of great stuff. In some ways, there’s a mismatch, and I hope it stays this way, between the sort of hand-wringing about the future of public-service broadcasting and what public broadcasting is achieving. We use this phrase too glibly, but it does feel like a golden age. One thing that feels notable about this period, which has as much to do with the podcast revolution as with the expansion of channels, is that people love stories. There’s a recognition that quality stories are what audiences want. It seems to me that we’re struggling to grasp all the opportunities rather than trying to scan the horizon and see opportunities.

TV REAL: Tell us about the importance of Uplands’ relationship with BBC Studios.

OLUSOGA: The one thing we’re not short of as a company is ideas. It’s very easy to drown in your own ideas. The market information and the sense of opportunities from our colleagues at BBC Studios allow us to prioritize. I have more programs on bits of paper with half-written proposals or things I’m going to try again than I could make in my lifetime. The discipline and prioritization come from that relationship. Our second production was a co-production with the BBC and PBS. Even when we were just starting, we were a company that had a foot in the U.S. market. The global intel and reach of BBC Studios fit with our ambitions.

TV REAL: Tell me about your process. Do you scribble ideas down on pieces of paper?

OLUSOGA: I never scribble ideas down. I work at them. What I present to my colleagues is something where I’ve worked out all the angles. I have hundreds of one-liners, but they exist in a file on my computer. What I care about are the dozens of worked-through ideas. I’m interested in how programs are made. I’ve never stopped being a producer. I’ve never stopped thinking visually. I get the chance to work in other media which aren’t visual. In some ways, that makes me respect the visual nature of television even more. We work on things that are pretty well developed. I write a concept, I tend to write one sample episode, and then I work with our colleagues in development; I ask them to populate ideas with stories that can help us fine-tune the format. Blue-sky thinking should happen in the head rather than in meetings. I don’t want to waste people’s time with half-developed ideas. I come with developed ideas and want them to be expanded by my colleagues.

TV REAL: Pubcasters are under financial pressures. Are you concerned about their ability to continue to invest in history content?

TV REAL: Talk about your journey in TV, that transition from going from behind the camera to being a presenter.

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The Uplands slate includes Blackface with David Harewood, a doc special for BBC Two.

OLUSOGA: Television was always what I wanted to do. I’m from a council estate in the Northeast. I didn’t spend my youth imagining future careers because it didn’t seem possible. But when I was in my mid-20s, it was either do a Ph.D. or don’t do a Ph.D. And when I thought about three more years at university, I decided what I wanted to do was the thing that made me care about history in the first place, which was television. I came to TV instead of doing a Ph.D. But I still wanted to do history. I always wanted to do it in as many mediums as possible. I’ve still written academic papers while I’ve been in television. I was a radio producer for a couple of years. I’ve written books. I’ve written with my sister, who is an educationalist, lesson plans. I’ve now written two children’s books, five adult books and made lots of history programs. And I’ve sat on the boards of museums. It’s all about being multilingual, as it were, in delivering history. Transition is not the right word. I’m not someone who has gone from being a producer to a presenter. I’m someone who is still a producer. I learned to selfshoot, and then I learned to do sound so that I could spend budgets on other things. It’s about having more production skills. On the Union project, the producers are writing their parts of the script, we’re fine-tuning, I’m writing my parts.

And then we’ll meet as a production team. The only time I’m not a producer is when I’m on location. You can’t be a back-seat director. But I’m producing right until I stand in front of the camera. I’m only a presenter for the time I’m standing in front of the camera. After that, and in between shots even, I’m still walking around, talking to the cameraman, talking to the producer, trying to work out how we’re going to do the next thing. I’m presenting on one project that I’m producing and I’m exec-producing on another project.

The Uplands program I’m most proud of is The Unremembered, a documentary about the Commonwealth War Graves Commission and the Imperial War Graves Commission and their history and inexcusable failure to equally commemorate the lives and deaths of African, Indian and Middle Eastern soldiers who served in the First World War. I think it’s one of the greatest scandals in 20th-century British history. I knew about that scandal from doing primary research for one of my books. When we formed Uplands, we sold [the project] to Channel 4. And I didn’t want to present it. That was never discussed. We got David Lammy to present it. I exec-produced that program. That’s 178 WORLD SCREEN 4/22

actually the program that is as much about me and my interest in television as anything else. That program went on to force the Commonwealth War Graves Commission to acknowledge the biggest failure, the biggest moral lapse, in its history. It led to an apology from the Commission, the Secretary of State for Defence, the government and the Prime Minister. Our company and I were named in Parliament. And the people who only know me as a presenter would not notice that my name is at the end of the program.

TV REAL: Is there anything else about what’s happening at Uplands that you’d like to share?

OLUSOGA: We have The Forgotten Empire. Our understanding of the empire is fundamentally a Victorian story.

To understand the empire, you have to go back to the age of the Tudors and recognize that the empire exists well into the 20th century. We tend to allow the 19th century to telescope out and take over the whole story. [The Forgotten Empire] is four hours. One hour is on the 19th century.

We’re focusing on the broader empire. We’re also talking about Britain’s relationship with countries that were never part of the formal empire. Britain was the greatest trading nation on Earth and the greatest industrial nation at the same time it was the center of the biggest empire in the world. More than a quarter of all the countries on Earth are former British colonies. Britain’s history is global history; it’s everybody’s history. So many of us have been affected by it.

I’m British Nigerian. I exist because of decisions made in the 16th century about where British explorers would go and decisions made in the 19th century about where British palm oil would come from and where British anti-slavery power would be projected into Africa. I’m one of the millions of people around the world who are the product of Britain’s imperial relationships and trading relationships.

Our aim is to tell those unknown stories of the empire in some really surprising places and talk about how old the empire is and how recent the empire is. We need to get away from this Victorian trap.

TV REAL: My parents were displaced as India gained its independence, and I was in Hong Kong for its handover back to China, so…

OLUSOGA: We are the flotsam and jetsam of the empire!

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ith viewers nowadays having such varied tastes in their entertainment choices, the head of a studio should have experience in long-form TV content as well as short-form video. Cécile Frot-Coutaz has both. She started her career at Pearson Television and played a key role in the acquisition of All American Fremantle and its integration into the Pearson Television group. She subsequently moved to Los Angeles to lead U.S. operations for FremantleMedia, now Fremantle, which produced the megahits American Idol and America’s Got Talent. FrotCoutaz was appointed CEO of all of FremantleMedia in 2012. She relocated to London and oversaw the group’s numerous production entities in various countries, the creation and international rollout of formats and the development and production of scripted series.

In 2018, Frot-Coutaz joined YouTube as head of EMEA, where she was responsible for the business across the region, forging partnerships and supporting content creators.

As she tells World Screen, while she enjoyed and learned from her experience at YouTube, Frot-Coutaz felt the pull to return to long-form storytelling. She joined Sky in 2021 as the CEO of Sky Studios, the commissioning, development

and production arm of Sky, with entities in the U.K., Germany and Italy. She is also responsible for Sky Studios’ factual content, portfolio of production companies and the new Sky Studios Elstree film and television facilities.

With 23 million subscribers and a long track record of first-rate customer service, Sky has built good relationships with its customers. But as Frot-Coutaz points out, one can never become complacent. Media companies are battling for consumers’ time and money. What sets Sky apart is its user-friendly technology, such as Sky Glass—advertised as the TV with Sky in it—with voice-command remote control and numerous other features. Sky also aggregates content and provides myriad movies, sports and more. Topping off the offering are the Sky original dramas and comedies. It is the originals that cement Sky’s relationship with subscribers. Sky also benefits from its relationship with its owner, Comcast, whose assets include NBCUniversal and Universal Studios.

Frot-Coutaz talks to World Screen about Sky Studios’ mission, its strategy for increasing originals, lessons learned from her experience at YouTube and synergies with sister company NBCUniversal.

CÉCILE FROT-COUTAZ SKY STUDIOS

By Anna Carugati

WS: What appealed to you about heading up Sky Studios, and what drew you back to “traditional media” after working at YouTube?

FROT-COUTAZ: After 23 years, I was fortunate to have had the journey at Fremantle. When YouTube approached me, I was excited by the challenge of moving to a tech platform. It’s video product; it’s a creative-led content product. There were adjacencies, and I had something to bring to it. My entire career had been at Fremantle. I wanted to challenge myself in a very different environment, being in a tech company that thinks very differently from legacy media. And I have to say I had the most interesting almost three years at YouTube. I’m super pleased I did it. I had terrific colleagues. They are great collaborators, and it’s an amazing platform.

But what I found was, and there’s no surprise, I had spent 23 years in the content business. When you are at YouTube, you don’t touch the content. It’s not that I didn’t know that going in. You find out a lot about yourself when you make changes, and you confirm some things you probably knew about yourself. When Sky called, it was the pull of going back to a place that was about long-form storytelling and that part of the content ecosystem. If you look more broadly at what’s happening in the content ecosystem, on the one hand, you’ve got where YouTube and TikTok live, which is increasingly user-becomes-creator, short-form, snackable, immediate. And on the other end, the shows are becoming bigger in terms of their scale and storytelling. It was the pull of going back to that part of the business. It was also about Sky. I always had a lot of admiration for Sky from the outside as a very entrepreneurial company, a very commercial company, a great marketer, and a company that is European.

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A supernatural crime thriller, The Rising, adapted from Belgium’s Hotel Beau Séjour, is the first drama to be produced entirely in-house at Sky Studios.

YouTube and Google are U.S. companies.

All the studios are U.S.-based, and the idea of creating a real content hothouse in Europe is appealing. Sky is both a platform and a content company. That combination is unique.

WS: Tell us about Sky Studios’ mission and its commitment to doubling its investment in original content by 2024.

FROT-COUTAZ: The way to think about the mission—and it’s the way I thought about it when I was considering the role—is that the battleground today is for consumers’ time.

People have a lot of options on how to spend their time, and they also have a lot of options on how to spend their money on entertainment. Within that battleground, Sky is also an aggregator of content. When you buy a subscription, you get your sports offering, Netflix, many apps, etc. But increasingly, Sky recognizes the need to have its own original content brand that is exclusive and part of that offering. That’s important when the customer considers whether or not to get a NOW or Sky subscription. The studio’s mission is to help Sky in that battle for the consumer and deliver originals that are worth paying for. I can do that across our three core markets—the U.K., Germany and Italy, plus SkyShowtime, which will launch this summer and add another 20 markets. That is an exciting opportunity for the group overall to extend

its footprint from its current 23 million customers across the three markets to a whole new set of customers in 20 more markets.

That’s the way to think about the challenge.

Some of the questions we will be answering over the next few years are: What is the right content offering? How do you curate the right amount of content? The overall thing to take away is, Yes, there is an increase in commitment from Sky to these originals because they will increasingly be of strategic importance.

WS: What are some of the shows enjoying the most success with Sky viewers in the U.K. and Ireland, Germany or Italy?

FROT-COUTAZ: It’s important how you define success. There are shows that a lot of people will watch. There are shows that maybe fewer people will watch, but they will be branddefining. Some shows are more niche in nature, but they’ll do a great job for your brand and a certain segment of your customer base.

You always have to be careful what lens you use to judge the shows.

Gangs of London in the U.K. made a big impact. Unfortunately, one of our series that we are getting to the end of because it’s based on books and there are no more books is A Discovery of Witches, a real fan favorite. Our Italian colleagues had Gomorrah, which was genre-defining and an incredible show in Italy and globally. In Germany, shows like Babylon Berlin and Das Boot. And then Der Pass (Pagan 182 WORLD SCREEN 4/22

Peak), which is in a similar vein to The Bridge and The Tunnel. It takes place on the border between Austria and Germany. All those are big shows in terms of absolute numbers.

Then you have shows that resonate creatively. Landscapers launched before Christmas. It’s a more intimate show but offers remarkable portraits of two very important characters. It may not be as broad as many other shows, but it resonated with our customers.

WS: What are the challenges and opportunities in seeking IP, ideas and talent when there is so much competition and so many companies producing programming?

FROT-COUTAZ: It’s a competitive marketplace. It has always been and will continue to be. At Sky, we offer a unique place, especially in Europe. For a producer looking for a home for a project, we fund the shows, and we can deliver quite an amount of scale. But we are also a European player, so we go about it culturally; it’s a very European way. We offer the Sky home, we fund, we partner with NBCUniversal for international distribution and Sky is a remarkable marketing machine.

In addition, we know our customers well.

We have a focused development approach.

We are responsive and able to give that clarity to the marketplace. It’s a company that has always been competitive in key areas. It has to be clear about the lane it occupies and back projects. That is extremely important, and we have that ability.

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WS: Do local stories play a role in cementing the connection with subscribers?

FROT-COUTAZ: Local stories are interesting.

The way I would put it is that you have to offer stories that are relevant to customers, but that doesn’t mean the story has to play out in the local market. One show that did incredibly well on Sky was Chernobyl. It’s a good example of a story that is not a U.K. story. It’s not a German story. It’s not an Italian story. It’s a story that resonated because it was part of the collective consciousness. Everybody who was old enough could remember the event and its consequences. The series had a British cast, and it did very well in all our markets. Christian is very Italian, and I wouldn’t expect that show to travel particularly. But then, on the other end of the spectrum, you have a Chernobyl or ZeroZeroZero, which our Italian team brought to the screens a few years ago. It starts with the drug trade and then takes you out of Italy. You always have a mix of shows. It’s the difference between local and parochial. You can do local, but you don’t want to be parochial. It’s a fine line, but ideally, you want stories that are anchored somewhere, but that will resonate beyond the frontiers of the market you are serving. But then you’ll also have very local fare because you’ll need to supply that flavor.

WS: How is Sky Studios seeking and finding new and diverse voices?

FROT-COUTAZ: Diversity is incredibly important to Sky and has been for a very long time. When we commission a show

from a producer, we partner with them.

There will be support on-screen and within the teams. Then we have some schemes.

We partnered with Netflix on a writers’ scheme where we will be offering six new diverse writer placements within writing teams—three on Netflix shows and three on Sky shows. On the comedy side, we have initiatives with theaters here in the U.K. to try to increase new talent coming forward— and that is racial and gender diversity but also socioeconomic diversity. It’s about doing things and understanding what’s successful and what is less so.

We are launching Sky Studios Elstree [this year], and that’s another place where we will be hiring a lot of talent.

WS: Are there lessons you learned from your time at YouTube that you can apply to your position now?

FROT-COUTAZ: There are many things I take away about how YouTube and Google work. On some of those, by the way, Sky is already there—that relentless focus on the user and the user experience. A product like Sky Glass that launched in October [is an example of] relentless focus on the user experience and bringing the best to our customers. The other thing is data and being very focused on using data to understand the reality of consumer behaviors and trying to derive the right insights as to how you drive your business. I have a lot of admiration for how Google and YouTube are very collaborative cultures. It’s a key part of their DNA, and collaboration is hard-wired into a lot of the systems and

Produced by Pulse Films in association with Sister for Sky Studios, Gangs of London returns this year.

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procedures. This is something that many companies should look at and take from.

WS: What is Sky Studios’ relationship with Comcast and NBCUniversal? Are there areas of partnership?

FROT-COUTAZ: Yes, there are. On the distribution side, NBCUniversal distributes all the Sky Studios shows. On the technology side, there is a lot of collaboration between Sky and Comcast. Sky Studios Elstree will have 13 soundstages, and it’s going to be a company asset, not just for Sky but for NBCUniversal as well. They are a big sponsor of the project. They have been instrumental in helping us plan it, design it and launch it. I envisage, once we are open, a lot of Universal feature films will find a home at Sky Studios Elstree and some of their series as well. So that will be a very big area of collaboration for us.

The other thing to look at is Peacock, which is already distributed through Sky in the U.K. and soon in other markets.

Peacock also airs some Sky shows. Looking at how Sky and Peacock come together as one—to go back to your earlier question about how competitive the market is—the Peacock collaboration is very much part of the plans.

WS: The global streamers are competing for viewers and spending huge budgets. Sky has been satisfying its customers for a long time.

Does Sky not have to worry too much about competing with streamers?

FROT-COUTAZ: You always have to worry.

You can never be complacent. Sky is an aggregator. There is a real place, especially today, for simplicity. That simplicity is the interface. Sky Glass is a TV with Sky inside, and it provides you with an amazing interface to help you curate your choices. We offer an enormous amount of value-added and increasingly so. The other piece of it is bringing enough distinctive content. I speak from an original programming standpoint. We are never going to be in the volume business. We are in the business of curating a series of shows that we believe will resonate with our customers. It’s a very different exercise. In addition, we provide a range through the aggregation offer.

WS: Finding shows is becoming increasingly challenging!

FROT-COUTAZ: That’s why I love the great functionality of voice search on Sky Glass and Xfinity in the U.S. Otherwise, you are right; you have to go online, find it, and ask, Do I have a subscription to it?

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TVFORMATS

WWW.TVFORMATS.WS

APRIL 2022 EDITION

Game Shows / Fremantle’s Rob Clark

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CONTENTS

In the Game

The streamers are officially entering the format fray. Just as they’ve shaken up the scripted programming landscape, on-demand platforms are now embracing reality and entertainment more than ever before.

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

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Formats ©2022 WSN INC. 1123 Broadway, #1207 New York, NY 10010 Phone: (212) 924-7620 Fax: (212) 924-6940 Website: www.formats.ws

Netflix, for one, is launching its firstever interactive daily quiz show, Trivia Quest, which offers 24 trivia questions daily throughout April. In this edition of TV Formats, we hear from a range of producers and distributors about what’s hot in the game-show arena and the prospects for the on-demand environment.

TV Formats also hears from Fremantle’s Rob Clark, who emphasizes that there are many more places to sell formats to nowadays, including global and regional SVODs. “If you go back even three years, the great wise owls that dominate our industry all assumed that the global SVOD platforms would be solely interested in documentary and drama,” he says. “Of course, that’s not the case. There’s a lot of reality being commissioned from those platforms.”

As the availability of content, both live and streamed, is so vast, shows that have some sort of brand recognition are very much in demand—as evidenced by the mega-formats. It’s not easy for a brandnew concept to break through, but it is possible. And it all starts with commissioners being bold enough to take a risk on something outside of the box, just a bit quirky—I’m looking at you The Masked Singer—or in an unexplored area. So buyers, place your bets! —Kristin Brzoznowski

FEATURE

GAME ON Distributors weigh in about the popularity of game-show formats and where the genre is headed next.

INTERVIEW

FREMANTLE’S ROB CLARK The director of global entertainment on the current demands in the marketplace and the levels of risk being exercised by broadcasters with regard to commissioning.

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Exceptional

Armoza Formats Beat the Average / Drive Therapy / Exceptional In Armoza Formats’ Beat the Average, contestants compete in unique challenges. They don’t have to be the best; they just have to beat the average score. The new format Drive Therapy brings therapy into the car, with a backseat therapist who helps passengers confront something in their lives. “Many of us face issues, and sometimes a short professional intervention can save years of therapy,” says Amos Neumann, COO. In the teen drama Exceptional, a blogger’s summer is changed when she must accompany her autistic sister to camp.

“Armoza offers a lineup of formats that relate to the human nature in fun, emotional and heartwarming ways.”

—Amos Neumann

The Story of…

Media Ranch Happily Ever Apart / The Story of… / Poker Face Media Ranch is highlighting the format Happily Ever Apart, which follows couples as they amicably divorce. A historical reality show, The Story of… explores where we come from, investigating our common past and how we become who we are. “There’s drama and action, romance and humor,” says Sophie Ferron, founder and president of Media Ranch. “We’re incredibly proud of this format.” The shiny-floor studio format Poker Face sees contestants answer personal questions while not giving away whether their answers are truthful or not.

“At Media Ranch, we have a wide variety of genres in the format arena and have something for everyone.”

—Sophie Ferron

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Passion Distribution Love in the Flesh / Open House: The Great Sex Experiment / Stitch, Please!

Passion Distribution’s Love in the Flesh explores whether relationships formed through social media and dating apps can survive in the real world. In Open House: The Great Sex Experiment, committed couples test the boundaries of their relationships. Each episode of Stitch, Please! sees two contributors compete to create a different outfit inspired by fashion, film, TV or cosplay. “The creators undergo a truly amazing transformation, both in their looks and their confidence,” says Agnes Mbye, senior sales manager for formats at Passion Distribution.

Stitch, Please!

“Passion is looking to meet buyers to discuss our new, exciting slate of bold, ambitious and captivating programming.”

—Agnes Mbye

True Hero

WeMake Starlight / True Hero / Target Leading WeMake’s highlights, the singing competition Starlight sees contestants begin singing in the dark, only to be revealed when the jury shines its light on them. True Hero features 50 contestants living on an island while being secretly judged by a mysterious council. “Twists and turns in the narrative [take] place in every episode until the big reveal at the end,” says Bouchra Rejani, founder and CEO. In Target, ten celebrities live together in a villa with the goal of carrying out secret missions targeting one of the others.

“Even though True Hero is a real competition with real contestants, it definitely has a strong series vibe to it.”

—Bouchra Rejani

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Nippon TV’s Sokkuri Sweets.

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ON

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GAME

Kristin Brzoznowski explores the demand for game shows and where the genre is headed next.

O

ften referred to as TV’s “comfort food,” game shows have been serving the demands of pandemic-era television particularly well—from doling out familiar flavors that audiences can’t get enough of to delivering hearty yet budget-friendly programming that broadcasters are craving.

“Game shows have always had and will always have a solid place in the television market,” says Avi Armoza, founder and CEO of Armoza Formats. “They answer very concrete needs for audience engagement, knowledge and family viewing. It’s a [trend] that comes and goes, but during the coronavirus pandemic, it increased in demand from two perspectives: the need for family viewing and entertaining shows and for doing something costeffective, where you can get into the studio and shoot four or five episodes in one day.”

Armoza adds that broadcasters are after two distinct types of game shows—at opposite ends of the spectrum. “One trend is for existing, proven shows. But at the same time, there is an appetite to bring something new, big and loud,” he notes.

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Who ’s Asking? is among the game-show brands from Armoza Formats.

“Everyone loves game shows,” agrees Sophie Ferron, founder and CEO of Media Ranch. “They are still in demand, though it’s getting harder for formats to stand out and differentiate. Big, broad, slapstick game shows seem to be less in demand, but we’re watching closely to see how it evolves and also to be part of its evolution.”

She says that playability and home-audience engagement are still key. “You want to feel like you can participate and that the premise is simple…. What is different today is the focus on storytelling, talent and quirkiness that bridges traditional game shows with contemporary competition shows.”

While there is still plenty of interest in the question-andanswer format of traditional quizzes, the marketplace has also burst outside the box. Japan, for one, has been a notable supplier of convention-breaking game-show propositions. “Buyers always ask, ‘Do you have any crazy formats that I haven’t seen anywhere else?,’” says Chihiro Shizawa, sales and licensing at Nippon TV, noting interest in Asian-inspired ideas from the European and North American markets.

