Insight on screen TBIvision.com | October/November 2020

Distributor's Survey The inside track Bible reading on the global sales The future of business formats Page 14 Page 34

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pXX Beyond TBI OctNov20.indd 1 28/09/2020 09:44 Welcome | This issue

Contents TBI October/November 2020

34. Future-proofi ng formats With the pandemic upending the TV industry across the world, Mark Layton fi nds out what the impact has been on the global format sales business and how it has adapted to the new normal.

38. Keeping the music playing through Covid Karen Smith, MD of Tuesday’s Child and Tuesday’s Child Scotland, on The Hit List.

10 40. Formats Hot Picks The formats that caught our eye this month including 9 Windows, Pooch Perfect and Tough As Nails. 10. Press record TikTok has exploded into the public consciousness like few – if 42.  e colourful world of co-productions any other – video-led service before it. UK & Europe chief Rich Sharing production costs on unscripted projects was on the increase Waterworth tells Richard Middleton how he sees the future prior to Covid-19, but is the pandemic accelerating this further? Tim panning out. Dams explores how the partnership trends are developing.

14. TBI Distributor’s Survey 2020 46. Factual Hot Picks From Mumbai, Sydney and Dubai, to LA, Stockholm and London, We check out the best factual one-o s and series hitting screens TBI takes a deep dive into global distribution to o ers insights from including A Perfect Planet, Me And My Penis and Fatal Shot. the biggest and the most bespoke companies in the business. 50. Cartoon Forum report 28. Getting it right TBI reports from Cartoon Forum, held online this year, but still with Covid-19’s impact on production coincided with US studios going plenty of new animation projects to catch the eye. direct-to-consumer, creating what appeared to be a sales opportunity like no other. Richard Middleton catches up with the world’s top 52. Dancing to a global beat distribution execs to gauge whether it was a fruitful summer. Streaming has created a generation for whom watching content from outside their own borders is the norm. Helen Dugdale reports. 32. Next generation thinking Helen Dugdale explores how content consumption is a ecting the 54. Kids Hot Picks world’s climate and fi nds out what those commissioning the shows TBI delves into the very best children’s content heading to market, are doing about it. including The Upside Down River, Brave Bunnies and The Boo Inn.

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Plus: 4 Editor’s Note • 6 Well-being • 7 Diary • 8 Diversity • 64 Last Word: Briege Whitehead, White Spark Pictures

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p03 Contents TBI OctNov20 v2.indd 3 04/10/2020 21:21 TBI October/November 2020 | Welcome

Editor’s note Richard Middleton Sales force

n this topsy-turvy world in which we live, opportunities come in myriad Contact us disguises. With the traditional industry calendar upended, those in the TV business have been forced to adapt, something we explore in depth Editor Richard Middleton throughout this issue. [email protected] While the global TV community will not descend on Cannes in person Direct line +44 (0) 20 7017 7184 Ithis year for MIPCOM, there is still a huge amount of activity emanating from home o ces around the world during the upcoming months. Much of this is refl ected in Deputy editor Mark Layton our supersized 2020 Distributor’s Survey, which includes insights from the biggest [email protected] companies in the business as well as numerous mid-sized fi rms and an array of agile, bespoke operators. The fi ndings are illuminating and refl ect how some parts of the Contributors Stephen Arnell, Tim Dams, Helen Dugdale, business have fl ourished while others are having to work twice as hard for half the Nick Edwards, Tracy Forsyth, Deborah Williams returns. It also provides plenty of forward-looking predictions – check out the full report on page 14. Sales manager Michael Callan For those who like to stay ahead of the curve, we have an exclusive interview with [email protected] TikTok’s UK and European boss Rich Waterworth, who refl ects on what’s coming Direct line +44 (0) 20 7017 5295 next for the short-form video app after a truly extraordinary six months. And while the pandemic inevitably takes up swathes of our collective attention, Art director Matthew Humberstone we also explore how the content business is looking to improve its eco-credentials, [email protected] tap into the broad horizons of today’s kids, and hear from Deborah Williams, CEO Direct line +44 (0) 20 7017 5336 of the UK’s Creative Diversity Network, who refl ects on the changing conversations around representation and inclusivity. Marketing executive Abigail Dede We’ve also squeezed in some of the biggest execs in the distribution business in [email protected] a heavyweight discussion about the fast-changing world of rights – go global or Direct line +44 (0) 20 7017 6018 territory-by-territory? – and delve into the future of formats. We explore the rise and rise of factual co-productions, talk to Brave New World showrunner David Wiener Commercial director Patricia Arescy and, perhaps most importantly of all, track down an array of fantastic new shows [email protected] being launched to international buyers. Proof, if it were needed, of just how resilient Direct line +44 (0) 20 7017 5320 and innovative this industry’s workforce can be. Finally, a note of thanks to TBI’s fantastic team who have been so instrumental in Editorial director Stuart Thomson putting this magazine together under such unprecedented circumstances. Art director [email protected] Matthew Humberstone, sales manager Michael Callan and marketing marvel Direct line +44 (0) 20 7017 5314 Abigail Dede have all worked wonders on this edition – we hope you enjoy it.

@TBImagazine

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

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pXX NHK TBI OctNov20.indd 1 16/09/2020 09:17 TBI | Well-being

Well-being Tracy Forsyth Own, don’t moan

was once droning on to a production co- Assume the buck stops with you In this edition’s ordinator about how draining I found people Imagine that there is no-one else to sort it out. You well-being column, who just went on and on, and moaned and don’t have anyone else to lean on, report to, or to bail executive coach Tracy moaned and were just so negative. Nadia, the you out. There is no-one left but you. In many cases, Forsyth explains how Iproduction co-ordinator, a hugely positive and all- especially for freelancers, this is an actual reality. You to own situations round ray of sunshine, looked at me with a patient have only your creativity and resourcefulness to sort rather than moan smile and said: “Do you see the irony in that?” it. You are the boss now. What are you going to do about them She floored me. I had never thought of myself as about it? the moaner. Everything I had to complain about was totally legitimate, wasn’t it? It was never me; it Take the emotion out of it was the other person, wasn’t it? Wasn’t it? In that I think moaning is an expression of wanting your moment, the scales fell from my eyes: I was guilty. emotions understood. And I believe you do need to Caught red-handed. I was a moaner. process those emotions and it’s massively helpful to That moment changed my life. Henceforth, I feel heard. But then, try to set emotion aside and look dedicated myself to ‘owning’ a situation, issue or at the facts. What are the actual facts of the situation? problem, rather than just moaning about it. Yes, What’s important here? What needs to be addressed? I was well versed in the saying: “don’t bring me What is the way forward? problems, bring me solutions’ but I thought that was only when you were managing upwards to Evaluate the options and decide what’s best your boss, not something you did in your everyday Take time to weigh up all the options and outcomes. life. I discovered if I checked myself, allowed Decide what you think is best. Many people don’t feel a bit of moaning but then got onto pro-active confident to make a decision because they second guess ‘owning’, my energies became focused on positive themselves or worry that others will disagree. Seek action, which in turn led to much more satisfying counsel if it’s useful. But if you’ve considered the pluses outcomes. and minuses and thought things through properly, you So, if you are a bit of a moaner and want to be an will be as sure as you can be that you’ve made the right ‘owner’, here are some of the things I find useful: decision. If anyone does disagree, you can demonstrate your thought processes, so you have back up. Tracy is a creative mentor Take the lead for the Channel 4 Indie If you are in a company or industry where people Take positive action Growth Fund, the are standing around moaning about something, or Like Nike says, just do it. You’ve taken the lead, producer of the WFTV you are in ‘meeting hell’ with issues going around thought about it, evaluated and decided. Time now to mentoring scheme and and around ad infinitum, then step in and be the one put your best foot forward, with one step in front of a professional executive who sorts it out, rallies the troops and points them another. Own it! I guarantee you that taking positive coach. Find out more at in the right direction. Don’t be shy to take charge, action will energise and invigorate you. It feels good to walterwootze.com even if you are not asked to. own and not moan. Go for it. TBI

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p06 Wellbeing OctNov20-ML RJM.indd 4 01/10/2020 21:20 TBI | Diary

About Town

Green shoots

ravel remains o the cards for vast Movistar+ original production chief Domingo swathes of the TV industry, but the Corral, to Mexican actress/producer Kate del events circuit is – in some places – Castillo and Harry Brisson, director of the showing tentative green shoots of Nielsen Media Lab. More than 30 projects Trecovery, with the fi rst face-to-face meetings were pitched, while the event – which ran taking place earlier in September. physically for three days – also provided online Organisers of Conecta Fiction – the TV content for almost two weeks, allowing people series co-production event that looks to to dip into sessions and talks at their leisure. bring creatives in America and Europe closer Organisers of French animation festival together – worked tirelessly to ensure their Cartoon Forum had also hoped to present a annual scripted meet-up took place in Pamplona, physical event, but the ongoing unpredictability of Spain, alongside a digital version for those unable to Covid-19 forced their event to move online-only as make it in person. restrictions in France made travel unviable. During the closing ceremony, Géraldine Despite this, the event proved hugely Gonard revealed that almost 500 people popular, with more than 250 buyers from 20 countries had attended the event welcomed digitally from companies in total, with 120 travelling to Baluarte including HBO Max, Mattel TV and in person. As in previous years, the event ITV. Eighty projects were presented from featured speakers from across the scripted creatives in 22 European countries – to industry, ranging from Atresmedia’s fi ction check out some of the incredible IP on director Montse García Álvarez and show, fl ip to page 50.

