CHINA: LAND OF May + June 17 Volume 20, Issue 4 Realscreen is published 4 times a year by Brunico Communications Ltd., OPPORTUNITY? 100- 366 Adelaide Street West, Toronto, Ontario, Canada M5V 1R9 ews of the return of American Idol to ABC — one year after the farewell season Tel. 416-408-2300 Fax 416-408-0870 www.realscreen.com

aired on Fox — has many in the industry focused on formats, and asking VP & Publisher Claire Macdonald [email protected] Nwhether there’s room for new ideas in the market. Editor at Large and Content Director Barry Walsh [email protected] A version of that question is bound to be on the minds of Syco Entertainment Managing Editor Darah Hansen [email protected] executives as they play a watch-and-wait game over the next few weeks. Research Editor Jessica Mach [email protected] The first of what is expected to be a number of large-scale formats developed in Associate Editor Meagan Kashty [email protected] Senior Writer Daniele Alcinii [email protected] China by the production arm of the Simon Cowell-fronted media company with Star Staff Writer Selina Chignall [email protected] China International Media was expected to launch in late May. Fingers are crossed Contributing Writers Michael Cascio, Ivana Kirkbride, Jessica Mach, the shiny floor offering (billed as a general talent show with a twist) will find a large Chris Palmer audience…and quickly. The chances of regional success are good. Celebrity-led Associate Publisher Carrie Gillis [email protected] reality TV continues to have strong traction with Chinese audiences, with singing Senior Account Manager Kerry Lanctot [email protected] Account Manager Kristen Skinner [email protected] competitions such as Come Sing with Me, Hidden Singer and I am a Singer among the Marketing & Publishing Coordinator Grace Li [email protected] country’s most-watched shows. Creative Manager Andrew Glowala [email protected] That the format will air in primetime on CCTV, China’s largest broadcaster, and has Art Director Mark Lacoursiere [email protected] Cowell’s star-making stamp of approval only increases the chances it will land in Print Production & Distribution Supervisor Andrew Mahony the top 10 in the debut season. [email protected] Event Producer Tiffany Rushton [email protected] But, under the very specific terms of its partnership, Syco won’t know until the fall, when the format is introduced at MIPCOM, whether its Asian gamble has paid off. Webmaster Farhan Quadri Indeed, the company won’t be the only one watching how well the format sells on the   international market as international producers weigh the challenges and opportunities Data Integrity and Customer Support Supervisor Christine McNalley opening up in the world’s most populous and, increasingly, prosperous nation. [email protected]  Already complex, China’s TV landscape recently became trickier to navigate when President & CEO Russell Goldstein [email protected] strict new rules capping the overall number of foreign formats coming into the country VP & Editorial Director Mary Maddever [email protected] were ushered in. The government also imposed an outright ban on Korean productions, VP & Publisher, Kidscreen Jocelyn Christie [email protected] which had previously accounted for 40% of formats sold in the country. VP Administration and Finance Linda Lovegrove [email protected] The move was strategically designed to build up China’s in-house development, Senior Director, Events and Creative Services Brenda Wilford [email protected] creativity and production capacity, and decrease reliance on outside expertise. At the Senior Director, IT and eBrunico Eddie Ting [email protected] same time, it has stirred up interesting possibilities for foreign format specialists looking to tap China’s TV spending dollars, estimated at US$8.4 billion, behind only Japan, All letters sent to realscreen or its editors are assumed intended for Britain and the U.S. publication. Realscreen invites editorial comment, but accepts no Syco and Star China inked their deal just before Christmas with a long-term goal of responsibility for its loss or destruction, howsoever arising, while in its office or in transit. All material to be returned must be accompanied by a stamped, producing several hits together. China’s rules mean Star China owns the IP and pays self-addressed envelope. Nothing may be reproduced in whole or in part for most of the development and expenses, while both companies have a stake in the without the written permission of the publisher. international distribution. Michel Rodrigue, CEO of the format consultancy firm The Format People, and the ISSN number 1480-1434 © Brunico Communications Ltd. 2017 negotiator behind the deal, sees it as a good fit for a prodco with serious format chops U.S. Postmaster: Send address changes or corrections to realscreen, PO Box and a media company with the money and ambition to become a much bigger player at 1103, Niagara Falls, NY, 14304 | Canadian Postmaster: Send undeliverables home and abroad. and address changes to realscreen, 8799 Highway 89, Alliston ON L9R 1V1. “The ideas come from both sides. 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Cheers, ™ Realscreen is a trademark of Brunico Communications Ltd. Darah Hansen Managing Editor

004 May / June ‘17

Get ready to pull out all the stops

January 2018, the Realscreen Summit will celebrate its UPCOMING ADVERTISING 20th anniversary, and we are going to be pulling out all & SPONSORSHIP OPPORTUNITIES In the stops to celebrate this momentous occasion. Details will be forthcoming over the next few months, but please make sure SEPTEMBER/OCTOBER you save the date. Editorial features: MIPCOM Picks, Lifestyle The anniversary edition will take place from Sunday, Jan. 28 to Wednesday, Jan. 31, at the Marriott Marquis in Washington, DC. Genre Focus, Formats Focus and our From humble beginnings at the Hyatt Regency on Capitol Hill in Natural History & Science Focus. 1999, with just over 300 delegates in attendance, the Realscreen Summit has evolved into the world’s largest conference and Bonus distribution: market for the unscripted and factual entertainment community. MIPCOM, World Congress of Science & We couldn’t be prouder of what we have accomplished together. Factual Producers, IDFA. As we start to plan the celebrations for the big anniversary event, I’m putting out an open call to all of you to share some of your favorite memories of Summits past. I’m sure that many of you Booking deadline: have photos and anecdotes that will stir some memories for folks Sept. 6 who have been in attendance over the years. Please feel free to share them with me at [email protected] and we’ll come For information on any of these up with a plan on how best to showcase them. opportunities, to book your MIPCOM Right now, the team is putting the finishing touches on the 9th listing or if you’re interested in sponsorship edition of Realscreen West and the Realscreen Awards show. On behalf of the content team, I’d like to extend a huge thanks to this or private meeting space at Realscreen year’s advisory board members who went above and beyond to help Summit 2018, call realscreen sales at shape the conference content and secure us an A-list speaker lineup: 1 416 408 0863. Simon Andreae, Denise Contis, Charlie DeBevoise, Leslie Greif, Sally Habbershaw, Ivana Kirkbride, Gena McCarthy, Howard T. Owens, Ben Relles, Chachi Senior and Lori York. The luscious setting of the Fairmont Miramar Hotel, an incredibly strong line-up of keynotes, panelists and hosts, and really meaningful networking opportunities once again promise a tremendously productive market. Welcome! And to those of you who couldn’t make it to Santa Monica, make sure you get those Summit dates in your calendar now.

’til next time, go well. Claire Macdonald VP, Publisher realscreen

006 May / June ‘17

BIZ

From hate groups to real-life killers, chronic exposure to disturbing, difficult content is taking its toll on television producers and researchers. Is it time BY JESSICA M ACH to start talking about WHEN mental health? A&E’s Cold Case Files re-opens DARKNESS compelling criminal cases. ast fall, Matt Goerzen began dedicating In journalism, for example, exposure eight hours a day, five days a week, to FALLS to disturbing events or sources can be L tracking down internet trolls, security commonplace. Dialogue about its risks is researchers, media manipulators and hackers. “It does affect me,” said Latman at the time, certainly present, especially in relation to war An associate producer and researcher when asked about the darkness of ID’s true crime correspondents or journalists covering explicitly for Viceland’s Cyberwar, Goerzen is tasked content. “I’ve always said that we laugh more violent topics. Following the State of Arkansas’ with investigating the dark ecosystem of than any other network on cable. We laugh all the announcement in March that it was seeking cyberwarfare. Since joining the network, he’s time because I think we know that we’re dealing to execute eight men over the course of 11 pursued stories on tech developed to surveil with such heavy, serious, dark things.” days, publications ranging from the Columbia activist communities, memetic warfare and Still, she confessed, “I have nightmares.” Journalism Review to the Washington Post malware that recruits unwitting devices for Latman and Goerzen are among many in the considered the emotional toll the events would DDoS (distributed denial of service) attacks. industry working with content that could be take on the journalists permitted to cover it. In It’s a bleak, if fascinating, landscape to spend described as psychologically difficult. Their May, Steve Ladurantaye, managing editor with any amount of time in. For the episode on accounts speak to a little-explored industry issue: the CBC, tweeted about the training that the memetic warfare, the Cyberwar team closely consistent exposure to disturbing content and Canadian pubcaster provides journalists covering perused white supremacist websites. The anti- the toll that it takes on workers. the dark net: a day-long course on how to cope immigrant Soldiers of Odin – classified as a hate This is not an entirely new concern. In explicitly with repeated exposure to triggering imagery. group by the Southern Poverty Law Center in high-risk labor like that of human rights In general, however, conversations about 2016 — is another community with whom the workers and first responders, stress and trauma ethics in journalistic practice are oriented more series’ host, Ben Makuch, has spent a substantial stemming from overexposure are gaining around the responsibilities that journalists hold amount of time, in the name of research. recognition as occupational liabilities. This is towards their subjects than the responsibilities “I knew what I was getting into,” Goerzen partly due to institutional efforts to reconcile that media outlets hold towards their journalists. says of his job. But, he adds, “there have high turnover rates in these fields. In 2013, for That reporters will be exposed to disturbing definitely been a couple of moments…where I instance, the American Psychiatric Association events is assumed; the risk is inherent to the can feel things were getting dark, and I kind of updated the DSM (Diagnostic and Statistical job. Meanwhile, discourse around the degree of had to step back.” Manual of Mental Disorders) to classify working ethical conduct owed to subjects of journalistic On a recent episode of the podcast Unscripted and with disturbing imagery as a pathway to post- inquiry is consistently present, canonized in Unprepared, produced by Jimmy Fox in partnership traumatic stress disorder. literature like Janet Malcolm’s classic 1989 study with realscreen, Investigation Discovery EVP Jane In other fields, discourse about work-related The Journalist and the Murderer and Gay Talese’s Latman expressed a similar sentiment. trauma is only starting to gain traction. controversial 2016 The Voyeur’s Motel. Popular