“We are creating programs with concepts that overturn conventional ideas in a positive sense or with innovative concepts created by combining traditional genres,” she adds. “Mute it!,

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where the rules are to complete a mission without making more than 50 decibels of noise, is a good example of a new idea that breaks away from the traditional stereotype of game shows as being loud and noisy. Money or Junk, which was announced last year, is innovative in that it combines the popular genre of business shows with the new elements of digital and craft.”

Nippon TV is introducing two new game-show formats at MIPTV: Dark Doubt, an escape game with a horror twist, and Turbo Brain, a rapid-fire battle of the brains.

Japan’s Fuji Television Network is bringing to the marketplace $$$ Mansion, which combines the escape-game concept with online challenges. Ryuji Komiya, head of formats, notes that the genre has increasingly moved away from the studio constraints of its past. “For example, our popular game shows such as Run for Money, Water Fortress and $$$ Mansion were filmed in an existing environment and added stories to the game to make the rules more exciting.”

ProSieben is the German partner on Media Ranch’s Watch! format.

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Breaking out of the conventional gameshow set is just one of the ways that formats are adapting to the times.

“Today’s popular game shows feature a strong digital component that generates buzz through audience interactivity,” Fuji TV is showcasing Run for Money. says Haikal Jamari, sales manager for Asia and the Middle East at Dori Media Group. “From polls and tweets on social media to ancillary mobile games, there is a myriad of off-air promotional activities for viewers to engage with while they wait for the next episode or season.”

Dori Media has seen traction on The Selfie Challenge and Win the Crowd, created by Studio Glam. Arabic versions of the two formats have been commissioned by Abu Dhabi Media for Abu Dhabi TV and the ADtv app in the MENA region. “Both formats have a strong youth focus, with social media and audience interactivity at their core,” Jamari says.

LET’S TALK TECH Armoza Formats has stepped up its efforts to find new ways of telling stories and answering the needs of clients by offering an innovative technology proposition. In Family Piggy Bank, the gameplay brings the atmosphere and feel of a Friday night family dinner into the studio. “You can shoot it in an empty studio wherever they are, and we provide the format and the CGI set,” Armoza explains. “It’s not only selling the format bible, but we are

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also providing them with a link to a complete set that has an amazing, big, prime-time shiny-floor look and feel. It is costeffective because you don’t need to invest in building a big set.

“At Armoza Formats, we have game shows that have proven successful: Still Standing has been very long-running, and Who’s Asking? is a solid, successful game show,” he continues. “At the same time, we want to bring the future of game shows to answer

“Game shows have always had and will always have a solid place in the television market.” —Avi Armoza the needs of broadcasters that want a different look and feel, and to bring something new to the screen.”

There’s also a mix of successful game shows alongside brandnew and innovative formats at Media Ranch. The company is bringing back the shiny-floor studio-based dating game show Blind Dating, which was a hit in French Canada. Media Ranch is also in development on a game show with Ubisoft and Wheelhouse Entertainment called House Party: Just Dance, which is the official format connected to the hit game Just Dance.

Watch!, which was produced at the height of the pandemic in Germany, will see a second life soon. Media Ranch also has game shows from its Horsepower incubator, such as Tower of Babel.

Game shows are making their way into prime-time, access and daytime slots. Looking beyond traditional time slots, the question

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Win the Crowd is a game-show format available from Dori Media.

remains of how viable game shows can be in an on-demand environment. “There is a professional challenge on all of us to see how the world of game shows will be within the streaming environment,” Armoza says. “At the same time, because linear broadcasters need to be more efficient and cost-effective, game shows will continue to have an important place in access prime time and prime time in a broadcast schedule.”

With regard to content trends, Media Ranch’s Ferron believes that celebrity casting will continue to be a draw. “North American audiences also love to see regular people win big,” she adds. “The greatest opportunities, regardless of format and platform, will be from game shows that are not just about answering questions but about talent and social experiments.”

The flexible nature of game shows also bodes well for their continued success in the marketplace. “The power of gameshow formats has no limits,” says Nippon TV’s Shizawa. “Even though our original ideas are based on our 30-, 60-, 120-minuteplus slots featuring hilarious Japanese celebrities, it can be adjusted to fit different needs, providing endless opportunities for both

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sides. For example, our hour-long Sokkuri Sweets format became the bite-sized series Eye Candy, streaming on The Roku Channel, as well as a mega-version series in prime time in the Netherlands as Showcolade. Mute it! also became a megaversion series in prime time in the Netherlands as Stilte AUB! (Silence Please!).”

As Covid-19-related restrictions continue to ease and productions have successfully implemented new health and safety standards to address concerns around a changing cast of contestants and live audiences, the future for game-show formats is looking

“What is different today is the focus on storytelling, talent and quirkiness.” —Sophie Ferron

bright. “With production safety protocols firmly in place, crowd control is less of an issue now than it was over the past two years,” says Dori Media’s Jamari. “The reduced uncertainty helps both sponsors and broadcasters commit, which helps fuel the genre’s demand from a commercial perspective.

“From an audience perspective, game shows have always provided easy comfort viewing,” Jamari adds. “Game shows are also typically associated with being a cost-effective genre to commission. These factors propel game shows to becoming a staple in the entertainment consumption habits of viewers and, in turn, the slates of broadcasters and platforms.”

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Rob Clark Fremantle

T

he Fremantle format catalog is an enviable one by any

By Kristin measure, with its bevy of megabrands that continue to be Brzoznowski recommissioned and a mix of brand-new concepts ready to travel. As director of global entertainment, Rob Clark has been a key architect of the hit-filled slate while managing the global rollout of a slew of successes. He tells TV Formats about trends in the marketplace.

TV FORMATS: How has the last year shaped up for Fremantle’s format business?

CLARK: It’s been a very good year. Last year, we probably had more shows on-air than ever before. On the whole, they were doing really well. The other aspect to consider is what’s coming through the pipeline. At first, I was worried that people, particularly when working in isolation, wouldn’t be able to develop shows. I was wrong. We’ve had some very clever, quite innovative formats that have come through that have been commissioned. Fremantle bought [production companies from Nordic Entertainment Group], and they’re a great addition to both the creative pipeline and our production excellence.

TV FORMATS: What trends have emerged in the marketplace?

CLARK: The big trend is that there are many more places that you can sell your formats to. That’s hugely important. If you go back even three years, the great wise owls that dominate our industry

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The Farm format comes to Fremantle following its acquisition of 12 studios from Nordic Entertainment Group.

all assumed that the global SVOD platforms would be solely interested in documentary and drama. Of course, that’s not the case.

They actually want a proper schedule that appeals to everybody.

There’s a lot of reality being commissioned from those platforms.

The other trend is that the SVODs are not just global; they’re also local. Because of the nature of how Fremantle is set up—we have local production companies talking to local broadcasters often about local shows as well as global shows—we are doing particularly well at being able to meet the demand [from] local-language SVODs. That will be an increasingly important market for us. Having said that, there hasn’t been any noticeable decrease in the orders that we’ve received or the demand or the passion that we recognize from the traditional broadcast sector. If you’re looking for a meta trend, it’s that there is more opportunity if you’ve got formats. The availability of content, both live and being streamed, is vast. So, shows that have some sort of brand recognition are very much in demand. That’s very good for Fremantle.

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How do you punch through with new programming? It’s very difficult! To launch a new program now is probably harder than at any point I remember in my entire career. Having said that, it can work—if you capture the imagination of both the audience and the broadcaster, and the broadcaster uses that imagination in how they promote the show. It’s not just about being live; it’s about having something that’s promotable.

“Last year, we probably had more shows on-air than ever before. On the whole, they were doing really well.”

TV FORMATS: Do the mega-formats continue to fare well?

CLARK: This year is the 20th anniversary of American Idol. It’s also 50 years of The Price Is Right. It’s doing amazing figures for a daytime show. It was the number one show when we did The Price Is Right at Night in America. That tells me, if you get a show right, if a show is looked after and cared for, kept current but without abusing the format, then it can be around for a long, long time. With Idols, it’s been two decades—and that’s not just in America; that’s in a number of other territories such as Sweden and Germany.

Last year, India had the most successful season it’s ever had for Indian Idol. It’s in its 12th season (it doesn’t play every year); we did a 75-episode run, and it was the number one show (minus sport). Indonesia hasn’t had The X Factor on-air for over five years,

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and yet, it’s absolutely running away with the ratings. Australia, after over ten years, is bringing back Idol. I find it fascinating that after this amount of time, these shows are still in the The X Factor continues to air worldwide, recently psyche. The Farm is a wrapping its fourth season in Israel. show from Nordic Entertainment Group that now sits in the Fremantle catalog.

It’s doing amazing business in Scandinavia, Brazil and Eastern European countries. This format is over 20 years old.

TV FORMATS: Are broadcasters taking swings on new concepts?

CLARK: There are broadcasters from major territories that still are taking big risks, and they’re not necessarily the ones that traditionally did. There are other broadcasters that are taking big risks within their own [spectrum]. Some are more conservative and will want to see a show in multiple territories before ever commissioning.

Often, the initial series runs now are much smaller than they used to be. They’ll see how it does—with three or four or five [episodes]—and if it works, they’ll come back and commission.

There is also a lot of collaboration between networks, which there never used to be. Lots of people are talking to us about having an American network and then another network involved.

They are hedging their bets in a way; they are trying to reduce their risks. Launching a new show is bloody hard! If you can try to de-risk it by initial outlay in cost or by seeing how it works somewhere else first, I get it.

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APRIL 2022 EDITION

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TV LISTINGS

IN THIS EDITION 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

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ABS-CBN Corporation ADK Emotions NY Albatross World Sales All3Media International APC Kids APT Worldwide Armoza Formats Artist View Entertainment Atresmedia Televisión ATV Australian Children’s Television Foundation Avanti Groupe Banijay Rights Bavaria Media International Beyond Rights Boat Rocker Studios BossaNova CAKE Calinos Entertainment Cineflix Rights Cisneros Media Curiosity Cyber Group Studios Dori Media Group Eccho Rights Electric Entertainment Encore Television-Distribution eOne Family Brands Epic Storyworlds Escapade Media

47 48 49 50

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FilmRise

29 30

Gaumont Global Screen GMA Network

31

GoQuest Media

32

GRB Studios

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Guang Dong Winsing Company 53 HG Distribution Ideacom International 54 Incendo Inter Medya Jetpack Distribution Just for Laughs 55 Kanal D International 56 KO Distribution 57 KOCCA 58 LEONINE Studios Lionsgate Little Engine Moving Pictures 59 Magasin Général 60 MarVista Entertainment Mattel Television 61 Media Ranch 62 The Mediapro Studio Distribution 63 Mediatoon Distribution 64 MIAM ! Distribution Mondo TV Group 65 Muse Distribution 66 International NBCUniversal 67 Global Distribution

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35 36 37 38 39 40 41 42 43 44 45 46

51 52

NHK Enterprises Nicely Entertainment Nippon TV NOMAD Industries Odin’s Eye Entertainment ORF-Enterprise Paramount Global Content Distribution Passion Distribution Pixcom Productions ToRoS PVP Media Red Arrow Studios International Rive Gauche Serious Kids Sesame Workshop Sinking Ship Entertainment Sixteen South Rights The Smurfs (I.M.P.S.) SPI International St Laurent TV International Studio 100 Media Terra Mater Studios Thunderbird Entertainment Toonz Media Group Trio Orange WeMake Xilam Animation ZDF Studios Zodiak Kids and Family Distribution Zone3

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TV LISTINGS

ABS-CBN CORPORATION

O (6323) 415-2272 m internationalsales@abs-cbn.com w www.abs-cbn.com/internationalsales Contact: Cory V. Vidanes, COO; Ruel S. Bayani, head, intl. coprod.; Pia B. Laurel, sales head, new media & intl. coprod.; Laarni J. Yu, sales head, EMEA; Wincess Lee Gonzalez, sales head, Asia, LatAm. PROGRAM HIGHLIGHTS When Love Burns (Drama/romance, 105x25 min.) A woman is married into a family of politicians, but her relationship with her husband is marred because of an accident. The only way to save their marriage reunites her with someone from her past.

La Vida Lena (Drama/romance, 10x45 min.) After losing everything dear to her, a young woman returns with a new face to retaliate against the powerful clan who ruined her life.

The Broken Marriage Vow (Drama, 45x45 min.)

A seemingly perfect home gets shattered by broken trust and infidelity, bringing forth catastrophic effects into the lives of the couple, their son and everyone else involved.

He’s into Her (Drama/romance, 10x45 min.) A spunky teenage girl from Mindoro moves to Manila to live with her estranged father and study in a prestigious school.

She clashes with the basketball varsity captain.

ADK EMOTIONS NY

O (1-929) 554-3249 m mana@adkemotions.com w usa.beyblade.com

When Love Burns

Viral Scandal (Drama, 45x45 min.) A simple, middle-class family is rocked by a scandal when the eldest daughter is caught in a viral sex video.

They seek justice as rich people dominate and manipulate the truth to protect their image.

Marry Me Marry You (Drama/romance/comedy, 95x25 min.) A couple navigates the traditional expectations attached to marriage that extend beyond one’s partner, including their family and friends.

Contact: Shunichi Ogawa, CEO; Ayako Tsunekawa, VP, mktg. & creative; Natasha Khavin Gross, dir., TV sales & lic.

PROGRAM HIGHLIGHTS Beyblade Burst (Kids action/adventure, 51x22 min.) Valt Aoi is crazy about Beyblade. His friend Shu Kurenai is hailed as a Beyblade prodigy.

Inspired by Shu’s accomplishments, Valt sets his sights on reaching this year’s national tournament.

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.) Inspired by a chance Bey battle with

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TV LISTINGS

World Champion Valt Aoi, Aiger Akabane sets his sights on becoming an invincible Blader with the help of his Turbo Bey, Z Achilles.

Beyblade

Beyblade Burst Rise (Kids action/adventure, 26x22 min.) Dante witnesses Valt unleashing his newly-evolved Gamma Bey. Inspired, Dante seeks to achieve the same bond with his Bey, Dragon.

Beyblade Burst Surge (Kids action/adventure, 26x22 min.) Two unknown brothers, Hyuga and Hikaru Hizashi, issue a challenge: armed with their own Lightning Beys, Hyperion and Helios, this unlikely duo is going to topple Beyblade’s ruling elite.

Beyblade Burst Quaddrive (Kids action/adventure, 26x22 min.) Bel Daizora, the ruler of the graveyard for Beys, Phantom’s Gate, issues a challenge to Bladers all over the world. At his side is his Bey, Destruction Belfyre.

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ALBATROSS WORLD SALES

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

Stand: R7.B2B Contact: Anne Olzmann, mng. dir.; Lisa Anna Schelhas, sales dir., Western Europe, Nordics, Americas, Australia; Eleytheria Heine, sales mgr., Asia, MEA, Russia, CIS; Chunzi Wang, sales mgr., Asia, inflight; Claudia Zell, sales agent, Eastern Europe; Linda Kujawski, mktg. & acq.; Sofia Jerónimo, dvpmt. & traffic coord.

PROGRAM HIGHLIGHTS Superbirds—The Secret Life of Tits (Nature/wildlife, 1x52 min.) Through everyday stories of tits’ lives, offers an entertaining glimpse into the dangerous world these lovely and brave little birds inhabit, often hidden from human eyes.

Wild Prague (Nature/wildlife, 1x52 min./80 min.)

One of the greatest worldwide tourist attractions has a particular hidden aspect—within sight of the Old Town Square’s Astronomical Clock and Charles Bridge live hundreds of rare species you’d hardly expect to see here.

Crimes that Changed the World (History, 3x45 min.) Takes us on an exploration of how certain crimes shook society to its core.

Hike the Line—European Border Trails (Travel/adventure, 3x43 min.) Showcasing some of the most beautiful and adventurous long-distance hiking trails in Europe’s frontier regions.

Resurrecting Eden—Human Help for Nature’s Own Resilience (Science/sustainability, 4x52

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TV LISTINGS

min./4x43 min.) From rainforests to coral reefs, our natural paradises and their complex ecosystems are in danger. This documentary follows visionary projects that counteract destruction.

The Marvelous World of the Vegetable Garden (Nature/wildlife, 1x52 min./43 min.) Reveals the unique relationships, births and struggles of tiny garden inhabitants who become the bodyguards of our vegetables.

Planet Sheep (Nature/science, 2x52 min./1x90 min.) A look at the 11,000-year-old journey of sheep as livestock while offering perspectives on the future of the species in relation to humankind.

WIld Prague

The Beach—Wildlife Around the Parasol (Nature/wildlife, 1x52 min./43 min.) A microcosm of nature unfolds between parasols and deck chairs in these beach stories told from the animals’ point of view.

Archipelago New York (Travel/adventure, 3x52 min./3x45 min.) A modern-day exploration of the surprisingly exciting and diverse natural landscape of New York’s islands by sailboat.

The Cévennes—Hidden Beauty in the South of France (Travel/adventure, 1x52 min.) Spanning between seasons, goes on a journey of discovery into an extraordinary yet lesser-known landscape and its inhabitants, including rare flora and fauna.

ALL3MEDIA INTERNATIONAL

O (44-20) 7845-4350 m rachel.glaister@all3media.com w www.all3mediainternational.com

Contact: Sally Habbershaw, EVP, Americas; Stephen Driscoll, EVP, EMEA; Sabrina Duguet, EVP, AsiaPac. PROGRAM HIGHLIGHTS Marriage (Drama, 4x60 min.) Led by Sean Bean and Nicola Walker, explores the insecurities, ambiguities, hopes and fears that are part of the risks and the gifts of a long-term partnership.

The Thief, His Wife and the Canoe (Drama, 4x60 min.) The story of how Anne and John Darwin deceived the world, their family and friends after John faked his own death to claim life insurance and avoid bankruptcy. Script by Chris Lang.

Trigger Point (Drama, 6x60 min.) A thriller from executive producer Jed Mercurio starring Vicky McClure as an experienced bomb disposal operative.

Who is Ghislaine Maxwell? (w.t.) (Doc., 3x60 min.) Insight into the life of Ghislaine Maxwell, including her recent, high-profile trial.

Gordon Ramsay’s Future Food Stars (Factent./food/drink, 8x60 min./format) This brand-new business competition series follows Gordon Ramsay’s search for food and drink entrepreneurs who will revolutionize the food industry.

The Traitors (Ent./reality format, 60 min. eps.) A group of contestants are placed in an atmospheric location together and must complete challenges and win prizes. But some among them will be traitors and out to claim the prize for themselves.

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TV LISTINGS

Marriage

The Last Singer Standing (Game-show format, 60 min. eps.) Requires contestants to use tactics as well as singing talent to make the finale and win a big cash prize.

Date or Drop (Dating format, 60 min. eps.) Lucky singles hear about their potential date. If they hear something they don’t like, the culprit drops through a trapdoor.

Murder in the Valleys (Doc., 4x60 min.)

Sheds new light on a shocking mass murder that wiped out three generations of one family in 1999.

Flirty Dancing (Ent. format, 60 min. eps.) Two singles separately learn a professionally choreographed dance routine. The first time they ever meet is when they dance together.

PROGRAM HIGHLIGHTS Sheep’s Hotel (Preschool 2D, 104x5 min.) Little lambs Bella and Benny and their close-knit family of sheep run a small, independent hotel for guests and their kids.

Zoe & Milo (Kids 6-9 2D, 52x7 min.) Zoe and Milo travel the world in a plane piloted by Alim, a knowledgeable hamster, meeting friends in diverse countries and learning about cultural differences.

Kid-E-Cats (Preschool 2D, 208x5 min., 3x10 min., 5x2 min., 1x65 min.) Three little kittens—Cookie, Pudding and kid sister Candy—are forever ready to jump into action with endless enthusiasm and energy.

DinoCity (Kids 3-7 2D, 52x5 min.) In a world where dinosaurs live an urban life like ours, Ricky and his elder sister Tyra turn most everyday situations into something quite extraordinary.

Sheep’s Hotel

APC KIDS

O (33-1) 8508-7017 m lionel.marty@apckids.com w www.aboutpremiumcontent.com Stand: R7.C31 Contact: Lionel Marty, mng. dir.

Little Tiaras (Kids 5-8 3D, 78x7 min., 1x30 min.) Five princesses and two recently transferred boys study magic on the mysterious island of Wondermont.

Kididoc (Kids 5-7 2D, 52x11 min.) Two kids and their extraterrestrial friend travel to a parallel universe to find answers to any question, on any topic, while on exciting adventures.

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TV LISTINGS

Tinka (Live-action family, 72x26 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.

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.

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.

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.

Hitler’s Mein Kampf: Prelude to the Holocaust (History, 1x60 min.) Explores how Hitler’s Mein Kampf laid the groundwork for the Third Reich’s genocidal actions.

Welcome to My Farm (Lifestyle, 8x30 min.) Welcome to Lisa Steele’s farm in Maine, where she shares DIY projects and tips on everything from raising poultry to baking bread.

Sex, Lies and the Priesthood (Bio./current affairs, 1x60 min.) Biopic of Richard Sipe, the priest-therapist who helped uncover Catholic clergy sex abuse.

APT WORLDWIDE

O (1-617) 338-4455 m judy_barlow@aptonline.org w APTWW.org Contact: Judy Barlow, VP, intl. sales; Tom Davison, dir., intl. sales; Kevin McKenna, dir., intl. sales.

PROGRAM HIGHLIGHTS The Bob Ross Experience (Art/culture, 1x60 min.) Go behind the scenes at a museum exhibit devoted to Bob Ross, beloved artist and host of the iconic television series The Joy of Painting.

J Schwanke’s Life in Bloom (Lifestyle, 40x30 min.) Flower expert J Schwanke illustrates how being surrounded by colorful blossoms can brighten up daily life.

Welcome to My Farm

Betrayed: Surviving an American Concentration Camp (History, 1x60 min.)

Tells the story of Japanese Americans subjected to mass incarceration by the U.S. government during WWII. Unsettled History: America, China and the Doolittle Tokyo Raid (History, 1x60 min.) The story of the daring Doolittle Raid on Tokyo in response to Japan’s attack on Pearl Harbor is retold from American and Chinese perspectives.

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TV LISTINGS

Stories of Survival (History, 2x30 min.) Brings to life the compelling stories of four survivors who witnessed the horrors of the Holocaust firsthand.

Secrets of Sacred Architecture (History, 1x60 min.) A look at religious buildings across America, from magnificent cathedrals to mosques and simple country chapels, and the surprising details embedded within.

Changing Seas (Science/nature, S13: 4x30 min.)

Explore the Earth’s vast underwater wilderness with oceanographers in new episodes of this longrunning series.

