A SHORT-LIVED SENSE of security from plummeting coronavirus cases prompted several global-facing projects in the U.K. to restart over the summer, but as the threat of new COVID- 19 restrictions looms large, the industry is rushing to crank out ﬁlm and TV productions this fall, in what could be the last gasp for production in 2020. A rising caseload prompted six-month-long restrictions on group gatherings and early clo- sures for the hospitality sector on Sept. 24, but the U.K. remains one of the most active production hubs in Europe. Getting cameras rolling, as evidenced by “The Batman” brouhaha, is a major gamble, but those who can afford to take the plunge say there’s much to be gained — if they can pull it off. Roughcut TV is shooting in south London, where cameras rolled Sept. 2 on six-part comedy “Bloods” for Comcast-backed PRODUCTION PERSISTENCE broadcaster Sky. Managing “Temple” crew members work with new safety measures, director Ash Atalla began plan- including masks. ning the shoot from the depths

SKY VISION of lockdown in spring.

VARIETY 3 MIPCOM 2020

“It felt insane that we’d get to film a meleonic backdrop for even the most TV show, but at some point, you have to complex productions. BBC Two’s Arc- make your best educated guess and say, tic thriller “The North Water,” starring ‘The end will be here’ [and start plan- Jack O’Connell and Colin Farrell, had ning],” Atalla tells Variety of his sev- one week left to shoot in northern Can- en-week shoot. “We tried to set a date ada, around icy Nunavut, when the pan- that felt optimistic but not impossible.” demic forced a shutdown. Producer See- The Emmy-nominated producer says Saw Films waited several months to see this period is a “sweet spot” for interna- if they could return, but adverse fall tional distribution, where a handful of weather conditions prevented a reshoot. freshly completed projects will be given “CGI saved the day on that project. We more exposure by distributors facing a elected to shoot on stage against green dearth of new shows to sell. screens,” says Nicky Earnshaw, head of “Get it done now, and those distribu- production, detailing the shoot at Lon- tors who have brand new titles to launch don’s Black Hangar Studios’ 32,000 next year might feel like they have a square-feet of uninterrupted floor space. much more valuable asset,” urges Atalla. Earnshaw reckons the extra costs and While the U.K. production sector isn’t time associated with the British Film impacted by the new 10 p.m. curfew for Commission’s industry-standard COVID- bars and restaurants, Prime Minister 19 protocols have added around 10%- Boris Johnson’s warning that more “fire- 20% to the budget, but overall, the Lon- power” will be employed if cases — pro- don shoot was practical given stars such jected to reach 49,000 a day by mid-Oc- as O’Connell were already there. “We’re tober — don’t fall has made many in the lucky that we have U.K.-centric projects industry nervous about the near future. on our slate,” says Earnshaw. Further complicating matters is that Although there are travel restrictions a government-backed indemnity fund for countries that require quarantines, SAFETY IS NOT ONE-SIZE-FITS-ALL underwriting projects with budgets of a government waiver for individuals “The North Water” (above) shut down production in Canada up to £5 million ($6.4 million) per pro- with only one week to go and completed it in the U.K. on a filming has come in handy for See-Saw, duction, announced in July, has yet to soundstage using green screen, but “Father Christmas Is she says. even go live. Back” (below) completed its shoot during the pandemic. Studios such as Lionsgate are also “When you consider the weather and taking advantage where they can. “For daylight hours, there was a little window us, it’s the U.K. for now,” says Marc in late summer and autumn [that was safe protocols and the promise of an Lorber, senior vice president, interna- available to shoot] and it felt like that insurance scheme has provided crit- tional co-productions and acquisitions. insurance scheme wasn’t quite up and ical assurance, says MSR Media boss The studio is shooting Starz’s “The Girl- running quick enough,” says Atalla. Philippe Martinez. The York-based pro- friend Experience” over 10 weeks in Some shows, however, are taking win- ducer recently completed Christmas London, while BBC Wales thriller “The ter in their stride. Mark Strong-fronted comedies “Miss Willoughby and the Pact” is in its second week in Cardiff. drama “Temple,” another London-set Haunted Bookshop” and “Father Christ- Lorber says COVID-19 safeguards Sky show, is in the midst of a 90-day mas Is Back,” starring Kelsey Grammer, cost the studio only 10%-18% of a bud- shoot stretching through to January. Elizabeth Hurley and John Cleese. get, but they have been generating costs “We have to live with this virus for “The first question we had was “no one accounted for” previously, such months, so it’s important that shows whether these stars would agree to work as housing actors who need to quaran- that are up and running can prove you during COVID-19, and to our surprise, tine for 14 days. “And as wonderful as can work in these conditions,” says Liza people who don’t need to work because the [government’s insurance plan] is the Marshall, head of production company they’re financially sound said ‘yes,’” portal hasn’t [gone live yet],” he says. Hera Pictures. Martinez says. While the government has so far Casting has proven tricky for Hera Clauses requiring actors to return to exempted film and TV from another because actors who’d normally flit the film within 12 months if there was a shutdown, Lorber, like many, ponders between jobs aren’t being released by COVID-19 interruption were also added what a “circuit-breaker lockdown” — a some broadcasters. “People are trying to contracts. two-week shutdown of all but essential to hold on to actors for their own jobs,” “We had no cover, so we took that workplaces to limit the spread of the says the BAFTA-nominated producer. responsibility,” says Lee Beasley, man- virus — might look like. But keeping it local has meant keeping aging director of MSR Media. “If some- “Are we furloughing people? Is there business contained. thing happened, we’d have had to shut government support covering that? Or is it “During lockdown, in all my conversa- down and reschedule.” that things are on hold and no one is get- tions with Sky, it felt like this show was But ultimately, the insular environ- ting paid? Will there be storage and set more achievable than others that were ment of the Yorkshire countryside was security you have to pay for? We all have a pushed to spring because they’re set in conducive to COVID-era filming. “It nagging anxiety in the back of our heads,” different countries,” Marshall says. really is a bubble,” says Beasley. “We he admits. “Everyone dealt with a lock- Getting cameras rolling anywhere managed to film two multimillion-dollar down, but multiple lockdowns would be during a pandemic isn’t a decision productions in the past three months.” ﬁnancially difﬁcult. Making TV series is

taken lightly, but the U.K.’s early COVID- Indeed, the U.K. has become a cha- not something you can do from home.” MSR MEDIA CHRISTMAS: FATHER FILMS LIMITED; NICK WALL/HARPOONER WATER: NORTH

4 VARIETY WHERE SERIES BEGIN

SPOILER ALERT SERIES MANIA FORUM WILL BE BACK! LILLE GRAND PALAIS, FRANCE & ONLINE

Untitled-6 1 10/8/20 1:20 AM MIPCOM 2020

BIG NAMES BEGET EARLY INTEREST

VIACOMCBS INTRODUCES can take some comfort that they know about their private lives and fears and ‘THE STAND’ AND ‘WALKER’ more or less what they’re getting into.” desires,” says Cavell. Both of these properties have had Both shows also boast an ensem- By Danielle Turchiano changes made to them for the new ver- ble cast of global stars: “The Stand” fea- sions. “Walker” is still “a love song to tures Alexander Skarsgård, Whoopi SOMETIMES IP IS A BONUS when selling a Texas,” Fricke says, but the show now Goldberg, James Marsden and Owen show, and sometimes it’s more crucial. centers on a titular character who is a Teague, to name a few, while “Walker” Two key properties coming to Mip- widower who moves back to his fami- is centered on “Supernatural” co-lead com from ViacomCBS Global Distribu- ly’s ranch, making the series more of a Padalecki and includes Mitch Pileggi, tion Group this year are new iterations of multi-generational “family soap” than the Keegan Allen and Lindsey Morgan. beloved stories: Josh Boone and Benja- original. This new version of “The Stand” All of these elements have added min Cavell’s nine-part adaptation of Ste- tells its story about the survivors of a up to ViacomCBS making some early phen King’s 1978 post-apocalyptic tome deadly plague who fall on opposite sides licensing deals, but Cohen says there “The Stand,” and Anna Fricke’s “reimag- of good and evil in a non-linear way, and are still plenty more territories avail- ining” of the 1990s modern-classic with a brand new coda from King himself able for both properties. law-enforcement drama “Walker, Texas in the finale episode. “If we get what we really think is the Ranger,” now simply titled “Walker.” “I do think these shows stand on their right partner and the right economics, While “The Stand” has already delivered own whether you know the original or we’ll close the deal early, but in gen- first looks such as photos and trailers not,” Cohen says. But he admits that the eral, I prefer to wait, go to market, let and will be premiering its first episode at source material being so well-known cer- people see whatever you have to show the market, “Walker” is only preparing tainly helps with buyers’ comfort levels, and get some buzz going,” he says. to go into production now, having been too. “Our buyers are super-sophisticated. “That’s why we have the markets.” delayed by the coronavirus pandemic. They tend to know the material.” This year the biggest challenge may “While we can’t show anything, it’s “Walker, Texas Ranger” is still on in just be the virtual nature to Mipcom. been cast in a really positive, good way STEPHEN KING’S more than 20 territories, Cohen contin- “Everybody’s gotten so much more with [Jared] Padalecki and some other WORKS STILL SHINES ues, while “The Stand” was previously comfortable with screening product at folks who have CW history,” says Dan The new version of adapted into a four-part limited series in home [and] Zoom calls,” Cohen says. “I “The Stand” features Cohen, president, ViacomCBS Global Dis- an ensemble cast the 1990s that many of his buyers likely don’t know what that will do for buzz tribution Group, of “Walker.” “The show including Alexander picked up then. [but] we’re going to have to figure it is being produced in the U.S. for the CW. Skarsgård, Whoopi “I think the overarching reason for out because we haven’t done this and Goldberg, James We have clients that have licensed other Marsden and Owen King’s enduring worldwide popularity it’s probably going to be the way we

series from us that are on the CW. They Teague. is that his stories are about people and sell for a while.” FALCONER/CBS ROBERT

6 VARIETY Untitled-1 1 10/8/20 1:15 AM MIPCOM 2020

MAKING A SPLASH AT THE MARKET

VARIETY SELECTS THE TOP TITLES TO WATCH AT MIPCOM THIS YEAR By PATRICK FRATER, ELSA KESLASSY, NAMAN RAMACHANDRAN

AND MANORI RAVINDRAN

9 WINDOWS (NIPPON TV/THE STORY LAB)

Japan has created some extreme game shows that have found their way abroad either through license deals or format sales — think “Takeshi’s Castle” or “Ninja Warrior” — but not every show “The two-hour period has to be crazy, weird or destructive. Japanese broadcaster Nippon TV’s “9 Win- is treated as an un- 9/11: TWO HOURS THAT dows,” being offered for sale at the virtual Mip- CHANGED THE WORLD com, is halfway between the game show and folding chronology, (KESHET INTL.) talent contest genres. Set in an interactive studio, each episode features nine contes- told by contributors Told almost in real time, “9/11: Two Hours tants with astonishing and unusual abilities, all who have stories of that Changed the World” covers the two- beamed in from their home through giant stu- hour period when terrorist attacks on the dio screens — a “new normal” for the coronavi- heroism and survival.” Twin Towers, the Pentagon and Flight 93 rus era. changed the world forever. The show unfolds in three rounds, with Naman Ramachandran The two-hour period is treated as an contestants competing for a cash prize by unfolding chronology, told by contributors attempting to mesmerize a studio jury with who have stories of heroism and survival, their hidden talent. A studio host provides com- and illustrated with personal and public mentary and laughs, while there is also viewer archives of the day. In a parallel narrative, play-along at every stage. the film juxtaposes that two-hour story The show, developed in partnership with the with the almost 20 years since, exploring Story Lab, made its debut in Nippon TV’s home how the lives of individuals continue to be market in the last week of September. While few affected by moments that took place in unusual skills have so far been revealed, pro- that period and how the world continues ducers are teasing talents ranging from blow- to be shaped by it. The film’s core cast has ing out candles with a power-punch to building not previously spoken publicly. famous landmarks in jelly. So, only a little weird. U.K. broadcaster BBC One commis- Nippon TV has previously presented other sioned the documentary, which is pro- game-show formats including “Mute It,” and duced by Top Hat Prods. (“The $50 Mil- the broadcaster enjoyed recent success with lion Art Swindle”), and is directed by one-hour drama series “Mothers,” which has BAFTA winner Arthur Cary (“The Last Survi- secured scripted format deals in Thailand, vors,” “American Justice”). Keshet Intl. has South Korea, France, Turkey, Ukraine and Latin already pre-sold the title to a number of America. — Patrick Frater key territories. — Naman Ramachandran

8 VARIETY MIPCOM 2020

DISTRICT Z GREEN HORNET

(SONY PICTURES TELEVISION) (WILDBRAIN)