009 BIZ

Goerzen’s reluctance to engage was mirrored by all of the producers interviewed for this story. The overwhelming sentiment was to refrain from pushing back — if not necessarily against harassment, then against the opinions or questionable accounts related by subjects. “Sometimes we talk to the killers,” says Kate Beal, co-founder of Woodcut. “The person who has to do that has to be non-judgmental, they have to be journalistic, they have to be professional,” she continues. “You can’t go in there with an agenda.” Goerzen agrees that granting subjects the space to talk, and facilitating the conversation from a position of impartiality or even measured empathy, often results in better reporting. But it is a strategy that can lead to feelings of ambivalence, and even anxiety. “In the moment, I just kind of try to ignore it, and keep the person talking,” says Goerzen of interviewing his subjects, many of whom Cyberwar host Ben Makuch verbalize explicitly racist views. He adds that interviewed the anti-immigrant group Soldiers of Odin in Québec seeing the subject talk with minimal intervention for Vice News. gives the viewer a better understanding of their character. “[But] there’s always this weird anxiety that by acting as if it’s totally normal to hear podcasts like Missing Richard Simmons and Serial “One of our members of staff, she had to call [a] someone being virulently anti-semitic in a very have recently provoked similar conversations. mother and the mother basically shouted, refused casual manner — and not pushing back on that Negotiating between journalistic integrity — and said, ‘Just leave me as someone talking to them — which prioritizes accurate reporting — and a alone, stop contacting you have a weird anxiety that considerate treatment of subjects gives rise to its me.’” The incident was a “Having a you’re also normalizing it.” own set of risks, though. source of stress among As production companies In television, production staff that pursue Woodcut’s staff. colleague who demonstrate a mounting journalistic work know such risks well. Harassment is another empathizes and readiness to tackle dark and “We had one case of a child being murdered liability of this line of difficult subjects, it bears posing and assaulted,” says Ari Mark, co-founder of work. For Goerzen, the is experiencing the question: is it time to start a AMPLE, the production company behind A&E’s stakes are particularly conversation about the mental Cold Case Files reboot. “We’re speaking to the salient, given the the same thing health needs of production staff, mother of the child. Speaking to her stepfather. advanced technical skills much like the ones that have We’re speaking to her brother.” of his subjects and their is important. begun around first responders What’s difficult, he adds, is asking when to say readiness to weaponize and journalists? “when.” them. “One troll I was Otherwise it Some industry professionals “You put this mother through a 12-hour trying to interview — he feel a more productive way interview...there’s a very fine line of ‘How far can wrote a very nasty email could get super, of pursuing this question you push the subject?’” to me in response to one super dark.” might be to consider what The issue is also prominent at Woodcut Media, of my emails, and also production companies are a UK indie that holds a large focus in true crime, screenshotted the email I actually capable of. with credits including Murdered in the Line of Duty, sent him, and posted it on his blog. So all of his For Mark, accommodating the safety of his Britain’s Most Evil Killers and World’s Most Evil Killers. white nationalist friends could see it and ridicule employees takes priority. But there’s a limit to According to executive producer Jinal Patel, a me,” he says. “I was angry. My inclination what he can offer. standard practice at the company is to contact the would’ve been to raise the stakes and kind “We had an editor who looked at the footage family members of spotlighted victims, to inform of fuck with him. But, of course, as someone [of a child being murdered]...He came up to me them that a program is being developed and, thus, who works at [Viceland], it wouldn’t have been and said, ‘Look, I can’t edit this.’ We were like, ‘We to offset the shock of seeing their son, daughter, professional, and it would’ve led to escalating it. get it, no problem. I wouldn’t edit it either.’” Mark sibling or parent on television. And this guy is a hacker.” reassigned the editor, but this isn’t always possible.

010 May / June ‘17 011 Kate Beal BEST PRACTICES: THE VALUE OF THANK YOU LETTERS BY C HRIS PALMER AND SHANNO N LAWRENCE

rofessional and personal interactions They open up opportunities for similar are based on give and take — helping assistance to other individuals. By Pa friend find a job, providing a letter of extending the courtesy of a well-expressed recommendation, showing up at a goodbye thank you note, you strengthen the possibility party, etc. Many times we ask favors of our that the person thanked will be willing to step friends, colleagues and contacts, who happily forward to help someone else. The reach of oblige out of goodwill and respect for us. professional generosity grows, resulting in a Although we may thank them profusely on wider benefit. the spot, nothing demonstrates appreciation For thank you notes to be most effective, it is better than a traditional thank you letter. important to know when and how to send them. Thank you notes show that you have thought Here are three tips, some of which may about and are truly grateful for what someone surprise you: else has done for you. They are valuable tools Send them as soon as possible after “It’s a freelance business, I think people understand of social interaction that can benefit both your interaction. Promptness is key when this,” he says. “If it’s the only episode [we need to parties. Yes, writing thank you notes take time sending a thank you note. The notes should work on], it’s like, ‘Look — it’s this or nothing.’” and effort, but it is well worth it. be sent no later than a few days following the At present, moving employees or alternating Here are five reasons thank you notes are original interaction. If you send a thank you them between difficult and more lighthearted valuable. note too late, it may look like a low-priority content appears to be the most common course They show courtesy. Thank you notes are, afterthought, and the recipient may think you of action taken by production companies. first and foremost, a way to acknowledge that are not sincerely appreciative. Another policy for AMPLE is to be explicit with you appreciate what a person has done to help Send them by snail mail whenever potential employees about the type of content you. Sending a thank you note is a traditional possible. Email is impersonal and, in most they will be working with. gesture of politeness, showing your recognition cases, insufficient for a thank you. The time At Woodcut, a similar hiring practice is in place, in that the person has made a special effort for you and consideration needed to send a stationery addition to monthly staff meetings. and formally expressing appreciation. thank you note parallels the appreciation you “Every month I have a catch-up with our entire They demonstrate professionalism. have for your recipient. A handwritten note team for whatever production it is that we’re Sending thank you notes is a demonstration with a signature gives the thank you a real-life, working on related to crime series,” says Patel. of professional etiquette. At the same time personal mark of value. However, if you cannot “It’s a chance for the team to really express it ensures that you and the recipient have a send a letter … themselves and say if there are any issues that record of your interaction for future reference. Give the person a call. The next best thing to they’re struggling with. And they all know that they They conclude the experience on a a written, paper thank you note is a phone call. can come talk to myself or Kate (Beal) at any point, positive note. Thank you notes wrap up It takes time and attention to make a thank you about anything that they’re struggling with.” an interaction or favor, indicating that the call, and the call is a personal way to reach out As for the future? “We are taking every challenge experience has concluded successfully. The to your recipient. as it comes,” Beal says. “We’re trying to be a good notes are a way to communicate the results of Sending thank you notes is an important employer that people want to work with and we the favor, and make both parties feel satisfied courtesy. It is also an action that can benefit your want to attract the best talent to work with us.” with the interaction that occurred. interpersonal relations and professional growth. For Goerzen, cultivating an atmosphere of open They open up opportunities for continued Professor Chris Palmer is director of American dialogue is key. engagement. In addition to marking the end University’s Center for Environmental “We talk,” he says of his colleagues on Cyberwar. of an interaction, thank you notes are gateways Filmmaking and author of three books, including “I think without that, it would get very dark. to future interaction. They should contain Confessions of a Wildlife Filmmaker and Having a colleague who empathizes and is contact information or a business card so that Now What, Grad? Your Path to Success After experiencing the same thing is important. both parties can pursue this connection to their College. Shannon Lawrence is a filmmaker and Otherwise it could get super, super dark. ‘Cause mutual benefit in the future. MFA candidate at American University. • you just get consumed by this content.”

010 May / June ‘17 011 OBITUARY

Friends, colleagues bid goodbye to Oscar-winning Proper Television’s Guy O’Sullivan director Jonathan rent Montgomery first met Guy When he set foot in Toronto, O’Sullivan was Demme dies at 73 O’Sullivan, a pioneer in Canadian almost instantly able to transform the standard B factual television, five years ago at of factual television, says Proper’s VP and scar-winning director and documentary an industry market. The ITV America CEO creative director Cathie James. filmmaker Jonathan Demme died April 25 remembers the two “immediately clicked” “He brought his extraordinary wit and Oat the age of 73, following complications and soon became friends. playfulness that became a trademark for from oesophagal cancer. Montgomery says that no Proper,” she says. Demme was perhaps best known for the 1991 matter where he was in James, who joined O’Sullivan at Oscar-winning thriller Silence of the Lambs. the world, he would Proper seven years ago, describes The film went on to garner critical and box often make a beeline him as an extraordinary person office success, becoming only the third film to to hang out with to work with — someone who win the “big five” at the Oscars: best picture, O’Sullivan at a had a magnetic, larger-than-life director, actress, actor and screenplay. He also cocktail party or personality. directed the 1984 concert doc Stop Making industry event. “He motivated the people Sense about the The Talking Heads. He would “I don’t remember around him through his charm go on to direct many more docs about famous him ever not smiling,” and strength of personality. We musicians, including the 2006 feature Neil Young: he says. all wanted to please him. He was Heart of Gold, which was shot during a two- Montgomery’s comments someone who never rested on his night performance Young gave at the Ryman O’Sullivan come as the production world laurels,” she says. Auditorium in Nashville. bids goodbye to O’Sullivan. The president O’Sullivan also taught her that making Demme’s most recent musical doc, Justin of Toronto indie Proper Television, whom quality television is about having the right Timberlake + the Tennessee Kids, was produced for Montgomery regards as Canada’s best people on board. Netflix and showed Timberlake’s final performance producer, died in early April. He was 49. Moving forward, James says the team at on his 2015 20/20 Experience World Tour. O’Sullivan founded Proper in 2004. Proper wants to honor O’Sullivan’s legacy by In an October 2016 review of the concert, film critic The company went on to produce series continuing to create the quality content he Brian Tallerico noted Demme’s directorial instincts: such as the CBC docuseries True North Calling, would have expected of his crew. He had no “It’s about projecting his presence, and what Tougher Than it Looks? for Discovery Canada tolerance for mediocrity. people feel at his shows, through a camera. It’s and the Canadian format of the culinary “We just really miss him, but we are determined something that Demme, the director of the best competition series MasterChef Canada, now in to carry on what he started,” she says concert film of all time (Stop Making Sense), knows its fourth season. Proper has also secured the O’Sullivan’s New York-based talent agent how to do better than pretty much anyone.” format rights to produce a local version of The Rob Miller of Creative Artists Agency says he’ll Social issues and those who were working to Great British Bake-Off. remember his client, and friend, as one of the make a difference also caught the eye of Demme. Reflecting on his friend, Montgomery tells good guys. In 2003’s The Agronomist, he turned the camera realscreen he was especially impressed with “He was just a beacon of hope that you to Jean Dominique, a Haitian radio journalist and O’Sullivan’s ability to craft winning car show gravitated to,” he says. human rights activist who was assassinated in formats — a difficult task due to challenging And though the two were close for years, 2000. Former president Jimmy Carter became the production time frames and budgets. Yet, under Montgomery says they hadn’t worked on any subject of the director’s 2007 film, Jimmy Carter O’Sullivan, Proper has created motor-focused projects together. Man from Plains. Demme followed Carter on his hits such as Vegas Rat Rods and Canada’s Worst It was only recently — shortly before U.S. tour as he promoted his provocative book, Driver. Both series have recorded top spots on O’Sullivan’s passing — that they began talking Palestine: Peace Not Apartheid. Discovery in their timeslots. about a creative partnership that would’ve led to The director took audiences into the post- “He was an absolute wizard at them,” says more productions across the U.S. and Canada. Hurricane Katrina world of New Orleans in his mini Montgomery. In a world that can be as competitive as docuseries Right to Return: New Home Movies from Prior to launching Proper, O’Sullivan spent two television, O’Sullivan had a warm presence the Lower 9th Ward. Speaking to his decision to decades in the television industry. that made those around him feel better, says shoot in New Orleans after it had been ravaged, He started his career as a print journalist in Montgomery. he told The New York Times in May 2007, “I just his native Britain, and went on to produce “The industry needs Guy more than he thought everyone who can point a camera in the and direct TV shows for the BBC between needed it.” right direction should go down there and point a 1994 and 2000. — Selina Chignall, with files from Playback camera in the right direction.” — SC •