ARMOZA FORMATS

O (972-3) 540-8333 m info@armozaformats.com w www.armozaformats.com Stand: R7.C40 Contact: Avi Armoza, CEO; Amos Neumann, COO; Salome Peillon, head, sales; Elizaveta Makarova, sales exec.; Adi Brukner, sales exec.; Daniel Campos, sales exec.

PROGRAM HIGHLIGHTS Drive Therapy (Docu-reality, 60 min. eps.) Our backseat therapist will pick up three people who are on a journey and provide them with tools to reroute their lives on their way to a meaningful destination.

Beat the Average (Ent., 60-90 min. eps.) A team of three competes in three stages against the people—a group of 100 individuals who do the same task to get an average score.

Exceptional (Teen drama, 20x30 min.) Follows the story of a popular teen blogger as she is forced

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to spend the summer with her autistic sister. Will they be able to reconcile after years of alienation and distance?

Marry Me Now

Marry Me Now (Fact-ent., 60 min. eps.) The emotional format where women take charge of their fate, preparing their own wedding in just three days and all without the groom-to-be’s knowledge!

Family Piggy Bank (Family game show, 60 min. eps.) Puts one family’s knowledge and trust in each other to the test over three rounds of trivia. Using CGI, the format comes with a technological hub that creates a prime-time, shiny floor studio.

Sex Tape (Social experiment, 60 min. eps.)

Three couples take part in a dramatic and spicy therapy, watching their own sex tapes, to fix their relationships.

Still Standing (Studio game show, 60 min. eps.)

Contestants fight to be the last one standing and win $1 million by out-guessing ten opponents in fast-paced and dramatic trivia battles.

Dance Revolution (Studio ent., 90 min. eps.)

The prime-time dance show where, with the help of state-of-the-art technology, dancers are judged with a 360-degree shot of their best “Revolution” moment.

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TV LISTINGS

Plus One (Romantic adventure, 1x107 min.) When ARTIST VIEW a young married couple becomes involved with ENTERTAINMENT another woman, they must learn to navigate a O (1-818) 752-2480 three-way relationship. m scott@artistviewent.com Saving Paradise (Holiday drama, 1x98 min.) A w www.artistviewent.com successful corporate raider is forced to return to his Contact: Scott J. Jones, pres.; Patti Rose, VP, intl. small-town roots when he suddenly inherits his dist.; Jennifer Dillon, dir., dist. services; Rachel father’s nearly bankrupt pencil factory.

Jones, sales & acq. asst.; Lani Jones, accounting.

PROGRAM HIGHLIGHTS Double Threat (Action/adventure, 1x90 min.) After skimming money from the mob, a woman finds herself on the run with a kind stranger on a pilgrimage across the country to scatter his brother’s ashes.

Rent a Groom (Romantic comedy, 1x90 min.) To fulfill her grandmother’s last wishes, a successful book editor contacts an agency that provides a Double Threat convincing young man to play the role of her fiancé. Paint (Drama, 1x94 min.) Three friends from art Hearts Creek (Romantic comedy, 1x90 min.) After school try to start their careers in the competitive having a small car accident, a young event planner finds NYC art world. herself lost in the Rocky Mountains only to be rescued Here Awhile (Drama, 1x87 min.) While dealing by a handsome mountain guide on horseback. with her terminal illness, Anna returns home to Black Bags (Female thriller, 1x90 min.) On a lonely reconnect with her estranged brother as she conGreyhound bus, a chance encounter between two siders putting to use the Death with Dignity Act. women with identical black travel bags sets off a deadly game of cat and mouse.

Help Wanted (Female thriller, 1x90 min.) A young ATRESMEDIA woman returns home after inheriting her grandfa- TELEVISIÓN m sales@atresmediatv.com ther’s theater. w international-sales-atresmedia.com A Thousand Little Cuts (Thriller, 1x87 min.) A strange series of events puts a young woman in the Stand: R7.J11 hospital, and now, a clever psychologist must take Contact: José Antonio Salso, head, acq. & sales; her back through the traumatizing event to learn the Miguel García Sánchez, sales dir.; Laura Sampedro, sales exec. truth about what really happened that night.

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

PROGRAM HIGHLIGHTS La Edad de la Ira (The Age of Anger) (Drama, 4x50 min.) The television adaptation of the novel of the same name by Fernando J. López. A teenager is accused of brutally murdering his father.

Cardo (Thistle) (Drama, 6x30 min.) Tells the story of María, a Madrid girl in her 30s, hooked on drugs and unwinding through toxic relationships, who tries to turn her life around and sets out to help Puri, a 65-year-old woman whose neighborhood flower shop is about to be closed.

Dos Años y Un Dia (Two Years and One Day) (Comedy, 6x50 min.) Narrates the downfall of a beloved actor and presenter who is sentenced to two years and a day for a crime of religious offenses for an innocent but unfortunate joke.

Señor, Dame Paciencia (Lord, Give Me Patience) (Comedy, 8x50 min.) Gregorio is an ultraconservative, grumpy man, full of prejudices, living in tension as he confronts his relationship with his children, while his wife gives him advice as a ghost.

Cazaherederos (Finding Heirs) (Doc., 8x50 min.) The reporter Jalis de la Serna accompanies a team specialized in finding the recipients of unclaimed inheritances.

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Veneno (Drama, S1: 8x50 min., S2 TK) The story of La Veneno, an icon that has marked the evolution of the LGBTI movement since the 1960s, based on the official memories written by the journalist Valeria Vegas.

Deudas (Debts) (Comedy, 13x50 min.) A flashy and provocative comedy focused on the strong clash between two families and two women.

By Ana Milán (Dramedy, S1: 8x30 min., S2: 8x30 min.) Ana Milán has become a viral phenomenon by telling anecdotes about her life. Now these stories leap into fiction through this original Atresplayer Premium series.

El Internado: Las Cumbres (Las Cumbres Boarding School) (Drama, S1: 8x50 min., S2: 8x50 min.) In an old monastery, strict discipline is used to redirect problematic students. Mysterious disappearances and ritual murders prove that a medieval satanic cult continues to spread terror.

Perdida (Stolen Away) (Drama, 11x50 min.)

Narrates with a double timeline the trip of a couple who will do the unspeakable to find out what has happened to their daughter. A plot that will take place between Spain and Colombia.

ATV

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

The Age of Anger (La Edad de la Ira)

Stand: R7.M15 Contact: Müge Akar, head, sales; Emre Gorentas, head, sales; Merve Dogan, sales specialist; Gözde Dinç Özcan, sales specialist.

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TV LISTINGS

AUSTRALIAN CHILDREN’S TELEVISION FOUNDATION

O (61-3) 9200-5500 m roberta.divito@actf.com.au w www.actf.com.au

Lone Wolf

Contact: Roberta Di Vito, intl. sales mgr.; Tim Hegarty, intl. sales mgr.

PROGRAM HIGHLIGHTS Kangaroo Beach (Preschool animation, 26x12 min.) Four young animal friends share an actionpacked summer training as cadets with their lifeguard heroes, keeping the water safe at Kangaroo Beach.

More Than This (Teen/YA drama, 6x30 min.)

Explores the experiences of five teenagers as they navigate contemporary issues that will shape who they are becoming.

The Inbestigators (Live-action comedy, 20x24 min.) When 10-year-old Maudie forms a detective agency with her classmates Ezra, Ava and Kyle, no school or neighborhood crime is left unsolved.

Hardball (Live-action comedy, S1: 13x24 min., S2: 10x24 min.) When Mikey moves from New Zealand to Western Sydney, he finds himself in the thick of the ultra-competitive schoolyard game of handball.

PROGRAM HIGHLIGHTS Lone Wolf (Drama, 45 min. eps. in prod.)

Altay, a fighter, helps Esra escape from her lover and reunite with her little girl. Davut Bahadır, who lives alone in a hut in the forest, will guide Altay on his journey from the legends of 1950s Turkey to present day.

Destan (Drama, 45 min. eps. in prod.) Batuga is the hidden Khan of the Turks; he will write a “Destan” (legend) with Akkız, uniting the Turks and proving to the world what a disabled prince and a slave girl can achieve by joining hands.

For My Family (Drama, 63+x45 min.) After the sudden death of their parents, Kadir and his siblings find themselves in a new life without any money in their pockets and no shelter.

Wounded Heart (Drama, 45 min. eps. in prod.) A story of revenge between two families.

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.

Kangaroo Beach

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TV LISTINGS 13

First Day (Live-action drama, 4x24 min.) In her first year of high school as a transgender girl, Hannah has to navigate the challenges that come with starting a new school and find the courage to live as her most authentic self.

Are You Tougher Than Your Ancestors? (Liveaction factual, 10x24 min.) A fun and immersive livinghistory series that pits the skills of today’s kids against the exploits of children from the past.

Little J & Big Cuz (Early childhood animation, S1: 13x12 min., S2: 13x12 min., S3: 14x12 min.) Little J is 5 and Big Cuz is 9. They’re a couple of Indigenous Australian kids, living with their Nanna and Old Dog. Red Dirt Riders (Live-action factual, 5x12 min.)

Two- and four-wheeler-obsessed Roebourne kids adventure across their country. They are aided by adults who guide the fun.

Thalu (Live-action drama, 10x15 min.) With their country under threat from a huge dust cloud and the mysterious Takers that lurk within, a small group of Indigenous kids have to make their way to the Thalu, a place of great power.

DisRupted (Short films, 3x30 min.) Rocky & Me, And Then Something Changed and The Legend of Burnout Barry seek to disrupt and reframe how disability is understood.

AVANTI GROUPE

O (1-646) 318-8703 m arabelle@apdcsrmedia.com w www.avantigroupe.com Stand: P4.C20

Love Bugs

Contact: Arabelle Pouliot-Di Crescenzo, head, intl. dist.; Monique Lamoureux, co-pres.

PROGRAM HIGHLIGHT Love Bugs (Comedy format, S1-7: 130x26 min.)

Funny, modern, identifiable and addictive, a scripted comedy format about a couple figuring out love and life in a unique modular format.

BANIJAY RIGHTS

O (44-870) 333-1700 m sales@banijayrights.com w www.banijayrights.com Contact: Matt Creasey, EVP, sales, acq. & coprod., worldwide excl. EMEA; Claire Jago, EVP, sales & acq., EMEA; Jane Rimer, SVP, Canada; Michelle Wasserman, SVP, LatAm finished tape & formats; Rashmi Bajpai, EVP, Asia; Chris Stewart, SVP, U.K., Eire; Andrew Dickens, VP, press.

PROGRAM HIGHLIGHTS Titans: The Rise of Wall Street (Factual, 8x60 min.) Exploits the world’s fascination with Wall Street with powerful drama, archival footage and gripping sit-downs with the most influential CEOs, investors and traders living today.

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TV LISTINGS

Titans: The Rise of Wall Street

Extraordinary Portraits (Factual, 6x30 min.)

Tinie invites ordinary people with extraordinary stories to sit for some of the most distinctive and groundbreaking artists in the world.

Landmark (Ent., 7x60 min.) Every episode spotlights three brilliant artists who compete to create local landmarks for their home region.

The Drop (Ent., 8x60 min.) Clara Amfo hosts this brand-new series in which R&B superstar Miguel searches for one young entrepreneur that deserves a contract with one of the U.K.’s biggest streetwear retailers.

Joe Millionaire: For Richer or Poorer (Ent., 9x60 min., 1x120 min.) In FOX’s fresh twist on one of the most watched dating shows in reality history, two single men—one is a millionaire, and the other is an “average Joe”—date 20 women who have no idea which one is rich.

The Courtship (Format) Transported to a Regency-style England, a group of eligible hopeful suitors will have to win the hearts of our heroine and her court, housed in a castle on the countryside.

The Language of Love (Format) A group of Brits and a group of Spaniards pair up at a dreamy Spanish country estate to see if they can find romance— despite not speaking each other’s language.

Peaky Blinders (Drama, S6: 5x60 min., 1x90 min.) In season six, Tommy faces his demons in an epic final showdown.

The Good Karma Hospital (Drama, S4: 6x60 min.) Tells the story of junior doctor Ruby Walker, who arrives in India looking for a job and a distraction from her heartbreak.

Signora Volpe (Drama, 3x90 min.) Sylvia Fox, formerly a high-ranking British spy, arrives in Italy for the wedding of her niece. When the bridegroom disappears, leaving a dead body in the lake at the bottom of his garden, Sylvia takes it upon herself to solve the mystery and save her niece from disaster.

BAVARIA MEDIA INTERNATIONAL

O (49-89) 6499-3097 m international@bavaria-media.de w www.bavaria-media.de, www.bavaria-media.com

Stand: R7.K22 Contact: Marc Lammek, CEO, Bavaria Media; Eva Pfaudler, deputy CEO, Bavaria Media & CEO, content dist.; Carlos Hertel, dir., intl. sales, Italy, France; Brianne Bonney, snr. sales mgr., CEE, CIS, MENA, English-speaking territories; Iowanka Sprehe, snr. sales mgr., Scandinavia, Benelux; Tanja Grinscher, snr. sales mgr., German-speaking territories; Niko Chainopoulos, head, digital sales, German-speaking

REACHING 22,000 EXECUTIVES EVERY FRIDAY

SUBSCRIBE HERE: SUBSCRIPTIONS.WS

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territories; Maike Haas, dir., acq. & co-dvpmt.; Eva Püttmann, snr. acq. mgr.; Lisa Fidyka, snr. acq. mgr.

PROGRAM HIGHLIGHTS All You Need (Drama, 5x30 min.) Created by Benjamin Gutsche and produced by UFA Fiction for ARD Degeto, the series follows the story of four young gay men in Berlin and their everyday lives.

Night Forest (Family ent., 1x96 min.) Paul and Max are best friends. At the beginning of the summer holidays, they venture off into the mystical wilderness, following the clues left behind by Paul’s father.

Manners (Drama, 2x37 min./1x74 min.) Nineteenyear-old Einar, the coolest guy at college, is accused of rape.

and interpersonal parallel drama hold viewer attention like the alpine setting of Lake Constance, which borders four European countries.

Young Doctors (Drama, 294x48 min.) A popular, approachable and youthful hospital drama. The young cast leaves no emotional stone unturned.

AntiPasta—Cooking the Books (Dramedy, 6x45 min.) A well-meaning, hard-working Italian family builds a new life in provincial southern Germany.

But their restaurant goes sideways when borrowed mafia money comes due.

Jackpot (Thriller, 1x90 min.) After serving time for a violent crime and rehabilitating, Maren lands a second-chance and relatively rewarding job as a tow-truck driver, until she finds a bag with a half million dollars in one of the cars she tows.

Dr. Dog (Drama, 8x90 min.) An innovative psychologist named Paul and his therapy dog assistant Käthe continue to help people in need in the new episodes of the movie cycle.

BEYOND RIGHTS

All You Need

Dark Lake (Mystery thriller, 8x60 min.) City cop Valerie transfers with her son Dave, 17, to Lac-Noir, a village in the Laurentian forest. They are soon faced with mysterious and threatening things.

Storm of Love (Telenovela, S1-18: 200+x50 min., in prod.) Sold in over 25 territories, it has become a scheduling and ratings mainstay wherever it airs. Each season tells a new love story.

CGLC—Coast Guard: Lake Constance (Crime procedural, 40x50 min.) Investigative storylines

GET DAILY NEWS ON KIDS’ PROGRAMMING

O (44-207) 323-3444 m sales@beyondrights.tv w www.beyondrights.tv Stand: R7.D32 Contact: David Smyth, CEO; Sarah Bickley, SVP, sales, Nordics, Italy, AVOD; Holly Cowdery, VP, sales, France, CEEMA; Lenneke de Jong, VP, sales, Benelux, Germany, Iberia, LatAm; Sarah McCormack, SVP, acq. & coprod.; Nicola Davey, SVP, acq. & coprod.; Claire Runham, VP, acq. & coprod.; Sean Harris, head, intl. mktg.

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TV LISTINGS

PROGRAM HIGHLIGHTS End of the Rope (Reality/ob-doc., 6x60 min.) Join the elite, courageous, rope access technicians who undertake visually breathtaking yet nerveshredding fixes on some of America’s biggest and most impressive landmarks.

End of the Rope

LOOT (History, 8x60 min.) An investigation into how the trade in stolen antiquities has become a major source of income for international criminal syndicates, gangs and terrorists.

Santa Claus the Serial Killer (Crime/investigation, 3x60 min.) Mobeen Azhar searches for the truth behind a killing spree that went unchecked for years, revealing a story about race, culture, faith and sexuality.

Underground Railroad: The Secret History (History, 4x60 min.) Archaeology and new technology combine to reveal the secret networks and places that helped enslaved people escape to their freedom during the 1800s in America.

Yorkshire Born (Reality/ob-doc., 5x60 min.) A warmhearted, celebratory and intimate series that follows the incredible work of a group of midwives in Bradford, Yorkshire, who help with home births.

GET DAILY NEWS ON TELEVISION DRAMA

54 Hours Beneath (Doc., 1x60 min.) This tale of hope and bravery follows the nerve-wracking mission to rescue a man with life-threatening injuries, trapped in Britain’s deepest cave system.

Trains at War (History, 4x60 min.) Sheds new light on four famous WWII campaigns by analyzing the vital role played by trains and rail networks.

Europe’s Greatest Train Journeys (Travel/adventure, 6x60 min.) From Italy’s Cinqueterre train to the Douro Line in Portugal, we showcase the landscapes and culture of some of the continent’s most extraordinary rail routes.

Best of British by the Sea (Food/drink, 5x60 min.) Restaurant critic Grace Dent and chef Ainsley Harriott explore the food on offer at some of the best seaside holiday destinations in the British Isles.

Taste the Diversity (Food/drink, 10x30 min.)

Exploring history, culture and personal stories through the prism of national dishes and recipes from countries such as Japan, Canada and Egypt.

BOAT ROCKER STUDIOS

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, unscripted; Chapman Maddox, VP, content, kids & family; Shaleen Sangha, VP, content, kids & family;

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TV LISTINGS

Jessica Watson, snr. dir., global sales & acq.; Kelsey Griffin, snr. mgr., global sales & mktg.; Fabien Ching, mgr., global sales & lic., Asia.

PROGRAM HIGHLIGHTS Raufikat’s Better Bake Along (Factual/food/competition, 6x30 min.) In each episode, champion baker Raufikat Oyawoye-Salami will bake a dessert, while comedians Ann Shane Lewis and Alan Pornel try to present a perfect replication.

Raufikat’s Better Bake Along

How I Got Here (Factual/travel/adventure, 10x60 min.) Second-generation children accompany their parents back to their country of origin to relive the sacrifices, struggles and dramatic circumstances that led to their families coming to North America.

Second Chance Pets (Factual/science/edu., 10x60 min.) Dr. Jim Alaimo, owner of My Pet’s Brace in Pennsylvania, is one of the leading animal prosthetists in the world..

Unexplained: Caught on Camera (Factual/paranormal, S3: 10x60 min.) Explores some of the most amazing and downright scary videos caught on camera around the world.

Weeks of War (History, 8x60 min.) By analyzing the events in 41 critical weeks of WWII, we explore

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17

how people lived and survived during the most devastating conflict the world has ever seen.

Dino Ranch (Preschool 2-5 3D comedy/adventure, 104x11 min.) Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, “pre-westoric” setting where dinosaurs still roam.

Love Monster (Preschool 2-5 2D comedy/adventure, 79x7 min. & 1x14 min.) Love Monster happens to be the only monster among a sea of cute baby animals.

Kingdom Force (Preschool 3-6 3D action/adventure, 52x11 min.) Follows the thrilling exploits of five mighty animal heroes as they serve and protect the citizens of five unique animal kingdoms.

The Strange Chores (Kids 6-11 2D comedy/adventure, 52x11 min.) Two teenage wannabe warrior heroes and a 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.

The Next Step (Scripted tween/teen live-action, 206x30 min.) Follows the lives of a group of dancers at The Next Step Dance Studio as they attempt to win dance championships.

BOSSANOVA

m sales@bossanovamedia.com w www.bossanovamedia.com Stand: R7.E55 Contact: Paul Heaney, CEO; Tatjana Kostovski, snr. sales mgr.; Olivia Morgan, acq. & copro. exec.; Jasmin Joseph, mktg. mgr.; Charlotte Johnson, finance & operations dir.; Claire Lowe, commercial & business affairs dir.; Lyra Semsedini, office asst.

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TV LISTINGS

PROGRAM HIGHLIGHTS Secrets of the Lost Liners (History/mystery, 6x60 min.) An in-depth series exploring the stories of some of the world’s greatest ocean liners lost through war, mishap and human error.

Extreme Tow Truckers (Access/ob-doc., 8x60 min.)

Follows up to three hardcore towing companies as they battle it out to secure and complete the toughest and most lucrative towing contracts in Australia.

Murder: First on Scene (Crime/investigation, 10x60 min.) An in-depth look at how the police and specialists in the U.K. and U.S. bring the perpetrators of murder to justice.

Caught on Dashcam (Motoring, S1-3: 17x60 min.) Brings together the spectacular, mind-boggling and downright bizarre car crashes, near misses and road incidents.

Secrets of the Lost Liners

The Big Sex Talk (Lifestyle, 8x30 min.) Places its finger firmly on the pulse of this new landscape of sexual and gender diversity.

Take Me Home (Nature/animals, 6x60 min.) A special type of dating show matching dogs looking for love with owners with love to give.

Armed & Dangerous (Crime/investigation, 3x60 min.) The inside story of Australia’s rash of bank

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stickups, prison breakouts and major heists across the ’70s and ’80s.

Hindenburg: The Cover-Up (History/mystery, 2x60 min.) Reveals new theories and documents that shed light on a possible cover-up that spans two continents.

Cold Case Killers (Crime/investigation, 6x60 min.) This dramatic new returnable crime series tells the intricately twisting tales of Britain’s most gripping cold case murder investigations.

Highway Cops (Access/ob-doc., S7: 10x30 min.)

Returns for a seventh series, continuing to follow highway patrol officers as they strive to educate and protect everyone on New Zealand’s roads.

CAKE

O (44-207) 307-3230 m info@cakeentertainment.com w cakeentertainment.com Stand: R7.D18 Contact: Ed Galton, CEO; Bianca Rodriguez, head, sales; Rob Doherty, SVP, prod.; Daniel Bays, VP, dvpmt.; Julien Farçat, dir., sales; Bassma Rassi, sales exec.

PROGRAM HIGHLIGHTS Total Drama Island (Kids 8-14 animation, 26x22 min.) After seven seasons, it’s time to go back to the island as Total Drama promises to take reality to the next level with wild challenges, dramatic eliminations and total insanity.

Lucas the Spider (Preschool animation, 78x7 min.) A CGI series featuring the adventures of a warmhearted and gentle jumping spider and his friends, based on the worldwide viral YouTube hit.