Roaring back? Enter the Swings and Roundabouts portal The UK's Royal Television Society (RTS) has also Universal made virtual moves, with its Digital Convention 2020. $103m Studio Top-billing was Alex Mahon, boss of UK broadcaster Group has promised to shoot three scripted shows in Australia over Channel 4, who revealed her programme budget – the next 18 months, providing a which was reduced by £150m ($190m) following the $103m boost to the local economy pandemic – would go up "massively" in 2021. Cue whoops of relief – if not delight – from producers CuriosityStream CEO Clint across the land. Mahon praised her team's reaction Forget Zoom and Teams, 4 Stinchcomb told TBI this month that his factual SVOD would be to the crisis and highlighted the channel's ratings rise, there are new ways to quadrupling its programming over despite intense competition from the likes of Netfl ix connect for those in the the next fi ve years and its lockdown hit Tiger King. The docuseries, she acquisitions business. added, was “not saying anything about being British” ITV Studios unveiled The US pay TV but the C4 CEO did admit to watching the show, its Fall Festival portal in 6.6m industry will suffer adding that it was a “long eight hours.” September, while BBC ‘historic’ cord-cutting in 2020, Studios' has launched its according to a new report from eMarketer, with more than six Connect portal, promising million customers cancelling their unique footage and subscriptions this year talent sessions for its slate. Next to launch AMC’s long-running zombie is MIPCOM Online+, 11horror series The Walking Dead – which has also been offering an array of acquired by networks around the networking potential and world – will end with an expanded buyers sessions. two-year 11th season in 2022

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p07 About Town TBI OctNov20-ML RJM.indd 5 04/10/2020 20:36 TBI | Diversity

Diversity Deborah Williams Nurturing and nourishing

iversity is a strange place to be at the on the doors demanding to be let in with “don’t you In the second moment. The idea that your life’s work know who I am?” rolling oŽ their tongues. Diversity instalment of her new is suddenly in vogue is what you dream had arrived in film, and I know we are close to it monthly column, the about. It’s like arriving at an airport and finding its place in TV as well. Creative Diversity Dseeing your face on a poster in the terminal, at the So let us go back to thinking globally. Soon we’ll Network’s executive same time everyone else does. It’s a brilliant feeling and have MIPCOM Online+, which I believe will provide director Deborah fills one with hope about what is to come next. an opportunity to create something exciting and Williams explains why Casting an eye over the new initiatives, projects and a place for individuals who would normally never every conversation schemes that broadcasters are announcing – including be able to attend Cannes to have access to others matters in the large investments and burgeoning teams – has given who can’t attend, as well as those who are normally discussion around me whiplash. So, this month I have been digesting hanging out on the Croisette. representation and cogitating what it could all mean. How will we Spending time there over the last couple of years, as support each other and work together to water and well as the Realscreen Summit at the beginning of this raise the acorns planted over the past few years’ work? year, alongside other markets, I have seen the seeds For me, it has led to some amazing conversations, planted by others start to grow and felt my part in that including speaking to Australian peers from a small, growth. Diversity as a concept is now in the room. It is diverse and Indigenous-led organisation as well as staking its claim. the creator of The Everyone Project – modelled on Going to these global marketplaces helps me do my Diamond, the world’s first and original online diversity work better and ensures we are able to set the bar as data collection system for the UK television and high as we can. It is why when somebody who’s from broadcasting industry. It was worth getting up on a small organisation asks me to speak or to be part of many mornings to discourse with people around the something I accept, because talk is cheap. If you are world because they are determined, albeit with small a massive institution with capacity and tentacles that budgets, but more importantly great ambition and big reach beyond you, there is an expectation that you hearts. They have helped me to carry on. should be doing this and you should be leading – but It took me back to the days when I was working don’t forget that from little acorns, great oaks grow. at the British Film Institute on a short-term contract I know this because I have experienced it very and part-time hours, when elsewhere tokenism was recently. Waking up several weeks ago, I saw the prevalent around diversity. People would talk and say announcement from the Oscars of their inclusion things and never follow through. and representation standards – I looked at them and I spent what felt like forever discussing how to create thought, “Oh my God! That’s my work”. Those something that would set a standard and make things months, five years ago, when I wondered if any of this easier, more apparent and more appropriate and really was going to mean anything, if it was going to make a give the film industry an opportunity to celebrate the diŽerence, or if it was going to travel anywhere. Was diversity of its content and its creators. that time worth it? I could now categorically say yes! Four months later, as we got ready to announce Because the biggest institution in our screen industry, Deborah is executive the Diversity Standards, we had the golden ticket and globally, has taken it on board, adopted it, adapted it director at the UK’s the support of the industry, filling out the room as and they’re going to use it. That’s what I call planting. Creative Diversity part of The London Film Festival, something I could If this is going to work we need to be confident. We Network and has worked never have believed. We were trending number one in need to keep having the small conversations, despite in arts, culture and the the UK on Twitter. I remember the images of people never knowing what might come of them. Reach creative industries for waving their tickets for this session, with excitement. out and that will feed the need – and from the small more than three decades We had people sitting on the stairs; people knocking acorns, great trees will grow. TBI

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p08 Diversity Column OctNov20-ML RJM[1].indd 8 04/10/2020 20:56 pXX Electric Entertainment TBI OctNov20.indd 1 24/09/2020 10:00 e TBI Interview | Rich Waterworth

Press record

TikTok has exploded into the public consciousness like few – if any other – video-led service before it. UK & Europe chief Rich Waterworth tells Richard Middleton how he sees the future panning out

f you’re reading this, chances are you’ve new heights of fame while o­ering copious amounts already downloaded TikTok onto your phone. of opportunity for engagement. And if you’ve not, you probably should. For Rich Waterworth, the former YouTube and Few video apps have ever made such an ITV exec who now heads up TikTok across Europe Iimpact around the world in such a short amount of and the UK, at the core of the service is the people time, and fewer still have had the six months that who populate and watch its content. TikTok has just experienced. Grabbing the attention “I learned from YouTube the incredible power of everyone from the US president and the man of having a very strong community of creators and Former YouTube exec Rich behind Disney+, to bedroom-based content creators users, who really identify with TikTok as a platform Waterworth joined TikTok and linear TV execs eyeing its much-vaunted younger – it gives a real energy and feeling of di­erentiation,” in 2019 demographic user-base, the app has kept soaring to Waterworth tells TBI.

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p10-12 TikTok Interview OctNov20-ML RJM.indd 10 04/10/2020 20:41 e TBI Interview | Rich Waterworth

Community creation notably that it is very easy to use. “You can shoot transitions, there are e­ects, we have filters, stickers, Most of that community is among the coveted you can add sounds, music or other audio, react to 18-34 demographic so loved by advertisers, so other people’s videos – the list just goes on and on, it is little surprise that those in the perhaps more and all of that is easy to do. And it is fun.” prosaic world of TV and streaming have spotted The result of that ease of use is a breadth of the service’s potential. The BBC recently made its content online that is far-reaching. Couple that with debut on the platform in Waterworth’s home turf its feed – which focuses on what you like rather of the UK with a video featuring pop group Little than what your friends produce – and Waterworth Mix, who recorded their own classic scene from believes the result is a “completely di­erent long-running soap EastEnders. It neatly underlines paradigm” to other platforms and services. how a service that launched globally just two years “The key thing for big TV brands, whether ago can work with a 35-year-old TV drama brand linear or on-demand, is how can you make yourself and a 97-year-old broadcaster to engage the eyeballs relevant and bring audiences together around of millions of Netflix-loving, social media-focused a programme and an experience,” Waterworth younger viewers. continues, adding that in his opinion, TikTok is It is by no means the first. As Waterworth points that conduit. He highlights videos from ITV’s hit out, TikTok has already worked with an array of reality brand Love Island as an example of content programming brands to leverage its rather unique that helps to “bring audiences across generations position, with videos from Banijay-owned cookery together.” format MasterChef – producers on the Spanish show created their own supplementary TikTok $300m originals & formats content – to CBS’s The Late Late Show, whose TikTok account o­ers clips to viewers. There is clearly ample opportunity for brands to So far, so social media. Yet TikTok is proving partner with TikTok, but the service is also looking TikTok has worked with to be more than simply a place for supplementary to skip ahead a few steps as it attempts to remain brands including The content. relevant in the fiercely competitive world of social X Factor in Italy, “The USP of TikTok is that it really does unleash media apps. MasterChef in Spain and people’s creativity,” Waterworth argues, most “We are hiring and have been growing fast,” Love Island