012 May / June ‘17 AUDIENCE & STRATEGY

B Y J E S S I C A M A C H AND SELINA CHIGNALL

Fan favorites, house flipping, journeys to far-flung places and a good helping of food shows are on the way ONT H E S L A Tfrom U.S. E cable nets in the year ahead. A&E

ood news for pop-culture enthusiasts: A&E is bringing back its hit franchise G‘Biography’, rebooted for a new generation across linear and digital platforms. Under the Biography banner, projects on the slate include stories about rappers Biggie Smalls and Tupac Shakur; Russian president Vladimir Putin; New York mobster John Gotti Jr.; abduction survivor Elizabeth Smart; and boxer Mike Tyson. Elsewhere, fans of Rob Lowe can watch the former teen heartthrob and his now grown-up sons (John and Matthew Lowe) as they travel the HISTORY U.S. to explore infamous unsolved mysteries in The Lowe Files from Critical Content. New specials include the original two-hour istory is offering 100-plus that provoked mass migrations to the U.S. documentary L.A. Burning: The Riots 25 Years hours of fresh content, with a Frontiersmen (Appian Way Productions and Later, marking the 25th anniversary of the Hheavy focus on the U.S. First Stephen David Entertainment) similarly infamous 1992 riots. From eOne and Creature among the contemporary-skewing casts a look to the distant past by profiling Films, the film weaves together rare archival docs is America’s War on Drugs (Talos iconic pioneers such as Daniel Boone, footage and exclusive interviews with those who Films). The mini series investigates how Lewis and Clark, Tecumseh, Davy Crocket witnessed the event firsthand to tell the story of American policies towards recreational and Andrew Jackson. a(nother) tumultuous time in American history. drugs have developed over the past 50 Magilla Entertainment’s The Cars that Made And back for a second season is the years. Age of Terror (w/t), meanwhile, America (w/t) and Warrior Poets’ Superheroes controversial docuseries Leah Remini: Scientology pivots around the “war on terrorism” that Decoded (w/t) turn the focus to iconic and the Aftermath. Ten fresh hour-long episodes the U.S. government declared following automotive brands in the States, and the will further explore the experiences under the attacks of 9/11, tracing its historical heroes and villains of comic book publishers the church by former members. The series is roots and recent trajectory. The series Marvel and DC, respectively. Finally, watch for produced for A&E Network by The Intellectual was produced by Pulse Films. Nutopia’s How the 90s Change the World (RadicalMedia), Property Corporation. America: Promised Land (pictured) looks which takes a global outlook on the defining further back, spotlighting historical events events of the 1990s.

013 AUDIENCE & STRATEGY ANIMAL FYI

PLANET +E Networks’ fledgling lifestyle channel is offering a slate of innovative riffs on A the standards of lifestyle programming: un,” “heart” and “wild” are food, relationships and home formats. the official buckets for Animal Nowhere is inventiveness more apparent than in FYI’s “F Planet’s newest offerings, home slate, where new series are oriented around which mostly suffuse these tones new technologies, recent real estate trends and, well, across two genres: transformational inventiveness itself. You Can’t Turn That Into a House and mythbusting formats. (Red Arrow Industries) follows architect Kyle Davis and In the former genre is Animal House Missouri-based brothers Taimoor and Rehan Nana as (Punch Drunk Pictures), a series they construct living spaces out of unlikely locations. that follows a team of designers Prefabulous (Vox Entertainment) jumps on the helmed by HGTV Design Star winner popularity of prefab homes. Finally, Virtually Renovated Antonio Ballatore as they work (INvelop Entertainment) sees high-end designers Finally, the channel’s new food series are strictly to cultivate dreamy, pet-friendly presenting their ideas to homeowners via virtual reality. competition-based. Each episode of the Collins spaces for homeowners and their An upcoming slate of relationship-focused series, Ave-produced Stove Tots (pictured above) features a pets. Magical Elves’ Cat Meets Dog meanwhile, dabbles in social experimentation: My So new group of junior chefs and their parents as they (w/t), meanwhile, endeavors to Called Simple Life (Propagate Content) follows three compete against one another to reach the program’s transform the strained relationships couples as they leave their careers and possessions final tournament. Man vs Master (Kinetic Content) between cohabitating cats and behind to go off-the-grid; and A Question of Love gives unknown chefs the opportunity to compete for dogs with the help of dog trainer (Noble Savages) similarly follows three couples, this an apprenticeship with a world-renowned celebrity Zoe Stathis-Sandor and cat time as they move into a home with their significant chef. Tiny House Nation, Food Porn, Zombie House behaviorist and My Cat From Hell other, with help from relationship expert and dating Flipping, My Floating Home and Tiny House Hunting are host Jackson Galaxy. Formats My Fat coach Damona Hoffman. all returning to FYI with brand new seasons. Pet (Castleview Productions) and Plimsoll Productions’ Rescue Dog to Super Dog (w/t) both feature pet trainers who specialize, respectively, HGTV in animal weight loss and cultivating ow-to channel HGTV is rolling out a new slate of titles the skills of rescue dogs. Meanwhile, that build on many of its staple shows. Expedition Mungo (Blast! Films) and H Spinning off the success of Fixer Upper, which Extinct or Alive (Hot Snakes) share has been renewed, is Fixer Upper: Behind the Design (High a mythbusting drive. Both expert- Noon). The behind-the-scenes companion features Joanna led — the former by Paul “Mungo” Gaines who shows audiences her process when creating the Mungeam and latter by wildlife designs showcased in each Fixer Upper episode. HGTV will also biologist and adventurer Forrest franchise Flip or Flop, with five new duos and titles set in cities Galante — the two travelogue series across the United States. The new series Home Town (RTR Media) aim to separate fact from well- follows Mississippi-based home renovation experts Ben and Erin established myths. Napier, who deliver custom renovations for families in their small Returning programs include town. Tiny Paradise features gorgeous homes as they are built Monsters Inside Me, My Cat From Hell, in beautiful locations like Mexico and Hawaii, and Mountain Life Pet Nation Renovation, Pit Bulls and features couples looking for their dream mountaintop home. Parolees, Tanked, Treehouse Masters Upcoming and returning series on HGTV include the Scott and The Vet Life, the network’s most- brothers in Brother vs. Brother (pictured left), and Property Brothers watched new series in 2016. River at Home (both from Scott Brothers Entertainment), which has Monsters host Jeremy Wade will also been greenlit for another season. Also hitting the air are new return in the new series Monster Rivers seasons of Love It or List It, Listed Sisters, Good Bones and the House (w/t), exploring the health of the Hunters franchise. world’s rivers.

014 May / June ‘17 015 FOOD NETWORK

ith year-to date ratings fix their food and service problems gains, the Food Network by enlisting elite Yelp reviewers in Wis ready to serve up some Help My Yelp; and in Incredible Edible new treats alongside some returning America (w/t) comedian Jeff Dunham favorites for the year ahead. Iron Chef and his wife Audrey go on a food tour of Gauntlet (pictured below), hosted America looking for the best eats. by Alton Brown, will feature fierce New titles also include the culinary opponents, including Iron Chefs competition show Farmers’ Market Flip Bobby Flay, Masaharu Morimoto hosted by Jeff Mahin; an exploration of and Michael Symon. The on-air mega meals in Monster Food; and Late companion, Iron Chef Eats, features Night Eats, which looks at the chefs stars from the world of Iron Chef who who rule the late nights with their share where they like to eat when they savory snacks and liquid creations. aren’t working. Brown will also host Coming later this year is Halloween the new competition series Chopped: Wars: Hayride of Horror, which takes the Alton’s Challenge (w/t). Guy Fieri’s competition out of the kitchen and all upcoming docuseries Guy’s Big Project the way out into the pumpkin patch. (w/t), slated for Q4, will offer fans and Returning series include Beat foodies alike a shot to have their dream Bobby Flay, Chopped, Diners, Drive- show made into reality; YouTube favorite Ins and Dives and Barefoot Contessa. Hannah Hart hosts her new series I Production company details were not TRAVEL Hart Food; Chef Monti Carlo goes on a available prior to publication. mission to help struggling restaurants CHANNEL

nvestigative and history-minded commissions make up the lion’s share of the Travel Channel’s new programs. Josh IGates hosts Expedition Unknown: Hunt for ExtraTerrestrials (Snake Oil Productions), a four-part investigation that continues to pursue the paranormal direction set by Gates’ search for the Yeti last fall in Expedition Unknown (pictured above). Gates will also host Ping Pong’s Legend Has It (w/t), a new series that follows him as he peruses ancient locales around the world. Journalist Ashlan Gorse and her husband Philippe Cousteau (grandson of celebrated French explorer Jacques Cousteau, and a conservationist in his own right) lead Caribbean Pirate Treasure (Critical Content), a new series that turns an inquisitive lens to the traces left behind by pirates and sailors. Mysteries at the Museum (Optomen Productions) looks to command generations-spanning appeal, spotlighting history explorer Don Wildman as he embarks on investigative adventures. The channel is additionally set to debut various pilots. Highlights include Yes Man (Workaholic Productions), which follows social media star Ricky Smith as he travels across the U.S. in pursuit of the nation’s wildest and most ridiculous pasttimes; and Weird America (NorthSouth Productions), which features Irish comedian Kevin McGahern’s first roadtrip across America. Returning series include Booze Traveler, Bizarre Foods and Dive In.