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Angry Birds MakerSpace (Kids 4+ animation, S2: 20x1.5 min.) A brand-new season in 3D where our favorite birds and pigs experiment with the latest gadgets, media trends and technology without destroying each other.

Dodo (Kids 8+/family, 20x11 min.) A funny, relatable and 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.

Mush-Mush & the Mushables (Animation, 48x11 min./2x22 min.) Follows the exciting outdoor adventures of the Mushable community, pocket-sized Guardians of the Forest, as they embark on a fun journey of self-discovery.

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, 78x5 min.) Kiri, a feisty little dinosaur, and Lou, a gentle and thoughtful creature, navigate a forest of feelings with laughter, song and adventure.

CALINOS ENTERTAINMENT

Angry Birds MakerSpace

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

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.

Jorel’s Brother (Kids 8-12 animation, 104x11 min.) 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.

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.

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.

PROGRAM HIGHLIGHTS Lawless Love (Drama, 52 hrs.) Set in 1940 in Zonguldak, a coal city, the story of a life where nothing goes the way people want it to go.

Yesilcam (Romance, 20 hrs.) Takes place in the Turkish film industry of the 1960s, following an ambitious producer who, after losing his production company to his rival, sets out to make a blockbuster movie and win back his unforgettable exwife, a famous actress.

GET DAILY NEWS ON EUROPEAN MEDIA

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TV LISTINGS

scripted sales & dvpmt.; Kai Rowley, VP, sales (FTC), Africa, CEE, Middle East, Southern Mediterranean; Meghan Baxter, snr. sales exec., OTT, inflight, non-theatric, footage, home ent.

PROGRAM HIGHLIGHTS Irvine Welsh’s Crime (Scripted, 6x60 min.) From the best-selling novels of Irvine Welsh, prepare to enter a dangerous world and the troubled mind of Lawless Love DI Ray Lennox.

Deeply (Drama/romance, 8 hrs.) The adventure of Manayek (Scripted, S1-2: 20x45 min.) A veteran Deniz and Barış’ unbridled love spanning ten years, internal affairs investigator stumbles upon a police beginning in their mid-twenties. corruption case where the prime suspect is his best Adela (Drama, 96+ hrs.) Two sisters live with their friend, a decorated police officer. parents in a slum near Bucharest. The secret identity of one will be revealed when her biological grandfather decides to repair his past mistakes.

Forbidden Fruit (Drama/romance, on-air, 372+ hrs.) Yıldız and Zeynep are two sisters whose lives will take an unexpected turn when Istanbul socialite Ender asks Yıldız to seduce her husband.

CINEFLIX RIGHTS

O (44-20) 3179-5050 m sales@cineflix.com w www.cineflixrights.com Stand: R7.L27 Contact: Tim Mutimer, CEO, rights, Cineflix Media; James Durie, head, scripted; Sandra Piha, SVP, sales, pan-regional, U.K., Eire, Scandinavia; Lucinda Gergley-Garner, SVP, sales, North America, German-speaking territories; Chris Bluett, SVP, sales, AsiaPac, Benelux; Sabrina Ayala, SVP, sales, France, Italy, Iberia, LatAm; Tom Misselbrook, SVP,

GET DAILY NEWS ON ASIAN MEDIA

Irvine Welsh’s Crime

Happily Married (Scripted, S1-2: 20x45 min.) After dropping their children off at camp in July 1974, two middle-class suburban couples descend into a ruthless life of murder and criminality.

Dream Home Makeovers with Sophie Robinson (Fact-ent., 6x60 min.) Featuring Britain’s undisputed queen of color, delivers radical results with eye-popping interiors.

Richard Hammond’s Workshop (Fact-ent., S1-2: 16x60 min.) Follows the daredevil TV presenter and legendary car buff as he launches a high-end restoration shop for rare classic cars and motorbikes.

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TV LISTINGS 21

Killer Cases (True crime, S1-2: 20x60 min.) A riveting whodunit investigation series that follows the case to court and reveals the final verdict.

Ambulance Code Red (Fact-ent., S1-2: 30x60 min.) Following elite British paramedics on their most extreme calls, this is an adrenaline-pumping ride on the edge of life.

Property Brothers: Forever Home (Fact-ent., S1-2: 80x60 min. & 10x60 min. specials) Drew and Jonathan Scott are on a mission to help couples transform their current houses into forever homes.

CISNEROS MEDIA

O (1-305) 442-3400 m contentsales@cisneros.com w www.cisneros.com

celeb sightings, best people-watching places and fun snap-worthy adventures to discover.

WERK! (Tween, 26x5 min.) Our host starts each episode on the latest “must have,” then enlightens with three different ways to make money.

Mysterious Earth (Docuseries, 13x30 min.) Delve into fascinating historical enigmas through the most recent experts’ findings and discover shocking new insights about the world.

Killer Instincts (Docuseries, 13x30 min.) With impactful imagery and engaging narration, we will immerse ourselves in the savage arena of the world’s deadliest animals.

Food Pop (Docuseries, 13x30 min.) Brings to light the various aspects of popular foods that are consumed worldwide and how their recipes change in each region or country.

Palm House (Reality, 5x60 min.) Presents the lifestyles of 12 beautiful, powerful and influential Latin women in Miami.

Fashion Insta (Variety, ongoing, 60 min. eps.)

Host Harry Levy and his international guests will review social media to comment on the latest looks of celebrities and events that are making an impact on fashion trends worldwide.

Contact: Jonathan Blum, pres.; Ailing Zubizarreta, VP, content dvpmt. & creative services; Carlos Cabrera, VP, sales; Maria Benel, sales dir.

PROGRAM HIGHLIGHTS Zumbar (Children’s, 26x5 min.) A live-action series in which six children play interactively with a variety of animals while learning from them and our ecosystem.

AnimalFanPedia (Edutainment, 26x11 min.) A fun and educational wildlife program, bringing every kind of animal imaginable to families.

My Birthday Bash (Children’s, 13x22 min.) A fun live-action series where a special child gets the support from our host and their party crew to help him or her put together the best birthday party ever. #GOAT Travel Diaries (Tween, 26x5 min.) Visits cosmopolitan cities and features the coolest spots like best place for selfies, trendiest sweets to eat, My Birthday Bash

GET DAILY NEWS ON LATIN AMERICAN MEDIA

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TV LISTINGS

CURIOSITY

O (1-301) 755-2050 m distribution@curiositystream.com w www.curiositystream.com Contact: John Hendricks, fndr. & chmn.; Clint Stinchcomb, pres. & CEO; Devin Emery, chief product officer & EVP, content strategy; Bakori Davis, mng. dir. & head, intl. dist.; Brandon Fong, SVP & head, North America dist.; Rob Burk, head, original content; Jorge Franzini, VP, original content dvpmt. & pgmng.; Ashley Huston, VP, comms.

PROGRAM HIGHLIGHTS Changing Oceans Asia (Factual, 3x30 min.) Across southeast Asia, there are megacities sinking fast. The race is on to predict how fast cities will sink.

Nature’s Fight Club (Factual, 4x50 min.) Nature is red in tooth and claw as animals face daily battles to protect themselves and secure the resources they need.

Glorious Grasslands (Factual, 1x50 min.) Like a sea of grass, the savannah, prairie and meadows are among the most productive habitats on Earth, housing some of the greatest concentrations of game.

Lake Magic (Factual, 1x50 min.) Mini-oceans inland, lakes are treasure troves of aquatic wonders; each zone, from the depths to the surface, hosts its own animal communities.

Inside the Mind of a Con Artist (Factual, 6x52 min.) Reveals the human truths behind some of the most extraordinary cons.

Secrets of the Universe (Factual, 8x50 min.)

Launches viewers on mind-blowing adventures to seek answers to some of the universe’s biggest mysteries.

GET DAILY NEWS ON AMERICAN MEDIA

Secrets of the Universe

Asteroid Rush (Factual, 2x60 min.) Meet the world’s space agencies, set up as specialist departments for detecting and exploring asteroids.

Doug to the Rescue (Factual, S2: 5x30 min.) Aerial cinematographer Doug Thron uses his cutting-edge infrared drone to rescue animals around the world.

Ancient Earth: Dinosaurs of the South Pole (Factual, 2x60 min.) This new expedition to the icebound continent uncovers more evidence of its incredible past and helps solve the mysteries that could impact our planet in the future.

Planet Insect (Factual, 3x52 min.) Although the world of insects is a truly alien place, the latest cuttingedge technology shows many surprising similarities to our own world.

CYBER GROUP STUDIOS

O (33-1) 5556-3232/

(1-818) 844-1660 m sales@cybergroupstudios.com w www.cybergroupstudios.com Stand: R7.D22 Contact: Pierre Sissmann, chmn. & CEO; Raphaëlle Mathieu, SVP, sales, acq. & new media; Karen K. Miller, pres. & CEO, Cyber Group Studios USA; Dominique Bourse, COO; Pierre Belaïsch,

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TV LISTINGS 23

SVP, creative dvpmt.; Bruno d’Aumont, lic. & mktg.

VP; Michèle Massonnat, snr. sales mgr.; Pauline Berard, intl. sales exec.; Jessica Laloum, intl. sales exec.; Ira Singerman, VP, dvpmt., Cyber Group Studios USA. PROGRAM HIGHLIGHTS Gigantosaurus (Kids 4-6 2D/CGI comedy/adventure, S1-3: 156x11 min./78x26 min.) Four young dinosaur friends are about to leave the family and explore a world full of mysteries and danger.

Taffy (Kids 6-10/family 2D comedy, S1-2: 156x7 min.) Follows the nonstop, slapstick extravaganza faced by loyal hound dog Bentley when his billionaire old lady owner, Mrs. Muchmore, takes in an imposter posing as a wide-eyed, fluffy Angora cat.

50/50 Heroes (Kids 6-10 CGI comedy/adventure, 52x11 min.) Follows the adventures of Mo and Sam, half-siblings aged 11 and 9, who discover they have inherited superpowers—that must be shared down the middle.

Droners (Kids 6-10 2D/CGI adventure/comedy, S1-2: 52x22 min.) In Terraqua, a world 95 percent covered by oceans, Corto, Arthus, Enki and Mouse intend to win the Whale Cup, the most extreme drone race of all time.

Nefertine on the Nile (Kids 4-7 2D/CGI comedy, 52x11 min.) Nefertine aspires to be the first female scribe in the history of Egypt so she can describe the wonderful world that surrounds her.

The Case (La Custodia) (Family 2D, 1x40 min.) In an unknown time and place, a young boy escapes war with nothing but a dream and a violin case.

Squared Zebra (Preschool 3-5 2D comedy/ edutainment, 78x7 min.) Follows the adventures of Checkery the zebra with her friends as they learn to

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overcome their differences and embrace life in all its diversity and beauty.

Orange Moo Cow (Preschool 3-6 2D comedy, 78x7 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.

Squared Zebra

Bananimals (Kids 5-8 2D comedy, 78x7 min.)

Follows the 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.

The Last Kids on Earth (Kids 7-12 comedy/action, 1x66 min. special & 21x22 min.) Netflix original animated series follows Jack Sullivan and a group of zombie-fighting middle schoolers who live in a treehouse filled with video games and candy.

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;

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TV LISTINGS

Camila Premet, sales mgr., CEE, CIS & Africa; Haikal Jamari, sales mgr., Asia, Middle East; Einat Borovich-Naim, VP, mktg.

PROGRAM HIGHLIGHTS Spy Date (Reality dating) A former Mossad agent and a professional matchmaker use their specialties to manipulate two singles to meet “by chance” and go on a date.

Da Next (Digital talent competition) A new model of digital media event, taking place entirely in the digital arena.

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.

La Entrega (The Drop) (Crime thriller, 10x50 min.) A series about the huge number of people disappearing daily in Bolivia, revealing a world of power games, sex cravings and violence.

In Treatment (Drama, 45x30 min.) Takes viewers on a journey through the world of psychotherapy, following the ongoing treatments of five patients.

ECCHO RIGHTS

Spy Date

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.

4 Hours a Day (Doc., 1x55 min.) An extraordinary story of young mothers in the kibbutz movement in Israel.

The New Black (Comedy, 28x30 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 enjoy the pleasures of modern life.

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.

Little Mom (Comedy, 51x30 min.) An internationally successful comedy that reveals the harsh truth of life after having kids.

O (46-8) 5569-9380 m info@ecchorights.com w www.ecchorights.com Contact: Fredrik af Malmborg, mng. dir.; Nicola Söderlund, mng. partner; Handan Özkubat, dir., Turkish drama; Lucy Roberts, dir., sales, Western Europe; Barbora Suster, head, LatAm, Iberia; Adam Barth, dir., coprod., acq. & dvpmt.; Berkin Nalbantli, sales & acq. exec., CEE, Africa; Deborah Youn, head, Asia business.

Compulsion

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TV LISTINGS 25

PROGRAM HIGHLIGHTS Chrysalis (Drama, 163x45 min.) The biggest launch of 2021 in Turkey, rating number one every week in the AB commercial demo and winning Turkey’s most important TV prize, the Golden Butterfly for best TV drama.

Compulsion (Drama, 4x60 min.) After surviving a disaster, Jenny appears to be coping but, privately, she’s suffering PTSD. Falling into an online gambling addiction to ease her stress, Jenny’s suffering only gets worse.

Desperate Measures (Drama, 4x60 min.) A tense thriller following single mother Rowan, who has to go to extraordinary lengths to protect her innocent son, who falls foul of a drug deal gone wrong.

Threesome (Drama, 8x23 min.) A boundarypushing drama series that has won rave reviews from critics and scored major international sales.

A story of first love, broken dreams, betrayal, self-discovery and sex.

High Class (Drama, 16x70 min.) Cho Yeo-jeong stars in her first major dramatic role since the Oscar-winning Parasite in this tense, thrilling drama, a huge ratings winner in South Korea.

The Red Room (Drama, 210x45 min.) A phenomenon that has captivated viewers with its deeply touching stories and cast of guest stars. The series returned for a second season at the end of 2021.

Legacy (Drama, S1-2: 510x45 min.) The latest daily drama series from the producers of international hit The Promise is currently in its second season, with a third recently commissioned.

The Promise (Drama, S1-4: 879x45 min.) This major hit for three seasons in Turkey and in more than 60 territories worldwide recently returned for season four, with a fifth already commissioned.

ELECTRIC ENTERTAINMENT

O (1-323) 817-1300 m sales@electricentertainment.com w www.electricentertainment.com

Stand: R7.G19 Contact: Dean Devlin, CEO; Sonia Mehandjiyska, head, intl. dist.; Nolan Pielak, SVP, intl. dist. & coprod.; Steve Saltman, head, domestic sales; Raul Piña, mgr., sales & mktg.

PROGRAM HIGHLIGHTS Leverage: Redemption (Action/crime, S1-2: 29x60 min.) The Hitter, the Hacker, the Grifter and the Thief are together again to take on a new kind of villain, this time with help from a new tech genius and corporate fixer.

Leverage: Redemption

Almost Paradise (Action/crime, S1-2: 20x60 min.) A U.S. DEA agent retires to a tranquil beach in the Philippines. Against doctor’s orders, he uses his skills as a longtime operative to put away criminals.

The Ark (Sci-fi drama, 12x60 min.) The spacecraft “Ark One” and its remaining crew members try to survive after a catastrophic event causes massive destruction to the ship during its mission to save humankind.

To the Lake (Drama/sci-fi/thriller, 8x60 min.) A virus strikes Moscow. A group set off on a dangerous

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journey to find an isolated lodge on a deserted island. (Excl. CIS.) The Outpost (Fantasy/adventure, S1-4: 49x60 min.)

Talon avenges the destruction of her village. On her journey, she discovers she has supernatural powers she must learn to control to defend the Outpost.

The Deal (Drama/sci-fi/thriller, 1x90 min.) A mother fights to save the life of her ailing daughter after an unprecedented pandemic ravages the planet, leaving resources so scarce you must pay for them with your life.

ENCORE TELEVISION-DISTRIBUTION

O (1-514) 270-0011 m cgirard@encoretvintl.com w encoretvintl.com

Stand: P4.C20 Contact: Chrystine Girard, head, intl. dist.; Dominique Simard, mng. dir.; François Rozon, pres. & exec. producer.

PROGRAM HIGHLIGHTS A Criminal Affair (Une affaire criminelle) (Drama, 8x45 min.) How far can a mother go to free her son? Catherine tries her best to exonerate her son, incarcerated for a murder he claims not to have committed.

A Criminal Affair (Une affaire criminelle)

Dark Soul (Bête Noire) (Drama, 6x45 min.) Jeremy Tremblay walks into his high school with a semiautomatic rifle and shoots multiple students before killing himself.

EONE FAMILY BRANDS

O (44-20) 3691-8600 m tseagers@entonegroup.com w entertainmentone.com Contact: Olivier Dumont, pres.; Monica Candiani, EVP, content sales.

PROGRAM HIGHLIGHTS Peppa Pig (Preschool 2D, 377x5 min. & 4 specials) Peppa is a lovable, cheeky little piggy who lives with her younger brother George, Mummy Pig and Daddy Pig. Peppa’s adventures always end happily with loud snorts of laughter.

PJ Masks (Preschool CGI, 260x11 min.) Follows the nighttime exploits of three young friends who transform into their dynamic superhero alter egos, Catboy, Owlette and Gekko, when they put their pajamas on at night and activate their animal amulets.

My Little Pony: A New Generation (Adventure/ comedy/musical, 1x90 min.) Equestria has lost its magic and Earth Ponies, Unicorns and Pegasi are no longer friends. Idealistic Earth Pony Sunny (Vanessa Hudgens) is determined to find a way to bring enchantment and unity back to their world.

Transformers: Earthspark (Action comedy, 26x22 min.) Introduces a new generation of Transformers robots—the first to be born on Earth, taken in by a human family.

Power Rangers Dino Fury (Action/CGI, 44x22 min.) When an army of powerful alien beings is

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unleashed on Earth, a brand-new team of Power Rangers, fueled by the prehistoric power of the dinosaurs, are recruited to deal with the threat.

Ricky Zoom (Preschool CGI, 104x11 min.) Ricky, a rescue bike, lives in Wheelford, where he shares his experiences with his enthusiastic bike buddies Loop, Scootio and DJ. Alien TV (Live-action/animated slapstick comedy, 78x7 min.) Follows the adventures of an intrepid extraterrestrial news crew as they investigate the strange, unusual and downright weird on a baffling planet called Earth.

Dex and the Humanimals

PROGRAM HIGHLIGHT Dex and the Humanimals (Dex et les Humanimaux) (Animation, 6x11 min.) Dex, an innocent boy, was raised in a lab by Iris, an evil AI, to be the ultimate weapon to subjugate the population of Chronopolis. When Dex discovers that he may have a family, an epic adventure begins.

ESCAPADE MEDIA

Transformers: Earthspark

Ninja Express (Animated comedy, 52x11 min.) Imagine a delivery service that delivers anything, anywhere and anytime. Now imagine it being run by three Ninja brothers with incredible powers.

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.K.; Damien Naughton, cnslt., CEE, Russia, Africa; Stephen White, cnslt., completed sales, ANZ & Canada & scripted projects in dvpmt.; Ole Steen Stolberg, EPIC STORYWORLDS agent, Nordics, Benelux, France, Germany.

O (1-481) 802-9063 PROGRAM HIGHLIGHTS m steve@epicworlds.ca Breakaway Femmes (Factual, 1x90 min./56 w www.epicworlds.ca min.) The women who conquered the Tour de France.

Stand: P4.C20 Contact: Steve Couture, CEO & exec. producer; Hacking Evolution: Lionfish (Natural history, 1x56 Ken Faier, partner & exec. producer; Christine min.) The invasive lionfish is a symbol of how one uninCoté, producer; Louis Leclerc, head, studio, tentional action can cause unimaginable havoc on the evolutionary balance of our natural world.

Loomi Animation.

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Back to Nature (Factual/lifestyle, 8x30 min.)

Explores our need to reconnect with the land around us for our physical, emotional and spiritual well-being.

FILMRISE

O (1-718) 369-9090 m sales@filmrise.com w www.filmrise.com Inside Trauma

Stand: R7 Lounge Contact: Danny Fisher, CEO; Melissa Wohl, SVP, head, sales; Max Einhorn, SVP, acq. & coprod.; Emilia Nuccio, VP, intl. sales.

PROGRAM HIGHLIGHTS Dr. G: Medical Examiner (Medical, 83x60 min.)

Renowned coroner Dr. Jan Garavaglia provides explanations and theories for mysterious causes of death that don’t make sense from the outside.

Iron Chef (Cooking, 180x60 min.) The competition introduces a “secret ingredient” that the challenger and the chosen Iron Chef must incorporate into every dish. (Worldwide digital) The Dick Van Dyke Show (Classic comedy, 158x30 min.) Classic TV series centered around the work and home life of television comedy writer Rob Petrie, played by Dick Van Dyke. Also stars Mary Tyler Moore.

Inside Trauma (Factual, 3x60 min.) A brand-new generation of some of Australia’s finest medical professionals are tested to their physical and mental limits. Their goal is to join the elite Australian Medical Assistance Team (AUSMAT).

For the Love of Pets (Fact-ent., 8x60 min.) A heartwarming series offering insights into the world of people and pets.

The Healing (Factual, 1x60 min.) Explores a lifesaving equine welfare program that brings traumatized ex-racehorses and traumatized veterans together to help heal each other.

Gold Digger: The Search for Australian Rugby (Factual, 1x90 min.) A journey that explores the rise and fall of the Australian rugby union.

Killer Soundtrack (Factual/crime, 13x60 min.)

Runs the needle over true crime and examines the lyrics, tunes and genres it has inspired.

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, mixed with true moments of candor and humor.

Osher Günsberg: A Matter of Life and Death (Factual, 1x53 min.) Celebrity Osher Günsberg investigates how new science, innovative thinking Iron Chef and technology are helping prevent suicide.

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Highway to Heaven (Drama, 111x60 min.) A probationary angel (Michael Landon) is sent back to Earth and teams up with an ex-cop to help people.

(Worldwide digital) That Girl (Classic comedy, 136x30 min.) Starring Marlo Thomas as Ann Marie, an aspiring actress who moves from her hometown of Brewster, New York, to try to make it big in New York City.

Crash Course (Educational, 150x30 min.) Highquality educational videos that combine live action, motion graphics and animation to bring classic textbook subjects to life. (English-speaking markets) PrestonPlayz (Reality, 30x30 min.) Popular YouTuber and gamer Preston Arsement tackles video game challenges and fights high-stakes battles in Minecraft. (English-speaking markets) Kim’s Convenience (Comedy, 65x30 min.) The hit Netflix comedy about Korean-Canadian owners of a convenience store in Toronto. (FAST rights U.S., LatAm, German- & French-speaking Europe, Italy, Spain)

points to Pauline, his ex-wife, who made a clumsy call to the emergency services—and way too late.