October/November 2020 11

p10-12 TikTok Interview OctNov20-ML RJM.indd 11 04/10/2020 20:41 e TBI Interview | Rich Waterworth

Waterworth says of the company’s European Disney alum Kevin Mayer depart as CEO after just expansion, which has seen it hire a general manager a couple of months at the company. in Germany and execs from companies including “We can’t really speculate on what will happen NBCUniversal. “We want to localise with di­erent there,” Waterworth diplomatically states, with our partners in countries around us and we expect our conversation occurring on the day that Microsoft teams to be working with local partners in TV and rowed back on its reported interest in buying the other creative sectors where they are relevant. Stateside service. He adds that he’d be “happy to “We have launched our creative fund which talk” in more detail about the implications once comprises $300m over the next three years. We the situation is clearer, but he adds that he remains have 100 million monthly active users in Europe, optimistic of a solution for all. made up of a very cool and exciting community Just what happens to the service Stateside remains of creatives and we want to make sure they can to be seen, but on the content front it has already successfully monetise,” he says. made waves. A US cosmetics brand launched A similar system exists in the US and the hope is the first-ever reality show on TikTok with the The BBC’s Strictly Come that the ability to make money from their content production of Eyes Lips Famous (ELF), a show Dancing is seen on the app will encourage more talent to choose TikTok in that requires budding beauty enthusiasts to use the addition, or instead of, the multitude of other social service to upload a video of themselves explaining media services that are out there. why they should be picked as a finalist. The US version of TikTok, of course, has been From there, the series will follow the contestants front and centre over recent months. Its future attending what TikTok has described as a “beauty remains up in the air at the time of press, following camp”, with feedback, advice and pro tips on Donald Trump’s intervention and suspicion over beauty. For cash-strapped brands in Covid-struck Chinese parent ByteDance, which has already seen 2020, the idea of going direct to consumer via TikTok must be hugely alluring wherever you are in the world. Rich Waterworth’s TV steps to success on TikTok Next generation reality TV Engage with videos: TikTok is great at learning what you like. The more you engage with videos the faster it learns. If you don’t like a video, long press it and “I can see all sorts of di­erent options working click ‘Not interested’ to see less of that kind of content. Like, comment or share on TikTok,” says Waterworth as the conversation and you’ll see more. turns back to Europe. “We’ve worked closely with The X Factor and Love Island, and those are some Get searching: If you can’t find the videos from your industry or space then great partnerships, but there could be great format use TikTok’s powerful ‘Discover’ search tool. You’ll find the content you want in options too. no time. “Some of the creative houses in the US and Europe are really interesting, are they coming up Consider audio: When videos are uploaded to TikTok, people are able to use with the next generation of reality TV? We really an underlying audio file. This allows them to get super creative with audio. It’s see ourselves as a next generation platform, and I not hard to find creative remakes of classic TV moments as you scroll. Check out would include creative formats and options in that,” @coleandersonj for inspiration. he adds, admitting he wants to speak with creatives and broadcasters about ideas. Integrate: Offline to online experiences are increasingly important. So if there Nothing, it seems, is o­ the table and Waterworth is an element of your TV show that would work on TikTok consider activating suggests that while scripted product might not around that. Not sure if it would work? Try creating a TikTok for yourself and seem to have a natural home on TikTok, there is no you’ll have your answer. reason why drama wouldn’t work if seen through the prism of the app. Get creating: Like any new skill, the more your practice the better you’ll get. “Obviously it would need clever thinking around TikTok is a short-form vertical platform, so make sure to play by those rules as the formatting but there are a number of people well. The sweet spot for video length is 15-30 seconds and vertical is a must. who have created content over multiple TikToks. “That is the beauty of the community, you get #hashtagappropriately: Hashtags are searchable on TikTok. Ignore the these amazing creative experiments. And the smart urban myth that using #fyp or #foryou on a video makes a difference, it doesn’t. broadcasters and producers are already on there Instead use the 3-5 hashtags that are trending and relevant to your video. figuring out right now if they can learn from that format or story.” TBI

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p10-12 TikTok Interview OctNov20-ML RJM.indd 12 04/10/2020 20:41 p13LAGARDERE_THE Lagardere Machinery MACHINERY_TBI.indd TBI OctNov20.indd 1 1 01/10/202025/09/2020 22:4617:09 TBI Distributor’s Survey | Introduction

Un sc ed r t ip ip t r e c d S TBI

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From Mumbai, Sydney and Dubai, to LA, Stockholm and London, TBI’s Distribution Survey this year is truly a global affair. Its fi ndings come from the biggest companies in the business as well as some of the most bespoke, and represent the experiences of thousands of people working across the world

ew areas of the content business have Scripted: Navigating the story 15 adapted as quickly over recent years to the vast changes in the business as the Unscripted: Burgeoning potential 17 distribution sector, with companies large Fand small adeptly planning and executing savvy strategies to ensure they remain relevant. The e ect Formats: Bible study 20 of the Covid-19 pandemic has again tested this sector’s resolve and it is clear from this year’s fi ndings Kids: The kids are alright 23 that the past six months have had a considerable toll on sales. Yet there are positives and an overwhelming optimism that the industry can rebound. Conclusion: Factoring in 26

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p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 14 04/10/2020 22:46 TBI Distributor’s Survey | Scripted Scripted: Navigating the story

Drama has been hit hard by the pandemic as production hiatuses impact delivery but demand for completed series has soared as content-hungry services secure deals. But that’s only half the story

he popularity of scripted product is well How much, as a percentage, do you think Covid-19 has cost documented but the pandemic has put your business this year in terms of annual revenue? strains on this sector like no other. Distributors have found themselves at Decline of 50%-75% Tthe centre of this conundrum, with deep financial investments made into shows that are in some cases six 16% months delayed by Covid-related production issues.

Peaks & troughs Decline of 25%-50%

The issue is immediately apparent in this year’s results, 18% with more than 50% of companies involved in the sale of scripted product reporting a decline in annual Decline of 10%-25% revenue in 2020 because of the pandemic. The severity of the hit is widespread with some 22% shows fortunate to have shows wrapped just in time prior to lockdowns and others forced to pause production entirely Almost 20% say they have seen It has had little impact a decline in revenue in excess of 50%, while another 18% say the reduction lies somewhere between 25% 27% and 50%. Yet the picture is complicated. Almost a third of Increase of 0-25% respondents report that the pandemic has had little impact on their revenues, while 11% say that they 11% have actually seen revenues rise by up to 25%. It underlines the fact that the impacts of Covid on scripted have been widespread. SarahTong, Increase of more than 75% director of sales at Hat Trick International, says that “delays in UK broadcast dates and therefore 6% international availability” has had a huge eect, while Rick Barker, head of sales at The Secrets She Keeps firm DCD Rights, adds that the hiatus in productions 0510 15 20 25 30 and local lockdowns “have had an impact on talent being in the correct filming locations.” respondents predicting that their business will see an “Production delays are very costly,” adds Dan uptick in the next 12 months. Just over 80% believe March, managing partner at Dynamic Television, the wider market will improve over the same period. whose slate includes Sommerdahl Murders and Creepshow. “You have the holding cost, interest cost, Crime & relationships and ultimately you are pushing out revenue which is a significant cost. The loss of ad revenue for broadcasters While production has been severely hampered, has dramatically impacted commercial channels, which 53% broadcasters and streamers continue to put money has resulted in reduced budgets and less buying.” into some stock choices on the genre front. Almost This has already had an impact on jobs, with almost 30% of respondents said crime drama remained a fifth of companies reporting that they have cut sta of respondents use among their best-sellers, with thrillers cited by 26% as a result. However, there is widespread optimism online distribution and more than 20% making much of their money on that the business will improve, with almost 95% of platforms relationship series.

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p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 15 04/10/2020 22:46 TBI Distributor’s Survey | Scripted

And while Covid has been the talking point for Which distributors are most at threat much of the industry recently, it has also coincided from market conditions? with the launch of some major US studio-backed streamers. As those DTC entrants move to retain rights for their own services, the challenge for many distributors remains ensuring they have a pipeline of product to sell – or striking deals with the non-studio 21% a™liated SVOD’s. 24% Despite their penchant for global deals – at least on finished tape sales – less than a quarter of respondents report that the rise of SVOD players has provided the greatest challenge for distribution over the past 12 months, not considering the pandemic. More than a third say market consolidation is the problem to overcome, while a similar number report that accessing and controlling rights is the issue. In response, certain distributors have become key 55% financial partners for producers, delivering more than simply deficit financing to ensure they get a back-end on sales rights. More than half say they are financing scripted series earlier than ever before, a stat that is Small rms (1-20 sta) backed up by the fact that 41% say rights ownership is Mid-sized rms (20-50) the most pressing issue on their business. Almost 65% Large (50+) say financing and investment is the main challenge.