014 May / June ‘17 015 AUDIENCE & STRATEGY BRAVO

he NBCUniversal-owned cable net is offering a host of new shows, many of them drawing from the popularity of T established brands and talent. Southern Charm: New Orleans is the latest spin-off of enduring fan-favorite docuseries Southern Charm from Vainglorious Productions and InventTV. In The Big Easy version, viewers are given an exclusive glimpse into the sophisticated Creole culture of New Orleans. Longtime Real Housewife Bethenny Frankel and Swedish-born reality star Fredrik Eklund are pairing up as business partners in Bethenny and Fredrik Property Project (w/t, Leftfield Pictures and B Real Productions). Likewise, Ryan Serhant of Million Dollar Listing New York is back with the new real-estate focused series, Sell it Like Serhant (World of Wonder). Haymaker Productions is behind Relationshep, a series that follows Charleston’s most eligible singleton, Shep Rose. And, for the first time since their split, ex-couples will be brought together for one night in a camera-rigged apartment with no crew in A Night With My Ex (Twofour America). Among in-development offerings are Flippin’ Exes (Rock Shrimp Productions), which follows ex-couple Nina Klemm and Michael LeSure on their home-flipping ventures in Indianapolis; re-creation series The High School Project (Wilshire Studios), DISCOVERY which looks at the lives of New York City’s most elite students in the 90s; social experiment Welcome to America (Our House Media); and Empty Nesters (Left Hook Media), about parents CHANNEL who have sent their kids away to camp — and who plan to have fun in the meantime. As previously announced, Danish format Stripped (pictured below) he male-skewing net is revving Ample and Amblin Television are will see its highly anticipated premiere this summer. Finally, among up the new season of Motor taking audiences on a treasure hunt in the 18 returning unscripted programs to the net are Top Chef, Shahs T Mondays with various fresh Cooper’s Treasure (pictured above). of Sunset, Married to Medicine, Below Deck, Million Dollar Listing Los shows for gear heads, including Discovery is also showcasing the feature Angeles, Inside the Actor’s Studio, Summer House, Vanderpump Rules Darkness, House of Cars (w/t) (Coolfire NASA: 60 Years and Beyond from Moxie and the Real Housewives franchise. Studios), Motorheads (w/t) (Leftfield Firecracker Films. Other features include Pictures), and Garage Rehab (Pilgrim). Rancher Farmer Fisherman (McGee Also returning to the Monday night Media), which weaves together the line-up are Fast N’ Loud, Diesel Brothers, stories of four unlikely conservationists Misfit Garage, Street Outlaws and Street working in America’s heartland; and Outlaws: New Orleans. Sacred Cod, which examines the collapse A reboot of the Emmy-winning Cash of one of the world’s most lucrative Cab from All3Media’s Lion USA will also fisheries (Cody Wolf Productions). Billion hit airwaves this year, offering a fresh Oyster Project (w/t) (Motto Pictures) and twist on the hit game show format Yap Film’s Mosquito are also slated to air that sees unsuspecting passengers on the network. ambushed by American celebrities. And, fans rejoice: ‘Shark Week’ From the busy city streets to desolate is returning to the network, as are spaces, Cold Case Alaska, from M2 favorites Naked and Afraid, Naked and Pictures, will trace missing persons Afraid XL, Deadliest Catch, Gold Rush and cases in the vast northern wilderness. Bering Sea Gold.

016 May / June ‘17 017 INVESTIGATION DISCOVERY

he true crime network has Northwest that is a hotbed of serial more than 660 hours of new killers. House(s) of horrors are shown T shows planned, with 40 in Hotel Cecil, Murder Castle and Home returning series for its slate. New Alone (w/t). Murder in the Heartland titles include James Patterson’s recounts the crimes that tore through Murder is Forever — a true-crime middle-American towns. New specials series featuring best-selling author that will air throughout the year include James Patterson. Former Brooklyn Son of Sam: The Hunt for a Killer that District Attorney’s office Anna- tracks the hunt for serial killer David Sigga Nicolazzi probes murder Berkowitz; Keith Morrison Investigates, investigations in True Conviction featuring the veteran journalist as he (pictured right). Viewers are taken covers true crime series from around into the interrogation room in Evil the world; the exposé Black and Blue, Talks: Chilling Confessions, and the looking into the current state of police lives of people who have been tied affairs and race relations. Finally, The to a single devastating incident is Trial of Anthony Gray (w/t) examines the explored in Shattered (w/t). mysterious deaths of James and Vivian The Wonderland Murders (w/t) takes Gray. Production company details were audiences to the picturesque Pacific not available prior to publication. NATIONAL GEOGRAPHIC

atie Couric returns to the network off the success of her doc, Gender Revolution: A Journey with Katie Couric K(pictured left), with a new untitled six-part docuseries that will follow her as she talks with thought leaders who are shaping the most important, controversial and often confusing topics across the globe today. The docuseries (Katie Couric Media in collaboration with Nat Geo Studios) is slated to air in 2018. Nat Geo is also partnering with Shawn Carter (a.k.a. Jay Z) and The Weinstein Company on a new global six-episode doc series, RACE (w/t), which intends to give an honest and provocative look into systemic injustices in the U.S. Also included in the network’s upcoming slate is the part- scripted/part-documentary series MARS (Imagine Entertainment and RadicalMedia). Building on the first season, the second season of the show brings audiences back to the Red Planet, where tensions are brewing between the original mission’s scientists and miners from a for-profit corporation. The 6 x 60-minute series is slated to premiere in April 2018.

016 May / June ‘17 017 AUDIENCE & STRATEGY NAT GEO WILD

special note on the species that regard the oceanic Nat Geo Wild’s predators as prey. ‘Big Cat Week’ Of upcoming slate collaborates with Nat Geo’s Big Cats is ‘Migration,’ a new event Initiative to raise awareness about from the channel’s Safari Live the risks facing the world’s big cat series (WildEarth Media). species. Set to premiere are Jaguar vs. Broadcasting live from the Croc (National Geographic Studios), Maasai Mara, the episode which spotlights footage from Nat captures the region’s wildebeest Geo photographers Steve Winter migration in real time. Annual and Bertie Gregory; Cheetah Diaries week-long events ‘SharkFest’ (National Geographic Studios) from (pictured right) and ‘Big Cat Week’ filmmaker Bob Poole; Lion Kingdom air through the fall. China’s Wild Side Upcoming reality series include are returning to the channel. (Terra Mater), a dramatic special that (NHNZ) and Secrets of Patagonia When Nature Calls (Outrun the Premiering as part of ‘SharkFest’ are sees three prides of lions locked in a (Off the Fence) respectively look at Sun) and Pikes Peak Patrol (Michel Shark Swarm (NHNZ), which offers struggle for power; and Machli (Grey Tibet and Yunna’s ecosystems and Hoff Productions), both of which viewers access to rare shark feeding Films), which looks at a legendary the landscape of Patagonia. Chimp spotlight animal expert as they events; Tiger Shark Terror (Red Rock tigress that reigned over a region of Babies (Pupfish Productions) is the perform their work. Returning are Films), a look into where sharks go western India. latest from Nat Geo Wild strand The Incredible Dr. Pol, Dr. Oakley, when night falls; and Shark v. Predator Starting this summer, viewers can ‘Mission Critical,’ and investigates Yukon Vet, Animal ER, Weird But True!, (Earth Touch), an investigation into look forward to three specials set to Sierra Leone’s endangered chimps. Snake City and Outback Wrangler. TLC CMT

LC’s slate continues to build on the iacom-owned Country programs and genres its audiences have Music Television has T long tuned in for — from weddings, families V steadily built its audience of and relationships to sweeping, historic events. late and is looking to add A number of specials are on deck this year, leading to that success with a summer slate with Jupiter Entertainment’s Diana: Tragedy or Treason? that includes big events such as its (w/t), in time to honor the 20th anniversary of Diana, first-ever outdoor version of CMT Princess of Wales’ death in 1997. Crossroads with Grammy-Award New series rolling out include spin offs of the 90 winners Earth, Wind & Fire. Day Fiancé franchise, including 90 Day Fiancé: Before Returning to the network is the the 90 Days and 90 Day Fiancé: What Now? (w/t). 12th season of Dallas Cowboys Others include: Hair Goddess (w/t), which follows Cheerleaders: Making The Team self-made woman Christina Olivia and her family (Triage Entertainment), which as she opens her first hair salon in Manhattan; The follows fresh hopefuls looking to Healer (pictured left), featuring Charlie Goldsmith, land a spot on the Dallas Cowboys who has the healing gift of touch; Hear Me, Love Me, Cheerleaders squad. See Me (w/t), a new kind of dating show that takes Also expected is a new season of love out of the equation; and Meet the Putmans, a I Love Kellie Pickler from 51 Minds series that follows a family of 25 who all live under and Ryan Seacrest Productions, one roof. featuring singer Kellie and husband Favorites such as Rattled, Say Yes to the Dress, Long Kyle as they record music and house Island Medium and Sister Wives are also returning. hunt in Nashville. •

018 May / June ‘17

REALITYREPORT

“The show is positive, but not whitewashed,” Murray explains. “There is a lot of humor and some heartache, and that’s where the program succeeded — it mirrors life.” There are those who are skeptical of the theory. Professor Robert Thompson, director of Syracuse University’s Bleier Center for Television & Popular Culture, firmly rejects the notion that TV audiences, as a whole, are clamoring for a gentler reality world. He cites the continued popularity of long-standing franchises such as Keeping Up with the Kardashians, The Bachelor and The Real Housewives — formats that often put conflict at the center and, yet, continuously post strong ratings and have birthed equally successful spin-offs. An Immigrant’s Guide to Britain tackles “If someone came out with a new immigration in a way that encourages and really nasty reality show that human connection. was executed in interesting ways, I think people would watch it,” he reasons. “[Compassion] the issues of the day, while carefully steering “Conflict for conflict’s is harder to execute because clear of the onslaught of negativity and angst. sake and conflict over kindness and gentleness tend to “You want something that can provide an antidote trivial matters does not be less dramatic.” to [the news] and something that can shed a resonate with viewers. There A highly publicized autumn 2016 different light on the big issues,” Rumpus Media’s has to be something honest and Thompson bidding war for formattable British joint MD Emily Hudd says. real behind what people are doing,” says cookery competition The Great British Bake In An Immigrant’s Guide to Britain, comedian the veteran television executive and founder of Off, however, puts Thompson’s theory to the and first-generation immigrant Henning Bunim/Murray Productions. test. Negotiations between Richard McKerrow’s Wehn leads a cast of comedians “The audience is pretty sophisticated Love Productions and the BBC, Bake Off’s home and members of the public as about what they are watching. for seven seasons, had been underway for more they investigate a culture They’ve seen all kinds of reality than a year before falling apart at the 11th hour. they know little or nothing TV, and when you use the Rival UK pubcaster C4 would shortly after swoop about. The 4 x 60-minute same old formulas, it can feel in with a reported £25 million bid (outbidding docuseries offers a fresh canned or false.” the BBC’s £15 million offer) to secure the feel- look at highly contentious In that vein, Bunim/ good baking series to a three-year deal. public issues (in this case, Murray’s Emmy-winning Official ratings data in the UK for 2016 proved immigration), but does so Born This Way for A&E, which that soft-hearted content has the potential to drive in a way that encourages has been nurtured by Murray massive audiences to a network, with nine of the human connection, not more since 2009 and follows the lives top 10 most-watched programs of the year coming quarreling. young adults living in California with in the form of Bake Off episodes. “We wouldn’t feel happy with ourselves Murray Down syndrome, has steadily won over McKerrow, who serves as creative director of if we were being cruel to people or we felt like audiences with its positive messaging and Love and the mastermind behind the format, says we were misrepresenting people or manipulating groundbreaking vision of diversity on screen. his company is guided by a simple philosophy. them in any way. We want our programs to make In season one, which aired in December “People who are brave enough to appear as people laugh and make people think,” Hudd says. 2015 — long before Brexit and President Trump themselves on television are quite courageous,” Jon Murray, often cited as the creator of the rattled nerves — the series saw viewership he reasons. “You have to show them in a true, reality television genre with MTV’s The Real trend upwards by 67% over the six-episode honest and fair light.” World in 1992 and, later, The Simple Life, among arc. It resonated particularly well with adults It’s not always about the political context of other big successes, believes we’ve entered 25 to 54 years olds, growing 84% over the the times. into a period in which networks and audiences season. The heart-warming series, now in its “Just be yourself, and that will ensure the best alike are searching less for “kinder” content, and third season, returned to A&E on May 16 with a television,” McKerrow advises. “Ultimately, viewers more for something that feels authentic. 10-episode order. enjoy empathizing rather than being cynical.”