“District Z” is a brand-new zombie-themed Cult filmmaker and graphic novel enthusi- adventure game show created and produced ast Kevin Smith (“Clerks”) is updating clas- by Satisfaction Group, Arthur Essebag’s Par- sic superhero franchise “Green Hornet” as an is-based production company, which recently original animated series. acquired 100% of Sony Pictures Television Set in contemporary times, the series France. The show was commissioned by TF1 will follow the adventures of a re-imagined and recently started shooting on the outskirts Green Hornet and Kato — now the grown son of Paris across 60 acres. of the original Green Hornet and the daugh- “District Z” takes place on a set as big as ter of the original Kato — as they partner 14 football fields. Essebag says the show — to battle crime in Century City. The series one of France’s biggest-budgeted factual for- will feature a graphic 2D stylized look and is mats to date — skews young adult and will being developed as half-hour episodes. mix elements of “Walking Dead” and “Game Originating as a radio series created by of Thrones.” George W. Trendle in the 1930s, “Green Hor- In each episode, the doors of the titular net” tells the story of Britt Reid. He oversees District Z open as night falls and five celebri- his newspaper, the Daily Sentinel, by day, ties must overcome numerous physical and and by night dons a green mask and ven- mental challenges while facing zombies and tures across the city with sidekick Kato to other creatures controlled by the mysterious mete out justice. The animated series will Professor Z. Before the sun rises, the candi- target a family audience and is aimed at a dates must reach the treasure kept in a secret new generation of viewers. The classic 1966 vault. If they don’t finish the game in time, live-action TV series adaptation of “Green however, the doors will close on them forever. Hornet” introduced martial-arts superstar The action-packed format also allows view- Bruce Lee to North American audiences as ers to be immersed in the setting along with Kato. Smith has written numerous Green the contestants thanks to embedded cam- Hornet and Kato comics for Dynamite Enter- eras and shooting techniques. Satisfaction tainment. He also owns the comic-book Group boasts a strong track record with fac- store Jay and Silent Bob’s Secret Stash in tual formats, delivering six daily shows across New Jersey. — N.R. France’s main six TV channels. — Elsa Keslassy

THE INVESTIGATION

(FREMANTLE)

In “The Investigation,” Danish writer-director Tobias Lindholm (“Borgen,” “Mindhunter”) sheds light on the grisly murder of Swedish journalist Kim Wall in 2017, known as the noto- rious “Submarine Case.” The series’ main protagonist is Jens Møller, the head of homicide for the Copenhagen police, who carried out a complex investigation into what seemed to be an impossible case due to the lack of a body, motive and murder weapon. The young journalist disappeared in 2017 after visiting a submarine in Copenhagen to interview its owner, entrepreneur Peter Mad- sen, and her body was later found dismem- bered in different locations around the area. Weaving multiple perspectives, “The Investigation” chronicles the work of divers from the Danish navy’s operational com- mand, forensic scientists, the prosecutor who looks to create a convincing case and lastly, Møller and his team, who are in pursuit of solid evidence to give Wall’s relatives the closure they deserve.

VARIETY 9 MIPCOM 2020

Lindholm earned an Oscar nomination with his third feature, 2015’s “A War,” and he will next direct Jessica Chastain and Eddie Redmayne in “The Good Nurse.” “The Investigation” was produced by Miso Film in co-production with Outline Film for TV 2 Denmark, SVT and Viaplay. BBC in the U.K. and RTL in Germany have already acquired LENNON’S LAST WEEKEND LONDON ZOO: AN E.K. EXTRAORDINARY YEAR the show. — (ABACUS MEDIA RIGHTS) (ENTERTAINMENT ONE) THE KING OF WARSAW There are few major figures in music whose final moments capture the public imagination Extraordinary circumstances often result in (STUDIOCANAL) to the extent of John Lennon. This December remarkable material. U.K. broadcaster ITV marks the 40th anniversary of the former Beat- was given exclusive access inside the Zoo- Based on the bestselling novel by Szczepan le’s murder outside his apartment in New York logical Society of London’s zoo and its sis- Twardoch, the eight-part drama is distributed City. In hour-long documentary “Lennon’s Last ter facility Whipsnade during lockdown, as internationally by Studiocanal and produced Weekend,” commissioned by U.K. broadcaster its staff and keepers cared for more than by Poland’s Aurum Film for NC Plus. Set in Sky Arts, the musician’s final days are captured 500 species — from giraffes and tigers, to 1937, just before the onset of WWII and the in what became his final interview. monkeys and meerkats. Holocaust, the series follows boxer Jakub Sza- In December 1980, Lennon and wife Yoko “London Zoo: An Extraordinary Year” piro, a hero for the Jewish community. Ono had not spoken to the media in more than provides a unique view of the zoo from the Outside the ring, he intimidates Warsaw five years. But with a new album to promote, self-shot perspective of its close-knit team as an enforcer for a crime lord, and enjoys a the singer signed on for an interview with BBC of keepers and vets, as they continue to lavish lifestyle. But all that changes with the Radio One DJ Andy Peebles in New York. In care for 20,000 animals. The London Zoo rise of Hitler and the escalation of fascism. their discussion, Lennon spoke candidly about is usually open every day except Christ- With contemporary issues such as national- a number of topics, including the Beatles mas Day, and previously only closed for two ism and identity crisis being explored, the break-up, his relationship with Paul McCartney, weeks during the WWII Blitz, but now it’s series should strongly resonate with the con- his battles with addiction, U.S. and U.K. poli- been shut for months due to coronavirus. temporary world, telling a story of violence, tics, his family and his homesickness for Liv- In the first part of the series, the zoo lust for power and the struggle to hold onto erpool. The interview would be his last before personnel have to deal with challenges it at any cost. The series is directed by Jan P. his assassination at the hands of Mark David in the absence of their furloughed team Matuszyński, whose 2016 film “The Last Fam- Chapman just 48 hours later. leader, including pregnancy care for an ily” won multiple awards worldwide including “Lennon’s Last Weekend” pairs the artist’s okapi, arachnid breeding and a sick lion. at the Locarno, Chicago, Denver, Lisbon, Sofia fascinating insights with archival footage, pho- In part two, the zoo has to contend with and Vilnius film festivals. tographs and conversations with people who a $32 million shortfall without any visitors, Matuszyński also directed episodes of knew him. and uses the downtime to deal with Bac- HBO’s “The Border” and Canal Plus series The film, directed by Brian Grant and pro- trian camels, mating elephants and birth- “Nielegalni.” The “King of Warsaw” is Canal duced by Scott Millaney, has so far sold into ing otters. The show also looks back at the Plus Poland’s biggest TV series production to BritBox (U.S./Canada); SBS (Australia); DR zoos’ rich 100-year history and explores date and features a prestigious Polish cast. (Denmark); Movistar Plus (Spain); and TV4 how it has dealt with crises in the past. — N.R. (Sweden). — Manori Ravindran — N.R.

10 VARIETY MIPCOM 2020

“There couldn’t be a timelier film ahead of the U.S. election than critically-acclaimed filmmaker Deeyah Khan’s ‘Trump’s America.’”

Manori Ravindran

NEHAMA Feal and all the first responders have done so much for me, for the community, for the (ABOUT PREMIUM CONTENT) city, for the country. To be able to repay some of that debt that I feel I owe them person- Ten-part Israeli comedy drama “Nehama,” ally, that we all owe them, is the best feeling,” written by Reshef Levi (“The Arbitrator”) and Stewart says. — N.R. Tomer Shani (“VIP”), who also directed, hits close to home for its creative team. Inspired TRUMP’S AMERICA by Levi’s own experiences, the Hebrew-language show follows protagonist Guy (ITV STUDIOS) Nehama, who has a great life: a wonderful wife, five beautiful children, a big house in There couldn’t be a timelier film ahead of the Tel Aviv and a well-paid job in a high-tech U.S. election than critically acclaimed film- company. Everything would be perfect if he maker Deeyah Khan’s “Trump’s America,” didn’t dwell on his old dream of becoming which encompasses two hour-long films: a famous stand-up artist, and blaming his “America’s War on Abortion” and “Muslims in family for giving up too soon. Old resent- Trump’s America.” ments and most everything else in Neha- Both films are centered on two movements ma’s life, however, are thrown into question that have been pulled into the mainstream by when his wife brutally dies in a car accident. the U.S. president, who has used these issues “Nehama’s” cast includes Levi, Shalom to polarize the American public. Two-time Michaelshwilli, Liron Vaisman, Gala Kogan, Emmy winner Khan (“Jihad: A Story of the Oth- Yuval Segal and Gila Almagor. Levi won the ers,” “Banaz: A Love Story”) filmed before and performance award at Canneseries 2019 during the COVID-19 crisis and has been edit- and “Nehama” also picked up the comedy ing the films until very recently, allowing her series trophy at the Israel Television Acad- to include reactions to watershed moments in emy Awards the same year. the abortion fight, such as the death of iconic The drama is produced by 24 Drafts Stu- Supreme Court Justice Ruth Bader Ginsburg. dio and Yoav Gross Prods. for Israeli cable In “America’s War on Abortion” (w/t), Khan television provider HOT. About Premium unpacks the erosion of reproductive rights Content (APC) holds international rights in the U.S. and features accounts from the and format rights for the series, which has activists fighting to protect women’s right to already been picked up by Canal Plus for choose, and those who are doing everything France and Topic for the U.S. in their power to stop them. Meanwhile, “Mus- — N.R. lims in Trump’s America” exposes the extreme anti-Muslim ideology normalized by Trump, and those who have been on the receiving NO RESPONDERS LEFT BEHIND end of the violence it has sparked. Distributed by ITV Studios, the films will air (BLUE ANT INTL.) later this year on U.K. broadcaster ITV, as part M.R. This feature documentary shot over five of its hard-hitting “Exposure” strand. — years follows 9/11 responder and activist John Feal who, along with FDNY hero Ray Pfeifer, fought Congress to ensure that thou- sands with life-threatening and financially devastating illnesses got the health care they deserved. But when Pfeifer himself is diagnosed with brain cancer from his exposure to Ground Zero toxins, Feal finds himself in the fight of his life to guarantee that the legacy of all 9/11 responders is kept alive. The documentary arrives ahead of the tragedy’s 20th anniversary and finds an unusual champion in comedian-turned-activist Jon Stewart. Particularly powerful are the congres- sional hearing sequences in which Stewart harangues a nearly empty bench, with a full house of responders behind him, arguing that they did their jobs and, after 19 years, it was time that Congress did theirs. “John

VARIETY 11 MIPCOM 2020 VARIETY VANGUARD AWARD

CONQUER STREAMING, CHANGE THE WORLD Ted Sarandos was promoted to co-CEO of Netflix after overseeing its content operations since 2000.

TED SARANDOS is not much for change, TED SARANDOS’ personally. It’s a funny thing to say about the recently minted co-CEO of Netflix, one of the entertainment world’s biggest STREAMING SUCCESS disruptors, but as he points out, he’s had only “two cars and one job over the past 20 years.” STEMS FROM “I am one of those folks who ends up doing things a long time, so I’m not one of these people who flips things easy,” he LOOKING AHEAD says with a laugh. His previous car, which lasted 11 years, was an Acura MDX; he drove NETFLIX’S CO-CEO IS FOLLOWING HIS PROMOTION IN around a Ford Explorer for a decade JULY WITH A SPECIAL HONOR CELEBRATING HIS IMPACT before that. The job, of course, is at Net- flix — the streaming giant that has shaken ON INTERNATIONAL TELEVISION By Elaine Low up how Hollywood does business and

