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Insight on screen TBIvision.com | August/September 2020

Switched on thinking Delivering diversity Where next for the How kids TV global animation is approaching industry? inclusivity Page 8 Page 14

pOFC TBI AugSep20.indd 1 27/08/2020 18:12 pXX Xilam TBI AugSep20.indd 1 25/08/2020 14:38 Welcome | This issue

Contents TBI August/September 2020

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8. Switched on thinking 20. Talking it out Kids animation companies have adapted rapidly to the e ects of the Spanish-language scripted product is in demand and Latin American global pandemic, but Helen Dugdale expores what lessons have been producers already widely renowed for their fi lm output are fi nding learned and fi nds out where the industry will go next. new opportunities, as Nick Edwards reports.

12. Who’s doing what this fall 24. Kids Hot Picks With the traditional events calendar disrupted, TBI checks in with TBI takes a look at some of the best kids TV o erings making their a variety of distributors to ﬁ nd out how they’re planning to attract way to market, with sneak peeks of Zog And The Flying Doctors, attention online. Green Hornet, The Epic Adventures Of Morph and more.

14. Delivering diversity 30. Launch time Mark Layton takes a deep dive to explore how the global TV Richard Middleton talks to former BBC Studios director of industry is working to improve inclusivity and representation in commissioning & co-production Tobi de Graa about su ering from children’s programming, and asks what needs to happen both in front Covid-19, his agnostic approach to production and why it’s more fun of and behind the camera in order to bring about real change. to date than marry.

Plus: 2 Editor’s Note • 4 Well-being • 5 About Town • 6 Diversity • 32 Last Word

TBI August/September 2020 1

p01 Contents TBI AugSep20 - ML RJM.indd 3 27/08/2020 18:37 TBI August/September 2020 | Welcome

Editor’s note Richard Middleton Animation & action

hen the world was plunged into lockdown earlier this year, Contact us huge swathes of the content business were pole-axed almost overnight. Yet looking back on stories from those fi rst few Editor Richard Middleton months, it is remarkable how quickly the industry reacted [email protected] – rejigging schedules, commissioning self-fi lmed dramas, Direct line +44 (0) 20 7017 7184 stockingW up on library content, cutting costs by the billion, working together to deliver government-backed insurance schemes – even coming up with new formats Deputy editor Mark Layton that included strapping cameras to dogs. [email protected] TV’s nimble-footed nature was on full view, no matter where you were in the world. Contributors Helen Dugdale, Nick Edwards That response comes in sharp contrast to the discussion around inclusion and diversity, which continues to generate reams of quotes calling for change. Yet that’s Sales manager Michael Callan hardly new. In this edition, we explore how the next generation of adult viewers are [email protected] being infl uenced by what they watch and take a deep dive into what the kids business Direct line +44 (0) 20 7017 5295 is doing to improve inclusivity and representation at all levels. We are also delighted to welcome Deborah Williams, exec director of the UK’s Art director Matthew Humberstone Creative Diversity Network, to TBI’s pages, with a new monthly column that will [email protected] explore how the industry can deliver meaningful action – again, at all levels – while Direct line +44 (0) 20 7017 5336 celebrating the creativity that comes from having inclusive and diverse content that refl ects the audience watching it. Marketing executive Abigail Dede We also travel the world – virtually, of course – to fi nd out how the animation [email protected] business has adapted and thrived over recent months, take a trip to Latin America to Direct line +44 (0) 20 7017 6018 explore the region’s burgeoning scripted business, track down how distributors are planning on attracting buyers this fall, and pick out some hot new shows heading to Commercial director Patricia Arescy a virtual market near you. [email protected] Direct line +44 (0) 20 7017 5320

Editorial director Stuart Thomson [email protected] Direct line +44 (0) 20 7017 5314

@TBImagazine

Published by Informa Tech, Blue Fin Building, Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug 110 Southwark Street, London SE1 0TA and Oct) by Informa Tech, Blue Fin Building, 110 Southwark Street, London, SE1 0TA. The 2006 US Tel: +44 (0)20 7017 5000 Institutional subscription price is $255. Airfreight and mailing in the USA by Agent named Air Business, e-mail: [email protected] web: www.tbivision.com C/O Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Periodical postage paid at Printed in England by Walstead Roche Ltd, Jamaica NY 11431. US Postmaster: Send address changes to Television Business International, C/O Air St Austell, Cornwall PL26 8LX. Business Ltd / Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Subscription records are maintained at Informa Tech, Blue Fin Building, 110 Southwark Street, London, SE1 0TA, United © 2020 Informa UK Ltd All rights reserved Kingdom. Air Business Ltd is acting as our mailing agent. Reproduction without permission is prohibited

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p02 Ed Note TBI AugSep20 RJM.indd 6 27/08/2020 19:17 New for Christmas 2020 New for Summer 2021 1 × 26' 52 × 7'

1 × 26’

Films. Brands. Entertainment. Magic Light Pictures creates rich and imaginative experiences for families worldwide.

p03 Magic Light Pictures TBI AugSep20.indd 1 27/08/2020 17:45 TBI | Well-being

Well-being Tracy Forsyth You can’t wear a crown if your head is down

e all know that when we are Shoulders back In this edition’s stressed and panicky our breath We live in the digital era, which means we are well-being column, gets short and shallow. In the almost constantly hunched over a laptop or a corporate wellness old days the remedy for a panic smartphone. What this means is that we are curving coach Tracy Forysth attackW was to put your head between your knees inwards with our pectoral muscles getting tighter provides five physical and breathe in and out of a paper bag. Reason and shorter and our shoulder muscles getting exercises to help boost being, this helped to slow down and deepen your weaker and weaker pulling everything forward and your confidence and breathing, increasing oxygen to the lungs in order down. The more that happens, the harder it is to self-belief to send more oxygenated blood to the brain to help counter-balance. So, on a daily, hourly basis, raise you think clearer. The slowing down of the breath your shoulders up, back and down. Keep them also lowers blood pressure and stress levels. Clever back and down. If this feels weird, you need to do huh? The body does its best to help you in times it more! The benefit of this posture is that your ribs of need. And it can do so much more. So, if you have more room to expand meaning you can take are ever in a position where you want a boost of deeper breaths, enabling you to bring more oxygen confidence and self-belief then try these methods into your system. using your physical being. Chin up Use your breath My Dad always used to say this to me if I was If you’ve got a big presentation or a dicult feeling down. There is something about having your conversation coming up and want to feel powerfully chin up that makes you look confident, nonchalant, calm, try this: breathe in for two counts and out for undefeated. Having your chin up physically means four counts. Conversely, if you want to feel pumped that the throat is open and not constricted. And up and ready for action, try it the other way around: in yogic philosophy, the throat area relates to breathe in for four counts and out for two counts. expression and speaking your truth. We all know The first calms and focuses you, the second wakes that when we are deeply moved or upset, we can you up and energises you. have a lump in our throat or find it dicult to speak. Lift your chin up to free that throat area, Stand or sit tall enabling you to speak more confidently. If you want to make a physical impact either around a table in a big meeting or just when meeting Crown on someone for the first time, pull yourself up to your Lastly, hold your head high as if you were being Tracy is a creative mentor highest point possible with a long straight spine. pulled by a thread from the crown of your head. If for the Channel 4 Indie Even if you are tiny, this will work. And if you are you’ve watched Beyoncé’s new film Black Is King, Growth Fund, the already tall, don’t slouch to come down to other you might remember a fantastic quote: “You can’t producer of the WFTV people’s levels. Standing or sitting tall will not only wear a crown if your head is down”. Literally, hold mentoring scheme and make you look more confident but feel it too. One your head as if you are wearing a precious crown. a professional executive of the simplest standing postures in yoga is called You will look regal, empowered, confident and feel coach. Follow her at Mountain Pose, because a mountain is tall and it too. Namaste (which literally means, I bow to walterwootze.com strong. Stand like a mountain! you). TBI

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p04 Wellbeing AugSep20 RJM-ML.indd 4 27/08/2020 18:43 TBI | Diary

About Town

Virtually speaking

et-set TV folk have, like the rest of the And despite its online-only presence, the annual world, been grounded by the pandemic MacTaggart continued its long tradition of sparking and the traditional events circuit has been discussion and debate, with British broadcaster thrown into disarray. But that hasn’t and historian David Olusoga (left) blasting the Jstopped organisers from shifting their keynotes UK TV industry for creating a “lost generation” online, with the recent Edinburgh TV Festival of black talent. Reﬂ ecting on his experiences of proving that a jam-packed line-up available being left “isolated and disempowered”, the former virtually can still o er plenty of punch. producer said that while he had been given “amazing From outgoing BBC chief Tony Hall to FX’s opportunities” through his work, he had also been John Landgraf, organisers of what is normally a “patronised and marginalised”. mainstay in the UK events calendar attempted to Olusoga also highlighted recent developments overcome physical barriers with a schedule that around inclusion and diversity following Black Lives ranged from Sky’s Zai Bennett and Netﬂ ix’s Matter, adding that the UK director of unscripted originals Nathaniel industry has “been part of this Grouille to the ever-eloquent Ben Frow. great wave of introspection Talent on the festival’s small screen included and action.” Game Of Thrones star Emilia Clarke talking “So much has been promised to director Paul Feig, while the team behind that there is reason to hope hit BBC and Hulu drama Normal People – that this really is a moment including its stars Daisy Edgar-Jones and Paul of change for our industry,” Mescal (right) – joined their Oscar-nominated Olusoga continued, “rather director Lenny Abrahamson to discuss the series than a false dawn – and we and its widespread success. have had a number of those.”