020 May / June ‘17

REALITYREPORT

In The Jury Room, members of a specially selected CBS jury re-examine murder cases in which the convicted killers have JUDGE, JURY AND maintained their innocence. EXECUTIVE PRODUCER

BY MEAGAN KASHTY here’s a common stereotype when it Key to a case to be chosen for the show comes to jury duty: no one wants to is that there is new evidence that wasn’t Production companies T do it. available when the convicted person first went In theory, the idea of being summoned to do to trial — or, perhaps, more advanced analysis are getting off the your civic duty and be a part of your country’s of pre-existing evidence that may influence justice system sounds like an honorable the jury’s judgment. The action unfolds in real bench and trying their endeavor, but the reality is jury duty can be time as the women and men in the jury room hands at courtroom inconvenient, tedious and far from fun. consider each defendant’s fate. But give that job to the creative folks in Hanrahan, a former BBC News foreign programming. But the entertainment business and even the correspondent, and AMC Networks International- most banal of duties can start to sound like UK director of programming Sam Rowden serve they’re up against stiff can’t-miss opportunities. That’s what some as executive producers on the series. competition. producers are looking to do with the next- The premiere episode deals with the Michael generation of courtroom television, with Stone murder case that shocked Britain in 1996. varying degrees of success. Twenty years on, there remains a dedicated The latest true crime series from the UK’s CBS group of campaigners convinced of Stone’s Reality combines elements that make daytime innocence. They believe that further DNA courtroom TV attractive. testing could connect a different assailant to the The Jury Room, set to air in late May, is a 6 scene of the crime, and a wrongfully convicted x 60-minute series produced by First Look TV. man could walk free. The show re-examines real murder cases in Following a global true crime trend, the CBS which convicted killers have always maintained audience has a fascination with crime and their innocence. The accepted facts of each wants to be able to see it from many different case are presented, as originally seen by the angles. The channel has invested heavily in actual trial judge and jury, to 12 members of a original programming consisting of in-depth specially selected CBS reality jury, with viewers and relevant real-life crime stories that resonate invited to be “the 13th jury member.” well with CBS Reality’s audience. Murderers Ex-Detective Chief Inspector Colin Sutton and Mothers debuted to 244,000 viewers, while represents the prosecution and lawyer Matt Killer Clergy delivered 163,000 adults across its Stanbury speaks for the defense, while premiere run in 2016, according to CBS. Other renowned crime reporter Will Hanrahan, best CBS Reality originals include Stalkers Who known for his work with the BBC, helps the Kill, The Day I Should Have Died, Uncovering jury and the viewers to connect the dots. Melanie’s Murder and Encounters with Evil.

020 May / June ‘17 023 REALITYREPORT

Producers are encouraging viewers to get involved in the next generation of court-themed reality TV.

While prodcos continue to experiment In 2015, NBC greenlit the series Law “The main element for court or any with true crime and courtroom & Order: You the Jury, which was to be other successful show is the compelling programming, old syndicated stalwarts such produced by Law & Order’s Dick Wolf and lead personality,” says Bill Caroll, media as Judge Judy remain fixtures. Rowden’s reality prodco Magical Elves. In the series, consultant and former director of content aim with The Jury Room was to see how legal cases would play out during an hour- strategy at Katz Television Group. “Then they could create a slightly different format long show, and the audience would be that personality would have to be paired in the crime area and courtroom TV format, prompted to engage throughout the show. It with interesting cases. In daytime, the using the same credibility and no-nonsense was never produced. trivial can be interesting when Judge Judy approach Judy Sheindlin takes in her cases. And this past summer, LA-based Renegade deals with a small claims issue. But that “It comes back to authenticity,” she says. 83, the production company behind The Law might not be enough for prime competing “What came to us was an interest in the Firm, tried its hand at another courtroom with other high-budget prime productions.” sanctity of the jury room, because that’s reality show. You The Jury featured celebrity Judge Judy, which premiered in 1996, where you get the ordinary people debating attorneys arguing continues to pull about and evaluating these real crimes.” their cases each week. 10-million viewers a day Jury Room carries no legal weight, should In a nod to reality “The main and is licensed in 149 the jury decide on an outcome that differs competition series such element for court international markets. from the original court cases. But Rowden as The Voice, American Following Judy’s lead says the appeal of the show, as with most Idol and America’s Got or any other are syndicated shows court-based reality programs, is less about Talent, after each case such as The People’s the legal proceedings and more about the was presented, viewers successful show Court, Judge Mathis, characters involved. had the opportunity Hot Bench and a host Rowden says engaging viewers is a natural to vote to determine is the compelling of other courtroom progression for courtroom reality TV. “America’s verdict” for programs that show no “If you look at the success of Judge Judy, the case. nature of the lead signs of being cancelled it’s all based around Judy and her ruling and “It’s engrossing, it’s anytime soon. opinion,” she says. “We were really keen to fascinating and it has personality.” But even Judy isn’t turn that back into the hands of real people.” real stakes,” Conrad comfortable spending Besides, adds Rowden, there’s not much Greene, executive producer on the show, all her time on the bench. FremantleMedia more you can do to engage an audience told realscreen before its premiere. “We’re North America and Debmar-Mercury will than have them play a part. treating audiences with a certain amount be collaborating with co-production partner Not all updates on the courtroom reality of respect in that we think they’re going Queen Bee Prods on a six-week summer genre have seen success. The Law Firm, to be smart enough to follow the cases, to test for game show iWitness, which features which aired in 2005, featured up-and-coming engage, and to help make the decision — three contestants facing off to test their lawyers competing against each other while the right decision.” powers of observation. If Judy’s success in trying real court cases, with one lawyer The show was cancelled after two episodes. courtroom programming is any indication, eliminated each week, à la The Apprentice. Moral of the story? Replicating the success prodcos that specialize in game shows The show was pulled following poor ratings. of daytime court TV for primetime is tricky. might want to take note. •

024 May / June ‘17

“PROCAM NY IS OUR GO-TO RENTAL FACILITY. THEIR KNOWLEDGE, BREADTH OF GEAR, AND COMMITMENT TO QUALITY ARE SECOND TO NONE.”

MARY MICHALOPOULOS, PRODUCER – WORLD OF WONDER

WWW.PROCAMNY.COM

NEW YORK LONDON MANCHESTER GLASGOW EDINBURGH Luangwa Valley was not familiar with this new noise and cameramen feared it would Plimsoll sent cameramen interfere with their work to reveal new animal in teams of activities after the sun set. seven, with Six weeks before the Selex camera was approximately 50 moved into the field, a solution was cameras, into the Luangwa Valley. devised: a range of Land Rover SUVs would be driven across the valley with a recording of the camera’s monotonous drone playing for hours on end to ensure animals in the area would grow accustomed to the unfamiliar noise. “The majority of animals are more active at night than they are during the day,” says Jackson. “Natural history films have always cheated in the past by telling you they’re showing you everything. They’re not. They’re and at a critical turning point in his life. “Because natural history does tend to go showing you about 40% because at least The Plimsoll team is hopeful that they will out and film specific behaviors, they’re 60% of it happens at night.” return to Zambia for a third consecutive always episodic. We’ve been able to escape The flexibility and 24/7 film coverage year — if he’s survived through the wet that by telling whole stories because afforded cameramen the opportunity to season, the cub will have to leave his pride we’ve been there for a long time,” he says. chronicle the life of a runt lion cub from this year in order to set up one of his own. “That is something that natural history day one as he struggles to find his place in “We’ve filmed him throughout the whole has done in the past, but it’s been due to the pride in Africa’s Hunters, seasons one of his life so far, and it would be lovely to single cameramen who’ve had an absolute and two. The lion is now three years old continue that on,” says Jackson. dedication to tell a whole story. 027 RealScreen-2-final.pdf 1 4/14/17 3:00 PM

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company has been in active development and pre-production in figuring out what to do next and how to approach that project. “We’ve spent a lot of time with Andrew and his team talking about what the next evolution of the camp could be,” she says. “He alluded to being able to go back [to Zambia] and do a follow-up story [on the lion cub], so we’ve absolutely been talking about that and how many episodes does that deserve.” Similarly, the organizations involved are The film crew is hopeful it exploring other destinations in which a will return to Zambia for a multi-year, camp-like environment can be third consecutive year. established — with a range of deliverable hours. The list includes Sri Lanka, Borneo and beyond. It’s no surprise that Blue Ant is looking to “I think we’ve extend its natural history slate, particularly following a recent study released by BBC proven that you Worldwide’s in-house research team in conjunction with Professor Dacher Keltner, don’t have to have who oversees psychology at the University produced for Love Nature’s global digital of California, Berkeley. large amounts and linear platforms, as well as the Dubbed “The Real Happiness Project”, of money to Smithsonian streaming service in the U.S. the study found that watching nature Remaining rights will be made available to programs have a direct and uplifting be able to tell the world outside of North America. impact on the mood and well-being of its Recent deliverables include Growing Up viewers. That, in turn, leads to “significant wonderful stories.” Wild (3 x 60 minutes), a character-based increases in positive emotions including behavioral series following an array of species awe, contentedness, joy and amusement,” from birth to maturity; Wild Survivor (3 x 60 while significantly decreasing such negative “I think we’ve proved that you don’t have minutes), revealing the survival relationships emotions as nervousness, anxiety, fear, stress to have large amounts of money to be able between animal and environment; Untamed and tiredness. to tell wonderful stories.” Valley (3 x 60 minutes), exploring some of Final decisions are expected imminently Africa’s Hunters II (6 x 60 minutes) also the Luangwa Valley’s most diverse habitats on the natural history camp’s next iteration. traces an audacious three-year-old leopard and the creatures within them; and Guardians For Blue Ant Media’s Love Nature that has won her first territory in Zambia’s of the Wild II (4 x 60 minutes), tracing the business, Case looks to bring in anywhere Luangwa Valley but “is mercilessly daily challenges facing conservationists and between 100 and 150 hours of content to challenged by older rivals,” says Jackson, scientists working in the Zambian wilderness. the slate every year. and the story of a hyena cub born into “It’s delivered better than I genuinely thought “To deliver on that, we’re sometimes power struggles attempting to maintain her it would, even though I promised that it working two to two-and-a-half years in position within the cackling clan. would,” Jackson says. “It’s such a relief.” advance to be able to commission and As of April, the teams behind the African- Assisting Jackson, a former head of constantly have a rolling delivery of content,” based project have delivered 40 hours — the BBC’s Natural History Unit (Frozen Planet, Case says. “In order for us to capture the right majority of which (30 hours) was delivered Africa), with Plimsoll’s production for the season and go into new locations, but also in year one. The final 10 hours of the project natural history strand are Plimsoll’s head deliver on what I’m turning to the producers are currently undergoing post-production of wildlife Martha Holmes (Blue Planet, saying we need more hours here and here, and scheduled for delivery by August. The Manhunters, Life); and series editor James we’d probably in the next couple of months remaining 10 hours will be made available Smith (Tribe, Amazon with Bruce Parry). be able to finalize that decision. to buyers during October’s MIPCOM market Having since proven that the camp-based “We’re in active conversations and we in Cannes, France. model works and now approaching the hope very soon to be able to finalize both The content, which will be available for conclusion of the two-year partnership in the content needs of the platform and also licensing through Blue Ant International, is Zambia, Blue Ant Media’s Case says that the the wildlife we can capture.”

