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Contents October/November 2019

2. Charting a path to the Maze Contact us Why US kids network Nickelodeon turned to a decades-old UK format aimed at adults to encourage family viewing Editor Manori Ravindran [email protected] 4. Mind the gap Direct line +44 (0) 20 3377 3832 Delivering a splashy format is getting more expensive and more complicated to fund. Twitter @manori_r So how is it done? Managing editor Richard Middleton 8. Roundtable: Crazy cash and snackable shorts [email protected] Format experts dish on how they’re working with Quibi, Netflix et al. Direct line +44 (0) 20 7017 7184

14. e New Money Contributor Tim Dams, Irina Zakharova Our handy chart breaks down all you need to know about the new streamers. Sales manager Michael Callan 16. Forward thinking [email protected] Why Avi Armoza sold the company he founded to ITV Studio.s Direct line +44 (0) 20 7017 5295

20. Viewpoint Art director Matthew Humberstone Endemol Shine’s Lisa Perrin reflects on why 20-year-old Big Brother still resonates [email protected] Direct line +44 (0) 20 7017 5336 22. Formats Hot Picks The hottest formats heading down to Cannes include Five Guys A Week and Don’t. Marketing executive Abigail Dede [email protected] 28. Factual Hot Picks Direct line +44 (0) 20 7017 6018 Breaking down the best non-fiction one-offs and series on offer to global buyers. Editorial director Stuart Thomson [email protected] 4 Direct line +44 (0) 20 7017 5314

Commercial director Patricia Arescy [email protected] Direct line +44 (0) 20 7017 5320

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Published by Informa Tech, Blue Fin Building, 110 Southwark Street, London SE1 0TA e-mail: [email protected] web: www.tbivision.com Printed in England by Walstead Roche Ltd, St Austell, Cornwall PL26 8LX.

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Unscriptedp01 Contents OctNov19.indd 1 03/10/2019 00:26 TBI Formats | The Crystal Maze

Charting a path to the Maze

US kids network Nickelodeon turned to a decades-old UK format originally aimed at adults to bolster its unscripted offering and attract a co-viewing audience. Richard Middleton finds out why

emand for family shows that drive co- Nickelodeon, who happened to recall watching the viewing has been surging over the past show in his younger years, was faced with the task of year, prompting both new format ideas finding an unscripted show that could oƒer something coming to market but also a flicking diƒerent to both his younger viewers and their parents. Dthrough of the back catalogue for unexploited gems. “Nick has a history of unscripted but over the past And few shows were as unexploited as The Crystal few years there hadn’t been a lot of such shows on the Maze. The format has been around in the UK for network,” explains Rob Bagshaw, who was named more than three decades since making its debut on head of unscripted at Nickelodeon in January. Channel 4 in the 1990s, creating a legion of loyal “Our president Brian Robbins picked up on this fans. But it had never travelled abroad and was little The Crystal Maze has and realised that our young audience was watching a known beyond UK shores. always skewed towards a lot of unscripted hits on other networks, as well as on That was until a Brit working for US kids channel younger audience the streamers and other platforms – YouTube and the

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like. He said we should be giving them those sorts of technicality” related to fellow adventure format Fort shows on Nick.” “We could have Boyard it was Adventure Line Productions, a sister Bagshaw, a veteran of reality TV, started exploring created an original company of Banijay. That was in 2011. his options, looking at both fresh IP and older formats. idea about escape “I spent the next six years trying to bring it back, but “A lot of new ideas are adult versus child, or family rooms but there was the big thing was that I’d have to say to broadcasters versus family, but the great thing about The Crystal already this existing that if you want to try this show and see if it works Maze is that it is family versus the house,” he explains show in the UK.” again, you’ve got to build a 32,000-square foot set. from the show’s set at the Bottle Yard Studios in Rob Bagshaw That is expensive and a big risk.” Bristol, UK. Nickelodeon With the superfan-created Crystal Maze Live “The family plays together and so they succeed or Experience set already in place in London, however, fail against the house. And it is not a show that puts Simpson saw an opportunity. As part of a Channel contestants in conflict with other human beings – that 4 fundraising night of programming, the broadcaster is a good message.” was rebooting a series of classic series and The With The Crystal Maze in mind, Bagshaw turned Crystal Maze, set within the experience centre, got the to the UK to explore the viability of taking this veteran greenlight. format – originally aimed at adults – and remaking it Not that it was straightforward. Simpson says it was for kids in the US. “hell” as the crew turned the centre into a functioning In the classic format, teams of five or six contestants TV set in barely 12 hours, but the eƒort was worth it. – adults, in the original UK series – attempt to win “We delivered the show 12 hours before it went on crystals by completing physical and mental games air. When I woke up to the overnights, 4.5m people within themed zones that include Aztec, Future, had watched it. I sat in a café crying and Tom Beck, Industrial and a fourth area that has previously Channel 4’s commissioner, phoned up and said, ‘We’re reflected a Medieval and Eastern look. Each crystal doing more.’” allows the team to spend five seconds inside a huge They did just that and when Bagshaw came calling, dome, within which they must catch gold tokens that an entire set – rather than an experience centre – had are being blown around by fans. These can then be been already created. “The set is so immersive, it’s exchanged for prizes. beautiful, and it is up and running and that is an “When you present this format, and with the zones expensive thing to do,” the Nick exec says. “To bring you go through, the conversation we had was more a family to do it here with people who know exactly about the escape room phenomenon and how that how these games work in a pre-existing set made much is something that kids and families in the US love to more sense than trying to recreate that in the US and do,” he says. “There hadn’t been a version of that on start from scratch.” TV – we could’ve created an original idea about escape Nick named Adam Conover as host, taking a key rooms but there was already this existing idea in the role as the quirky and eccentric leader who takes UK.” the teams through the maze, while RDF, which is In fact, there had been an existing set – of sorts – in producing with Bunim/Murray Productions (BMP), the UK, too, for a few years, and without the rat- tweaked the games to ensure younger players and their infested river that snaked through the original location. families could play. It had been created by a group of superfans, who Bagshaw, who says he is looking at cookery and funded a project to recreate the show in all its glory pet series to add to Nick’s unscripted slate, has also and then allowed others to experience the series for been keen to ensure a diverse range of families are cast. themselves, paying for the privilege. He adds that while the target demo is kids, the show It was aimed at long-term fans of the show, such has also been embraced by older children and adults as Neale Simpson, creative director at Fizz, the watching alongside. entertainment label for Banijay Group-backed RDF “Crystal Maze is such a clean and strong format Television. As a long-term devotee of the series, that it was not di§cult at all to adapt for the kids and Simpson had not just watched the programme in its family audience,” adds Gil Goldschein, chairman and Channel 4 days but he had brought it back to life. CEO at BMP. He had initially been trying to come up with a “big “Obviously, we had to ensure that the physical gameshow idea” and thought he’d landed on a winner challenges contained within the various zones were when, mid-pitch, he “realised it was just a crap knock- age-appropriate, but other than that, the game play oƒ of The Crystal Maze”. is similar to the UK version,” he continues. The hope So he delved into the records to find just who owned now, of course, will be that the format delivers a similar the format and realised that through some “legal legion of fans in the US, too. TBI

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Mind the gap

Delivering a splashy format hit is getting more expensive at the same time as demand for unscripted content is rising. Richard Middleton explores the options for producers

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t has been a year since Netflix revealed it had funding over 500 series for nearly 200 broadcasters/ picked up global remake rights to Studio platforms in partnership with over 100 producers. Lambert’s hit The Circle and was planning to Aside from The Circle, it also counts mega hits such remake the show internationally, prompting as ITV Studios’ Love Island on its slate. Drive Master sees Keshet Ia flurry of excitement for third-party format owners The group’s involvement inevitably means having International teaming up around the world. another stake holder profiting from projects but they with Russian commercial It underlined the burgeoning interest in unscripted are also a facilitator in a market that now regularly broadcaster NTV product from streamers but for the format business requires third-party investment to get shows up and in particular, it highlighted the fact that streamers – or running. at least Netflix – were looking at local adaptations in “Would I have preferred to have been able to do a multiple territories. conventional deal without Motion?” asks Lambert. It also came at an opportune moment for the “Yes, but if they tell me that there is money that format business, whose travails in the financing wouldn’t exist otherwise – and I believe them – then side of things have perhaps been overshadowed I’d rather take the money than not.” over recent years by the explosive surge in the cost Several senior execs in the format business have of drama. As in scripted, the costs of creating and told TBI that some advertising-backed agencies have producing splashy, high-impact shows have been tended to suck cash out of the business, but Lambert rising and broadcasters rarely have the budgets to and Hincks agree that that has not been their recent keep pace. That has left a gap to fill. experience. “The point about deficit funding is that it is “Some of those companies used to want to get particularly relevant to public service broadcasters,” in at the ground level,” continues the Expectation says Tim Hincks, a veteran of the format business co-founder. “A few years back they wanted to be who was president of Endemol Shine Group before involved in the creation of the format but the truth setting up UK-based prodco Expectation with is that it is happening less and less – it is never very former ITV chief Peter Fincham in 2016. helpful for anyone to say that, unless they are the “It is about how much money they are willing format creator. to put aside for unscripted. We all know about the “What they have worked out instead is that they scripted side of things, that it is taken as read, but in don’t need to do that. They can come in and make non-scripted it has undoubtedly become a challenge.” up the deficit – if you don’t [do a deal] then you “Principally, you don’t get enough money from, probably won’t get the show o£ the ground,” he say, a UK buyer to make your show,” adds Stephen says, adding that it isn’t so much a fundamental shift Lambert, CEO at Studio Lambert, which is behind as a “nibbling away” of the traditional model. formats such as Gogglebox, Race Across The World Over in Israel, a slightly di£erent landscape is and Undercover Boss. emerging. Deficit funding exists and deals are in the “They expect your distributor to put in increasing works with ad agencies but there are also new models amounts of advance but then you have to clear that emerging that perhaps represent an alternative way advance before you see any back end – and it is to market. One of these is the “sharing is caring” di“cult to resist that pressure.” model employed by Keshet International, says the This situation is not necessarily new but the company’s MD of networks Revital Basel. extent of deficits in the format business is certainly “Sometimes a broadcaster’s need is very specific growing, which is providing opportunities for third and finding an international format for a slot is parties to get involved. Exactly that happened with [challenging], so we o£er a di£erent solution.” The Lambert’s show The Circle: it originally aired on model, essentially a co-development deal, has been Channel 4 in the UK but was co-produced by his used to create Drive Master, which has seen KI All3Media-owned prodco and Motion Content working with Russian commercial broadcaster NTV Group, the IP and rights firm backed by advertising on an idea created specifically for the network. giant GroupM. KI has borne the cost of development while NTV “Motion are co-producers for us with The produces the show locally and both companies Circle,” Lambert explains, “because Channel 4 had then partner on rights. “So we keep rights in Israel a deal with them at that point and that was their forever, and we’re developing the format now only way of being able to pay for the show in the for Keshet in Israel, and they keep Russian rights first instance.” forever. Then we share rest of world.” The investment outfit has sunk itself deep into both Basel says the model means for the “cost of the scripted and unscripted market over recent years, an option they get a full team with international