Mountain movers Building up Swings and Roundabouts Budapest Summer might have been largely a domestic a air for TikTok's eventful many with little international travel on the cards, but 20bn summer ended those in the business could at least transport themselves with the exit of CEO Kevin Mayer, while Netﬂ ix & Microsoft were to a myriad of virtual destinations as conferences and reportedly looking at acquiring its festivals moved online. Ban World Media Festival US business – valued at $20bn+ o ered sneak peeks of shows such as Netﬂ ix and TNT’s drama Snowpiercer, while Sunnyside Of The UK broadcaster ITV said 230 230 of its shows were Doc and Série Series were among a myriad of events impacted by Covid-19 shutdowns, to move their own mountains to ensure they could but 70% had either been delivered welcome visitors warmly and, of course, virtually from NATPE chose to turn its or were back on set by early August their makeshift home o ces. annual Budapest event WarnerMedia’s into a virtual conference, 600 streaming focus saw complete with exhibition Warner Bros. distribution chief space, networking Jeffrey Schlesinger among around capability and on- 600 staff to lose their jobs demand conference sessions, with subjects A similar process including Indonesia’s 3000 was underway at NBCUniversal, with around booming TV business to 3,000 positions affected as TV Latin America’s fast- and streaming divisions were moving media ecosystem. merged under Mark Lazarus

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p05 About Town TBI AugSep20 - ML RJM MC.indd 5 27/08/2020 18:34 TBI | Diversity

Diversity Deborah Williams A black life

year ago, I was in Minneapolis. It was tell you that lynchings are not a ‘black thing’, and In this new monthly my birthday. I should have been in NYC organisations that flex muscles and head at you column for TBI, the with my mother celebrating Stonewall like a bull out of the gate to knock you out of what Creative Diversity as I was born on Stonewall Sunday. But they perceive to be ‘their space’. And then there’s Network’s executive myA mother had passed in January and the world and the chattering voices o stage left, made up of those director Deborah his mother was going to be in New York for World people who read something once and are now Williams reflects on Pride. So I got me some creative inspiration from experts in your life’s work. It hurts. It’s personal and her own role and Paisley Park and soaked up Prince and his creative it’s relentless and real. explores how the emporium on my birthday. I believe that we all need to take this time now industry can deliver A year on, Minneapolis has the world at its door. to reflect and to consider what we are seeking to change rather than This time, it was in response to the murder of a black achieve, how to achieve it and most importantly how simply talk about it man because he was a black man. This – matched we do this together. with the global pandemic – has given me time to First, I will say that recent developments should be think about my role and the work that we do at the celebrated and enabled to take seed. We also have to UK’s Creative Diversity Network. make sure that the doors do not close after the noise Inequality and injustice is built into the bones has stopped. of this industry. In fact, every industry is built on Secondly, there are so many more indices that need institutional racism. We don’t like to talk about it to be considered as the debate is opened up. and acknowledge it but it’s true. It is now clear that Finally, the whole business of diversity is seeking to be part of the institutions, structures and overcrowded and unmonitored – and there is little to networks that already exist is a fruitless exercise if no quality control, which it needs. what you are looking for is truly transformational I hope that with this monthly column we will bring change. And to avoid any confusion, that is what I big thinking and ideas to the fore, so we can discuss am working towards. If Black Lives Matter means and debate things that are less shared: real people, anything, it means transformation. insights from academics, thinkers and influencers. I’ll admit that my way of working is very much the And, of course, the most important thing of all: Gordon Ramsay approach to diversity – and I am that the talent, quality and creativity of diversity proud of it. I get called on to do things, come in and will highlight how the lack of plurality is having a transform, as a result there is change, there is success. I negative impact on our industry. then get hatred and doubts, as well as recriminations, I also want to show that it doesn’t need to be for doing what I said I would. If I am honest, it took as dicult as we are making it; that collaboration Deborah is executive me a while, but I’ve now got used to it and in truth, is the key to our success. Ultimately, it will prove director at the UK’s when it is followed through with the action prescribed, that we never have to go back to normal, as we all Creative Diversity the outcome is so supreme that I can’t help but let know that ‘normal’ was not good enough. ‘Normal’ Network and has worked things go. And then I wander o into the darkness to was daily injustice, large and small. Personally, and in arts, culture and the start all over again, somewhere else. professionally, I need to be sure that when we say creative industries for There are however downsides. It leaves you Black Lives Matter, we mean all black lives, including more than three decades open to ‘allies’ who think they are better placed to mine. TBI

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p06 Diversity Column AugSep20 - ML RJM.indd 6 27/08/2020 18:37 FIRST EVER ECO- TAINMENT SHOW

CGI ANIMATION 52 x 11` KIDS 4-7

WHERE THE ENTERTAINMENT IS [email protected] I www.studio100group.com

pXX Studio100 SeaB TBI AugSep20.indd 1 25/08/2020 15:58 TBI Kids | Animation Switched on thinking

Kids animation companies have adapted rapidly to the effects of the global pandemic, but what lessons have been learned and where does the industry go next? Helen Dugdale reports

hen the lockdown axe fell around the globe, large parts of the TV and content industry ground fairly swiftly to a halt. Thankfully, out of allW the doom and gloom from the past few months, the animation sector continued to shine like a beacon of light oering others in the industry hope. As explored in a digital session at the Children’s Media Conference this year – online, of course – animation studios have shown true grit as they’ve battled with remote working and frozen budgets to continue to create award- winning shows and exciting content for commissioners on the prowl for new acquisitions. Josh Bowen, MD at Toronto-based Look Mom! Productions, a subsidiary of Blue Ant Media, believes the industry has fared well. “Animation already had people working from home, with entire studios finishing productions and even getting projects greenlit by buyers committed to ensuring that they have enough high quality, entertaining content in their pipeline to outlast this pandemic,” he says. “We anticipate more bumps in the road as we navigate through studios and cloud-based workflows because the need for uncharted territory, but we’ve been able to adapt and one central bricks and mortar HQ is diminishing.” communicate eectively and get our entire sta and Marika Makaro at Gutsy, the company behind process running eciently remotely. It’s shown us how award-winning series Moominvalley, adds that resilient and flexible creators can be, even in the most working with CGI animation makes the production extraordinary circumstances.” process under lockdown a lot easier. “The big Sashim Parmanand, CEO at Singapore-based dierence is when you’re working with CGI you don’t Oddbods producer One Animation, says that all have to be there, unlike when you’re shooting live. Covid-19 and the impact of working from home As a business, we have employees across the globe in “broke a norm” in terms of how the industry had seven dierent sites – from Europe to Kuala Lumpur to become used to collaborating. Canada – and we’re used to working on dierent time “Almost every animation studio, including us, has zones and having digital meetings. The structure was experienced an almost seamless transition and in many already in place when lockdown started.” cases higher productivity in adapting to the work from This way of working isn’t universally welcomed in home model. This has proved that animation is a robust the kids business, however. Bruno Felix, co-founder and and adaptable format. I believe over the next 12 months co-MD at the Netherlands-based Submarine, believes producers will be looking to future proof with remote that remote working is only eective for so long. “We