028 May / June ‘17 029 POLITICALLY SPEAKING BY MEAGAN KASHTY

hen Trevor Birney was first It’s par for the course reminded of Elián González, for docs to look to the W the young Cuban boy found floating in the Florida straits on past. But are today’s Thanksgiving Day 1999, he couldn’t have known how relevant revisiting the tense politically charged history between U.S. and Cuba 17 years ago would be to modern-day audiences. docs also working to It began during a trip to Miami in 2008, change the future? the night of former U.S. President Barack Obama’s election, when Birney saw a newspaper story about how Florida’s Cuban-American community was voting for Cuban embassy in Ireland and began a “We tried to find those perspectives the Democratic party in large numbers for dialogue with officials in Washington. that may have been rushed at the time,” the first time “since Elián González.” In 2015, Birney had a breakthrough. He explains Birney. “Time capsules of this “It was particularly striking, the difference and his team travelled to Varadero, Cuba moment that we’re ready to bring to the between younger and older generations,” and met up with a 21-year-old Elián, who world now in the film.” says Birney, a Belfast-based investigative agreed to share his side of the story. According to Amy Entelis, CNN journalist and founder of Fine Point Films. In 1999, five-year-old González was Worldwide’s EVP talent and content “It lodged with me. I began to ask questions found alone in the water, his mother development, and an executive producer on about Elián — ‘Where was he now, and having drowned trying the doc, Elián strikes what’s happened to him since 2000?’” to seek refuge in the right at the heart of The series of political events that unfolded U.S. He later became “We tried to find the work CNN Films between beginning production on Birney’s the centerpiece of is trying to do. doc Elián and its world premiere at April’s an intense custody those perspectives “We’re interested Tribeca Film Festival — Obama’s moves to battle between his in subjects that restore diplomatic relations with Cuba, the father back in Cuba that may have been represent a moment death of Fidel Castro, and the election of and his relatives in in time that our President Donald Trump, who is currently Miami, which, in turn, rushed at the time. audience is familiar reviewing Cuban policy — would work to brought attention to the with,” she says. make the story that much more relevant to long-brewing tensions Time capsules of “That moment can a modern American audience. between Fidel Castro’s this moment that be fleeting, and while But Elián is not a political story being told Cuba and the U.S. a story may make in isolation. It’s one of an unprecedented To piece together we’re ready to bring headlines one day, number of political history docs taking Elián’s story, Birney then the next story center stage in the industry this year. and his team spent now in the film.” happens and that Birney began to explore Elián’s story hours combing through moment is gone.” back in 2012, while collaborating with hundreds of hours of Entelis says Oscar-winning director and producer Alex archive news footage to find segments that telling stories like Elián’s allows a much Gibney on 2012’s Mea Maxima Culpa: spoke to something bigger than just the deeper experience around the issue that Silence in the House of God. Gibney iconic image of González confronted by an you couldn’t necessarily experience by encouraged him to seek out Elián to armed federal marshal, there to remove him watching a newscaster’s daily coverage. tell his story. For the next three years, from the home of his Miami relatives and And in the case of Elián, sometimes “you Birney’s Fine Point Films worked with the return him to his father in Cuba. need the passage of time to look back and

028 May / June ‘17 029 DOC FOCUS

Toronto’s Hot Docs Film Festival, where Elián Trevor Birney’s had its international premiere, followed a Elián premiered at the Tribeca Film similar philosophy. Festival in April. “There is a willingness, a desire and need for filmmakers to make these deep dives into issues and subjects and provide us with a holistic perspective on the state of the world,” Shane Smith, director of programming for the Toronto- based festival, told realscreen days before the festival began. Alexandra Anderson, a professor at Toronto’s Ryerson University who specializes in documentary filmmaking and Cuban cinema, says doc filmmakers have always been adept at examining news stories in a broader context. see new viewpoints “Documentaries “I think with you wouldn’t always go behind the necessarily have headlines, taking in- any smart noticed before.” depth looks at subjects documentary Elián is part of a like Elián,” she says. broader trend across Awards ceremonies you allow other docs and festivals. New York’s Tribeca and theatrical releases tend to showcase docs with festival lineup, for example, was dominated this a subject that’s usually strongly human interest, audiences year by docs focusing on politically charged and Anderson says, but film festivals are often the best controversial subjects. places to see more politically charged docs. to come to Elián González, Ronald Reagan, Frank Serpico, And while Anderson says there’s always Roger Stone, Rodney King and WeCopwatch been a strong current of political discussion in their own member Ramsey Orta, were among the figures documentary, a deeper look into the events of the highlighted. The films explore subject matter past that have made up our current democratic conclusions.” that still make headlines today, from fake news systems is certainly a focus today. to race relations and immigration. Lois Vossen, who has been with ‘Independent Cara Cusumano, Tribeca’s director of Lens’ since its inception as a primetime 20% o programming, says including politically driven series on PBS, says she’s seen a change in promotional rate docs in this year’s lineup was a priority. the audiences who are craving political docs O€ er only valid for new subscribers. * The 2017 edition of Sunny Side of the Doc, which that deal with modern-day issues. “With the Keeping Hollywood takes place in June in La Rochelle, France has set polarization of media and with some outlets “historic” as this year’s theme, with an aim of suffering financially and having to close down Variety Insight is the premier entertainment putting into perspective what history has taught us their international bureaus, we found there In-the-Knowresearch database from the industry’sSince top news 1999. in light of what’s currently going on in the world. was a hunger among audiences to understand provider. Variety Insight’s team of experienced “We’re experiencing a somewhat particular international stories because they weren’t getting year politically — with the American presidential those stories on a daily basis anymore.” media analysts are tracking pilot and series pick-ups election, Brexit and even the upcoming elections Vossen says audiences were asking for stories Thefor only unscripted data solution and scripted that projects comprehensively on over 100 tracksTV in France and Germany,” explains Yves Jeanneau, from Iraq, Afghanistan, India — political networks and 50 digital portals! Create customized CEO of Sunny Side Markets. “During this time touchpoints from around the world where a people, projects, and companies across television, ilm, alerts for production status changes, cast or crew of elections, ideas, recollections and stories have director embedded in a culture for years could tell and digital entertainment. consequently resurfaced, along with the strong a deeper story than a reporter might be able to. attachments and more. If you want to be in the feeling that we must draw lessons from history. This “Viewers want to understand other know, make sure you’re using Variety Insight! simply highlights the importance of documentary communities and they want to contextualize film in our global political life.” This year, Sunny what’s happening with the current day political Side will host twice as many history project pitches. situations,” she says. For more information, please contact For more information, please contact Alyssa Adkisson, Manager of Business Development, [email protected] or (323) 617-9262. 030 May / June ‘17 [email protected] or 323-617-9555 Mention Realscreen* Mention West Realscreen and receive West 20% and o receiveyour subscription. 20% off your Oer subscription. expires July 8th, 2017. In that vein, Vossen is always looking for films that add a new perspective to an issue that’s been around for a while — such as immigration, incarceration and racial identity. The goal, ultimately, is that films that cover a past event make some commentary on the current political state. “We try not to make any overt statements,” Vossen says. “But I think with any smart documentary, you allow audiences to come to their own conclusions and takeaways as to how it relates to their lives.” Birney and his team spent Vossen points to films from ‘Independent hours combing through Lens’ that she thinks do just that. The Last archives of news footage to find segments for the Laugh, which premiered in April, asks historical doc. audiences to look at the tragic impact of the Holocaust and how it has become frightfully relevant following comparisons to the the 1964 murder of Kitty Genovese, a New “Even if you look at the recent Academy current situation in Syria. Let the Fire Burn York woman who was attacked while 38 Awards nominations, there were some very recounts the steps that led to a horrific people allegedly did nothing to help her hard-hitting films that tackled political tragedy on May 13, 1985, when a longtime (although the doc debunks that claim). topics that you didn’t necessarily see in feud between the city of Philadelphia and “A lens back into both recent and decades- past years,” says Anderson. a controversial radical urban group led to a old history continues to be not only relevant, “There seems to be a group really trying house being burnt down with the activists but also vital to help us understand what’s to engage the public on political issues — inside. And last year’s The Witness tackled happening today,” says Vossen. almost with an urgency.” • 031

20% o promotional rate O€ er only valid for new subscribers. * Keeping Hollywood Variety Insight is the premier entertainment In-the-Knowresearch database from the industry’sSince top news 1999. provider. Variety Insight’s team of experienced media analysts are tracking pilot and series pick-ups Thefor only unscripted data solution and scripted that projects comprehensively on over 100 tracksTV people,networks projects, and 50and digital companies portals! acrossCreate customized television, ilm, alerts for production status changes, cast or crew and digital entertainment. attachments and more. If you want to be in the know, make sure you’re using Variety Insight!

For more information, please contact For more information, please contact Alyssa Adkisson, Manager of Business Development, [email protected] or (323) 617-9262. 030 May / June ‘17 [email protected] or 323-617-9555 Mention Realscreen* Mention West Realscreen and receive West 20% and o receiveyour subscription. 20% off your Oer subscription. expires July 8th, 2017.

ARCHIVE REPORT In living color merica in Color French husband-and-wife team of Daniel feels surprisingly Costelle and Isabelle Clarke, was hailed for Acontemporary for a television the tasteful and detailed color restoration series that explores as its central thesis treatment given to Second World War the historic moments of the 20th footage. The series took years to complete Century that shaped the United States and won impressive audiences of all ages and, in turn, the world. in virtually every continent — a coup for A massive explosion rocks the opening any historic production, never mind one moments of episode one of the Arrow focused on well-mined war stories of yore, Media-produced blue chip archival says Royle. project, set to air on Smithsonian Channel “At that stage, a lot of people said that July 2. The episode features rarely seen everything that could be written and clips of Manhattan in chaos following a shown about World War II had been seen shocking act of terror: At lunchtime on before. But the colorizing process (Costelle Sept. 16, 1920, a bomb hidden by alleged and Clarke) used was so precise and so anarchists inside a horse-drawn carriage nuanced and so beautiful that it really From the roaring was detonated outside 23 Wall Street. The brought the footage to life,” he recalls of 1920s to the radical blast killed 38 people and left another 143 the project’s success. ‘60s, each episode seriously wounded. In greenlighting America in Color, in the 5 x 60-minute But for a few details, the story could be Smithsonian is looking to match, or even series seeks to capture the spirit of ripped straight from today’s headlines. best, Apocalypse’s broad appeal. the decade. That the images we see on screen, though “We wanted to take on another grand nearly 100 years old, have been painstakingly subject and we felt that the history of rendered into full color from their original America, well, you really couldn’t get BY DARAH H ANSEN black and white, and made 4K-ready, makes bigger in scale than that...The growth and the scene all-the-more impactful. evolution of America over the last century It’s a theme that holds constant across or so has been epic. It is also part of the With a treasure trove the series’ five hour-long episodes, each international popular culture. It transcends of rare archival footage harnessing the power of color to refresh narrow nationalism,” says Royle. and re-energize the important stories Arrow was keen to come on board. The and photos, Arrow of the decade they represent. From the UK-based indie had already established a epic excesses of 1920s through to radical long relationship with Smithsonian. The Media’s production renaissance in the 1960s, the goal is company had also shown a willingness of America in Color for to dust off the past and forge a sense to tackle technically difficult storytelling personal connection among viewers formats, evidenced by the 2014 production Smithsonian Channel to moments that might otherwise be of Live from Space, a live broadcast from the dismissed as distant and dated. International Space Station for National looks to breathe new “Life was not lived in black and white. Geographic. life into the nation’s History was not lived in black and white. Says Nick Metcalfe, Arrow’s executive It was lived in color and we are simply director for America in Color: “It’s the kind of epic past. putting the color back into it,” David Royle, thing you dream of.” EVP of programming and production at Still, wrangling the sheer scope of the project Smithsonian Channel, tells realscreen. into order proved daunting. Over two years, America in Color marks Smithsonian’s Arrow’s production team spent an estimated biggest commission in the costly and 6,000 hours scouring obscure archives and time-consuming realm of colorization in university libraries, and digging through almost a decade, and the bar is set high. forgotten family vaults and private collections The network’s 2009 release of Apocalypse, to uncover rare and valuable photos and clips an ambitious, multi-million-dollar archival from the 1920s, ‘30s, ‘40s, ‘50s and ‘60s. series produced and directed by the All of the imagery (a whopping 27 miles

