Pourquoi Thierry Sorel rejoint La recommandation de Federation Entertainment la médiatrice du cinéma pour

Mouvement Federation, qui œuvre à la fois remplaçants du service public, L’ancien directeur de la fiction de dans la production et la ainsi que les autres diffuseurs. Je France 2 a pris ses fonctions au distribution, est en forte connais leurs responsables sein de la société de Pascal Breton et Lionel Uzan. croissance et a l’ambition de fiction, mais ce sera enrichissant devenir un studio européen car je vais ainsi voir comment ils H Thierry Sorel est nommé important dans les années qui travaillent. Leurs méthodes sont directeur de la fiction de viennent. sûrement différentes mais d’une certaine manière, nous parlons Federation Entertainment – un Quelles sont vos missions au sein de cette poste nouvellement créé au sein société ? le même langage, ce qui nous de la société de Pascal Breton et Il y en a deux principales. La fera gagner du temps, et je sais Lionel Uzan. Patron de la fiction première : m’occuper des séries que ce sont également des gens de France 2 de 2011 à 2016, internationales européennes – passionnés. Thierry Sorel, qui a quitté France ce qui va permettre de soulager Julien Fournier Télévisions en mai dernier, a Pascal Breton, en particulier contribué à relancer l’offre de dans la partie éditoriale. Ce séries de la chaîne publique et a travail sur les productions le mono-écran travaillé sur les succès Dix pour internationales (Europe, Israël) cent (Mother Production, Mon est l’un des piliers de mon poste. Institutionnel Voisin Productions), Candice Vous avez quitté France 2 alors que les Le groupe a déjà un bureau Laurence Franceschini a remis une recommandation sur les Renoir (Boxeur de Lune), fictions de la chaîne sont régulièrement américain, donc cette région des succès d’audience et que votre conditions d’exposition des films Disparue (Quad Télévision), politique semble porter ses fruits. n’entrera pas dans mon champ dans les cinémas ne disposant que Cherif (Making Prod) Les Pourquoi ce choix ? d’action. Nous travaillons avec d’un seul écran. Témoins (Cinétévé) ou encore Parce que après avoir travaillé un nombre très élevé de H Comme suite à l’accord sur les Chefs (Calt Production). Société vingt ans en télévision côté partenaires partout en Europe engagements de programmation chaînes, je ressentais l’envie de sous la forme de coproductions, de production et de distribution et de diffusion signé le 13 mai disposant de bureaux à Paris et à produire moimême des projets au sens large du terme. Mon 2016 par les professionnels du Los Angeles, Federation de fiction. D’autre part, le poste autre casquette sera d’initier cinéma lors du dernier Festival Entertainment coproduit de directeur de la fiction de mes propres productions au sein de Cannes, en présence de la notamment Le Bureau des France 2 est passionnant mais de Federation Entertainment, ministre de Culture, Audrey légendes (avec The Oligarchs assez complexe, avec une grosse qui seront portées par des Azoulay, et de la présidente du Productions, pour Canal+), The pression, le tout dans un auteurs français et diffusées sur CNC, Frédérique Bredin, la Collection (avec Lookout Point, contexte particulier marqué par des chaînes françaises. J’ai déjà médiatrice du cinéma a remis le Artis Pictures et MFP, pour des changements de direction une petite dizaine de projets, qui 1er septembre ses France 3) et a produit Marseille fréquents. Surtout, je l’ai vécu sont à des étapes diverses. Mon recommandations sur les pour Netflix. comme une mission et j’avais premier travail, c’est la conditions d’exposition des films l’impression d’être arrivé à rencontre avec des auteurs, dans les cinéma mono-salle. certains résultats. J’aurais pu avant d’aller voir les chaînes continuer, mais j’avais d’autres avec des séries à même de les Pour Laurence Franceschini, le envies professionnelles. séduire, et des équipes qui respect des objectifs de cet accord – qui sont d’assurer pour Qu’est-ce qui vous a incité à opter pour tiennent la route derrière – il Federation Entertainment ? faut arriver avec des projets tous les spectateurs une Il s’agit d’une entreprise jeune, maîtrisés pour que les diffuseurs meilleure diffusion des films, et portée par Pascal Breton qui, lui, voient où l’on veut aller. de permettre un accès à a une longue expérience de ce davantage d’œuvres, sur tout le Ces rencontres avec les chaînes vont être métier. Elle est très tournée vers un moment particulier pour vous… territoire – “passe par une l’international et, ce qui était Oui ! Ce sera étonnant, car j’ai meilleure prise en compte des important pour moi, c’est un été de l’autre côté pendant de spécificités des établissements groupe indépendant. C’est nombreuses années. Je vais mono-écran”. Elle souligne, dans également un gros challenge, car rencontrer mes homologues et certains cas, “des conditions d’exploitation excessives en cinématographiques dans une termes de durée ou de « plein zone concurrentielle”. programme » demandés par De plus, la médiatrice du cinéma certains distributeurs”. Le plein annonce “que les cinémas de très programme (ou plein écran) petite taille feront l’objet d’une désigne l’exploitation d’un film étude et d’une concertation plus sur le nombre maximum de approfondies avec les séances possibles, organisations professionnelles quotidiennement ou pendant dans la perspective de une semaine d’exploitation. l’élaboration d’une recommandation”. La médiatrice met ainsi en avant Rodolphe Casso la connaissance, de la part des exploitants, des pratiques et préférences de leur public “très “Le travail de développées dans le cas des promotion, cinémas de proximité” et suggère d’animation et que “le travail de promotion, d’accompagnement d’animation et d’un film doit être pris d’accompagnement d’un film en compte dans la diffusé sur un nombre réduit de négociation entre séances [puisse] constituer un élément qui doit être pris en l’exploitant et le compte dans la négociation entre distributeur.” l’exploitant et le distributeur”. Ce Laurence Franceschini, médiatrice du cinéma principe devant pouvoir, dans certains cas, contrebalancer le risation, existait une pratique faible nombre de séances. “extrêmement usitée” du partage de copie entre deux Partage de copie cinémas mono-écran de la Dans le cas d’une exploitation en même zone de chalandise lors plein écran pour des films de la semaine de sortie événementiels à très fort nationale et sans potentiel d’entrées, la médiatrice chevauchement horaire de avance que “cette exigence peut séances, et avance ainsi que ce être assouplie en fonction de la principe “pourrait être un moyen durée d’exposition du film sur de répondre aux exigences du plusieurs semaines, du nombre distributeur”. Une pratique qui maximal et de la répartition du offrirait donc à un film “une nombre de séances afin de exposition équivalente à celle ménager la possibilité d’insérer d’un plein programme tout en une ou plusieurs séances assurant une diversité de l’offre réservées à la diffusion d’un pour les spectateurs et un accès autre type de film, correspondant plus rapide aux films pour les à la ligne éditoriale du cinéma et exploitants”. visant à répondre à l’objectif de la diversité culturelle”. Dans le cas d’une zone A ce titre, Laurence Franceschini concurrentielle, ce principe devra rappelle que, avant l’ère de la faire l’objet d’une appréciation numé- “au cas par cas”. Laurence Franceschini avertit qu’elle sera “particulièrement attentive à ce que les conditions accordées aux monoécran dans une zone de concurrence très limitée ne préjugent pas de l’exposition de ces mêmes œuvres dans les établissements 7 septembre 2016 / Écran total n°1105

Federation hires ex-France 2 drama chief by Jesse Whittock, September 2, 2016

Paris-based Federation Entertainment has hired the former head of drama at France 2 to take on the same role at the internationally-focused producer- distributor. Thierry Sorel takes on the newly-created role, effective immediately, reporting to CEO Pascal Breton and managing director Lionel Uzan. Sorel left France 2 in July after ten years at pubcaster France Télévisions. He will be responsible for the company’s drama and comedy development. At France Télévisions-owned France 2, Sorel worked on high-end returning series such as Disparue, Accusé, Les Témoins (Witnesses) and Candice Renoir, and telemovies including Ne M’abandonne Pas and Presque Comme Les Autres. He joined France Télévisions in 2006, where he initially led youth programming for France 2. He became joint director of fiction of France 3 at 2008, where he was responsible for editing daily show PBLV and launched primetime series Village Français. He has also held senior positions at French networks Canal J and Tiji. He is now joining a production company that has quickly established itself as a major player in both the French and international markets, having been created by former Marathon Images drama chief Breton in September 2014. Its shows include Netflix’sMarseille and Franco-Finnish coproduction Bordertown, which is for YLE. “Thierry’s exceptional expertise and knowledge will add a strong component to our production operations, whilst providing a compelling creative force in Federation’s strategy to produce original programmes for the French and European markets, as well as consolidating further partnerships with independent producers who want to expand internationally,” said Breton.

Federation hires ex-France 2 exec

The former head of drama at France 2 has resurfaced at Paris- and LA-based film and TV studio Federation Entertainment.

Thierry Sorel Thierry Sorel, whose departure from France Télévisions was announced in May, will hold the same role at Federation. He will be responsible for developing the company’s fiction slate and will report to CEO Pascal Breton and MD Lionel Uzan.

Sorel was an executive at the French pubcaster for more than a decade and became director of drama at France 2 in 2011. He left in July.

During his time there, Sorel worked on series such as Disparue, Accusé, Les Témoins (aka Witnesses), Candice Renoir and 10% (aka Call My Agent!).

Prior to joining France Télévisions, Sorel held senior positions at French children’s networks Canal J and Tiji.

Since its formation in 2014 Federation has produced Netflix’s first original French production, Marseille, starring Gerard Depardieu, and coproduced shows including The Collection for Amazon Prime and Scandinavian crime thriller Bordertown.

September 20, 2016 Dramatic Pacts By Mansha Daswani Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.

Co-production may be the de-facto model for making high-end scripted programming today, but in a complex market where innovative financing approaches are essential, the very meaning of the term is in a state of flux.

“This word ‘co-pro’ has become so used and abused,” says Rola Bauer, the CEO of TANDEM Productions and head of U.S. TV production and co-production at STUDIOCANAL, who has been a pioneer in structuring deals for premium English-language drama. “I’m calling them international productions. Every country has their local productions, and the Americans are renowned and successful with their American productions. Then there’s all of us out there in the world who do not have the deep pockets of America and are trying to create international productions that also land very successfully in America.” There is no one-size-fits-all approach to co-production today, observes Carrie Stein, the executive VP of global production at Entertainment One (eOne). “We treat each project individually and on a case-by-case basis. When we find a piece of material that we all respond to, then we determine the best way to put it together commercially, financially and creatively.” By the simplest definition, a co-production is “two partners collaborating fully, creatively and editorially on a project, and then additional financing is made up from tax and location incentives, a distribution advance and maybe a presale,” explains Caroline Torrance, the head of scripted at Zodiak Rights. On that front, the slate at the company currently includes three high-profile titles: Versailles, a co- production between Zodiak Fiction, CAPA and Incendo; Rebellion, produced by Touchpaper for RTÉ with SundanceTV as a co-pro partner; and Occupied, a TV2 and ARTE co-pro from Yellow Bird.

“The other model that often gets called co-production but really isn’t co-production is where you’ve got one commissioning broadcaster, and you make up the rest of the funding with more presales rather than co-productions,” Torrance adds. “Sometimes all you need is a presale to de-risk the project, to help you get it over the line, rather than full-blown co-production partners.”

Both models are in play at Federation Entertainment, and each “has its own specificities and difficulties,” says Lionel Uzan, the company’s co-founder and managing director.

For example, the company is on board as a partner on the U.K./French co-pro The Collection, which has two primary broadcasters (Amazon Prime U.K. and France Télévisions) and a distributor (BBC Worldwide) involved, with Lookout Point taking the creative lead as the production house.

Federation brought in a portion of the budget through France Télévisions and public subsidies, Uzan says. Federation also serves as the “middleman” of sorts between France Télévisions and Lookout Point and contributed local expertise for the show, which is set in post-World War II Paris. “We helped a lot by bringing remarks and notes on the scripts, helping the U.K. part of the production to choose French actors, and we brought in some French talent, especially on the costume design.”

The other model, Uzan says, is when there is a single commissioning broadcaster and Federation helps the project “financially, creatively and in terms of distribution.” Such is the case with the Finnish drama Bordertown.

“The idea here is really not to [participate in the] creative too much,” Uzan says. “The producer is building the project around the requirements of the local broadcaster. We are not interested in changing the nature of the project. What’s interesting for us is the fact that it has local authenticity. We do a light-touch intervention on the creative side, trying to help the producer to understand how the international market works and what kinds of elements could be problematic for the international market.” At STUDIOCANAL, Bauer is looking at the slates of the company’s various creative outposts to determine if projects can be turned from local commissions into international productions. At Urban Myth in the U.K., for example, STUDIOCANAL brought in Netflix as a partner on the E4 commission Crazy Face. At RED Production Company, BBC America was brought in on Quatermass. “Instead of RED doing what they traditionally do—get their anchor network out of the U.K. market— we said, Let’s see if we can land your anchor network in the U.S.,” Bauer says. British production houses landing first-run commissions from American networks is certainly a new development in the fast-changing international drama business. And there are many more shifts under way.

WINDS OF CHANGE “The landscape has changed a lot over the last year—even in the last six months!” says Ruth Berry, the managing director of ITV Studios Global Entertainment (ITVS GE). “It’s a really competitive space. One of the big changes for us is around talent and channels wanting to understand who is involved [in a project] and their level of credentials.” As an example, Berry cites the ITV Encore and Hulu co- production Harlots from Monumental Pictures. The track record of executive producers Alison Owen and Debra Hayward was crucial, Berry says, as was the casting of Samantha Morton, Lesley Manville and Jessica Brown Findlay. “The ingredients are becoming key,” she explains. “There are so many great stories out there,” but networks and platforms want to be comforted that the execution will be spot-on. “Having more known about the quality of the people involved in the production is really helpful.” Also on the ITVS GE co-pro slate is Victoria, which stars Jenna Coleman and is being made with PBS’s Masterpiece by Poldark producer Mammoth Screen. For Liam Keelan, the director of scripted at BBC Worldwide, the biggest change in the co-pro business now is that “you have to be incredibly ambitious. The market is a lot more crowded; there’s a lot of really good product out there and the demand for A-list writers is greater than ever. You can’t do me-too drama in this market. You’ve got to raise the bar, you’ve got to make sure it feels as if it has the scale of other dramas out there. I’m not saying everything has to be like War & Peace. If it’s not like that, then you have to be telling a very individual story that feels like it hasn’t been told before. Something like Happy Valley doesn’t have the scale of a War & Peace, but it’s telling a story that taps into universal themes around crime, relationships, all those subject areas that sell well. It has to feel as if it’s got a very individual voice. Those are the kinds of things we’re looking for.” One project that Keelan mentions as being reflective of how the market has shifted is the aforementioned The Collection. “It’s something that we’re doing that feels completely new and fresh and that we wouldn’t have been doing a year or two ago. BBC Worldwide is the majority funder, it’s airing first on Amazon in the U.K. It’s kicked off an interesting and fruitful partnership with Amazon in terms of originated output from the U.K.”

SOMETHING NEW OTT platforms have become significant investors in original drama, but they’re not the only new players. There are networks across the globe that previously didn’t commission scripted now willing to pony up cash, sometimes as co-producers with creative input, often just as prebuyers, to land compelling shows.

“It’s fantastic that there are so many more places to go and so many more people to see,” Zodiak’s Torrance says. “I was recently in L.A. and New York, pitching various projects that we’d like to find partners for, and there are almost no channels that aren’t looking for a big scripted drama title.”

That development has changed the game for Keshet International (KI), which has made co-production a significant part of its overall scripted strategy. “When we first started in the international market with scripted in 2007, the Israeli-American connection was a very natural and easy one, obviously more on the remake side,” says Keren Shahar, KI’s COO and president of distribution, referencing the adaptation of Prisoners of War into Homeland. “Now we also see that on the co-pro side. And now that we have a U.K. production company, it’s very easy to talk to British partners and European partners in general. We’re currently talking to Belgian companies, German companies and French companies; be it producers, channels or SVOD platforms. We are also speaking to Latin American partners for co-production ideas.” KI’s biggest co-pro this year has been the British version of The A Word, commissioned by BBC One and co-produced with SundanceTV. It also has a pact with Telemundo with the view to co-producing a drama for the U.S. Hispanic broadcaster. “The world is now our playground,” Shahar says. Amelie von Kienlin, the senior VP of scripted acquisitions and co- productions at Red Arrow International, agrees, noting, “There are new countries opening up and everyone wants to have exclusive originals. The budgets for broadcasters are being reduced, and everyone is looking for alternatives to make the budgets bigger.” SHARED VISION Von Kienlin adds, however, that co-pros are not just about rounding out the budget. When determining who to partner with, there are plenty of other factors to take into consideration. “In the end, it has to be someone who really shares the vision, someone who helps to move the project forward. We value notes, because they offer a different perspective.” The caveat there, though, is ensuring that the creator’s original concept isn’t corrupted during the co-pro process.

“We start from the idea,” von Kienlin says. “We like to give the writer the freedom to work on a vision and define it before one goes out to partners. Otherwise, if you have too many partners from the beginning, it might get diluted. This is [a process] we chaperone.” Zodiak’s Torrance stresses that “you have to be driven by the creative of the project, not driven by the deal. It can be easy to get completely carried away with the deal, but then the partners involved are not on the same page creatively, and they don’t want the same thing. The creative has got to have a meeting of minds. If you don’t have that, then you’re doomed to failure at the start. And if you don’t have a really clear and honest conversation at the beginning about what you both want out of the partnership, then I don’t think it can work either.” For eOne’s Stein, the biggest thing that can go wrong in a co-pro is a “broken telephone (or email). Communication is key! [It’s important to] stay connected to broadcast and production partners and truly understand what it is about the show that they love; what will make it work for them commercially; and understand their development, financing and production processes and how best to work together to ensure mutual success. When you’re dealing with different countries, time zones and languages, it’s not always easy to connect on all the financial, creative and legal details that go into a series. My advice is to get ahead of it as much as possible by sitting down with all partners early on to make sure everyone wants the same show—and then go from there.”

KI has been thrilled with the experience it’s had so far with the BBC and SundanceTV on The A Word, which has been renewed by both broadcasters. “I have to say, all parties were extremely open to listening to everyone’s needs,” Shahar says. “The moment you have that, it becomes an easy and manageable discussion.” One key point of negotiation was windowing, Shahar notes. “As the distributor, we need to make sure that we can sell the series outside of the SundanceTV window as soon as possible. Although SundanceTV couldn’t launch when they initially wanted to, there weren’t any holdbacks. They realized that there were international considerations. It was a very civilized and calm discussion.” While partner broadcasters and distribution companies must all back the same vision for a co-pro to be successful, the producers themselves also have a central role to play in making sure the process runs smoothly. “It’s the producer’s responsibility to maintain the vision of what they’ve sold to the networks,” says STUDIOCANAL’s Bauer. “If they change it then the onus is on them to make sure everybody is on the same page.”

CAN WE CO-PRO? While the variety of projects on the market today would indicate that almost anything is fit for collaboration, there are some types of dramas that work better for co-production than others. “We would definitely look at every show individually,” ITVS GE’s Berry says. “They all have different appeal and different international reach and different editorial voices. There are ones where we say, Let’s keep this U.K. And there are other projects where we think, OK, on this project we all agree between us—the producer and the broadcaster—that a co-producing partner would be beneficial, financially and editorially. We’ll go find that partner who believes in the project the same way we do.”