Nona and Her Daughters (Dramedy, 9x30 min.)

Nona is 70 and pregnant. Her lover is not the father. Her triplet daughters decide to move back into the family apartment to support her and uncover this mystery.

The Art of Crime (Drama, S1-5: 24x60 min.) In this modern-day police procedural, a hot-headed Paris cop teams up with a Louvre art historian to solve crimes across French museums and landmarks.

El Presidente (Drama, 8x60 min.) Inspired by the real-life characters and events behind the 2015 “FIFA Gate” corruption scandal.

Narcos: Mexico (Action/drama, S1-3: 30x60 min.) Chronicles the real-life rise to global power of the most infamous drug lords. Latest installment focuses on Mexico’s cannabis trade and the rise of the Guadalajara Cartel.

Bionic Max (Kids 6-11 animated comedy, 52x11 min.) A malfunctioning bionic guinea pig and his goldfish buddy escape from their laboratory into Woodchuck Woods and must learn to adapt in this GAUMONT urban jungle.

O (33-1) 4643-2000 Belle and Sebastian (Kids 5-9 animated m tvsales@gaumont.com action/adventure/comedy, 52x11 min.) Tells the w www.gaumonttelevision.com outdoor adventures of a courageous young boy, Stand: R7.E2 (UniFrance) Sebastian, and his huge white dog, Belle, who will Contact: Cécilia Rossignol, EVP, intl. sales & rush to anybody’s rescue. dvpmt.

PROGRAM HIGHLIGHTS Off Season (Noir/thriller/crime, 6x60 min.) Captain Sterenn Peiry must stop the Edelweiss serial killer.

When discovering that her son accidentally killed his girlfriend, she decides to cover up this accident by reproducing the serial killer’s staging.

What Pauline Is Not Telling You (Drama, 4x60 min.) A man fell from a scaffolding. Everything Off Season

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The Intouchables (Comedy, 1x112 min.) After a paragliding accident, a wealthy aristocrat hires a young man recently released from prison to be his caregiver.

The Fifth Element (Sci-fi/adventure, 1x126 min.)

23rd century. The Earth is about to be destroyed.

Cornelius, an old monk, knows how to stop it: the Fifth Element must be summoned. Celebrating its 25th anniversary this year.

GLOBAL SCREEN

O (49-89) 244-1295-500 m info@globalscreen.de w www.globalscreen.de Stand: R17.C15 Contact: Julia Weber, head, intl. sales & acq.; Stefanie Hofferbert, SVP, intl. TV sales & acq.; Helge Köhnen, SVP, intl. TV sales & acq.; Stephanie Wang, VP, intl. TV sales & acq.; Ulrike Schröder, VP, intl. acq. & coprod.; Dana Höfinger, VP, intl. acq. & coprod.; Azuka Stekovics, head, mktg., intl. dist.

PROGRAM HIGHLIGHTS The Conference (Historical drama, 1x108 min.) A historically accurate drama about a meeting that was part of planning the Holocaust. The film follows the protocol of this meeting. It was shot at the original location at Wannsee Lake in Berlin.

The Palace

The Palace (Period drama, 6x45 min.) Shot at Berlin’s iconic Friedrichstadt-Palast. In a divided Germany, two women search for their roots in a richly shot, moving and life-affirming story.

Recipes for Love and Murder (Drama, 10x45 min.) Starring Maria Doyle Kennedy, a quirky murder mystery series based on the acclaimed novel by best-selling South African author Sally Andrew.

3Hz (Adventure family ent., 13x26 min.) Thirteenyear-old Felix spends the summer break with his best friends at their secret hangout, a hidden swimming pond in the woods. There, Felix discovers that his vintage Walkman picks up sounds from 1989.

GMA NETWORK

O (632) 8333-7633 m gwi@gmanetwork.com w www.gmaworldwide.tv Contact: Lilybeth G. Rasonable, SVP, ent. group; Ianessa S. Valdellon, first VP, public affairs; Roxanne J. Barcelona, VP, worldwide division (content sales, synd. & dist.); Mylah I. Quinay, sales mgr., worldwide division (content sales, synd. & dist.); Reena G. Garingan, adviser, content sales, synd., partnerships & dist.; Jose Mari R. Abacan, first VP, pgm. mngmt. (content acq.).

PROGRAM HIGHLIGHTS First Lady (Drama/romantic comedy, 40x45 min.)

Set after the events of First Nanny, focuses on the life of Melody as First Lady to the President, and mother to his children, and the struggles they will face as the nation’s first family.

Widow’s Web (Drama/mystery, 20x45 min.) In their attempt to unravel the truth, how far would three women go to prove their innocence?

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Prima Donnas (Drama, S2: 42x45 min.) As heiresses to their father’s wealth, three sisters will face new challenges and old enemies who are out to destroy them.

Little Princess (Drama, 38x45 min.) A little person takes on the challenge of leading a business and proving her worth in the corporate world.

I Can See You: AlterNate (Drama/thriller, 20x45 min.) A man’s life turns upside down when he meets his long-lost twin brother and asks him to pretend to be him.

The First Nanny (Romantic comedy/drama, 40x45 min.) An ordinary nanny becomes involved in the political, personal and romantic concerns of her boss—the country’s president.

GOQUEST MEDIA

O (91-22) 495-591-00 m contact@goquestmedia.com w www.goquestmedia.com Contact: Vivek Lath, fndr. & CEO; Jimmy George, VP, sales & acq.; Harshad Wadadekar, GM, content sales; Mikaela Perez, sales, LatAm, Spain, U.S. Hispanic; Akshit Sandhu, mgr., content acq.

PROGRAM HIGHLIGHTS Still Waters (YA drama, 8x30 min.) A young girl from an ethnic minority in an Estonian-Russian school steps up to fight an online smear campaign against her while trying to keep her friendships and new family intact.

First Lady

I Left My Heart in Sorsogon (Drama/romance, 33x45 min.) A highly successful woman figures in a love triangle and must choose between her first love and her greatest love.

To Have and to Hold (Drama, 30x45 min.) A man determined to find the truth about his wife’s affair finds answers from the wife of his wife’s lover.

Legal Wives (Drama, 40x45 min.) An upright Muslim man marries three different women for different reasons and struggles to keep the harmony among his three wives.

The World Between Us (Drama/romance, 36x45 min.) An orphan tech genius is framed for the death of his legal guardian, who also happens to be the mother of the woman he loves.

Still Waters

Secrets of the Grapevine (Romantic drama, 72x50 min.) When two former lovers from feuding wine-growing families rekindle their romance after 20 years, they must make great sacrifices to realize a passion project they had dreamt of together from a long time ago.

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Sex Insta Exams (YA drama, 12x25 min.) On the eve of exams that will determine their future, high school students become friends, fall in love, quarrel, compete and experience all the classic problems of Gen Z. Traitor (Espionage/spy thriller, 6x58 min.)

Driven by umbrage and personal gain, an official at the Estonian Ministry of Defence becomes an agent for Russian intelligence when Estonia joins NATO. Divorce in Peace (Dramedy, 20x28 min.) A couple who want to end their 20-year-long marriage consult a therapist to devise a divorce plan so they can part on good terms.

Civil Servant (Espionage thriller, 24x50 min.) A young, ambitious Serbian Secret Service agent negotiates the dangerous rules of the modern-century international spy game.

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 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***?! (Hidden-camera/wish-fulfillment 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.

GRB STUDIOS

O (1-818) 728-7600 m sales@grbtv.com w www.grbtv.com Stand: R7.K11 Contact: Gary R. Benz, CEO; Hud Woodle, EVP, intl. sales & operations; Liz Levenson, sales & acq. cnslt.

PROGRAM HIGHLIGHTS The Center Seat: 55 Years of Star Trek (Doc., 9x60 min., 1x120 min.) Takes audiences through the all-encompassing history of the Star Trek franchise, bringing together lifetime enthusiasts and newcomers alike.

The Center Seat: 55 Years of Star Trek

Death Walker with Nick Groff (Paranormal, 20x60 min.) Nick Groff theorizes and investigates the origins of some of the most notorious hauntings in America.

Down to Earth with Zac Efron (Docuseries, 8x60 min.) A binge-worthy travelogue, food odyssey and eco-warrior series that takes Zac Efron into the far corners of the world.

Living by Design (Lifestyle, 32x30 min.) Brother and sister duo Jake and Jazz Smollett transform living, work and play spaces from drab to fab—turning houses into homes.

Ready to Love (Docuseries, 51x60 min.) Highlighting men’s observations and experiences, explores the real-life dating interactions of sexy,

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successful singles looking for lasting love and authentic relationships.

On the Case with Paula Zahn (Crime, 255x60 min., 1x120 min.) Explore intriguing murder mysteries through in-depth interviews with those closest to the case and examine the evidence that helped unravel the mystery.

Just Eats with Chef JJ (Food, 34x30 min.) Chef JJ, one of the culinary world’s most sought-after stars, invites you into his kitchen to experience his delicious delights with celebrity friends and influencers.

Dons of Disco (Doc., 1x89 min.) A lip-syncing scandal pits an American singer against an Italian male model over the legacy of 1980s Italo disco star Den Harrow.

Untold Stories of the ER (Reality, 150x60 min.)

These intense true stories demonstrate the dramatic nature of medicine practiced under pressure and unpredictable circumstances, where every moment can be a turning point.

The Bay (Drama, 62x30 min., 10x60 min.) Follows the affluent yet dysfunctional residents of Bay City, a town cursed by an ominous senator who was murdered by his socialite granddaughter.

GUANG DONG WINSING COMPANY

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

GOGOBUS

GOGOBUS (Edutainment/family, 156x13 min.) The story happens in the school. When trouble strikes, Gogobus is there to solve the problem and save the day.

GG Bond: Ocean Mission (Family/ent./comedy/ adventure, 1x85 min.) GG Bond encounters Noah when executing a task in the ocean. Together, they go through difficulties and conquer their fears.

GG Bond: Dino Diary (Ent./adventure, 130x13 min.) GG Bond and his partner Woody need to get out of the dinosaur world and return to their own through all difficulties and adventures.

HG DISTRIBUTION

O (1-514) 944-8038 m henry@hgagnondistribution.com w hgagnondistribution.com Stand: P4.C20 Contact: Henry Gagnon, pres.; Sylvie Adamovicz, dir., mktg. & acq.; Lydia Horman, dir., content sales & global digital strategy; Sarah Murphy, business consultant; Andrea Staerke, business dvpmt.

Contact: Sophie Lau, head, intl. mktg.

PROGRAM HIGHLIGHTS Team S.T.E.A.M.! (Edutainment, 104x15 min.)

Team S.T.E.A.M.! is made up of six amazing kids who each use a different STEM-based area of 422 expertise to solve the problems they face.

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& SVP, sales & prod. operations; Graham Ludlow, PROGRAM HIGHLIGHT 422 (Kids fantasy/sci-fi, S1: 13x30 min., S2: dvpmt. & prod. exec.; Effi Eustace, VP, sales & mktg.

12x30 min., S3: TK) Five teenagers jump headfirst into a parallel universe with the hopes of finding a treasure with exceptional powers.

IDEACOM INTERNATIONAL

O (1-514) 849-6966 m info@ideacom.tv w www.ideacom.tv

Stand: P4.C20 Contact: Josette D. Normandeau, pres. & exec. Written in the Stars producer; André Barro, exec. producer; Amy Webb, PROGRAM HIGHLIGHT producer.

Written in the Stars (Romantic comedy, 1x90 min.) When her magazine approves a pitch about a skeptic’s take on love and horoscopes, a young woman teams up with an astrology guru.

INTER MEDYA

Who Was the Real Neanderthal?

PROGRAM HIGHLIGHT Who Was the Real Neanderthal? (Doc., 1x49 min.) Neanderthals have long been thought of as brutish and dim-witted. It’s been impossible to truly grasp who they were and how they lived—until now.

O (90-212) 231-0102 m info@intermedya.tv w www.intermedya.tv

Contact: Can Okan, fndr. & CEO; Beatriz Cea Okan, VP & head, sales & acq.

PROGRAM HIGHLIGHTS Aziz (Drama) In 1934, Aziz, son of the prosperous Payidar family, must flee after killing French delegate Monsieur Pierre’s son Lieutenant Andre. Two INCENDO years later, he returns and everything has changed.

O (1-514) 937-3333 The Girl of the Green Valley (Drama) Melissa m greardon@incendo.ca Çelik was left without a mother and father when w incendo.ca she was a baby. No one knows the truth about what Stand: P4.C20 happened to her family.

Contact: Gavin Reardon, intl. sales & coprod.; Holly Destiny (Drama, 48x45 min.) Ezo lost her mother Hines, intl. sales & coprod.; Brook Peters, mng. dir. to suicide. She grows up belittled by her father and

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ignored by her grandmother. Despite the physical and psychologic abuse she has experienced, no one can bring her down.

The Trusted (Drama, 74x45 min.) Marashli is an ex-soldier who has left the special forces to open up a secondhand bookstore and spend more time with his sick daughter, Zelis. His life changes when the beautiful Mahur Turel walks into his bookstore.

from committing suicide, finds Bilge after getting a notice on his phone one day, opening the doors to a new and dangerous world.

Broken Lives (Drama) Two young people meet by chance in Izmir. When will the paths of Deniz and Çınar cross again?

JETPACK DISTRIBUTION

m rhiannon.lyons@jetpackdistribution.tv w jetpackdistribution.tv

Aziz

Last Summer (Drama, 93x45 min.) An idealistic prosecutor agrees to protect Akgun in exchange for testimony from the young man’s father, an imprisoned mob boss.

Scorpion (Drama, 91x45 min.) Ferda’s stubbornness and Perihan not wanting her causes a great war between the mother and daughter.

A.Riza (Drama, 101x45 min.) After his father dies, Ali Riza is forced to give up his dreams and focus on supporting his family as a taxi driver. But a chance encounter in his car draws him into a vicious mafia feud that transforms his life into a fight for survival, love and justice.

Respect (Drama, S2: 8x60 min.) We follow the story of a psychopath, Ercument Cozer, and delve into his obsession against disrespect and its reflections on the community.

Deep (Drama, 8x60 min.) Sahir, who serves in the Istanbul Police Department to dissuade people

Stand: R7.F18 Contact: Dominic Gardiner, CEO (U.K., U.S., Italy, Spain); Gillian Calvert Ridge, global dist. dir. (Ireland, Nordics, GAS, ANZ); Sophie Prigent ‘Kido’, global sales dir. (Asia, Canada, France, LatAm, Israel, Portugal); Toby Jones, sales exec.

(Benelux, CEEMA).

PROGRAM HIGHLIGHTS Mini Kids (Ent., 28x16 min.) NRK’s first TV show aimed at toddlers combines live-action performances by actual 1-year-olds with animation and playful use of props and objects.

Silly Animals (Animation, 20x6 min.) Gary the vlogging dog sneaks into a secret vault to show the funniest animal clips that boring adults never want you to see.

Ladybird and Bee (Animation, 26x2 min.) Tells charming stories of the natural world, as seen from the perspective of two very tiny best friends.

Mechamato (Animation/action, 26x22 min.) Follows the adventures of a kind and creative young boy named Amato who inadvertently becomes the master of MechaBot, a Power Sphera.

Critters TV (Nature doc., 26x11 min.) For the first time in the history of television, we get the animal’s eye-view on nature docs.

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Ladybird and Bee

Welcome to Cardboard City (Action, S1: 10x3-6 min., S2: 10x4-9 min.) Grumpy Chief Murphy McCard, tenacious Deputy Betsy Brough and bumbling Intern Double Lucky Dave do their best to save the city they love.

Moley (Animation, 52x11 min., 1x30 min.) Inspired by bedtime stories about a magical mole told by a dad to his daughters, the series captures all the excitement of mission-based adventures.

My Petsaurus (Comedy, 75x2 min.) The everyday tasks and problems encountered when raising your first pet. Chloe, an energetic 7-year-old, looks after her troublesome pet triceratops, Topsy.

Spookiz (Animation, S1: 26x2 min., S2: 26x2.5 min., S3: 23x2.5 min., S4: 1x83 min.) When night falls and the human kids from Freemont Elementary have all gone home, these wacky monsters creep out for their own slapstick adventures.

Spookley (Animation, 1x45 min.) Spookley helps a special green cat and three stray kittens find a home and teaches us that it’s never wrong to do the right thing.

JUST FOR LAUGHS

O (1-514) 845-3155 m distribution@hahaha.com w www.hahaha.com/en/distribution Stand: P4.C20

Contact: Marina Di Pancrazio, chief content revenue officer; Fred Joubaud, dir., content & strategic partnerships.

PROGRAM HIGHLIGHTS Just for Laughs Gags (Comedy, S1-22: 381x30 min.) The world’s longest-running and mostadored prank show, where unsuspecting people get roped into hilarious situations, concocted by the Just for Laughs Gags experts.

Just for Laughs Gags

The Impostors (Format, 13x45 min.) A new panel show where celebrity guests share amazing, personal stories. But what is “true” or “too good to be true”?

KANAL D INTERNATIONAL

O (90-212) 413-5111 m sales@kanald.international w www.kanald.international

Stand: R7.F28 Contact: Ekin Koyuncu, exec. dir.; Selim Türkmen, sales mgr., Western Europe, MENA; Narda Zuuaga, sales exec., LatAm, Spain; Gamze Utma, sales exec., Asia, Russia, CIS. PROGRAM HIGHLIGHTS Three Sisters (Drama, in prod.) An adaptation of the instant bestseller penned by the acclaimed author İclal Aydın.

Hekimoğlu (Medical drama, 157x44 min.) The local version of House, starring Timuçin Esen as

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Ateş Hekimoğlu, an acclaimed infectious diseases and nephrology physician.

Ruthless City (Drama, 136x46 min.) The story of two family members’ “test with the sin” after an indecent deal.

Twist of Fate (Romantic comedy, 58x43 min.) What happens when a superstitious, beautiful young girl tries to keep her “marriage fraud” to avoid being “happily n’ever after” and has to work with a handsome alpha male boss who has tightly closed doors against love?

Recipe of Love (Romantic comedy, 41x43 min.)

Chef Fırat, who can create great mixtures with different cuisines, will soon understand that there is no “recipe for love” in his cook book.

Three Sisters

woman heal the lost soul of her kidnapper? These questions are answered through the story of an unforgettable couple: Aslı and Ferhat.

Flames of Desire (Drama, 186x44 min.) Adapted from a Korean drama, points out the old Turkish tradition of “betrothed in the cradle” and its consequences in modern life.

KO DISTRIBUTION

O (1-514) 933-2462 m info@kodistribution.ca,

vallant@aroma-tv.com w kodistribution.ca

Stand: P4.C20 Contact: Louis-Philippe Drolet, VP, general dir. & producer; Barbara Vallant, head, sales & dist.; Dominic Anctil, principal ent. & intl. dvpmt. producer.

PROGRAM HIGHLIGHTS Virage (Veer) (Drama, 8x60 min.) Frédérique, a triple Olympic medalist in speed skating, retires.

Faced with this void, she must learn to live without performing. The fall will be brutal.

How to Survive in the Wild (Manuel de la Vie Sauvage) (Drama, 6x60 min.) Kevin settles in the city, where he makes his mark as the founder of a startup that promises to revolutionize grief by allowing users to converse with the dead.

Romance Next Door (Romantic comedy, 60x38 min.) The love story and also the story of friendship between four young people from different social classes and cultures.

Love Trap (Romantic comedy, 136x41 min.) The marriage game between poor girl Ayşe and rich boy Kerem started as a “love trap” and will bind them forever.

Sweet Revenge (Romantic comedy, 82x48 min.)

The story of a young girl searching for forgiveness from the boy she humiliated in high school, after she was abandoned by the groom at her wedding day.

But the boy is not the same young loser anymore.

Price of Passion (Romantic drama, 96x48 min.)

Can a doctor fall in love with a hitman? Can a Virage (Veer)

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KOCCA

O (82-61) 900-6413 m friendly0209@kocca.kr w www.kcontent.kr

has been refurnished. What else will happen in the second-floor garage? (Iconix)

LEONINE STUDIOS

O (49-89) 999-513-0

PROGRAM HIGHIGHTS m info@leoninestudios.com OYOYO (Kids 6-9 K-pop/ cats/idols/ w www.leoninestudios.com fashion/school, 52x11 min.) Fifty percent kittens, 50 percent harmony, 100 percent adorable. (Aurora Contact: Caroline Kusser, EVP, intl. coprod. & World Corp) world sales; Patrick Phelan, dir., world sales; Stefanie Gelinas, intl. format sales; Christiane Goldberg, SVP, lic. sales; Myriam Gauff, snr. mgr., license sales.

PROGRAM HIGHLIGHTS Herzogpark (Comedy/drama/thriller, 6x60 min.)

The perfectly polished existence of a glamorous, champagne-fueled world is on the brink of chaos, as carefully hidden secrets threaten to surface.

Badass Class (Comedy, 1x97 min.) True OYOYO friends, pure love and absolute chaos—the 12th Super 10 (Kids/boys action/adventure/fantasy, grade of a Berlin high school goes on a wild 104x11 min.) A fight through time and space to pro- graduation trip to Croatia. tect the Super Stone fragments and save the world.

(Young Toys) Dinosally (Preschool, 78x5 min.) A pink young dinosaur named Sally goes on adventures every day in Dino Town with her friends. (Mostapes) Virtual Guardians (Kids 7-11 action adventure, 26x11 min.) Doctor Gang, the developer of the Gaia World, selected five genius boys and girls and a clever puppy as the so-called “Guardians” to Herzogpark defend against the threat of the AI. (Pixtrend) JGA: Jasmin. Gina. Anna. (Comedy, 1x118 min.) A Tomon Car (Kids edutainment, 60x3 min.) Char- story of friendship and saying goodbye to single life. acters full of diverse personalities that reflect the What if everyone around you is getting married and trend of global automobile toys. (Studio Gale) diving into a new phase of life, but you’re only Tayo, the Little Bus 6 (Preschool, 26x11 min.) allowed to watch from the sidelines?

Tayo and the other city buses live together. The little Bonn (Period drama/political thriller, 6x60 min.) buses’ home, where they had various experiences, True untold story about a young woman’s struggle

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to find her own place in a male-dominated society in the midst of the battle between Germany’s separate intelligence agencies formed after WWII. The Name of the Rose (Thriller/literature, 8x60 min.) A suspenseful crime thriller set in an intriguing and gloomy medieval world with a modern take and new details to a multilayered story.

Youtopia (Ent., 5-day digital live format) One of Germany’s biggest digital events, drawing attention to the most important issues of our time: climate change, Son of a Critch environmental protection and sustainability.