Numerous respondents added that the market has What sorts of shows are selling best for you? rebounded quickly following the intense business shock experienced in March, April and May, although there were also many reports of delayed payments and Crime acquisition plans on hold that are continuing to impact distribution. Almost 90% say greenlights on deals 28% have been delayed, while the ability to attend markets remains unclear. Practices are shifting in this regard – almost half of Thriller respondents say they are now using digital distribution 26% platforms, with around a half hoping to attend a similar number of physical events in 2021 as they did in 2019. But there are also clear signs that the business Relationship is providing opportunities. “It has led to some significant sales for us,” says 21% Chris Bonney, CEO of rights at Cineflix Media. “We concluded a major global deal with Apple TV+ for Tehran. Coroner is performing well too – we have Action two seasons in the bag, we recently announced season 14% three and sales to The CW in the US and Channel 4 in the UK, and NBCUniversal International Networks.” New entrants are also oering potential, evidenced by Sci- the sales of Happily Married to French streamer Salto. “Distribution is still a lucrative and necessary 11% business, but we’re in a contracting industry where individual shows can too often be feast or famine,” says March, neatly summing up the business and 0510 15 20 25 30 pressures at present. TBI

16 October/November 2020

p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 16 04/10/2020 22:46 TBI Distributor’s Survey | Unscripted Unscripted: Burgeoning potential

Unscripted product had enjoyed surging demand prior to the pandemic and Covid-19 looks only to have strengthened its popularity among acquisition execs over recent months

hen lockdowns first landed outside been shown. Stalwarts of the unscripted space remain of China, attention rapidly turned too, however, with crime, specialist factual and history to unscripted content to fill the all cited as being major money-makers for distributors. imminent gaps in schedules. For many in the sales game, those opportunities WHome-filmed cookery shows were commissioned, have been taken but numerous respondents were 22% documentaries based on archive footage were hustled quick to point out that while demand for unscripted through production and innovative producers strapped product might have ticked up, the eect of Covid on cameras to dogs to ensure filming could continue. advertising-supported networks has been immense, As the content business comes to terms with Covid- causing “a stranglehold” on broadcasters. of respondents have 19’s eect on production, the full extent on unscripted Roger Vanderspikken, COO at Fred Media, adds: had to lay o sta as a distributors is beginning to emerge. “For many distributors, a major issue has been the result of Covid-19

Squeezing potential How much, as a percentage, do you think Covid-19 has cost Like its scripted sibling, the pandemic aected your business this year in terms of annual revenue? dierent sales firms in myriad ways – but there were few positives to emerge. Almost a quarter Decline of more than 75% of respondents report that Covid-19 has had little impact on their annual revenues this year, while a 12% further quarter said they had noticed a decline of between 10%-25%. While on the surface that might appear like the Decline of 50%-75% sector has escaped to date relatively unscathed, more than a third said they have seen declines in excess of 8% 25%, with almost 10% estimating the losses to fall between 50% and 75%, and 12% reporting a decline Decline of 25%-50% of 75% or more. The reasons are clear, as Giusto Toni, CEO at 17% Europa Media, points out. His business focuses on music documentary programming and performances, meaning the pandemic has had a huge impact on Decline of 10%-25% his day-to-day operations. For others, however, the eect of the pandemic on schedules meant 27% more sales opportunities. Fiona Gilroy, content sales & acquisitions director at Flame Distribution It has had little impact in Australia, says that the slow-down of some productions opened opportunities for other content, 23% with her best-sellers including Outback Truckers.

Rapid response Increase of 0-25%

Indeed, a number of respondents add that many of the 13% best-selling genres from their catalogues over the last few months has been male-skewing programming that has been used to plug holes where sports should have 0510 15 20 25 30

October/November 2020 17

p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 17 04/10/2020 22:46 TBI Distributor’s Survey | Unscripted

What markets do you consider must-attend?

100 96%

80

60 58% 50%

40 37% 29%

20 16% 9% 6% 5% 4%4%

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dwindling pipeline of content through the Covid Dialling down unpredictability period. However, our sister company, WTFN, kept developing and filming throughout, so our pipeline The ongoing nature of the pandemic is also causing remained robust. In addition, we secured some new issues on the acquisitions side, as well as with getting acquisitions during this time for our autumn slate. shows greenlit. This is highlighted by the more than The biggest impact, therefore, is probably around the 80% who say decisions on commissions and deals pressure on broadcasters’ budgets.” have been delayed, while the sheer unpredictability of As such, perhaps it is little surprise that around a how the pandemic will evolve means there are question fifth of respondents say their businesses have had to marks over delivery timelines, leading to risk aversion. 61% lay o sta as a result of the pandemic, but almost all Outside of Covid, the ongoing search for rights expect the market to improve over the next 12 months. and falling ad spot revenues remain key concerns, but And as Vanderspikken continues, “the SVODs have it is the financing and investment side of unscripted had a ‘good Covid’, with subscriber numbers and distribution that was cited by more than half of of respondents have revenues up, which may open up some new demand respondents asked about their most pressing concern. used online distribution – especially for much-needed quick turn-around Like other areas of the content industry, there are platforms content,” although he questions how sustainable this also major changes to the way shows are being sold may be as the market settles down. Harriet Armston- following the almost complete curtailment of the Clarke, director at TVF International, agrees that physical event calendar. streamers are continuing to expand the role play on More than half of respondents expect to attend the factual side, but Vanderspikken admits he remains fewer events next year than in 2019, partly because of cautious. “If we enter a major economic downturn ongoing Covid concerns but also because of the rise as a result of this period, people may relinquish their of digital platforms. More than 60% of respondents subscriptions, with only the strongest SVODs being say they now use these services, underlining the rapidly able to continue spending at the same rate.” evolving nature of the business. TBI

18 October/November 2020

p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 18 04/10/2020 22:46 p19 NTV TBI OctNov20.indd 1 04/10/2020 15:18 TBI Distributor’s Survey | Formats Formats: Bible study

Format distributors have faced a turbulent six months, unable to assuage the pandemic’s effects by selling finished tape as their colleagues in drama and unscripted were able to do

he format industry was already facing of global entertainment at The Story Lab, but she considerable challenges prior to the adds that her company has experienced a notable eects of Covid-19, as mergers and increase in interest over recent months. acquisitions bueted the smaller and The pandemic has had a notable eect on Tmore independent operators in the sector. revenues, however, with more than three-quarters of Banijay’s acquisition of Endemol Shine Group 75% respondents saying that the eects of Covid-19 has created a format behemoth like no other, yet even left their businesses worse o. against this environment of M&A and a global Banijay Rights CEO Cathy Payne adds that there pandemic, the more agile format distributors have of respondents have are numerous knock-on eects for the business, been able to navigate the market turbulence to found clients have which will also be felt by those in the format secto.r remarkable eect. delayed decision- “The pause in production has aected pipelines and “Production and strategic partnerships will making (either broadcaster schedules,” she says, “and in addition become harder once consolidation by bigger on acquisitions or to this there is an increase in production budgets greenlighting shows) companies takes place,” says Fotini Paraskakis, EVP caused by the Covid production hiatus as well as Covid protocols needed once production resumes.” Almost 30% of respondents have had to lay o sta as a result, but reflecting the trend across the How much, as a percentage, do you think Covid-19 has cost content business, the vast majority believe their your business this year in terms of annual revenue? business and the market will improve. This figure stands at 85%, however, showing a small but noticeable dierence compared with other sectors Decline of 50%-75% and perhaps explained by the deep impact that falling advertising revenues has had on the format 12% sector’s commerical broadcaster clients.

Risk & reward Decline of 25%-50% 43% Although ad spend is now by and large rebounding for networks around the world – albeit from severe lows during the depths of the crisis earlier this Decline of 10%-25% year – the impact has been great and the eect on programming clear. Broadcasters are tending to 16% look for safer bets and the result is causing format distributors to adapt their strategies. “There is a reduction in risk from broadcasters It has had little impact willing to take on content,” says Siobhan Crawford, 11% sales and acquisitions at the Netherlands-based Primitives, “and that means recommissioning existing brands is most common.” Increase of 0-25% This focus on risk and commercial broadcasters with squeezed incomes is reflected in this year’s 14% findings and it was occurring prior to the pandemic. Outside of the immediate repercussions of Covid-19, more than 70% of respondents said the 01020304050 greatest challenge for their businesses over the past

20 October/November 2020

p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 20 04/10/2020 22:46 Lagardère Studios Distribution presents

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12 months had been falling ad spot revenues at Covid, but numerous respondents were clear that networks. The number for accessing and controlling they do not expect the physical events business to rights stands at 28% while market consolidation return to pre-pandemic levels in the near future. was cited over 42% of the business. Banijay’s Payne, whose catalogue includes some But there are deals to be had and bibles to be sold. 50% of the biggest shows in the business – from Survivor Dating, factual entertainment and reality formats to Big Brother – says the physical events business remain among the best-sellers, but there has also will remain a focus for her company but adds that been noticeable demand for scripted formats too, at present, there are no plans in place for a return to according to respondents. still consider MIPTV a the traditional cycle in the immediate future. ‘must-attend’ event “Events and trade markets will always play Market leaning an important role in our business, however the health and safety of our employees must come Where the format business diers most from its first,” she says. “We will continue to closely follow scripted and unscripted siblings, perhaps, however, government guidelines and work with event is its view of the way markets are changing. While organisers to collaborate with them for online and online sales portals might provide an opportunity virtual events where possible. It is premature to plan for finished tape, the potential to do a deal on physical attendance at this time.” a format is clearly reduced, making face-to-face Nevertheless, more than 50% still consider discussions – even if it’s via a Zoom call – vital. MIPTV to be a ‘must-attend’ event while more More than 70% of respondents say they are not than 85% put MIPCOM in that same bracket. using online distribution platforms, but more than And 71% will travel to Asia TV Forum at the next 80% do not expect to attend as many markets in opportunity, underlining the huge importance of 2021 as they did in 2019. That is partly because of that region in the global formats business. TBI

What sorts of formats are selling best for you?