Zodiak’s Torrance suggests that it helps to have “something that is relevant in both countries, so that means you’re often looking for well-known brands or subject matter that is known in many countries— like Versailles, for example.” Torrance adds that period drama, in general, is ripe for co-pro opportunities. What’s challenging, she notes, is co-producing “long-running returnable series. What can happen is, one country will air it, it’ll be a success, they want to do it again, but the other country hasn’t broadcast it yet, or they’re not in a position to be able to greenlight it yet. Having said that, we are doing Versailles, and that’s returning. So there are no rules.” Red Arrow’s von Kienlin, meanwhile, adds that sometimes a show that would be an unlikely co-pro contender ends up being an international success story. “If you look at Cleverman, this wouldn’t be the most obvious international co-production because it’s rooted very much in the indigenous mythology of Australia,” von Kienlin says of the Red Arrow-distributed show, commissioned by ABC in Australia and co-produced with SundanceTV. “But at the same time, the subject is unique, and it’s a world you’ve never seen on TV.”

KI’s Shahar has found that “people today are much more sensitive to [local resonance] when they hear pitches for co-production. It’s not just that we have a character named Marie in a French-Israeli co-pro. It needs to make sense and be organic.” Stein at eOne agrees, noting, “The best time to embark on a co-production is when it is truly organic to the material, and the story lends itself to the sensibilities of various markets and partners.” For her, eOne’s new show Ransom is an example of that. TF1 in France and Corus in Canada are co-producing, with CBS in the U.S. and RTL in Germany also on board to air the show. “The series is inspired by the renowned crisis negotiator Laurent Combalbert, who lives in Paris,” Stein explains. “His rights were acquired by Wildcats Productions, our French producing partners, who were looking to develop a project with TF1. As we began to develop the characters and story, our lead character’s ex-wife lived in Montreal with their daughter, so we made the decision to set our home office in Montreal. And suddenly it made sense to bring on a Canadian partner. The stories are set all over the world, so we knew the series would not only have global appeal, but we could shoot and post the series in Canada and France. The story naturally lent itself [to co-production].”

WIDE OPEN SPACES Even though some subjects and sub-genres tend to lend themselves better to co-pro than others, Zodiak’s Torrance has found that “there isn’t one type of drama that seems to be what people are looking for. There is so much flexibility and an openness to ideas.” ITVS GE’s Berry says that the company is exploring new opportunities in a number of markets, including Scandinavia. “There is still great talent out there,” Berry says, “and they’re also really keen to work internationally. We’re starting to work more with French production companies, who have access to a different talent pool.”

ITVS GE is also continuing to expand its American scripted business. Most recently it announced a pact with Little Engine. “They are fantastic producers who can work anywhere in the world, actually, and have got quite a lot of projects that could be grounded in Europe.” BBC Worldwide’s Keelan says that he is always looking for new partnerships, “whether it’s with writers we’ve not worked with before or packaging deals across SVOD and traditional linear broadcasters. Ultimately, it’s about getting ahold of the best IP. You’ve got to be very flexible. A couple of years ago it was, Let’s wait and see what’s coming down the track. Now we’ve got to be involved at the very outset. Producers will ask, When do you like to hear about things, is it when it’s about to be shot? No, absolutely not! It’s when you’ve got the germ of an idea. Something like McMafia, which we’re involved in with the BBC and Cuba Pictures, came from a germ of an idea. As soon as we started talking about it—not pitching it in a formal way, just talking very generally about it—there was such a buzz in the market. It felt new and completely fresh. The earlier you can be involved in these things, the better.” What everyone will be keeping their eye on in the months and years to come is how the U.K. exits the EU and what ramifications that will have on the co-pro sector. No one knows yet what it will mean for the movement of talent between countries. How British shows will be classified under European content quotas is unclear. Access to financing may change. For now, the mantra appears to be business as usual— until it’s not.

Federation Sets New Drama Post Kristin Brzoznowski 4 days ago Top Stories

PARIS: Federation Entertainment has appointed Thierry Sorel to the newly created role of head of drama.

Prior to joining Federation, Sorel was head of drama at France Télévisions network France 2, where he worked on returning series such asDisparue, Accusé, Les Témoins (a.k.a. Witnesses) and Candice Renoir. At Federation, he will be responsible for the development of the company’s fiction content, and will report to CEO Pascal Breton and Managing Director Lionel Uzan. Breton commented: “Thierry’s exceptional expertise and knowledge will add a strong component to our production operations, whilst providing a compelling creative force in Federation’s strategy to produce original programs for the French and European markets, as well as consolidating further partnerships with independent producers who want to expand internationally. He is a welcome addition to our team and will no doubt be a key asset.”

2nd September 2016 Up the Ladder: Federation Entertainment

Federation Entertainment has appointed French TV industry executive Thierry Sorel to the newly created role of head of Drama, effective immediately. Sorel will be responsible for the development of the company's fiction content, and will report to CEO, Pascal Breton and Managing Director, Lionel Uzan. Sorel was previously head of Drama at France Télévisions network France 2, where he worked on high-end returning series such as Disparue, Accusé, Les Témoins (aka Witnesses) and Candice Renoir. He also launched the hit TV series 10% (aka Call My Agent!) as well as TV movies Ne M'abandonne Pas, and Presque Comme Les Autres.

Federation Entertainment : arrivée de Thierry Sorel, ex-directeur de la fiction de France 2 Thierry Sorel, ancien directeur de la fiction de France 2, a rejoint Federation Entertainment au poste nouvellement créé de directeur de la fiction, a annoncé vendredi la société de production et de distribution fondée et présidée par le producteur Pascal Breton. Thierry Sorel sera ainsi en charge du développement de l'activité fiction et sera rattaché à Pascal Breton et Lionel Uzan, dg de l'entreprise en mai 2015. Thierry Sorel avait intégré France Télévisions en 2006, où il a dirigé l'unité jeunesse pour France 2. En 2008, il devient directeur adjoint de la fiction à France 3 où il était responsable du feuilleton d'access Plus belle la vie et du lancement de nouvelles séries de prime time dont Le village français. En janvier 2011, il prend la direction de la fiction de France 2 qu'il a quittée fin juillet. A la tête de cette unité pendant cinq ans, il compte notamment à son actif les séries Disparue, Accusé, Les témoins, Candice Renoir et Dix pour cent. Rappelons que Federation Entertainment, créée en 2014, produit notamment Marseille, première série française de Netflix ; la série d'espionnage Le bureau des légendes, pour Canal+ avec TOP-The Oligarchs Productions (Alex Berger et Eric Rochant) ainsi que la série internationale The Collection

(avec Lookout Point et MFP) pour France 3, Amazon Prime et BBC Worldwide. Federation Entertainment a des bureaux à Paris et Los Angeles.

 ACCUEIL  TÉLÉVISION  UN NOUVEAU POSTE POUR THIERRY SOREL Un nouveau poste pour Thierry Sorel Date de publication : 02/09/2016 - 09:17

L’ex directeur de la fiction de France 2 rejoint un poids lourd audiovisuel français.

© crédit photo : FTV

L’accès à cet article est réservé aux abonnés.

Federation Entertainment contrató a Thierry Sorel como Head of Drama El ejecutivo, ex France 2 (France Télévisions), será responsable del desarrollo de contenido de ficción de la compañía y reportará al CEO Pascal Breton y al Managing Director Lionel Uzan.

Thierry Sorel, Head of Drama de Federation Entertainment. Federation Entertainment contrató al ejecutivo de la industria televisiva francesaThierry Sorel para ocupar el recientemente creado rol de Head of Drama. Sorel será responsable del desarrollo de contenido de ficción de la compañía y reportará al CEO, Pascal Breton, y al Managing Director, Lionel Uzan. Thierry Sorel se une a Federation tras desempeñarse como Head of Drama del canal deFrance Télévisions France 2, donde trabajó en el desarrollo de exitosas series como “Disparue”, “Accusé”, “Les Témoins” y “Candice Renoir”, entre otros reconocidos proyectos. Pascal Breton comentó acerca de la designación: “La increíble experiencia y conocimiento de Thierry les va a agregar un componente fuerte a nuestras operaciones de producción, proporcionando al mismo tiempo una fuerza creativa convincente en la estrategia de Federation de producir programas originales para los mercados franceses y europeos, así como también consolidar sociedades con productores independientes que busquen expandirse internacionalmente”.

Federation Entertainment sumó nuevo head of drama 2016.09.02 | La productora y distribuidora Federation Entertainment (Francia) nombró a Thierry Sorel como nuevo Head of Drama, nueva área dentro de la compañía con la que busca incrementar el desarrollo de series dramáticas para el mercado local e internacional.

Thierry Sorel, nuevo head of drama en Federation Entertainment Proveniente de France Télévisions, el ejecutivo se desempeñó en el mimos cargo de France 2, canal emblema de la corporación pública francesa. En su nuevo rol será responsable para la creación y producción de contenido de ficción y reportará al CEO, Pascal Breton, y Managing Director, Lionel Uzan. ‘Su expertise y conocimiento en la industria nos agregará un componente valiosísimo a nuestras operaciones, al tiempo que proveerá una fuerza creativa a nuestro equipo. El objetivo es seguir generando series originales y gestando vínculos estratégicos en todo el mundo para el mercado francés y europeo, y global’, dijo Breton.

Nordic Noir gets a lighter Finnish

By DQ writer July 28, 2016 A new crime drama set on the border of Finland and Russia has ambitions to show the lighter side of Nordic Noir.

If you think of a television show that comes with the Nordic Noir label, it’s likely that series originally hails from Denmark or Sweden. The Killing, The Bridge, Jordskott and Wallander have each helped to build the global interest in Scandinavian drama. But Norway and Iceland have now also joined in, with Occupied and Trapped respectively – and now Finland is getting into the game.

Bordertown, known locally as Sorjonen, is a crime drama set in the town of Lappeenranta, close to the Finnish border with Russia.

It centres on chief investigator Kari Sorjonen (played by Ville Virtanen) who moves with his wife and teenage daughter to the small town to enjoy a more peaceful life. Their new life is far from idyllic, however, as the new police chief has to use his detective skills to investigate several murder cases and track down the serial killer who is tormenting the community – and he soon discovers the crimes are not only connected to each other but to his family as well.

Bordertown stars Ville Virtanen as Kari Sorjonen The 11-part series, due to air on Finnish broadcaster YLE in October, is produced by Fisher King Production and Federation Entertainment, with the latter distributing worldwide.

But while the standard-bearers of Nordic Noir mean the genre will always be associated with gritty landscapes and often brutal murders, Bordertown aims to bring out its lighter side, despite the serial killer plotline.

Fisher King producer Matti Halonen explains: “Very often Nordic Noir only tells the dark side of the story. We wanted to combine a warm family drama with a story that you want to follow through the season, combined with five different crimes that show the Nordic Noir elements.

“It’s important for us and YLE to have family at the centre of the story. Also, the fact the whole story is set on the border with Russia is not because we want to or do see them as a threat, which is normally used in a drama. In Bordertown, almost all the crimes come from the Finnish side.” Lionel Uzan

Halonen says Lappeenranta was a natural location for the story to be set, owing to the vast numbers of tourists and visitors that come from Russia across Finland’s eastern border.

“It felt for us that when we started to create the show, it was a natural place for it to be set,” he continues. “It’s the border of the Western world and Europe with Russia and the East – two different cultures, two different economies. It’s full of drama!”

Viewers always expect Russian characters to be the bad guys, notes Lionel Uzan, MD and co-founder of Federation. “But what we really loved when we read the scripts is everything has been turned around,” he says. “The bad guys are not who you think they are, the main character is not your typical crime noir character. So in the end you have a typical crime series from Scandinavia but with elements that are truly original.

“The risk when you have such a strong genre is to do the same thing over and over again. I’m sure some series are like that – just a redo from the previous killing. I don’t think that’s what Finland is bringing now.”

It’s those recognisable Nordic Noir clichés that Uzan says are potential pitfalls for any new series coming out of the region. How can they take the best from the genre and avoid treading on the toes of shows that have come before them?

“How do you reinvent or make it different? What Bordertown brings is family and crime, really mixed together. You haven’t seen that before, even in the great Scandi series.

“If you talk about the main characters of The Killing and other series like that, they’re very depressed, very dark. It always ends badly. Here, it’s not the same. The sergeant is totally original. He’s an offbeat character in the way he reacts with people and the way he acts with his family. He’s warm and very close to his family. It’s not a tough relationship that you’ve seen in lots of Scandi crime series.”

The Bordertown team hopes different elements of the show will appeal to different broadcasters. With five murders spanning the entire first season of the show, Uzan explains that the serialised story arc focusing on the family is complemented by the procedural, closed-ended police elements – a combination he says is attractive to both free TV and pay TV broadcasters that are interested in bringing Bordertown to audiences around the world.

“Even though it’s still violent, it’s got a wider approach,” he says. “It’s the family aspect that broadens its appeal. It’s almost as if different buyers can get different things out of the same show, which you don’t see very often. Very often you can say, ‘this is a pay TV show, this is a free TV show.’ Bordertown really works for both.”

The series was shot across 100 days, often employing two units at the same time to split the filming time in half depending on actors’ availability.

Discussing the look of the show, Halonen says writer/director Miikko Oikkonen wanted to create a TV series fit for the big screen. “We wanted it to have a cinematic look, which is much easier nowadays,” he explains. “We not only wanted a cinematic vision but exciting camera movements to support the drama. The cameras bring more to the drama, rather than take the audience away from it.”

Uzan adds: “You don’t often hear about composition of the image when you speak to series producers and creators. It’s usually narrative, narrative, narrative. But when you can also think about the composition, it’s the best of both worlds between movies and series. That’s something quite important, which helps you to be original and different. It’s production value that doesn’t cost a lot. When you think like a feature-film director, you can make something looks great without needing explosions and special effects. It’s about having a visual mind.”

With a second season already in development, viewers can look forward to revisiting Bordertown in 2017. Meanwhile, Fisher King and Federation will continue to work together to develop drama series for international audiences. “The audience right now is so sophisticated, they can feel if a series is authentic or not,” Uzan adds. “You cannot make a Europudding – if you do that, you’re dead. What we find interesting is that, more and more, language barriers are slowly diminishing. Wherever the project comes from and whatever the language, you have interest.

“I come from features where if you’re not in English, you’re art house, no matter what you do. That’s it. That’s the rule. But what’s interesting now in series is these barriers don’t exist anymore. Thanks to the platforms and catch-up services, so many people now have so much access to content that the audience gets more sophisticated. It’s almost a way to discover a new culture. It’s a virtuous circle where the more content is accessible to more people, the more they become sophisticated and the more they demand original content. That’s very interesting.”

Ollie & Moon conquer the Americas

The Ollie & Moon Show

A Latin American net and a Canadian broadcaster have joined Sprout in the US in acquiring forthcoming French animated series TheOllie & Moon Show. Discovery Kids Latin America and TVO in Canada have pre-bought the 52×11′ series, which comes from Paris-based firm Cottonwood Media, part of Federation Kids & Family.

The upper-preschool series follows a couple of curious, globe-trotting cats and is based on the children’s book of the same name by author and illustrator Diane Kredensor.

The pre-sales give the show, due for delivery in 2017, a presence across the Americas, while it has also been acquired by French pubcaster France Télévisions.

“The show teaches children the value of diversity, tolerance and cultural differences, which are important components of the world our young viewers live in today,” said Flavio Medeiros, director of programming and acquisitions for Discovery Kids Latin America.

‘Ollie & Moon Show’ Secures Pan- American Deals

Mercedes Milligan Sep 6th, 2016 No Comments yet

Kids content producer-distributor Federation Kids & Family and its sister production company Cottonwood Media announced two new pre-sales for animated preschool series The Ollie & Moon Show (52 x 11) to Discovery Kids Latin America and TVO Canada.

The new deals position Ollie & Moon in 25 more countries — including all the Americas and most English-speaking markets. Previous high-profile pre- sales for the original series include France Televisions (France) and NBC’s Sprout (US). The Ollie & Moon Show features a couple of curious, globe-trotting cats who take upper-preschool aged viewers along on their travels, introducing them to serendipity, the joys of unlikely friendships, and global citizenship. Through a blend of animated characters and live backgrounds, kids are immersed in vivid adventures around the world, discovering new food, languages, cities, customs and friends in a funny and engaging way. The series is based on the best-selling books written and illustrated by Diane Kredensor — an Emmy- winning artist, director and producer whose credits include Pinky and The Brain, Clifford the Big Red Dog and Word World. others. The show was developed in collaboration with Kredensor by Robert Vargas (Wonderpets, Henry Hugglemonster), and David Michel (Totally Spies!, Get Blake). Kredensor also serves as creative producer. Delivery is planned for 2017.

Pre-sales Announced for Cottonwood Media’s ‘The Ollie & Moon Show’ Federation Kids & Family announces pre-sales of animated preschool series to Discovery Kids Latin America and TVO Canada. By AWN Staff Editor | Tuesday, September 6, 2016 at 3:27pm

In 2D, Books, Cartoons, Television | ANIMATIONWorld, Headline News | Geographic Region: Europe

PARIS, FRANCE -- Federation Kids & Family and sister production company Cottonwood Media have announced two new pre-sales of their animated preschool series The Ollie & Moon Show (52 x 11) to Discovery Kids Latin America and TVO Canada. The new agreements will positionThe Ollie & Moon Show in 25 more countries, including all the Americas and most English speaking markets. Other pre-sales of the show include an A-list of international channels, including France Television (France) and NBC Sprout (US).

David Michel, Producer and Co-Founder of Federation Kids & Family and Cottonwood Media, added, “We couldn't find better homes for The Ollie & Moon Show. Discovery Kids and TVO mean high end, quality programing that brings out the curiosity in kids - and this is exactly what our show is aiming for!” The Ollie & Moon Show features a couple of curious, globe-trotting cats who drag their upper-preschool audience with them on their travels around the world introducing them to serendipity, the joys of unlikely friendships, and global citizenship. Kids are immersed in vivid adventures around the world – with all the fun that comes from discovering new food, language, cities, customs, and friends. Designed to show kids the world in a funny and engaging way, The Ollie & Moon Show is edutainment at its very best. Flavio Medeiros, Director of Programming and Acquisitions for Discovery Kids Latin America added, “The Ollie and Moon Show falls right in line with Discovery Kids’ mission to provide high quality programs that not only entertain but also educate children in a fun and engaging manner. Moreover, the show teaches children the value of diversity, tolerance and cultural differences, which are important components of the world our young viewers live in today.” “We are so thrilled that our two little cats have opened the door to these great broadcasters,” commented Monica Levy, Senior Vice President, Co-Production and Sales, Federation Kids and Family. “This really is a case of the perfect pairing of content and platform.”