033 ARCHIVE REPORT

was to mix the big stories of the decade with those that are lesser known, but equally powerful. In a particularly poignant example, the series features images of five-year-old William Hinds The restoration team, led by Samuel Francois- of Portland, Maine in a segment dedicated Steininger, colorized to the booming auto industry. The child, we approximately 200 soon learn, was killed when he was struck by a minutes of footage, or Model T Ford in 1924, one of the first recorded 3,500 individual shots. vehicle-related deaths. The series is driven and held together through narration, rather than expert or first-person interviews. The narrator in this case is actor, director and screenwriter Liev Schreiber — a nod to Apocalypse, which featured the voice of another A-list celebrity, Martin Sheen. Of course, this being a color restoration project, finding the right partner — with the particular mix of technical and artistic skill — was essential to bringing the stories to life. And, as luck would have of film) had to be condensed and sorted into “Inevitably, we ended up with way too many it, Brisley had met Samuel Francois-Steininger at 60-minute segments, with stories woven in a stories and had to whittle them down. Then, MIPCOM just prior to the series’ commission. The way that feels at once exciting and familiar. On a sometimes we got footage and thought, actually, Paris-based CEO, producer and creative director of practical level, the task was completed by drawing some of these stories need to play out much Composite Films had instantly wowed Brisley with up lists of the narratives researchers believed would longer,” says Metcalfe. his eye for detail and artistic flare. best define the assigned decade, without losing any “We had to find the right balance,” agrees Tom “He (Francois-Steininger) got on his laptop 034 of the critical details of the era. Brisley, Arrow’s creative director, noting the strategy and he showed me the black-and-white footage alongside the color. That’s when I knew we investigate every element — the buildings, breakthrough in historic docuseries production, were onto something special,” says Brisley. environment, background, key figures. Every pushing beyond the technological and emotional “You know, he’s 32 years old and all he cares single element has to be researched and checked gains made by Apocalypse. Indeed, the network is about is making the color original and making with the resources at our disposal.” already considering greenlighting more episodes. it look as amazing as he can.” The results are intended Watching the first For his part, Francois-Steininger, who’s lent his to honor each era. installments, Royle found restoration skills to historical documentaries such The 1920s episode, himself marvelling at the as Raoul Peck’s Oscar-nominated I Am Not Your for instance, draws “History was not remarkable details of Negro, thinks of the job as not unlike that of a inspiration from the work buttons, hats and gloves police detective. of photographer Charles lived in black of bygone eras, while “One of the key points is to go as deep as possible Zoller — the first American and white. It was discovering new meaning in the research and leave almost nothing to the to use an early form of in well-known events that interpretation, or has not been verified,” he says. “It’s color photography called lived in color and had previously eluded him. quite a long and dedicated and passionate process autochrome. Zoller’s A color-restored scene to find those answers.” portfolio, taken between we are simply in the 1920s episode, For America in Color, he and his team colorized the beginning of the 20th showing a sea of hooded approximately 200 minutes of footage, or 3,500 Century to the mid-1930s, putting the color and bare-faced members of individual shots. For every shot, the same “helped us capture the the Ku Klux Klan marching exacting process was necessary: What was the tints relative to the period back into it.” through Washington, D.C., color of the tie that particular person wore on and gave us valuable left him particularly shaken. that particular day? What color was the sky? and reliable information, “I’ve seen that image The cars? The wallpaper? notably on clothes, fabrics and everyday objects,” many times before in black and white, but Drawing from a myriad of iconographic says Francois-Steininger in an email. “Thanks to when you see it in color, it is just absolutely and historical sources, including books, re- them, we got the certainty, for instance, that the haunting,” Royle says. “I just kept reflecting on enactors, experts, websites, biopics, paintings 1920s buses in New York City were green.” the old images, thinking, ‘This could really be and postcards, says Francois-Steininger, “We For Royle, the finished product represents a happening now. It’s not that different.’” • 035 Music makes it work Audio Network makes it work for you

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Anzeige_Real_Screen_NHNZ_06.indd 1 12.05.17 13:44 NHNZ SPOTLIGHT

BY DANIELE A LCINII OF Last August, NHNZ secured an THE agreement with China Central PRIDE Television (CCTV) to coproduce five major projects, including the ground-breaking docuseries Big Pacific.

“There were advantages As NHNZ turns 40, MD Kyle Murdoch takes a look to being part of Fox, for sure, but now that we’re Murdoch back at the journey from Dunedin production unencumbered by that shop to global powerhouse in the natural history corporate environment as a true indie there’s much less and non-fiction sector. red tape,” Murdoch notes. NHNZ is now part of the the foot of a picturesque inlet on during an era of economic uncertainty when New RACAT Group family, sitting alongside New Zealand’s South Island lies the Zealand’s dollar faltered to new lows against the Singapore’s Beach House Pictures and At Victorian-era city of Dunedin. It’s in U.S. greenback. Australia’s Northern Pictures. this university town, with a population of 120,200, The inflated American income throughout the The Dunedin-based shop, with its 80-plus that you’ll find a factual TV production company 1990s allowed the Kiwi company to develop employees, has continued to build on its strong with the reach to take on the world. twice as many series and documentaries than its foundations with a diverse and creative slate, Founded in 1977 as TVNZ’s natural history unit, competitors in the South Pacific. producing across natural history through to ob NHNZ has, against all odds, seamlessly outgrown It didn’t hurt that, in 1992, NHNZ became doc series and dramatic first-person narratives the dramatic hills of New Zealand’s Otago the first producer to winter in Antarctica with a for the U.S. and Asian markets. In China alone Peninsula to become a global powerhouse in the pair of documentaries produced by legendary NHNZ has become the largest outside producer natural history and non-fiction sector. filmmaker Max Quinn. The two films, Emperors of documentary content in the country and, So just how did an indie headquartered in the of Antarctica and The Longest Night, are credited last August, secured an agreement with China farthest city in the world from London (19,100 with directly developing positive inroads into Central Television (CCTV) to coproduce five major km/11,870 mi) manage to not only survive, but the U.S. market and helping NHNZ establish its projects, including the premium blue chip series also thrive? relationship with Discovery. Big Pacific, slated to air on PBS in June. Well, it looked for a partnership a little closer to home. “We could spend years in the field rather than Last year, the little indie took its biggest swing yet, “When we first started exporting, we made months from our competitors,” Murdoch says. launching its Washington, DC offshoot, Outrun the natural history films and we sold them to this “That gave us a huge competitive advantage from Sun Productions, to service the U.S. market with little broadcaster in Maryland that only had a business point of view.” four to six character-led commissions per year. distribution of 200,000 homes,” says Kyle NHNZ’s first transformation would come in 1997, Asked what the next five years look like, Murdoch Murdoch, managing director of NHNZ, as the when TVNZ sold off the natural history unit as sees the enduring shop becoming part of a series indie marks its 40th year in business. part of the state broadcaster’s cost-cutting and of companies under the NHNZ umbrella: Outrun That network, Murdoch reveals, was the restructuring exercises. The factual TV production the Sun, children’s zoology channel ZooMoo, Discovery Channel, which would grow up to house would become a subsidiary of Fox archive unit NHNZ Moving Images and mobile become the global mass media and entertainment International Channels under David Haslingden. gaming division Runaway Play. company Discovery Communications. With Then, in October 2012, Haslingden acquired a “We localize quickly in a region and become part the newfound relationship cemented, financial 100% stake in the Kiwi producer — a move that of the fabric of that community, and then all of a security would be hand-delivered to NHNZ’s door would ultimately prove beneficial. sudden growth becomes a lot easier.” •