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experience” while KI gets rights to a format that “a little bit” but he adds that the next wave of has been produced and is on air. “We create streamers could o£er yet more options. “Would I have formats that we think have the potential to sell Short-form streamer Quibi, for example, has preferred to have internationally, so we’re bringing together both local started to look at formats, with both Lambert been able to do a and global.” and Hincks talking to the Je£rey Katzenberg- conventional deal Deals involving local and global partners are also fronted streamer about potential deals. Elsewhere, without Motion? emerging as a tonic to deal with static broadcaster Hollywood Game Night producer Mission Control Ye s .” budgets. Hincks points out that when a broadcaster’s Media is developing a US adaptation of Israeli Stephen Lambert funding is insu“cient to get a show away in their format Come To Bed for the service, as reported by Studio Lambert home territory, their suggestion is to explore adding TBI earlier this year. a potential deal with an SVOD to get the deal over The format is largely fixed-rig and follows the line. the bedtime habits and conversations of five “But then you are selling your global rights to that couples from di£erent backgrounds and in diverse SVOD,” adds Lambert. “At least if you are relying partnerships. It is distributed by Small World IFT, on a distribution advance, if it is a good format with Mission Control swooping to option US rights. and if the tape is attractive, then there is a realistic Facebook Watch could also be dipping its toe into chance of clearing that advance out. But if you are the format market in a way, with Red Table Talk selling it to an SVOD, that is it really.” set to be reversioned outside of the US according to Yet the PSBs remain a key buyer of content, even creator Jada Pinkett Smith (the social media giant is if risk-taking is increasingly tough. Last month, yet to confirm the roll-out), while in other markets ITV’s director of television Kevin Lygo admitted that the addition of brands is helping formats travel. the industry has become more “brutal than ever” Endemol Shine Group’s Best.Cover.Ever received on shows that do not immediately perform, with a its first international adaptation in Brazil after the resulting impact on commissioning new ideas. company’s local division partnered with music But for producers such as Fincham and Lambert, festival VillaMix and global brewer AB for a local, broadcasters still commission o£ paper and on some brand-funded version of the show, known as O shows they still pay the full cost of production. But Próximo Número 1 VillaMix. Like the US format, the conundrum is that broadcasters tend to need which was from Ryan Seacrest Productions, more ambitious format ideas in order to cut through, Endemol Shine North America and Columbia which are by their nature often more costly to Records, it is available via YouTube. produce. That might be some way from the traditional “That is why it is a nibbling away rather than a broadcaster-led financing model of old but fundamental shift,” says Hincks. “It is pragmatic it underlines the ongoing shift of the format in a way, if you are going for the bigger slots and market and the myriad ways shows can now be bigger budgets you will almost without doubt have greenlit. SVOD interest in unscripted and formats a conversation about who can come in.” is increasing, costs for big ideas are rising and And that is why Netflix but also Amazon are broadcasters’ budgets show no sign of surging: the Channel 4’s The Circle is enticing partners to a degree for producers. “The result is that the equation to get format ideas up and heavily backed by Group exciting thing about an SVOD at the scale of Netflix running is about to get more complicated. TBI M’s Motion Content Group is its decision to make a lot of original content for lots of di£erent parts of the world,” he reflects. “We tended originally to think of an SVOD as a global player and that the content it was interested in was only going to be the stu£ that would play around the world. But they know they have to create a collection of programming that is attractive to di£erent markets. “That decision is having a big e£ect on everybody but particularly on unscripted because there is the ability to make di£erent versions of a format in the conventional way. And that is not something we knew was going to happen - and it isn’t really something that anybody aside from Netflix is doing.” Lambert adds that Amazon is experimenting

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Formatsp07 TwoFour OctNov19.indd 1 02/10/2019 10:32 TBI Formats | Roundtable Crazy cash and snackable shorts: e future of entertainment on SVODs

As the likes of Netflix, Amazon and Quibi begin to get their unscripted affairs in order with heavy- hitting greenlights for global-facing shows such as The Circle, Back Of The Net and Elba vs Block, their strategy remains frustratingly opaque. TBI gathered some of the best creative minds in entertainment and formats to shed light on their experiences with the SVODs. Are the days of “crazy cash” over for Netflix? What is Jeffrey Katzenberg looking for in an entertainment offering on Quibi? Does Amazon stand a chance of catching up in the unscripted arena? By Manori Ravindran

Michelle Chappell Tim Crescenti David Flynn Lisa Perrin Sohail Shah Creative director, Workerbee President, Small World IFT Co-founder, Youngest Media CEO, Creative Networks, Non-executive director, Endemol Shine Group Elstree Studios

What does the future of unscripted on streamers show. And that’s why the budgets are coming down on look like? Netflix, because that was done for an awful lot less than The Crown. It will be interesting to see how it works LP (ESG): What Netflix is doing with The Circle is when they roll it out in local language, but as a format interesting. They are doing a hub in Manchester and for them, it’s done incredibly well. It’s not really cooking flying in the Brazilians, French and Americans – and – it’s a comedy entertainment show, and it’s a hit with doing it in real time, with one episode a day, rather their young audience like Big Brother. But 18 months ago, I wouldn’t have thought that’s something they would have gone for. It’s SS (Elstree): I also love Sugar Rush, and what’s clever is going to be interesting to see how that works. They’ve that at the end of each episode, they say, ‘If you enjoyed yet to crack their big shiny floor show, but they will. that, there’s another one coming up’, and it just starts. So People will binge-watch a quiz show now – they will you watch another one binge-watch something they like no matter what the genre is LP (ESG): I love that niche thing they’ve done. The glassblowers show on Netflix, Blown Away, is fantastic. DF (Youngest): The interesting thing we’re finding You just think, ‘Why am I watching this thing about is that, as well as those binge-watch shows, now bloody glass-blowing? But I am’. It’s so clever streamers also need shows for people who have 30 minutes and don’t want to get into something they can’t MC (Workerbee): It’s great because no terrestrial would stop watching, but rather something that will really have put that on entertain them for that 13 minutes they have spare. The tradition of snackable shows is coming through. But the How is Netflix beginning to localise in regards to competition in OTT is only heating up, and they all need entertainment? their tentpole pieces to sell in a competitive market. And some of those pieces are drama, but entertainment can DF (Youngest): When you start looking at how Netflix be that tentpole as well is thinking of local content, for a company like ours that is expanding into the international marketplace, that sort LP (ESG): When we’ve spoken to Netflix of injection of energy, cash and enthusiasm in those local commissioners, [they have said] Nailed It! is their biggest markets has a brilliant eƒect in that everyone feels like

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they want to up their game. Everyone starts to look at production in November. I found it very easy to flesh original content as a way to diƒerentiate themselves “I was short-form out their idea but in terms of what Amazon required commissioner to do so, I didn’t think it was anything I wouldn’t have LP (ESG): But they realise it needs to be tonally diƒerent at the BBC in expected them to ask for. But I got the impression that in diƒerent markets. You can’t just lift an American entertainment, and they were learning what they should be asking for based format and make it in German and assume it will work, Quibi have got right on what we were pitching. Because it’s so new to all of because it won’t cut it. You do have to localise it. They’re straight away what us. Now that their team is in place, they will be more one of the first streamers to recognise that. Amazon we wanted to do at forthcoming and clearer in what they are looking for will also do so as well – they have a strong local team the BBC but were starting restricted by the Workerbee had the first UK commission cash.” from Quibi and was the first company to start Endemol Shine recently sold Family Food Fight Sohail Shah delivering cuts to them. Tell us about that into Brazil, for broadcaster SBT and Amazon experience Prime Video. What else are you working on with them? LP (ESG): We were there at the pitch with Jeƒrey Katzenberg in February in London. They all waltzed in LP (ESG): We also did a deal with Amazon for comedy- and it was quite a big deal. Everyone traipsed in and did variety series Last One Laughing. We are doing that in pitches with them. Mexico, Australia and a couple of other markets We are totally work for hire. They own the format. MC (Workerbee): It’s quite amusing. [Workerbee MD But we’ve taken a view that we want to be their work Rick Murray] was away and I was on jury service and for hire in those markets and that’s something we’ve we sent our poor head of development up to pitch to decided to go for. We also have some other original Katzenberg, but he had a great idea so we thought, development in both through the US and through ‘Well this is going to be fine’. And it was, because when Georgia Brown in London. That seems to work OK you have a great idea, it sells. He pitched Elba vs Block and he had a great bit of tape and [the Quibi team] just SS (Elstree): I was asked by a company to help thought ‘Idris Elba, brilliant’ and they backed it. It was them with a children’s idea they wanted to flesh out very quick. for Amazon, and they have gone for it. It goes into Within six weeks, it got over the line, and then we

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you think more creatively about a product, which is quite good

How did you manage technically? Was that all in the edit stage?