Using a unique mix of animation (cats) and live action (backgrounds) The Ollie & Moon Show is based on the best-selling book series created by author and illustrator Diane Kredensor. Kredensor is an Emmy Award-winning artist, director and producer whose credits include Pinky and the Brain, Clifford the Big Red Dog and Word World, among others. The series was developed in collaboration with Kredensor by Robert Vargas (Word World, Wonderpets, Zack & Quack, and Henry Hugglemonster), and David Michel (Totally Spies!, Get Blake and Rekkit Rabbit). Kredensor also serves as creative producer. Delivery is planned for a 2017. Source: Federation Kids & Family

SCREEN Discovery Kids and TVO reel in Ollie & Moon Parisian distributor Federation Kids & Family has pre-sold The Ollie & Moon Show to Discovery Kids LATAM and Canada's TVO Kids. By Jeremy Dickson

September 6, 2016

New Paris-based distributor Federation Kids & Family has pre-sold Cottonwood Media’s animated preschool series The Ollie & Moon Show to Discovery Kids Latin America and TVO Kids in Canada. The deals expand the reach of the 52 x 11-minute series to an additional 25 countries, placing Ollie & Moon in most English-speaking markets. Other pre-sales have already been secured with France Télévisions and 24-hour US preschool channel Sprout. Based on the bestselling book series by author/illustrator Diane Kredensor (Pinky and the Brain, Clifford the Big Red Dog), The Ollie & Moon Show features 2D-animation on live-action backgrounds and follows the globetrotting educational adventures of two feline best friends. Cottonwood CEO and Federation Kids & Family producer and co-founder David Michel developed the series with Robert Vargas (Zack & Quack, Henry Hugglemonster) in collaboration with Kredensor, who also serves as creative producer. The Ollie & Moon Show is expected to launch in 2017. The pre-sales follow Cottonwood’s recent move into live-action with its first international live- action co-production Paris Opera.

Discovery Lat Am, TVO buy Cottonwood kids show by Jesse Whittock

September 5, 2016

Discovery Kids Latin America and Canada’s TVO have acquired The Ollie and Moon Show from distributor Federation Entertainment.

The deals mean the show, which comes from Federation sister firm Cottonwood Media, will be distributed in 25 new territories, including all of the Americas and most English-speaking markets. The animated preschool series follows a couple of globe-trotting cats, who discover the food, customs, cities and characters of places around the world. Flavio Medeiros, director of programming and acquisitions for Discovery Kids Latin America said: “The Ollie and Moon Show falls right in line with Discovery Kids’ mission to provide high quality programs that not only entertain but also educate children in a fun and engaging manner. Moreover, the show teaches children the value of diversity, tolerance and cultural differences, which are important components of the world our young viewers live in today.” The Ollie and Moon Show is based on a book series from Diane Kredensor, and was developed in collaboration with Robert Vargas (Zack & Quack) and Cottonwood co-founder David Michel.

The show was originally for Sprout in the US.

The Ollie & Moon Show to Air Across the Americas Joanna Padovano 4 days ago Top Stories

PARIS: Federation Kids & Family and Cottonwood Media have secured two new presales for the animated preschool program The Ollie & Moon Show, with Discovery Kids Latin America and TVO Canada. The Ollie & Moon Show follows two cats as they go on adventures around the world, teaching young viewers about serendipity, friendship and global citizenship along the way. The new deals will see the series airing in an additional 25 territories, including all of the Americas and most English-speaking markets. Delivery of the 52×11-minute book-based show, which uses a combination of animation and live action, is slated for 2017. David Michel, producer and co-founder of Federation Kids & Family and Cottonwood Media, remarked: “We couldn’t find better homes for The Ollie & Moon Show. Discovery Kids and TVO mean high-end, quality programming that brings out the curiosity in kids—and this is exactly what our show is aiming for!” Flavio Medeiros, the director of programming and acquisitions for Discovery Kids Latin America, noted: “The Ollie & Moon Show falls right in line with Discovery Kids’ mission to provide high-quality programs that not only entertain but also educate children in a fun and engaging manner. Moreover, the show teaches children the value of diversity, tolerance and cultural differences, which are important components of the world our young viewers live in today.” “We are so thrilled that our two little cats have opened the door to these great broadcasters,” added Monica Levy, the senior VP of co-production and sales at Federation Kids & Family. “This really is a case of the perfect pairing of content and platform.”

The Ollie & Moon Show se emitirá en las Américas Joanna Padovano Hace 19 horas Lo más destacado

PARÍS: Federation Kids & Family y Cottonwood Media han asegurado dos nuevas preventas para el programa de animación preescolar The Ollie & Moon Show, con Discovery Kids Latin America y TVO Canada. The Ollie & Moon Show sigue a dos gatos en sus aventuras alrededor del mundo, enseñando a los pequeños televidentes sobre el destino, amistad y ciudadanía global. Con los nuevos acuerdos, la serie se emitirá en 25 territorios adicionales, incluyendo en las Américas y la mayoría de mercados de habla inglesa. La entrega del show de 52 capítulos de 11 minutos de duración cada uno, que utiliza una combinación de animación y acción en vivo, está proyectada para el 2017. David Michel, productor y cofundador de Federation Kids & Family y Cottonwood Media, comentó: “No hemos podido encontrar a un mejor hogar para The Ollie & Moon Show. Discovery Kids y TVO significa programación de alta calidad que despierta la curiosidad en los niños, y esto es exactamente lo que quiere hacer nuestro show”. Flavio Medeiros, director de programación y adquisición de Discovery Kids Latin America, señaló: “The Ollie & Moon Show encaja con la misión de Discovery Kids de proveer programas de calidad que no sólo entretienen, sino que también educan a los niños en una forma divertida y atrayente. Además, el show enseña a los niños la diversidad, tolerancia y diferencias culturales, los cuales son componentes importantes del mundo donde viven nuestros pequeños actualmente”. “Estamos muy entusiasmados con nuestros dos gatos pequeños hayan entrado por las puertas de estas grandes televisoras”, agregó Monica Levy, VP sénior de coproducción y ventas de Federation Kids & Family. “Este realmente es una combinación perfecta entre contenido y plataforma”.

Cottonwood Media anuncia preventas en América Latina

Por @todotvnews el 08/09/2016

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De la mano de su compañía hermana Federation Kids & Family, la productora ha anunciado que su serie infantil The Ollie & Moon Show ha sido adquirida por Discovery Kids Latin America y por el canal canadiense TVO.

La productora y distribuidora de contenido premium para niños Federation Kids & Family, junto con su productora hermana Cottonwood Media han anunciado dos nuevas preventas de su serie preescolar animada The Ollie & Moon Show (52x11') para Discovery Kids Latin America y TVO de Canadá.

Estos nuevos acuerdos colocarán a la serie en 25 nuevos países, incluyendo todas las Américas y la mayoría de los mercados de habla inglesa.

The Ollie & Moon Show ya suma preventas en una lista de reconocidos canales internacionales, entre ellos France Télévisions (Francia) y NBC Sprout (EEUU).

David Michel, productor y cofundador de Federation Kids & Family y de Cottonwood Media, comentó: "No hemos podido encontrar mejores hogares para The Ollie & Moon Show. Discovery Kids y TVO significan programación de alta calidad, que despierta la curiosidad en los niños, y eso es exactamente lo que busca nuestra serie".

Por su parte, el director de Programación y Adquisiciones de Discovery Kids Latin America, Flavio Medeiros, añadió: "The Ollie & Moon Show encaja perfectamente con la misión de Discovery Kids, de ofrecer programas de alta calidad que no sólo entretengan, sino que también eduquen a los niños de una manera divertida y atractiva. Además, la serie enseña a los niños el valor de la diversidad, la tolerancia y las diferencias culturales, que son componentes importantes del mundo en el que viven nuestros jóvenes espectadores".

"Estamos muy emocionados de que nuestros dos pequeños gatos hayan abierto la puerta a estos grandes canales. Realmente, este es un caso de combinación perfecta entre contenidos y plataforma", dijo por su parte Mónica Levy, vicepresidenta sénior de Coproducción y Ventas de Federation Kids & Family, distribuidora de la serie.

Con una mezcla única de animación (gatos) y la acción en vivo (fondos), The Ollie & Moon Show sigue a dos gatos curiosos y trotamundos que recorren el planeta, descubriendo nuevos alimentos, lenguajes, ciudades, costumbres y amigos. Así, muestran el mundo de manera divertida e introducen a los niños en la casualidad, las alegrías de las amistades improbables y la ciudadanía global.

The Ollie & Moon Show está basada en la serie de libros best-sellers creada por la autora e ilustradora Diane Kredensor, ganadora del premio Emmy.

El estreno está previsto para 2017.

‘Ollie & Moon’ Heads to LatAm, Canada

Sep 08, 2016

By License! Global

Kids content producer and distributor Federation Kids & Family and Cottonwood Media has partnered with Discovery Kids Latin America and TVO Canada to air its new animated preschool series “The Ollie & Moon Show.”

“The Ollie & Moon Show” follows a couple of curious, globe-trotting cats who take their audience on their travels around the world, introducing them to the joys of unlikely friendships and global citizenship.

The series will also air on France Television and Sprout, among other networks.

COTTONWOOD MEDIA, DISCOVERY KIDS LATIN AMERICA, FEDERATION KIDS & FAMILY, THE OLLIE & MOON SHOW, TVO CANADA

“The Ollie & Moon Show” llega a América Latina y Canadá La productora y distribuidora Federation Kids & Family, junto a su compañía hermana, anunciaron dos pre-ventas de su serie para prescolares a Discovery Kids Latin America y TVO Canada.

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La productora y distribuidora Federation Kids & Family, junto a su compañía hermana, Cottonwood Media, anunciaron dos pre-ventas de su serie para prescolares “The Ollie & Moon Show” (52×11’) a Discovery Kids Latin America y TVO Canada. Con estos nuevos acuerdos, “The Ollie & Moon Show” conseguirá posicionarse en 25 países, incluyendo las Américas en su totalidad y la mayoría de los mercados de habla inglesa. Otras pre- ventas del show incluyen a algunos de los principales canales internacionales, como France Television (Francia) yNBC Sprout (Estados Unidos). David Michel, Producer y Co-Founder de Federation Kids & Family y Cottonwood Media, comentó:“No podríamos haber encontrado mejores hogares para ‘The Ollie & Moon Show’. Discovery Kids y TVO son sinónimos de programación de calidad que despierta la curiosidad de los chicos, y eso es exactamente el objetivo de este show”. Por su parte, Flavio Medeiros, Director of Programming and Acquisitions de Discovery Kids Latin America, expresó: “‘The Ollie & Moon Show’ está completamente en línea con la misión de Discovery Kids de ofrecer programas de calidad que no solamente sean entretenidos sino también educativos en una forma divertida. Este show le enseña a los niños los valores de la diversidad, la tolerancia y las diferencias culturales, componentes importantes del mundo en el que los jóvenes viven hoy en día”.

Federation Kids & Family anuncia nuevas ventas para The Ollie & Moon Show 2016.09.08 | La productora y distribuidora de contenido infantil Federation Kids & Family y Cottonwood Media confirmaron la preventa de la serie preescolar The Ollie & Moon Show (52x11’) a Discovery Kids Latin America y TVO (Canadá).

Con estos acuerdos, The Ollie & Moon Show alcanzará a 25 países en los cuales ha sido vendida, incluyendo Estados Unidos y la mayoría de los mercados de habla inglesa. Otras preventas incluyen France Television(Francia) y NBC Sprout (Estados Unidos). David Michel, productor y cofundador de Federation Kids & Family yCottonwood Media, comentó: ‘No podríamos encontrar mejores lugares para The Ollie & Moon Show que Discovery Kids y TVO, señales high end, con programación de calidad que incentivan la curiosidad de los más chicos’. Flavio Medeiros, director de programación y adquisiciones de Discovery Kids Latin America, agregó: ‘The Ollie and Moon va en perfecta sintonía con la misión de Discovery Kids de proveer programas de calidad que no solo entretengan sino que además eduquen a los chicos en una manera divertida e interactiva. El show enseña valores como la diversidad, la tolerancia y las diferencias culturales, componentes muy importantes en el mundo de los jóvenes de hoy en día’. ‘Estamos encantados de seguir abriendo puertas con estos dos adorables personajes y seguir sumando más y más broadcasters, comentó Monica Levy, SVP de coproducción y ventas de Federation Kids and Family, compañía hermana de Cottonwood y a cargo de la distribución del programa. ‘Se trata de la combinación perfecta entre de contenidos y plataformas. Con un mix de animación y live action, The Ollie & Moon Show sigue a un par de gatos curiosos, trotamundos que llevan a la audiencia preescolar con ellos en sus viajes por todo el mundo, conociendo nuevos amigos y presentando diversas culturas globales. Los niños están inmersos en aventuras en todo el mundo, con toda la diversión que viene de descubrir nuevos alimentos, el lenguaje, las ciudades, las costumbres y los amigos. La serie está basada en la saga de libros de Diane Kredensor, productora y directora ganadora de premios Emmy, cuyos créditos incluyen series animadas como Pinky y Cerebro, Clifford the Big Red Dogy Word World, entre otros. La serie fue desarrollada con la colaboración de Kredensor por Robert Vargas (Word World, Wonderpets, Zack & Quack, y Henry Hugglemonster), y David Michel (Totally Spies!, Get Blake y Rekkit Rabbit). Kredensor además ofició como productora creativa. El show será lanzado en 2017.

Publié dans Satellifax du jeudi 8 septembre 2016

Federation Entertainment : arrivée de Thierry Sorel, ex-directeur de la fiction de France 2 Thierry Sorel, ancien directeur de la fiction de France 2, a rejoint Federation Entertainment au poste nouvellement créé de directeur de la fiction, a annoncé vendredi la société de production et de distribution fondée et présidée par le producteur Pascal Breton. Thierry Sorel sera ainsi en charge du développement de l'activité fiction et sera rattaché à Pascal Breton et Lionel Uzan, dg de l'entreprise en mai 2015. Thierry Sorel avait intégré France Télévisions en 2006, où il a dirigé l'unité jeunesse pour France 2. En 2008, il devient directeur adjoint de la fiction à France 3 où il était responsable du feuilleton d'access Plus belle la vie et du lancement de nouvelles séries de prime time dont Le village français. En janvier 2011, il prend la direction de la fiction de France 2 qu'il a quittée fin juillet. A la tête de cette unité pendant cinq ans, il compte notamment à son actif les séries Disparue, Accusé, Les témoins, Candice Renoir et Dix pour cent. Rappelons que Federation Entertainment, créée en 2014, produit notamment Marseille, première série française de Netflix ; la série d'espionnage Le bureau des légendes, pour Canal+ avec TOP-The Oligarchs Productions (Alex Berger et Eric Rochant) ainsi que la série internationale The Collection (avec Lookout Point et MFP) pour France 3, Amazon Prime et BBC Worldwide. Federation Entertainment a des bureaux à Paris et Los Angeles.

 By: Cynopsis Media  September 6, 2016 |

GLOBAL GOINGS ON Endemol Shine Group musical game show The Big Music Quiz has sold to Germany’s RTL, launching in the fall. The show’s English-language debut in Australia won its time slot with 1.2 million viewers.

FremantleMedia International sold The Young Pope to MNET (Pan- Africa), HBO (Pan-CEE),BETV (Belgium), OTE TV (Greece) 365 (Iceland), Sky (New Zealand), Hot (Israel), TV 4(Sweden), Videoland (Netherlands) and Fox (Netherlands). First two episodes debuted Saturday at the 73rd Venice International Film Festival.

Federation Kids & Media and Cottonwood Media sold animated preschool series The Ollie & Moon Show to Discovery Kids Latin America and TVO Canada. Ollie & Moon features globe-trotting cats introducing kids to global citizenship.

Animated preschool series ‘The Ollie & Moon Show’ secures pan-America deal

September 7, 2016Animationanimated series, Animation, Cotoonwood Media, Discovery Kids, Discovery Kids Latin, Federation Kids & Family, The Ollie & Moon Show, TVO CanadaEmily Grace

Federation Kids & Family and sister production company Cottonwood Media have announced two new pre-sales of their animated preschool series ‘The Ollie & Moon Show’ to Discovery Kids Latin America and TVO Canada.

The new agreements will position The Ollie & Moon Show in 25 more countries, including all the Americas and most English speaking markets. Other pre- sales of the show include an A-list of international channels, including France Television (France) and NBC Sprout (US).

David Michel, Producer and Co- Founder of Federation Kids & Family and Cottonwood Media, added, “We couldn’t find better homes for The Ollie & Moon Show. Discovery Kids and TVO mean high end, quality programing that brings out the curiosity in kids – and this is exactly what our show is aiming for!”

The Ollie & Moon Show features a couple of curious, globe-trotting cats who drag their upper- preschool audience with them on their travels around the world introducing them to serendipity, the joys of unlikely friendships, and global citizenship. Kids are immersed in vivid adventures around the world – with all the fun that comes from discovering new food, language, cities, customs, and friends. Designed to show kids the world in a funny and engaging way, The Ollie & Moon Show is edutainment at its very best.

Flavio Medeiros, Director of Programming and Acquisitions for Discovery Kids Latin America added, “The Ollie and Moon Show falls right in line with Discovery Kids’ mission to provide high quality programs that not only entertain but also educate children in a fun and engaging manner. Moreover, the show teaches children the value of diversity, tolerance and cultural differences, which are important components of the world our young viewers live in today.”

“We are so thrilled that our two little cats have opened the door to these great broadcasters,” commented Monica Levy, Senior Vice President, Co-Production and Sales, Federation Kids and Family. “This really is a case of the perfect pairing of content and platform.”

Cottonwood Media’s The Ollie & Moon Show sold Across America Posted on 11 September 2016 Posted By: Cristina Angelucci Discovery Kids Latin America and TVO Join the Show.

Premium kids content producer and distributor Federation Kids & Family and sister production company Cottonwood Media announced two new pre-sales of their animated preschool series The Ollie & Moon Show (52 x 11) to Discovery Kids Latin America and TVO Canada. The new agreements will position The Ollie & Moon Show in a further 25 countries, including all the Americas and most English speaking markets. Other pre-sales of the highly original show include an A-list of international channels, including France Television (France) and NBC Sprout (US). David Michel, Producer and Co-Founder of Federation Kids & Family and Cottonwood Media, added, “We couldn’t find better homes for The Ollie & Moon Show. Discovery Kids and TVO mean high end, quality programing that brings out the curiosity in kids – and this is exactly what our show is aiming for!” The Ollie & Moon Show features a couple of curious, globe-trotting cats who drag their upper- preschool audience with them on their travels around the world introducing them to serendipity, the joys of unlikely friendships, and global citizenship. Kids are immersed in vivid adventures around the world – with all the fun that comes from discovering new food, language, cities, customs, and friends. Designed to show kids the world in a funny and engaging way, The Ollie & Moon Show is edutainment at its very best. Flavio Medeiros, Director of Programming and Acquisitions for Discovery Kids Latin America added: “The Ollie and Moon Show falls right in line with Discovery Kids’ mission to provide high quality programs that not only entertain but also educate children in a fun and engaging manner. Moreover, the show teaches children the value of diversity, tolerance and cultural differences, which are important components of the world our young viewers live in today.” The Ollie & Moon Show is distributed by Cottonwood’s sister company Federation Kids & Family. “We are so thrilled that our two little cats have opened the door to these great broadcasters,” adds Monica Levy, Senior Vice President, Co-Production and Sales, Federation Kids and Family. “This really is a case of the perfect pairing of content and platform.” Using a unique mix of animation (cats) and live action (backgrounds) The Ollie & Moon Show is based on the best-selling book series created by author and illustrator Diane Kredensor. Kredensor is an Emmy Award-winning artist, director and producer whose credits include Pinky and the Brain, Clifford the Big Red Dog and Word World, among others. The series was developed in collaboration with Kredensor by Robert Vargas (Word World, Wonderpets, Zack & Quack, and Henry Hugglemonster), and David Michel (Totally Spies!, Get Blake and Rekkit Rabbit). Kredensor also serves as creative producer. Delivery is planned for a 2017.