how the world consumes entertainment. LATOUR/VARIETY ROB

12 VARIETY Untitled-7 1 10/2/20 11:33 AM think about whether hemightsome think about in 2000asaDVD buyer, hedidn’t quite tence, Sarandossays, “That’s how about I itsexis-sity tooccasionally remember by-mail business andthepublic’s propen the next generation of consumers.” buster, butwe were really competing for uscompetingabout directlywithBlock had aDVD ontheirshelves. talk Sopeople “Idon’tmail, believe even Blockbuster four years that Netflix offered DVD by legacy business. dent tohave ina acompany mired too underscore that itisnotpru theidea shift fromDVDs Both tostreaming. ferent fromhishandlingof Netflix’s employment isinmany ways notsodif VHS toDVD at hisformer place of toreact.”“uniquely inaposition including Blockbuster, putting Sarandos plicated thingsfor national competitors withstudios comrevenue-share deals a“no-brainer,”been hesays, buttheVHS toDVDsshift fromVHStapes should’ve shake thingsup:DVDs. Anindustrywide a different camealongto technology Coast Video, when Sarandosremembers executive at videorentalchainWest of entertainment. businesscant contribution totheglobal whohavethe industry madeasignifi anhonorthat hailsthoseinMipcom, receive ness, to selected Sarandoshasbeen service. with thestreaming —haveObama inked multiyear deals President andfirst ladyMichelle Obama phy —andmorerecently, former U.S. “American Ryan HorrorStory’s” Mur “Grey’s Anatomy’s” ShondaRhimesand worldwide). suchas Respected creators side (193milliontotalsubscribers state60 millionpaying subscribers American marketplace, withmorethan platformdominant streaming inthe that itwould.” [in],butIwas confidenthappen super would take orthetimeframeitwas going I wasn’t sureexactly whatthat shape an enormousdifference intheworld. Reed andNetflix were going tomake hesays.decision?’” “Itfelt tomelike Like, ‘What’s the20-year horizon onthis thought aboutthingsinthoseterms. co-founder Reed Hastings. theplaceday alongside winduprunning 14 MIPCOM 2020 Even so, Netflix whenSarandosjoined (Of thecurrentstate of Netflix’s DVD- inthe firstSarandos notesthat when, Swiftly tacklingthemigration from daysDuring hispre-Netflix asan And so, for onthebusi hisimpact Netflix now holdsthethroneas Idon’t back, Ilook thinkIever“When Variety VREY VARIETY ’s Vanguard Award at VARIETY VANGUARD AWARD ------has helpedNetflixgrowto193millionsubscribersin190countries. Sarandos (secondfromleftwithCourtneyB.Vance,JasonBatemanandIdrisElba) BIG BRANDBOSS with local-language originalsmadeto burrow intonon-U.S. deeper markets thecompanyinal content, isseekingto of arobusthas developed orig pipeline “Orange IstheNew Black.” Now that it slate that “Houseof Cards” included and gramming scene in2013withaninitial organization that way.” pens,” headds. “You just can’t scalethe your that hap fingerprint oneverything sense of yourself that you have tohave [whopick]what onNetflix.” goes people whopickthe whopickthepeople people onNetflixthat tobe pickingthe used went frompickingalltheprogramming ing decision-making,” hesays. “Myrole carefulaboutnotbottleneck very to be visionthat weglobal that you had, have if we were realize going this toreally movies andseriestolife. power heoffers hisexecutives tobring Heoftenof toutsthevast old. greenlight the studio andnetwork power structures style isalittle morerock-and-roll than content-creating studio untoitself. decade,the past allthewhilebecoming a overlish asolidfootprint intheindustry thinkingandestab legacy Hollywood Netflix tosubvert hashelped approach think about ittoo. It’s just still there.”) That fast-moving, Silicon Valley-style Netflix burst onto the originalpro The key isnothaving “some false thingIknewrightaway“The was To Sarandos’management that end, - - - - - talents is steadfast. Taketalents issteadfast. former CBS way we could dowhat we’ve done.” ative executives. But Ithinkit’s theonly that would untenable be for somecre step.essary side subscribers. Inhisview, it’s anec- flix that heseesfor thefirst timealong- online, butnow thereareshows onNet cutbeforeand watch itwent every script draft of every would every read and own them.” make decisionsandtake themseriously whowill team, to have trusted areally and theonlyway you could dothat is functions at thescalethat we’re doing, one’s ever donemost of really these Becauseno someone elsehasdoneit?’ is nottosay, ‘Well, how dowe doitlike way we“The thinkaboutthosethings slate of animated series,” says Sarandos. ever done, healthy ontopof thevery tures ayear, whichnomajorstudio has sixanimatedfea releasing tobe path one who’s doingittoday —we’re ona not just asbigsome tostep upandbe inrapidfashion. happen way that hebelieves hecanmake that anddelegatingNetflix, work istheonly at onmakingbloom Sarandos isfocused attract theworld subscribers over. Sarandos’ faithinhisexecutives’ “I dothinkthat that’s just something Sarandos misses thedays whenhe “Our animation ambitionrightnow is thatAnimation isanothersucharea - - - -

STEWART COOK/VARIETY CONGRATULATIONS TED from Harley and all your friends at

1007 WV Neuman and Associates - Ted Sarandos.v3.indd 1 10/1/20 3:36 PM MIPCOM 2020 VARIETY VANGUARD AWARD

EYE ON EXPANSION Reed Hastings (far left) and Sarandos are now jointly running Netflix. An area of hopeful growth for the streamer is animated films, to follow success of series such as “Big Mouth” (below).

“No one’s ever really its goals. Netflix in early September two, five, 10 years?’ And the answer is announced the abrupt exit of Cindy Hol- not always ‘yes,’ meaning that the priori- done most of these land, Sarandos’ first hire in Los Ange- ties of the business shift.” functions at the scale les in 2002, back when Netflix’s South- That method has served the company that we’re doing.” ern California outpost consisted of the well, he says. Ted Sarandos two of them in a small shared office in “Sometimes it’s not always just, ‘Is Raleigh Studios. Holland is largely rec- this person the best person?’ It’s ‘Is this ognized for her key role in shaping the the best person for the next 10 years?’ streamer’s original programming slate And I think that’s a question we’ve prob- into what it is today. Sarandos said in a ably all asked about ourselves at any and Universal Television exec Bela statement that since becoming co-CEO, given point in our careers,” he explains. Bajaria, who in four years has rock- he had wanted to simplify the way the Netflix continues to move fast even eted from working in unscripted to lead- company’s content teams operate, with as the entertainment landscape around ing local-language originals to becoming one head of film and one head of TV. The it shifts into full streaming wars mode, Netflix’s head of global TV. After Bajaria new structure meant there was no role newly populated by Disney Plus, HBO was ousted as president at Universal TV left for Holland. Max, Apple TV Plus, Quibi and Peacock. in 2016, Sarandos quickly came knocking The move recalls the philosophy of Sarandos gamely finds it “refreshing” with a position in unscripted, a division Netflix co-founder Hastings, who ele- to see added competition in the game. with which she had little track record. vated Sarandos to co-CEO, and his well- With the U.S. streaming market ever “When he did it, I was struck by how known “Keeper Test.” It’s “super sim- nearing saturation, no doubt some of refreshing, how bold, how confident [it ple,” Hastings told Variety in September. his comfort with the playing field comes was]. Like, ‘Let’s just do it. I believe you “It’s, ‘Would you keep the person if they from the wide head start that Netflix has can do it,’” Bajaria told Variety in July. wanted to leave?’” had in acquiring customers and build- “It’s very inspiring in a way. And what it When asked how his leadership style ing production hubs internationally from does is it allows people to learn differ- compares to Hastings’ methods in light which to produce local-language content. ent things.” of the recent executive changes he’s “I’m excited about the future,” he Conversely, the company is known made, Sarandos has this to say: “The says. “I think it’s great that there’s more for shuffling and reshuffling its execu- thing that I always do is constantly think people doing what we’re doing, because I tive deck when it sees fit, cutting loose about the next two years, and, ‘Is this think it keeps us sharp.”

even longtime lieutenants to better serve organization most suited for the next And while he acknowledges the seri- BIG MOUTH: NETFLIX AHN YOUNG-JOON/AP; HASTINGS/SARANDOS:

16 VARIETY born with cinema

Proudly Congratulates

Ted Sarandos & 1HW½L[

Recipients of Variety Vanguard Award

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VARIETY_NETFLIX_def.indd 1 29/09/2020 10:09 Untitled-6 1 10/2/20 11:32 AM MIPCOM 2020 VARIETY VANGUARD AWARD

ousness with which Disney is treating LOCAL LANGUAGES, the endeavor — having “Mulan” bypass a theatrical release and sending it GLOBAL APPEAL straight to steaming is no small decision — Sarandos believes that at this stage, “everyone’s level of commitment still NETFLIX IS IN HOMES IN ALMOST 200 COUNTRIES, needs to be defined.” WHICH OFFERS CONSUMERS LOOKS AT COUNTLESS BY ELAINE LOW “There’s still a thing called Disney DIFFERENT CULTURES Plus, it’s not just all called Disney,” he says. “There’s still HBO Max [and] HBO. As soon as it’s one big HBO, you’ll know ANNA WINGER’S that they’re taking that really seriously. “Unortho- from Germany that [people similar: make sure the shows dox,” based on Deborah Feld- are] talking about, or that’s are relevant to the territory Everyone’s at a different life cycle with man’s 2012 memoir about a been nominated for eight they’re created for, first and a [different] level of commitment to the young woman leaving the Emmys this year?” he says. foremost. While the global next phase of delivery to consumers.” ultra-Orthodox Jewish com- (The limited series ulti- success of “Casa de Papel,” For now, when asked to reflect on the munity in New York to start mately won one Emmy, for otherwise known as “Money legacy he hopes to leave behind, the Net- life anew in Berlin, was not Maria Schrader’s directing.) Heist,” has been welcome, flix co-chief circles back to his passion intrinsically designed to be Sarandos believes that that Sarandos believes that it was for storytelling. an international darling. “flattening of the Earth,” so to critical for the series to first The mandate of Netflix’s speak, is still in its infancy. play well in its native Spain. “If I was able to create an environ- German television group, says Focusing on produc- Likewise, young adult soap ment where people can tell stories that co-CEO and chief content tions made in other coun- “Summertime” homed in on really matter to people, that they remem- officer Ted Sarandos, is sim- tries for local audiences has the strengths of modern Ital- ber and keep that alive and always put ply to “make great TV” for the been a major growth mar- ian storytelling. the creative first, I think that will be a subscription streaming ser- ket at Netflix in recent years Sarandos believes Net- great legacy,” he says. vice’s German audience. But as it looks to bolster its 193 flix has made U.S. audiences Sarandos points to prolific 98-year- one function of Netflix over million-strong subscriber more comfortable watching the years has been broaden- base. The company has set shows and movies with subti- old producer Norman Lear and “Satur- ing the American palate for its sights beyond the U.S. and tles, first through its licensed day Night Live” creator Lorne Michaels television and movies, offer- built out production hubs in foreign-language program- as iconic storytellers whose work has ing non-wU.S. programming Madrid and outside London, ming, and then through its shaped popular culture and the business from international creators and has even stopped using own original content. in profound ways. to acclaim from both casual the term “international orig- “I think if you’re feel- “The idea that they’re still around, viewers and critics alike. inals” in favor of “local-lan- ing a little adventurous and that they’re not faces on Mount Rush- “If you think about the his- guage originals” to better want to try something [new], tory of German television, reflect its global, less Ameri- you’re much more likely to do more — they’re people I have dinner with which is probably the most ca-centric stance as a studio it in the subscription model, sometimes — to me, that is mind bog- subsidized and also probably, and distributor. where if you don’t like it, you gling. And I hope that at some point in outside of the U.S., maybe Outside Germany, the just turn it off,” he says. “And I my life, that I could be that for somebody the biggest economic model mandate for Netflix’s other think we basically give people else coming up and wanting to dislodge for television in the world — local-language originals an adventurous experience something I created.” can you name another show teams across the globe is with content to try things.”

SUBSTANCE AND SUBTITLES “Unorthodox” was told in a mix of Yiddish and Hebrew but spoke well enough to an American audience to be nominated for eight Emmys.

“I think it’s great that there are more people doing what we’re doing, because it keeps us sharp.”

Ted Sarandos ANIKA MOLNAR/NETFLIX

18 VARIETY WITH LOVE AND RESPECT

1007 WV Haim Saban.indd 1 10/2/20 12:57 PM

VARIETY ICON AWARD MIPCOM 2020

BLAZING A TRAIL TO THE CROISETTE

WITH HER ICON AWARD, JUDITH LIGHT IS SET TO BE THE BELLE —

AND BOSS — OF CANNESERIES By Danielle Turchiano

IN FEBRUARY, Judith Light was in Los Angeles supporting her husband, Rob- ert Desiderio, at a launch event for his novel “The Occurrence: A Politi- cal Thriller” when she was stopped by a woman who wanted to share how much one of Light’s roles meant to her. “She came up to me and she said, ‘I am in a corporate job now because I watched you on “Who’s the Boss?” and I knew that women could work outside the home, and I’m teaching my daugh- ter the same thing,’” Light recalls. It has been almost three decades since “Who’s the Boss?” signed off. Light is starring in Netflix’s “The Politi- cian,” and will soon be seen on the big screen in Lin-Manuel Miranda’s feature adaptation of Jonathan Larson’s “Tick, Tick … Boom.” After lending her trans- formative acting talents to numerous boundary-breaking roles, she is receiving Variety’s third-ever Icon Award at Canneseries. But the power of the performance she delivered as Angela Bower, a single mother and intelli- gent executive running a business while a man tended to the domestic chores in her home, in the 1980s and 1990s sitcom shattered stereotypes and clearly resonated long after the series wrapped. (A sequel series is in development at Sony Pictures Television.) “I treasure the show, my time there and everyone involved, so of course they have my love and my support,” Light says of the reboot, though she is not currently involved. The show “was about the feminist movement and nobody really knew it at the time. It was on the cutting edge, it was expansive, it was revolutionary. What’s happening is that generations

VARIETY 21

“Creativity comes she admits people toldhernottodoshe admitspeople tray in“Lombardi,” MarieLombardi Broadway afterthreedecadestopor- tor ThomasKail about returningto 22 that therearenosmallroles. them operate theway that they do.” areandwhat makeshuman beings lifeous about andtheworld andwho ity comes curi- outof curiosity—being themaswell.curious about Creativ- for that watch thepeople them tobe thesecharactersandIlongous about I’m going curiousabout; I’m tobe curi- “I amalways for looking thethingthat ter away totheaudience,” sheexplains. the characterandgivingthat charac- prove of something—instead creating likeend uplooking you’re to trying you’re aversatile actor, you always have puttogether.” ofthe othercreative theteam parts for rolesinwhichshecan“relishwhat the rolesshetakes. shelooks Instead, todraweffort suchalinebetween all bindshercharactersisambition. truly Tick…Boom,”vens from“Tick, what Politician” agent Rosa andliterary Ste- Story,” Standishfrom“The Dede Sen. tion of GianniVersace: AmericanCrime Assassina- tor MarilynMiglinfrom“The add tothemixentrepreneurandinven- centered onmoth Light’s most pivotal have performances Games,”in “Manhunt:Deadly many of to thereal-life RichardJewell’s mother to ﬁndanewvoice in“Transparent,” matriarch ShellyPfefferman whohas to Ryland onthe“Dallas”reboot, ing tome.” oneof themisfascinat-Because every themnow?’ amIabout ‘Where saying, all of thosewomen that I’ve played and That’s why shealsorevels at in“looking alwaysdo it, timetoreflectonit.” needs acter that you do, for whatever timeyou lot of people.” But for her, “every char- characters “still live inthepresentfor a toit,”are speaking Lightsays. have by itandsothey impacted been are now catching upwithitandthey MIPCOM 2020 Judith Light out ofcuriosity.” When shefirst metwithdirec- Light isalsoabigbeliever intheidea “I thinkifyou’re toprove that trying For there isnotanassertive Light, From Judith thescene-stealing Light hasseenfirst-hand how the VREY VARIETY erhood.