Swimming with Sharks (Drama, 6x30 min.)

When Lou Simms starts her internship at Fountain LIONSGATE Pictures, she seems like a naïve Hollywood O (1-310) 449-9200 newcomer, awestruck by the studio’s notorious m general-inquiries@lionsgate.com CEO, Joyce Holt. In truth, Lou has done extenw www.lionsgate.com sive research.

Stand: R7.A11 Gaslit (Drama, 8x60 min.) This modern take on Contact: Kevin Beggs, chmn., Lionsgate TV Group; Watergate focuses on the untold stories and forSandra Stern, pres., Lionsgate TV Group; Jim Packer, gotten characters of the scandal. pres., worldwide TV dist.; Agapy Kapouranis, pres., Welcome to Flatch (Comedy, 14x30 min.) When intl. TV & digital dist.; Ryan Lowerre, pres., domestic a fake documentary crew sets out to explore the TV & digital dist.; Chase Brisbin, EVP, worldwide TV lives of residents in a small American town, they & digital dist.; Susan Hummel, EVP & mng. dir., stumble upon the Midwestern town of Flatch, Canada TV & digital dist.; Michael Weinstein, EVP, which is made up of many eccentric personalities. sales planning & dist.; Kate Nexon, EVP, domestic Home Economics (Comedy, 29x30 min.) Takes a TV & digital dist.; Tyler Caldwell, VP, TV dist., LatAm. look at the heartwarming yet super uncomfortable PROGRAM HIGHLIGHTS and sometimes frustrating relationship between Son of a Critch (Comedy, 13x30 min.) Set in adult siblings.

Newfoundland in the ’80s, Mark, a boy much older Freak Brothers (Adult animated comedy, 8x30 inside than his 11 years, uses comedy and self- min.) After smoking a magical strain of weed and deprecation to win friends and to connect with the falling into a 50-year slumber, the Freak Brothers and small collection of people in his limited world. their outspoken cat awaken in the 2020s and attempt Minx (Dramedy, 10x30 min.) Set in the 1970s in to adjust to the bizarre rat race of modern times.

Los Angeles, an earnest young feminist joins forces The Real Dirty Dancing (Unscripted, 4x60 min.) with a low-rent publisher to create the first erotic Set at the real location of the film’s fictional Kellerman’s magazine for women.

Lodge, eight celebrities will partner up and learn

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iconic dance routines from the movie and recreate classic scenes.

Hiccups and Hookups (Dramedy, 8x30 min.)

This is a heartwarming comedy about dating and modern-day relationships across two generations.

Jugaadistan (Dramedy, 8x60 min.) A coming-ofage story of a diverse group of university students who encounter one of the most corrupt, widespread and long-running academic scams to hit the north of India.

LITTLE ENGINE MOVING PICTURES

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

Contact: Maria Kennedy, owner & exec. producer; Ben Mazzotta, showrunner & exec. producer; Charlotte Pauli, head, business affairs; Kyle Perez, business dvpmt. lead.

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.

Now You Know (Preschool 4-6 live-action science, 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.

Starseeker (Kids 8-12 live-action adventure comedy, 26x22 min.) The story of three very different kids who “zap” between everyday life at home and school on Earth and exploring the farthest reaches of the universe.

The Picco Incident (YA sci-fi thriller, 7x10 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.

Tiny and Tall (Preschool 2-5 animation/puppetry hybrid. 39x7 min.) Tiny and Tall feel like they’re from different worlds. Which is what Tiny and Tall love about each other.

Happy Trails (Preschool 4-6/family musical variety, 39x7 min.) Cowboy George lives at Happy Trails Ranch with his barn full of fun-loving animal friends who talk, sing, dance and help each other out.

The Gumboot Kids (Preschool 3-6 live-action nature, 60x5 min./20x22 min.) Follow the Gumboot Kids through a series of clues that take them outdoors to solve nature’s mysteries and inspire families to mindfully explore nature.

Cutie Pugs

Baby Baby (Preschool 2-5 live-action, 40x5 min.)

All about imagination and play, invites preschoolers into the nursery to watch, listen and learn about the wonderful world of babies.

Space Kids (Preschool 4-7 live-action astronomy, 40x5 min./13x14 min.) Explores the infinite wonders of our universe through mixing real NASA archival footage with fresh animation and cool pop music.

I Love (Preschool 4-7 live-action, 40x2 min.)

Fresh, fun short episodes featuring 40 real-life kids sharing what they absolutely love to do and what they’re passionate about.

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MAGASIN GÉNÉRAL

O (1-514) 244-1418 m patrick@magasingeneralmedia.com w magasingeneralmedia.com Contact: Patrick Fauquembergue, producer; Daniel Morin, producer.

AI, To Be or Not To Be

PROGRAM HIGHLIGHT AI, To Be or Not To Be (Doc., 3x60 min.) Explores the ethical issues surrounding artificial intelligence.

We follow Canadian science journalist Matthieu Dugal in his quest to build his double, a digital being created with the help of artificial intelligence.

MARVISTA ENTERTAINMENT

O (1-310) 369-5500 m sales@marvista.net w www.marvista.net

she has everything she needs to be her mom for the day.

Cruel Instruction (Thriller, 1x90 min.) A troubled high school student must fight to escape a prisonlike facility disguised as a behavioral health center.

Deadly Seduction (Thriller, 1x90 min.) A college professor finds herself caught in a student’s web of deceit and must escape his twisted plan for revenge before she loses everything.

Dying to be Perfect (Thriller, 1x90 min.) When a single mom’s responsible teen daughter joins a dangerous crowd at school, she must save her child from their influence before she loses her forever.

A Glass of Revenge (Thriller, 1x90 min.) An aspiring sommelier finds herself in a competitive wine program, not realizing her life is in danger.

A Job to Die For (Thriller/drama, 1x90 min.) A young woman who lands her dream job begins to question her boss’s intentions as her mysterious past comes to light.

Killer Rivalry (Thriller/drama, 1x90 min.) A volleyball player becomes the target of deadly pranks, not realizing the culprit is someone close to her.

Malicious Mind Games (Thriller/drama, 1x90 min.) A sleep-deprived single mom questions her new friend’s true intentions as strange things begin to happen.

Contact: Fernando Szew, CEO; Hannah Pillemer, EVP, creative affairs; Jody Cipriano, SVP, dist.; Deena Stern, SVP, mktg., comms. & acq.; Michol Hatwan, VP, dist.

PROGRAM HIGHLIGHTS A Godwink Christmas: Miracle of Love (Holiday, 1x90 min.) Brought together by community service, a woman finds new purpose—and love with her handsome new colleague—at Christmas. #FBF (YA, 1x90 min.) Hijinks ensue as a teen accidentally takes her mother’s laptop and realizes A Godwink Christmas: Miracle of Love

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Secrets Exposed (Thriller/drama, 1x90 min.) A single mom desperately tracks down her missing daughter, not realizing the culprit is closer than she thinks.

MATTEL TELEVISION

m content_sales@mattel.com w www.mattel.com Stand: B+4 PROGRAM HIGHLIGHTS Barbie: It Takes Two (Animation, 26x22 min.)

Barbie “Malibu” Roberts and Barbie “Brooklyn” Roberts attend a performing arts high school in NYC, set out to record a music demo and take odd jobs to fund their dreams, all while exploring the Big Apple and traveling back to Malibu often.

Barbie: Big City Big Dreams (Animation, 1x60 min.) Barbie swaps the shores of Malibu for the bright lights of Broadway to attend a summer performing arts program and meets Barbie in this new sing-along adventure.

Barbie & Chelsea The Lost Birthday (Animation, 1x60 min.) Barbie, Chelsea and the Roberts family set sail on an adventure cruise. During the trip, Chelsea embarks on a fantastical journey through an enchanted jungle island to save her lost birthday.

Barbie: It Takes Two

Barbie Princess Adventure (Animation, 1x72 min.) In this all-new musical, the adventure begins when 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 S25 (Animation, 52x11 min.)

Adventure and excitement abound for Thomas and his friends as they work together and form lasting bonds that help them overcome any obstacle on the Island of Sodor.

Thomas & Friends Race for the Sodor Cup (Animation, 1x60 min.) Super-fast Kana is convinced that her speed is all she needs to win the Sodor Cup. But when she ends up paired with Thomas, she discovers that it takes much more than speed to really be a champion.

MEDIA RANCH

O (1-514) 315-4548 m info@mediaranch.tv w www.mediaranch.tv Contact: Sophie Ferron, fndr., pres.; Tanja van der Goes, SVP. PROGRAM HIGHLIGHTS Don’t Laugh (Celeb. competition/comedy, 7x20 min.) In seven rounds, you must make others laugh without laughing yourself. The more you make people bust a gut, the more points you earn, but if you break, you lose points.

Love Van (Dating/reality) Singles find love on a cross-country rally in their livable vans. Will they stick with their dates in the van or replace them with hitchhikers instead?

The Story of… (Factual/reenactment, 10x60 min.) Where do we come from? What is our

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shared, common past? And how did we become THE MEDIAPRO STUDIO who we are?

The Things My Dad Failed to Teach Me (Factual, DISTRIBUTION 5x29 min.) A young celebrity host leaves the big O (34-917) 28-57-40 m mrequena@mediapro.tv city to go back to his childhood home to see his w distribution.themediaprostudio.com dad. In each episode, our host is presented with a new skill to master, which his dad will teach him. Stand: R7.N1 Contact: Marta Ezpeleta, head, dist., coprod. & acq.; Javier Esteban, head, dist. strategy & sales, North America, LatAm, MENA; Miguel Ángel Fernández, head, Europe, Asia.

PROGRAM HIGHLIGHTS Express (Thriller, 8x50 min.) Bárbara Vázquez was kidnapped for four hours. It was a random express kidnapping; it could have been anyone.

The Artist Colony The Age of Anger (Drama/thriller, 4x50 min.)

180 Days (Social experiment, 6x28 min.) Five stu- Seventeen-year-old Marcos’ father has been murdents live with senior citizens in a nursing home for dered. All the evidence points to this teenager himsix months. self after a heated argument.

Happily Ever Apart (Reality) Unhappily married Código Implacable (Crime/thriller, 10x50 couples host a formal divorce ceremony. min.) A woman is sexually assaulted in Mexico Racing to Survive (Racing competition) Seven every eight seconds. Every minute counts. men and seven women race across the world’s Melody Toons (Animation, 52x7 min.) All the most pristine nature and various climates while inhabitants of Solfa City have a special talent for being weighed down by every piece of garbage they music, especially the members of the Jingle generate along the way. family, who also live in the most beautiful house The Artist Colony (Art, 8x30 min.) Six of our most in town. celebrated contemporary artists must live together in a legendary location for 14 days. Will they be inspired in this artist colony or will they draw a blank?

The Tower (Talk show/scripted sketches, 98x22 min.) A celebrity host invites famous friends to their high-rise home (a set). Interspersed with comedy sketch performed by “residents” of the building.

Just Dance: House Party (Game show) The only TV format in partnership with Ubisoft’s international Código Implacable megahit game Just Dance.

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Las Bravas (Thriller, 8x45 min.) Las Bravas de Playa Ángel is a small second-division women’s soccer team with more passion than talent.

Moto GP (Sports doc., 6x50 min.) Shows the lives of six individuals and the people around them as they live through the MotoGP championship.

MEDIATOON DISTRIBUTION

The Fox-Badger Family (Adventure/comedy, 52x12 min.) When Margaret and her daughter Rosie, the Foxes, move into the Badger household, everyone must learn how to adapt.

Akissi (Adventure/comedy, 1x26 min.) Akissi, youngest of her siblings, dreams of having a little sibling, so she tries to convince her family to welcome cute little monkey Boubou as her brother.

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

Stand: R7.F24 Contact: Jérôme Alby, mng. dir., worldwide presales & dist.; Fanny Gilabert, sales & business affairs mgr.; Solène Crépin, jnr. business affairs & sales; Franklin Cadre, jnr. business affairs & sales; Louis Perrin, jnr. business affairs & sales.

PROGRAM HIGHLIGHTS The Marsupilamis (Adventure, 52x12 min.)

Hope, Twister and Punch have hatched in the big city. They love playing wildly, so living discreetly is hard when they want to explore.

Living with Dad (Sitcom, 52x11 min.) Four stepsisters live together with their Dad. Even if they have different personalities, they always team up against him.

Versailles Unleashed—Belfort & Lupin (Adventure/comedy, 26x26 min.) Two intelligent pups take us on adventures through the Palace of Versailles and its menagerie.

Nicholas’ Fantastic Summer (Comedy, 52x12 min.)

Holidaying at the beach, Nicholas spends time with his family, finds new places to explore and, above all, meets new friends to play with.

Samsam New CGI Series (Adventure, 52x12 min.)

Confront villains and zoom around space with SamSam and his stuffed animal SamTeddy.

The Marsupilamis

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.

Sardine in Outer Space (Adventure, 52x12 min.)

Join Sardine and her friends on an intergalactic space adventure, but watch out for the evil villain Supermuscleman.

The Garfield Show (Comedy, 214x11 min.)

Join the lazy, overweight ginger cat on his enthralling adventures.

MIAM ! DISTRIBUTION

m carine@miam-animation.com w www.miam-animation.com Stand: R7.E2 (UniFrance) Contact: Hanna Mouchez, CEO & fndr.; Mélanie Errea, sales & acq. mgr.; Eva Palfray, sales exec.

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PROGRAM HIGHLIGHTS Edmond and Lucy (Preschool real-time CGI, 52x12 min.) Meet Edmond, the squirrel, and Lucy, the bear cub, with their daily adventures in the forest. Nature is their best playmate.

Little Malabar (Preschool 2D, 52x4 min., 5x1 min., 24x2 min.) Little Malabar talks to planets and stars to understand where we all come from, showing simple notions about science or astronomy.

The MiniWhats (Young kids 2D comedy, 52x7 min.) The MiniWhats are a joyful gang of six friends who go on hilarious unexpected adventures thanks to Ollie’s magical pen and their wild imaginations.

Our Summer of Freedom (Kids & family 2D adventure, 6x26 min.) The adventures of four friends bound forever by their quest to rescue Khadidja’s older brother, who was unfairly arrested by the police in 1955 Algiers.

Edmond and Lucy

Unsung Women (YA stop-motion/2D, 30x3 min.) Brings to light 30 women who contributed to changing the world, but despite their achievements, their names didn’t make history.

Brazen (Family 2D, 30x3.5 min.) A pop series adapted from Pénélope Bagieu’s best-selling comic book that profiles 30 women who wrote their own destinies.

Prizooners (Kids 2D non-dialogue comedy, 77x7 min.) The adventures of two monkeys mistakenly locked up in a zoo, trying to escape at all cost.

Immobile Stars (Family 2D, 1x26 min.) Part of a collection of four coming-of-age TV specials, follows Chenghua, 9, whose dreams of space help her overcome her daily life challenges.

Fail in Love (YA 2D, 22x4 min.) Brings up some of the funniest, most unexpected and awkward online dating stories.

Goat Girl (Kids 2D comedy, 52x11 min.) Gigi’s journey is about being comfortable in your own skin, being happy being you and embracing your differences and even your quirks.

MONDO TV GROUP

O (39-06) 8632-3293 m stefania.mesiti@mondotvgroup.com w www.mondotvgroup.com Contact: Matteo Corradi, pres. & CEO; Maria B. Fois, CEO, Mondo TV Studios; Luana Perrero, head, content sales; Paolo Zecca, chief prod. officer; Alex Venturi, intl. sales mgr.

PROGRAM HIGHLIGHTS MeteoHeroes (2D comedy/adventure/educational, S1: 52x7 min., S2: 52x13 min.) Six superpowered kids fight to protect the planet from climate change and pollution in a contemporary series full of adventures that both educates and entertains.

Monster Loving Maniacs (2D comedy adventure, 52x11 min.) Three siblings go into training with their grandfather to become monster hunters—but they want to get to know the monsters rather than hunt them. (Presented by Mondo TV & Toon2Tango.)

Agent 203 (CGI sci-fi adventure comedy, 26x22 min.) Zoe is Agent 203, on a quest to save the universe and find her father, while also coping with

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everyday teenage social and emotional issues.

(Presented by Mondo TV & Toon2Tango.)

MUSE DISTRIBUTION INTERNATIONAL

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

Stand: P4.C20 Contact: Shawn Rosengarten, VP, dist.

PROGRAM HIGHLIGHT Aurora Teagarden Mysteries (Mystery, 18x90 The Wee Littles min.) Candace Cameron Bure stars as librarianRobot Trains (CGI comedy adventure, S3: 52x11 turned-detective Aurora "Roe" Teagarden, a crime min.) When villainous Train X takes control of a buff who unexpectedly finds herself solving real-life deadly source of energy, an unexpected new ally murders in her small town. joins Railwatch. Can they defeat their most dangerous foe?

The Wee Littles (Simulated stop-motion comedy adventure, 52x5 min.) A family of four very small creatures—the Wee Littles—handle their tiny size with their own unique and inventive flair. (Presented

by Mondo TV & Toon2Tango.)

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.

Grisù (CGI comedy adventure, 52x11 min.) Grisù wants to be a firefighter. There’s just one problem: Aurora Teagarden Mysteries he’s supposed to be a fire-breathing dragon when he grows up.

Nina & Olga (2D preschool comedy adventure, NBCUNIVERSAL GLOBAL 52x7 min.) The story of Nina, a little girl, and her DISTRIBUTION O (1-818) 777-1300 friend Olga, a cute and funny cloud, as Olga helps w www.nbcuniversal.com Nina to cope with everyday emotions.

Sex Symbols (2D edutainment/sex ed./emotional Contact: Belinda Menendez, pres. & chief revenue ed./comedy, 26x7 min.) Join Carla, Mia, Max and Hugo officer, global dist.; Don McGregor, EVP, head, for an explanation of the physical changes they are worldwide dist., NBCUniversal; Chloe van den Berg, SVP, head, kids & family ent. going through as they approach adolescence.

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Dragons: The Nine Realms

PROGRAM HIGHLIGHTS Dragons: The Nine Realms (Animation/ action/adventure, 52x30 min.) In the modern world, Tom Kullerson and his friends explore an immense fissure and discover a hidden world where dragons exist.

The Croods: Family Tree (Animation/ comedy/adventure, 52x30 min.) The ever-evolving story of the Croods and the Bettermans as they learn to live together on the most idyllic farm in prehistory.

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.

Gabby’s Dollhouse (Animation/live-action, 60x30 min.) The preschool show with a surprise inside. Join Gabby in her fantastical animated world full of adventure and adorable cat friends.

Little Darlings (Live-action/drama/music, 4x30 min./1x120 min., 10x5 min.) When two girls who share the same ex-rock star dad meet in unlikely circumstances, they are surprised to find in each other something they’ve been missing all their lives.

Take Note (Live-action/music/comedy, 10x30 min.) Calvin is chosen to compete on a tween reality singing show, relying on his close-knit

family to survive the pressures of being in the national spotlight.

The Makery (Live-action/crafting, 25x15 min.) A bold and humorous make-and-do show packed with creative ideas. It educates through play, inspiring children to explore their imagination and creativity.

Siwas Dance Pop Revolution (Live-action/ competition/music, 8x60 min.) The ultimate reality competition series where teen icon JoJo Siwa and her “momager,” Jessalynn Siwa, work together to identify the next pop-group sensation.

Babble Bop! (Animation/music, 72x2.5 min./6x30 min.) A foot-tapping, hand-clapping, baby-bottom-wiggling, sing-along world of music, dance and preschool play.

Dodger (Live-action/comedy/drama, 10x60 min.)

Set before the events of Oliver Twist, this is a hilarious, fast-paced tale full of jeopardy, following the adventures of the Artful Dodger, Fagin and his gang.

NHK ENTERPRISES

O (81-3) 3468-6984 m info-w@nhk-ep.co.jp w www.nhk-ep.co.jp/en/, pf.nhk-ep.co.jp/ Contact: Chie Muto, snr. mgr., EMEA; Akiko Nakano, snr. mgr., Americas, Oceania, China, Southeast Asia; Nozomi Kobayashi, snr. mgr., Korea; Shuji Yamada, mgr., Taiwan, Hong Kong, Korea.

PROGRAM HIGHLIGHTS SATOYAMA (Nature, 2x52 min.) Captures the ultimate beauty of satoyama life and shows how people can protect and benefit from the healthy ecosystem.

Radioactive Forest 10 Years After (Current affairs, 1x52 min.) Ten years after the Fukushima nuclear accident in 2011, depicts the odyssey of residents and scientists trying to find a way back to normal.

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The Nuns’ Kitchen Diaries (Culture, 6x29 min.)

Tucked away in the mountains of Nara live nuns who love to cook. The series follows the cheerful nuns and their “slow food” lifestyle across the seasons, as they farm, forage, cook and eat.

Ninjaboy Rantaro (Animation, 464x10 min.) Celebrating 30 years. Rantaro, Kirimaru and Shinbei Radioactive Forest 10 Years After are far from being excellent ninjas, but life at ninja Hidden India: The Golden City of Jaisalmer school is never boring.

(Travelogue, 1x59 min.) Filmed in 8K, takes viewers on a journey into Jaisalmer, a World Heritage site, absorbing the historical and religious meaning NICELY ENTERTAINMENT O (1-323) 682-8029 behind the ornate designs created in the days when m info@nicelytv.com merchants trekked the Silk Road. w www.nicelytv.com The 13 Lords of the Shogun (Drama, 2x57 min., 46x43 min.) 12th century, Japan. After the shogun’s Contact: Vanessa Shapiro, CEO; Scott Kirkpatrick, death, a fierce power struggle erupts. How did one EVP, dist. & coprod.; Laura Hoffman, SVP, sales & young samurai become the greatest warrior in the operations; Deanna Anderson, creative & mktg. country? A ruthless game for power begins.

PROGRAM HIGHLIGHTS Thus Spoke Kishibe Rohan (Drama, 6x49 min.) Saving Christmas Spirit (Holiday romance, Kishibe Rohan is a manga artist with a special gift 1x90 min.) An archaeology professor travels that allows him to turn people into books, extracting to Scotland in search of an ancient shrine but their personal history and secrets. Based on the spin- finds more than she bargained for when a off of JoJo’s Bizarre Adventure by Hirohiko Araki. handsome whiskey brewer offers to be her Gender and Science (Science/tech., 1x49 min.) tour guide.

Reexamining the meaning of gender through cutting- A Merry Single Christmas (Holiday romance, edge science about the biology of humankind.

1x90 min.) Morgan and her ex-boyfriend both acciThe Frankenstein Temptation (Science/tech., dentally sign up for the same Christmas singles 10x44-45 min.) Two new episodes. How did Alfred retreat attempting to get over one another.