25

20 21% 19%

16% 15

13% 11% 10

8% 6% 5 4%

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22 October/November 2020

p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 22 04/10/2020 22:46 TBI Distributor’s Survey | Kids e kids are alright

The children’s TV sector has remained resilient in the face of the Covid-19 pandemic, with many distributors enjoying strong animation sales despite delays from uncertain clients

emand for animation remains high in educational and edutainment titles; thus we enriched the kids’ TV sector, which as a whole our portfolio with such proposals.” appears to have weathered the worst of Monica Levy, head of sales at Paris-based the pandemic, with parents the world Federation Entertainment, perhaps proved to be Dover turning to their television screens to help keep the exception to the rule, describing the situation as 15% youngsters occupied during the height of lockdown. having been “business as usual”. However, though some in the sector remain Expectations that business will improve over the optimistic that things will improve in the coming 12 next year were divided, however, with only 54% months, almost as many remain uncertain. believing things will get better for their companies, reported increased Some companies have clearly been seeing out the and just the same percentage foreseeing an prots of up to 25% storm better than others, with more than 38% of improvement in the market as a whole. during the pandemic respondents in the sector claiming that Covid-19 had Given the particular increase in TV viewership cost them little in terms of annual revenue, and only among children during lockdown, it was no big around 7% claiming losses of more than 50%. shock to see that animation continues to do well, In-fact, 15% of respondents said their revenue had with 77% of respondents claiming that it is leading in actually increased by as much as 25% in this period, terms of their sales at this time. perhaps due to the increased demand for children’s programming as schools and nurseries were closed and youngsters spent more time than ever before How much, as a percentage, do you think Covid-19 has cost switching on to be entertained. your business this year in terms of annual revenue? Furthermore, only 23% had felt the need to take advantage of government support schemes in order to help them to stay afloat, while the overwhelming Decline of more than 50% majority – 92% – said they had not had to lay o any sta as a result of the pandemic. 8% However, with broadcasters and platforms around the world tightening their purse strings, and in line with other sectors of the industry, it was not Decline of 10-25% surprising to see that 92% of respondents said that 31% their clients have delayed decision-making, either when acquiring or greenlighting shows. Dominic Gardiner, CEO of London-based Jetpack Decline of more than 10% Distribution says that was to be expected, given the circumstances: “Uncertainty within the market and 8% the migration to remote working did slow things down initially, quite understandably.” Anna Verbovska, head of sales and acquisitions at It has had little impact Ukraine-based MKMG (formerly MK Media Group) agrees: “Covid-19 has brought an uncertainty in 39% budgets and future plans of acquisitions for some of our clients,” she reveals. Increase of 0-25% “Our strategy was to define the type of content that will be on-demand in next months and prepare 15% our catalogue for the moment when clients will get some clear image in their acquisitions, reacting quickly in this case. We received more requests for 0510 15 20 25 30 35 40

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Fragmentation and consolidation Which distributors are most at threat from market conditions? Outside of Covid woes, 46% of respondents said their greatest concerns faced by their businesses over the year from September 2019 to August 2020 had been falling ad spot revenues at networks, followed 14% 17% by 38% who were worried by further fragmentation of the market. Respondents on the whole (around 69%) believe that it is mid-sized firms of around 20 to 50 members of sta that are currently most under threat from market conditions, but it is clear that there are a variety of opinions. MKMG’s Verbovska suggests that all sizes of companies should expect to feel the pinch. “Large companies can suer more from necessity to lay o sta or to postpone productions. In the meantime, 69% such companies generally have large libraries that can help [them] to stay. “Small firms and mid-sized firms can feel the Small rms (1-20 sta) influence from acquisitions decrease. But finding the right niche can be very helpful in this case and even Mid-sized rms (20-50) play a good card for such companies.” Large (50+) Ed Galton, CCO & MD at London-based Cake Entertainment had a dierent perspective: “Small firms are at risk as they are dependent on distribution 92% sales and don’t necessarily have the cash reserves to withstand a sharp decline in market conditions.” Meanwhile, Gardiner suggested the opposite: How have global streamers affected your “Larger firms have bigger overheads and are more business over the past three years? expect further market likely to struggle to adapt to the market downturn.” consolidation in 2021 An overwhelming 92% majority, however, said that they are expecting further market consolidation in the upcoming 12 months. 8% “I don’t think people can pay to have so many 23% services and sooner rather than later, not every player will be able to survive,” said Federation’s Levy, while Jetpack’s Gardiner commented: “I think there will be 23% more consolidation among the medium sized players to try to close the gap between some of the giant mergers of more recent years.”

Platform power

Meanwhile, in a year that saw numerous new 46% streaming services launch into a crowded market, almost half of all respondents – 46% – said that global streaming services had been a positive impact on their business, with 23% going so far as to claim a Very positive impact “very positive” impact on the kids TV sector. Positive impact And against a background of content markets going fully online, an unequivocal 100% of Little impact respondents said that MIPCOM was the must-attend Negative impact event of the year. TBI

24 October/November 2020

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pXX NATPE TBI OctNov20.indd 1 24/09/2020 12:14 TBI Distributor’s Survey | Conclusion Conclusion: Factoring in

Covid-19 has had a huge impact on the distribution business, but the effects have been disparate and wide- ranging, with more challenges yet to come

istributors have always been at the sharp demand for finished product from content-hungry end of the fast-changing content business buyers in all territories. and have been keenly aected by any The pandemic has, of course, come at an already disruption across their pipelines. turbulent time for the international business, with the DThe findings in TBI’s Distributor’s Survey 2020 launch of US studio-backed streamers such as Disney+ underline this across all sectors, with most of the HBO Max amd Peacock squeezing the content pipeline respondents – whether working predominantly in as they seek to go DTC. formats, unscripted or scripted – finding that their The eects of this can be positive for distributors, revenues are likely to be hit by Covid-19 despite the with the vast majority of non-a™liated broadcasters and streamers requiring content from a smaller pool of suppliers. Analysis: Tim Westcott, Omdia Certainly for those with finished product, the current climate – aided and abetted by Covid-19 – means there For a business that exists to a large extent on contacts and relationships, TV are huge opportunities for those with the right IP, as distribution has faced a challenging year adjusting to the new normal. The year Cineflix Rights’ CEO Chris Bonney pointed out earlier, 2020 increasingly feels like one where time has slowed down. Most would have explaining that his company had seen some “significant thought that by this time of year we would be heading down to MIPCOM to sales”, not least that stand-out deal earlier this year that catch some autumnal rays of Mediterranean sun and reminisce about the bleak saw Apple TV+ snag Tehran. spring days of lockdown. Elsewhere on the scripted front, crime drama remains However, the remote working era is still with us for some time to come. That a best-seller from a genre point of view, but the future in itself is likely to be a problem for some businesses whose resilience has already looks uncertain for the business with almost 90% been stretched to the limit over the last months. Some countries are keeping of respondents admitting that greenlights on deals furlough and financial support schemes going while others have already started had been delayed. With drama so fuelled by multiple finance partners, those delays will continue to be felt for the next 12 months at least. “Demand for entertainment content is Unscripted-focused sales firms have also been strong. Linear and online channels are bueted by the pandemic, although some have been still buying – and thanks to production able to adeptly sidestep the worst by producing quickly shutdowns, buying more in innovative ways to ensure revenues continue to flow, Tim Westcott, OMDIA albeit at a reduced rate on previous years. Those in the formats business have also worked hard to adapt, mainly by focusing on existing clients and delivering ideas that are proven and that can be winding them down, which will exacerbate the differences between distributors produced within the current restrictions. Those in who are experiencing good or bad pandemics. the kids business, perhaps because of its animation It might be no surprise that half the respondents in TBI’s survey reported focus, have fared better than most, but reflecting the a decline in revenues from scripted, but it’s also no surprise that 12% saw distribution industry as a whole, there remain major revenues increase up to 25%. concerns over the next 12 months. Demand for entertainment content is strong. Linear and online channels are Many have turned to online distribution as one way still buying, and thanks to production shutdowns (and the suspension of live to drive new sales, and despite numerous quotes of sports), buying more (even the acquisition-averse US networks are dabbling enthusiasm around the return of physical markets, the in overseas content this year). Consumers are also hungry for news and 2021 events calendar will likely be anything but typical. information. For distributors of all genres, that looks likely to With limited visibility about when the health crisis will end, distributors are mean more risk averse buyers and a necessity to deliver going to need not just good content and good contacts, but a lot of stamina. more agile thinking to survive whatever lies in store in the next 12 months. TBI