MC (Workerbee): Yes, in the edit. We delivered two versions. But we’ve had to play along as we go. It’s the vertical challenge

DF (Youngest): We’ve been talking with Quibi and we found that they’re quick and up for good ideas. We came idea-first to them and they will engage at that kind of level because much like all SVODs, no one knows yet what will work in the entertainment space for streamers, and the only way we can work it out is by trying things out

The rights situation is interesting, because the rights are returned to you after a period of time. What will you do then with that content? were in production six weeks later. Because we were the first to start delivering cuts, that was interesting MC (Workerbee): You can repackage them. It’s perfect. because we were figuring it out – should there be closed For something like Elba vs Block, obviously we have episodes, cliƒ-hangers, series arcs? All those bits you’re shot a lot more than what’s going to go out, so when trying to wrestle with. Initially we started to deliver 10 we do repackage, it’s almost like a whole diƒerent minutes, and in the end the cuts were five minutes long. programme with much more narrative. They’ve really We were told that the average 16 to 24-year-old watches thought about what makes them diƒerent content for six minutes and 50 seconds. Katzenberg then watched some cuts and, to summarise it crudely, he just TC (Small World): So, when you’re producing the said, ‘I want it louder and I want it quicker’ show, you’re thinking, ‘Okay, these are 10-minute segments,’ but you’re also thinking how will it work At what point did he get involved? when you repackage this

MC (Workerbee): At the fine-cut stage, he just watched “Net ix knows MC (Workerbee): On the next one, we’ll be more over them, which is great. They give quite light-touch they have to pay a forward-thinking on that, but for this one, things notes but they’re really constructive. They’re just fun to premium because happened on set that we captured but which were too work with they’re paying for nuanced to put in the 10 minutes, but brilliant in the producers for hire long form. Next time, we might plan slightly diƒerently DF (Youngest): The interesting thing with Quibi is that and taking rights o to account for the long form as well. it’s the most amazing creative challenge and liberation the table, so they’re They said to us, too, to view cuts on our phones. to say, ‘We need to think diƒerently about duration’. prepared to pay a Though we did look in the edit as well (laughs) But it’s not just US streamers; we’ve just delivered bit more, but those HouseShare for BBC Three and that is 23-27 minutes, days of crazy cash DF (Youngest): Good point. You can think something is depending on what the episode needs. And across the are denitely gone” incredibly clear, sitting in an edit with a big screen… board, the OTT delivery allows us to be free in terms of Lisa Perrin how we create MC (Workerbee): …But then the kids are watching it on their phones MC (Workerbee): Suddenly making it vertical as well is quite interesting, because it’s both vertical and DF (Youngest): You’ve got to have that viewing stage horizontal. You find that enhances the storytelling and look at whether things like subtitles are coming because you’re looking for other ways to show [the across properly action], so you might have lots of split-screens and lots of diƒerent angles on one vertical page. It actually makes MC (Workerbee): Colours are also very important

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and can really punch through on the phone. And Quibi streamers, knowing that local language is something that involved us in all the marketing as well. It was brilliant “At MIPCOM, we’re they want to be involved in that, when you wouldn’t so much in going to bring the terrestrial digital space back I Survived A How does that work? Japanese Gameshow SS (Elstree): I was short-form commissioner at the BBC and present that LP (ESG): If we come up with a great format idea, we in entertainment, and Quibi have got right straight away to the streaming go in with our German, French, Spanish and Italian what we wanted to do at the BBC but were restricted by platforms. But it’s partners. So, you go in as a multi-language, non-English the cash. Now there has been a cash injection so things the risk of, ‘OK are language pitch, which for Netflix and Amazon is have changed, but I had people pitching nice ideas to we going to make important because they’ve hit a limit in the US and me, but short-form had a challenging budget. However, more money by UK and the Nordics are completely saturated – all the idea and lengths would have been the same, in doing that in 13 these countries watch the English versions. So, the big theory – between 5 and 10 minutes. The diƒerence is territories or 25 subscription uplift is non-English language, that’s why Quibi is giving you the cash to be able to realise what territories?’ at’s there’s a massive opportunity. So for us, going in on you want us to see in a really, really good way. They’re the risk ” multi-territory with a format everyone wants to make brilliant, and I look forward to seeing what we can do Tim Crescenti seems to be working with it; it just guts me that we couldn’t do it on BBC Three, because it’s what we wanted to do MC (Workerbee): It is diƒerent developing for the SVODs, because you only get that one shot. Everything DF (Youngest): I think, though, as producers we now has to be locked down with the talent. The idea of going need to be flexible to be able to work with, in a perfect in with a few top lines – you might as well just get out of world, both Quibi and US networks, but also BBC the room now. It has to be fully formed. They don’t really Three and the online distribution platforms whose develop in the room first straight away – they’ll develop budgets are even smaller than those short-form ones. with you later – but it’s really that one shot You have to think about how to ready your team for that, and whether the tech is there in terms of the LP (ESG): The tape has to be excellent. You have to way you can turn things around, how you can shoot spend a lot of money, and once you’ve shown it once, things, and have edits in the o§ce. You have to be it’s done. As traditional developers, you make a tape careful you’re not putting everything towards these new and you think you can show it to BBC One, Channel providers 4, Channel 5. Now you have to specifically make it for a Disney+ or Netflix, because tonally it’s very diƒerent. How do you go about pitching to these platforms Especially a Disney+ is very diƒerent. You’re burning when they’re commissioning extremely niche through a lot of ideas and a lot of tape time. It costs a lot programmes but also more wide-appeal of money. offerings? But, to be fair we’re doing something with Netflix, where they looked at it and they went, ‘We love that LP (ESG): We’ve started doing some multi-territory picture’ and it sold pitching. We’re doing non-English language pitches all together, so it feels very joined up for them right from the DF (Youngest): That’s the other part of it. That front very beginning, which seems to have worked for some image has become more and more important. Popping on a screen amidst major choice is a real challenge. You should be thinking about that visual at the pitch stage, and what the visual can add

SS (Elstree): Netflix changes their thumbnail constantly for shows – it’s all dependent on the algorithm

What’s new with YouTube?

LP (ESG): We are getting some traction. Remarkable Factual has done a big virtual reality history series, which is amazing. They’ve come up with this innovative way of using VR. YouTube has dropped the paywall and they’re leaning into premium education. Locally, there are a

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couple of markets they’re really looking into as well LP (ESG): I think the days of crazy cash are gone. “Katzenberg then Netflix understood that there was a Crown Eƒect, What markets are they targeting? watched some cuts where they overpaid for that massive bankable thing and, to summarise it that I’m sure they’ll make their money back on, but LP (ESG): YouTube is looking into Germany for crudely, he just said, it slightly skewed the drama market and they’re very German local language, as well as Spanish local ‘I want it louder and aware – particularly as they go into other markets – that language. That’s the main push. Germany is getting I want it quicker’ ” they have to keep the market rate, and to benchmark a lot of interest because it’s a wealthy country with a Michelle Chappell what the French market rate is, and what the German big middle-class and big population. Tonally, it’s very rate is diƒerent in how people watch TV, so all the streamers They know they have to pay a premium because feel like Germany is an opportunity. Amazon, Netflix they’re paying for producers for hire and taking rights and others all want to commission German local oƒ the table, so they’re prepared to pay a bit more, language but those days of crazy cash are definitely gone. But it makes sense: they only have a finite amount of money As a distributor, how do you navigate – and which has to go to more countries with more content. negotiate – sales into streamers? People burn through because audiences binge-watch. So, they’re constantly running, which is great because they TC (Small World): At MIPCOM, we’re going to bring want content, but they’re going to spread that a little bit back I Survived A Japanese Gameshow with a turnkey thinner. What’s interesting is that this is happening right production hub and present that to the streaming when we begin to see a drop-oƒ in US subs for Netflix, platforms. But it’s the risk of, ‘OK are we going to as per the most recent results make more money by doing that in 13 territories or 25 territories?’ That’s the risk. Another thing is, if you get LP (ESG): Yeah, and unless you’ve got a Disney+ deep- a deal with these streamers, they will give you China pocketed budget, it’s going to be quite interesting. It’s which is nice, but we can’t sell into China, so thank you inevitable the budgets will be slightly more sensible and for that (laughs) the margins will be smaller and they’ll have to look at perhaps doing Quibi-style deals. Certainly, budgets are LP (ESG): For us, as a group, we always look at the lower than what they were two years ago formats we’re pitching and think, are they the right formats for the streamers, or are they formats that TC (Small World): Streamers initially want to make a could potentially be rolled out in a more traditional splash so they do A-list celeb deals, but where’s all your way? But ultimately, the creatives just want the ideas money going if you’ve got someone like Justin Bieber? made. Netflix, Amazon and Quibi are all very sexy And also, when you attach someone like that, is there places to play – why wouldn’t you want your content really a role for this person? Are we going to get Bieber’s up there? So you’re hardly going to say to people, 34m followers? ‘You can’t pitch that’. You have to think ‘horses for courses’ DF (Youngest): He’s very good in the edit, to be fair. TBI

DF (Youngest): It’s a big choice, but for The Circle, it feels like Studio Lambert made a very good choice to drive it through Netflix. They have been very supportive

How have budgets fared in recent years? Amazon reportedly paid up to $250m for The Grand Tour. Are we still looking at these types of deals in unscripted?