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SEP08 Ollie & Moon Show Gets Pan-American Agreements

Federation Kids & Family and Cottonwood Media announced 2 brand new pre-sales for the animated preschool series The Ollie & Moon Show to TVO Canada and Discovery Kids Latin America. The new deals bring Ollie & Moon in 25 more countries, which include all the Americas and most English-speaking markets. Earlier impressive pre-sales for the original series include NBC’s Sprout (US) and France Televisions (France). The series features a couple of globe-trolling, curious cats who take upper-preschool aged audience along on their travels and introduce the happiness of unlikely friendships, serendipity and global citizenship. By a mixture of live backgrounds and animated characters, children are engrossed in vibrant adventures all over the world, discovering languages, new food, customs, friends and cities in a amusing and engaging way. Ollie & Moon is based on the best-selling books illustrated and written by Diane Kredensor – an Emmy-winning director, artist and producer whose works include Clifford the Big Red Dog, Pinky and The Brain and Word World. The show was developed in partnership with Kredensor by Robert Vargas (Henry Hugglemonster, Wonderpets) and David Michel (Get Blake, Totally Spies!). Kredensor is also the creative producer of Ollie & Moon and is planned for delivery for 2017.

Televisa, Pol-ka, Federation, Laura Esquivel Team For ‘Love, Divina’ (EXCLUSIVE) John Hopewell Chief International Correspondent@john_hopewell

COURTESY: FEDERATION KIDS & FAMILY

SEPTEMBER 12, 2016 | 12:00AM PT Pol-ka, Televisa, Federation, Laura Esquivel Team For ‘Love, Divina’

Allying three of the key independent players in today’s teen TV space, Argentina’s Pol- ka, producer of Disney juggernauts “Violetta” and “Soy Luna,” is teaming with Mexican TV giant Televisa and Paris-based Federation Kids & Family to produce “Love, Divina,” a groundbreaking digital-age, pan-Latin American teen drama. “Love, Divina” toplines Laura Esquivel, an international tween-teen TV icon and pop star after telenovela smash hit “Patito Feo,” broadcast from 2008 and reversion for Mexico by Televisa. Its soundtrack produced five gold albums in Italy, Spain and Portugal and sold two million concert tickets.

Series writer is Mario Schajris, “Patito Feo” co-creator and co-writer.

Televisa and Federation Kids & Family will co-sell “Love, Divina,” focusing on territories where they have the strongest client base, said Federation Kids & Entertainment managing director David Michel. Televisa, for example, will sell Spain, Italy, Greece and Portugal, added Maca Rotter, exec director, Televise consumer products. The partners will start to deliver the show for distribution during Mipcom. Esquivel’s new daily teen series reflects a TV revolution. “Patito Feo’s” Argentine original had Argentine stars, Televisa’s makeover a Mexican key cast. Targeting a new, more globalized generation of TV viewers and an evolving TV landscape, “Love, Divina” will have just one version for the whole of Latin America, sporting characters with clear national accents. It will also be designed for both broadcast and digital distribution, with multiple digital spinoffs. “Love, Divina’’s” five-month shoot ends in the first week of November,

Televisa’s Blim, its pan-Latin American SVOD service, will bow “Love, Divina” in Latin America in January, said Rotter.

“Love, Divina” is a substantial addition to teen live-action entertainment, identified as a growth sector for independent production.

Teen series currently offer “a world of opportunities and ideas, way more than in the the adult space where we have really tried everything,” said Michel, crediting Amazon’s “quirky, different” shows for opening up the genre.

However, “Love, Divina’s” narrative mix of humor, music and drama, relies on more traditional interplay between social classes and aspirational drive.

Argentina’s Esquivel plays a teenager who dreams of becoming a singer, takes a gaggle of homeless kids under her wing and moves in with them to her long-lost affluent grandmother’s mansion. There, she meets Felipe, a Mexican, who becomes the love of her life as fast friendships and bitter rivalries flower between the mansion’s privileged family and newcomers.

“Televisa started creating tween and teen series 15 years ago said Rotter, citing 2004- 06’s “Rebelde,” a makeover of Cris Morena’s ‘Rebelde Way” in Argentina, as well as “Patito Feo.”

The teen drama series format “has been evolving with audiences since then, adding platforms and technology. Music and humor are the base of success everywhere, not just on TV, she added.

“We are not inventing anything new but we do have an enormous opportunity to open up new territories with quality products,” Rotter continued.

That said, Rotter argued that the keys to success are still the right balance between drama, music and humor for teens and adding the right partners

“Love, Divina” is most certainly made for the digital age.

Producers have set 60 episodes, the length of a short telenovela. But the drama will be divided into three digital-friendly dramatic arcs of of 20 segments, observing “the demand for content of different platforms, including VOD systems,’ said Rotter. The series has two production teams, one for traditional broadcast, another for digital. Songs will have three versions, for the screen, digital and records.

“With all the digital platforms you have now, younger audiences are used to seeing shows from Sweden, Italy, the U.S. or Brazil,” said Manuel Marti, Pol-ka head of development and international business, adding that the show would not disguise accents, though it would avoid local jargon.

Younger audiences are also more used to foreign locales. Shooting at Pol-ka’s studios in Buenos Aires plus multiple locations in the city, “Love, Divina’s” locations are “really upbeat and colorful, with the same color palette, giving a sense of make-believe or a fairy tale,” said Marti.

Aired 2012-15 on Disney Channel, and its first big Latin American teen drama production, the Pol-ka-produced “Violetta” was broadcast in over 140 countries, was a top 5 Disney franchise in Europe, and sold more than three million books, two million albums and one million diaries. Also Pol-ka produced, “Soy Luna” bowed in 40 countries, and was a top 10 album in France, Portugal and Spain.

“Between them, Pol-ka and Televisa have made a lot of the huge and only non-U.S. teen serials that really traveled internationally, period, and which have the right production values and work from the broadcast perspective and in terms of merchandising and licensing side. That’s why we wanted to partner with Pol-ka and Televisa,” said Michel.

Unlike animation, teen live action suffers less from competition from YouTube.

“If you look at free-of-charge YouTube, there is a lot of animation that is not produced for networks that you can watch all day,” Michel said.”

He added: “When you do drama, you don’t have this competition. There isn’t high production value drama on free-access YouTube or Dailymotion. It’s still an area where you can get these teens when they aren’t online. “

|N° 4795 – Jeudi 15 septembre 2016|p 05/14

Federation Kids & Family : coproduction du feuilleton jeunesse Love, Divina avec Televisa et Pol-ka

Federation Kids & Family (Federation Entertainment), dirigée par David Michel, s'est associée avec le groupe mexicain Televisa et la société argentine Pol-ka Producciones pour la coproduction d'un feuilleton quotidien pour jeunes,« imprégné de musique », Love, Divina (60 x 45'), ont annoncé les entreprises. Actuellement en production, la série est portée par Laura Esquivel, chanteuse et actrice argentine qui interprète le rôle principal de la telenovela Patito feo, diffusée sur Gulli sous le titre De tout mon cœur. Elle incarne Divina, adolescente ayant grandi sans famille, qui prend sous son aile un groupe d'enfants sans domicile.

Love, Divina se définit une production multi-plates-formes, avec un déploiement non seulement sur le linéaire, mais aussi sur le numérique, sur les réseaux sociaux et en contenus pour le second écran, précise le communiqué. Le feuilleton entamera sa diffusion sur Eltrece en Argentine en janvier, avant d'intégrer, au premier trimestre, Blim, la plate-forme de SVOD de Televisa, puis d'être diffusé sur « l'ensemble des plates-formes [du groupe], y compris Free TV au Mexique ». Il sera lancé sur le marché international durant le MipCom Junior (15-16 octobre à Cannes) avec la présentation du premier épisode. Les droits pour l'Europe seront gérés par Federation et Televisa, le groupe mexicain s'occupant par ailleurs du reste du monde.

Cette coproduction s'inscrit dans un domaine que connaissent bien Televisa et Pol-ka Producciones. Le premier a coproduit Patito feo, feuilleton diffusé « dans plus de 40 pays ». La société de production a, quant à elle, notamment travaillé avec Disney sur deux de ses séries phares : Violetta et Soy Luna. Les trois partenaires mettent aussi en avant le savoir-faire de David Michel en matière de séries enfants. Il s'est d'ailleurs engagé, à l'époque avec sa précédente société Cottonwood Media et aujourd'hui avec Federation Kids & Family, dans une première production en prises de vues réelles : Paris Opéra, série destinée aux jeunes, en coproduction avec ZDF et ZDF Enterprises (nos informations du 24 mars).

SCREEN Televisa, Pol-ka & Federation join in co-pro Multiplatform tween drama Love, Divina, from the maker of Disney hit Violetta, will debut on eltrece in Argentina and on Televisa’s BLIM in early 2017. By Wendy Goldman Getzler

September 12, 2016

Cameras have started to roll on Love, Divina, a new music-driven tween/teen drama series from Mexico City’s Televisa, Argentinian studio Pol-ka Producciones and Paris-based Federation Kids & Family. The 60 x 45-minute series features teen musician Laura Esquivel, star of Televisa’s Patito Feo, which currently airs in more than 40 countries. It follows the story of a kind teen named Divina who takes a group of homeless kids under her wing. The mysterious Irene, who turns out to be Divina’s long-lost grandmother eager to atone for past mistakes, gives them all a home in her mansion, saving them from social services. The series will launch next month at MIP Junior before debuting on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017. It will then broadcast on all of Televisa’s other platforms including Free TV (Mexico). European rights are managed by Federation and Televisa, and ROW by Televisa.

Pol-ka Producciones, the studio behind Disney tween series Violetta and Soy Luna, established various production units for Love, Divina that encompass linear, digital, social media and second- screen content. The series also marks the latest project for Federation Kids & Family, which is behind the upcoming daily teen drama Paris Opera in collaboration with ZDF and ZDF Enterprises. Federation Kids & Family formed last December as a distribution division of Federation Entertainment, with Cottonwood Media MD David Michel at the helm.

Televisa, Pol-ka, Federation Team Up for Love, Divina

MEXICO CITY/BUENOS AIRES/PARIS: Televisa, Pol-ka Producciones and Federation Kids & Family have started production on the music-infused daily teen drama Love, Divina.

The 60×45-minute show stars TV and pop star Laura Esquivel (Patito Feo). Love, Divina tells the story of a kind and conscientious teen named Divina who grew up without a family and secretly dreams of becoming a pop star. She takes a group of homeless kids under her wing, and Irene, who is actually Divina’s long-lost grandmother, takes all of them into her home. The series will launch at MIPJunior with episode one.

Televisa, Pol-ka, Federation Team Up for Love, Divina Sara Alessi 2 hours ago Top Stories

MEXICO CITY/BUENOS AIRES/PARIS: Televisa, Pol-ka Producciones and Federation Kids & Family have started production on the music-infused daily teen drama Love, Divina. The 60×45-minute show stars TV and pop star Laura Esquivel (Patito Feo). Love, Divina tells the story of a kind and conscientious teen named Divina who grew up without a family and secretly dreams of becoming a pop star. She takes a group of homeless kids under her wing, and Irene, who is actually Divina’s long-lost grandmother, takes all of them into her home. The series will launch at MIPJunior with episode one. Love, Divina will debut on eltrece in Argentina in January 2017. It will premiere on Televisa’s digital platform BLIM (Mexico and Latin America) in the first quarter of 2017, followed by broadcast on all of Televisa’s other platforms, including free TV in Mexico. European rights are managed by Federation and Televisa, and ROW by Televisa. “Teen audiences have become very demanding; they respond to real-life stories and are not an easy viewer to capture,” comments Maca Rotter, the managing director of Televisa consumer products. “Televisa started creating tween and teen series 15 years ago and has been evolving with the audiences ever since, adding platforms and technology, and perfecting the ideal mix of drama, music and humor, which is at the basis of our success.”

Manuel Marti, the director of international development and production at Pol-ka Producciones, added, “The challenge of this show has been to think of it as a multiplatform project, so we have had to establish and coordinate several production units for the linear, digital, social media and second- screen content. The result is a seamless narrative that exists on various platforms at the same time, providing different levels of engagement, and creating content that builds a new kind of relationship with the audience.”

“We are delighted to be partnering with such respected experts in the field of international tween series,” commented David Michel, the managing director of Federation Kids & Family. “With Love, Divina following on the heels of The Ollie & Moon Show, Federation Kids & Family is taking off as the newest player in production and distribution of kids’ premium content.”

Televisa, Pol-ka Producciones and Federation Kids & Family Start Production on LOVE, DIVINA

Posted on 12 September 2016 Posted By: Cristina Angelucci

Premium Daily Teen Drama Launches at next Mipcom Jr.

Televisa, Pol-ka Producciones and Federation Kids & Family have started production on LOVE, DIVINA (60 x 45 min), a music-infused daily teen drama starring TV and pop star Laura Esquivel (PATITO FEO). The maverick creative team combines its record-breaking successes and expertise across television, licensing and music, with the huge popularity and talent of Esquivel, to bring a new generation of premium teen drama to the international stage. All three co-production partners bring a singular level of tween and teen drama expertise to LOVE, DIVINA. Televisa’s co-production PATITO FEO, was broadcast in more than 40 countries, exceling both in TV ratings and Licensing. Teen icon and bestselling musician Esquivel helped the show’s soundtrack become a best-selling album, with five Platinum and five Gold albums in Italy, Spain & Portugal, and 2 million concert-tickets sold.

“Teen audiences have become very demanding, they respond to real life stories and are not an easy viewer to capture,”comments Maca Rotter, Managing Director of Televisa Consumer Products. “Televisa started creating tween and teen series 15 years ago and has been evolving with the audiences ever since, adding platforms and technology, and perfecting the ideal mix of drama, music and humor which is at the basis of our success.” Pol-ka Producciones’ vast expertise as a fiction studio has given the company national and international recognition, allowing it to establish strategic alliances with world renowned television networks, such as Disney. Pol-ka was the production studio for VIOLETTA and SOY LUNA, two of Disney’s most successful tween series, both of which became unprecedented global hits. Similarly, the romantic comedy ESPERANZA MÍA (produced by Pol-ka for eltrece) became a massive ratings success in Argentina, which led to the staging of the show in theaters with 70 sold-out live shows, and to its wide international distribution.

Manuel Marti, International Development & Production Director of Pol-ka Producciones, added, “the challenge of this show has been to think of it as a multi-platform project, so we have had to establish and coordinate several production units for the linear, digital, social media and second screen content. The result is a seamless narrative that exists on various platforms at the same time, providing different levels of engagement, and creating content that builds a new kind of relationship with the audience.” Federation Kids & Family Managing Director David Michel has produced and co-produced over 15 kids series, including the upcoming daily teen drama PARIS OPERA, a high budget co- production with ZDF and ZDF Enterprises.

“We are delighted to be partnering with such respected experts in the field of international tween series,” commentedDavid Michel, Managing Director of Federation Kids & Family. “With Love, Divina following on the heels of The Ollie & Moon Show, Federation Kids & Family is taking off as the newest player in production & distribution of kids premium content.” Launching at MIPCOM Jr. with a first episode, LOVE, DIVINA tells the story of a kind and conscientious teenager who grew up without a family. With a deep understanding of life on the streets, Divina takes a group of homeless kids under her wing. The mysterious Irene, who turns out to be her long lost grandmother eager to be close to Divina and atone for past mistakes, takes them all under her Mansion’s roof, saving them from social services. Divina, who secretly dreams of becoming a pop star, lives with her friends, side by side with Irene’s privileged family – including Felipe, the love of Divina’s life – forging fast new friendships alongside bitter new rivalries…

LOVE, DIVINA will debut on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017, followed by broadcast on all Televisa’s other platforms including Free TV (Mexico). European rights are managed by Federation and Televisa, and ROW by Televisa.

Televisa, Pol-ka y Federation Team se asocian para Love, Divina Sara Alessi Hace 1 hora Lo más destacado

CIUDAD DE MÉXICO/BUENOS AIRES/PARÍS: Televisa, Pol-ka Producciones y Federation Kids & Family han iniciado la producción del drama diario musical para adolescentes titulado Love, Divina. El show de 60 capítulos de 45 minutos de duración cada uno está protagonizado por Laura Esquivel (Patito feo). Love, Divina narra la historia de una amable y concientizada joven llamada Divina que creció sin familia y sueña en ser una estrella del pop. Ella toma a un grupo de niños de la calle bajo su cuido e Irene, quien es la abuela perdida hace mucho tiempo, los toma para vivir en su hogar. La serie se lanzará en MIPJunior con el primer capítulo. Love, Divina se lanzará por El Trece en Argentina en 2017. Debutará por blim, la plataforma digital de Televisa en México y América latina en el primer trimestre del próximo año, seguido por la emisión las plataformas restantes de Televisa, incluyendo televisión abierta en México. Los derechos europeos son manejados por Federation y Televisa, por el resto del mundo por Televisa. “Las audiencias adolescentes se han vuelto muy demandantes, responden a historias reales y no son televidentes fáciles de capturar”, comentó Maca Rotter, directora general de productos de consumo de Televisa. “Televisa comenzó a crear series para tweens y adolescentes hace 15 años y desde entonces, ha estado evolucionando con las audiencias, incorporando plataformas y tecnología, perfeccionando la mezcla ideal de drama, música y humor, el cual es la base de nuestro éxito”.

Manuel Marti, director de desarrollo y producción internacional de Pol-ka Producciones, agregó: “El reto de este show es de pensarlo como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, proveyendo diferentes niveles de interacción, y creando contenido que forja una nueva clase de relación con la audiencia”.

“Nos complace asociarnos con expertos tan respetados en el campo internacional de series para tweens”, comentó David Michel, director general de Federation Kids & Family. “Con Love, Divina siguiendo los pasos de The Ollie & Moon Show, Federation Kids & Family está arrancando como el jugador más nuevo en la producción y distribución de contenido infantil premium”.

Nico Franks

13-09-2016©C21Media

Televisa tunes into teen drama

Latin American broadcaster Televisa has partnered with the prodco behind Disney’s hit telenovela Violetta on a new music-related teen drama.

Love, Divina (60×45′) will be coproduced by Televisa and Pol-ka Producciones, which also produced romcom Esperanza Mía for the broadcaster, as well as Paris-based Federation Kids & Family.

The series features pop star Laura Esquivel as a kind and conscientious teenager who grew up without a family and dreams of being a pop star.

It will begin airing on El Trece in Argentina in January 2017 and on Televisa’s digital platform Blim across Latin America in the first quarter of 2017, before airing on Free TV in Mexico and various other Televisa-owned platforms.

“Teen audiences have become very demanding, they respond to real life stories and are not an easy viewer to capture,” said Maca Rotter, MD of Televisa Consumer Products.