26 October/November 2020

p14-18,20,22-24,26 Dist Survey TBI OctNov20[2] ML.indd 26 04/10/2020 22:46 pXX BCM TBI OctNov20.indd 1 24/09/2020 12:12 Distribution | Rights Getting it right

BBC Studios’ The Pursuit Of Love is the subject of a bidding war in the US, aided by the current demand for high-end scripted product

owned Entertainment One. “It is a good time to be a distributor, but it’s still not easy, not least because a lot of the traditional [commercial broadcaster] buyers have been impacted.” Beatriz Campos, SVP of global sales & production financing for TV series at StudioCanal, agrees that the current conditions have “had a huge impact” on finished tape sales. “For European drama, it has also helped to break the language barrier with key players using the opportunity to acquire more foreign language dramas, which form a substantial part of our catalogue,” she continues.

‘New breed’

Add that demand to the emerging “new breed” of regional streamers, as Fremantle’s international chief Jens Richter puts it, and the sales environment suddenly looks remarkably bright for firms which have faced their share of challenges these last few years as US studios vertically integrated and global streamers cut them out of territory deals. “We’ve seen some real changes recently,” Richter tells TBI. “On one hand, there are more global platforms joining us – we’ve had Disney+, there’s Apple TV+, HBO Max and Covid-19’s impact on production coincided with US studios going Netflix and Amazon becoming bigger – and direct-to-consumer, creating what appeared to be a sales opportunity then you have on the other side a new breed like no other. Richard Middleton catches up with the world’s top of local platforms. “Some of them are new or they’ve existed distribution execs to gauge whether it was a fruitful summer a couple of years, but they’re now on the rise,” he continues, pointing to France’s S studios’ plans to launch premium product, as the impending delays on soon-to-launch Salto, BBC Studios and ITV their own streamers had been original productions materialise into gaps in Studios’ expanding joint venture BritBox, known for some time by the schedules and noticeably thin libraries. Viaplay in the Nordics, Australia’s Stan world’s acquisitions execs – but “With a lack of new product coupled and numerous platforms in China. Some Ua global pandemic and the associated impact with new companies entering the market, have been acquiring linear and VOD rights on production had not. we’ve certainly found broadcasters for some time, but the feeling is that the The result of this has seen buyers from and streamers looking keenly for new environment has noticeably hotted up. broadcasters and streamers around the world shows,” says Stuart Baxter, president For incumbents such as Netflix and scrabbling to ensure they are stocked with of international distribution at Hasbro- Amazon Prime, as well as distributors, this

28 October/November 2020

p28-30 Rights TBI OctNov20-ML.indd 28 01/10/2020 22:14 Distribution | Rights

We Are Who We Are, co-produced by HBO in the US and Sky Italia, is one show that perhaps requires a “bigger marketing approach”

Endemol Shine Group – has seen “an uptick for scripted and finished programming.” “Quality storytelling and well-known brands, IP and characters that resonate with audiences have been highly sought since the pandemic hit,” he says. There has not, in his experience, been a great shift in the biggest streamers’ demands though, with Amazon still o˜ering “a wide degree of flexibility”. Netflix, he adds, still wants a global deal on major co-produced scripted product. And that, for scripted product, certainly seems key, although again there are opportunities, as Berry points out. The world’s biggest streamer snagged ITVS flurry has caused noticeable changes to the watch shows in the way they want to is key. drama The Bodyguard in 2018, but the market. Where once a global streaming deal But that’s at least partly because there are now deal was predicated of course on a period of might have been seen as a gold standard, it a bevy of services that together can compete exclusivity, meaning ITVS is able to sell the is now just one of a myriad of options that against the might of a single global deal. show into the free-to-air space. can result in big returns for IP-owners with “There is certainly an increasing amount multiple buyers interested. of competition from broadcasters who are Ownership & forecasts Campos agrees that combining budgets teaming up to make bigger pan-regional to counter global players is resulting in o˜ers,” says ITV Studios (ITVS) MD of Such a deal underlines the importance more opportunities. “For local players to global distribution Ruth Berry, pointing to of owning IP, and distributors’ ongoing compete with the premium dramas o˜ered recent deals that have seen Vigil, the drama strategy of investing at the earliest possible by global streamers, we are seeing even more from World Productions, sold across the opportunity in series remains key, as collaborations between broadcasters/local Nordics by her company. Another deal companies finance development and own platforms in order for them to access the saw it sold to BBC Studios Australia, which prodcos to get their grip on the product. same high-end production values.” acquired premiere rights, while SBS took the Baxter says Hasbro’s acquisition of eOne “It’s becoming less about rights and more free-TV premiere window. has made a “big di˜erence” in this regard, about ownership,” says Paul Dempsey, BBC Like Richter, Berry also points to the with the independent studio developing Studios’s president of global distribution. variety of regional players, ranging from “numerous projects” based on the giant “We’ve gone through years of fragmenting Starzplay, which “isn’t global but not pure toy company’s well-known brands. It also windows down to ensure maximum territory,” to Amazon, which will buy provides a di˜erentiator to ‘independent’ opportunities in each market, but with just North America, or streaming giants, because, audiences now more platform-agnostic BritBox, which will acquire as the eOne exec points and less inclined to di˜erentiate between a for a few territories. “It “Well-known brands out, while the US studios live channel, catch up, SVOD or AVOD, is a real patchwork quilt have been highly have brands aplenty at their and committed to brands they know, to now and there’s a lot more sought since the disposal, streamers do not. access the broadest audience we need to competition in the market, pandemic hit” The importance of this part find the right home and partner, ensuring with companies a lot more Matt Creasey, of the modern distributor’s our content is front and centre, whether selective,” she adds. Banijay Rights arsenal to remain relevant is that’s through our own D2C platform or Banijay Rights’ Matt key of course and the number partnering with others.” Creasey, EVP of sales, of buyers in the market is acquisitions and co- again impacting how this area Placement & production productions for the world of the business is changing. excluding EMEA, says that Creasey says more high-end Dempsey, like Richter and almost all of the his giant sales firm – now SVOD players have balanced distribution chiefs interviewed by TBI for with the addition of shows out the deal-making process in this piece, adds that ensuring audiences can from his former employer this regard, especially in the US.

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“With drama, we’re going into the US “again and again,” he adds. which could mean a local pitching at script stage with a (hopefully) Dempsey, meanwhile, says “It is a real player might be in a better exciting package of writer, director, producer BBCS’s flagship drama of the patchwork quilt now position.” and some key cast,” he says. “Depending autumn, Emily Mortimer’s and there is a lot Just how this demand on what the project is, there is an interesting The Pursuit of Love, is the more competition” for content will play out array of VOD platforms that we can pitch to subject of a bidding war in the Ruth Berry, longer term requires a long now. That creates competition and gives us US, aided by his company’s ITV Studios hard gaze into the crystal more opportunities and helps with the deal.” regional rights stance and the ball. While Covid-19 has Those deals are still often complex and demand for high end product. hamstrung every premium detailed, so it doesn’t necessarily make the “At the end of the day, we scripted project globally, agreement easier, he adds, but it means more need to finance the shows many are now beginning to places to go with the projects and therefore and make money, and we get the cogs of production more opportunities to finance the shows. put a lot in and need to whirring again. Yet when it comes down to a straight make it back,” says Richter. At the same time, there finished tape sale, rather than a pre-buy “In terms of deal making, it is has been a huge amount of dressed up as a co-pro, the financial might interesting that Amazon and most development going on during of a global deal often remains irresistible. of the other platforms are more flexible – lockdowns around the world that look “When a show is sought after and there’s they also take a more bespoke approach. likely to result in a flurry of programming strong competition for it, the global number, “We financed a show and went out with when the environment improves. Add that compared to selling territory by territory, is La Jauria from Fabula, which launched with to the evolving situation in the US – as the very di§cult to ignore,” Creasey continues. Amazon in Latin America, for example. giant studios look to jump the traditional “However, there are many instances when They only took Lat Am,” he says, allowing distribution mechanism and go DTC – and there is a lot of benefit to selling territory the company to sell to rest of world. it seems likely that the demand for finished by territory and longer term we can deliver There is also a question over how shows product, at least, can only diminish. strong royalties for our producers from the are marketed. Salisbury Poisoning requires “There is a question about how much revenues generated.” little selling to the viewer, he highlights, content will be co-produced and acquired Richter agrees that it’s a bespoke approach, unlike We Are Who We Are, the Luca from outside the vertically integrated and points to a show such as his recently Guadagnino drama that is being co- studios,” Creasey says. “For now, there are launched drama Salisbury Poisoning, with an produced by HBO in the US and Sky Italia, opportunities, as the streamers build out eminently sellable storyline that can work on which has been snagged by the UK’s BBC3. their new services. We will wait to see how a territory-by-territory approach. It can sell “On an original creative idea like We Are this plays out in the coming two years. Who We Are, it’s an outstanding show – you “The pandemic has skewed this for ITV Studios drama The Bodyguard was acquired want to explain up front what kind of series the time being as many platforms have by Netflix in 2018 but has since sold to Korea’s CJ viewers can expect and who should come to scrambled to find content now that their E&M and Seven Network in Oz, among others it so you need a bigger marketing approach, own pipeline has been impacted. Once this is up and running again, will these opportunities diminish? We are very optimistic, as we are platform agnostic and can co-produce and sell content to anyone.” Richter agrees. “There are numerous global platforms, but you also have the US studio consolidation and their DTC strategies. If Disney and Fox now sit in the same world and they’re launching their own global services, how much are they selling in the open market?” Such a vertically integrated industry for a few US-based giants is one thing, but what happens next will ultimately depend, as ever, on the viewer. As the industry starts to re-emerge after this most unusual of periods, the hope surely has to be that healthy competition will deliver engaging shows to keep all manner of buyers in business. TBI