MC (Workerbee): They’ve got a pyramid of diƒerent tariƒs, and the top is really expensive. The budgets are very good

TC (Small World): Whatever Amazon paid for The Grand Tour, you’re never going to get that deal anywhere

12 October/November 2019

Formatsp08-12 Round Table OctNov19MR.indd 12 02/10/2019 23:07 LODGERS THE MILLENNIALS ARE MOVING IN

5 x 60’ + FORMAT

Formatsp13 Banijay Lodger OctNov19.indd 1 27/09/2019 14:47 Banijay_Lodgers_TBI_AD_AW.indd 1 12/09/2019 17:11 TBI Formats | New Money

e new money Breaking down the next wave of streamers on the block

Release date: 12 November, 2019 Release date: 2020

Launch markets: US, Canada, Netherlands Launch markets: US-only to date (12 November); Australia, New Zealand (19 November) Pricing: Estimated $17-20/month (confirmed to be more than $14.99 HBO Go offering) Pricing: $6.99/month Originals content spend: ~$2bn (AT&T’s Originals content spend: $1bn HBO Originals spend only)

Third-party content: Selectively licensed Third-party content: Yes (ie. BBC Studios’ Doctor Who and Top Gear) Originals greenlit to date: 48 Total shows greenlit to date: 16 (+9 new Key execs: Ricky Strauss (president, content HBO shows) and marketing); Agnes Chu (SVP content); Jan Koeppen (president, EMEA); Luke Key execs: Kevin Reilly (chief content Bradley-Jones (SVP direct-to-consumer and officer); Sarah Aubrey (head of original GM, Europe and Africa) content); Joey Chavez (EVP original drama); Jennifer O’Connell (EVP original non-fiction, kids) Jeniffer Kim (SVP international originals); Suzanna Makkos (EVP original comedy, animation)

Unscripted highlights: Extreme Camp; Release date: 1 November, 2019 Ellen’s Home Design Challenge; Legendary; e Greatest Space; First Dates Hotel Launch markets: 100 countries, including UK, Australia, Canada, France, Germany Scripted highlights: Lupita Nyong’o-starrer Americanah; Gossip Girl reboot; Dune: e Pricing: $4.99/month Sisterhood; Anna Kendrick’s Love Life; Ansel Elgort-starring Tokyo Vice Originals content spend: $6bn

Third-party content: None (only available via third-party apps)

Originals greenlit to date: ~40

Key execs: Jamie Erlicht and Zack Van Amburg (co-heads of worldwide video programming); Morgan Wandell (head of international content development); Jay Hunt (creative director, Europe); Molly Thompson (head of documentaries) Unscripted highlights: e World According to Je Goldblum; Kirsten Bell’s Unscripted highlights: Oprah’s Book Encore!; Nat Geo’s Magic Of e Animal Club; Oprah Winfrey’s Toxic Labour; Kingdom; Earthkeepers Home; Dads

Scripted highlights: e Mandalorian; Scripted highlights: Steven Spielberg’s She-Hulk; Monsters At Work; Short Amazing Stories; Reese Witherspoon’s Circuit; Lady & e Tramp; Love, Simon; e Morning Show; Steven Knight’s See; Togo; Lizzie McGuire Ghostwriter; Truth Be Told; Dickinson

14 October/November 2019

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By the numbers

Price point per month ($):

Release date: April 2020 $$ Launch markets: US-only $ 17.00*17.00* Pricing: Unknown (Two tiers: paid tier estimated $5, plus free ad-supported tier) 1515 17.00*

Originals content spend: Unknown 15

10 Third-party content: Selectively licensed 10 8.998.99 8.99 8.99 10 6.996.99 Total shows greenlit to date: 15 8.99 8.99 4.99 4.99 5.00* 5 6.99 4.99 4.99 5.00* Key execs: Bonnie Hammer (chairman of 5 direct-to-consumer, digital enterprises); Bill 4.99 4.99 5.00* 5 McGoldrick (president, original content); Apple TV+ HBO Max Quibi Peacock Amazon Prime Video Netflix (basic) Disney+ Apple TV+ HBO Max Quibi Peacock Amazon Prime Video Netflix (basic) Betsy Slenzak (VP unscripted development) Disney+ 00 * *estimated estimated price price Apple TV+ HBO Max Quibi Peacock Amazon Prime Video Netflix (basic) Disney+ 0 * estimated price

Content spend 2019/2020 ($bn)1515 1515 15 15 1212

12 Release date: 6 April, 2020 99 7 9 7 Launch markets: North America 6 6 6 6 7 Pricing: $4.99/month with ads; $7.99/month 6 ad-free 6 33 HBO Max Originals content spend: $1bn HBO Max Disney+ Quibi Disney+ 3 Quibi Apple TV+ Amazon Prime Video Netflix

1 2 HBO Max 1 1 Apple TV+ 2 1 Amazon Prime Video Netflix Third-party content: No 00 Disney+ Quibi Apple TV+ 1 2 1 Amazon Prime Video Netflix Total shows greenlit to date: 38 0

Key execs: Jeffrey Katzenberg (co-founder); Meg Whitman (co-founder); Jim Toth (head of content acquisition and talent); Doug Total originals greenlit Herzog (content exec); Kate Presutti (content exec) Unscripted highlights: Saturday Night QuibiQuibi Live docuseries Who Wrote at; Jimmy Unscripted highlights: Elba vs. Block; 38 38 DisneyDisney Fallon talk show series; Seth Meyers exec- Punk’d; Singled Out; Jennifer Lopez’s 48 produced weekly late-night show with ; ; Quibi 48 anks A Million Daily Essentials Fight 38 Amber Ruffi n; e Real Housewives spin-off Like A Girl; Lena Waithe’s You Ain’t Got Disney 48 e s e PeacockPeacock Scripted highlights: True crime podcast- 1515 based Dr. Death; Brave New World Scripted highlights: Steven Spielberg’s Peacock adaptation; Emmy Rossum’s Angelyne; One After Dark; sci-fi Don’t Look Deeper; Anna 15 HBO Max Of Us Is Lying; Rashida Jones’s Straight Talk; Kendrick’s Dummy; How To Lose A Guy HBO Max AppleApple TV+ TV+ 25 reboots of Mr. Robot, Saved By e Bell, In 10 Days reboot; Darren Criss co-created 25 4040 Punky Brewster Royalties HBO Max Apple TV+ 25 40

October/November 2019 15

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Forward thinking

ITV Studios’ deal for Israel’s Armoza Formats over the summer marked a watershed moment for the unscripted business. Richard Middleton talks to founder Avi Armoza

16 October/November 2019

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TV Studios has been involved in its fair share of importance of being able to produce for new M&A activity over the past five years, but few unscripted players, but also the allure of IP-holding deals have underlined the changing nature of the firms such as Armoza to muscular, global players unscripted business as its acquisition of Armoza such as ITVS. The Four was renewed for IFormats earlier this summer. “Our company was growing and developing, and a second season by Fox in The Israeli format creator and distributor we became increasingly attractive, with approaches 2018 has been a constant at TV markets around the from di‘erent directions,” he explains. UK-based world over the past decade, with its stock soaring investment bank Stella Capital Partners oversaw the following Fox’s acquisition of The Four, the process for Armoza, with multiple outfits looking to entertainment show created by Armoza’s in-house take a stake in the Israeli company. team. “If you have one, two or three companies looking But while such deals flung founder Avi Armoza at you, it’s better to go through a structured process, and his company to new heights on the global stage, in which you explore all markets and find the right it became clear that in the TV world where scale partners,” he says of appointing Stella. matters, no matter how good the underlying IP While Armoza won’t divulge the firm’s other might be, selling format rights would only take his suitors, he does shed light on why ITVS fit the firm so far. bill. Financials were, of course, important, but the “We realised that we needed to get into culture of the acquiring company was vital. “If you production, we knew that that would be the next look at M&A, there are often more failures than level of income for us,” Armoza tells TBI. And successes. We were looking for a company that as the veteran format exec explains, his growth had a shared vision, and we found that in terms of philosophy – that “to stand still is to go backwards” culture and values at ITVS,” he says. – meant shifting away from a pure IP creation and “It was about understanding the role of creativity sales operation. within the organisation, too, and understanding that For companies such as ITVS and Endemol there is not only one way to achieve that creativity. Shine Group, the strategy of selling a broadcaster Armoza was operating in a very unique way: we format rights, then charging a production fee on were not a production company in our country but top to create a local version – using their own, we were able to develop and create IP on global local production firm – has become a key revenue scale.” generator. Armoza will continue to operate largely But for smaller companies such as Armoza, independently, he says, despite ITVS’ 100% despite being heavily laden with IP, taking that next acquisition of the company. step into production can fast become a leap. It will also, however, become part of ITVS’ Global The company, which is behind a raft of Creative Network, headed up by Mike Beale, formats including social experiment Sex Tape extending its reach around the world. But Armoza and entertainment series I Can Do That!, had adds that retaining the company’s DNA and spirit made some production moves prior to the ITVS will be key to delivering future format hits. Its slate acquisition, most notably striking a deal with ex- of new formats heading to MIPCOM also shows Shine France founder and CEO Thierry Lachkar little sign of waning ideas, with the likes of Queens that would see his firm, Deeply Superficial, of Love becoming available to buyers for the first producing the Israeli outfit’s formats in the country. time. But Armoza admits that by going down the The show has been created in-house and features M&A route, scale can now be achieved far three drag queens who use their outspoken more quickly – and that has become increasingly personalities to audition potential suitors, analysing important as streamers become more active across the date and the potential partner. It is joined by the unscripted landscape. “And they are not buying third party shows such as fellow dating-reality formats,” he says, “they are buying productions and show Single Parents Cruising, from Zone 3, and finished tape.” studio entertainment format Song Of My Life, “Through M&A, we can very quickly go to the from Yellow Film & TV, on the first ITVS-backed top floor of production and all of a sudden team Armoza slate. up with ITVS, which has so many production “The aim is to create more, but another aim companies. At the push of a button, we are really is to understand the platforms that we have and advancing.” the reach we have now, in terms of where ITVS The deal highlights not only the increasing operates,” Armoza says. “We’re better placed to get