Rotter added that the broadcaster has successfully targeted the demographic over the past 15 years by adapting to changes in technology and mixing drama, music and humour.

The first episode of the series will launch at MipJunior next month, with Federation Kids & Family managing distribution rights in Europe alongside Televisa.

Televisa and Federation to Distribute Love, Divina

Love, Divina by @todotvnews the 12/09/2016 The teen-drama produced by Pol-Ka and Televisa will be distributed internationally by the Mexican company together with the French Federation Entertainment.

Born as part of the alliance between Pol-Ka (Argentina) and Televisa (Mexico), which will see the coproduction of a total of four daily fictions during the four upcoming years, the teen dramaLove, Divina is gearing up for its international release in October.

Under this title it will make its international debut during Mipcom's upcoming edition, a market in which it will seek to secure first screen rights on the international market.

Furthermore, as reported by Variety this Monday, its international distribution will be in the hands of Televisa itself and the French company Federation Entertainment.

Thus, both companies will divide international regions as per their own strength. Televisa will be in charge of countries such as Spain, Italy, Greece and Portugal, and Federation will take on other territories, including France.

The show, in turn, has already secured its presence in Latin America thanks to a deal with Blim, in Argentina with El Trece and Mexico with Televisa.

Under the label of the Argentine production company Pol-Ka, which has produced Disney's hitsVioletta and Soy Luna, Love, Divina has the makings of a potential international success.

The series is headlined by Argentine actress Laura Esquivel, together with a cast of young Mexican talents such as Manuel Masalva. Nora Cárpena (Argentina) and Ingrid Martz, Harold Azuara and Ale Muller (Mexico) also star.

p 2/2

Shooting began on June and will come to an end in November. Mario Schajris, creator of Patito Feo, will write the scripts.

Synopsis

Divina is a young girl who has practically grown in the streets, and lives together with abandoned kids she has sworn to protect form a harsh reality. Faced with loosing what she loves the most, Divina will have no choice: she will hide the children in order to keep them together. But everything will change when she crosses paths with Irene, a millionaire lady with hidden intentions. - See more at: http://www.todotvnews.com/news/Televisa-y-Federation-to-distribute-love- divina.html#sthash.dl4phuVK.dpuf

Televisa, Pol-ka & Federation joins in for Love, Divina product

September 13, 2016Animation, ChannelsDisney, Federation Kids & Family, Love Divina,New Teen Drama Series, Pol-ka, Pol-ka Producciones, TelevisaEmily Grace

Premium Daily Teen Drama Launches at Mipcom Jr.

Cameras have started to roll on Love, Divina, a new music-driven tween/teen drama series from Mexico City’s Televisa, Argentinian studio Pol-ka Producciones and Paris-based Federation Kids & Family.

The 60 x 45-minute series features teen musician Laura Esquivel, star of Televisa’s Patito Feo, which currently airs in more than 40 countries.

It follows the story of a kind teen named Divina who takes a group of homeless kids under her wing. The mysterious Irene, who turns out to be Divina’s long-lost grandmother eager to atone for past mistakes, gives them all a home in her mansion, saving them from social services.

“Teen audiences have become very demanding, they respond to real life stories and are not an easy viewer to capture,” comments Maca Rotter, Managing Director of Televisa Consumer Products. “Televisa started creating tween and teen series 15 years ago and has been evolving with the audiences ever since, adding platforms and technology, and perfecting the ideal mix of drama, music and humor which is at the basis of our success.”

The series will launch next month at MIP Junior before debuting on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017. It will then broadcast on all of Televisa’s other platforms including Free TV (Mexico). European rights are managed by Federation and Televisa, and ROW by Televisa.

Pol-ka Producciones, the studio behind Disney tween series Violetta and Soy Luna, established various production units for Love, Divina that encompass linear, digital, social media and second-screen content.

The series also marks the latest project for Federation Kids & Family, which is behind the upcoming daily teen drama Paris Opera in collaboration with ZDF and ZDF Enterprises. Federation Kids & Family formed last December as a distribution division of Federation Entertainment, with Cottonwood Media MD David Michel at the helm.

Televisa, Pol-ka y Federation Kids & Family presentan nueva serie juvenilLove, Divina 2016.09.14 | Televisa (México), Pol-ka Producciones (Argentina) y Federation Kids & Family (Francia) han comenzado a rodar una nueva telenovela juvenil, Love, Divina (60x’45) con la protagonista de Patito Feo, Laura Esquivel, que se estrenará durante el primer trimestre de 2017 en eltrece (Argentina) y blim (México y Latinoamérica).

Love, Divina, nueva coproducción de Televisa, Pol-ka y Federation Kids & Family

Luego de esos estrenos le seguirán las demás plataformas de Televisa, incluida la TV abierta para México. Los derechos europeos son gestionados por Federation Kids & Family y Televisa, y los del resto del mundo, por Televisa. El primer episodio de Love, Divina se lanzará en MIPJunior. El gigante mexicano y la productora de ficción líder de Argentina ya han trabajado juntos en otros proyectos. Este primer proyecto es parte de un acuerdo que cerraron el pasado MIPTV para desarrollar tres series para la plataforma SVOD blim. Se suma Federation Kids & Family, división de la joven productora parisina Federation Entertainment, que aportará su experiencia y alcance europeo. Los tres socios aportan su experiencia en ficciones para adolescentes y preadolescentes.

Maca Rotter, directora general de Televisa Consumer Products, señaló: ‘El público adolescente se ha vuelto muy exigente: responde a historias de la vida real y no son televidentes fáciles de conquistar. Comenzamos a crear series para adolescentes y preadolescentes hace 15 años y hemos evolucionado junto con el público, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor, que es la base de nuestro éxito. La experiencia de Pol-ka como productora de ficción le ha dado a la compañía reconocimiento nacional e internacional, lo que le ha permitido establecer alianzas estratégicas como la que tiene con Disney, con quienes ha desarrollado varios proyectos. Los más recientes son las producciones juveniles Violetta y Soy Luna, dos de las series más exitosas de los últimos tiempos. De manera similar, la comedia romántica Esperanza Mía, coproducida por Pol-ka y Dori Media para eltrece de Argentina, se convirtió en un éxito masivo que lideró todos los ratings en ese país, lo que llevó a la presentación del programa en teatros, con 70 funciones en vivo totalmente agotadas, y a su amplia distribución a nivel internacional. Manuel Marti, gerente de Desarrollo y Negocios Internacionales de Pol-ka Producciones, añadió: ‘El desafío fue pensar este programa como un proyecto multiplataforma. Hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, lo que ofrece diferentes niveles de interacción y crea contenido que forja una nueva clase de relación con la audiencia’. David Michel, director general de Federation Kids & Family, ha producido y coproducido más de 15 series infantiles, incluida la próxima ficción diaria para adolescentes Paris Opera, serie de alto presupuesto desarrollada junto a ZDF y ZDF Enterprises (Alemania). ‘Nos complace asociarnos con expertos tan respetados en el campo internacional de series para preadolescentes. Siguiendo los pasos de The Ollie & Moon Show, con Love, Divina estamos tomando vuelo como el jugador más nuevo en la producción y distribución de contenido infantil premium’, señaló. Laura Esquivel, protagonista de Patito Feo, es un ídolo adolescente y gran cantante, y ayudó a que la banda sonora del programa se convirtiera en un éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. La serie, producida por Ideas del Sur (Argentina) y de la que Televisa produjo la versión Atrévete a Soñar, se emitió en más de 40 países y se destacó tanto en TV como en el número de licencias vendidas. Love, Divina cuenta la historia de una adolescente dulce y responsable que creció sin una familia. Con gran conocimiento de la vida en la calle, Divina toma a un grupo de chicos sin hogar bajo su cuidado. La misteriosa Irene, que resulta ser la abuela que perdió hace mucho tiempo y que ansía acercarse a Divina y reparar sus errores del pasado, lleva a todos ellos a vivir a su mansión y los rescata de los servicios sociales. Divina, que en secreto sueña con convertirse en una estrella pop, convive con sus amigos y con la pudiente familia de Irene (incluido Felipe, el amor de su vida) forjando rápidamente tanto nuevas amistades como nuevas e implacables rivalidades.

Televisa, Pol-ka y Federation Kids & Family producen la ficción para adolescentes Love, divina martes 13 de septiembre de 2016

Love, divina Televisa, Pol-ka Producciones y Federation Kids & Family comenzaron la producción de Love, divina (60x45´), ficción diaria musical para adolescentes, protagonizada por la estrella pop de TV Laura Esquivel (Patito feo).

“El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles”, comentó Maca Rotter, directora general de Televisa Consumer Products. “Televisa comenzó a crear series para adolescentes hace 15 años y ha evolucionado junto con el público, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor” señaló.

Manuel Martí, gerente de Desarrollo y Negocios Internacionales de Pol-ka Producciones, productora de los éxitos de Disney (Violetta y Soy Luna), dijo que “el desafío de este programa fue pensar en él como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, lo que ofrece diferentes niveles de interacción y crea contenido que forja una nueva clase de relación con la audiencia”.

El primer episodio se lanzará en Mipcom Jr., que debutará en Argentina por El trece en enero de 2017, y en la plataforma Blim de Televisa durante el primer trimestre de 2017, seguido por su emisión en las demás plataformas de Televisa, incluida la televisión abierta en México. Los derechos europeos son gestionados por Federation y Televisa, y los del resto del mundo, por Televisa.

Televisa lanzará programa juvenil

Esquivel, ídolo adolescente y exitosa cantante, ayudó a que la banda sonora del programa se convirtiera en un álbum éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. (ARCHIVO) Televisa, Pol-ka Producciones y Federation Kids Family comenzaron la producción de Love, Divina (60 x 45 min), una ficción diaria musical para adolescentes protagonizada por la estrella pop y de TV Laura Esquivel (Patito feo). El equipo creativo combina sus éxitos récord y su experiencia en el mundo de la televisión, las licencias y la música, con la popularidad y el talento de Esquivel, para llevar una nueva generación de ficción premium para adolescentes a nivel internacional. Los tres socios coproductores aportan a Love, Divina un nivel de experiencia único en lo que respecta a ficciones para adolescentes y preadolescentes. La coproducción de Televisa, Patito feo, se emitió en más de 40 países y se destacó tanto en el rating televisivo como en la cantidad de licencias vendidas. Esquivel, ídolo adolescente y exitosa cantante, ayudó a que la banda sonora del programa se convirtiera en un álbum éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. “El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles de conquistar”, comentó Maca Rotter, Directora General de Televisa Consumer Products. “Televisa comenzó a crear series para adolescentes y preadolescentes hace 15 años y ha evolucionado junto con el público desde ese momento, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor, que es la base de nuestro éxito”.

France prepares for a domestic production boom French broadcasters and indie prodcos gear up for more local production growth brought on by a recent overhaul of CNC grant regulations. By Jeremy Dickson

September 14, 2016 In the nearly eight months since France’s Centre National du Cinéma et de l’Image Animée (CNC) overhauled its grant regulations in an effort to boost domestic production, the country has been busy. French prodcos like Paris-based GO-N Productions and Xilam Animation have expanded their existing operations or opened new studios in the country, while broadcasters have upped their investment in original, local programming spurred on by the changes.

Key alterations to the funding structure, which had not been reformed in 10 years, include: CNC support for up to half of a company’s development costs for an original IP; increased funding from the CNC when local production costs exceed US$394,000 per hour; and a local tax credit hike from 20% to 25% on total French spend.

Regarding international co-productions, a French broadcaster’s share of a more expensive global collaboration has been dropped from 25% to 20% to qualify for the CNC grant. Additionally, the French investment must be balanced by international presales. The Tax Rebate for International Productions (TRIP) also rose from 20% to 30% of French spend.

According to David Michel, CEO of Paris-based Cottonwood Media (Squish, Ollie and Moon), the changes have had some immediate positive effects on new studios and animation schools, but for companies focused more on international business, like his, there are some limitations. “On the positive side, young production companies that might not have the cash flow to develop more projects can benefit. The changes are also great for the market as a whole, as you need this kind of money to help support an ecosystem of schools, talent and original domestic production,” Michel says.

“But as more studios open, it could result in higher labor costs, especially for the most talented animators. The system is also designed for producers to satisfy the domestic market first, so it really doesn’t lend itself to international co-productions. Seeing as Cottonwood is mostly focused on the international market with our existing IP, we won’t benefit as much from the new scheme, although our latest kids project, Flea Unleashed, will.” He adds that because France is one of the few markets outside of the US where there is still a high demand for local programming, the changes will put French broadcasters in a position to direct more resources to local commissions.

“It’s not that there shouldn’t be any more local shows; it’s just that the balance is going to be weighed heavily towards more local shows,” Michel says.

For France Télévisions, which currently invests US$33 million a year in local animation, plans are in the works to further increase its spend on local productions by the end of the year.

Tiphaine de Raguenel, head of children’s and head of programming for its dedicated kids channel France 4, says France Télévisions is close to renewing its budget with the French government for the next five years. And it will then look to secure an agreement to invest in local animation with French producers union SPFA.

“We don’t know what the exact impact of the CNC changes will be, but we are already seeing that some of the new series we’re investing in will be produced in France,” says Raguenel. “We do, however, suspect that there might be a little bit of pressure on the market in terms of hiring talent,” she notes. “There are great animation schools in France, but when the students graduate they are quite junior—which is fine, but studios will need senior animators, too.”

Corinne Kouper, co-founder of Parisian prodco TeamTO, says she agrees the market for talent will tighten up, but it won’t affect her company as much because of its established international reputation. In terms of service work, TeamTO has recently animated eOne’s PJ Masks, Disney’s Sofia the First and Ubisoft’s Rabbids Invasion, and has produced several original properties, including Angelo Rules, feature film Yellowbird and new series Take It Easy Mike. “We are a known studio now with a very cost-effective pipeline, so we won’t suffer too much from potential talent shortages,” Kouper says.

The company, which recently upgraded its Bourg-les-Valence location to an 11,000-square-foot facility housing 60% of the company’s 380 employees, made the decision to only produce animation in-house in France eight years ago. “We did not wait until the new funding system finally became more efficient for local production,” says Kouper.

Fellow Paris-based company Cyber Group Studios also made a commitment to animate the majority (about 85%) of its productions in France.

“Of the seven shows we are currently producing, we have only one where the animation is done abroad,” says CEO Pierre Sissman.”We made a decision three years ago to produce our big series such as Zorro, Zou and Mini Ninjas in France with a little bit of help from Canada because of the treaty.” And while Michel is uncertain about how the changes will benefit international co-pros, Kouper says the new TRIP tax credit increase, while not huge, will help make a difference together with the CNC changes. “If we didn’t have the knowledge of the new system coming, we wouldn’t have secured our recent deal with Activision Blizzard for Skylanders Academy,” says Kouper, adding that TeamTO’s 52 x 13-minute animated comedy My Knight and Me, a co-pro with Belgium’s Thuristar for Canal+ Family and Super RTL (Germany), also benefits from the new international scheme. Sissman agrees that the country’s tax scheme, coupled with France’s worldwide reputation for producing quality animation, will only help the industry.

“The additional tax credits and subsidies in France attract a lot of foreign producers that want to do co-pros with France,” he says. “So the changes are bringing additional opportunities to the existing producers not only to produce for French networks, but for international platforms, too, like Hulu, Disney, Nick or Turner, to name a few.”

Looking at co-pro and local options for Canal+, the French pay-TV network is still expecting to launch 10 original productions next year across Canal+ Famille, Teletoon+ and Piwi+.

“We need to be different to compete with the US broadcasters,” says Canal+ head of children’s programs Laurence Blaevoet. “And we have an obligation to produce about US$3.4 million in local animation per year.”

As for international co-productions, Blaevoet says the CNC changes won’t affect her channels’ guidelines that much. “If we find a nice co-pro, we’ll do it,” she says. “It’s better to have a big project than have a show that doesn’t get completed because the money runs out.” What might be a problem, she adds, is selling local shows internationally because the editorial line at Canal+ is very specific. “Our humor might not translate overseas, and even in France it’s difficult to find a second channel,” she says.

Sissman also recognizes the challenges that come with producing and selling local shows abroad. “French producers, even if they produce mostly for French networks, have to ask themelves if their shows are international enough to live outside the borders of France,” he says.

As for the sales side of the equation, the revamped rules will also impact French distributors as local indies and networks navigate the new landscape over the next few years.

According to Lionel Marty, head of sales for Nevision-owned shop About Premium Content (APC), the fact that work is staying in France is good news for the Parisian boutique financier and distributor.

“The producer will be able to control more of the production, and work with more French studios, making the work easier and raising the quality factor,” Marty says. “The way these productions will be financed will allow more spending in France, which is very positive for the market globally.”

He says the financing gap will probably be lower than it was a couple of years ago, now that producers are working with broadcasters under new CMC guidelines.

“The gap being lowered is positive for us. Some pre-sales will still be required because productions need to be at an international level, but APC Kids’ role is to not only be a distributor, but also help producers search for financing with pre-sales,” he says.

Televisa, Pol-ka, Federation, Laura Esquivel Team For ‘Love, Divina’ (EXCLUSIVE) John Hopewell Chief International Correspondent@john_hopewell

COURTESY: FEDERATION KIDS & FAMILY

SEPTEMBER 12, 2016 | 12:00AM PT Pol-ka, Televisa, Federation, Laura Esquivel Team For ‘Love, Divina’

Allying three of the key independent players in today’s teen TV space, Argentina’s Pol- ka, producer of Disney juggernauts “Violetta” and “Soy Luna,” is teaming with Mexican TV giant Televisa and Paris-based Federation Kids & Family to produce “Love, Divina,” a groundbreaking digital-age, pan-Latin American teen drama. “Love, Divina” toplines Laura Esquivel, an international tween-teen TV icon and pop star after telenovela smash hit “Patito Feo,” broadcast from 2008 and reversion for Mexico by Televisa. Its soundtrack produced five gold albums in Italy, Spain and Portugal and sold two million concert tickets.

Series writer is Mario Schajris, “Patito Feo” co-creator and co-writer.

Televisa and Federation Kids & Family will co-sell “Love, Divina,” focusing on territories where they have the strongest client base, said Federation Kids & Entertainment managing director David Michel. Televisa, for example, will sell Spain, Italy, Greece and Portugal, added Maca Rotter, exec director, Televise consumer products. The partners will start to deliver the show for distribution during Mipcom. Esquivel’s new daily teen series reflects a TV revolution. “Patito Feo’s” Argentine original had Argentine stars, Televisa’s makeover a Mexican key cast. Targeting a new, more globalized generation of TV viewers and an evolving TV landscape, “Love, Divina” will have just one version for the whole of Latin America, sporting characters with clear national accents. It will also be designed for both broadcast and digital distribution, with multiple digital spinoffs. “Love, Divina’’s” five-month shoot ends in the first week of November,

Televisa’s Blim, its pan-Latin American SVOD service, will bow “Love, Divina” in Latin America in January, said Rotter.

“Love, Divina” is a substantial addition to teen live-action entertainment, identified as a growth sector for independent production.

Teen series currently offer “a world of opportunities and ideas, way more than in the the adult space where we have really tried everything,” said Michel, crediting Amazon’s “quirky, different” shows for opening up the genre.