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COMING TO SCREENS REGISTER AT ACROSS THE GLOBE www.asiatvforum.com

Starting 1 December 2020

Held in Produced by: An event of: conjunction with: Hosted by: In Support of: Held in: Supported by:

pXX ATF TBI OctNov20.indd 1 24/09/2020 12:10 Green SVODs | Getting greener

Next generation thinking

Helen Dugdale explores how content consumption is affecting the world’s climate and finds out what those commissioning the shows are doing about it

arlier this year, the UK’s BBC aired a The HBO Green program are showing huge commitment to sustainability documentary titled Dirty Streaming. As was piloted on several and want to work with us as we support the screen the name suggests, it made for rather shows, including industry in its transition to carbon neutrality by 2050 uncomfortable watching as it totted up how Succession in line with government legislation,” says Aaron Emuch energy viewers used consuming season after Matthews, head of industry sustainability. season of their favourite shows. Several streamers declined to comment on their It then explored what better use that energy could green policies for this piece, but Ellen Solberg, head of have been put to. If it meant to shame viewers into content at Hopster, was happy to share her insights. rethinking their endless trawling of streamers’ guides, “When we were in the oŽce, we were mostly then for many people it had the desired eect. paperless, we often used video conferencing to reduce But as much as the audience is guilty of driving the travelling and would minimise the amount of electricity demand for content, streamers and networks also have and recycling where possible,” she says. “But I think a responsibility to deliver the goods in a way that isn’t since Covid, all of us have been even greener than detrimental to the planet. before which is a wonderful positive from the terrible global pandemic, and we will try to carry on once Green thinking things normalise.” And it’s not just the pure-play streamers. In the US, We Are Albert, the self-acclaimed authority on WarnerMedia’s HBO kicked o its sustainable oering environmental sustainability for film and TV in the last year, which saw the recruitment of Heidi Kindberg UK, sings the praises of the SVOD community. “They as director of sustainability. “HBO launched an oŽcial

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sustainable production pilot program in 2019 on select strategy. “Currently, all scripted, US-based, direct shows in New York and LA,” she explains. “We want to become productions with HBO as the lead must follow the “From that came HBO Green, a robust program the one-stop-shop HBO Green program. As the program grows and, with six areas of impact: fuel, energy, materials, waste for people who as possible, additional shows such as co-productions management, community and on-screen, which have want to nd out without their own ‘green’ program - and unscripted - goals and policies to support them. Moving forward, more, learn more will be included to follow HBO Green’s policies.” all scripted, direct productions will follow the HBO and do more to HBO Green was piloted on numerous shows Green program, which also includes each show help the planet and including Succession, Divorce and Fletcher, resulting tracking their carbon footprint, adhering to certain best environment” in more than 375,000 single-use plastic water bottles practices and tracking ply purchases with industry- Sam Sutaria, removed from sets and approximately 54% of standard documents.” Waterbear waste diverted from landfills by recycling, donating One company that should know a thing or two and composting. More than 20,000 meals were about sustainable practices is the upcoming Waterbear redistributed and over $360,000 worth of wardrobe Network, which is the brainchild of Ellen Windemuth, and household items were donated to the communities CEO of factual production house O The Fence. in which they were filmed. The free-to-access platform launches in late 2020 For Solberg at Hopster, one area of focus is on the and calls itself ‘the first interactive media platform production companies it works with taking charge dedicated to the future of the planet.’ of their corporate social responsibility. “I think it’s “Ellen had the idea for Waterbear years ago and expected of every company to try and reduce their was inspired by the frustration around wanting to tell own carbon footprint and we all have a responsibility really high impact stories and have a free safe space to to look after our planet. Any company that is aligned do that,” says Sam Sutaria, its head of strategy. “We tell with our ethical brand values will ultimately be a more and distribute the stories of over 70 non-government favourable partner to work with.” organisations to consumers. We oer a broker user Keen to help steer content creators in the right experience and we want to become the one-stop-shop direction, Hopster created its Sustainable Production for people who want to find out more, learn more and Guidelines, which includes tips on energy saving at the do more to help the planet and environment.” oŽce, greener travel-planning and waste reduction. The audience for Waterbear is 18-34-year-olds and “We have a low carbon footprint, it’s the nature of the platform is launching with a network of integrated being an online business. Our footprint is mainly from partnerships, as Sutaria explains. “We’re building our oŽce space, and from travelling to conferences – a small exclusive network of founding corporate and where we can we use the train. Those two things partners that pay to be a member of Waterbear. We are have pretty much stopped since Covid, so we may be a direct-to-consumer channel for their sustainability carbon zero sooner rather than later. Once we’re back stories. It’s not a space for them to sell more products – in the oŽce, we’ve planned to bring a Greenpeace it’s a space for them to amplify the amazing pioneering speaker in to further inform the company and will work that they are doing in sustainability.” continue to do what we can to be as environmental as Matthews at Albert is keen for more streamers to we can,” adds Solberg. step forward on the programming front, too. “We For Waterbear, the current climate may well provide want to see SVODs taking the steps required to an audience that is eager to do more and know more reducing their carbon footprints as much as possible about the environmental issues facing the planet. Its and osetting what absolutely cannot be reduced. high-end documentary content fits within the UN’s “To really see change we have to see commissioners Sustainable Development Goals, while Sutaria and his and those working in editorial committing to bringing team are being trained on the Albert certification. the planet into their programming. It’s not enough to Waterbear is also moving away from having rely on natural history shows to highlight the eects of “foreign camera crews coming into a foreign land climate change, we need to see a sustained eort from and telling a story.” Sutaria says, “We’re all about all programmes across all genres.” empowering local talent. We’ve got an amazing 375K network of filmmakers around the world and our Balance of power vision is to tell these stories without flying anyone around.” The organisation is also aiming to run o While streamers and networks are adapting to greener Number of single-use plastic completely renewal energy at launch in November. practices, the expectations around the production water bottles removed from “The world is in dire straits,” Sutaria admits, “but companies they work with are also evolving. Over sets under the HBO Green fortunately for us, we can use Waterbear to hopefully at HBO, Kindberg is clear about her company’s program create a positive impact.” TBI

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Future-proo ng formats

With the pandemic upending the TV industry across the world, The picture was dierent in parts of Europe, Mark Layton finds out what the impact has been on the global however, with Jonathan Tuovinen, head of format sales business and how it has adapted to the new normal international at Finland’s Rabbit Films, revealing that there was no immediate impact on the company’s sales, but that the usual April-to-May post-MIPTV peak s the world continues to grapple with the “didn’t happen to the same extent as in other years, impact of Covid-19, and broadcasters possibly due to the fact that you were unable to meet find their budgets stretched thin, the up in person in the dierent markets.” knock-on eect for format distributors Tuovinen adds: “If you don’t have a super well- hasA been a mixed bag globally, with some looking to known brand or a format that has a really big well- deliver safer bets and others relying on their tried and known track record then your sales depend a lot on true relationships with existing clients. personal interaction and your ability to reach the key The immediate impact of lockdown, in some decision makers and that, of course, is currently being territories at least, was severe. “The industry had restricted to a certain point.” stopped acquiring formats altogether for a while,” reveals Adva Avichzer, head of distribution at Israel- The new normal based Gil Formats. “People were confused and didn’t City Vs Country is a “feel- know what to expect. Although everyone tried to lead good” quiz format from Once the new reality began to sink in, eyes turned ‘business as usual’ and were open to pitches, no one Rabbit Films that originally towards formats that could still be made safely and was really buying anything at first.” aired on MTV3 in Finland cost-eectively, while adhering to social distancing and