October/November 2019 17

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“Our company was growing and developing, and we became increasingly attractive, with approaches from di erent directions.” Avi Armoza Armoza Formats

Queens Of Love and Sex Tape are among Armoza’s formats heading to MIPCOM

the knowledge and needs of each market, and we company that bears his name but now belongs to can tailor and focus our development operation, someone else. that will be our main challenge.” “It’s a stage of experimentation for the streamers: The deal has injected “new spirit and energy” into they are changing models and trying di‘erent the company, Armoza continues, but he admits the things,” he says. “In terms of regulation and unscripted market is becoming increasingly tough commercial necessity, they will need to do local for mid-range players. Either you are small and productions in certain territories and also in local nimble enough to survive, or you become part of languages. And this is one of the benefits of being a global player that enjoys scales of ežciency and part of a group with a large production capability – clout. you have more ežciencies and models that you can “The toughest place to be is in between. If you utilise.” want to expand, then you need a wider footprint on And those opportunities look likely to spark the international market.” further M&A, as the creative companies behind With the ITVS deal now in the bag, Armoza formats and rights holders look to gain from the is focused on expanding the operations of the lucrative world of production on a global scale. TBI

18 October/November 2019

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Viewpoint Lisa Perrin Brotherly love

ig Brother, the big daddy of reality move the format on with an authentic environment “Big Brother is one formats, the one that genuinely changed for the housemates to interact. of the very few shows television forever, is celebrating a Big Brother has always been brave with its that can claim it landmark birthday. Twenty years ago, casting. It reflects society, giving a voice to people created a brand new Bnine pioneering housemates entered a house in from di‹erent backgrounds – be it BAME, LGBTQ genre that remains the outskirts of Amsterdam with no contact with or the older generation. This diversity is unique and popular to this day.” the outside world, to be filmed around the clock appeals to viewers and broadcasters, giving people by 24 cameras. Big Brother is one of the very few license to talk about important topics. I’m proud television shows that can claim it created a brand to say there have been three transgender women new genre that remains popular to this day. appearing in our many Indian versions, the most Fast forward two decades on and reality recent of which is currently on air, and Canada television continues to leave audiences gripped. welcomed the first non-binary housemate in 2019. These formats are still amongst the most travelled The flexibility of the format means we can also internationally. Just what is it about reality series put other issues front and centre, with sustainability that makes viewers obsess over them? Is it because and environmental issues being highlighted in Big it’s like looking in a mirror, imagining how you Brother around the world. We’re looking at all would react in the situations we see on our screens? our productions and what we can do to improve Reality forms an important part of any practices, especially considering Big Brother’s broadcaster’s schedule. It’s tried and tested to deliver huge global audience. It’s forming a big part of the audiences, especially in the all-important 16-34 show with an eco-house in Finland, and in India demo. fills a large part of a schedule, real water restrictions have been implemented for bringing with it a lot of noise. Whether celebrity housemates to mirror what is happening in drought or civilian, there are always great characters in Big struck parts of the country. Behind the scenes in Brother and in the territories that have rested the Germany, they saved an estimated 12,000 co‹ee show, viewers have definitely missed it. The format cups by using reusable bamboo mugs. Younger is relishing a renaissance, with the latest comebacks viewers have a lot at stake when it comes to the in Poland and Finland this year – and Germany and environment and if we want Big Brother to last Sweden confirmed for 2020. another 20 years we need to engage with their We are now busy planning the next 20 years passion. and have come up with innovative new ways to As we celebrate ’s epic success, we produce the show with new tech. Two years ago, are putting building blocks in place to keep people we drastically changed the workflow, gallery and engaging and interacting with the format, adding approach to filming. This has opened up lots more twists and turns, keeping it entertaining and creative opportunities – new cameras and AI have immersive. With 18 markets on board this year, enabled us to take the show out of the traditional we have ambitions for even more comebacks and Lisa Perrin is CEO of set and into new locations, like a beautiful house in successes. Who knows what’s in store for any of us Endemol Shine Group’s Warsaw or a shopping mall in the heart of Helsinki. in the next 20 years, but one thing is for sure: the Creative Networks These versions feel modern and contemporary and world will be watching. TBI

20 October/November 2019

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10 x 30 10 x 30 Bradley Walsh & Son: Hungry Bear Media tom kerridge’s Blink Films Breaking Dad for ITV 1 american feast for Food Network

1 x 60 3 x 60 Cristiano Ronaldo Plum Pictures Easy ways Keo Films meets Piers morgan for ITV 1 to live well for BBC One

6 x 60 4 x 60 talking animals Emporium Productions war on plastic Keo Films tales from the zoo for Channel 5 with Hugh & Anita for BBC One

VISIT US AT MIPCOM 2019: STAND R7: F24 www.hattrickinternational.com | @Hattrickint

FormatspXX Hat Trick OctNov19.indd 1 30/09/2019 17:53 TBI-FPB-PressAd-2Print.indd 1 30/09/2019 14:26 TBI Formats | Hot Picks

Formats Hot Picks The formats we’re betting on at MIPCOM

Top Pick

Five Guys A Week a 10-part commission. “boyfriends” to meet her Distributor: Fremantle It is being executive produced parents. “Pretty soon, we Producer: Label1 by Label1’s new head of realised we had the beginnings Broadcaster: Channel 4 (UK) factual entertainment Barnaby of a powerful format,” says Logline: A single woman invites five suitors to live with her for a week, Coughlin, who has form in the Dickson. eliminating them one by one in an attempt to find her perfect match dating genre, having previously Throughout, the woman is executive produced C4 shows in total control and watching With its arresting title, dating cameras following the action. First Dates and First Dates the competition between the show Five Guys A Week sets As such, it’s billed as a test of Hotel at Twenty Twenty. men drives the format. Dickson out to transform the first-date romance, compatibility and “We wanted to create a show says the show also delivers experience by providing one stamina – a dating show that that compared and contrasted regular “hits” of excitement and single woman with the chance explores what people actually men’s very di­erent wooing intrigue throughout – taking to compare and contrast five want from their partners as techniques, all the while putting dating shows to the next level suitors in real time. well as o­ering a sometimes the woman at the centre of by upping the formatting while Fast-tracking the “getting to surprising insight into the male the experience and leaving keeping the “rules” simple. know you period”, the woman psyche. the decisions to her,” explains “Take, for example, the way in must live with five boyfriends Five Guys A Week is Simon Dickson, co-founder and which the format allows for the for a week – all at the same time, produced by Label1, best creative director of Label1. eliminations, when the woman eliminating one each day, until known for factual hit The He says the first scene kicks out each unsuccessful guy, the last man standing. Hospital and format The Job that Label1 dreamed up was to happen in the real world. This The ‘locally sourced’ men go Interview. Channel 4 ordered five guys ringing a woman’s hasn’t been seen before outside everywhere with their host en- a pilot of the show in 2018, doorbell, one after another in of big entertainment shows or masse: to work, on a night out and earlier this year announced quick succession. Next, they competitive set-ups such as Bake with mates, or for dinner with it was taking it to series with thought it would be revealing O. We wanted to bring this the parents, with a combination another 9 x 60-minute episodes and funny to see what happens excitement into the unscripted of fixed-rig and roaming to accompany the pilot, creating when the girl takes her five space.”