However, “Love, Divina’s” narrative mix of humor, music and drama, relies on more traditional interplay between social classes and aspirational drive.

Argentina’s Esquivel plays a teenager who dreams of becoming a singer, takes a gaggle of homeless kids under her wing and moves in with them to her long-lost affluent grandmother’s mansion. There, she meets Felipe, a Mexican, who becomes the love of her life as fast friendships and bitter rivalries flower between the mansion’s privileged family and newcomers.

“Televisa started creating tween and teen series 15 years ago said Rotter, citing 2004- 06’s “Rebelde,” a makeover of Cris Morena’s ‘Rebelde Way” in Argentina, as well as “Patito Feo.”

The teen drama series format “has been evolving with audiences since then, adding platforms and technology. Music and humor are the base of success everywhere, not just on TV, she added.

“We are not inventing anything new but we do have an enormous opportunity to open up new territories with quality products,” Rotter continued.

That said, Rotter argued that the keys to success are still the right balance between drama, music and humor for teens and adding the right partners

“Love, Divina” is most certainly made for the digital age.

Producers have set 60 episodes, the length of a short telenovela. But the drama will be divided into three digital-friendly dramatic arcs of of 20 segments, observing “the demand for content of different platforms, including VOD systems,’ said Rotter. The series has two production teams, one for traditional broadcast, another for digital. Songs will have three versions, for the screen, digital and records.

“With all the digital platforms you have now, younger audiences are used to seeing shows from Sweden, Italy, the U.S. or Brazil,” said Manuel Marti, Pol-ka head of development and international business, adding that the show would not disguise accents, though it would avoid local jargon.

Younger audiences are also more used to foreign locales. Shooting at Pol-ka’s studios in Buenos Aires plus multiple locations in the city, “Love, Divina’s” locations are “really upbeat and colorful, with the same color palette, giving a sense of make-believe or a fairy tale,” said Marti.

Aired 2012-15 on Disney Channel, and its first big Latin American teen drama production, the Pol-ka-produced “Violetta” was broadcast in over 140 countries, was a top 5 Disney franchise in Europe, and sold more than three million books, two million albums and one million diaries. Also Pol-ka produced, “Soy Luna” bowed in 40 countries, and was a top 10 album in France, Portugal and Spain.

“Between them, Pol-ka and Televisa have made a lot of the huge and only non-U.S. teen serials that really traveled internationally, period, and which have the right production values and work from the broadcast perspective and in terms of merchandising and licensing side. That’s why we wanted to partner with Pol-ka and Televisa,” said Michel.

Unlike animation, teen live action suffers less from competition from YouTube.

“If you look at free-of-charge YouTube, there is a lot of animation that is not produced for networks that you can watch all day,” Michel said.”

He added: “When you do drama, you don’t have this competition. There isn’t high production value drama on free-access YouTube or Dailymotion. It’s still an area where you can get these teens when they aren’t online. “

|N° 4795 – Jeudi 15 septembre 2016|p 05/14

Federation Kids & Family : coproduction du feuilleton jeunesse Love, Divina avec Televisa et Pol-ka

Federation Kids & Family (Federation Entertainment), dirigée par David Michel, s'est associée avec le groupe mexicain Televisa et la société argentine Pol-ka Producciones pour la coproduction d'un feuilleton quotidien pour jeunes,« imprégné de musique », Love, Divina (60 x 45'), ont annoncé les entreprises. Actuellement en production, la série est portée par Laura Esquivel, chanteuse et actrice argentine qui interprète le rôle principal de la telenovela Patito feo, diffusée sur Gulli sous le titre De tout mon cœur. Elle incarne Divina, adolescente ayant grandi sans famille, qui prend sous son aile un groupe d'enfants sans domicile.

Love, Divina se définit une production multi-plates-formes, avec un déploiement non seulement sur le linéaire, mais aussi sur le numérique, sur les réseaux sociaux et en contenus pour le second écran, précise le communiqué. Le feuilleton entamera sa diffusion sur Eltrece en Argentine en janvier, avant d'intégrer, au premier trimestre, Blim, la plate-forme de SVOD de Televisa, puis d'être diffusé sur « l'ensemble des plates-formes [du groupe], y compris Free TV au Mexique ». Il sera lancé sur le marché international durant le MipCom Junior (15-16 octobre à Cannes) avec la présentation du premier épisode. Les droits pour l'Europe seront gérés par Federation et Televisa, le groupe mexicain s'occupant par ailleurs du reste du monde.

Cette coproduction s'inscrit dans un domaine que connaissent bien Televisa et Pol-ka Producciones. Le premier a coproduit Patito feo, feuilleton diffusé « dans plus de 40 pays ». La société de production a, quant à elle, notamment travaillé avec Disney sur deux de ses séries phares : Violetta et Soy Luna. Les trois partenaires mettent aussi en avant le savoir-faire de David Michel en matière de séries enfants. Il s'est d'ailleurs engagé, à l'époque avec sa précédente société Cottonwood Media et aujourd'hui avec Federation Kids & Family, dans une première production en prises de vues réelles : Paris Opéra, série destinée aux jeunes, en coproduction avec ZDF et ZDF Enterprises (nos informations du 24 mars).

SCREEN Televisa, Pol-ka & Federation join in co-pro Multiplatform tween drama Love, Divina, from the maker of Disney hit Violetta, will debut on eltrece in Argentina and on Televisa’s BLIM in early 2017. By Wendy Goldman Getzler, September 12, 2016

Cameras have started to roll on Love, Divina, a new music-driven tween/teen drama series from Mexico City’s Televisa, Argentinian studio Pol-ka Producciones and Paris-based Federation Kids & Family. The 60 x 45-minute series features teen musician Laura Esquivel, star of Televisa’s Patito Feo, which currently airs in more than 40 countries. It follows the story of a kind teen named Divina who takes a group of homeless kids under her wing. The mysterious Irene, who turns out to be Divina’s long-lost grandmother eager to atone for past mistakes, gives them all a home in her mansion, saving them from social services.

The series will launch next month at MIP Junior before debuting on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017. It will then broadcast on all of Televisa’s other platforms including Free TV (Mexico). European rights are managed by Federation and Televisa, and ROW by Televisa.

Pol-ka Producciones, the studio behind Disney tween series Violetta and Soy Luna, established various production units for Love, Divina that encompass linear, digital, social media and second- screen content. The series also marks the latest project for Federation Kids & Family, which is behind the upcoming daily teen drama Paris Opera in collaboration with ZDF and ZDF Enterprises. Federation Kids & Family formed last December as a distribution division of Federation Entertainment, with Cottonwood Media MD David Michel at the helm.

Televisa, Pol-ka, Federation Team Up for Love, Divina

MEXICO CITY/BUENOS AIRES/PARIS: Televisa, Pol-ka Producciones and Federation Kids & Family have started production on the music-infused daily teen drama Love, Divina.

The 60×45-minute show stars TV and pop star Laura Esquivel (Patito Feo). Love, Divina tells the story of a kind and conscientious teen named Divina who grew up without a family and secretly dreams of becoming a pop star. She takes a group of homeless kids under her wing, and Irene, who is actually Divina’s long-lost grandmother, takes all of them into her home. The series will launch at MIPJunior with episode one.

Televisa, Pol-ka, Federation Team Up for Love, Divina Sara Alessi 2 hours ago Top Stories

MEXICO CITY/BUENOS AIRES/PARIS: Televisa, Pol-ka Producciones and Federation Kids & Family have started production on the music-infused daily teen drama Love, Divina. The 60×45-minute show stars TV and pop star Laura Esquivel (Patito Feo). Love, Divina tells the story of a kind and conscientious teen named Divina who grew up without a family and secretly dreams of becoming a pop star. She takes a group of homeless kids under her wing, and Irene, who is actually Divina’s long-lost grandmother, takes all of them into her home. The series will launch at MIPJunior with episode one. Love, Divina will debut on eltrece in Argentina in January 2017. It will premiere on Televisa’s digital platform BLIM (Mexico and Latin America) in the first quarter of 2017, followed by broadcast on all of Televisa’s other platforms, including free TV in Mexico. European rights are managed by Federation and Televisa, and ROW by Televisa. “Teen audiences have become very demanding; they respond to real-life stories and are not an easy viewer to capture,” comments Maca Rotter, the managing director of Televisa consumer products. “Televisa started creating tween and teen series 15 years ago and has been evolving with the audiences ever since, adding platforms and technology, and perfecting the ideal mix of drama, music and humor, which is at the basis of our success.”

Manuel Marti, the director of international development and production at Pol-ka Producciones, added, “The challenge of this show has been to think of it as a multiplatform project, so we have had to establish and coordinate several production units for the linear, digital, social media and second- screen content. The result is a seamless narrative that exists on various platforms at the same time, providing different levels of engagement, and creating content that builds a new kind of relationship with the audience.”

“We are delighted to be partnering with such respected experts in the field of international tween series,” commented David Michel, the managing director of Federation Kids & Family. “With Love, Divina following on the heels of The Ollie & Moon Show, Federation Kids & Family is taking off as the newest player in production and distribution of kids’ premium content.”

Televisa, Pol-ka Producciones and Federation Kids & Family Start Production on LOVE, DIVINA

Posted on 12 September 2016 Posted By: Cristina Angelucci

Premium Daily Teen Drama Launches at next Mipcom Jr.

Televisa, Pol-ka Producciones and Federation Kids & Family have started production on LOVE, DIVINA (60 x 45 min), a music-infused daily teen drama starring TV and pop star Laura Esquivel (PATITO FEO). The maverick creative team combines its record-breaking successes and expertise across television, licensing and music, with the huge popularity and talent of Esquivel, to bring a new generation of premium teen drama to the international stage. All three co-production partners bring a singular level of tween and teen drama expertise to LOVE, DIVINA. Televisa’s co-production PATITO FEO, was broadcast in more than 40 countries, exceling both in TV ratings and Licensing. Teen icon and bestselling musician Esquivel helped the show’s soundtrack become a best-selling album, with five Platinum and five Gold albums in Italy, Spain & Portugal, and 2 million concert-tickets sold.

“Teen audiences have become very demanding, they respond to real life stories and are not an easy viewer to capture,”comments Maca Rotter, Managing Director of Televisa Consumer Products. “Televisa started creating tween and teen series 15 years ago and has been evolving with the audiences ever since, adding platforms and technology, and perfecting the ideal mix of drama, music and humor which is at the basis of our success.” Pol-ka Producciones’ vast expertise as a fiction studio has given the company national and international recognition, allowing it to establish strategic alliances with world renowned television networks, such as Disney. Pol-ka was the production studio for VIOLETTA and SOY LUNA, two of Disney’s most successful tween series, both of which became unprecedented global hits. Similarly, the romantic comedy ESPERANZA MÍA (produced by Pol-ka for eltrece) became a massive ratings success in Argentina, which led to the staging of the show in theaters with 70 sold-out live shows, and to its wide international distribution.

Manuel Marti, International Development & Production Director of Pol-ka Producciones, added, “the challenge of this show has been to think of it as a multi-platform project, so we have had to establish and coordinate several production units for the linear, digital, social media and second screen content. The result is a seamless narrative that exists on various platforms at the same time, providing different levels of engagement, and creating content that builds a new kind of relationship with the audience.” Federation Kids & Family Managing Director David Michel has produced and co-produced over 15 kids series, including the upcoming daily teen drama PARIS OPERA, a high budget co- production with ZDF and ZDF Enterprises.

“We are delighted to be partnering with such respected experts in the field of international tween series,” commentedDavid Michel, Managing Director of Federation Kids & Family. “With Love, Divina following on the heels of The Ollie & Moon Show, Federation Kids & Family is taking off as the newest player in production & distribution of kids premium content.” Launching at MIPCOM Jr. with a first episode, LOVE, DIVINA tells the story of a kind and conscientious teenager who grew up without a family. With a deep understanding of life on the streets, Divina takes a group of homeless kids under her wing. The mysterious Irene, who turns out to be her long lost grandmother eager to be close to Divina and atone for past mistakes, takes them all under her Mansion’s roof, saving them from social services. Divina, who secretly dreams of becoming a pop star, lives with her friends, side by side with Irene’s privileged family – including Felipe, the love of Divina’s life – forging fast new friendships alongside bitter new rivalries…

LOVE, DIVINA will debut on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017, followed by broadcast on all Televisa’s other platforms including Free TV (Mexico). European rights are managed by Federation and Televisa, and ROW by Televisa.

Televisa, Pol-ka y Federation Team se asocian para Love, Divina Sara Alessi Hace 1 hora Lo más destacado

CIUDAD DE MÉXICO/BUENOS AIRES/PARÍS: Televisa, Pol-ka Producciones y Federation Kids & Family han iniciado la producción del drama diario musical para adolescentes titulado Love, Divina. El show de 60 capítulos de 45 minutos de duración cada uno está protagonizado por Laura Esquivel (Patito feo). Love, Divina narra la historia de una amable y concientizada joven llamada Divina que creció sin familia y sueña en ser una estrella del pop. Ella toma a un grupo de niños de la calle bajo su cuido e Irene, quien es la abuela perdida hace mucho tiempo, los toma para vivir en su hogar. La serie se lanzará en MIPJunior con el primer capítulo. Love, Divina se lanzará por El Trece en Argentina en 2017. Debutará por blim, la plataforma digital de Televisa en México y América latina en el primer trimestre del próximo año, seguido por la emisión las plataformas restantes de Televisa, incluyendo televisión abierta en México. Los derechos europeos son manejados por Federation y Televisa, por el resto del mundo por Televisa. “Las audiencias adolescentes se han vuelto muy demandantes, responden a historias reales y no son televidentes fáciles de capturar”, comentó Maca Rotter, directora general de productos de consumo de Televisa. “Televisa comenzó a crear series para tweens y adolescentes hace 15 años y desde entonces, ha estado evolucionando con las audiencias, incorporando plataformas y tecnología, perfeccionando la mezcla ideal de drama, música y humor, el cual es la base de nuestro éxito”.

Manuel Marti, director de desarrollo y producción internacional de Pol-ka Producciones, agregó: “El reto de este show es de pensarlo como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, proveyendo diferentes niveles de interacción, y creando contenido que forja una nueva clase de relación con la audiencia”.

“Nos complace asociarnos con expertos tan respetados en el campo internacional de series para tweens”, comentó David Michel, director general de Federation Kids & Family. “Con Love, Divina siguiendo los pasos de The Ollie & Moon Show, Federation Kids & Family está arrancando como el jugador más nuevo en la producción y distribución de contenido infantil premium”.

Nico Franks

13-09-2016©C21Media

Televisa tunes into teen drama

Latin American broadcaster Televisa has partnered with the prodco behind Disney’s hit telenovela Violetta on a new music-related teen drama.

Love, Divina (60×45′) will be coproduced by Televisa and Pol-ka Producciones, which also produced romcom Esperanza Mía for the broadcaster, as well as Paris-based Federation Kids & Family.

The series features pop star Laura Esquivel as a kind and conscientious teenager who grew up without a family and dreams of being a pop star.

It will begin airing on El Trece in Argentina in January 2017 and on Televisa’s digital platform Blim across Latin America in the first quarter of 2017, before airing on Free TV in Mexico and various other Televisa-owned platforms.

“Teen audiences have become very demanding, they respond to real life stories and are not an easy viewer to capture,” said Maca Rotter, MD of Televisa Consumer Products.

Rotter added that the broadcaster has successfully targeted the demographic over the past 15 years by adapting to changes in technology and mixing drama, music and humour.

The first episode of the series will launch at MipJunior next month, with Federation Kids & Family managing distribution rights in Europe alongside Televisa.

Televisa and Federation to Distribute Love, Divina

Love, Divina by @todotvnews the 12/09/2016 The teen-drama produced by Pol-Ka and Televisa will be distributed internationally by the Mexican company together with the French Federation Entertainment.

Born as part of the alliance between Pol-Ka (Argentina) and Televisa (Mexico), which will see the coproduction of a total of four daily fictions during the four upcoming years, the teen dramaLove, Divina is gearing up for its international release in October.

Under this title it will make its international debut during Mipcom's upcoming edition, a market in which it will seek to secure first screen rights on the international market.

Furthermore, as reported by Variety this Monday, its international distribution will be in the hands of Televisa itself and the French company Federation Entertainment.

Thus, both companies will divide international regions as per their own strength. Televisa will be in charge of countries such as Spain, Italy, Greece and Portugal, and Federation will take on other territories, including France.

The show, in turn, has already secured its presence in Latin America thanks to a deal with Blim, in Argentina with El Trece and Mexico with Televisa.

Under the label of the Argentine production company Pol-Ka, which has produced Disney's hitsVioletta and Soy Luna, Love, Divina has the makings of a potential international success.

The series is headlined by Argentine actress Laura Esquivel, together with a cast of young Mexican talents such as Manuel Masalva. Nora Cárpena (Argentina) and Ingrid Martz, Harold Azuara and Ale Muller (Mexico) also star.

p 2/2

Shooting began on June and will come to an end in November. Mario Schajris, creator of Patito Feo, will write the scripts.

Synopsis

Divina is a young girl who has practically grown in the streets, and lives together with abandoned kids she has sworn to protect form a harsh reality. Faced with loosing what she loves the most, Divina will have no choice: she will hide the children in order to keep them together. But everything will change when she crosses paths with Irene, a millionaire lady with hidden intentions. - See more at: http://www.todotvnews.com/news/Televisa-y-Federation-to-distribute-love- divina.html#sthash.dl4phuVK.dpuf

Televisa, Pol-ka & Federation joins in for Love, Divina product

September 13, 2016Animation, ChannelsDisney, Federation Kids & Family, Love Divina,New Teen Drama Series, Pol-ka, Pol-ka Producciones, TelevisaEmily Grace

Premium Daily Teen Drama Launches at Mipcom Jr.

Cameras have started to roll on Love, Divina, a new music-driven tween/teen drama series from Mexico City’s Televisa, Argentinian studio Pol-ka Producciones and Paris-based Federation Kids & Family.

The 60 x 45-minute series features teen musician Laura Esquivel, star of Televisa’s Patito Feo, which currently airs in more than 40 countries.

It follows the story of a kind teen named Divina who takes a group of homeless kids under her wing. The mysterious Irene, who turns out to be Divina’s long-lost grandmother eager to atone for past mistakes, gives them all a home in her mansion, saving them from social services.

“Teen audiences have become very demanding, they respond to real life stories and are not an easy viewer to capture,” comments Maca Rotter, Managing Director of Televisa Consumer Products. “Televisa started creating tween and teen series 15 years ago and has been evolving with the audiences ever since, adding platforms and technology, and perfecting the ideal mix of drama, music and humor which is at the basis of our success.”

The series will launch next month at MIP Junior before debuting on eltrece (Argentina) in January 2017 and Televisa’s digital platform BLIM (Mexico and LatAm) in the first quarter of 2017. It will then broadcast on all of Televisa’s other platforms including Free TV (Mexico). European rights are managed by Federation and Televisa, and ROW by Televisa.

Pol-ka Producciones, the studio behind Disney tween series Violetta and Soy Luna, established various production units for Love, Divina that encompass linear, digital, social media and second-screen content.