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“We want the cash crisis to go away – especially because we’re working on such a high budget animation series – and broadcasters need to be more understanding of our situation.” As the sector takes small steps to some form of new normality, Parmanand at One Animation is taking a realistic approach to life in animation after lockdown. “On the negative side, creators on AVOD platforms have been undeniably hit by diminishing returns, and producers using that model are going to be challenged further as marketing budgets weather the fallout into next year. “On the positive side, the more remote approach to working is great news for talent acquisition. We have sometimes been limited by the need for people to relocate to Singapore to work with us out of our studio, whereas a more online structure means we can explore talent based in other markets, without requiring them to uproot themselves or their families.” Bowen from Look Mom! Productions thinks the lack of jumping on a plane for “doing business” can only be a good thing. “Less international travel has taken away the ability to make in-person presentations, meaning buyers and partners are now more flexible in how they receive pitches. So, from an original content perspective, working remotely has been a great equaliser as everyone has had to pitch over video calls. Wherever you are in the world, we’re all now on an equal footing in terms of pitching our creative ideas.” Makaro and the team at Gutsy are investing money and time into human resources to make sure that everyone is happy to return to the oce when the time is right. “We have a team of 50 people and this is the first time we’ve hired people to be part of the team working on Moominvalley without seeing them first. We’re spending time looking at how and when our sta come back to our oces and how they will feel. prefer artists working together in the same space CGI can make shows such It’s important that we hear their worries.” physically to enhance creativity and ensure consistency as Moominvalley (above) in our projects,” he says. “The wider impact is on the easier to produce remotely Lockdown acquisitions ecosystem of content as a whole down the chain – for example, if our sales partners, theatrical distributors Despite the myriad repercussions that the pandemic and broadcast partners have budgetary constraints has had on the business, Covid-19 doesn’t seem to or barriers to financing new productions that limit have stood in the way of commissioners snapping possibilities for creators.” up new shows and content, Parmanand reflects. “We signed a deal on Jacinth Tan’s animated Mindful commissioners series Sharkdog – a Netflix original commission and produced in partnership with ViacomCBS It’s a point that Makaro picks up on, adding that International Studios – the same week we went into commissioners will need to be more mindful of lockdown. It’s a project that came out of Nickelodeon’s the conditions studios are facing. “There are still Global Animated Shorts Program, which we’re very challenges, especially with broadcasters who can be excited about.” demanding and sometimes inflexible. At times it’s felt Caterina Vacchi, head of animation and distribution like the broadcasters have been doubling our work. and a director and executive producer at Italy’s

August/September 2020 9

p08-10 Animation AugSep20 RJM + ML + MC.indd 9 27/08/2020 18:35 TBI Kids | Animation

Atlantyca Entertainment, completed the final episodes Ufland, Media IM’s co-founder & joint MD, “and of their new series Berry Bees to deliver to Italy’s public “We anticipate we have managed to venture into some new exciting service broadcaster Rai under lockdown. “We have more bumps in the territories too.” Agreements were struck with closed contracts for our brand-new Berry Bees series, road as we navigate companies including Tencent in China, Kids Zone which has been sold to several new broadcast partners through uncharted Pakistan and HBO Europe across CEE, plus a “brand- including VRT Belgium for the channel Ketnet, AMC territory but we’ve new content deal” with an undisclosed major SVOD Networks International – Central and Northern Europe been able to adapt platform globally. “Lockdown for us was anything but for Minimax channel, and Minika for the kids’ channel – it’s shown us how quiet,” she adds, reflecting the international animation Minika GO. We have also signed some important resilient and exible sector’s resilience over the past six months.TBI renewals of rights for our flagships properties, such as creators can be” Bat Pat and Geronimo Stilton,” she adds. Josh Bowen, Look In the UK, Magic Light Pictures – known for their Mom! Productions Looking ahead... Christmas delights such as The Grualo, Room On The Broom and The Snail And The Whale - Animation studios around the world have fought to announced they were working on their very first pre- remain operational, but they are eager to highlight school series, Pip And Posy, just as lockdown kicked in to broadcasters and platforms the issues they across the UK. continue to face as the sector starts to unlock – and “It’s a joint production between Sky Kids and the potential problems posed by a second wave. Channel 5 Milkshake! to go with ZDF in Germany,” explains Michael Rose, joint MD at the multi Oscar- Sashim Parmanand, One Animation nominated studio. “We were working on production One of the biggest drawbacks is not being able of Pip And Posy throughout lockdown. It’s done to pitch a show in person. Being in the room and in CGI animation and we’re making it at Blue Zoo able to convey your passion for a project and feel a Studios in London, which has very seamlessly got their connection with potential partners is irreplaceable, whole crew working and the whole production has and the lack of trade shows and face-to-face carried on.” meetings does impact the greenlighting process. For UK-based Media IM, the pandemic shutdown There are also new platforms launching and was a busy time. Their show Sunny Bunnies, a pre- relationships with these services are harder to build school non-dialogue slapstick comedy, seemed to tick without the traditional networking opportunities all the right boxes, with broadcasters and streamers available to us. around the world interested. Sharkdog (below) was “Since March this year, we have signed a raft of among a number of Josh Bowen, MD, Look Mom! Productions new and renewal deals for the show with some top animated shows greenlit Not having that day-to-day playful interaction with platforms and broadcasters globally,” says Maria during lockdown each other, and the organic collaboration that often comes outside of scheduled meetings, is something that creative people are missing out on.

Bruno Felix, co-MD & co-founder, Submarine The main problem is that ﬁnancing from traditional sources relying on theatrical distribution or advertising-driven revenue is seriously impacted by the pandemic, and those ﬁnanciers are going to be cautious before committing to new projects.

Michael Rose, Magic Light Pictures’ Pip and Pop We had challenges around voice recordings – we had ﬁve young children as the voices, which they had to record in their homes. Ideally, with child actors, you want to be in the studio with them to be able to direct them and create that relationship between the director and the child. Instead, we’ve directed them over Zoom with the help of their parents with equipment delivered to their homes.

10 August/September 2020

p08-10 Animation AugSep20 RJM + ML + MC.indd 10 27/08/2020 18:35 A VIRTUAL CELEBRATION OF THE GLOBAL LICENSING INDUSTRY

6-29 OCTOBER 2020 The Festival of Licensing is a 4-week large-scale digital gathering that will bring together the global brand licensing industry to connect, learn, strike deals and do business on an international stage.

Get your free ticket today and meet with Hasbro, Pokemon, Penguin, ViacomCBS and many more.

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pXX FOL TBI AugSep20.indd 1 25/08/2020 14:44 Fall 2020 | Preview

Who’s doing what this fall?

As Covid-19 continues to hamper international travel and affect the traditional events calendar, TBI checks in with a variety of distributors to ﬁnd out how they’re planning to attract the attention of global buyers

Fremantle Entertainment One

What’s the plan? A brand new screenings website, with best-in-class Name of event: eOne Preview: Studio Edition technology to enable a seamless experience for buyers. One-on-one Start/End dates: 5-9 October buyer sessions, with Watch parties and digital experiences. What’s the plan? eOne presents our rst Key scripted shows: We Children From Bahnhof Zoo (left), online showcase event and exclusive Anna preview – a new line-up of high quality Key unscripted shows: Day Zero and Empires Of New York content including development updates Key format: Rolling In It on Hasbro brand-driven lm and TV, plus Key execs available: Jens Richter, CEO, International; all-new scripted & unscripted programming. Angela Neillis, SVP, non-scripted content, International; From London to LA, via Toronto, hear from an Christian Vesper, EVP, creative director, global drama; exceptional array of on-screen and creative Rob Clark, director of global entertainment world-class talent including eOne’s new president of global TV, Michael Lombardo. Key scripted shows: Feudal, Family Law, Cruel Summer Key unscripted shows: London Zoo: An Extraordinary Year; Arctic Vets; Lost Worlds And Hidden Treasures Register: [email protected] Key execs available: Stuart Baxter, president, international distribution; Dan Gopal, EVP, EMEA; Dan Loewy, EVP, Americas; BBC Studios Joyce Yeung, EVP, APAC

Name of event: BBC Studios Connect Start/End dates: 28 September, for three weeks DCD Rights What’s the plan? A new, specially created sales website will oer our customers Name of event: DCD Rights Virtual MIPCOM everything they need, from our content pipeline to Start/End dates: 28 September curated collections designed to meet current audience needs, as well as exclusive What’s the plan? Tailor-made presentations insights into our latest front catalogue, including unique footage from our must- for each of our key genres: drama, factual see new shows, producer & talent sessions, and behind-the-scenes news. entertainment and factual documentaries, Key scripted shows: The Pursuit Of Love, The North Water, The Watch with some surprises from our exciting team of Key unscripted shows: A Perfect Planet (right), Greta Thunberg Doc (w/t), Top Gear featured acting and entertainment talent. Key formats: Weakest Link, Our DNA Journey, We Hunt Together Key unscripted shows: Disasters Engineered Register: https://sales.bbcstudios.com/contact (S2); Fatal Shot; Penn & Teller: Fool Us (S7) Register: www.dcdrights.com

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p12-13 MIPCOM Preview AugSep20 - ML RJM.indd 12 27/08/2020 18:32 Fall 2020 | Preview