22 October/November 2019

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Don’t they don’t earn money and one Distributor: Banijay Rights of them is eliminated from the Producer: Banijay Studios North game, until only one remains. America The last remaining relative Broadcaster: ABC (US) must then complete the rest of Logline: A gameshow where the challenges on their own for a family can win money by a prize of up to $100,000 for following one simple rule – Don’t the family. Don’t was developed by Picked up by ABC in the US, Banijay North America and new game show Don’t is has Ryan Reynolds as an currently in the edit. Billed as executive producer. Big Little a comedic physical format, it Lies actor Adam Scott is to set follows a family of four who to host. must work together throughout Goldberg says Don’t five mental and physical focuses primarily on physical challenges with just one rule: competitions, often with 60-minute episodes for this introduced to buyers at Don’t. For example, “Don’t a question and answer launch season, which required MIPCOM. “It’s been pretty Slip,” “Don’t Forget,” “Don’t component. 25 or more unique challenges. much under wraps,” says Laugh,” “Don’t Say It,” “Don’t “We have created a unique “Any time you create a Goldberg. Scream”. environment and visual show from scratch, there are He says that while the US “Accomplish this simple rule vernacular for the show. You challenges. But in those that show is ambitious, the format and chances are you will win could almost call it ‘The Don’t involve physical games, some can be scaled down to work money,” explains executive World,’” he says. of which are large scale, the for smaller markets. It is also producer David Goldberg. Creating this world has been challenge is amplified,” points suitable for a production hub “What makes it tricky is that the biggest challenge about out Goldberg. model, allowing a number of your brain is telling you to do.” bringing Don’t to screen. The The format, yet to be territories to use the same set If the family fails a challenge, Banijay team have shot 8 x formally pitched, is being to o­set costs.

Parents’ Evening to let the parents’ evening run Sony International very well and Distributor: Lineup Industries naturally. “We couldn’t ask came across this title. Without Producer: Stellify Media for any re-takes if we missed any disrespect, this was one of Broadcaster: BBC Northern Ireland (UK) anything. It really focuses the the smaller commissions in the Logline: Taking viewers inside the most important night of the high mind,” says Worthy. Sony catalogue and not likely school calendar – the parent-teacher meeting Perhaps unusually, the format to be a focus. Yet it suits our is being represented by Lineup catalogue which includes titles A parents’ evening is often one Doherty bills Parents’ Evening Industries rather than Sony. like Radio Gaga, Taboo and of of the most stressful events of as a family sitcom, citing the Lineup co-founder Ed Louwerse course Long Lost Family, and an academic year – for the kids, warmth and humour of Modern explains: “As ex-Sony execs we we felt we could add some value parents and school. Now it’s Family as an inspiration. “It’s knew the guys at Stellify and to the process.” been made into a doc format by not just about kids in school – Stellify Media, the Belfast-based their home life is as important to indie run as a joint venture us as their actual consultations.” with Sony Pictures Television. Viewers also get to see how Filmed with a fixed rig across parents interact with their kids, an academic year, it features a while the teachers are also filmed di­erent high school in each in their sta­room ‘precinct’, episode. Audiences learn what away from the kids. the child thinks of their school, Casting engaging children, what their parents think of the parents and teachers was a key academics, and get a hint about production challenge, adds what the teacher thinks, too. Stellify co-founder Matthew Stellify co-founder Kieran Worthy. So, too, was the need

October/November 2019 23

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Meat e Family Distributor: Red Arrow Studios International Producers: Spun Gold, Rise Films Broadcaster: Channel 4 (UK) Logline: Topical social experiment that explores what happens when a family’s dinner comes to stay

Tapping into concerns about the “The minute we asked natural world, food production, ourselves why is it that we animal welfare and what we eat, would eat a little lamb or pig this social experiment sees four but not our pet dog, it begged meat-eating families welcome a lot of questions. Do we love the animal they most frequently our dogs more because we think serve for dinner into their home. they are smarter than farm Whether a chicken, sheep, pig animals? Have personalities? Comedians Giving Lectures or even a cow, they treat the new [Because they’re] cuter?” Distributor: ITV Studios Global Entertainment arrival like a pet – taking it for It was a short step from Producer: 12 Yard Productions, part of ITV Studios walks and playing with it in a there to finding out by getting Broadcaster: UKTV’s Dave (UK) bid to understand its intellectual farm animals to move in with Logline: Top comedians give their own unique take on an academic and emotional capacity. At the families, Rice explains. lecture end of three weeks, they are The format, she adds, allows forced to make a choice: go the families to investigate a It’s like a TED Talk – but with in them”. vegetarian and send the animal big issue while on an intensely jokes. Comedians Giving Produced by ITV Studios- to a sanctuary, or remain meat personal journey of their own. Lectures launched on UKTV owned 12 Yard Productions eaters and kill their friend. “We decided to shoot the series channel Dave in September, (Eggheads, Who Dares Wins), Juliet Rice, head of prodco with observational filmmaking and the new format sees top the eight-part series was filmed Spun Gold (Garden Rescue, at the heart of it ensuring that it comedians deliver their own in a real lecture hall to make it Secrets Of The National never felt like a features show or take on an academic lecture. feel like an authentic lecture was Trust), says they wanted to indeed a journalist-led specialist Each talk has the title of a taking place. make a series about what we factual programme.” genuine lecture – from “10 Ways Beale notes that the eat that didn’t feel dry, worthy The show also allows the World Could End” to “How format gives broadcasters the and preachy but fun and broadcasters to tackle a topic to Spot a Liar” – but none of the opportunity to showcase a entertaining. that usually sits within factual. content. The comedians are then broader variety of comedy talent marked on their comedy skills by and is thus open to not only the audience, as well as an expert stand-up comedians but comedy in the field of their lecture topic. actors and other celebrities as Mike Beale, MD of global well. creative network at ITV Studios, It also means that stand-up positions the show as part of comedians can’t rehash old an overall trend recently for material, guaranteeing new “authentic but simple comedy content every episode on a wide formats that move away from range of topics – most of which a classic panel show and take are rarely used as the basis for a funny people a little outside of comedy routine. their comfort zone”. ITV Studios is looking to Beale says that in a world sell the format into territories where politicians and experts are with a good precedent of non- arguing over life-changing issues, scripted comedy, such as the US, Comedians Giving Lectures Australia, Canada, Benelux and provides a perfect antidote Scandinavia – where Dave hit by “taking the big issues and Taskmaster has been picked up. allowing the country’s best Beale adds that the format can comedy brains to find the funny work across the board globally.

24 October/November 2019

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In A Man’s World Distributor: NBCUniversal International Formats Producers: Lucky 8, JuVee Productions Broadcaster: Bravo (US) Logline: Four women undergo astounding transformations to discover what life is truly like in a man’s world

In this #MeToo era, new format In A Man’s World feels timely and likely to stir debate. Billed as a social experiment, it follows four women as they are temporarily transformed into going about their daily lives at argues that the format taps into highlighting a broad range of men with help of an Oscar- work and at home, even fooling the cultural zeitgeist, shining a issues across the series.” winning makeup team, plus their loved ones with their new light on the social and gender MIPCOM will be the first a voice coach and movement male alter egos. The series, issues of the modern world. time that NBCUniversal, experts. which launched on Bravo on 1 The women taking part, which encompasses Bravo, The idea is that they can then October, comes from executive she adds, discover a lot about has introduced the series to discover how the other gender producer and Oscar-winning themselves and the gender international buyers. “We will be lives, exploring the di­erences actress Viola Davis’ JuVee bias that exists today. “The o­ering it to all clients in our key for men and women in society, Productions and Lucky 8. fascinating experiences the markets, particularly the ones their careers and their cultures. NBCUniversal International women endure will resonate where factual entertainment is Each of the 4 x 60-minute Formats is handling sales. with people all over the world strong,” says Langenberg, who episodes follows one woman, Its SVP of format sales and and each episode o­ers a says the format could be a good from pro-pool player to a pastor, production Ana Langenberg very di­erent perspective, o­ering for digital platforms.

Marrying Millions Distributor: A+E Networks International Producer: Sharp Entertainment Broadcaster: Lifetime (US) Logline: A focus on new couples, where one half of each couple is wealthy and the other is not

Launched in July, Lifetime’s new He met Brianna, 21, at a Dallas reality show Marrying Millions restaurant where she worked. is either about true love or the Or Gentille, a real estate love of money. investor in Las Vegas, who met A relationship format, Brian when he went to work on it focuses on newly in love one of her construction projects. Gena McCarthy, EVP and success.” couples that come from He lives paycheck-to-paycheck, head of unscripted at Lifetime She says it took a lot of completely di­erent worlds, while Gentille has a net worth of and FYI, recalls being pitched patience from the producers to where one half of each couple is around $15m. a sizzle for the format by Sharp be able to cast six real couples extremely wealthy and the other The format follows the couples Entertainment. who were prepared to take part. definitively is not. as they immerse themselves in “It was very much an However, the result, according Take, as an example, one each other’s opposite worlds, unscripted iteration of Pretty to McCarthy, is a franchise of the couples in the Lifetime meeting the parents, siblings and Woman, where the woman with that “satisfies a vicarious itch to series: Bill, 60, is the founder of a friends who are suspicious of the the heart of gold despite a lower peer into how ‘the other half’ commercial real estate company relationship and convinced it’s economic situation overcomes lives” that will please audiences with investments worth billions. just about money. the odds to achieve romantic everywhere.