039 THINK ABOUT IT Premium midform takes shape uick poll: Who knows what ‘unboxing’ is? Moana and other blockbuster hits. They’ve taught me How about ‘creepypasta’? What about that premium is fluid. Variety, choice and availability Q‘mukbang’? Believe it or not, these are rule. And they don’t want less, they want more. They video formats that millions watch all over the world. watch it on any screen and often simultaneously. Unboxing is an unscripted format that makes Nielsen’s Total Audience Report tells us that you feel like it’s Christmas morning all year long. the average person spends nine hours a day Creepypasta? No, it’s not scary spagetti. It’s actually a consuming media on a range of screens. That’s way to share fireside ghost stories around the world. more time spent consuming media than sleeping Mukbang may sound completely absurd, but people and eating combined. will watch for hours while creators sit in front of their So how does this impact how we program for this cameras while gorging on thousands of calories. new generation of media consumers? Welcome to the mobile-first generation where Context matters. At YouTube, unscripted formats work trends that may seem esoteric are taking over a because that ecosystem is built on UGC (user-generated content), vloggers and personalities. At Vessel, we found BY I VANA K IRKBRIDE screen near you. All you need is a smartphone, tablet or desktop to tap into them. a deeply engaged audience around tech unboxing And we’re not only seeing a rise in content formats, videos and IT culture because we had a large community Audience tastes are but also a whole new category of formats. At go90, of tech savants. At go90, we find that live sports and for instance, we’re seeing a growth in what we call scripted dramas perform best because we have evolving almost as “premium midform” emerge as our sweet spot. dedicated sports fans who love football, basketball and Netflix and Hulu are dominating binge-watchable soccer, and millennials who love scripted originals with quickly as the platforms content that is 30 minutes or longer, and TV is doing their favorite talent. on which programming the same for appointment-based viewing. Meanwhile, Content within context matters. Each platform and its social media, editorial websites and short-form audience is completely unique. You must cater to what is being watched. video platforms such as YouTube are dominating the works best for that specific community. What works 10-minute-and-under space. on TV won’t necessarily work on digital, and vice versa. Ivana Kirkbride, chief At go90, our research shows that the mobile-first To take it one step further, what works on Facebook or content officer for go90, audience is spending more time watching videos Snapchat doesn’t necessarily work on Hulu, Netflix or throughout their day and on the go during the go90. You need to create content with specificity and weighs in on the shift, week. And the premium midform format is proving authenticity to each platform. the perfect length for these regular “downtime/ I leave you with this: Digital innovation and the and how a mobile-first watchtime” periods. In fact, our analytics tell us mobile-first generation are expanding how we tell generation is driving that premium midform is emerging as the preferred stories through new formats, new talent and data- format for mobile-first viewers. driven development. There’s a new hybrid model demand for a new Our hit series — including a nonfiction slate such — part art, part science, and, what remains the same, as Snooki & JWOWW: Moms with Attitude, MVP with a little bit of magic. It’s creating more opportunity in format category. Rob Gronkowski, Young Guns and QB1 from Peter content, programming and distribution for all of us in Berg and Film45 — are anywhere from eight to 30 the industry. We all know we are in the golden age of minutes in length. television, but we’re embarking upon the golden age So what does premium mean in this context? The of content. We can shape the opportunity beyond that concept of quality or premium programming is first screen by coming together, country by country, completely fluid now. It’s not always equivalent to screen by screen, to tell the best stories on the planet. production value. Ivana Kirkbride is chief content officer and responsible To test this, I actually decided to take a poll among a for the leadership of go90, alongside CTO Richard Tom. small (but cute) focus group — my kids — to see what Ivana oversees creator relations, content acquisition and they watch and how they watch it. My three-year-old partner management. She is also responsible for content son, Tyler, watches The Wiggles, an Australian TV show strategy, development and programming, channel mix, that debuted 26 years ago that he’s discovering for editorial and merchandizing strategy across live sports, the first time on streaming platforms. And most of the originals, primetime and best-of-the-web. Previously, time my daughters, Malin, eight, and Olivia, seven, Ivana was head of content at Vessel. She spent five stream FUNnel Vision, a YouTube channel. But when years as a key executive launching YouTube into Funded asked what their favorites are, they cite Harry Potter, Channels and Original Programming.

040 May / June ‘17 041 BY M ICHAEL CASCIO Network notes : In demand or out of control?

of our production partners and take away their Make early cuts watchable. You’d be surprised incentive to fix things on their own. how many times a network’s senior manager At the same time, the networks are always wary looks at an early cut and criticizes the scratch of what a colleague called “being sizzled” — track audio or fuzzy video — even when they buying a show on a great sizzle reel but by the know it’s temporary. Producers make mistakes first delivered cut, they’re forced to make chicken by assuming everyone can share their vision, salad out of chicken waste. Ideally, if you pay for even if there are huge portions missing. Here’s a a program, it’s up to the producer to deliver what tip: Make your rough cut look like a fine cut. And you want — not the network. make your fine cut look perfect. A slick-looking So, who’s right? video is less likely to be criticized. I’m working independently now, and with some Too many people give too many notes. Often perspective, I can tell you that sometimes those there may be one set from the EP and additional notes are needed, and sometimes they’re not. Here comments from higher-ups. When bosses weigh are some universal truths: in with conflicting notes, they undercut their EPs, Network veteran Michael Producers can get too close to the material. cause chaos in the production pipeline and quash Cascio makes the case for Sitting in an edit room for days can cause motivation. Networks should coordinate notes so myopia that good network execs can correct. producers get one set of comments per cut. when feedback is necessary, They often have experience at how best to Remember that network execs report to grab the audience, how to improve pacing, bosses. Inside scoop: Some bosses love to see even helpful...and when writing, flow and teases, as well as dealing with their EPs whipping up on producers — it shows it’s not. Here are his top marketing, scheduling, content standards and they’re really on top of things. When a program sales. One longtime producer told me the best gets to the big boss level, there’s an all-too- suggestions to help ease the note she ever got from a network EP was a loving familiar response from the underling: “Yes, boss, KISS — “keep it simple, stupid” — providing help but you should have seen the rough cut. It was production process. to “reduce the complicated to the simple.” a mess.” Implication: “But I fixed it!” And don’t Generalized notes can be confusing. The underestimate fear. The reactions of execs are t’s the bane of producers: You submit worst? Notes that are so broad that you can’t often all about hedging bets — trying to predict if a carefully crafted rough cut and get figure out what to do. Comments like, “It sort of the boss will like it or at least avoid triggering an Iback reams of single-spaced, nit-picking lacks energy” or “It doesn’t work for me” drive outburst, which could get them fired. notes, gutting your hard work and forcing producers crazy. One veteran producer told me At the networks, there’s an enormous amount more time and expense in the edit room for he once got a comment scrawled in the margin of pressure to deliver superior programming that no apparent reason. of a script saying simply, “What is this sh-t?” Not meets their goals and standards. At the same It’s the bane of networks: You commission exactly useful or inspirational. time, execs should realize that producers are a show and get back an incomprehensible, Specific notes help the most. The best? Notes partners who actually pay your salary. Their shows steaming mess of footage that has no story, that point out the important places that need attract an audience that advertisers or subscribers looks nothing like what you ordered and will fail addressing and why they need changing, offering want, and thus bring in the money that pays miserably if it airs. You have no choice but to fix it. suggestions or improvements, but letting the you. Without their success, you’d be working at With lots of notes. producers take it from there in case they have a Target. And without the network’s success, those In the factual TV community, “notes” are a better idea. By being precise yet flexible, it allows producers would be working there, too. necessary evil. Everyone accepts that networks and the production team some liberty to continue Michael Cascio is president and CEO of M&C distributors need to get what they want, especially being creative and not just reactive. Media LLC, where he advises selected media and when financial investments are substantial. But do Keep the production process in mind. There production partners, and produces documentaries. all those notes make a difference? are many horror stories about networks asking He is also a guest speaker and writer, whose recent I tried — and failed — to cut down on my own for substantive changes at fine cut, picture article for the Sunday New York Times revealed how note-giving while I was a network EVP and SVP lock, or even after it airs. No matter how many his experience as a backstage janitor prepared him at A&E, Animal Planet and National Geographic, costs are covered — if they’re covered — the for a career in television. At National Geographic, and I supervised talented EPs who were much requested changes should be commensurate A&E, Animal Planet and MSNBC, Cascio has better at it. But I often worried that with too much with the time and effort that disrupts the won four Emmys, two Oscar nominations and a interference, we could undermine the talents schedule and relationship. “Producer of the Year” award. •

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Do you see this as a feminist book? Audrey Melznik is old. She is my I never thought about it, but I think Gloria age. Her hair is gray. She is plumpish. [Steinem] agreeing to read one of the She let herself be old. I hate her. Or stories made me possibly think I was on the do I respect her? What the fuck am I right side of good. But I didn’t consciously so upset about? Damn it. Who needs think about that. I didn’t think I had Audrey Melznik anyway? embraced anything but my own code. Is it the twenty extra pounds I gained I understood feminism and I certainly since college that’ve got me in a tizzy? believe in it and I had fought for it — but I The high-heeled shoes that now hurt? didn’t think the book was an endorsement. Didn’t used to. Is it the affair I do/don’t I thought the book was a woman’s want and, anyway, it’s too late. Is it the experience, both factual and fictional, that look on a baby colleague’s face when I would come together in some way that draw a blank on a name or don’t know would express growing up in America the band called something-or-other? “Oh, from the 1960s to 2017. yes. I think I’ve heard of them.” Liar. Do you consider yourself a feminist? What is it that panics me so? Yes, if it means parity for women and equal I think it’s death. Not probably. Death. pay and equal rights to their own body and And age. Why can’t I face aging with grace? playing ball in a man’s court — absolutely. Does anyone ever whistle anymore? I want In 2017, there is still the issue of the to meet Mother Time with a pas de deux. ‘glass ceiling’. What do you think it’ll A curtsy for the scythe. A refined readiness. take to get women in the highest You Don’t Look Your Age...and Other Fairy Tales, That’s all. Is all. Why, oh, why can’t I . . . positions of authority? released May 2, is published by Flatiron Books. I want to celebrate the longevity of my I can’t answer the question. It’s a deep- life. My mom never made it. My dad seated difficulty between men and women SIZE TWO walks by with the gave it to cigarettes. Why am I hiding? in terms of power. It may be genetic in right answer to a film we are I am a product of magazine covers that some way, I don’t really know. working on. She is beautiful. screech: “Young at any price. Buy me!” Look around the world at how women are She is young. She gets it right. The saleslady who says the ill-fitting treated. There is something deep inside A“Terrific,” you say. It is not her fault that she clothes look great on me and make me that pushes women out of the conversation is perfect and smart and half your age. look young — Sold! To me, the fool and they have to nudge and push very And the bronchitis lingers. You caught it who buys the spiel. Please, God, I’m an hard to get back in it. It’s tough — I mean, from her. She whipped it in a week. You’re atheist who wants to look young. I have it’s not like living in Syria — you still have onto a thousand coughs and a thousand enough Botox in me to detonate Iran. three meals a day — but it’s not an easy row. sleepless nights. She didn’t mean to have a Why can’t I go gracefully into gravity? Tough waters. great immune system. This aging terror. Why can’t I bellow on In the chapter about your mother Philip Roth depresses you. Does he have Times Square to the disinterested passersby, (“The Wrong Kind of Hot”), you to be so brilliant about exits and ghosts? “Sixty, seventy, eighty, ninety, one hundred write about an incident that made Why does Zuckerman have to be an . . . and counting.” Say it. Say it loud. Who you become a champion of the less aging curmudgeon and incontinent while am I fooling really? The health plan told fortunate. Of the docs you’ve worked forgetting to change his urine-stinking the doctor and he knows. The dentist sees on, are there any that stand out to you diaper? Any one of these signs of decay my teeth and he knows. And Google told that embody that sentiment? would have been enough. Wikipedia. What’s the big secret? Probably most of the ones I’ve put my And how about the woman who grabbed The secret is I don’t want to say good- heart and soul into — Syria, Tourettes, you on the Saks escalator? You didn’t need an bye. I don’t think it’s fair to have worked Alzheimer’s, obesity. I like the underdog outfit anyway. so hard and given up so much time to and the person who doesn’t have an equal “Sheila, Sheila. Sheila Nevins. Remember not have more time. playing field either through a disability me? Audrey Melznik, we graduated the same If they can make a car without a driver, or through societal prejudices. I’m all for year from Barnard.” why can’t they make a me that goes on? them. I never had a team. I always rooted “Oh, yes, Audrey. Of course, I remember So that’s the secret. I’m angry that it’s for the underdog team. you.” (I don’t.) Children? Yes. Grandchildren? almost over, just when I understand If I was forced to watch the football game, Five. Wow. All boys? Great. Harvard? Great. I’ve just begun. I would ask who is the underdog team and I Oh, sorry. Two husbands. One dead. Oh, Reprinted with permission from Flatiron would root for them. It’s how I’m made. sorry. Life. Gottagogottago. Books. •

042 May / June ‘17 043 ESCOBAR’S WORLD MY STORY BY JUAN PABLO ESCOBAR 2x60’

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