Red Arrow Studios International All3Media International Name of event: Red Arrow Studios International’s FormatsFest Start/End dates: End of September Name of event: All3Media International Upfront What’s the plan? Red Arrow Studios International is holding a virtual What’s the plan? Our MIPCOM Upfront session will FormatsFest event at the end of September for international format buyers, be focused on entertainment content, showcasing Red Arrow’s latest and biggest formats, via a mixture of panels and revealing more about exciting pitches. new talent show Little Mix’s The Register: Invite-only Search, the reboot of studio favourite The Cube, and a brand-new gameshow from Studio Lambert, The Hustler. We will also ITV Studios be screening the highly anticipated Roadkill, Name of event: Fall Festival starring the Emmy Award- Start/End dates: 14 September – 2 October winning What’s the plan? The ITV Studios Fall Festival is an extension of its award- Hugh Laurie. winning Drama and Formats Festivals. It is a series of virtual content and Key scripted shows: Roadkill, production sessions for buyers, including a number of curated sessions with All Creatures Great And Small, Des producers for a deeper dive on some of ITV Studios’ upcoming titles. Key unscripted shows: Gordon Key scripted shows: Vigil (right), The Pembrokshire Murders, Ramsay: Uncharted, The Savoy, Tra cked Line of Duty (S6) Key formats: Little Mix’s The Search (above), The Hustler, The Cube Key unscripted shows: Love Island US, Vintage How to register: www.all3mediainternational.com Voltage, Surviving The Virus: My Brother And Me Key execs available: Stephen Driscoll EVP, EMEA & European co- Key formats: Don’t Rock The Boat, We Want productions; Sally Habbershaw EVP of Americas; Sabrina Duguet More, Let Love Rule EVP of Asia Paci c Register: www.itvstudios.com Key execs available: Ruth Berry, MD global distribution; Maarten Meijs president, global entertainment

Beta Film

Name of event: Beta Brunch Start/End dates: 13 October Lineup Industries What’s the plan? The traditional Beta Brunch, one of the ‘not to be missed’ buyers events at MIPCOM for decades, switches Name of event: The Daily Lineup from the Majestic to online. The unique high-pro le trailer Start/End dates: 12-14 October compilation of Beta’s new line-up will be What’s the plan? Access a range of distinctive brand-new format and factual introduced – as always tongue-in-cheek – entertainment content created by established and high-pro le producers from by CEO Jan Mojto, who will bring some across the globe. The Daily Lineup will include dedicated packages for all new unexpected guests. Stay tuned! shows including promos and screenings, producer and creator interviews, and Key scripted shows: Tell Me Who comprehensive factsheets for each title. I Am (right), Labyrinth Of Peace, Key unscripted shows: Born Without Trace, The Unknown Soldier, A Full House Dead Mountain – The Dyatlov Key formats: Born Without Trace, The Unknown Soldier, The Handover, 1 Year Off Pass Incident Register: www.lineupindustries.com Key format: Professor T Key execs available: Ed Louwerse and Julian Curtis, co-founders of Lineup Register: www.beta lm.com Industries

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p12-13 MIPCOM Preview AugSep20 - ML RJM.indd 13 27/08/2020 18:32 TBI Kids | Diversity

Delivering diversity

Mark Layton takes a deep dive to explore how the global TV industry is working to improve inclusivity and representation in children’s programming, and asks what needs to happen both in front of and behind the camera in order to bring about real change

very child deserves to see themselves Obviously, some territories perform far better than reﬂected in the programmes that they others in this regard when approaching the subject watch, but while strides are being made to from an international perspective. But the invigorated improve inclusivity and representation on global support for the Black Lives Matter movement Escreen, children’s television is still often poorly served. in recent months, coupled with the drastic increase Programmes with a female or BAME protagonist in children’s TV viewership during lockdown, has or featuring leading characters that are part of brought some of these issues into sharp focus in many the LGBT+ community, disabled or from a lower territories and changes are taking place as a result. socio-economic background remain, generally, “It seems to me that the high level of activity the exception to the rule. And this is also an issue and the acceleration of heartfelt change that we’ve mirrored behind the camera. witnessed in the last few months is an indication that

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the TV industry as a whole could and should have from lived experience. done more sooner,” observes Cheryl Taylor, head of “More recently, we have commissioned a raft of content for children’s programming at the BBC. 10-minute monologues and seven-minute mini My The UK pubcaster has a variety of inclusive Life documentaries as opportunities for new writers, content, with shows such as the pre-school animation directors and producers from under-represented Hey Duggee and the long-running magazine series groups to get their first role on a broadcast piece.” Blue Peter being among the popular stand-outs. Taylor also highlights series like children’s drama Its CBeebies channel also recently launched JoJo Apple Tree House, where the production team was & Gran Gran, the first British-made children’s able to provide training opportunities for directors animation focused on a black family. While the series from under-represented backgrounds – enabling the has been widely praised, a fair question is why it took show to mirror the onscreen diversity. so long for this landmark moment to reach screens. Akindele Akinsiku, co-creator, director and writer “We know there is more we should be doing on Apple Tree House, says that it was important to to stimulate stories based on a greater variety of the team that the stories and characters featured in the experiences,” acknowledges Taylor, adding that series were relatable. animations with black protagonists have previously “Unfortunately, people assume if the characters been “in short supply”. are multi-ethnic, then the show and the urban “There is a sense that the animation industry still setting might be alien to them. If we can relate to a has some way to go in terms of representation in talking pig or an anthropomorphic yellow sponge, several key production areas – and this has impacted then I think a bunch of kids that live on a council on the type of stories that are developed,” she says. estate shouldn’t be that dicult to empathise with,” Where the BBC has seen improvements, Taylor remarks Akinsiku. expains that these have initially been led by a “So Apple Tree House couldn’t just be a show more representative approach to casting, as well as about ‘diversity’. We wanted to create a positive show providing “focused support for new writers, directors about everyday children who just happen to live in and producers.” a rich and magical inner-city estate, one that didn’t She elaborates: “I’ve been impressed by the involve the usual media inner-city tropes of poverty delicate development process on shows like Pablo and crime that unfortunately are still commonplace.” [an animated series on CBeebies that follows a five- He continues: “To be honest, this is not rocket year-old boy with autism], wherein the employment science. It’s paying attention to your environment of autistic contributors across several production and your entire audience, especially if you live in a disciplines ensured the important ‘seeing the world big city. “It’s never a bad thing if your audience is in dierent ways’ message of the show was conveyed reflected in your show’s makeup.”

Apple Tree House (above) Delivering diversity has eschewed media tropes about inner-city life, while The Bravest Knight (right) has put both BAME and LGBT+ representation at the heart of the show

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European lag who are together and very happy, and we are vocal “If we can relate to about this, but in certain countries we could not sell a talking pig, or an David Michel is founder and president of Paris-based the show because of this,” says Michel. anthropomorphic production studio Cottonwood Media, as well as co- “At one point we were presented with the choice of yellow sponge, founder of French production and distribution firm basically either taming down these stories, including then I think a Federation Entertainment and MD of its children’s with dubbing the show, or losing a sale – and we bunch of kids that division Federation Kids and Family. He suggests it chose the latter. We didn’t want to compromise on live on a council has taken European networks longer to catch up to that,” he reveals. estate shouldn’t issues that the US industry has been tackling for many Shabnam Rezaei is co-founder and president of be that di cult to years already. Canadian animation studio Big Bad Boo, whose empathise with” “When I produced Totally Spies!, back in the day, series The Bravest Knight launched on Hulu last year. Akindele Akinsiku, we had Disney Family and then Cartoon Network Based upon the book The Bravest Knight Who Ever co-creator of on board and having a character from a dierent Lived by Daniel Errico, the show follows a 10-year- Apple Tree House ethnicity was very important to them. From our old black girl and wannabe knight, whose adopted perspective as Europeans, at that time, it wasn’t as white father tells her about his own past adventures much on the radar, which I am sad to say, especially before he settled down with the prince of his dreams. as we are all finally thinking in dierent ways now.” Rezaei’s experience of heading to market with a He adds that, even today, he doesn’t get “enough series fronted by a female character of colour and a diverse stories about characters of multi-ethnicity in same-sex relationship at the heart of the show echoes Europe” brought to him as a producer and says that Michel’s. “It was really important to us to not just “you really have to make a clear and conscious eort feature but also celebrate a two-dad household on about that.” our show, while also empowering young women – Michel says that while he has never received any especially young women of colour,” says Rezaei. pushback around the ethnicity of cast when selling “We took the show out to MIPCOM first and shows abroad, he has faced resistance for including received mixed reactions from international LGBT+ characters. audiences, who may not be as ready to reflect reality. Cottonwood Media produces the live-action teen “When we finally greenlit the show with our dramedy Find Me In Paris for Hulu in the US. When US partner Hulu, we realised how lucky we were creating the show, the team made a conscious eort to work with such an incredibly progressive and to craft characters from diverse backgrounds, social inclusive team. They were very committed to telling groups and sexual orientations. “One of the various an authentic story about a modern family, which storylines features the relationship between two boys ultimately connects with audiences.”