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Queens Of Love HouseShare Distributor: Armoza Formats Distributor: Youngest Media Producer: Armoza Formats Producer: Youngest Media Broadcaster: n/a Broadcaster: BBC Three (UK) Logline: Three drag queens help a singleton audition four potential Logline: A group of young people move into the ultimate house share suitors together, sharing a home and all their money

There’s plenty of twists on the funny – how much they earn, relationship show at this year’s whether they have cheated, or MIPCOM (see TBI’s Hot Picks to explain their social media for Five Guys A Week and activity. Marrying Millions in this issue). But the idea is to discover “the Queens Of Love is another, true essence” of the suitors, and very di­erent spin on dating. work out if there is “a fit and a Developed in-house by formats chemistry” with their singleton. specialist Armoza Formats, Shows such as RuPaul’s Drag it’s billed as a new take on Race have proved that drag the genre: three fabulous and queens are a draw on television. outrageous drag queens are “There’s something about the charged with rescuing the love fact that they are in costume,” life of a singleton every episode says Cohen. “People open up to by auditioning four potential them.” He describes the three suitors together. drag queens in the pilot that The cost of living in a global struck by reports that few The drag queens coach the Armoza has produced as being city like London makes it an younger people were able to singleton and then sit with like “human lie detectors”. almost impossible dream for do this now because of the them to help cut through the The result, he says, is a fun many young people to consider financial climate. small talk of a first date, using watch and relatable hour-long moving to. “We started talking about their first-hand experience of format that should appeal HouseShare acknowledges an idea that might help young both genders to bring out the to younger viewers. As is this reality and spins it into a people achieve this by coming truth from each suitor and find customary for Armoza, the pilot format that is squarely aimed together, sharing everything and out the information that really for Queens Of Love has been at a young audience. It takes supporting each other.” matters. produced without a broadcaster six people from all over the Parry says the idea of sharing According to Moshiko attached. Armoza, now backed country, getting them to share a money felt like a good way Cohen, senior creative director by ITV Studios, is launching the house in London – and all their to bring out people’s di­erent in Armoza’s development format in Cannes, where it will money as well. values and drive emotional department, the questions they be introduced to buyers for the Over the course of the series, narratives. Money, he points ask can be extreme and very first time. the house sharers do what all out, doesn’t exist in most new arrivals in a big city do: reality shows. “In this one, it’s look for work, friends and front and centre. And there’s love. In this case they also pool real jeopardy, because each their earnings into a joint bank housemate’s future is on the account – causing inevitable line. They’ve left home and jobs tensions if some work harder behind to come here.” than others, or if one of the HouseShare launches as participants spends too much. a 6 x 20-minute series – the HouseShare is created equivalent of a commercial by Youngest Media (Small half hour – on BBC Three later Fortune, Game Of Clones). this year. Parry argues that it Most of the Youngest team has social purpose, but is still are from outside London funny and entertaining. “It’s a themselves, says executive reality show that’s more real producer Shaun Parry, and than most, full of relatable moved to the big city to chase contestants and without a their dreams. They had been bikini in sight.”

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Factual Hot Picks The best factual one-offs and series hitting Cannes

McDonalds to stop giving away plastic children’s toys. But War On Plastic is more than a series of investigative reports. “The challenge with any environmental film is to find ways to make it accessible to a broad BBC One audience as well as revelatory and hard-hitting, which is why so much time and eort is spent dreaming up big, eye-catching stunts like the opening of episode one, when a garbage truck load of plastics is apparently tipped into the sea,” says Sarah Tong, director of sales at Hat Trick International, which has a long-running output deal with Keo and is handling Top distribution for this series. To reach a wide audience, Pick environmental films also need to be entertaining and funny too, which is why Fearnley- War On Plastic The producer, Keo Films, has Whittingstall in one episode Distributor: Hat Trick International a long track record of creating puts on a dodgy moustache Producer: Keo Films campaigning films, like Hugh’s and markets tap water to Broadcaster: BBC One (UK) Fat Fight and Hugh’s War On plastic bottle-drinking tourists Logline: A call to arms to fight plastic pollution, investigating what we Waste – and the result can be in Covent Garden. Tong can all do to reduce our use of plastic seen in this series. says the series also “has an On one level, this is a emotional heart” provided by Back in 2017, BBC One’s series focuses on where the journalistic series that seeks the documentary elements on a Blue Planet 2 sparked a public problem is coming from and to get to the heart of the plastic-free street in Bristol. outcry about the impact of what can be done about it. plastic crisis. For example, Tong says there’s also a plastic on the world’s oceans, Along the way, it accuses big Fearnley-Whittingstall travels to very clear format for War triggering a global debate and businesses, corrupt systems Malaysia to find mountainous On Plastic, giving it remake focusing the attention of policy and poor governance for the piles of supposedly recyclable potential. However, because makers on the issue. plastics crisis, and reveals some British plastics rotting on illegal Fearnley-Whittingstall is Two years on, the calls for appalling stats – such as the fact dumpsites, and local families a well-known personality something to be done have that the equivalent of a garbage suering from its toxic eects. internationally, finished only become louder as concern truck full of plastic is emptied Rani, meanwhile, confronts programme sales are Hat about plastic use become into the oceans every minute of organisations contributing Trick International’s focus in intertwined with growing fears every day. to the crisis and visits wet regions where it’s too costly about climate change. The four-parter is fronted wipe companies to ask why to produce the format. The Instead of revealing the by chef and campaigner Hugh they aren’t telling consumers programme has already been harmful eects of plastics on Fearnley-Whittingstall and about the plastic they contain. sold into Australia, Spain and our seas and marine animals, former Watchdog presenter She also joins young activists Iceland ahead of its launch at this campaigning BBC One Anita Rani. who are campaigning for MIPCOM.

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Unmasking Jihadi John: Anatomy Of A Terrorist Distributor: Entertainment One (eOne) Producers: Nutopia in association with Livedrop Media Broadcasters: HBO (US, Canada), Channel 4 (UK) Logline: The inside story of Mohammed Emwazi’s journey from an ordinary London boy to one of the most notorious terrorists of all time

It’s now five years since an Isis The range of interviewees cell carried out a spate of brutal assembled for the documentary beheadings in Syria, using social is impressive, including many media to distribute videos of the CIA, Pentagon and British hostage killings to an outraged intelligence operatives who were world. involved in the hunt for Emwazi, This single film tells the story as well as surviving hostages, of the leader of that cell, charting and those who knew him before how an ordinary London boy, he became notorious. Mohammed Emwazi, became What the film does Jihadi John, one of the most particularly well is reveal the The Real Prime Suspect CBS Reality series, produced by notorious and hunted terrorists process by which Emwazi, a shy, Distributor: Orange Smarty Monster Films. Her approach, in modern times. nervous and rather unpopular Producer: Monster Films says Briley, “gives the viewer a The documentary was made school boy in London, was Broadcaster: CBS Reality (UK) thoroughly authentic perspective by an accomplished team: One radicalised. “It’s a powerful Logline: The real-life inspiration on the crimes” and how the Strange Rock producer Nutopia reminder of the human cost behind Prime Suspect reveals perpetrators were caught and alongside Livedrop Media, run of fanaticism and the systems what it takes to solve a murder brought to justice. by the security correspondent that are built to combat it,” Many of the contributors of The Sunday Times, Richard says Noel Hedges, EVP of The Real Prime Suspect is aptly were initially very wary of Kerbaj (My Son The Jihadi), acquisitions at eOne, which is named. This 10-part true crime taking part, and have refused and triple BAFTA-winning handling international sales. series is led by Jackie Malton to be involved in crime shows director Anthony Wonke (Syria: Citing the commissioning – the first female detective in previously, says Brisley. But Children Of The Frontline). broadcasters, Channel 4 and the Flying Squad, a branch once the contributors had Together, they’ve crafted a HBO, Hedges says it is a film of the Serious and Organised spoken to Jackie and realised the film that tells the story of the rise that would appeal to premium Crime Command in London’s programmes were going to be and fall of Isis in Syria, and the pay-TV and public service Metropolitan Police Service. told from her perspective, they impact its ideology had in the broadcasters, but would equally An openly gay woman agreed. West – but through a particular work on a digital platform. “It detective who rose through Orange Smarty, led by Karen character, Emwazi, who became is a very impactful film with an the ranks of a very male police Young, is an associate producer the poster child for Isis’s brutal extremely powerful message and service, she was the inspiration on this series, which marks its regime. cinematic quality.” behind Helen Mirren’s character first significant investment in an in the acclaimed drama Prime original commission – a major Suspect by Lynda La Plante. trend among distributors. Malton is at the heart of this The sales firm has worldwide series, re-examining British and rights outside the UK, Republic American murder cases. She uses of Ireland, Africa and Poland, her list of contacts to get access where it is TXing on CBS to case files, and to interview the Reality. Deals have already been police and detectives at the heart made in Australia, New Zealand of each investigation, to reveal and Scandinavia. what it takes to solve a murder. Brisley says Orange Smarty Orange Smarty head of is looking to close deals with acquisitions Stella Briley says individual channels as well Malton’s grit, determination as pan-regional broadcasters and enquiring mind are on across Europe, Asia and North show in each episode of this America.

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Let’s Talk About Sex Distributor: Cineflix Rights Producer: Spelthorne Community Television Broadcaster: Channel 4 (UK) Logline: Unintentionally funny sex education videos are shown to parents and kids to get an uncensored take

As every kid and parent knows, there are few things more uncomfortable and embarrassing than having to talk together about where babies come from. Comedy archive series Let’s Cohen’s production company videos with their parents has already sold it to Australia’s SBS Talk About Sex taps right Spelthorne Community the potential to be hilarious and ahead of launch at MIPCOM. into this universal truth. It Television, this young-skewing memorable but crude if it goes “The beauty of this series presents some outrageous and three-parter debuted on Channel wrong. is that it works as both a unintentionally hilarious sex 4 in April with over one million “We wanted the format to finished tape sale and we see education videos of the past to viewers. be as funny as a sitcom yet as strong format potential as sex parents and kids – and then asks It’s one of Channel 4’s informative as a documentary education is a universal topic,” them for their take on them, top 10pm shows for 16 to and we had to find the archive says Laey. opening up conversations about 34-year-olds this year, according and the cast of adults and their Laey is hoping Cineflix contraception through to what to Cineflix Rights VP of teenage children who could can sell Let’s Talk About was considered ‘normal’ versus acquisitions Kate Laey. deliver that.” Sex as widely as it can, albeit the realities for kids today. She says getting the right tone She explains that Cineflix with caveats. “We will have Produced by Andrew to the series was crucial – having is currently exploring remake to take into consideration Newman and Sacha Baron teenagers watch sex education opportunities in the US and has local sensitivities,” she says.