The series also marks the latest project for Federation Kids & Family, which is behind the upcoming daily teen drama Paris Opera in collaboration with ZDF and ZDF Enterprises. Federation Kids & Family formed last December as a distribution division of Federation Entertainment, with Cottonwood Media MD David Michel at the helm.

Televisa, Pol-ka y Federation Kids & Family presentan nueva serie juvenilLove, Divina 2016.09.14 | Televisa (México), Pol-ka Producciones (Argentina) y Federation Kids & Family (Francia) han comenzado a rodar una nueva telenovela juvenil, Love, Divina (60x’45) con la protagonista de Patito Feo, Laura Esquivel, que se estrenará durante el primer trimestre de 2017 en eltrece (Argentina) y blim (México y Latinoamérica).

Love, Divina, nueva coproducción de Televisa, Pol-ka y Federation Kids & Family

Luego de esos estrenos le seguirán las demás plataformas de Televisa, incluida la TV abierta para México. Los derechos europeos son gestionados por Federation Kids & Family y Televisa, y los del resto del mundo, por Televisa. El primer episodio de Love, Divina se lanzará en MIPJunior. El gigante mexicano y la productora de ficción líder de Argentina ya han trabajado juntos en otros proyectos. Este primer proyecto es parte de un acuerdo que cerraron el pasado MIPTV para desarrollar tres series para la plataforma SVOD blim. Se suma Federation Kids & Family, división de la joven productora parisina Federation Entertainment, que aportará su experiencia y alcance europeo. Los tres socios aportan su experiencia en ficciones para adolescentes y preadolescentes.

Maca Rotter, directora general de Televisa Consumer Products, señaló: ‘El público adolescente se ha vuelto muy exigente: responde a historias de la vida real y no son televidentes fáciles de conquistar. Comenzamos a crear series para adolescentes y preadolescentes hace 15 años y hemos evolucionado junto con el público, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor, que es la base de nuestro éxito. La experiencia de Pol-ka como productora de ficción le ha dado a la compañía reconocimiento nacional e internacional, lo que le ha permitido establecer alianzas estratégicas como la que tiene con Disney, con quienes ha desarrollado varios proyectos. Los más recientes son las producciones juveniles Violetta y Soy Luna, dos de las series más exitosas de los últimos tiempos. De manera similar, la comedia romántica Esperanza Mía, coproducida por Pol-ka y Dori Media para eltrece de Argentina, se convirtió en un éxito masivo que lideró todos los ratings en ese país, lo que llevó a la presentación del programa en teatros, con 70 funciones en vivo totalmente agotadas, y a su amplia distribución a nivel internacional. Manuel Marti, gerente de Desarrollo y Negocios Internacionales de Pol-ka Producciones, añadió: ‘El desafío fue pensar este programa como un proyecto multiplataforma. Hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, lo que ofrece diferentes niveles de interacción y crea contenido que forja una nueva clase de relación con la audiencia’. David Michel, director general de Federation Kids & Family, ha producido y coproducido más de 15 series infantiles, incluida la próxima ficción diaria para adolescentes Paris Opera, serie de alto presupuesto desarrollada junto a ZDF y ZDF Enterprises (Alemania). ‘Nos complace asociarnos con expertos tan respetados en el campo internacional de series para preadolescentes. Siguiendo los pasos de The Ollie & Moon Show, con Love, Divina estamos tomando vuelo como el jugador más nuevo en la producción y distribución de contenido infantil premium’, señaló. Laura Esquivel, protagonista de Patito Feo, es un ídolo adolescente y gran cantante, y ayudó a que la banda sonora del programa se convirtiera en un éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. La serie, producida por Ideas del Sur (Argentina) y de la que Televisa produjo la versión Atrévete a Soñar, se emitió en más de 40 países y se destacó tanto en TV como en el número de licencias vendidas. Love, Divina cuenta la historia de una adolescente dulce y responsable que creció sin una familia. Con gran conocimiento de la vida en la calle, Divina toma a un grupo de chicos sin hogar bajo su cuidado. La misteriosa Irene, que resulta ser la abuela que perdió hace mucho tiempo y que ansía acercarse a Divina y reparar sus errores del pasado, lleva a todos ellos a vivir a su mansión y los rescata de los servicios sociales. Divina, que en secreto sueña con convertirse en una estrella pop, convive con sus amigos y con la pudiente familia de Irene (incluido Felipe, el amor de su vida) forjando rápidamente tanto nuevas amistades como nuevas e implacables rivalidades.

Televisa, Pol-ka y Federation Kids & Family producen la ficción para adolescentes Love, divina martes 13 de septiembre de 2016

Love, divina Televisa, Pol-ka Producciones y Federation Kids & Family comenzaron la producción de Love, divina (60x45´), ficción diaria musical para adolescentes, protagonizada por la estrella pop de TV Laura Esquivel (Patito feo).

“El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles”, comentó Maca Rotter, directora general de Televisa Consumer Products. “Televisa comenzó a crear series para adolescentes hace 15 años y ha evolucionado junto con el público, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor” señaló.

Manuel Martí, gerente de Desarrollo y Negocios Internacionales de Pol-ka Producciones, productora de los éxitos de Disney (Violetta y Soy Luna), dijo que “el desafío de este programa fue pensar en él como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, lo que ofrece diferentes niveles de interacción y crea contenido que forja una nueva clase de relación con la audiencia”.

El primer episodio se lanzará en Mipcom Jr., que debutará en Argentina por El trece en enero de 2017, y en la plataforma Blim de Televisa durante el primer trimestre de 2017, seguido por su emisión en las demás plataformas de Televisa, incluida la televisión abierta en México. Los derechos europeos son gestionados por Federation y Televisa, y los del resto del mundo, por Televisa.

Televisa lanzará programa juvenil

Esquivel, ídolo adolescente y exitosa cantante, ayudó a que la banda sonora del programa se convirtiera en un álbum éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. (ARCHIVO) Televisa, Pol-ka Producciones y Federation Kids Family comenzaron la producción de Love, Divina (60 x 45 min), una ficción diaria musical para adolescentes protagonizada por la estrella pop y de TV Laura Esquivel (Patito feo). El equipo creativo combina sus éxitos récord y su experiencia en el mundo de la televisión, las licencias y la música, con la popularidad y el talento de Esquivel, para llevar una nueva generación de ficción premium para adolescentes a nivel internacional. Los tres socios coproductores aportan a Love, Divina un nivel de experiencia único en lo que respecta a ficciones para adolescentes y preadolescentes. La coproducción de Televisa, Patito feo, se emitió en más de 40 países y se destacó tanto en el rating televisivo como en la cantidad de licencias vendidas. Esquivel, ídolo adolescente y exitosa cantante, ayudó a que la banda sonora del programa se convirtiera en un álbum éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. “El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles de conquistar”, comentó Maca Rotter, Directora General de Televisa Consumer Products. “Televisa comenzó a crear series para adolescentes y preadolescentes hace 15 años y ha evolucionado junto con el público desde ese momento, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor, que es la base de nuestro éxito”.

SERIE INTERNACIONAL Televisa, Pol-ka y Federation Kids & Family inician producción de Love,Divina THE DAILY SEP14,2016

Una nueva ficción dirigida a adolescentes será desvelada en Mipcom Jr., la antesala del gran evento de distribución que tendrá lugar en Cannes, a mediados de octubre. La feria servirá de escenario al primer episodio de Love, Divina (60 x 45 min), seriado que tiene como protagonista central a la estrella pop y de TV, Laura Esquivel (Patito Feo), y como impulsora a una triada compuesta por Televisa, Pol-ka Producciones y Federation Kids & Family.

Las tres compañías anunciaron este martes 13 el inicio de la producción de la serie juvenil. Debutará en el broadcaster argentino el trece en enero de 2017 y en la plataforma digital de Televisa, BLIM, en México y Latinoamérica en el primer trimestre de 2017. Le seguirá su emisión en todas las demás plataformas de Televisa, incluida la televisión abierta. Los derechos europeos son gestionados por Federation y Televisa, y los del resto del mundo, por Televisa.

Esta coalición de grandes de la producción promete aportar la experiencia de sus éxitos récord en el mundo de la televisión, en el terreno de las licencias y de la música, con la gran popularidad y el talento de Esquivel, para lograr el objetivo que se ha planteado: estrenar una nueva generación de ficción premium para adolescentes a nivel internacional.

Patito Feo (original de la argentina Ideas del Sur) se emitió en más de 40 países y se destacó tanto en el rating televisivo como en la cantidad de licencias vendidas. Esquivel, ídolo adolescente y exitosa cantante, ayudó a que la banda sonora del programa se convirtiera en un álbum éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales.

“El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles de conquistar. Televisa comenzó a crear series para adolescentes y preadolescentes hace 15 años y ha evolucionado junto con el público desde ese momento, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor, que es la base de nuestro éxito”, comentó Maca Rotter, directora general de Televisa Consumer Products.

La experiencia de Pol-ka Producciones como productora de ficción le ha dado a la compañía reconocimiento tanto nacional como internacional, permitiéndole establecer alianzas estratégicas con famosas cadenas de televisión, como Disney y HBO Latin America, entre otras. Pol-ka fue el estudio de producción de Violetta y Soy Luna, dos de las series para preadolescentes más exitosas de Disney, convertidas en éxitos mundiales sin precedentes. También ha sido la factoría de la comedia romántica Esperanza Mía (producida por Pol-ka para el trece), convertida en un éxito masivo que lideró todos los ratings en Argentina, lo que llevó a la presentación del programa en teatros, con 70 funciones en vivo totalmente agotadas, y a una amplia distribución a nivel internacional.

“El desafío de este programa fue pensar en él como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, lo que ofrece diferentes niveles de interacción y crea contenido que forja una nueva clase de relación con la audiencia”, aseguró Manuel Marti, gerente de Desarrollo y Negocios Internacionales de Pol-ka Producciones.

El director general de Federation Kids & Family, David Michel, ha producido y coproducido más de 15 series infantiles, incluida la próxima ficción diaria para adolescentes Paris Opera, una coproducción de alto presupuesto con ZDF y ZDF Enterprises.

“Nos complace asociarnos con expertos tan respetados en el campo internacional de series para preadolescentes. Con Love, Divina, siguiendo los pasos de The Ollie & Moon Show, Federation Kids & Family está tomando vuelo como el jugador más nuevo en la producción y distribución de contenido infantil premium”, comentó Michel.

Love, Divina tiene como eje la historia de una adolescente dulce y responsable que creció sin una familia. Con un gran conocimiento de la vida en la calle, Divina toma a un grupo de chicos sin hogar bajo su cuidado. La misteriosa Irene, que resulta ser la abuela que perdió hace mucho tiempo y que ansía acercarse a Divina y reparar sus errores del pasado, lleva a todos ellos a vivir a su mansión y los rescata de los servicios sociales. Divina, que en secreto sueña con convertirse en una estrella pop, convive con sus amigos y con la pudiente familia de Irene ―incluido Felipe, el amor de su vida― forjando rápidamente amistades y rivalidades.

TELEVISA, POL-KA Y FK&F COPRODUCEN ´LOVE, DIVINA´ La nueva ficción diaria premium para adolescentes se lanzará en MIPJunior y estrenará en 2017 en eltrece de Argentina y en la plataforma Blim de Televisa.

Televisa, Pol-ka Producciones y Federation Kids & Family han comenzado la producción de ´Love, Divina´ (60 x 45 min), una ficción diaria musical para adolescentes protagonizada por la estrella pop y de TV Laura Esquivel (´Patito Feo´). El audaz equipo creativo combina sus éxitos récord y su experiencia en el mundo de la televisión, las licencias y la música, con la enorme popularidad y el talento de Esquivel, para llevar una nueva generación de ficción premium para adolescentes a nivel internacional. Los tres socios coproductores aportan a ´Love, Divina´ un nivel de experiencia único en lo que respecta a ficciones para adolescentes y preadolescentes. La coproducción de Televisa, ´Patito Feo´, se emitió en más de 40 países y se destacó tanto en el rating televisivo como en la cantidad de licencias vendidas.Esquivel, ídolo adolescente y exitosa cantante, ayudó a que la banda sonora del programa se convirtiera en un álbum éxito en ventas, con cinco Discos de Platino y cinco Discos de Oro en Italia, España y Portugal, así como 2 millones de entradas vendidas para sus recitales. “El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles de conquistar” comentó Maca Rotter, Directora General de Televisa Consumer Products. “Televisa comenzó a crear series para adolescentes y preadolescentes hace 15 años y ha evolucionado junto con el público desde ese momento, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor, que es la base de nuestro éxito”. La amplia experiencia de Pol-ka Producciones como productora de ficción le ha dado a la compañía reconocimiento tanto nacional como internacional, lo que le permitió establecer alianzas estratégicas con famosas cadenas de televisión, como Disney. Pol-ka fue el estudio de producción de ´Violetta´ y ´Soy Luna´, dos de las series para preadolescentes más exitosas de Disney, las cuales se convirtieron en éxitos mundiales sin precedentes. De manera similar, la comedia romántica ´Esperanza Mía´ (producida por Pol-ka para eltrece) se convirtió en un éxito masivo que lideró todos los ratings en Argentina, lo que llevó a la presentación del programa en teatros, con 70 funciones en vivo totalmente agotadas, y a su amplia distribución a nivel internacional. Manuel Marti, Gerente de Desarrollo y Negocios Internacionales de Pol-ka Producciones, agregó que “el desafío de este programa fue pensar en él como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo, lo que ofrece diferentes niveles de interacción y crea contenido que forja una nueva clase de relación con la audiencia”. David Michel, Director General de Federation Kids & Family, ha producido y coproducido más de 15 series infantiles, incluida la próxima ficción diaria para adolescentes PARIS OPERA, una coproducción de alto presupuesto con ZDF yZDF Enterprises. “Nos complace asociarnos con expertos tan respetados en el campo internacional de series para preadolescentes. “Con Love, Divina, siguiendo los pasos de The Ollie & Moon Show, Federation Kids & Family está tomando vuelo como el jugador más nuevo en la producción y distribución de contenido infantil premium”, aseguró el propio declaró el propio Michel. El primer episodio de ´Love, Divina´ se lanzará en MIPJunior y cuenta la historia de una adolescente dulce y responsable que creció sin una familia. Con un gran conocimiento de la vida en la calle, Divina toma a un grupo de chicos sin hogar bajo su cuidado. La misteriosa Irene, que resulta ser la abuela que perdió hace mucho tiempo y que ansía acercarse a Divina y reparar sus errores del pasado, lleva a todos ellos a vivir a su mansión y los rescata de los servicios sociales. Divina, que en secreto sueña con convertirse en una estrella pop, convive con sus amigos y con la pudiente familia de Irene ―incluido Felipe, el amor de su vida― forjando rápidamente tanto nuevas amistades como nuevas e implacables rivalidades... ´Love, Divina´ debutará en eltrece de Argentina en enero de 2017 y en la plataforma digital Blim de Televisa para México y Latinoamérica durante el primer trimestre de 2017, seguido por su emisión en todas las demás plataformas del conglomerado mexicano, incluida la televisión abierta para México. Los derechos europeos son gestionados por Federation y Televisa, y los del resto del mundo por Televisa.

Televisa, Pol-Ka, Federation partner for international teen format

Juan Fernandez Gonzalez, 16 September 2016

Focusing on international distribution, Televisa, Pol-ka Producciones and Federation Kids & Family are producing Love, Divina, a teenage-targeted musical series.

The production agreement between the Mexican, Argentinean and French production houses will see the series premiere in January 2017, when it’s already scheduled to air on Argentina’s El Trece and on Blim, Televisa’s Latin American streaming platform. After this, it will air on other Televisa platforms and will be distributed in Europe through Federation and in the rest of the world through the Mexican company.

The format, which will be officially presented at MIPCOM Jr next month, aims to repeat the success of Patito Feo, a teen soap opera also co-produced by Televisa which has been aired in over 40 countries. In fact, both series count on Laura Esquivel as leading actress.

“Teenage audiences have become very demanding, they are not easy to capture,” said Maca Rotter, general manager, Televisa Consumer Products. “Televisa started producing teen series 15 years ago and has evolved along with the audience, adding new platforms and technologies and learning how to combine drama, music and comedy.”

Love, Divina will also add the production experience of Argentina’s Pol-Ka, which is responsible for one of the most recent TV hits among teenagers, Violetta, broadcast worldwide by Disney Channel.

“This time, the main challenge has been to think of the series as a multi-platform format, which is why we had established different production units for linear, digital, second- screen and social TV content. The result is a single narrative that delivers different levels of interaction with the audience,” added Manuel Martí, development and international business manager, Pol-ka Producciones.

PRODUCCIÓN Televisa, Pol-Ka y Federation buscan un nuevo éxito adolescente internacional

JUAN FERNANDEZ GONZALEZ

15 SEPTIEMBRE 2016

Centrados en la distribución internacional, Televisa, Pol-ka Producciones y Federation Kids & Family producen Love, Divina, una ficción musical que busca el público adolescente.

El acuerdo de producción entre las compañías mexicana, argentina y francesa impulsará el estreno de la serie en enero de 2017, para cuando ya está programada su emisión en El Trece (Argentina) y en Blim, la plataforma destreaming para América Latina de Televisa. Más adelante, se retransmitirá en otras plataformas de Televisa y será distribuido en Europa a través de Federation Entertainment y en el resto del mundo a través de la empresa mexicana.

El formato, que será presentado oficialmente en MIPCOM Jr. el próximo mes, pretende repetir el éxito de Patito Feo, una telenovela adolescente, también coproducida por Televisa, que ha sido emitida en más de 40 países. De hecho, ambas series cuentan con Laura Esquivel como actriz principal.

"El público adolescente se ha vuelto muy exigente; responden a historias de la vida real y no son televidentes fáciles de conquistar", dijo Maca Rotter, directora general de Televisa Consumer Products. “Televisa comenzó a crear series para adolescentes hace 15 años y ha evolucionado junto con el público, incorporando plataformas y tecnología, y perfeccionando la combinación ideal de drama, música y humor”.

A Love, Divina también se sumará la experiencia de la argentina Pol-Ka Producciones, responsable de uno de los más recientes éxitos televisivos entre adolescentes, Violetta, retransmitida internacionalmente por Disney.

“El desafío de este programa fue pensar en él como un proyecto multiplataforma, por lo que hemos tenido que establecer y coordinar varias unidades de producción para contenido lineal, digital, redes sociales y segundas pantallas. El resultado es una narrativa uniforme que existe en varias plataformas al mismo tiempo y ofrece diferentes niveles de interacción”, añadió Manuel Martí, gerente de desarrollo y negocios internacionales de Pol- ka Producciones.

SCREEN France prepares for a domestic production boom French broadcasters and indie prodcos gear up for more local production growth brought on by a recent overhaul of CNC grant regulations. By Jeremy Dickson

September 14, 2016

In the nearly eight months since France’s Centre National du Cinéma et de l’Image Animée (CNC) overhauled its grant regulations in an effort to boost domestic production, the country has been busy. French prodcos like Paris-based GO-N Productions and Xilam Animation have expanded their existing operations or opened new studios in the country, while broadcasters have upped their investment in original, local programming spurred on by the changes.