Find Me In Paris was created with a cast of characters from diverse backgrounds, social groups and sexual orientations

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The Jim Henson Company is also known for its history of promoting diversity. As its president of TV, Halle Stanford, puts it: “I always hear Kermit in the background saying: ‘It’s not easy being green.’” The company has produced shows like Fraggle Rock, which she points out “was created to promote world peace and showcase interconnectedness” (and is being brought back as an Apple TV+ Original) and Sid The Science Kid, which Stanford says was “the first show where we really dug in and showcased kids from dierent racial, religious and economic backgrounds”. She adds: “I’m super proud that Sid was the first bi- racial pre-schooler on TV.” The company is, of course, best-known for its work in animation and puppetry (or, rather, Muppetry), which is why Stanford says that the next step for JoJo & Gran Gran is the American awareness Henson is to develop more live-action programming. first British-made animation “We need to make a shift towards showing real focusing on a black family If the US TV industry is indeed leading the way in children up on the screen, even more. I’ve actually matters of inclusivity and representation, then kids’ committed our slate to showcase more real children in powerhouse Nickelodeon is often seen to be sitting at terms of race, community and neurodiversity.” the front of the class. Among the projects in the pipeline, Stanford reveals, The channel has worked to ensure there has been is a show “focusing solely on the Latinx community a firm ethos of authenticity woven into its seams and then another one specifically aimed at the since the word go. “We simply said let’s authentically neurodiversity community.” reflect the world in which kids live in at all times, Stanford says the company has started to realise that from day one until today,” says Nina Hahn, SVP of “we don’t have to necessarily always go broad; we can international production & development at Nick. always speak to a specific community.” This mission statement has led to the creation of many shows celebrated internationally for their Streaming focus inclusivity, from the multi-cultural makeup of Hey Arnold! to Dora The Explorer bringing one of the The rise of streaming services has opened up the first Latinx cartoon characters to screens, and all done catalogue for children to view not just homegrown decades before any current push for diversity. talent showcasing diversity, but also content produced Nickelodeon’s current output also includes The by cultures dierent to their own. “Until we see parity Casagrandes, which features a character who has “Streamers have played a big part as they have in top management, Down Syndrome, while the series Paw Patrol recently made a conscious eort in pushing diversity with in the creative introduced a pup with a physical disability. great results,” says Michel, while Rezaei suggests that departments But that doesn’t mean the company is resting “digital platforms and newer media rebels” are the and the decision- on its laurels. Its parent, ViacomCBS, made a clear ones “allowing space for new stories to come out.” making roles, we commitment to strengthening its commitment to Anish Mehta, CEO of Indian animation studio won’t make a huge inclusivity in its UK operations earlier this year, with its Cosmos-Maya, however, highlights how shows from dent in authentic “no diversity, no commission” policy for suppliers. some territories notably travel further than others. storytelling” “This is something that has driven the entire “We strive for our content to feature in the Shabnam Rezaei fabric of what it means to be a piece of content on international market and enjoy the same acceptance Big Bad Boo Nickelodeon’s air, a piece of content made by a and popularity as international storylines do in our producer with Nickelodeon and also to even work home market,” he says, noting the disparity, but also at the company,” says Hahn. “If you’re trying to sell the positives. “The fact that we’re currently in an a show to Nickelodeon you should have done your era where global streaming platforms are setting up homework to come with a concept that is authentic to shop in India signifies a welcome shift,” says Mehta. kids and reflects the world in which kids live. “Shows like Mighty Little Bheem have initiated a trend “It’s an instinct for Nick, it’s a natural part of where a homegrown Indian title has worked really our DNA. If you come to us without that, it’s not a well with big streamers such as Netflix in international conversation.” territories, and this is merely the tip of the iceberg.”

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Ellen Solberg, head of content at global kids’ apparent that social issues and disability representation streamer Hopster, meanwhile, says that she sees “I’d like to see more can often be left behind. “a huge positive coming from kids seeing dierent stories where girls Olivia Dickinson, executive producer of the cultures represented on screen.” are leaders and Inclusivity Now strand at the 2020 Children’s Media Solberg adds that while culture representation is boys are open about Conference, says that while there are positive examples definitely improving with global streaming, there are their feelings, where like the aforementioned Pablo, disability representation still areas for improvement. “I’d like to see more stories dierent family in children’s programming can often be tokenistic. where girls are leaders and boys are open about their structures are Dickinson gives an example of an existing character feelings, where dierent family structures are shown, shown, and where introducing a friend with a hearing aid or in a and where kids from dierent backgrounds, abilities kids from dierent wheelchair, rather than someone with those disabilities and classes are represented.” backgrounds, appearing as part of the regular cast of characters. Last year, Hopster published a report titled Is Kids abilities and classes Stanford agrees these issues are “absolutely not TV Making Your Child Prejudiced? which examined are represented” given the same amount of attention” and has plans 50 of the most popular shows aimed at UK pre- Ellen Solberg, Hopster for Henson to “open ourselves up” to more projects schoolers on public service broadcasting channels, focused specifically on the disabled community. streaming and VOD services. Its findings included Dickinson also notes another troubling trend. Even minimal disability representation in these shows, high in positive LGBT+ stories it is “often more acceptable rates of gender stereotyping, little evidence of LGBT+ to have a coming out story for boys. There is that sense representation and only six out of the 50 examined again that the male experience gets to lead.” had BAME characters in leading roles. Solberg comments: “Our aim has always been to be On and off camera inclusive, but the report did highlight to us how many of the top shows are still lacking representation. It has While eorts are clearly being made to improve definitely made us more aware of harmful stereotypes inclusivity and representation, all those spoken to by and underrepresented groups. When commissioning TBI for this feature agree that there is much more content, we always take this into account. In 2019, to be done. And the answer, to quote Akinsiku, is we created a show called Rainbow Stories, which “not rocket science”. Beyond improving on-screen introduces children to LGBT+ families and dierent representation, broadcasters and content creators family structures. In another Hopster original, Two need to also put in the work behind the scenes – and Minute Tales, we meet BAME characters, LGBT+ at every level – whether that’s adhering to an ethos, characters, characters with disabilities and characters implementing an initiative or ensuring that the content from dierent classes.” they create comes from a place of real authenticity. “Things have changed a lot. It is certainly no longer Social immobility incredibly rare to see BAME characters on children’s Cosmos-Maya’s Selfie With TV,” says Akinsiku. “But there is that little question While there has been more overt ground gained with Bajrangi is one of Disney of what lies behind the camera. We need more pushes for racial, gender and sexual inclusivity, it is India’s most-watched representation at levels where it matters, especially creative and shot callers. When you have influential people on side at the highest levels, it can make a dierence.” “True change comes from changing the make-up of the industry,” agrees Rezaei. “Until we see parity in top management, in the creative departments and the decision-making roles, we won’t make a huge dent in authentic storytelling.” If these positives changes continue, however, Rezaei believes the future is an inclusive one. “I am convinced one day we will reach a place where kids can turn on the TV and feel like they are being represented and reflected. This will allow them to know that they are OK just as they are and that they are loved. That is what this is about. We want to make kids feel that they are loved and that they matter. That is the most important part in all that we do.” TBI

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Talking it out

Spanish-language scripted product is in demand and Latin American producers already widely renowed for their ﬁlm output are ﬁnding new opportunities to take their content global, as Nick Edwards reports

he Latin American region is highly coveted Brotherhood (Irmandade), drama and romance. Most countries have a mix of by global media firms and with many which has sold to Netflix, government and commercially-funded channels, Spanish-speaking countries - the second- explores the dangers of life with Mexico the biggest producer of high-end content, most spoken language in the world - it has in a Sao Paulo prison followed by Brazil and then Columbia. But smaller Tproven to be of particular appeal to TV and streaming countries such as Chile often punch beyond their companies keen to bolster subscriptions. While the weight, too. culture of producing high-end TV drama might be The region is also heavily penetrated by streamers relatively new, Latin America has a highly regarded and according to Ampere Analysis, a research $12m history of independent filmmaking and the two ends of company that monitors activity in the industry, the industry are now combining to make the region a there are currently more than 150 premium drama landscape of opportunity, but also nuance. productions in active development. Channel 4’s spending on programming for the The Latin part of the world is perhaps most Of these, Netflix is behind 28 and Amazon has 11, remainder of 2020 famous internationally for its telenovelas, the long- while an array of other streamers and local channels running soap opera-like productions that feature high make up the remainder.