VARIETY But whenyou ICONAWARD of Fame, amongotheraccolades. Walktions andastar on theHollywood to Live,” four Primetime Emmy nomina- time Emmys for herwork on “One Life twophilanthropy consecutive work, day- venson Tony Award for herextensive She alsoreceived the2019Isabelle Ste- Parties,” Assembled “The respectively. and 2013for “Other Cities”and Desert noms, that inwins, resulted in2012 She went ontotwo moreconsecutive ﬁrst Tony Award nomination in2011. “Lombardi,” her for whichsheearned of thedrivingforcepart of takingon from your head.” not they’re —because your trajectory are thechoices you make that change upgoingended for ninemonths. Those aone-off,”going tobe sherecalls. “It thoughtitwas “Everybody the project. of and thesizeit because of thepart Working withotherprolificproduc- Light’s connection withKail was politician inNetflix’s“ThePolicitian.” Judith Light(left,withBetteMidler)playsacareer SOPHISTICATED SENATOR completely satisfied,” Lightsays. get todowith my Iamutterly and work, me.’ inspired body Andifthat’s what I somethingfor me, modeled somebody executive Some- Iknewcould. because today? That an woman ‘Ibecame said, includes Light’s audience aswell. ence Iget.” doesn’t fromanexperi- Ichoose work. at —that thisinterms of my career’ says. “It’s notthat you go, ‘Letmetalk time: ‘Doyou get Light itinyour gut?’” that Igive toyoung actorsallof the Andthat’samazing people?’ theadvice itwork? Does DoIgetit? towork with Light’s morerecent careerdecisions. Tick …Boom” have someof alsoguided itician,” aswell asMirandaon“Tick, for “Assassination” both Pol- and“The ers anddirectorssuchasRyan Murphy “How doyou at Angela look Bower And of course, theexperience “At theendof theday Isay, ‘DoIget

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Untitled-3 1 10/8/20 1:18 AM MIPCOM 2020 VARIETY CREATIVE CHANGE AWARD

“What I do has always been at the forefront of pushing Black women and people of color forward. I’ve been doing that for years, and I think everyone’s catching up — not to me, but overall,” Thede says. “The good thing is, I don’t have to force anyone because they are in desperate need and they know that this is an [important] change.” QUISIN NIENT E NUM EUM, TEM. T UT EAQUIS ANT, TEM Thede notes that she focused so heavily on late night because she hap- NUM EUM, TEM ASPID QUAM, QUIATUSCI VOLUPTAT pens to know most of those showrun- By XXXXXXX XXXXXXXX ners personally. But, she has not stopped there. “Grace and Frankie” showrunner Marta Kauffman previously told Vari- ety that her company Okay Goodnight has been “broadening our pipeline for those that are historically underrepre- sented and marginalized through new hiring approaches, including reaching out to women writers of color” who were referred to them by Thede. For Thede, it’s all about giving those coming up behind her “the opportunities that those in front of me helped me get.” To further aid with this, she is also “aggressively mentoring.” “I have, like, 25 mentees — and that’s just the people I directly speak to on a regular basis,” she says. “I also take a lot of writers under my wing and they know they can contact me for anything. Once these people become producers and showrunners of their own shows, they’ll hire me, and it becomes full circle.” As creator, writer, executive producer and actor on “A Black Lady Sketch Show,” Thede is most interested in “relatable ROBIN THEDE sketches that make people feel seen.” The series centers on Black female voices both behind-the-scenes (Issa Rae is TRANSFORMS THE another executive producer, for example; Amber Ruffin is a writer, and Dime Davis is a co-executive producer and director) ENTERTAINMENT BIZ and on-screen, with a core cast consisting of Thede, Quinta Brunson, Ashley Nicole VARIETY BESTOWS HONOR ON THE MULTI-HYPHENATE Black and Gabrielle Dennis. It picked up WHO HAS BEEN HELPING HIRE BLACK WRITERS a coveted variety sketch series Emmy nom and a variety/sketch TCA Award win By Danielle Turchiano for its first season. With “A Black Lady Sketch Show,” MULTI-THREAT ROBIN THEDE isn’t just a due to the racial reckoning the country Thede feels she has “a unique opportunity writer, producer, reality show host and and the industry is experiencing. to continue to broaden people’s opinion actor, she is also a one-woman employ- “This year, specifically, I called a bunch [and] expectations of what Black women ment agency. of the late-night showrunners that I knew in comedy can do, and that’s all we want. Over the past year, as many across the didn’t have any Black writers and I had We want to tell weird and strange and film and television industry have claimed really, really open and honest conversa- hyper-normal stories — just things we they want to do better with inclusion of tions with them about the need to hire haven’t been able to be in charge of in this women and BIPOC in front of and behind Black people on their staff,” Thede says. way before.” the camera, Thede has found herself hav- That is why, in addition to her ground- And she looks forward to doing more of ing many “really specific” and frank con- breaking work on HBO’s “A Black Lady that through her new overall deal: “I get to versations about how to do so. Sketch Show” and new overall deal with employ lots more people and create even Although this is not something Thede Warner Bros. Television Group, Thede more things that I’m passionate about. only started doing this year, the demand will be honored with Variety’s Creative There’s a certain level of creative freedom

for her attention has increased, partially Change Award, presented at Mipcom. that I haven’t had before.” SOPHY HOLLAND

24 VARIETY MIPCOM 2020

FUGITIVE’S FACTUAL TALKERS

REZA ASLAN AND MARIA BAMFORD DIVE INTO DEEP CONVERSATIONS WITH CREATIVES ON THE TOUGH TOPICS OF WRITING AND MENTAL HEALTH, RESPECTIVELY

By DANIELLE TURCHIANO

THE BREVITY OF TIKTOK may be enticing matic talk show, it is not only crucial that Aslan calls his show a “conversa- to Gen Z, which finds new talent to follow they know their subject matter well, but tion,” rather than an “interview show” for quick, colorful comedy or short dance also that they have a personality that the because he admits he does “not hesi- segments — but Fugitive is betting big on guest can relate to, so they want to open up, tate to bring myself, my opinions, celebrity-driven longer-form talkers. bounce ideas and share their experiences.” my experiences and my lessons into” Two key titles coming to Mipcom from Aslan is a writer himself (he has each episode. While at times this may the London-based distributor are “Rough published four books), while Bamford see him at odds with a guest, “to me, Draft With Reza Aslan” and “What’s Your has been very open about her own bipo- that is what makes the show a suc- Ailment?! With Maria Bamford.” Both shows lar disorder diagnosis in her standup cess,” he says. first launched on streamer Topic in late and as an inspiration for her Netflix com- “Talk shows fail or succeed based 2019 and are now going to market globally. edy “Lady Dynamite.” Having this innate not on whether the audience likes Aslan’s series is an eight-episode hour- understanding of their discussion topics the guests, but on whether they con- long in which he sits down for deep dives in less-capable hosts’ hands could make nect with the host. After all, they see into the creative process with novelists the series inaccessible to those who don’t the guest once; they see the host every (Viet Tranh Nguyen), television showrun- have firsthand knowledge episode,” he continues. ners (Steven Canals, Melissa Rosenberg) or experience of them. But both hosts bal- Similarly, Bamford says she hopes and musicians (El Ten Eleven, Vic Mensa). ance how much of themselves they put in “sharing my own vulnerabilities would Bamford’s series is 10 approximately the show with diverse points of view from help” her guests feel comfortable to 40-minute episodes digging into mental their guests. This works speak openly, honestly and in more health discussions with fellow comedians to educate and also empower their respec- detail about their mental health expe- including Tig Notaro, Rachel Bloom and tive audiences. riences — from anxiety and depression Tom Arnold. “Rough Draft’s” overview is to teach to OCD — than they ever have before. “The key thing is having the right celeb- “lessons about the craft of writing,” notes “I hope I put my whole self into it, rity — one that is credible and relevant for Aslan. He specifically wanted to speak or at least 20%,” she says. “I only the subject matter — so that their involve- to professionals who work in different want people to talk about things ment can really elevate and authenticate the mediums, including many who “have had they’re comfortable with [and] I want program,” says Anthony Kimble, founder, to work harder and climb higher to get to meet people with where they’re at

BEYOND THE BOX (2) THE BOX BEYOND Fugitive. “For a celebrity to anchor a the- where they are.” on any subject matter.”

CONVERSATION STARTERS From left: Reza Aslan with Vic Mensa in “Rough Draft,” and Tom Arnold and Maria Bamford in “What’s Your Ailment?!”

VARIETY 25 MIPCOM 2020

More than 12 million Africans were UNPACKING THE sold into slavery, and at least 10% died en route. Why hasn’t this angle been taken in any meaningful BUSINESS OF SLAVERY way previously? Jackson: I don’t know that anybody’s followed the money in that particular way. But this was a business, so let’s FREMANTLE’S ‘ENSLAVED’ DIVES DEEP INTO AFRICAN ROOTS follow the business of it all. There were By MANORI RAVINDRAN famous court cases around the sunken ships, where the people who commissioned the ships were trying to sue the insurance companies to get paid for SAMUEL L. JACKSON’S docuseries “Enslaved” was well under way before this the cargo. Those cases allowed us to year’s global “Black Lives Matter” movement resurgence, but he admits the have another entry point to find out what was going on during that time. project has taken on an urgency for which he wasn’t quite prepared. “It was serendipitous that it came out at this particular time. That was not With the backdrop of the Black Lives Matter movement, are audiences a plan,” says Jackson. more receptive to this type of story? Jackson: I’m not really sure. We’re so The “Avengers” star has narrated documentaries, from Ken Burns’ “The polarized in a way that, yes, some War” to Disney Nature’s “African Cats,” but hadn’t participated creatively people are loving the fact that they’re seeing this whole different explana- until “Enslaved,” which he executive produced with his wife, actor LaTanya tion of human trafficking that they Richardson Jackson. haven’t seen. [But] there are a lot of people who say they’ve seen enough The six-part docuseries, which premiered Sept. 14 on cabler Epix and is of this, and they’re sick of it. Richardson Jackson: distributed globally by Fremantle, examines 400 years of the slave trade from I [personally] think it’s timely. People were look- Africa to the New World and takes the actor back to his ancestral roots in ing for answers and “Enslaved” pro- Gabon in West Africa. Elsewhere, a dynamic group of divers hunt for sunken vides a picture of forced migration into America. slave ships, while British author Afua Hirsch and Israeli-Canadian journalist Do you feel compelled to put your Simcha Jacobovici provide historical analysis of the transatlantic slave trade. weight behind more projects like this, which try to provide answers? Jackson: I always hope I find things that are interesting to me, and which HARD HISTORY will be interesting to other people Samuel L. Jackson (left) narrates — not just in the kinds of films that and executive produces “Enslaved,” I make, because those are just fun coming to market from Fremantle. to me generally — but when we find projects like this to put our weight behind, we do the best we can to step into a space with people who are credible, and where what we say will resonate in a way that makes everyone feel good about being on that side of history.

What else can we expect from your production slate under UppiTV? Richardson Jackson: We have so many books. Jackson: And we’ve got to find writers for these books. I have a Wal- ter Mosley book that I’ve been trying to do for a while, and it looks like it’s about to get done.

How are you managing COVID-19 and the impact on production? Are you taking on any work? Richardson Jackson: I’ve had to forego several jobs because I’m too afraid to go. Jackson: I keep turning stuff down because I’m like, “No, I don’t want to come to that city because it’s a hotspot.” The COVID protocols all sound so strange, and when people talk about them, it’s like, “That doesn’t sound safe.” And we’re both in that

age group where people get it. FREMANTLE

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Untitled-2 1 10/7/20 1:47 AM FOCUS

GLOBAL REACH Luca Guadagnino’s “We Are Who We Are” marks the auteur’s successful move into prestige TV.