Art Is For Everybody: e Legend Of Keith Haring original and new archive with a “Both films are set around Distributor: TVF International hip-hop aesthetic to try to mirror the same time in New York, Producer: BBC Studios the energy of his art and political and Haring and Basquiat were Broadcasters: BBC (UK), PBS (US) activism. close friends,” says TVF head Logline: A biopic of artist Keith Haring who blazed a trail in 1980s TVF, which also represents of acquisitions Will Stapley, New York before his untimely death from AIDS aged 31 Basquiat: Rage To Riches, who adds that while this is not helped raise financing for this a sequel to last year’s film, they Next year marks the 30th homeware items. Haring biopic to plug a shortfall complement each other well. anniversary of the death of US Art Is For Everybody: The in the production budget and to “The film is still in production artist Keith Haring, whose pop Legend Of Keith Haring is being fund an international version for so we will be taking this to art and gra¨ti-like work grew produced by Janet Lee at BBC distribution. MIPCOM as a pre-sale.” out of New York’s street culture Studios with the same team of the 1980s. that won the 2018 Specialist To mark the anniversary, the Factual BAFTA for Basquiat: BBC and PBS are co-producing Rage To Riches. They’ve had a single 53-minute film about access, via the Keith Haring this influential and popular Foundation, to a candid and artist whose life was cut short by moving conversation that AIDS at just 31, leaving behind Haring had with his biographer an iconic body of work that over a five-day period – and today is splashed across T-shirts, this provides the narrative drive music albums and all kinds of for the film, which combines

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How I Created A Cult #Anne Frank. Parallel Stories Distributor: TCB Media Rights Distributor: Nexo Digital Producer: Conscious Life Producers: 3D Produzioni and Nexo Digital, in collaboration with Broadcaster: n/a Anne Frank Fonds Basel Logline: An examination of the inner workings of a cult’s formation Broadcaster: n/a and growth through exclusive access to the founder Logline: Oscar-winning actress Helen Mirren retraces the life of Anne Frank through the pages of her diary, and five other women who How I Created A Cult TCB, the distributor invested survived the Holocaust is the latest project to be into the post-production of commissioned directly by the series. TCB commissioning distributor TCB Media Rights, editor Hannah Demidowicz without any broadcaster then worked closely with involvement. director Meagan Gibson and the Billed as a TCB Original, the Concious Life production team 3 x 60-minute documentary to craft the series editorially. charts the rise and fall of cult Explaining why TCB organisation EnlightenNext, invested in the project, Jimmy whose leader Andrew Cohen Humphrey, head of acquisitions seemed to have immense power and co-productions, says: “We over his followers before he realised that there’s an endless was outed by a number of them fascination into the inner- as emotional and physically machinations of cults, and with abusive. so many of his former followers The series draws from 60 talking to camera, a treasure It’s astonishing to think that The film is produced by 3D hours of original interviews trove of archive, and uniquely Anne Frank might still be alive Produzioni and Nexo Digital with students and victims, and a direct interview with Andrew today, had the horrors of the and, crucially, has been made more than 200 hours of archival himself, we felt this stood out Holocaust not cruelly cut short with the co-operation of the footage, alongside interviews from the other cult stories on the her life. Anne Frank Fonds Basel, the with Cohen himself. Along the market.” To mark what would have rights holder to Frank’s diary. way, it examines how a cult is Humphrey adds that the series been her 90th year (she was “The most important formed and grows, and sheds has a “premium feel” that can born in 1929), this Italian-made challenge has been to get the light on the power structures appeal to linear and non-linear 90-minute documentary tells the rights from the foundation to and control mechanisms used to broadcasters internationally. story of the Jewish teenager’s life use Anne Frank’s words,” says attract and keep followers. TCB represents worldwide through the pages of her diary, Nexo Digital’s head of sales The show was originally rights for the series. He says an a text that has made the tragedy Veronique Commelin. Citing the pitched to TCB by Spring Films, announcement about the project of Nazism known to millions of participation of Mirren, as well who had been developing the earlier this summer has sparked readers all over the world. as the five Holocaust survivors, project with online platform interest: “We’ve deliberately Frank’s story is intertwined Commelin explains that “few Conscious Life. With footage been holding material back to with that of five Holocaust projects about the subject have largely shot and archive fully do a proper exclusive launch at survivors, who were teenage received such endorsement”. sourced by the time it came to MIPCOM.” girls just like her: Arianna #Anne Frank. Parallel Stories Szörenyi, Sarah Montard, Helga will have a limited theatrical Weiss and sisters Andra and release in the US, Canada, Tatiana Bucci. the UK and Australia from British actress Helen Mirren October 2019. Nexo Digital is retraces Frank’s story through looking to sell the documentary the words in her diary. The worldwide at MIPCOM, except set is a reconstruction of her for a handful of territories hiding room in Amsterdam. where it has already sold: Meanwhile, o set, a young the Netherlands, Belgium, actress (Martina Gatti) Russia, Israel, Italy and Spain. introduces the places that were Commelin bills it as a “potential part of Frank’s short life and her prime-time show” on major TV feelings. channels and SVOD platforms.

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e Movies Distributor: Kew Media Distribution Producers: The Playtone Company and Herzog & Company Broadcaster: CNN (US) Logline: A history of American Photo: Warner Bros. /Photofest cinemas, as told by some of its biggest on and off-screen stars

There have been many TV series documenting the history of the cinema, but few have come with as many high-profile contributors as this CNN Original series. in this Hollywood highlights reel “Through Emmy-winning over six episodes in a rather Coming from executive are industry luminaries such as producers Herzog & Company random order of decades. producers Tom Hanks, Gary Steven Spielberg, Julia Roberts, and the Playtone Company, they It started with the Eighties, Goetzman and Mark Herzog Tim Burton, Cameron Crowe, have great access to talent.” highlighting films such as The – the team behind CNN Robert de Niro, Morgan Kew Media is handling sales Empire Strikes Back, E.T., miniseries The Decades – it Freeman, Ron Howard, Tom via an ongoing partnership with Back To The Future, When explores American cinema Hanks, Angelica Huston, CNN that sees the London- Harry Met Sally and Do The through the decades by Julianne Moore, Ridley Scott, headquartered distributor selling Right Thing, then in subsequent combining archive footage and Sharon Stone – and many more. five series produced with the episodes moved on to the interviews with leading actors, “It’s the definitive history of broadcaster. Nineties, the Aughties through directors, producers, critics and US major theatrical movies,” The series aired in July and to the present, then back to historians. says Kew Media EVP of sales August in the US, running in the Seventies, Sixties and The Among the interview subjects and distribution Jonathan Ford. two-hour weekly instalments Golden Age (1930s to 1950s).

Love Don’t Judge Distributor: Barcroft Studios Producer: Barcroft Studios Broadcaster: n/a Logline: A TV version of Barcroft’s online series about unconventional relationships

Having been a bite-sized hit My Mother, She’s My Wife”. on Snapchat, YouTube and Each episode sees one Facebook, Barcroft Studios are unconventional couple prepare supersizing Love Don’t Judge to declare their love for one into a 10 x 60-minute series for another at a public event. But television. first they must rally their friends Love Don’t Judge takes a and family to try to convince close look at ‘less traditional’ them to accept their relationship. own popular YouTube channel, says Morris. relationships. The titles of its Barcroft Studios’ chief creative could tell from its network’s It’s the latest Barcroft series short-form episodes give a o¨cer Alex Morris says Love digital insights that there was a to have been incubated online, good clue as to the kinds of Don’t Judge was developed strong audience demand for this following the success it has had relationships that are put under as an “inspiring and uplifting kind of show. “We produced with Extreme Love for WE tv the microscope: “I’m 23, He’s show” that features real couples this series to specifically in the US, which was developed 55 – But He’s Not My Sugar thriving despite the pressures leverage authentic emotion and from Barcoft’s short-form series Daddy”, “I Can Be Gay And of the outside world. Morris inspiration, areas where we see brand. Barcroft is selling the Muslim”, through to “She’s Not says Barcroft, which runs its huge audience response online,” series to a range of broadcasters.

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Factualp28-32 Hot Picks OctNov19MR RM.indd 32 02/10/2019 22:52 Genre: Talent Competition Show | Duration: 10 x 120’ NTV VISIT US AT MIPCOM, STAND R8.C9, RIVIERA 8 BROADCASTING Catalogue: www.keshetinternational.com Contact us: [email protected] @KeshetIntl | KeshetInternational | @KeshetInternational COMPANY

FormatspXX Keshet Drive Master OctNov19.indd 1 24/09/2019 09:54 SMART CHOICE SMART CONTENT

The Great Hotel Escape Paul O’Grady’s Little Heroes

The Trouble with Crossrail Stacey Meets the IS Brides Orange Smarty www.orangesmarty.com

TBIFormatspXX 09/19.indd Orange 1 Smarty OctNov19.indd 1 24/09/201925/09/2019 15:5214:47