Key alterations to the funding structure, which had not been reformed in 10 years, include: CNC support for up to half of a company’s development costs for an original IP; increased funding from the CNC when local production costs exceed US$394,000 per hour; and a local tax credit hike from 20% to 25% on total French spend. Regarding international co-productions, a French broadcaster’s share of a more expensive global collaboration has been dropped from 25% to 20% to qualify for the CNC grant. Additionally, the French investment must be balanced by international presales. The Tax Rebate for International Productions (TRIP) also rose from 20% to 30% of French spend.

According to David Michel, CEO of Paris-based Cottonwood Media (Squish, Ollie and Moon), the changes have had some immediate positive effects on new studios and animation schools, but for companies focused more on international business, like his, there are some limitations. “On the positive side, young production companies that might not have the cash flow to develop more projects can benefit. The changes are also great for the market as a whole, as you need this kind of money to help support an ecosystem of schools, talent and original domestic production,” Michel says.

“But as more studios open, it could result in higher labor costs, especially for the most talented animators. The system is also designed for producers to satisfy the domestic market first, so it really doesn’t lend itself to international co-productions. Seeing as Cottonwood is mostly focused on the international market with our existing IP, we won’t benefit as much from the new scheme, although our latest kids project, Flea Unleashed, will.” He adds that because France is one of the few markets outside of the US where there is still a high demand for local programming, the changes will put French broadcasters in a position to direct more resources to local commissions.

“It’s not that there shouldn’t be any more local shows; it’s just that the balance is going to be weighed heavily towards more local shows,” Michel says.

For France Télévisions, which currently invests US$33 million a year in local animation, plans are in the works to further increase its spend on local productions by the end of the year.

Tiphaine de Raguenel, head of children’s and head of programming for its dedicated kids channel France 4, says France Télévisions is close to renewing its budget with the French government for the next five years. And it will then look to secure an agreement to invest in local animation with French producers union SPFA.

“We don’t know what the exact impact of the CNC changes will be, but we are already seeing that some of the new series we’re investing in will be produced in France,” says Raguenel. “We do, however, suspect that there might be a little bit of pressure on the market in terms of hiring talent,” she notes. “There are great animation schools in France, but when the students graduate they are quite junior—which is fine, but studios will need senior animators, too.”

Corinne Kouper, co-founder of Parisian prodco TeamTO, says she agrees the market for talent will tighten up, but it won’t affect her company as much because of its established international reputation. In terms of service work, TeamTO has recently animated eOne’s PJ Masks, Disney’s Sofia the First and Ubisoft’s Rabbids Invasion, and has produced several original properties, including Angelo Rules, feature film Yellowbird and new series Take It Easy Mike. “We are a known studio now with a very cost-effective pipeline, so we won’t suffer too much from potential talent shortages,” Kouper says.

The company, which recently upgraded its Bourg-les-Valence location to an 11,000-square-foot facility housing 60% of the company’s 380 employees, made the decision to only produce animation in-house in France eight years ago. “We did not wait until the new funding system finally became more efficient for local production,” says Kouper.

Fellow Paris-based company Cyber Group Studios also made a commitment to animate the majority (about 85%) of its productions in France.

“Of the seven shows we are currently producing, we have only one where the animation is done abroad,” says CEO Pierre Sissman.”We made a decision three years ago to produce our big series such as Zorro, Zou and Mini Ninjas in France with a little bit of help from Canada because of the treaty.” And while Michel is uncertain about how the changes will benefit international co-pros, Kouper says the new TRIP tax credit increase, while not huge, will help make a difference together with the CNC changes.

“If we didn’t have the knowledge of the new system coming, we wouldn’t have secured our recent deal with Activision Blizzard for Skylanders Academy,” says Kouper, adding that TeamTO’s 52 x 13-minute animated comedy My Knight and Me, a co-pro with Belgium’s Thuristar for Canal+ Family and Super RTL (Germany), also benefits from the new international scheme. Sissman agrees that the country’s tax scheme, coupled with France’s worldwide reputation for producing quality animation, will only help the industry.

“The additional tax credits and subsidies in France attract a lot of foreign producers that want to do co-pros with France,” he says. “So the changes are bringing additional opportunities to the existing producers not only to produce for French networks, but for international platforms, too, like Hulu, Disney, Nick or Turner, to name a few.”

Looking at co-pro and local options for Canal+, the French pay-TV network is still expecting to launch 10 original productions next year across Canal+ Famille, Teletoon+ and Piwi+.

“We need to be different to compete with the US broadcasters,” says Canal+ head of children’s programs Laurence Blaevoet. “And we have an obligation to produce about US$3.4 million in local animation per year.”

As for international co-productions, Blaevoet says the CNC changes won’t affect her channels’ guidelines that much. “If we find a nice co-pro, we’ll do it,” she says. “It’s better to have a big project than have a show that doesn’t get completed because the money runs out.” What might be a problem, she adds, is selling local shows internationally because the editorial line at Canal+ is very specific. “Our humor might not translate overseas, and even in France it’s difficult to find a second channel,” she says.

Sissman also recognizes the challenges that come with producing and selling local shows abroad. “French producers, even if they produce mostly for French networks, have to ask themelves if their shows are international enough to live outside the borders of France,” he says.

As for the sales side of the equation, the revamped rules will also impact French distributors as local indies and networks navigate the new landscape over the next few years.

According to Lionel Marty, head of sales for indie shop About Premium Content (APC), the fact that work is staying in France is good news for the Parisian boutique financier and distributor managed by Emmanuelle Guilbart and Laurent Boissel, and backed by Nevision. “The producer will be able to control more of the production, and work with more French studios, making the work easier and raising the quality factor,” Marty says. “The way these productions will be financed will allow more spending in France, which is very positive for the market globally.”

He says the financing gap will probably be lower than it was a couple of years ago, now that producers are working with broadcasters under new CMC guidelines.

“The gap being lowered is positive for us. Some pre-sales will still be required because productions need to be at an international level, but APC Kids’ role is to not only be a distributor, but also help producers search for financing with pre-sales,” he says.

By Gary Rusak

September 19, 2016 When Kay Benbow, controller of UK-based pubcaster CBeebies, addressed a children’s television conference a couple of years back and boldly stated she was looking for live-action drama, the room was, reportedly, a bit stunned.

“Most people there frankly thought I was bonkers,” says Benbow. “But if you don’t ask, you don’t get.” Inspired by fond memories of watching live-action literary adaptations such as Heidi andAnne of Green Gables as a child, Benbow believed the time was right for CBeebies to harness the strong UK tradition of live-action drama. Only this time it would serve the interests of preschoolers. “I felt like the CBeebies audience deserved the same quality and drama as the older audience,” she contends.

In fact, Benbow, an industry veteran who enjoys some freedom from strictly commercial considerations in working for a public broadcaster, was onto something much larger than just nostalgia for TV series of the past. She was among the first to recognize that the next significant TV trend for teens, tweens—and even preschoolers—would be focused on serialized live-action drama. In fact, a new genre boom was just around the corner—one that would present producers and broadcasters with some unique challenges, as well as sizeable rewards.

“Video-on-demand platforms allowed adults to dig deeper into dramas, and I think kids are craving that, too.” - Matt Hornburg, marblemedia The popularity of reality TV and adult prestige dramas has helped set the stage for the current flood of live-action drama, particularly for tweens and teens.

“Over the past 15 years, we have seen so much high-quality drama for adults,” says Matt Hornburg, co-CEO and executive producer at Toronto, Canada-based prodco marblemedia. “Now, we are seeing that type of programming trickling down to kids across the market.” He adds that the popularity of YouTube and the current glut of primetime reality TV series have created a higher demand for “real life” characters in the tween and teen market.

Brian Irving, Toronto-based executive producer of Fresh TV series Backstage, a live-action teen drama that is currently readying its second 30-ep season, agrees the popularity of reality TV and online video platforms is connected to the current rise in drama for tweens. “We saw that shift from comedy in primetime to more reality TV,” he says. “That style of show is really like manufactured live-action drama, in essence.” Over at Canada’s DHX Television, whose Family Channel is home to drama franchise Degrassi, VP of original production Michael Goldsmith says the kids audience was hungry for more dramatic fare, after years of being fed a steady diet of three-camera sitcoms. “At one point, there were a ton of the same type of shows,” he notes. “We do a lot of research, and focus groups just kept telling us they wanted to see something different—and that they were open to drama.”

The widespread adoption of platforms like Amazon and Netflix also played a role in spurring the production community towards drama, as the genre seems to be particularly well-suited for on- demand delivery.

In fact, even the comedies produced by these platforms, such as Unbreakable Kimmy Schmidt (Netflix) and Red Oaks (Amazon), have serialized characteristics, including multi-episode narrative arcs. So it is not surprising that kids producers are also considering the change in viewing behavior signaled by the rise of SVODs.”Video-on-demand platforms allowed adults to dig deeper into dramas, and I think kids are craving that, too,” says Hornburg. David Michel, president and founding partner of Paris-based prodco Cottonwood Media, credits Amazon for getting the ball rolling with its tween/teen-focused live-action seriesGortimer Gibbon’s Life on Normal Street, which debuted on the platform in 2014. “Amazon started this wave with their first few shows,” he says. “They put drama back in people’s heads, and now everyone is interested again in teen drama.” Goldsmith agrees. “We are all watching TV differently now,” he says. “Drama works for binge- watching. It is a really good medium to satisfy that.”

Dovetailing nicely with these trends is a financial incentive designed to stimulate the production of live-action drama in the UK, where a tax credit introduced in April 2015 has proven to be a major shot in the arm for the genre—assisting indie producers and their well-heeled corporate counterparts alike.

Disney is delving into more drama with The Lodge

“Disney was spurred on by the recent UK tax credit to invest in the market,” says David Levine, VP of programming, production and strategic development for Disney EMEA. “It really allowed us to move ahead with a full season of The Evermoor Chronicles.” The tax credit offers producers up to a 25% credit on 80% of their UK production spend, and has quickly become an invaluable piece of the co-production puzzle. (Producers contend it is still too early to tell whether or not the recent Brexit vote will mitigate this new advantage.) “[The tax credit] was a broad foundation upon which we built our ongoing series production here,” says Levine. Disney is taking advantage of the incentive by riding the success of The Evermoor Chronicles, while also readying The Lodge, a music-infused 10-ep series that bows in the UK and select European markets this fall. For Zodiak Kids Studio, the tax credit assisted in a co-pro deal with ABC Australia to finance additional seasons of its 25 x five-minute live-action drama The Secret Life of Boys. “With the tax credits shifting, there are now financial models that make sense,” says Steven Andrew, creative director for Zodiak-owned The Foundation. “That really helps.” A successful live-action series has been known to yield valuable and rare co-viewing opportunities— an attractive feature that is sure to perk up the ears of potential buyers. Over the past few years, much ink has been spilled over the growth of multiple screens and an increasingly fragmented audience—Mom and Dad are watching a series on TV, while their kids consume their own content on a tablet or phone. However, some of the best live-action dramas have the prized ability to cross standard demographic lines.

“We can tell that we have our core audience, as well as some 18- to 34-year-olds watching,” says Backstage producer Irving. “You have adults watching it for nostalgia purposes, as well.” Goldsmith says when DHX’s distribution arm is shopping around the broadcaster’s original productions like Degrassi: The Next Class, it always emphasizes the series’ co-viewing potential. “We get a lot of adults watching with their children,” says Goldsmith. “Something likeDegrassi hits older and younger than its 14-year-old target, for sure.” Billy Macqueen, co-founder of UK indie prodco Darrall Macqueen, which produces preschool live- action drama Topsy and Tim for CBeebies, says that while his innovative series is designed for preschoolers, it also ages up towards the core-kid demo. “It’s the kind of thing where those seven-, eight- and nine-year-olds aren’t shouting about watching the series to their friends at school,” he says. “But they are happy to watch it with their siblings—it is nostalgic for them.”

The stretching of traditional demographic appeal is also recognized by bigger producers such as Disney. Levine says upcoming series The Lodge has ingredients baked in that will appeal to a wider demo than the company’s typical three-camera sitcom. “The older kids are going to appreciate the complexities of the story, while the younger kids will really be able to appreciate the singing and dancing aspects,” Levine says. Maca Rotter, executive director of consumer products at Mexico City-based Televisa, has been mining the tween serial drama genre for 15 years through telenovelas. She says drama series have the advantage of covering a wider demographic than their comedic counterparts. “We try to balance it,” she says. “We want to make it interesting for adults, as well as having those dramatic storylines that might generally appeal to a girls audience. We also make sure to add the humor to bring the boys in. It’s a wide audience, for sure.”

While it has arguably never been a staple in preschool programming, a closer look at CBeebies’ Topsy and Tim reveals how live-action drama can work for the youngest of audiences. The series is now moving into its third 60 x 11-minute season, which zeroes in on the quotidian dramas that fill a typical preschooler’s life. “Each episode stands on its own merits, but the series also has a large arc that rewards serial viewing,” says Topsy and Tim co-creator Macqueen.

CBeebies live-action drama Topsy and Tim

For example, the first season featured the subtle drama of a rainy day, followed by the main characters moving bedrooms, dog-sitting their grandmother’s pet and eventually moving into a new house. The second season, which bowed in July 2014 and regularly scored multiple places on the BBC’s top 10 most-watched slots, took the two principle characters through another 30-ep arc. It explored storylines about their new neighborhood and culminated in their first day of school.

Benbow credits the series and its creators with proving that drama can work for young audiences. “Drama really does resonate with preschoolers,” she says, adding that CBeebies has also found success with live-action series Katie Morag. Encouraged by the reactions to these productions, CBeebies is currently producing another live-action drama that sits between its core audience and older-skewing CBBC, dubbed Apple Tree House. Benbow lauds her producers for devising cost-effective production strategies that consider strict UK regulations limiting the use of child talent, as well as budgetary demands, given that live-action dramas are by nature more expensive per minute than traditional animated programming.

One of the techniques that propelled Topsy and Tim to success, and that gives the series its unique perspective, is scenes shot at the height of an average preschooler. “That is just a great effect,” says Benbow, adding that clever creative touches like these have made the series stand out.

Perhaps more important than any technical aspect is the series’ tone. Both Benbow and Macqueen agree the foundation for the show’s success is in its non-condescending approach to the audience— both in terms of content and production values.

“The under-twos are actually much brighter than we have been giving them credit for,” says Macqueen. “It is obvious they have the ability to understand a narrative.” It is just as apparent, he adds, that they expect the same quality in production details—such as set design—as the prestige dramas their parents are busy binge-watching. “Kids can smell when they are being ripped off,” he says. “If it is not authentic, there is simply not going to be any emotional connection.”

Benbow stresses that prodcos should approach drama for teens, tweens and preschoolers in much the same way they would for an adult audience.”It has to be absolutely done in the same way that any drama would be done,” she says. “The principles are the same—everything is done to the same degree and with the same care.”

Authenticity is perhaps the biggest factor that determines whether or not a drama series will resonate across territories. Zodiak’s Andrew believes the best way to make sure a series will have international appeal is, somewhat paradoxically, to genuinely reflect its culture. For example, he believes the rise of Harry Potter in the ’90s paved the way for North Americans to better accept the British accents and cultural references that appear in his series today. What was previously seen as rough edges that needed smoothing out for international consumption, can now be viewed as being essential for cultivating an authentic experience.

“In the past, we all tried to emulate that Californian feel-good factor,” he says. “Everything was sunshine, pretty people and blue skies, but we don’t live under those conditions.” Andrew says he found success with Secret Life of Boys by embracing its UK origins and accepting that international territories might not specifically recognize all the references in the series, but will still be intrigued by them. “You have to take a look at yourself and see what is unique and special about a specific locale,” he says.

Examples abound of production companies utilizing local settings and their cultural histories for maximum effect, including: CBeebies’ Katie Morag, which is shot in the Scottish Highlands; Cottonwood Media’s Paris Opera (lead picture), currently being lensed on location in the City of Light; and Disney’s The Evermore Chronicles, which taps into the UK’s rich fantasy tradition. The concept of authenticity can also be extended to the content of the series, the types of characters that are portrayed and its plot.

In Odyssey, marblemedia’s live-action drama currently in production, the storylines and characters will reflect a different reality than the typical multi-camera sitcom, says Hornburg. “The characters are super-authentic,” he says. “We are showing kids who are wrestling with real problems of today. They are characters with flaws and real relationships, too. The parents are going to behave like real parents, rather than the goofballs they have been portrayed as in sitcoms over the last 15 years.”

With more live-action productions coming down the pipeline, it is interesting to forecast what the genre might look like in the near future. According to Hornburg, there is a misperception that dramatic storytelling is not as well-suited to digital extensions as comedies. However, this old assumption is quickly being debunked, he says. In fact, the future of the form is likely to be shaped by extended interactions that also play well on VOD platforms, where dramatic series currently seem to have the most resonance.

“For a long time, people thought drama didn’t warrant having an extended experience, but I actually think it has the best opportunity for one,” he says. Hornburg points to the company’s success with an app based on its 12 x 22-minute live-action mystery seriesOpen Heart. “The app was designed to encourage audiences to engage in a parallel experience with the series,” he says. It offered users the chance to interact with the protagonist’s phone through reading text messages and seeing pictures that were sent during the episodes.

“We could see a huge spike in usage between airings,” says Hornburg. “It really showed us the power of character-led dramas—the universe is so deep that the audience really can’t get enough.” As such, marblemedia is currently developing similar digital experiences for its other series, and Hornburg can envision an interactive future for serialized drama across multiple platforms.

The gamification of serialized drama is also on the mind of Zodiak’s Andrew, after a promising start for the 25 x five-minute Secret Life of Boys. The series aired on CBBC and ABC3 in Australia in 2015 and featured opportunities for the audience to interact with each episode to uncover extra punchlines, character insights and hidden narrative secrets. “We had 92% engagement on it,” Andrew says. “It was astounding. I am not pretending we cracked the code, but we have made some real inroads to connecting the narrative with interactivity.”

Andrew says he would expect this type of interactivity to become the norm for teen and tween live- action drama in the future. “There will be an explosion,” he predicts. “There is going to be a real evolution in entertainment.”

Extending the conversation: The pros and cons of using social media in the service of kids live-action dramas

Producers of live-action drama must weigh the value of social media as a tool to both extend the viewing experience and promote their series.

Producers typically recognize that many series actors have their own social media profiles that can be used to drive engagement. But there are, of course, dangers associated with linking a show to a real-life personality. “We sit down and have a talk with our stars,” says Backstage producer Brian Irving from FreshTV. “We don’t go out of our way to promote it, but we know they are in a generation where they are going to use social media.”

Producers in different territories need to manage myriad considerations if they decide to integrate social media into their series. “You aren’t even supposed to have a Facebook account until you are 14 in the UK,” says Billy Macqueen, producer of preshool live-action drama Topsy and Tim. “So really, we don’t promote it in that way.” However, CBeebies controller Kay Benbow says social media has been an invaluable tool for continuing the conversation with parents about Topsy and Tim, and even preparing them for content in certain episodes.

“We used it to let them know that we were doing an episode…where Granny’s dog died,” says Benbow, explaining that the heads-up gave parents ample time to decide how they would best approach the sensitive topic with their kids.

Benbow says that instead of receiving word after the fact that the particular episode had shocked or upset kids and parents, the use of social media served to cushion the blow and extend the conversation between parents and producers. “It was amazing the responses we got,” she says. “It really showed us the power of using that medium to talk to parents.”