BIG AMBITIONS ITALY LEADS A CONTINGENT OF GLOBAL PLAYERS KEEN TO SHOP THEIR PRESIGE SERIES AT VIRTUAL MIPCOM YANNIS DRAKOULIDIS/HBO MAX DRAKOULIDIS/HBO YANNIS

VARIETY 29 FOCUS ITALIAN TV

ring Aidan Turner (“Poldark”) as the Renaissance genius, which was co-produced by Sony Pictures Television with pan-European initiative The Alli- ance, which was established last year by prominent European pubcasters RAI, France Télévisions and Germany’s ZDF. The ambitious show created by Frank Spotnitz was one of the first large-scale productions to resume production after the coronavirus crisis. Unfortunately, Italy’s RAI, which was instrumental to getting “Leonardo” made and until recently had been a key Italian industry driver, is now hamstrung by a bureaucratic impasse following the departure in June of former RAI Fiction chief Eleonora Andreatta, who is now with Netflix and has not been replaced. It’s also unclear whether RAI Fiction will maintain the same level of production investment, roughly 200 million euros ($232 million a year), going forward. “RAI is becoming less competitive and there is a risk they will be marginalized,” says producer Rosario Rinaldo, whose Cross Prods. just started production on season three of its widely exported anti-Mafia drama “The Hunter” with RAI on board even though the contract is not formally signed. The big problem posed by a possibly PROJECTS BACK weakened RAI, says Rinaldo, is that Ital- ian TV producers “risk having to turn to the platforms as our main resources,” ON TRACK and the streaming giants fully finance projects, but “don’t allow producers to AMBITIOUS ITALIAN TV SHOWS READY hold on to enough rights,” he notes. That issue is currently the subject of TO BOW ON INTERNATIONAL MARKET negotiations between Italy’s TV produc- By NICK VIVARELLI ers association APA and Netflix, Amazon and Disney Plus. Meanwhile, Netflix is stepping up PRODUCTION OF TV DRAMAS is back on “Domina” had shut down production production of Italian originals. The track in Italy after a pandemic-prompted in early March but resumed in July and streamer’s new projects in Italy include pause just as several hot new Italian recently wrapped. This lavish period “Zero,” which will mark the first Italian shows, such as Luca Guadagnino’s “We piece co-produced by Sky Studios with series centered around the present- Are Who We Are,” are hitting interna- the U.K.’s Fifty Fathoms is expected to day lives of Black Italian youths, and tional screens and markets. premiere next year. is currently shooting; “Fedelta,” an Pay-TV platform Sky Italia, which part- Meanwhile, Sky greenlit a second sea- adaptation into series of a bestseller nered with HBO on Guadagnino’s “We son of financial thriller “Devils,” toplin- by Italian author Marco Missiroli; and Are Who We Are,” has a slew of shows ing Patrick Dempsey and produced by a series based on “My Brilliant Friend” in various stages, including two very Lux Vide. The show launched at Mipcom author Elena Ferrante’s latest novel different ancient Rome skeins. One is last year and premiered Oct. 7 on the CW “The Lying Life of Adults.” “Romulus,” the mythical tale of the city’s Network in the U.S. Amazon, which in April hired young founding by twins Romulus and Remus “We are growing our investments in producer Davide Nardini — previously — which was shot in archaic Latin — that originals,” says Sky Italia’s executive vice with Palomar — as its Italian scripted will air in Italy in November; ITV Studios president of programming Nicola Macca- content chief, is moving into originals is selling it internationally. nico, who notes that Sky’s goal is to pro- with a largely local slate. The title most POWER OF YOUTH The ancient Rome-set series is duce 12 Italian original shows per year, likely to appeal to its subscribers outside Luca Guadagnino’s “Domina,” looking at Roman history “at least three of which are high-concept “We Are Who We Are,” Italy is “Bang Bang Baby,” a Milan-set from a female prism. Drama stars Kasia shows conceived for the international starring Jordan mob drama produced by The Apartment Smutniak (“Devils”) as Livia Drusilla, market from the outset.” Kristine Seamón and Wildside, the Fremantle-owned (left) and Jack the wife of Emperor Augustus, played by In August Lux Vide wrapped shoot- Dylan Grazer, has shingles behind “The New Pope” and

Liam Cunningham (“Game of Thrones”). ing on its lavish “Leonardo” skein, star- been a hit for HBO. “My Brilliant Friend.” HBO MAX

30 VARIETY SOUTH KOREA FOCUS

That’s because Korean TV shows are more sought after now that global streaming giant Netflix is the worldwide distributor for 70 Korean shows, and Mipcom has named South Korea its country of honor at the virtual edition. “Korean content is rewriting history in various sectors such as drama, K-Pop and movies. Now, it is time for Korea to join hands with the world and create a cooperation model,” says Korea Communications Commission chairman, Han Sang-hyuk. Talk sessions to be held on Mipcom’s first Monday cover what’s behind the country’s mega hits; distribution and platform strategy; co-producing with South Korea; and the freshest content. The market includes 45 Korean companies with exhibition stands, making it the largest delegation there. They range from public broadcasters MBC, KBS and SBS, to private-sector production pow- erhouses Studio Dragon and JTBC, and a large contingent of animation firms (Xin, KOREAN WAVE SAMG, Mofac, Iconix). “Crash Landing on You” is one of the Korean One company that will not be there hits on Netflix. as a seller is Netflix, which is having a profound impact on the Korean scene. When it launched in South Korea in 2016, streaming and SVOD took a back STORY POWERHOUSE seat to IPTV and cable, and its early role was as an importer of Ameri- can shows and buyer of international HITS THE CROISETTE rights to Korean shows, where the lead commissioning company was usually a Korean broadcaster. COUNTRY OF HONOR SOUTH KOREA BULKS UP WITH MORE However, Netflix has co-invested and COMPANIES AND SERIES FOR SALE AT CANNES increasingly leads the commission- By PATRICK FRATER ing of other new shows. This has given the company global rights and obliged Korean audiences to turn to the plat- WHETHER IT IS THEIR “wholesome sex- form to get their K-drama fix. Nota- iness,” their clever original concepts or ble successes in this vein were school- top-notch production values and scripts, set crime thriller “Extracurricular” and Korean TV shows are generating a lot of period zombie series “Kingdom.” Of the talk — among audiences in Asia espe- 70 Korean shows labeled as “originals,” cially, where in many cases Korean show 17 are now wholly Netflix properties. rate highest after local content. With the ability to exploit the shows There are also significant pockets of globally within its own ecosystem, the fans in North and South America, and the company has no need to sell off rights. Top Korean Middle East, that drive the social media But it is arguably still playing an import- Content for Sale numbers of stars such as Lee Min-ho ant part in the export of Korean culture. (“City Hunter”), Kim Soo-hyun (“My Some of its Korean shows have been “I Can See Your Voice” Love From the Star”) and Song Hye-kyo sub-titled and dubbed in 30 languages. Mystery music game show format (“Descendants of the Sun”). “We want to expand the global Distribution: CJ ENM More professionally, there was plenty stage where Korean content, with its “When I Was the of discussion about South Korean con- great storytellers and creators, can be Most Beautiful” tent and business matters at the recent exported, and bring it to audiences in Drama about a woman caught APOS media conference (virtual this 190 countries,” says Juliet Dongwha between two brothers year of course), even more at Septem- Kim, Netflix’s Korean head of partner- Distribution: MBC ber’s Seoul-based BCWW content mar- ships. “Ultimately, we hope to contrib- “More Than Friends” ket. There will be still more at Mipcom ute to Korea’s creative ecosystem as a Fantasy comedy series about old flames and new lovers Plus, the online version of the annual true friend. Not as competition. But to

NETFLIX Distribution: JTBC South of France rights market. make it more globally competitive.”

VARIETY 31 FOCUS TAIWANESE TV

TAIWAN TURNS ing co-production and talent training programs with several European partners,” Hu tells Variety. UP THE VOLUME TAICCA is an independent agency set up by the Ministry of Culture and the cabinet (Executive Yuan) last year NETFLIX AND HBO LEAD THE WAY FOR MORE AMBITIOUS and it has been actively promoting the PRODUCTIONS AS CONTENT CREATORS LOOK FOR MORE self-governed island’s cultural and cre-

PARTNERS By VIVIENNE CHOW ative content globally. Most recently, the agency played a key part in pushing Taiwan’s virtual reality produc- TAIWAN IS MAKING AN AMBITIOUS move ute mini-episodes; “Fluffy Love,” a tions at the Venice Film Festival. It at this year’s Mipcom to further its status comedy series with eight 15-minute was also responsible for championing as a hub for Chinese-language produc- mini-episodes; the crime suspenser Taiwan’s series productions at Hong tions and strengthen its presence on the “Kill for Love”; “Fly the Jumper,” a Kong’s FilMart, which was postponed international stage with a virtual pavil- youth drama centering around a bas- from its usual March slot to August due ion presenting 30 local productions to ketball team; and horror series “76 to the ongoing COVID-19 pandemic. global buyers. Horror Bookstore — Tin of Fear.” Stu- A series of online exhibitions and Headlining the pavilion is “The Magi- dio76 previously told Variety that some virtual meetings have been planned for cian on the Skywalk,” from Taiwan’s of its productions could be presented the digital edition of Mipcom, which Public Television Service (PTS). Directed either as one full-length feature or runs Oct. 12-16, Hu says. She also by the Golden Horse award-winning could be edited to multi-episode series. assured industry players from abroad filmmaker Yang Ya-Che (“GF*BF,” “The The Taiwan pavilion at Mipcom will that Taiwan is a friendly place for cre- Bold, the Corrupt and the Beautiful”), the also play the role of cultivating inter- ative projects. series is a screen adaptation of the novel national co-production opportunities “Developing projects in Taiwan of the same name by renowned author with the West to bring Taiwan content means guaranteed creative freedom Wu Ming-yi with a budget of $650,000 to a wider audience, says Ching-Fang for producers, which [makes] Taiwan per episode, a record figure for a Taiwan- Hu, president of Taiwan Creative Con- the engine of the Chinese-language ese production. tent Agency (TAICCA), which stages the creative content industry,” says Hu, Taiwan-based Studio76 will put for- Mipcom pavilion for the first time. who is also an accomplished author ward a slate of five titles at Mipcom. They “We see international co-production and former head of Kwang Hwa Infor- include the romantic fantasy “Meow as a new way to approach the global mation and Culture Center, an agency Meow Boss,” comprising seven 15-min- market. At the moment, we are discuss- under the Ministry of Culture that pro- motes arts and culture in Hong Kong. Being the first in Asia to legalize same-sex marriage, Taiwan does not shy away from social taboos, Hu says, adding that cultural productions that empower minorities, such as series related to LBGTQ topics, often gained recognition from locally and abroad. Growing interests in Taiwan from international players, such as Net- flix and HBO, have helped to boost the island’s OTT market and local productions, Hu says. In just three years, Net- flix increased its Taiwan titles to more than 100, and HBO has already produced five original series on the island. The production budgets have also increased dramatically, says Hu. Prior to the domination of OTT, one episode cost about $65,000 to produce, she says. “But now the average budget has almost doubled, and some production houses are willing to spend around $300,000 per episode,” she notes. She says the record budget for “The Magician on the Skywalk” has raised the bar for Taiwan productions, not only boosting the market value of the island’s creative industry but is also THRILLS AND CHILLS a landmark series that opens up the

Studio76’s Mipcom slate includes genre series “76 Horror Bookstore,” as well as comedy and romantic fare. future of literary adaptation. STUDIO76

32 VARIETY SINGAPORE FOCUS

SINGAPORE GETS READY FOR THE REBOUND

GOVERNMENT PUTS MONEY INTO THE ENTERTAINMENT SECTOR AFTER COVID’S IMPACT

By PATRICK FRATER

SINGAPORE HAD A TOUGH TIME with the coronavirus outbreak, which means the entertainment industry was hit hard. It was one of the first countries outside CUTTING EDGE mainland China to confirm a COVID- Singapore was hit hard by COVID, despite steps taken to arrest the disease, and the government has put 19 case, recording its earliest case on programs into place to aid businesses. Jan. 23, 2020, the same day that Wuhan, China, was locked down. Rapid border control and quarantine measures quickly slowed the import of a market. The IMDA’s presence will be While times are tough the government large numbers of cases, and local trans- an umbrella stand, but by Sept. 25 the is to help companies cut their operating mission at first seemed containable. organization was still unable to confirm costs. Film exhibition and distribution But April shattered Singapore’s exem- which companies would be sheltering license fees were waived starting April 17, plary status, as the disease took root in under its canopy. both for new license applications and cramped dormitories that are home to Instead, and boding well for future renewal of existing licenses. Classifica- large numbers of migrant workers. Daily markets, the IMDA has busily rolled out tion fees for public exhibition and video case numbers leaped from low double dig- measures to ensure that companies sur- distribution of films, video games and its to over 1,000 per day and the coun- vive the storm. label fees are waived until further notice. try imposed stay-at-home orders, known Chief among these has been the $5.8 Perhaps the smartest initiative of all locally as a “circuit breaker.” million (S$8 million) Public Service Con- is the Capability Partnership Program For a period, tiny Singapore had more tent Fund. Administered by Mediacorp, (CPP), which gets large international cases than vastly larger Southeast Asian Singapore Press Holdings and streaming corporations to help Singapore’s small neighbors Indonesia and The Philippines, platform Viddsee, the scheme encourages to medium businesses. Having attracted and months later Prime Minister Lee Hsien the production of factual and educational the likes of Disney, Discovery and Net- Loong admitted to shortcomings and mis- content promoting Singapore identity, val- flix to set up their regional HQs in Sin- steps, and to “wisdom after the fact.” ues, and social-racial harmony. Grants gapore, the country is now encouraging Enforced through fines and technol- were worth $109,000 (S$150,000) per suc- skills transfer and multi-party produc- ogy — the country’s TraceTogether app was cessful application. tion, while also ramping up Made-in-Sin- released in March — the restrictions meant Another effort is both a relief mea- gapore content. normal daily life ground to a halt. Cine- sure, and part of the city-state’s much “ViacomCBS Networks Asia will mas were closed between March 26 and wider attempt to stimulate the digi- develop up to three regional entertain- July 13. tal economy through retraining. “Media ment or family content intellectual The entertainment production sector professionals make use of this slowdown properties in May 2020. WarnerMedia has scarcely begun to recover, even though to deepen their tradecraft by bringing Entertainment Networks APAC plans to the country officially started de-escalat- forward their training plans so that they commence development of up to three ing from June 15. That makes Singapore’s are in good stead for the upturn,” the regional original content IPs for HBO expected presence at Mipcom a thin- IMDA explains. The self-employed and Asia in June 2020,” it said in April. ner-than-normal affair. freelancers can apply for training grants It announced that “the CPP program The InfoComm Media Development worth up to 90% of course fees, capped is expected to benefit 80 to 100 local Authority is the only Singapore entity at $2,809 (S$3,000) per course under the media companies over the next

YONG TECK LIM/AP TECK YONG scheduled to take a virtual booth at the Talent Assistance Program. 12 months.”