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Where HBO led… company that produced Ingobernable, a web series “ e competition for Netflix, and Prófugos, an HBO Latin America However, reflecting the situation in North America, from Netix, series. It has also forged ties with The Immigrant, the it was HBO that led the boom in high-quality TV Amazon and HBO prodco headed up by Camila Jiménez-Villa and Silvana drama. Around 15 years ago, its first show Epitafios, has made everyone Aguirre, the team behind Netflix’s El Chapo. “Several an Argentinian crime drama in the vein of films such as up their game and new streamers will be launching throughout the region Seven or Silence Of The Lambs, was shown alongside increase the amount during the next two years,” says Coty Cagliolo, head HBO classics such as Oz, The Sopranos and Sex And of content they of production for Fremantle in Latin America, “and The City. “It took audiences by storm, people were make” this has caused a regional upscaling of ongoing projects not prepared to see something like that,” says Roberto Andrea Barata Ribeiro and a thorough search for new content.” Rios, corporate VP of original programming at HBO City Of God producer Latin America. To date, the company’s Latin American Nuance & nurture arm has made more than 80 shows and now produces between five and six series each year. However, there are still major challenges to those It is not only the well-established operators, such taking on the Lat Am region and those who do so as HBO and Netflix, which have settled themselves discover a nuanced landscape. “Whilst there is a here. Innovative new players across the business are shared language and shared history, it doesn’t mean spotting opportunities too, such as Vuulr, the online it automatically resonates,” explains The Immigrant marketplace for trading content rights, which has just CEO Jiménez-Villa, which has o¢ces across the region added 52 shows from Mexican broadcaster Televisa as well as in Spain and the US. to the 50,000 plus hours of content in its library “There are many examples of Spanish content that (consisting of programming from more than 70 travels well across the Latinx region, but others are too countries in 60 languages). specific to Spanish or the European experience. But if “We definitely see the potential for consumption you have a great story with great characters, because of Spanish-language content to increase. We are just of the language and often shared history and cultural uploading a large catalogue from Colombia and references, there is potential for that story to travel following up on meetings with several distributors across the region straight out of the gate,” she explains. from the region to showcase their content too,” says Likewise, just because there may be large swathes of founder and CEO, Ian McKee. the public who do not yet have subscriptions, it does Guy Bisson, research director at Ampere Analysis, not mean they are an easy sell. underlines this: “Non-English-language content is “Older audiences who watch free-to-air drama on a growth cycle worldwide and Spanish is the on linear channels can have habits that are hard to second most spoken language in the world, so the change,” explains HBO’s Rios. For younger audiences opportunities are obvious.” the challenge is di¤erent. “People under 30 who do Global production firms are looking for growth too. Ingobernable producer not own TVs, who aren’t even aware of them, they’re Fremantle expanded into the region last year, brokering Fabula inked a first-look very curious and live in a world where everything ‘first- look’ deals with Fabula, the Chilean production deal with Fremantle is theirs for the picking. They could be watching a 10-minute web series from Russia one minute and then a 30-minute comedy from Korea the next,” he continues. For this group, a company’s role is to curate. If HBO Latin America makes an Argentinian show, they have to be mindful that their subscribers throughout the region may well have seen it, so if the next show is in Mexican or Brazilian, it needs to be something that Argentinian audiences will want to see too. Sophisticated local editorial decisions are made by commissioners depending on local tastes and cultural preferences.

TV & film’s crossover moment

Traditionally, those who worked in the TV end of the industry and ﬁlm auteurs were considered di¤erent breeds, but recently the two sides have converged.

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“What we do is take people we believe in but who do not have an extensive history of writing TV and we provide that shepherding of the talent,” says Camila Jiménez-Villa. The new TV landscape allows producers to tackle the same kind of socio-political commentary that Andrea Barata Ribeiro tackled in City Of God, which looked at the rise of crime in Rio de Janeiro’s favelas, on the small screen. Her recent production Brotherhood (Irmandade), a series for Netflix, explores the astonishing level of violence in a São Paulo prison. Her production company O2 Filmes has also made a social allegorical drama titled Joint Venture (Pico Da Neblina) for HBO, which follows the trials and tribulations of a former drug dealer in a world in which marijuana has been legalised. With Paranoid Filmes, HBO Latin America recently made He, She, They (Todxs Nósotros), about the existential crisis of a non-binary 18-year-old. Latin America has a rich independent film history La Jauria was created by “You can be as creative in TV today as you can in and their directors have been admired by the global Fabula in partnership with film,” says Ribeiro. “We have just made a film for community at festivals such as Cannes and Venice for Chilean broadcaster TVN Netflix with a young director. They want the freshness decades. “People making movies 10 years ago saw TV of a new director and they allow them to do whatever as o¤ering less budget, inferior actors, inferior writers they want,” she says. and so on. Then suddenly we started to see crazy Similarly, Fabula’s new production, La Jauría, a money on the TV side,” says Juan de Dios Larraín of partnership between Fremantle and the Chilean public Fabula. “Now there’s not much di¤erence between the service broadcaster TVN, takes place in the context of cost of a minute of TV and a minute of film. What’s Latin America’s #NiaUnaMenos (Not One Woman changed is the quality of TV.” Less) uprising, comparable to the #MeToo movement. This change has been vital in Brazil since Jair The result is a taught Spanish-language thriller shot in Bolsonaro became president. “A lot of tax incentives Santiago by Lucía Puenzo, one of Latin America’s most and politicians used to support the cinema industry renowned female writer-directors. but we don’t have that anymore,” says Andrea Barata There is also the phenomena of ‘Narcos-novellas’, Ribeiro, the producer behind City Of God, one of the which emerged from the success of the Netflix hit. region’s best known independent films of the last two “You need to capture the attention of audiences and decades. “For 20 years, a little industry has been built retain them for long seasons. Slow burn is not how we and now it’s all over,” she says. would define our slate,” says Jiménez-Villa. Brazil’s local commercial channel Globo made the “You need to capture Larraín underlines this: “If the commissioner is follow up to City Of God, City Of Men, which ran the attention of hearing five pitches that day and you are number four, over four seasons. “Globo always had very good audiences and you have to stand out,” he says. “So the TV that gets content,” Ribeiro points out, “but the competition retain them for long commissioned is very dynamic. In order to fill eight from Netflix, Amazon and HBO has made everyone seasons. Slow burn hours of TV, it has to have a lot of plot twists, sub-plots up their game, and increase the content they make.” is not how we would and narrative arcs. You couldn’t make Mad Men or The boom has been great for the TV writing culture dene our slate” The Sopranos,” he says. of the region. “In the past, players in the film industry Camila Jiminéz- Villa, The energy of a generation of production companies needed other jobs to survive. But now, in TV, cast The Immigrant is creating sustainable talent that looks likely to deliver and crews do not need other jobs, that’s a totally new some of the most exciting storytelling on the small development that has taken place over the last three or screen for years to come, but ultimately the region is four years,” says Larraín of the Chilean situation. not immune to the challenges of the global market. Content buyers need to deliver perfectly executed “It’s a very competitive and very crowded marketplace. productions to their subscribers but, unlike America To make premium content that pushes boundaries, or the UK, the region does not have a bench of there is just a handful of buyers, so you have to stand experienced writing talent to draw upon. So there is a out, just like in the English-speaking market,” reflects huge focus on development. Jiménez-Villa. TBI

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Kids Hot Picks The very best children’s content heading to market

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The very best children’s content heading to market Top Zog And e Flying Doctors Pick Producer: Magic Light Pictures Distributor: Magic Light Pictures Broadcaster: BBC (UK) & ZDF (Germany) Logline: Lovable dragon Zog and his loyal friends Princess Pearl and Sir Gadabout go on a thrilling adventure

Wondering what the team Gadabout try everything they at the UK’s Magic Light can to rescue her but fail – Pictures have been doing under leaving Pearl to come up with lockdown? Well take a peak her own way of regaining her at the latest show to emerge freedom. from the London-based studio, “Zog And The Flying which has already been behind Doctors is packed with international hits including adventure and fun,” Michael The Grualo, Room On The Rose, joint MD at Magic Broom and last year’s The Light, tells TBI. “It has Snail And The Whale. everything kids love: a doctor Like those specials before it, princess, dragons, unicorns Zog And The Flying Doctors and even sunburnt mermaids marks another adaptation for and sneezy lions.” award-winning author Julia For Rose, the show’s Donaldson and illustrator key attributes include the Axel Scheer, with the 1 x originality of the story – which 30-minute show based upon he describes as “hilarious the sequel to previous book and heartwarming”. But, he Zog, which made its own TV adds, the special also oers bow in 2018. The new show universal themes, which can be will also debut on the coveted appreciated by young and old BBC One Christmas schedule viewers globally. in the UK, while Germany’s Having its roots in a book ZDF is attached as a core written by an author-illustrator partner and ABC in Oz, Spain’s combo known worldwide is Movistar and SVT in Sweden also likely to help it ﬂy further are among those to pre-buy. on the international market. The story itself picks back Rose is also full of praise up with the lovable dragon for Donaldson’s “wonderfully Zog – who has become a rhythmic prose” and Scheer’s trusty air ambulance following “fabulously endearing the events of his last adventure illustrations”, which, he says, – along with Princess Pearl are “loved the world over”. and Sir Gadabout. When bad Combined with Magic Light’s weather forces them to land at animated transformation, the the palace, Pearl is locked up result is a half-hour special by her uncle, the King, who “for all the family to enjoy” doesn’t think that princesses that looks likely to again should be doctors. Zog and become a hit worlwide.