Nobel, a chemist obsessed with explosives, establish the Nobel Prize? And the darker side of the Austrian pediatrician for whom Asperger’s Syndrome is named.

Resurgence of the Seas: Natural Spectacles in Northern Waters (Nature, 1x49 min.) In Hokkaido, northern Japan, the dawn light dyes the ocean pure white in winter, while a mysterious vorSaving Christmas Spirit tex appears in spring.

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Love in Bloom (Romance, 1x90 min.) Chicago’s star florist travels to a small town in Australia for her sister’s wedding but must take over wedding preparations with the best man when her sister and the groom get stuck in the mountains.

Old Flames Never Die (Thriller, 1x90 min.) When a successful novelist returns to her hometown to escape bad press after her cheating fiancé is accused of murder, she rekindles a romantic onenight stand with her high school sweetheart, who soon develops an unhealthy obsession with her.

Fatal Fandom (Thriller, 1x90 min.) A celebrity enlists the help of a bodyguard after nearly being kidnapped by a fan, but soon finds that the man she calls her protector has now become her predator.

Adeline (True story, 1x90 min.) A small Midwestern community becomes the epicenter for miracles when a mysterious doctor brings a healing horse to town.

Christmas with Felicity (Holiday romance, 1x90 min.) A struggling baker in no mood for the holidays returns to her hometown, where her festive family and a handsome farmer try to get her back in the Christmas spirit.

Dying to Belong (Thriller, 1x90 min.) Two women find their lives in danger as the powers at play in a school’s corrupt sorority system clearly have something to hide.

Law of Attraction (Romance, 1x90 min.) When a young attorney connects with a nice guy at a destination wedding, she starts to have feelings for him— until she learns he’s been jeopardizing her chances to make partner.

Becoming Ms. Bennet: Pride & Prejudice (Romance, 1x90 min.) A popular American vlogger is cast in a British film production of Pride and Prejudice, but struggles with her accent.

NIPPON TV

O (81-3) 6215-3036 m nippontv-ibd@ntv.co.jp w www.ntv.co.jp/english Stand: R7.H9 Contact: Mikiko Nishiyama, mng. dir., intl. business dvpmt.; Yuki Akehi, dir. & head, mktg., intl. business dvpmt.; Tom Miyauchi, head, formats, unscripted format sales, intl. business dvpmt.; Sayako Aoki, scripted format sales, intl. business dvpmt.

PROGRAM HIGHLIGHTS CONNECTED (Crime scripted format, 30-60 min. eps.) Follows international sleuths known as Homebound Detectives using their superior research skills to solve crimes.

CONNECTED

Tall Order (Romance scripted format, 10x60 min.)

Follows an executive assistant to the CEO of a startup company who is asked to lead a subsidiary.

Complicating things even further are the “romantic hunches” she gets as she finds herself at the mercy of her charismatic boss.

Guilty Flag (Suspense scripted format, 20x60 min.) Follows a man whose wife and kids suddenly disappear. To convince the police to start an investigation, he uses the power of social media to bring their disappearance to the public’s attention.

Life’s Punchline (Dramedy scripted format, 10x60 min.) Follows the three “masters of comedy” who

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decide to give up on pursuing their dreams of becoming the dynamic trio of comedy and break up.

Dark Doubt (Escape game-show format, 60 min. eps.) Seven contestants attempt to break out through the pitch-black stages in order to clear missions within a time limit. Contestants must work together to navigate through the dark.

Turbo Brain (Ent./game-show format, 60 min. eps.)

Contestants will have to put their brain into turbo mode and answer questions at a supersonic speed.

Money or Junk (Ent./game-show format, 60-105 min. eps.) In remote locations, contestants use available resources to sell various items on ecommerce apps.

Stacking It! (Ent./game-show format, 60 min. eps.) Two teams race to compete and build the tallest tower of prizes to win.

Crush Park (Game-show format, 60 min. eps.)

Players crush walls and various objects to conquer wacky obstacle courses as fast as possible to reach the grand prize.

PROGRAM HIGHLIGHT NOMADslow.tv (Meditative videos, 80 hrs.) Provides a “stream of consciousness,” an endless flow of meditative videos inducing a psychological effect known as “soft fascination.”

ODIN’S EYE ENTERTAINMENT

O (61) 403-914-317 m michael@odinseyeent.com w www.odinseyeent.com

Contact: Michael Favelle, CEO & head, sales; Lauren Thomas, sales & acq. exec.; Adam Wright, sales cnslt.

PROGRAM HIGHLIGHTS The Beachbuds (Kids 6-11 adventure/comedy, 52x11 min.) Join the Beachbuds for zany adventures as they do their best to deliver world-class hospitality at a tropical resort paradise.

NOMAD INDUSTRIES

O (1-514) 924-0545 m j@nomadlife.tv w nomadlife.tv

Stand: P4.C20 Contact: Jason Rodi, filmmaker.

NOMADslow.tv

The Beachbuds

Incredibears (Preschool adventure/comedy, 10x3-5 min.) Meg and Wit are the Incredibears, two adorable siblings who embark on incredible adventures every episode.

Daisy Quokka (Family animation/adventure/comedy, 1x85 min.) A crocodile tries to help an eternally optimistic quokka named Daisy win the annual World’s Scariest Animal sports championship.

Into the Darkness (War drama, 1x152 min.)

1940s Denmark. A family unit begins to disintegrate

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during the Nazi occupation as members find themselves on opposite sides of the conflict.

Dino Dana (The Movie) (Family action/adventure, 1x77 min.) Based on the Emmy-winning series Dino Dana. Dana, who sees dinosaurs in the real world, completes an experiment that asks, “What happened to all the kid dinosaurs?”

Little Eggs: An African Rescue (Family animation/ adventure/comedy, 1x89 min.) A rooster named Toto goes on a rescue mission to save his egg children after they are stolen to become part of an exclusive billionaires’ food event in Africa.

Snakehead (Crime/thriller, 1x96 min.) Inspired by the true story of Sister Tse and her rise through the ranks of the NYC Chinatown crime family organization known as the Snakehead Syndicate.

Library Boys (Teen comedy, 1x88 min.) In the once quiet school library at St Marks College, three best friends, Zane, James and Mitch, are met headon with the challenges of their final school year.

ORF-ENTERPRISE

O (43-1) 87878-13030 m contentsales@orf.at w contentsales.orf.at Stand: R7.C17 Contact: Armin Luttenberger, head, content sales intl.; Marion Camus-Oberdorfer, sales dir., GST, music & performing arts & dist. investment; Monika Kossits, sales mgr., TV; Alexandra Hopf, sales mgr., TV; Rebecca Goss, sales mgr., TV; Mario Leonhardsberger, digital content dist. mgr.; Valerie Schmitt, sales mgr., VOD. PROGRAM HIGHLIGHTS The Egg—Bursting into Life (Wildlife/nature, 1x52 min.) Eggs are part of a delicate cycle that

keeps life on Earth in balance. This film cracks open the mystique surrounding the egg with spectacular and amusing results.

Lake Tanganyika—Africa’s Blue Heart (Wildlife/nature, 1x52 min.) Africa’s secondbiggest and deepest lake, created by the colossal primeval volcanic forces of the Great Rift Valley, is an astonishing source of life.

The Egg—Bursting into Life

Qatar—Pearls in the Sand (Wildlife/nature, 1x50 min.) A journey to the home of the 2022 FIFA World Cup, a country where unexpected wildlife flourishes in dramatic settings.

Slovenia—Europe in a Nutshell (Wildlife/nature, 1x52 min.) Slovenia may be small—20,000 square kilometers nestled between the Alps and the Adriatic Sea—but it contains almost all of Europe’s iconic landscapes.

Family in the Wild (Wildlife/nature, 16x24 min.)

Renowned wildlife filmmaker Kim Wolhuter invites you for a behind-the-scenes look at his personal and professional life in an untamed corner of Zimbabwe.

Venus of Willendorf—The Naked Truth (History, 1x52 min.) Once considered a stone-age fertility or sex symbol, new theories assume that it represents the protective, wise old woman and put an end to outdated clichés and stereotypes.

The Rothschild Legacy (History, 1x52 min.) This docudrama sheds light on the history of the Rothschild

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family through the eyes of Miriam Rothschild, a renowned scientist of the 20th century.

Soko Linz (Drama, 13x45 min.) World premiere for the new Soko crime series. Welcome to the adventures of the investigators operating in the border triangle of Austria, Germany and the Czech Republic.

Soko Kitzbuehel (Drama, 270x45 min.) In this final season 20, the Alpine cops are kept on their toes by baffling cases.

Fast Forward (Drama/TV movies, 74x45 min./4x90 min.) Angelica Fast, a divorced single mother and successful investigator at Vienna’s criminal investigation department, knows what she wants and always keeps the facts in sight.

basketball team finds herself in the middle of a potentially career-shattering scandal.

From (Drama, 10x60 min.) Unravels the mystery of a nightmarish town that traps all those who enter.

CSI: Vegas (Drama, 10x60 min.) The sequel to the global hit CSI: Crime Scene Investigation opens a brand-new chapter in Las Vegas—the city where it began.

PARAMOUNT GLOBAL CONTENT DISTRIBUTION

Long Slow Exhale

O (1-323) 575-5460 m gdgsales@cbs.com w www.viacbscontent.com

Stand: R7.N7 Contact: Dan Cohen, pres.; Lisa Kramer, pres., intl.

TV lic.; Michael Armstrong, EVP, worldwide TV lic. & operations; Samantha Cooper, EVP, global content lic.; Jonathan Greenberg, EVP, TV lic. regional sales, North Asia; Matthew Downer, SVP, regional TV lic.; Lauren Marriott, SVP, content partnerships & brand strategy; Philippe Renouard, SVP, regional TV lic.; María Sánchez, SVP, TV lic., LatAm; Bernhard Schwab, SVP, regional TV lic.; Nicole Sinclair, SVP, client relations, South Asia, ANZ; Doug Smith, SVP, client relations.

PROGRAM HIGHLIGHTS Long Slow Exhale (Drama, 12x60 min.) The successful head coach of a competitive women’s college

NCIS: Hawai’i (Drama, 22x60 min.) Follows the first female Special Agent in Charge of NCIS Pearl Harbor and her unwavering team of specialists.

FBI: International (Drama, 13x60 min.) The third iteration of the successful FBI brand that follows the elite operatives of the Federal Bureau of Investigation’s International Fly Team.

Secret Celebrity Renovation (Reality, 10x60 min.) Features celebrities showing their gratitude to their favorite teacher, coach or neighbor by renovating their special place to say “Thank You.” Ascension (Doc., 1x90 min.) Explores the pursuit of wealth and the paradox of progress in modern China and examines what living the so-called “Chinese Dream” looks like today.

Attica (Doc., 1x90 min.) Recounts the five-day 1971 prison rebellion at Attica Correctional Facility— the deadliest day of violence Americans inflicted on each other since the Civil War.

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The 26th Street Garage: The FBI’s Untold Story of 9/11 (Doc., 1x60 min.) The story begins moments after the 9/11 attacks, when the FBI was forced to evacuate its New York headquarters and transform a garage into a new command center.

Rugrats (Kids, 14x30 min.) Follows the even bigger adventures born from the colorful imaginations of Tommy, Chuckie, Phil, Lil, Susie and Angelica.

Love in the Flesh

Special Ops: Crime Squad UK (Crime/investigation, PASSION DISTRIBUTION 10x60 min.) Reveals the real-life criminal investim sales@passiondistribution.com gations of the U.K.’s most talented and successful w passiondistribution.com sleuths who tackle some of the country’s most Stand: R7.J15 challenging criminal cases.

PROGRAM HIGHLIGHTS Stacey Dooley Sleeps Over (Doc., S3: 4x60 min.)

Love in the Flesh (Ent./format, 8x60 min.) New Award-winning documentary maker Stacey Dooley dating format where wannabe loved-up couples go meets more extraordinary families and lifts the lid on a to a tropical paradise to see if their digital dating variety of unusual and fascinating lifestyles. can make it in real life.

Open House: The Great Sex Experiment (FactPIXCOM ent./format, 6x60 min.) Committed, monogamous O (1-514) 931-1188 couples join a social experiment to decide whether m nmerola@pixcom.com they are ready to allow each other to have sex out- w pixcom.com side of their relationship.

Stitch, Please! (Ent./format. 4x30 min.) Follows Stand: P4.C20 two contributors each week who compete to create Contact: Nicola Merola, pres. & exec. producer; a different outfit inspired by iconic designs from the Charles Lafortune, VP, content & creation. worlds of fashion, film, television and cosplay.

Secrets of the Royal Gardens (Doc., 4x60 min.)

Goes behind the castle gates and palace walls to reveal little-known facts and fascinating secrets of Britain’s spectacular royal gardens and parks.

Art That Made Us (Doc., 8x60 min.) Explores some of the formative works of painting, sculpture, architecture, music, literature and drama across 1,500 years of British history.

Audrey’s Back (Audrey est revenue)

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PROGRAM HIGHLIGHT Audrey’s Back (Audrey est revenue) (Comedy/drama, 10x25 min.) Seventeen-yearold Audrey is found unconscious on the road of a small town in the middle of the night. Sixteen years later, she wakes up.

PRODUCTIONS TOROS

O (1-514) 287-2855 m csansregret@productionstoros.com w www.productionsj.com

Woolly Woolly

Contact: François Trudel, VP & exec. producer.

PROGRAM HIGHLIGHT Woolly Woolly (CGI animation, 52x11 min.) Animated series that follows the adventures of a tightStand: P4.C20 Contact: Marie-Pier Gaudreault, EVP; Marc S. knit community of woolly, teensy forest gnomes Grenier, producer; Isabelle Larivière, producer; through an enchanted universe.

Valérie Dalpé, content producer; Carine Sansregret, dir., intl. business dvpmt.

RED ARROW STUDIOS INTERNATIONAL

O (49-89) 9507-7303 m sales@redarrowstudios.com w redarrowstudios.com/international Stand: P3.B34, Suite 3 Contact: Tim Gerhartz, pres. & mng. dir.; Tobias Occupation Double Schulze, VP, sales, French- & German-speaking Europe, Benelux; Maria Arroyo, snr. sales mgr., PROGRAM HIGHLIGHT Occupation Double (Reality, S1-15) Eligible singles Iberia, Italy, Turkey, Israel, LatAm; Joyce Dröse, of La Belle Province are brought to some of the most sales mgr., Asia, Nordics, Africa, inflight; Victor Ukmar, sales mgr., CEE, CIS, Greece, Middle East; luxurious and romantic locations around the globe.

Rodrigo Herrera Ibarguengoytia, snr. acq. & coprod. mgr.; David Barber, VP, format dvpmt. & prod.

PVP MEDIA PROGRAM HIGHLIGHTS O (1-514) 884-6099 Plan B (Drama, 18x60 min.) An anthology drama m francois.trudel@pvp.ca, series, each season follows an individual marie.morency-lee@pvp.ca employing the mysterious Plan B agency to w www.pvp.ca return them to the past, and potentially alter Stand: P4.C20 their future.

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Departure (Thriller, S3: 6x60 min.) The highoctane conspiracy drama returns for a third sea- RIVE GAUCHE son, focusing on the mysterious sinking of a sea O (1-818) 784-9912 m marine@rgitv.com ferry bound for Newfoundland, Canada. w www.rgitv.com Bet Your Lucky Stars (Ent. format) A high-stakes new game show in which contestants bet on the Contact: Jon Kramer, CEO; Marine Ksadzhikyan, general knowledge and surprising skills of celebri- COO & EVP, sales; Justina Hamperek, SVP, acq. & sales; Tomas Silva, VP, intl. sales, LatAm & Iberia; ties to help them win big.

Carrie Stein, global 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 The Case Against Cosby (Doc., 2x60 min.) Follows the harrowing journey for justice driven by the only survivor whose case could be tried in a court of law, Andrea Constand.

In Their Own Words (Doc., 6x60 min.) Using Plan B a fresh and innovative combination of accessThe Friedmanns (Drama, 8x45 min.) A moving driven interviews, archive and animated conand inspirational drama about a family beset by tent, an intimate journey into the lives and minds of some of the world’s most compelling tragedy but determined to rebuild their lives.

Message from Mom (Drama, 8x45 min.) A family legends. is accompanied through their grief by the recorded Disaster Déjà Vu (Doc., 13x60 min.) An messages their late mother left them in this bitter- action-packed series that showcases cities that have been hit by the craziest disasters, not once sweet comedy-drama.

The Stacking Show (Ent. format) It’s go high or go but twice. home in this new physical prime-time game show Survivors (Doc., 1x60 min.) Through interviews with victims as well as medical experts, tells the that rewards those with a steady hand.

Married at First Sight (Australia) (Fact- stories of those who “broke free” from opioid addicent./reality, S9: 37x90 min.) Season nine of the hit tion, and of some who unfortunately have not.

Australian version of Married at First Sight, the The Killer Truth (Crime, 8x60 min.) Each episode tells the story of a single murder world’s leading relationship show.

The Weekly: Special Edition through the five people most intimately con(Factual/people/society, S2: 6x60 min.) A col- nected to the case. lection of stand-alone, premium documen- Very Scary People (Crime, 24x60 min.) Chronitaries, driven by the unparalleled journalism cles the lives of some of the most frightening, diabolical characters in recent history. and insight of The New York Times.

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The Case Against Cosby

Something’s Killing Me (Medical doc., 18x60 min.) Examines puzzling behaviors and diseases that result in near-death struggles.

My Misdiagnosis (Medical doc., 26x60 min.) Each episode features two cases told by the people who were misdiagnosed, their friends, family and doctors.

Trace of Evil (Crime, 52x60 min.) Explores and reconstructs some of the most intriguing criminal cases of the past two decades where technology has changed the course of the investigations and brought the guilty to justice.

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.

SERIOUS KIDS

Bo & To’s Family (Stop-frame animated comedy, 54x5 min./3.5 min.) Bori, Toto and Mozzi are three eccentric rescue cats living above a café with their barista “servant,” entertaining his customers and hanging out with other neighborhood animals.

Girls of Olympus (Animation, 26x24 min.) Three high school girls discover their true identities as reincarnations of Athena, Aphrodite and Artemis.

Fighting mythological creatures and maintaining school grades, they divert adult suspicions and go after Ares, the God of War. Monty & Co (Puppet animation, 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.

Girls of Olympus

Operation Ouch! (Fact-ent., 131x26 min.) Join Dr Chris, Dr Xand and Dr Ronx as they help kids understand their amazing bodies and how they fix themselves.

Contact: Genevieve Dexter, CEO; Leila Ouledcheikh, Ronja, the Robber’s Daughter (Animation, SVP, global dist. & commercial dvpmt.

26x26 min.) The International Emmy Award-winning PROGRAM HIGHLIGHTS animated series from Studio Ghibli, based on the Art Ninja (Ent., 40x26 min., 15x20 min.) Join Ricky book by Astrid Lindgren.

Martin as he creates art on both a small and grand The New Legends of Monkey (Live-action advenscale using everyday items. ture, 20x26 min.) A young girl discovers a lost statue of

O (44-20) 8771-7310 m sales@seriouskids.com w www.seriouskids.com

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the legendary Monkey King, an ancient god who has been imprisoned for 500 years. Together they will bring an end to demonic rule and restore balance to the world, or so they think.

Tik Tak (Live action/animation, 104x5 min.) An eclectic, universal show that stimulates children’s cognitive development in a relaxed, simple way.

Tulipop (Preschool animation, 52x7 min.) Modernday fairy tales set on the fantastical island of Tulipop, where anything can happen.

Welcome to Earth (Animation, 26x5 min.) Commander Alpha has sent Mish, Klaus, Erza and Suzy to Earth. Their mission: locate the best headquarters from which to invade the planet.

SESAME WORKSHOP

O (1-212) 875-6887 m celia.musikant@sesame.org w www.sesameworkshop.org

The Big Feelings Explorers (Children/family, 38x5 min.) In every episode, Basma, Jad and Chicken look through their telescope to find a friend in the park and gather clues about what they’re feeling.

Furry Friends Forever: Elmo & Tango Mysterious Mysteries (Children/family, 13x5 min.) Elmo and Tango’s furry friendship blossoms in this new animated series. The pair follow clues to help their Sesame Street besties solve their biggest mysteries.

The Not-Too-Late Show with Elmo: Game Edition (Children/family, S1: 13x15 min., S2: 16x15 min.) Put your paws, claws and hands together because everyone’s favorite furry, red host Elmo is back for a new season.

Sesame Street (Children/family, S52: 35x26 min.) Catch Elmo, Abby and Cookie Monster as the team takes on playful problem-solving by exploring how you learn.

Through Our Eyes (Family docuseries, 4x30 min.) An intimate and inspiring journey into the lives of American families from the perspective of children themselves as they navigate challenges.

Cookie Monster’s Foodie Truck (Children/family, 39x5 min.) Cookie Monster’s Foodie Truck continues to deliver the freshest food and content.

Elmo’s World (Children/family, 76x5 min.) Welcome to Elmo’s wonderful world, a place full of wonder, joy and learning. Elmo uses his imagination to transform his bedroom into “Elmo’s World.”

Contact: Whit Higgins, SVP, intl. media & education & dist.; Celia Musikant, dir., intl. media dist.

PROGRAM HIGHLIGHTS Sesame Street Mecha Builders (Children/family, 52x11 min.) See our beloved friends like you’ve never seen them before: as CGI animated robo superheroes-in-training. The Mecha Builders problemsolve out-of-this-world situations.

Bea’s Block (Children/family, 20x22 min.) CGI series follows 5-year-old Bea and her best friends Ty and Lexi as they model kindness, friendship and empathy through their playful adventures.

Elmo and Zoe’s Math Adventures (Children/family, 38x5 min.) Kids learn through play as favorite Muppet pals explore a different math concept through songs, interactive games and lots of comedy.

Bea’s Block

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SINKING SHIP ENTERTAINMENT

O (1-416) 533-8172 m sommerrehman@sinkingship.ca w www.sinkingship.ca

Stand: P4.C8 (Telefilm Canada) Contact: Karine Rubin, dir., sales.

PROGRAM HIGHLIGHTS Alma’s Way (Preschool 4-6 animation, 40x22 min./or 11-min. eps.) Alma is a proud Bronx-born, Puerto Rican girl living her fast-paced city life. The viewer is Alma’s best friend and confidant.

Alma’s Way

The Fabulous Show with Fay and Fluffy (Preschool live-action, 26x11 min.) A storytime cabaret variety show filled with books, puppet friends, animated characters and musical guests, hosted by drag artist duo Fay & Fluffy and featuring an interactive audience of young children.

Dino Dana (Kids 5-9 live-action/CGI, 52x22 min./or 11-min. eps.) Dana is a feisty 10-year-old “paleontologist in training” who (like Dan and Trek before her) eats, sleeps and breathes dinos.