VARIETY 33 FOCUS TURKISH TV

SHOOTING ON THE EDGE

TURKISH TV TACKLES SERIOUS SUBJECTS AS DEMAND FOR CONTENT GROWS AROUND THE WORLD

By NICK VIVARELLI

PRODUCTION OF TURKISH TV dramas has stopped Netflix from going forward with battery and rape. Thus “very different resumed at a steady pace undeterred by at least five other Turkish originals now from typical Turkish TV fare,” he notes. coronavirus concerns and, though the in various stages, including “Hot Skull,” As is another recent local hit, “A Mir- hand of censorship is being felt, shows which according to promotional mate- acle,” the Turkish adaptation of “The are getting edgier. rials is set “in a world shaken by an epi- Good Doctor,” the global hit about a While the pandemic forced production demic of madness that spreads through young surgeon with autism and savant to grind to a halt in March, by September language and speech.” It’s another sign syndrome. “A Miracle,” which aired almost all producers had started shooting that Turkish TV is no longer relegated to on Fox Turkey, is being sold by Madd again in Turkey, though “roughly 80% of the classic telenovela realm. Entertainment. them have run into some problems with Amazon Prime Video will soon be Due to the pandemic demand for COVID-19 on their teams,” says Ahmet entering the Turkish market and plans Turkish content around the world is Ziyalar, president and COO of sales and are under way for a new local streamer higher than ever and new opportunities production company Inter Medya. being launched by Turkish media are opening up for Turkish dramas in Inter Medya is close to wrapping the mogul Acun Ilicali. European primetime slots. shoot of “Respect” (“Saygi”) a series it is But the growth of streaming plat- Malmborg is proud that this sum- making for Turkish streaming platform forms does not mean Turkish dramas mer, Fox Turkey’s “Woman,” in which BluTV in which the protagonist, played by produced for linear broadcasters are a young widow with two children con- Nejat Işler (“Winter Sleep”), “is a socio- becoming any less important, both for tends with poverty and other obstacles, path obsessed with the idea of respect,” the home crowd and in terms of exports. became the first Turkish drama to air in according to the synopsis. “Audiences aren’t necessarily getting primetime in Spain, on Antena 3, where Ziyalar says increasingly Turkish dra- used to shorter episodes,” says Fredrik it scored stellar ratings. mas are being made for streamers, which af Malmborg, managing director of Similarly, Eccho’s Turkish drama means episodes are getting shorter — 50 Eccho Rights, which has a slew of Turk- “Sisterhood,” about three women who minutes, whereas for linear TV the local ish shows in production. EXTENDED UNIVERSE discover they are siblings, will play in norm is 90 minutes or more — and sto- Eccho is selling “The Red Room” Turkish drama primetime in Italy on Mediaset’s Canale rylines are snappier and edgier. (each episode runs 95 minutes), which “Sisterhood” (below 5 flagship station. And hit Turkish rom left) will play in Netflix, which dominates the Turk- launched to stellar ratings on terrestrial primetime in Italy, com “Daydreamer,” which is sold by ish OTT landscape, in July cancelled pro- channel TV8 in September. It’s centered while psychotherapist Global Agency, is already scoring stellar duction of its Turkish original “If Only” on a psychotherapist’s office in Istan- drama “The Red Room,” ratings on Mediaset. which probes women’s due to government censorship of a gay bul where women talk about traumas trauma,is a huge hit Global Agency recently picked up character in the script. But that has not caused by domestic violence such as in Turkey. world rights to hot serial killer skein “Aleph,” directed by Turkish auteur Emin Alper (“Frenzy”). It made a splash on pay-TV channel FX Turkey and streamer BluTV. So just as many other countries have halted productions due to the pandemic or put other, possible pricier, content acquisitions on hold, as advertising intakes shrink, Turkish dramas continue to draw greater numbers of eye- balls around the world. ECCHO RIGHTS (2) RIGHTS ECCHO

34 VARIETY MOVISTAR PLUS FOCUS

STUDIO POLISHES OVERSEAS TIES

MOVISTAR PLUS PRIMES ITS U.S. CONNECTION WITH ‘TELL ME WHO I AM’ By JOHN HOPEWELL and JAMIE LANG

MOVISTAR PLUS, the pay TV division spans 60 years, from heroine Amelia’s ducciones told Variety just before San of giant European telco Telefonica, in conservative upper-class Madrid youth Sebastian, where the nine-part series 2016 started producing and releasing in 1934 through Stalin’s 1938 Moscow had its world premiere. its own original series. In a second elite purges, to Mussolini’s Italy, the U.S. players have by far the deep- phase, it linked to prestige European decline of Nazi forces’ grip on Athens est pockets of any companies in the production partners, first with Arte and the fall of the Berlin Wall in 1989. business. By co-producing, companies France on “Hierro” and now, with “Tell It shot for eight months in more than ratchet down risk, says Guy Bisson, at Me Who I Am,” a woman’s emancipation 300 locations across Europe, employing Ampere Analysis. epic made with Telemundo Intl. Studios, more than 3,000 actors and extras and That said, money is not really the and Alejandro Amenábar’s upcoming choreographing action scenes on a level issue when co-producing “Tell Me Who “La Fortuna,” an adventure thriller rarely seen in Spanish TV. The dialogue I Am,” says Movistar Plus Sergio Oslé. made with AMC Studios, Movistar Plus is is in Spanish, French, Russian, Italian Movistar Plus parent Telefonica, after all, quickly building its U.S. connection. and Polish. posted revenues of €48.4 billion ($56.6 The Beta Film-sold “Tell Me Who I “The casting and production design billion) in 2019. Am” is one of the biggest series Movistar LAVISH on this series were two of the most More to the point, both the Telemundo Plus has ever made. It charts a woman’s Cost was not an complicated things we’ve ever done,” and AMC Studios co-production deals issue for Movistar battle for freedom from traditional in making “Tell producer José Manuel Lorenzo from guarantee distribution in the U.S. mar-

JULIO VERGNE/MOVISTAR PLUS JULIO VERGNE/MOVISTAR gender roles and totalitarianism. It Me Who I Am.” Banijay-owned, Madrid-based DLO Pro- ket via the U.S. partner, as the challenge

VARIETY 35 “We really need the seriespicked uponwell.” andsomethingthe success of thebook, likedream her. That’s for ahuge reason like Ameliathat women today can same title. Julia Navarro’s best-selling novel ofthe and directorEduard on Cortés, based ming Domingo Corral. ofstar originalprogram Plushead through “Tell MeWhoIAm,”says Movi- useful,”is really Oslénotes. tocontentmore commercial approach that have from people back intuitively a obviously commercial —getting feed thing that’s mass-reaching butnot selves, wherewe strive tohave some- intheU.S.companies andEurope. and commercial upsidefromjoining Oslé adds. concern relevant istobe true inSpain,” U.S. Thiswithinthecontext that our tohave inthepartners someimpact istar Plus. them intodirectcompetition withMov bringing andawindowdeal inSpain, platformsglobal willdemandaglobal ket isdifficultfor us,” Oslésays, since Bisson says. salestootherterritories,and benefit enues, canhave large marketing value ner retainsdistribution rightsandrev- gest economy intheworld. marketHispanic istheseventh-big- at 2019’s NATPE tradefair, theU.S. Plus-Telemundo was deal announced whentheMovistar out, tana pointed Who IAm” Marcos producer San- 36 distribution series. of itsbanner financing asthemuscularinternational Movistar Plusfaces isnotsomuch FOCUS to findstrong local partners tolocal partners Sergio Osle pact intheU.S.” have someim- Says Corral: “It’s thankstowomen The serieswas by Lorenzo created playsThat of type appeal out for like“Especially people our A second payoff may thecreative be “We tofindstrong local need really However, “entering theU.S. mar Clinching aU.S. even ifapart deal, As TISpresidentand“Tell Me MOVISTAR PLUS VREY VARIETY -

- - - -

- ‘RIOT POLICE’ UPSTHE ANTE READY FORACTION“ ratist protesters. sepa- withunarmedCatalan handed clashes policeforcestary ofviolent,heavy- inaseries 2018 ofheavily armedandarmored paramili- events, suchastheengagementinOctober female officer. Luengo), honest ahigh-achievingbutbrutally nal affairs investigation driven Laia(Vickyby in Madrid.Thetragicresults prompts aninter- communitygling anevictioninaSenagalese undermanned policeintervention unit,bun- fare.only inthenicheofart-film are abletoexperiment toapointnow seen spacethatdirectorshigh-end dramaseries Suchistheonusonoriginality intheseries: issweepingsea-change over high-enddrama last year. 2018’s “TheRealm,” whichswept seven Goyas San Sebastianscreenplay winner, andthen first solofeature, 2016’s “May GodSave Us,” a goyen broke outasafilmdirector withhis “Madre” director, andashort-lived TV Soro- the 2019 Academy Award-nominated short creation. intodramaseries Directoreastes of unending diasporaofrenowned Spanishcin- intheseeminglymarks entry justthelatest directed by Rodrigo Sorogoyen, “RiotPolice” Isabel Peña andEduardo Villanueva —and San Sebastián. oforiginalprogramming, head istar saidat “Riot Police” producer DomingoCorral,Mov- America with“partners caliber,” ofthehighest toFrance hasclosedsales series andLatin paper ElMundo—theMovistar Plusoriginal oftheyear,”Spanish series trumpetednews- tian inSpain. filmfestivals:biggest September’s SanSebas- world premiere atoneofEurope’s inatheater Plus’ “RiotPolice” (“Antidisturbios”) saw its IT IS FITTING INMANYWAYSIT ISFITTING TO DRAMA TV RODRIGO SOROGOYEN’S SERIESBRINGSABIG-SCREEN PUNCH The idea forThe idea “RiotPolice” true cameafter “Riot Police’s” issparked storyline by an Sorogoyen returns atatimewhen toTV Co-written —withregular writingpartner Feted by press thedomestic —“the best

Riot Police”hascompletedsalestoFranceandLatinAmerica. By JohnHopewell thatMovistar itself withtalent,” Corralsaid. andMovistar’steam strategyistosurround working together. They’re ahugelytalented “We’resecond season. want tocontinue areducer SofiaCaballo now working ona Sebastian thattheyand“RiotPolice” pro- San Sebastian. ters, nottheplot,” Sorogoyen insistedat beings. Theaxisof‘RiotPolice’ isitscharac- screenplay, human tounderstand istotry toillustratecharacter.tained, butitserves, Sorogoyendrama series, main- unravels. andbonhomieas theirtensionssurface between close-upsofindividualmembers sequence shot,thecameraswinging a policeunitreunion dinnerviaa15-minute goyen told people andthencruellydenying it,” Soro- why theywere helpless totally these beating in a less involvedin aless manner.” themselvesdistance from theaction, seeit atall.“Iwanted tophic lenses spectators episode six,Sorogoyen isn’t usinganamor- toputthroughas theytry theeviction.By of accompanying thepolice’s sixmembers fisheye whichgives lenses, viewers asense eviction shotwithhand-held,anamorphic press conference. “RiotPolice” the does, style,” Sorogoyen saidataSanSebastian can bringtodramaseries. mold-breaking experiments boldcineastes to tellthisstory.” with dichotomy inahumanbeingledus mutually exclusive. Sothatfascination hesays. “Thosethingsaren’tpartner?” parentand bethemostwonderful or Corral andSorogoyen signaledatSan “Our aim,intrinsically, whenwe writea israrelySuch technicalvirtuosity seenin “I saw policewhowere these unaware of In thefinalepisode,Sorogoyen shoots I’ve“The series seenvery rarely evolve in “Riot Police” alsopays tothe testament “How officersgohomelater canthese Variety before SanSebastian.