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e Epic Adventures Of Morph Producer: Aardman Distributor: Aardman Broadcaster: Sky Kids (UK, Italy, Germany) Logline: Morph and the gang embark on truly epic adventures that take them beyond their desktop home and – for the ﬁrst time – we see Morph and Chas let loose in the wider world

These bitesize shows pick up on a much-loved classic character from the world of kids TV, with Aardman behind the series. The Epic Adventures Of Morph is made up of 15 x 5-minute episodes, longer than the ﬁrst incarnation of the his friends get up to all kinds see Morph and Chas let loose carry all the hallmarks of a character several decades ago, of mischief,” Aardman senior in the wider world.” The show classic Aardman series, including but producers promise to again brand manager, Laura Burr, remains true to its original that signature Claymation oer up slapstick comedy and tells TBI, adding that the show format, combining clay and technique, but Burr says Morph’s loveable sidekick Chas. will also expand the universe of traditional stop-frame animation the show also “pushes the Alongside the duo are their old the clay models. “Morph and without dialogue, which should boundaries of stop-motion friends Delilah, Grandmorph the gang embark on some truly make it accessible to global to produce fast-paced action and The Very Small creatures. epic adventures that take them audiences, with a Sky Kids debut to match the comedy,” “It’s incredibly funny and kids beyond their desktop home in the due later this year. with a “universal and cross- will love watching Morph and and – for the ﬁrst time – we’ll The show also promises to generational appeal.”

e Dog And Pony Show Burns tells TBI that the artistic characters to organically exist in Producer: Redknot (a joint venture between Nelvana and Discovery) direction of the series will also the same world.” Distributor: Discovery (Lat Am), Nelvana (Rest of world) appeal, with animation merged With a roll-out on in Broadcaster: Treehouse (Canada), Discovery Kids (Lat Am), Discovery with real world elements. September across Treehouse Kids (Italy) “The show’s backgrounds Canada and Discovery Kids in Logline: Two very different best friends leave their magical world of are a collage of images and Latin America and Italy, the Rainbow Fjörd and move to the not-so-magical Unicity photographs that are ‘scribbled’ show is now being brought to over to give each backdrop the other buyers – with its roots at This pre-school animation ensues after Pony shakes his graphic sensibility and allow the Redknot expected to help sales. marks the ﬁrst show to come ‘magic bottom’, kids will ﬁnd from Redknot, the joint themselves on a raucous ride venture between Nelvana and with Dog and Pony,” says Discovery. It follows Pony, who Pat Burns, executive manager has outrageous ideas, and Dog, and supervising producer at who has a fascination with Redknot. the everyday, and tracks their And while the series is on the adventures as they leave the surface a buddy comedy, “at magic world of Rainbow Fjord its heart, the show explores the to explore the mundane Unicity. exhilarating transition from the “Between the characters’ magical world of a pres-chooler joy and fascination with the to that awesome thing known as everyday and the chaos that a ‘big kid’.”

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Tinka And e King’s Game Dino Ranch Producer: Cosmo Film Producers: Industrial Brothers, Boat Rocker Studios Distributor: APC Kids Distributor: Boat Rocker Studios Broadcaster: TV2 (Denmark) Broadcaster: Disney Junior (US) Logline: Sequel series to the popular festive show Tinka’s Tale Logline: Follows the action-packed adventures of the Cassidy family as they tackle life in a fantastical, ‘pre-westoric’ setting where dinosaurs This live-action family series story helps captivate viewers, still roam is from Denmark and has proven by the first season’s been produced as a sequel of record average share of 53% on sorts to popular festive show access primetime in Denmark, Tinka’s Tale, which follows a as well as the great performance 15-year-old girl who discovers on Teletoon+ in France.” she is half pixie, half human The show also pushes the and who must embark on a Scandinavian festive format one daring mission to bring peace. step further, Marty says, mainly Tinka And The King’s Game by taking its main themes of picks up the story as Tinka’s tolerance, co-existence and father, the King of Pixies, fails reconciliation beyond the to return from a trip where he sphere of the family and into a was to name her the crown wider approach to society. princess. Tinka must enter an For global buyers, Marty ancient competition, the King’s adds that the universal values Game, to secure the throne and are “wrapped” with elements finds help in her trusted human of the fantasy and adventure Targeted at two-to-five-year- show features a dino-sanctuary friend, Lasse, freshly expelled genres “that have proven to olds, this CGI animated too. Kids will love caring for the from boarding school. be appealing to international series takes place on a ranch dinos, especially in the hatchery “The Tinka series puts teen viewers in recent years.” in prehistoric times, where where tiny eggs are hatched to characters at the centre of the The 24 x 26-minute storylines combine “comedic, reveal a host of adorable baby show, dealing with relatable, show is produced by Danish rough and tumble fun” while dinos that need to be cared for.” personal issues, but also company Cosmo Film for introducing kids to problem The show attempts to delve showing their strong will to local broadcaster TV2, with solving and forging life-long deeply into animal care but have a seat at the table and to sales now open. Tinka’s Tale friendships. The show, which also explores the importance of take action,” Lionel Marty, previously sold to broadcasters debuts on Disney Junior in the family and community bonds, MD at APC Kids, tells TBI. including Canal+ in France and US next year, has been created Rutherford says, adding that the “The serialised aspect of the ERR in Estonia. by Matt Fernandes of Industrial global appeal of dinosaurs will Brothers, which is working appeal to buyers. with Boat Rocker Studios in “Dinosaurs are loved the association with Disney, Radio- world over and here, on Dino Canada, and CBC Kids. Ranch, they’re paired with real The show follows three young kids who pre-schoolers will siblings – accompanied by their relate to,” the Boat Rocker own distinctive dinosaur best exec says. “The show presents friends – as they find out about a variety of themes that will ranch life whilst navigating be widely recognised globally the great outdoors through a including action, adventure, wide variety of dierent and nurture, family, friendship and unpredictable challenges. community.” “In addition to all the action Rutherford adds that the and adventure, the nurture show’s unique premise – which elements of the show will hold sees the kids becoming best huge appeal,” Jon Rutherford, friends with their dinosaurs – MD & president of rights at will engage viewers while the Boat Rocker Studios, tells TBI. series also features a diverse “As well as a working ranch, the range of characters.

August/September 2020 27

p24-28 Kids Hot Picks AugSep20 - ML RJM.indd 27 27/08/2020 18:38 TBI Kids | Hot Picks

Royals Next Door Producers: Pikkukala, Lunanime, Ink & Light Films Distributor: Dandelooo Broadcasters: YLE (Finland), Ketnet (Belgium), RTVE (Spain), RTÉ (Ireland) Logline: A princess leaves her castle behind for a ‘normal’ home

This 52 x 11-minute animation is created by Veronica Lassenius, creative director at Finnish prodco Pikkukala, and is based on her personal experiences, which saw her move often from country to country. The show, which combines 2D animation with photographic backgrounds, is aimed at seven- to 12-year- her new life as a ‘normal’ girl. true to yourself in a changing “We aim to innovate olds and revolves around Crown Emmanuèle Pétry Sirvin, environment. The fact that the and give a new twist to the Princess Stella, who must move partner at Dandelooo, says stories are based on real events animated sitcom genre: the out of her castle after it suers that while animated shows and experiences makes the show hybrid style, combining 2D water damage. In line with King about royalty and the ‘ﬁsh out genuine,” Sirvin tells TBI. digital animation with real-life Bob’s royal motto ‘closer to the of water’ set-up for comedy Sirvin adds that the producers and CG backgrounds goes people’, the family decide to have both been extensively have also created a new-look for in line with what the target live in an ordinary suburb, with used, Royals Next Door “will the animation using a variety of audience is experiencing on Stella sharing anecdotes about tell a funny story about staying dierent mediums. other screens.”

Green Hornet The Green Hornet will ride the character, having penned Producer: WildBrain again in this new animated series numerous Green Hornet comics. Distributor: WildBrain based upon the masked crime Smith says that it is an Broadcaster: N/A fighter, who first appeared in a “honour” to bring the “iconic” Logline: The Green Hornet and Kato leap back into action in the 1930s radio series. characters back to the screen in modern day – but this time it’s their children who are the crime- By day, Britt Reid was a an animated series for the first fighting heroes wealthy newspaper publisher, time. “We’ll be telling a tale of but by night he donned his green two Hornets – past and future mask and ventured out into – that spans generations and the city with his sidekick Kato draws inspiration from a lifetime – in their high-tech car ‘Black spent watching classic cartoons Beauty’– to battle criminals. and amazing animation.” This new series is set in the Smith lists shows like Batman: modern day, with a re-imagined The Animated Series and Green Hornet and his sidekick Super Friends as among his Kato now the grown children inspirations for the new Green of the original heroes. It is Hornet series, which is to be currently in development and no ‘unmasked’ at MIPCOM. broadcaster is yet attached. “I can’t believe WildBrain WildBrain has partnered with gave me this job and I can’t filmmaker and writer Kevin thank them enough for the Smith on the project and he opportunity to extend my is already rather familiar with childhood,” adds Smith.