Odd Squad (Kids 4-7 live-action/CGI, 114x22 min./or 11-min. eps.) A math comedy about a hightech organization run by kids that investigates anything strange, weird and especially odd.

Endlings (Tween 8-12 live-action/CGI sci-fi, 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.

The Demon Headmaster (Tween 8-12 liveaction mystery, 10x22 min.) A group of five teens discover that the principal of their school uses his powers of hypnotism, brainwashing and tech surveillance to “control, command and conquer.”

The Unlisted (Tween 8-12 live-action mystery, 15x24 min.) Dru and Kal discover a secret society, named The Entity, who plan to impose global control over the world’s youth.

Lockdown (Tween 8-12 live-action mystery, 16x13 min./8x26 min.) Follows a group of friends living in a big city affected by Covid-19. The series is shot entirely via webcam and smartphones.

My Home, My Life! (Kids 6-9 live-action docuseries, 13x22 min.) Each episode follows a different child who invites the audience into their life to see their home, family, customs and traditions.

Annedroids (Kids 6-9 live-action/CGI, 52x22 min.) The story of budding scientist Anne, who builds robots to help her perform experiments with her friends Nick and Shania, and her android creations.

SIXTEEN SOUTH RIGHTS

O (44-28) 90-244-675 m rights@sixteensouthrights.tv w www.sixteensouth.tv

PROGRAM HIGHLIGHTS ODO (Preschool 3-5 2D, 52x7 min.) Odo is a little owl with a huge amount of self-belief. This is a comedy series about a little owl’s refusal to be what society expects them to be.

Claude (Preschool 4-6 2D, 50x12 min., 11x2 min.)

Claude is a very helpful little dog who, together with

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series aimed at girls and boys pushes the charm and absurdity of the original to greater heights, fitting in perfectly with today’s faster-paced times.

The Smurfs—Classic (2D, S1-9: 272x24 min.)

The Smurfs are cheerful little blue characters, no taller than three apples high, who wear white hats and white trousers. They live together in mushroomshaped houses in the forest.

The Smurfs and the Magic Flute (Feature film, 1x70 min.) A magic flute has disappeared from the Smurf village and found its way into the hands of the knight Johan and his companion Peewit. But disaster strikes when the villain ODO Oilycreep gets his hands on the flute. Will the Lily’s Driftwood Bay (Kids 4-6 2D mixed media, Smurfs save the day?

96x7 min., 4x14 min.) Five-year-old Lily lives in a beach hut with her dad. Every day, the sea washes up a curious new treasure that sparks Lily’s imagination and takes her across the way to Driftwood Bay. Big City Park (Kids 4-6 live-action, 26x11 min.)

Features Billy the badger, Dara the fox and Ruairi, who live in a park with their human friend and parkkeeper, May, where unscripted kids come to visit The Smurfs every day. his best friend Sir Bobblysock, goes on madcap adventures in the town of Pawhaven.

WildWoods (Kids 4-7 live-action, 26x11 min.) A comedy featuring Poppy and Cooper, an odd couple in a laugh-out-loud series with a lot of heart.

THE SMURFS (I.M.P.S.)

O (32-2) 652-0220 m philippe.glorieux@smurf.com w www.smurfbusiness.com Stand: R7.D31 Contact: Nele de Wilde, head, sales, prod. & business dvpmt., audiovisual & music; Romain Decroix, lic. mgr., audiovisual & music.

PROGRAM HIGHLIGHTS The Smurfs (CGI, S1-2: 52x11 min. each) Using pure Smurf DNA from the comic books, this new TV

SPI INTERNATIONAL

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

Contact: Loni Farhi, pres.; Berk Uziyel, CEO; Haymi Behar, CMO & CDO; Revi Benshoshan, dir., acq. & sales; Małgorzata Lucińska – Sikora, acq. dir.

HIGHLIGHTS FilmBox SPI’s flagship movie service, provides entertainment to millions with a catalog that spans Hollywood blockbusters, classic evergreens, world cinema gems and local productions.

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Filmstream Offers a curated selection of independent world cinema gems and classic movies, perfect for viewers who appreciate the art of cinema.

Dramastream Presents some of the best drama series with powerful storylines that transcend time and geographical borders.

Punch Club

PROGRAM HIGHLIGHT Punch Club (Comedy, 8x22 min.) Québec’s biggest improv players will go toe-and-toe every week for an epic tournament that has no rules and no mercy.

Dramastream

Film1 Provides four premium movie channels and a VOD service on all cable, DTH and IPTV platforms in the Netherlands.

Dizi SPI’s Dizi is the ultimate destination for Turkish series enthusiasts all over the world.

DocuBox Brings a collection of award-winning documentary features and TV programming that explores the wonders of our world.

Gametoon 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: Martin Krieger, CEO; Dorian Bühr, head, global dist.; Tanja Aichberger-Schätzle, snr. sales exec.; Vanessa Windhager, sales exec.; Fabrice Laventure-Darival, sales exec.; Joe Hofer, mgr., corp. comms. & events.

PROGRAM HIGHLIGHTS Vegesaurs (CGI comedy/adventure, 20x5 min.)

Each episode follows Ginger, the young Tricarrotops and the baby Pea-Rexes on adventures that lean into relatable themes for upper preschoolers like mealtimes, sharing or friendship.

ST LAURENT TV Game Keepers (Live-action, 10x25 min.) Mats INTERNATIONAL and Sari have to enter an unknown digital gaming O (1-418) 554-5363 world and defeat the mysterious GameMaster. If m audrey@stlaurent.tv the two don’t win the game, it’s game over and the w stlaurenttv.com evil from the game will take over our world, too.

Stand: P4.C20 FriendZSpace (Comedy/adventure, 52x11 min.)

Contact: Marieme Ndiaye, producer; Lou Bélanger, Animated comedy about three human kids comproducer; Rafael Perez, producer; Vincent RC, dir.; mitted to making friends with alien kids all across Ogden Ridjanovic, ideator. the supercluster of stars—and sharing cool selfies.

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SeaBelievers (Ecotainment, 52x11 min.) Whether in the sea or on shore, the positive characters problemsolve and take action around key environmental issues.

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.

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.

Vegesaurs

TERRA MATER STUDIOS

O (43-1) 87003 m office@terramater.at w www.terramater.at Stand: R7.K23 Contact: Sabine Holzer, head, specialist factual; Berend Dreier, dir., coprod. & sales; Sven Westphal, dir., coprod. & portfolio mngmt.

PROGRAM HIGHLIGHTS The Loco-Motion Picture (Nature, 1x50 min.)

Watch and marvel at the many ways of locomotions of creatures. Experience the bounty of nature’s “loco-motifs” to keep life on Earth on the move.

Wales—Spirit of the Dragon (Nature, 1x50 min.) An intimate portrait of the wildlife of Wales, whose own stories are every bit as extraordinary as the ancient myth and legend for which their home is so well known.

Canada—The Far North (Nature, 1x50 min.) Discover Canada’s remarkable wildlife: lynx, bears, star-nosed moles, sea otters and polar bears, living in increasingly difficult times.

Gorillas Up Close (Nature, 1x50 min.) The first blue-chip documentary about Western Lowland Gorillas and the first time that the behavior of this elusive species has ever been captured on film.

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.

Maya the Bee (CGI preschool adventure, S1-2: 130x13 min.) A young bee named Maya has left her hive to discover the beauty and mysteries of nature.

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 The Loco-Motion Picture must protect unicorns from villains of all kinds.

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The Secret Crown (Nature, 1x50 min.) A conservation story that unfolds on newly discovered coral reef.

Once Upon a Time in Tsavo (Nature, 2x50 min.)

Four years of filming leads to capturing intricate new behavior and amazing sequences concerning life at a waterhole in Tsavo.

American Ocelot (Nature, 1x50 min.) Chronicling the sad history, precarious present and optimistic future for the U.S.’s most endangered wild cat: the ocelot.

Rooted: America’s Trees of Life (Nature, 3x50 min.) From the makers of Rooted: Africa, a journey of discoveries in the Americas, exploring the relationship of little-known species with remarkable trees in their distinctive environments.

Space Mission Senegal (Science, 1x50 min.)

The story of a NASA space mission set to discover the origins of our solar system and an earthly mission to build a space agency in one of the world’s poorest countries.

Europe’s Amazon (Nature, 1x50 min.) Everyone knows the Danube. But do you know its major tributary, leading from White Summits toward the Black Sea?

THUNDERBIRD ENTERTAINMENT

m sales@thunderbird.tv w thunderbird.tv Contact: Richard Goldsmith, pres., global dist. & consumer products.

PROGRAM HIGHLIGHTS Kim’s Convenience (Comedy, S1-5: 65x22 min.) The story of a family that runs a convenience store in downtown Toronto. Consistently a top ten show on Netflix U.S. and a hit on CBC in Canada.

Kim’s Convenience

Strays (Comedy, S1-2: 20x22 min.) Sees Nicole Power reprising her role as Shannon Ross. Relocating from Toronto to nearby Hamilton, Shannon is making a fresh start as the executive director of a local animal shelter.

TOONZ MEDIA GROUP

O (91-471) 434-2500/

(91-471) 270-0929 m info@toonzmediagroup.com, jaya@toonzmediagroup.com, bruno@toonzmediagroup.com w www.toonz.co Contact: Bruno Zarka, pres., dist., synd. & live action; Gulshan David, VP, media sales, North America, U.K., Nordics, GAS, France, Benelux; Viju Thomas Varghese, dir., dist. & synd., Russia, CIS, CEE, China, MENA; Marijo Arnaiz, sales exec. cnslt., Southern Europe, LatAm; Anish Narayanan Kutty, snr. mgr., dist. & synd., AsiaPac, Africa; Murtuza Kutianawalla, country head, dist. & synd., India.

PROGRAM HIGHLIGHTS Zoonicorn (Preschool 2-6 adventure, 52x7 min.)

Young animals growing up together enter brilliant dreamscapes when faced with challenges. There,

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four enchanting Zoonicorns illuminate the solution to their real-life problems.

Darwin & Newts (Preschool 4-7 edutainment adventure, 40x11 min.) An adventure buddy comedy imbued with the fun of learning and experimenting with early science and engineering principles.

Briko (Preschool 4-7 non-dialogue adventure, 52x10 min.) A CGI and live-action hybrid activityoriented series focusing on the values of conservation and recycling, along with DIY fun.

Pinocchio & Friends (Kids 5+ comedy adventure, 26x11 min.) Pinocchio is a wooden puppet who comes to life. Together with his friends Freeda and Talking Cricket, he goes on fun adventures.

Sunnyside Billy (Kids 6-9 comedy, 52x11 min.) An upbeat comedy that is centered around a witty, happy-go-lucky fried egg and his bunch of friends, who only know to love, care and spread sunshine.

Daisy Dewdrops (Preschool girl-centric adventure, 52x11 min.) Daisy and her friends live and play in the whimsical Rainbow Garden, where magic and nature come together.

JG&BC Kids (Kids 7+/family adventure feature) Fractonia, a parallel world to planet Earth, is in turmoil. Queen and King Frac assign two of their best, J Granite and Zulan Zandor, to look for an alternate world. But Zandor has other plans.

TRIO ORANGE

O (1-514) 315-1950 m rbrouillet@trioorange.com w www.trioorange.com

Zoonicorn

Stand: P4.C20 Contact: Carlos Soldevila, pres. & exec. producer; Julie Lavallée, producer; Roselyne Brouillet, dir., intl. dist. & business dvpmt.

PROGRAM HIGHLIGHT The Cavaliers (Drama, 13x23 min.) A heartwarming drama about the trials and tribulations of a young girl with an all-consuming passion for horses.

Paddypaws (Preschool comedy adventure, 52x11 min.) A series created by Keith and Emily Chapman about a bunch of adventurous kitties, led by the mischievous Paddypaws, and their loving, responsible young owner, Daisy.

Aliens in My Backpack (Kids 7+ action comedy, 52x11 min.) Award-winning creators Rob Lee and Jim Driscoll come together for this brand-new alien CGI series that packs the punch of an exciting, otherworldly adventure.

Kingdom of None (Kids 8+ comedy adventure, 52x11 min.) Reality and fantasy merge as our hero Meter and his friends transform their everyday lives The Cavaliers into imaginary worlds full of wild adventures.

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WEMAKE

O (33) 610-874-011 m nassima.boudi@we-make.fr w www.we-make.fr Contact: Bouchra Réjani, fndr. & CEO; Nassima Boudi, head, intl. sales; Marc-Antoine Cléret, creative dir.; Quentin Jomand, deputy creative dir.; Charlotte Sulahian, snr. creative & head, acq.; Adriana Teofanova, head, scripted & docs.

PROGRAM HIGHLIGHTS Target (Comedy competition, 6x60 min.) Ten celebrities live together in a villa with one goal: carry out secret missions targeting one of the others in order to eliminate them.

The Big Crazy Game Night

Everybody Play Now (Game show, 30-60 min. eps.) Twelve contestants will play live from their homes with a host in studio. Their goal: answering 20 questions to share up to $50,000.

Puzzle Panic (Reality competition, 6x60 min.)

Eight passionate duos take each other on in an exciting puzzle-making competition under the most fun and spectacular conditions.

Split Screen (Game show, 60 min. eps.) Pairs of contestants must find numbers (ages, height, length, etc.) located within a range delimited by two images displayed on a giant screen to win €25,000.

The Best Family Recipe (Cooking competition, 60 min. eps.) Four passionate amateur home cooks try to convince a panel of culinary experts that their homemade recipe is the best of them all.

The Big Crazy Game Night (Comedy game show, 60-120 min. eps.) A prime-time entertainment show filled with zany games, funny sketches and hilarious parodies.

Making Love (Dating, 8x60 min.) Six open-minded singles take part in a unique dating experiment: try to find love by making love first.

True Hero (Adventure competition, 8x60 min.)

Fifty contestants arrive on an island to compete for $100,000. They will be secretly observed and judged by a mysterious council.

Starlight (Singing competition, 9x60-120 min.) In this new singing talent show, contestants will have the unique opportunity to rise from the shadows to the spotlights—literally.

Let’s All Play For… (Comedy game show, 60-120 min. eps.) Two teams of celebrities face off in games and quizzes celebrating the best moments of the year: Christmas, Halloween, Easter, summertime, etc.

XILAM ANIMATION

O (33-1) 4018-7200 m info@xilam.com w www.xilam.com

Stand: R7.H6 Contact: Marc du Pontavice, chmn. & CEO.; Morgann Favennec, EVP, dist.; Safaa Benazzouz, deputy EVP, dist.; Céline Carenco, SVP, media sales dist., AsiaPac, Canada, Northern & Eastern Europe; Manya Zhou, head, business dvpmt., China; Charles Courcier, SVP, digital; Cathy Leclère, head, mktg. & partnerships.

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ZDF STUDIOS

O (49) 6131-9910 m info@zdf-studios.com w www.zdf-studios.com

Oggy Oggy

PROGRAM HIGHLIGHTS Oggy Oggy (Preschool comedy adventure, S1-2: 156x7 min.) Curious Oggy Oggy is always eager to live new experiences. If his clumsiness can sometimes lead to mistakes, his kooky ideas always work. And if he can help a friend on his way: the more the merrier.

The Adventures of Bernie (Kids slapstick comedy, 52x3.5 min.) Bernie is long lost at the bottom of the ocean. Amid this hostile environment filled with crazy creatures, it won’t be easy for this genius inventor to find ways to reunite with Zig on his island.

Pfffirates (Kids comedy action, 52x11 min.) On Calypso Island, three crews are taught pfffiracy by the legendary Captain Lamar. There is no lack of challenges but it would take more than that for Pat, Lily or Stede to give up.

Tangranimals (Preschool comedy/adventure, 52x11 min.) Geo explores Tangra planet along with his friends the Tangranimals, who can link together and create all sorts of vehicles, creatures and objects.

Mr Magoo (Kids slapstick comedy, S2: 69x7 min. & 3x21 min. specials) Friendly and goodhearted, Mr Magoo is nonetheless a walking disaster.

Because he doesn’t realize he needs glasses, he confuses everything and unknowingly foils the plans of Fizz, the megalomaniacal hamster.

Stand: R7.D5 Contact: Fred Burcksen, pres. & CEO; Robert Franke, VP, drama; Ralf Rückauer, VP, unscripted; Peter Lang, VP, junior; Christine Denilauler, VP, mktg. & corp. comms.; Sebastian Krekeler, dir., drama; Mirela Nastase, dir., drama; Susanne Frank, dir., drama; Yi Qiao, dir., drama; Florian Streit, dir., drama; Yuliya Fischer, dir., drama; Katharina Pietzsch, dir., junior; Marei Bruckmann, dir., junior; Jan-Frederik Maul, dir., junior; Oliver Grundel, dir., junior; Nikolas Huelbusch, dir., unscripted; Kerstin Jaitner, dir., unscripted, DACH; Margarita Garcia, dir., unscripted; Sylvia Brucker, snr. dir., ent., unscripted.

PROGRAM HIGHLIGHTS Africa from Above (Wildlife/nature, 10x50 min.) Take to the skies to see Africa from above in this stunning series showing a fresh perspective of the continent.

Viewers enjoy a spectacular aerial adventure, soaring over natural wonders and diverse habitats.

The Lost Pirate Kingdom (History/bio., 6x50 min.) This ambitious drama-documentary tells the legendary exploits of the heroes and villains of a remarkable epoch and reveals the secrets of the most flamboyant and ruthless characters in history.

Underworld (Science/knowledge, 5x50 min.)

This visually spectacular series, shot in five international locations, investigates the unique landscape, local culture and mythology and the mysteries of caves.

Going Circular (Science/knowledge, 1x90 min.) A simple idea is at the heart of nature: nothing should go to waste. The concept of circularity

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can save our planet’s resources and save us from future climate change.

Pettson and Findus (Animation, 52x13 min. & 4x75 min.) Pettson is an old man who lives on a farm way up North and cares for his lively and imaginative cat Findus. Based on the books by Sven Nordqvist.

White Night (Drama, 12x60 min.) Set in the 1970s and in the modern day, follows a family struggling to cope with an imbalance of power wielded by a person who is no longer alive, interwoven with a murder mystery.

ZODIAK KIDS AND FAMILY DISTRIBUTION

m vaibhav.bhatter@zodiakkids.com w www.zodiakkids.com

Between Two Worlds

Contact: Benoit di Sabatino, CEO, Banijay Kids and Family; Delphine Dumont, chief commercial officer, Banijay Kids and Family; Cecile Cau, SVP, coprod., sales & acq.; Julia Rowlands, SVP, coprod., sales & acq.; Vaibhav Bhatter, sales exec.; Ruoxi Shi, sales exec.

PROGRAM HIGHLIGHTS Mumfie (Preschool, 78x7 min.) A comedy series based on Magic Adventures of Mumfie created by Britt Allcroft (Thomas the Tank Engine), featuring the optimistic young elephant Mumfie and his best friends Pinkey and Jelly Bean.

Silverpoint (Kids 10+ live-action, 13x22 min.) At Silverpoint adventure camp, four friends stumble upon something buried in the woods, sending their lives and the world around them spiraling out of control.

Theodosia (Live-action, 26x26 min.) 1905: smart, bold, 14-year-old Theodosia is the daughter of two Egyptologists, excavating in the Valley of the Kings. Theo unlocks the power of a mysterious artifact, the Eye of Horus, and performs true magic.

School of Roars (Animation, 104x7 min.) Children are prepared for school life through the experiences of our lovable mini monsters.

Stories to Stay Awake (Crime/suspense, 4x50 min.) Four top Spanish directors (Rodrigo Cortés, Rodrigo Sorogoyen, Paula Ortiz, Paco Plaza) bring Chicho Ibáñez Serrador’s iconic horror series back to life with a modern cinematic edge.

Between Two Worlds (Drama, 3x90 min./6x45 min.) The large-scale U.S. military presence in a small town in southwestern Germany in the 1950s turns the lives of two young Silverpoint women upside down.

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Street Football (Kids 6+ animation, S4: 26x26 min.) Entries for the qualifiers for the next street soccer world cup have opened in Port-Marie, and the 10-year-old Little Dragon dreams of taking part.

Sweet Tweets (Preschool, 26x3.5 min./13x7 min.) Animated nursery rhymes and original songs, featuring a chirping cast of adorable birds and backyard friends.

When I Was Your Age (Kids 6+ animation, 52x11 min.) Ever wanted to know what your parents were like at your age? For Paul, it’s no longer a mystery!

Ted’s Top 10 (Kids 6+ live-action, 10x23 min.)

Battling the challenges of a new stepfamily, a new school and his own poor decisions, Ted tackles life’s problems one top ten list at a time.

Camp Kookiness (Kids 10+ live-action, 8x23 min.) A humorous, musical children’s series about seven very different children at a nature campsite.

ZONE3

O (1-514) 284-5555 m mratte@zone3.ca w www.zone3.ca/en Stand: P4.C20 Contact: Mélanie Ratté, snr. dir., intl. dist. & business dvpmt.

PROGRAM HIGHLIGHT Motel Paradis (Drama, 6x60 min.) Convinced that her 14-year-old sister did not commit suicide, Jen returns to her hometown, accompanied by a police detective days away from retirement.

Motel Paradis

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TRENDING ON

The most-viewed clips on our video portals in the last month.

White Night (Drama, 12x60 min.) Set in the 1970s and in the modern day, this compelling drama follows a family struggling to cope with an imbalance of power wielded by a person who is no longer alive, interwoven with a murder mystery. Distributor: ZDF Studios

Squared Zebra (Preschool 3-5, 2D comedy/edutainment, 78x7 min.) Follows the adventures of Checkery the zebra with her friends Polly the zebra, Rodion the elephant, Gosha the crocodile, Pasha the ostrich and his little brother, Petya the Little Egg, as they learn to overcome their differences and embrace life in all its diversity and beauty. Distributor: Cyber Group Studios

The Traitors (Ent./reality format, 60 min. eps.) A group of contestants are placed in an atmospheric location together and must complete challenges and win prizes. But some among them will be traitors and out to claim the prize for themselves. Can the others stop them before it is too late? Already snapped up in the U.S. and U.K. Distributor: All3Media International

The Muscleteers (Animation, 45x11 min.) The four muscleteers teamed up and swore to help and protect anyone in need. They stage their magnificent missions and rip-roaring rescues from the safety of their top-secret base in the cellar of Mrs. Frohlich’s delicatessen.

Distributors: ZDF Studios & GoldBee

A Criminal Affair (Une affaire criminelle) (Drama, 8x45 min.) How far can a mother go to free her son?

Catherine tries her best to exonerate her son, who is incarcerated for a murder he claims not to have committed. Distributor: Encore Television-Distribution

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