LIDIA MOSQUERA BECEIRO/MOVISTAR PLUS DQS_VANITYFAIR_ESCALERA_05_HORIZONTAL.indd 2 29/9/20 13:13 Untitled-2 1 10/5/20 11:03 AM FOCUS MOVIESTAR PLUS

TV AUTEUR “It’s an opportunity to showcase Albert and FEELS ‘ALIVE’ the creatives who worked on the series.” ALBERT ESPINOSA RETURNS TO THE GLOBAL STAGE WITH MOVISTAR-BACKED SERIES Christian Gockel

By JAMIE LANG recently sold by Beta to TF1 in France, where the updated “Grand Hôtel” proved a ratings hit. “Alive and Kicking” season one — a second has been commissioned and writ- SPANISH FORMATS are having a moment wouldn’t even arrive in Spain for another ten — is delivered in seven, 25-minute in Europe and further abroad, headlined five years. As streaming has changed episodes that gives the series a sense of by successes such as “Dangerous Moms,” audience viewing habits, original ver- urgency Espinosa likens to “24.” “Gran Hotel” and, perhaps most success- sions of TV shows and movies, regard- “Red Band Society” was based on ful of all, Albert Espinosa’s “The Red Band less of language, are traveling better than Espinosa’s own life experience, hospital- Society” — the format was sold globally, ever, making “Alive and Kicking” a doubly ized for his teenage years while battling including to the U.S. exciting property for Beta. cancer, “Alive and Kicking” comes from Espinosa, after a decade remaking his According to Beta’s Christian Gockel, his observations of the children on a highly autobiographical Catalan origi- “Our primary interest is to sell the Span- floor above him in the psychiatric ward. nal “Polseres vermelles” (“Red Band Soci- ish original version first. It’s extremely In the series, four teens, Mickey, Yeray, ety”), is back with “Alive and Kicking,” a well made, and we want to bring the Mov- Sam and Guada, are locked away on an new coming-of-age series that Beta Film istar brand to the forefront of the interna- island in a mental institution. Diagnosed is shopping at Mipcom. tional market, which is best done by sell- with attention deficit disorder, obsessive- Produced by Movistar Plus and ing the original. It’s also an opportunity ness, bipolar disorder, anxiety attacks and Dynamo Audiovisual — the Madrid-based to showcase Albert and the creatives who sociopathic tendencies, the group decide branch of Colombian indie powerhouse worked on the series. to plot a “One Flew Over the Cuckoo’s Dynamo, producers of Netflix’s “The “But naturally, there are further possi- Nest”-style breakout. Great Heist” and Colombia’s 2019 Oscar bilities with the format,” he adds. “Today, “There are currently 40,000 children submission “Monos” — “Alive and Kick- library formats still show tremendous in psychiatric hospitals in Spain. They ing” marks something of a sea change signs of life.” are full,” Espinosa says. “I know these for Spain’s most successful fiction for- Espinosa’s “Red Band Society” set the kids well, I met them when I was a kid in mat creator. bar, but there are other strong, recent hospital. I’ve also researched the subject A decade ago, when “Red Band Soci- examples that prove the theory. “Gran and for me, putting any kid in a psychiat- ety” was created and its format sold glob- Hotel,” a nine-year-old series produced ric hospital is almost a crime. The prob- ally, Netflix wasn’t a player in Europe and by Bambú Producciones in Spain, was lems aren’t with the kids, but with how society shuts them out.” Espinosa hopes to change the way kids like those in the series are viewed and referred to by major parts of society. The series Spanish title, “Los Espabila- dos,” doesn’t translate directly to English, and while “Alive and Kicking” has a bit of the same spirit, for Espinosa the word ALIVE AND KICKING “clever” comes closer. Albert Espinosa (below) “For me, an ‘espabilado’ is some- created “Los Espabilados” one who has an innate intelligence to get based on kids he knew in a psychiatric hospital. themselves out of trouble. Like a child that doesn’t have many resources but has a smart energy that drives them. I think this is a better way of referring to these kids than saying they have mental illnesses. They aren’t crazy or diseased.” That, according to Espinosa, is the heart of the “Alive and Kicking,” a series fueled by the underestimated decision-making power of children and which he describes it as the best he’s

ever made. (2) PLUS MOVISTAR

38 VARIETY DQS_VARIETY_ESTACION_05.indd 2 29/9/20 13:08 Untitled-3 1 10/5/20 11:04 AM Untitled-4 1 10/5/20 11:05 AM "THE SPANISH SERIES OF THE YEAR" LUÍS MARTÍNEZ EL MUNDO

"EVERYTHING IS TRUE, TENSE, HARSH AND EXCITING" CARLOS BOYERO EL PAÍS

"THE POLICEMEN'S INTERPRETATION IS DAZZLING" OTI RODRÍGUEZ MARCHANTE ABC

"ONE OF THIS YEAR'S SERIES AND PERHAPS ONE OF THE MOST IMPACTING IN RECENT TIMES" FERNANDO GARCÍA LA VANGUARDIA

"THE BEST SERIES OF THE YEAR AND ONE OF THE BEST EVER MADE IN SPAIN" JAVIER ZURRO EL ESPAÑOL

Untitled-4 2 10/5/20 11:05 AM FOCUS FRANCE TV

OPEN FOR BUSINESS Federation Entertainment’s “Red Light” competes in Canneseries (left); “The Crimson Rivers” (“Les Rivières Pourpres”) is the only non-French series that Mediawan Studio is working on during the pabdemic.

SHORT-TERM GAINS U.S., the U.K. and India, among other territories with travel restrictions. When it comes to the impact of the BOOST TELEVISION pandemic on broadcasters’ resources for commissioning new content, “the impact could be felt in 2021 because FRENCH SHINGLES STAY AT HOME FOR SHOOTS WHILE 2021 broadcasters’ obligations of investment MAY CHANGE PRODUCTION AND FINANCING LANDSCAPE in local content is calculated on their By Elsa Keslassy annual revenues,” says Christophe Vidal, deputy CEO at Natixis Coficiné. Breton predicts that “France Televi- WITH CAMERAS ROLLING AGAIN and com- a real bonus,” says Pascal Breton at Fed- sions will have the same budget as this missioners hungry for fresh content, some eration Entertainment, which has “Parti- year because the amount is safeguarded of France’s biggest TV companies such as san,” “Cheyenne and Lola” and “Red Light” by the French government, while TF1 Newen, Mediawan and Federation Enter- competing at Canneseries. might lower their investment by 5% or tainment have so far been spared from But when it comes to big international 10% in 2021.” major setbacks caused by the pandemic. shoots, “it’s getting complicated and it’s a But for now, the demand is surging Down the line, however, French play- bit of a handicap,” admits Breton. from all parts. “It’s a good time for Euro- ers might have to rely more on streamers Thomas Anargyros, the head of Medi- pean players because TV channels and and international sources of financing as awan Studio, says the company is focus- platforms are in demand for new pro- French broadcasters, which play a major ing on French productions during the grams — they already exploited their role in funding content, could reduce their health crisis. “Aside from one, ‘Les Riv- libraries as much as they could during investment in 2021 as they cope with the ières Pourpres’ all our shoots right now the lockdown and the delivery of some continued drop in advertising revenues are French series, because it’s very diffi- U.S. shows has been delayed so the during the health crisis. cult to film abroad, even in Europe, due opportunities are there,” says Rodolphe For now, at least, the massive restart of to the lack of an indemnity fund like in Buet, head of distribution at TF1-owned TV production in France has given indus- France,” says Anargyros, who also pre- Newen. He adds that the company has try executives some confidence in their sides the local TV producers guild. 17 productions filming. business prospects. For Anargyros, “independent produc- Going forward, streamers are bound When the lockdown ended in May, ers whose business revolves essentially to play an even bigger role in the invest- the French government set up a tempo- around international co-productions of ment of French content when the Euro- rary indemnity fund of €50 million ($58 drama and documentaries will see their pean Commission directive called SMA million) for canceled or postponed TV annual revenues on a steep decline in kicks off next year. Although nothing is and film shoots during the pandemic; 2020 because in many cases they won’t be official yet, streaming services will need the fund was then doubled to €100 mil- able to deliver all their programs on time to split significantly more rights, or lion ($117 million) by a pool of insurers by the end of the year.” retain them for a shorter duration, and and allows producers to be insured up to Sarah Hemar, the managing director share IP with independent producers in €1.8 million ($2.1 million) per film and of the promotion org TV French Intl., says France, as well as dedicate a big chunk 30% of their production budget. many companies are now anticipating a of their advertising revenues earned in “In France, we haven’t had too many dearth of new programs to sell because domestically on local content. damages on filming. When we have a of delivery issues and postponed shoots. “This pact with streaming services COVID issue on a shoot we’re able to deal She notes that banners that are the most will shape the TV landscape in France with it in a couple days and the fact that we at risk are the ones making international for the next five to 10 years,” Anargy-

have the indemnity fund to fall back on is documentaries that need to shoot in the ros says. ROBIN/MEDIAWAN NICOLAS CRIMSON RIVERS: ENTERTAINMENT; FEDERATION REDLIGHT:

42 VARIETY SPAIN FOCUS

“Express,” from “Locked Up” showrunner Iván Escobar, and Sony Pictures Tele- vision on Mexico City-set rapist drama “Implacables — Mexico.” In the past, Spanish broadcasters retained all rights to series. This has changed for good. “Our aim is to create content for a global market, retain IP, attract great talent, generate big franchises, and power up our international distribution,” says Mediapro Group president Jaume Roures. Buendía Estudios, a recently launched joint-venture between broadcaster Atres- media and Movistar Plus, looks to produce high-end series for third parties, principally global platforms. “Definitely, there’s a global international market where projects are larger,” says Buendía president Ignacio Corrales. “The Spanish industry, with highly qualified professionals, needs companies giving talent access to this market and which have enough solvency to remain in it over time.” SPANISH SERIES AIM Buendía’s standout productions include Amazon Original Series “La Tem- planza.” A second chance at love story, FOR GLOBALIZATION “La Templanza,” Corrales says, rep- resents “an excellent example of a period series made from Spain for the world PRODUCERS UP THE ANTE IN SCALE that puts our country’s period series at a AND STORYTELLING FOR EAGER BUYERS U.K. level.” Global streamers are ramping up local By EMILIANO DE PABLOS production efforts, capitalizing on His- panic content’s global appeal. Epic adven- SPANISH TV DRAMA PRODUCERS are Bride,” from ViacomCBS Intl. Studios and ture series “El Cid,” one of Amazon earli- thinking bigger than ever, scaling up in a Diagonal TV. est Spanish originals, produced by Zebra globalized SVOD market. The bigger scale is partly driven by cre- Producciones, bows worldwide this fall. They are also allying with powerful ators’ heightened ambitions. Launched last year, Beta Entertain- U.S. partners, responding to a global “There’s a revolution in production ment Spain, teaming Europe’s film-TV feeding-frenzy for Spanish-language ambitions,” says Laura Fernández Espeso, giant Beta Film and Spanish producer premium series. corporate director at Madrid-based Media- Javier Pérez de Silva, was conceived as Spanish TV dramas at Mipcom Online pro Studio, which produces out of 14 inter- a bridge into U.S. and Latin American Plus underscore this trend. national offices. TV markets. One, “Inés of My Soul,” marks the “Before, Spanish channels commis- “For us, a priority objective is to estab- first move into big-budget international sioned 70-minute series for the whole fam- lish production relationships there,” says co-production by public broadcaster ily. Now creators are moving with the mar- BES co-CEO Pérez de Silva. RTVE, teaming with Boomerang TV, ket, thinking on a larger scale, aiming to BES is joining forces with former Chile’s Turner-owned Chilevisión and leap into international markets,” she adds. Gaumont executive Vanessa Shapiro’s Amazon Prime Video Spain. “La Fortuna,” filmed on Spanish loca- L.A.-based outfit Nicely Entertainment Beta Film is presenting “Tell Me Who tions before traveling to the U.S., is sched- to produce thriller “The Tamer,” directed I Am,” based on Julia Navarro’s global uled to premiere next year on AMC in the by Spain’s Paco Torres and Mexico’s bestseller, co-produced with Telemundo U.S., Canada, U.K. and Latin America and Oscar-winning cinematographer Guill- Intl. Studios in partnership with DLO. Movistar in Spain. ermo Navarro (“Pan’s Labyrinth”). In ongoing productions, Movistar, “If you wanted to fulfill Alejandro The U.S.-Spain relationship is a Telefonica’s SVOD/pay TV arm, alongside Amenábar’s vision, you needed the two-way street: North American compa- AMC Studios and Fernando Bovaira’s scale, so an American partner [was nies now hit Spain looking for scripted BIG BET MOD Pictures, is producing “La Fortuna,” needed],” sayss Movistar Plus president projects, determined to fund talent Spanish epic series an adventure series created by Academy Sergio Oslé. “Tell Me Who I and development. Legendary Global Award winner Alejandro Amenábar. On high-end international titles, Medi- Am,” based on the struck a production alliance in April with Also, Spain’s Paco Cabezas (“Penny apro Studio’s most frequent produc- international Anxo Rodríguez’s Barcelona-based ESPot- best-seller, aims Dreadful: City of Angels”) is leading tion partners are U.S. companies, such as at global sales at light, targeting the global Spanish-speak-

JULIO VERGNE/MOVISTAR PLUS JULIO VERGNE/MOVISTAR creative development on “The Gipsy Starzplay and Pantaya on crime thriller Mipcom. ing market.