28 August/September 2020

p24-28 Kids Hot Picks AugSep20 - ML RJM.indd 28 27/08/2020 18:38 September 7-9 rdvbiarritz.com

French TV programs for the world

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MINISTÈRE DE L’EUROPE ET DES AFFAIRES ÉTRANGÈRES Made in France. For the world

pXX RendezVous TBI AugSep20.indd 1 26/08/2020 11:09 Business | Launches

Launch time

Richard Middleton talks to former BBC Studios director of commissioning & co-production Tobi de Graaff about suffering from Covid-19, his agnostic approach to production and why it’s more fun to date than marry

or those whose first language is not German, the word “The reception [of Beiboot] has been great, we’ve had a lot of beiboot might not mean too much. companies, producers and writers interested in someone who can help For others, such as former BBC Studios (BBCS) director them navigate the richer and more complex world of commissioners,” of commissioning & co-production Tobi de Graa, it neatly he says, adding that the idea is to enable creatives to navigate the Fencapsulates what his newly-launched joint venture company does, “dierent scenarios available to put a show together.” while also illuminating how TV’s scripted business is changing. De Graa has long been associated with premium scripted product, “We are a representation business,” De Graa explains of Beiboot, joining BBCS (then known as BBC Worldwide) from ITV Studios the business he unveiled last month that has the backing of McMafia in 2014 as EVP of western Europe, where he led TV distribution, and His Dark Materials financier Anton. “In German, beiboot means production and channels. dinghy – so if you happen to have a yacht, you lower the beiboot and He was promoted to his more recent commissioning role in 2017, you can get to harbour.” with a focus on partnering with producers to determine funding strategies and execute global sales plans. Choppy waters That led him to working in tandem with Anton and, most notably, Netflix, as BBCS attempted to deal with the streamer’s increasingly That might sound straightforward enough in calm seas, but there’s stringent demands for global rights deals. As a result, De Graa little doubt that De Graa’s Beiboot has entered into the scripted became the “point person” on such deals and an expert in the industry when the waters have become somewhat choppier. evolution of drama commissioning along the way, while working That’s partly because the former BBCS exec had to deal with with Anton on a number of financing initiatives. suering from Covid-19 himself as he prepared his new outfit – but “The business used to be that producers would get a commission, now recovered, he is clear about the opportunities for what he then go to distribution and get deficit funding, and perhaps help via describes as his “agnostic” company. a co-production. That’s changed in some ways over the past three

30 August/September 2020

p30-31 Launch Time TBI AugSep20 - ML RJM.indd 30 27/08/2020 18:45 Business | Launches

De Graaff’s Beiboot venture has the backing of His Dark Materials (opposite) and McMaﬁa (right) ﬁnancier Anton

years, so I would be increasingly working with producers to get in early, before the script.” From there, the focus would be on where the project would best ﬁt, with pitches made to streamers, broadcasters and premium or basic cable in the US and beyond.

Agnostic approach

“That’s when I had the idea that a business that could be independent of a studio might work even better,” he explains. The idea, he adds, is to focus completely on the project and be “100% agnostic” from any corporate interest a studio might have in terms of SVOD aliation. The theory went that if you could work with any distributor, channel or streamer without a conflict of licensing strategies, then we’re funding development and these will of course take a bit longer. the decision-making hierarchy and the focus would become clear: it “I’m agnostic in this, I just really want to help shows get made would only be about the project. As a result, De Graa says Beiboot creatively to incredible standards while working commercially with isn’t looking to represent companies – at least not yet – the idea is to streamers, cable or channels to make that happen.” focus firmly on projects he believes in. “I was working with Sebastien Raybaud and Celia [Meirow] at Broad horizons Anton with BBCS’s slate financing deal and that’s how we met. “With the idea of being fully agnostic and working in films and Reflecting De Graa’s previous international roles, Beiboot is open to TV, there was a meeting of taste and ambitions. They believed in partnering on projects around the world but the UK and Europe is a this business model but they wanted to form a separate company focus, he adds, particularly with “growing demand for Italian, French run by me, so I have a board with investors, and a pot of money for and German shows, as well as British series.” development so we can get involved early and finance scripts and The impact of Covid-19 on his business has, to date, been limited, bibles to kickstart projects.” he adds, but clearly the drama business will change as it emerges from the grip of the pandemic. “I’ve been lucky, we are in the slate-shaping stage of our business and we haven’t had productions stopped and “If dating is so much fun why get lost revenues – that has been incredibly hard for others,” he says. married right now? Being bespoke “It seems to me that streamers are doing well but channels, all the time is an advantage and especially those that are ad-supported, have been hit. In my mind, it something that few studios can points to [a requirement] for more intelligent maneuvering for shows match” to bubble up to the fore to make them happen.” Tobi de Graaff, Beiboot founder And with his agile dinghy designed to get shows safely to shore, the belief is that De Graa can deal with all manner of operators, from organisations such as the European alliance of public broadcasters De Graa won’t reveal just how much funding Anton is providing (France Télévisions, Italy’s Rai and Germany’s ZDF), to regional but says there is a “significant” development budget, adding that it’s SVODs and “super giant streamers and tech groups”. not fixed if more is required. “For a start-up, we’re a very healthily “They all have something in common,” De Graa says. “They’re funded business that can hold its own.” after big event TV, serving dierent audience tastes – and that is a He is clearer about where Beiboot’s focus lies – premium drama creative landscape that we can look forward to. You just have to – but he is open about the route to get there. “Certain projects will be prepared to put the leg work in for more complex partners,” he really benefit from finding a writer, a director and a lead cast and being continues, underlining the approach of his bespoke model and, he presented together to the market at that point,” he says. “But on other hopes, its allure for creatives. projects, that approach might be unhelpful – I don’t have a formula of “If dating is so much fun why get married right now?” he adds. how things should be done, it will be on a case-by-case basis.” “Being bespoke all the time is an advantage and something that few Despite the company’s recently launched staus, De Graa has studios can match. Dealing with dierent people for dierent clients already built up a slate of projects and says he is in conversations with and in dierent territories can be tricky to see through for a small other producers to take on their shows across a variety of dierent production firm. business models. “Some are already developed and they want help “With 13 years on the sales side, there are a few things I have to take them out, there are several projects launching soon that are picked up that I can now bring to the table in a more entrepreneurial already developed and need a home, then there are others where way and with the interests of both parties at the centre.” TBI

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p30-31 Launch Time TBI AugSep20 - ML RJM.indd 31 27/08/2020 18:45 TBI | Opinion

Last Word Brien Arone Keeping a focus on kids’ climate concerns

he norms and values that govern our lives are questions of participation and networking skills. “Life is more than are learned in childhood and consolidated After surveying over 11,000 children between just money and in adolescence. That means being part the ages of nine and 18 from 14 di erent countries, fairy tales of eternal of the kids TV industry comes with a including Brazil, India, Kenya, the US and New economic growth: Tlot of responsibility – and the power to change the Zealand, UNICEF found that many are aware their young people are way humanity thinks. Being relatively new to the futures may not hold all the promise their parents making a stand” industry, you might look at me and think that’s a bit had hoped for. The survey, which measured children’s much to say. But when I walk into a trade show or attitudes towards global issues, found that many market and people point out the big decision makers, children are “deeply concerned” about problems like everyone is new to me. The beauty here is that I treat climate change – and it can of course be frightening, everyone as a big decision maker and my approach as can other environmental issues like deforestation as someone completely fresh to this industry is an and wildlife extinction. emotional one. But it doesn’t have to be. It is so important to This leads back to our responsibility, because I let kids know that they can change the world, to know that life is too short to stand on the sidelines: empower them and encourage them. Truth is, there what we all do or don’t do will a ect all our lives, our is a potential hero, a future di erence maker, in children and all future generations. And that was the every young person. Each of them, from whatever inspiration for SeaBelievers. background, is a bundle of untapped energy – a Life is more than just money and fairy tales of positive force who can do something to steer that eternal economic growth: young people are making communal boat that carries us all. All it takes is belief. a stand and we only have to listen to what kids say If young people believe in their own power, they to embrace and learn what we should teach and talk will use it. And they will discover that any person – about. I have taken up the cause for environmental regardless of gender, age, race, cultural background education, ocean conservation and taking care of or economic circumstance – can make a genuine and our planet. The good thing is I am not alone: a lasting impact. survey of 1,000 children aged four to 14 found that I’ve been blessed to have found an all-star team 87% believed that saving the environment should of industry professionals to share this personal be taught in schools. When asked why, more than a connection and they have become part of our third (38%) said it was because they were worried amazing SeaBelievers family. We decided that we about the future of the environment. want kids to know that the SeaBelievers are at their Without environmental education, the vision of side – and inventing the whole new genre of ‘eco- sustainable development cannot be realised, either tainment’ is exactly that to us. It combines the beneﬁt globally or in individual countries. In the future, of edutainment in a CGI series for children, o ering Brien Arone is founder & environmental education will be measured by the informative and realistic insights about real-life issues “SeaEO” of SeaBelievers, extent to which it proves capable of making the a ecting our ocean and encouraging kids to make a which houses the expected contribution to sustainable development. di erence – because little kids can do big things! The eponymous kids Topics such as mobility, lifestyle and consumption, one thing we need more than hope is action. Once show focused on the energy, construction and housing, nutrition, health and we all start to act, hope is everywhere. Change has to environment poverty reduction are all moving to the forefront, as start today. TBI

32 August/September 2020

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