VARIETY 43 44 FOCUS TOP 15INTERNATIONAL DRAMAS AT MIPCOM anticipated international seriesdebutingatanticipated themarket. From Australia totheU.K., ofinternationalwealth dramaslaunchingat 2020Mipcom. DESPITE THECORONAVIRUS PRODUCTION HIATUS, FORWARD TO FORWARD LOOK TO TITLES “Embezzlement” isthelatestfromproducersof“Fauda”and“Shtisel.” MONEY TALKS Distributor: Broadcaster: the AIDS epidemicinthe1980s. in London againstthebackdrop of young gay menbeginning anewlife Russell T. Davies ofthree isthestory Years” and“Queer asFolk” creator dramafromThe latest “Years and Distributor: Broadcaster: them Annaandherbrother. 14s tofend for themselves –among wiped outadults,leaving theunder- ravaged anepidemichas Sicilyafter depictsathis post-apocalyptictale Ammaniti from hisacclaimed novel, Adapted anddirected by Niccolò Distributor: Broadcaster: prejudices health. aboutteenmental oo’s –aimingtobreak Nest” down by Me” and“One FlewOver theCuck- that’s billedasacross between “Stand tion, “Alive andKicking”isaYA drama apsychiatricteens escaping institu- A coming-of-age aboutfour tale BOYS ANNA ALIVE ANDKICKING

yTM DAMS By TIM (U.K.) (Italy) SCRIPTEDDRAMA BetaFilm VREY VARIETY All3Media Intl. Fremantle Channel4, HBOMax; Movistar Plus; Sky Italia; Sky Italia; (Spain) Variety Distributor: Broadcaster: Joanna Lumley co-star. of herhusband.NigelHavers and coming totermswiththedeath this blackcomedyaboutawoman Keeleyand star Hawes reteam for “The Durrells” writerSimonNye Distributor: Broadcaster: more than$100million. down embezzling abankafter of abank-teller whobrought crime thrillertellsthetruestory have won fans worldwide. This and “Shtisel,” Yes TV’s dramas With credits including“Fauda” Distributor: Broadcaster: find redemption. to theworld by to hisancestors warrior butissentback whodies, (“6 Days”) isaboutadishonored from writerGlennStandring This fantasy-adventure series FINDING ALICE EMBEZZLEMENT THE DEADLANDS rounds up15of themost StudioCanal. Yes Studios NENT Studio ITV; Yes TV; NVNZ, Shudder; (U.K.) (Israel) (New Zealand) there’s a

EMBEZZLEMENT: ABIR SULTAN/YE FURIA: TRYGVE INDRELID/KESHET; BAHNHOF ZOO: FREMANTLE Service navigateService emergencies and medics oftheRoyal Flying Doctor thecenter thisactiondramasees Based inAustralia’s butvast beautiful

Broadcaster: with plentyofskeletons inhiscloset. about aself-made populistpolitician ical thrillercreated by David Hare, inthistimelypolit- Hugh Lauriestars Distributor: Broadcaster: Emily BeechamandAndrew Scott. The strong DominicWest, castincludes English family between theworld wars. Pursuit ofLove,” aboutanupper-class er’s ofNancyMitford’s adaptation “The isfrontingLily James EmilyMortim- Distributor: Broadcaster: investigation. of theofficerswholedmurder Yellow Bird, itfollows thejourney unsolved for 16years. Produced by girl inthe1980s, acasethatremained the sadisticmurder ofayoung Swedish revolvesThis true-crimetale around Distributor: Broadcaster: infiltrating anationalisticsubculture. mon”), thenoirfollows afemale cop ner GjermundStenberg Eriksen (“Mam- extremism. Created by Intl.Emmy-win- explores theviolentworld ofright-wing Filmed inNorway andGermany, “Furia” ROYAL FLYING DOCTORS THE PURSUIT OFLOVE ROADKILL THE HUNTFOR AKILLER FURIA Distributor: (Norway, Germany) BBCStudios Banijay Keshet (U.K.) All3MediaIntl. BBC One; BBCOne; SVT; Viaplay, ZDF; BBC One,Masterpiece; (U.K.) (Sweden) (Australia) Distributor: Broadcaster: Shine Banks produces. turbulent privatelives. Endemol Distributor: Streamer (Germany): excluding Germany. scene. Fremantle holdsglobalrights living through Berlin’s drugsandclub versial 1978 memoirsofayoung teen fume”), thisisaretelling ofthecontro- Directed by PhilippKadelbach(“Per- Distributor: Broadcaster: SuranneJones. stars guard.” Currently inpost,thesix-parter makers and“Body- of“LineDuty” “Vigil” isfrom World Productions, the submarinethriller dramas, nuclear One ofthemosthotlyanticipatedU.K. Distributor: Broadcaster: selves, otherstospy orcontrol. Some useinvisibility toprotect them- where tobecome invisible. peoplestart focuses series tery onacommunity and “Unseen” isoneofthem.Themys- Belgium isknown for itsquirkydramas, Distributor: Broadcaster: doppelgängers andskinmonsters. ravens,seeing strangethings—talking is turnedupsidedown whenhestarts an indigenousteenwhosechaoticlife This supernaturalmystery centerson BAHNHOF ZOO TRICKSTER WE CHILDRENFROM VIGIL UNSEEN (U.K.) (Belgium) Fremantle Studios ITV AboutPremium Content AbacusMediaRights Banijay Rights (Canada) RTBF, Proximus; CBC; BBC One; Seven; VARIETY (Germany) Bahnhof Zoo.” “We ChildrenFrom (top) andGermany’s Norway andGermany “Furia” (“Fury”)from buyers include: excitement among Series generating FLAIR INTERNATIONAL AmazonPrime; 45 FOCUS GERMAN TV

ization of the social inequality between STURM, DRANG rich and poor.” The series, sold internationally by Beta Film, “traces starkly and in bright colors AND APOCALYPSE the fine cracks that run through our society,” adds writer-producer Kamhuber. GERMAN TV FARE TAKES DARK TURN AS CONTENT Deutsche Telekom’s Magenta TV embraces high-minded adventure with CREATORS REACT TO THE WORLD AROUND THEM “Wild Republic,” a Beta Film series By ED MEZA about a group of young offenders who escape a rehabilitation program in the Alps and flee into the mountains to form WITH DEPICTIONS OF PANDEMIC catastro- “‘Enemies’ appeals to our sense of their own community. phes, war, failing empires, the divide justice and questions it,” says Alexan- In its depiction of a waning empire, between rich and poor, shooting ram- dra Heidrich, Telepool’s head of inter- Netflix’s “Barbarians” takes viewers back pages and massive power outages, Ger- national TV acquisitions and sales. The to the blood-drenched Battle of the Teu- many’s newest TV shows appear to story deals with a police officer who uses toburg Forest, in which Germanic war- reflect the current apocalyptic zeitgeist. illegal means to find the victim. “The riors halted the northward advance of the German broadcasters and streaming viewer not only watches a thriller, but Roman Empire in A.D. 9. services alike are going heavy on sus- is directly involved in the plot, because Dark and frightening themes look set pense, crime, psychological thrillers, everyone has his or her own personal to continue in upcoming series in pro- action and adventure, often colored view of justice.” duction. ZDFneo and ORF’s “Die Macht by themes of societal disruption and ARD’s new true-crime miniseries der Kränkung” is a six-part series about a armed conflict. “Dark Woods,” likewise distributed by shooting rampage in a shopping mall. Set Showrunner Christian Alvart (“Dogs Global Screen, follows a high-ranking in Austria, the story focuses on various of Berlin”) was in production with ZDF police officer who, in 1989, sets out to characters who could ultimately become Enterprise’s new series “Sløborn” well find his missing sister and uncovers a the perpetrator. before the COVID-19 pandemic but the series of horrific murders in the process. “Blackout,” commissioned by Joyn and storyline was eerily prescient: A commu- Economic inequality is the focus of Sat.1, is based on Marc Elsberg’s bestsell- nity on the North Sea island of Sløborn “Echoes,” Jakob M. Erwa (“Center of My ing novel about a cyberattack that trig- is slowly devastated when a deadly virus World”) and Florian Kamhuber’s new gers the collapse of electrical grids across begins killing residents while being series for Joyn, about a group of rich Europe, plunging the continent into dark- largely ignored by most of the popu- kids who discover a hidden community ness and catastrophe. lation until it’s too late. Alvart says he of impoverished outcasts living in the “Corona has shown us all how fragile wanted to make a series about a crisis catacombs beneath Munich. our whole world is, how quickly our lives that occurs because people are too occu- “‘Echoes’ shows Munich as it has can change fundamentally,” says pro- pied with their daily lives to take the situ- never been seen before,” says Joyn man- ducer Quirin Berg of W&B Television. “An ation seriously. aging director Katja Hofem. She adds absolute blackout would have much more In ZDF’s “Shadowplay,” an eight-part that the series offers “a powerful visual- massive immediate effects.” series sold by Studiocanal, Taylor Kitsch stars as an American cop in Berlin trying to organize a police force in the chaotic aftermath of World War II while the U.S. and Soviet Union vie for power in the city. “America’s very close alliance to Europe, especially to Germany, since LAW AND 1945 acted as a safeguard and kept the DISORDER superpowers — including the USA — in Edgy series balance,” says Tim Halkin, managing “Enemies” director of Tandem Prods., which pro- follows a policeman duced “Shadowplay” with Bron Studios. seeking “‘Shadowplay’ is a story of how power justice. and greed lead to such dangerous imbal- ances in our world’s stability. ‘Shadow- play’ will hopefully act as a reminder of what could happen again.” “Ferdinand von Schirach: Enemies,” an ARD production sold by Telepool’s Global Screen, examines the kidnapping of a 12-year-old girl from two perspectives in two separate 90-minute movies based on a concept by bestselling writer Ferdinand von Schirach and featuring Austrian star Klaus Maria Brandauer. STEPHAN RABOLD/GLOBAL SCREEN RABOLD/GLOBAL STEPHAN

46 VARIETY Julian Bert Ricky Georgina Frederik BJARNE MÄDEL KLAUS MARIA BRANDAUER Ras Luppes Koole Verbaan Brom

A series by Lemming Film REMI NOBODY’S BOY

DAS GESTÄNDNIS

FERDINAND VON SCHIRACH

GLOBAL SCREEN PRESENTS A LEMMING FILM PRODUCTION (NL) FOR VPRO: “ALLEN OP DE WERELD“ AGAINST THE CLOCK & THE CONFESSION STARRING JULIAN RAS REIS FERNANDO BERT LUPPES RICKY KOOLE KOEN VAN DER MOLEN NINA MIN-LIEN VAN HOFSLOOT FREDERIK BROM CAROLA ARONS AND OTHERS SCREENPLAY BY ANNA HOFHUIS MIEKE DE JONG MYRANDA JONGELING BASED ON THE NOVEL BY HECTOR MALOT DIRECTOR OF PHOTOGRAPHY SAL KROONENBERG PRODUCTION DESIGNER GERARD LOOMANS COSTUME DESIGNER MONICA PETIT MAKE-UP ARTIST TRUDY VAN BUREN MUSIC BY GERRY ARLING, RIK ELSTGEEST SOUNDDESIGNER MARK LIZIER PAUL GIES EDITOR CHRISTINE HOUBIERS ELSBETH KASTEEL PRODUCER JOOST DE VRIES EVA EISENLOEFFEL LEONTINE PETIT ANNA VAN DER STAAK DERK-JAN WARRINK DIRECTED BY MARGIEN ROGAAR STEVEN WOUTERLOOD

best supporting actress

EDDA AWARDS and including Best Production Design, Best Cinematography, Best Costume Design, Best Make-Up, Best Editing, 10 TV Drama of the Year Best Sound Design, Best Music, Audience Award Göteborg IFF prix europe nominee nominee Best Script Best tv fiction

Icelandic Drama Series

BJARNE MÄDEL KLAUS MARIA BRANDAUER

DAS GESTÄNDNIS

FERDINAND VON SCHIRACH

AGAINST THE CLOCK & THE CONFESSION

LQIR#JOREDOVFUHHQGH_ZZZJOREDOVFUHHQGH

INTRODUCING

Global Daily Newsletter

The business of global entertainment delivered daily.

PUSHING ON AMID A PANDEMIC

By TIM GRAY

THIS YEAR’S MIPCOM, which turned into a virtual-only event, will be feeling the effects of COVID, but it’s survived plenty of other crises over the decades, including Sept. 11. On Oct. 15, 2001, Variety wrote a post-mortem of the just-concluded event, saying, “It will go down as the most low-key Mipcom of recent years.” Ever since Mipcom’s start in 1985, program buyers and sellers have dealt with global recession, ongoing changes in the international TV market, global poli- tics and fear of terrorist attacks, to name a few. The 2001 market was particularly hard-hit: It began Oct. 8, the day after the U.S. began bombing Afghanistan. After the Oct. 12 conclusion, Variety said business was conducted, and the 10,000 attendees termed it DETERMINED DISTRIBUTORS “intense but focused.” That could be a motto for Mip- This year’s virtual-only Mipcom event will look different than every other com and many other events in 2020. market to come before it but that’s not stopping top companies! SYSPEO/SIPA/AP

48 VARIETY Cannes International Series Festival 9 > 14 On canneseries.com October experience 2020 SEASON03 #canneseries

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