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the various regional lockdown guidelines. Nippon TV. “A great change has come in the way we “Shortly after the pandemic broke and the world entertain our viewers, – there is now more focus on “In Japan, had gotten into quarantine, everyone frantically looked the enhancement of production values by featuring production has for easy to produce, low-budget formats that could be characters from a new approach. resumed under shot under the Covid-19 restrictions,” says Avichzer. “For example, Double Booking, is a social scripted cautious safety “We tried to look for ways to make our existing format which reflects the times in this ‘new normal’. measures and we formats easy to adapt to the new industry needs – The story of fooling and being fooled in love, taking have new shows formats that have quick turnaround for pre-production place entirely on a computer screen, is something we coming up” and production, and are cost eective,” she reveals. all can relate to now, and it has also turned out to be Shigeko Cindy Chino, “A few of our formats we didn’t even have to tweak, pandemic-proof as well. Almost all the scenes are shot Nippon TV like On The Other Hand, Capturing The Moment and remotely with all the actors in dierent studios taking Oh My Dog, which can all be produced according to the utmost precautions. social-distancing rules and are economical in terms of “Our big new gameshow format, co-developed with budgets,” says Avichzer. The Story Lab, 9 Windows, features nine contestants Siobhan Crawford, head of sales and acquisitions at beaming into the taping studio, each from their Belgian distributor Primitives, shares another example. homes, through ‘nine windows’ – giant studio screens. “Before Corona happened, we had We Are The Actually, we started to work on this concept before World, which launched as what you would think of as the Covid spread. We wanted to focus on people and the opposite of Corona-friendly; it was travelling for build on characters from an unconventional approach six months around the world, going to nine dierent and luckily this happened to be a format we could also countries, gathering clips of people in dierent local produce under the pandemic situation.” countries to go into a studio quiz show. While format companies have been quick to adapt “But actually, we have all of the B-roll, we have all or push their already Covid-safe products, Crawford of the international footage, so now it’s the perfect believes those that have emerged as a specific reaction Corona show, you can buy the acquired footage and to the pandemic have a short life span. “I don’t think you can just put it straight into your own show.” anybody wants to see something that looks ‘Corona’ “It is not that we sought pandemic-proof and we’ve steered well away from anything with formats,” adds Shigeko Cindy Chino, associate MD Zoom video calling in Belgium, it’s overdone,” she of international business development at Japan’s says, further revealing that when pitching Primitives’

The actors in Nippon TV’s Double Booking were filmed remotely with no staff present during taping

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new format Container Cup to the UK’s Channel 4, your content is ready to keep going, because people she was told that the broadcaster was “moving past have already invested, there’s no risk, the broadcasters Corona programming”. are aware of performance, it’s more reliable.” “I think it was like a knee-jerk reaction that then She adds: “The industry is so relationship-led, you ended up not turning into anything,” agrees Tuovinen. have to just expect that your existing clients are the “I don’t think anyone is going to make their annual ones who will pick up.” goals based upon some Covid-safe format that they That’s not to say that format sales have come came up with.” to a standstill during this period. Far from it, with broadcaster confidence returning as time goes on. Risk-free recommissions “I actually feel there was an appetite for many types of formats, whether paper or well-travelled, just as Crawford says that Primitives has been focused on its long as they were Corona-friendly,” reveals Avichzer. existing client base during this time, rather than putting She adds that broadcasters have become more open out feelers to new business, which she said would be to paper formats, while there’s also particular interest “unrealistic.” from online and digital platforms. “I think recommissioning should be everybody’s “Some might be taking a little bit more time. But strategy to be honest,” she explains. “Making sure that we see no decline in broadcasters’ and platforms’ appetite,” says Chino, with Nippon selling gameshow formats Sokkuri Sweets to All3Media America and Pandemic-proof possibilities Red Carpet Survival to ITV Studios earlier in the year. The market situation is by no means back to pre- City Vs Country pandemic levels, but these format distributors at least Distributor: Rabbit Films say that things are getting better. Genre: Game Show “About halfway into what is our now ‘new reality’, Synopsis: Feel-good quiz show shot in a studio with only two hosts, and with around June, we began to sense a change for the the teams being entirely separate from each other and no audience needed. better,” says Avichzer. “Buyers slowly started to look Relatively straight-forward studio-production, so can be done with a limited crew. again for formats that are not necessarily ‘Corona- friendly’ but just what they would normally go for in Capturing The Moment the pre-Covid-19 situation. It’s not what it used to be, Distributor: Gil Formats but it’s getting there.” Genre: Factual entertainment Chino adds: “In Japan, production has resumed Synopsis: Emotional series in which under cautious safety measures and we have new shows individuals re-enact a photograph from their coming up that we look forward to introducing to the past that holds personal significance. Can global market as formats. Likewise, we are hearing news be shot without an audience with a quick about delayed filming picking up again here and there turnaround. around the world. We all want to be ready for post- Covid, and we noticed that our clients are searching for Double Booking family entertainment, stress free from Covid.” Distributor: Nippon TV Crawford agrees: “I think if you talk to people right Genre: Scripted mystery drama now, they are busier now than they have been in a Synopsis: A man books an online date with two women at the same time while. We are going to be profitable this year, which is – and faces some unexpected consequences. Shot almost entirely in remote, really positive. We’ve lost maybe five commissions we actors were filmed in different studios, with all action taking place on the expected to get, but it’s not been dire and we’ve been computer screen. careful.” While the picture may not be entirely bleak right Container Cup now, nobody knows exactly what the coming months Distributor: Primitives will bring and Tuovinen suggests that there may still be Genre: Sports competition a bumpy road ahead. Synopsis: Athletic celebrities are put to the “We’ll end this year on a good note, actually on a test against professional athletes in a variety of high note, I would say. But my worry is the things we physical challenges – with all the action taking would normally have interest in and start negotiating place inside two massive shipping containers, now. If they don’t materialise, then obviously next year aiding in keeping the production Covid-safe. and the upcoming couple of years are going to be the ones that are challenging.” TBI

36 October/November 2020

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Viewpoint Karen Smith Keeping the music playing through Covid

he Hit List season three started production local dentist! They were hot and uncomfortable and “Safety was always at the end of January 2020 before any of meant the sacrifice of a much-loved beard from one our number one us were aware that Covid-19 was going of our hairdressers, but the team were brilliant and consideration, but we to change all our working lives. When uncomplaining. Freelance staŽ have been hit hardest in were also supremely Tlockdown was imposed in March, and with studio lockdown and they were grateful that we found a way mindful of the dates booked for the end of April, no-one knew what to get them back to work. viewers’ experience was going to happen or when we’d be able to get We were unable to bring our full production team when producing” into the studio again. So we optimistically pencilled to studio because numbers were restricted and some several sets of dates and kept a constant watch on were shielding. This made things slower and more developments, keeping everyone in the loop and trying pressurised for the team that were in studio, but to anticipate when we could get into studio safely. everyone pulled together to make it work. Our production team carried on remotely and we Safety was always our number one consideration, had daily team video catch ups. By mid-June it looked but we were also supremely mindful of the viewers’ like there was a possibility of getting in to the studio experience when producing the series. Viewers aren’t by the end of the July, but first we had to recast a that interested in what you go through behind the number of contestants as they needed to be in the same scenes – they just want their favourite shows back on household or a social bubble. TV – and they don’t want to watch more “Covid-safe” The Hit List was the first BBC show with shows with guests on screens. contestants to head back into studio after lockdown And although we didn’t have an audience and the and the first back into Pacific Quay studios in Glasgow. format was tweaked a little, with the addition of more The studio management team in Scotland were moving lights, great casting and the energy of our incredibly supportive, working closely with our charismatic hosts, Marvin and Rochelle, I genuinely brilliant production management team to minutely believe no-one will watch the series and thinks it’s in plan every aspect of the production. Every member of anyway compromised or a ‘lockdown’ show. the team completed a Screenskills Covid-19 awareness As an indie boss and the executive producer, it was course prior to coming to studio. an anxious time for me personally. The responsibility Once in studio everyone had their temperature for the safety of the hosts, contestants, production team checked every day as they entered the building and a and crew weighed heavily. I was very keen to keep one way system around the building was implemented. all the team in work as long as possible and support More time was allocated to the get-in of the set which the freelance community, plus all Covid costs had to had also been modified so contestants were spaced two be absorbed by the budget and we were unable to get metres apart and the crew wore masks. insurance against anything Covid related. Podiums and buzzers were thoroughly wiped with But an incredible team eŽort, and support from the antiviral disinfectant whenever they were touched BBC, pulled us all through safely and there were lots and we tweaked the format slightly so no-one moved of positives too. The indie community in the UK came around on the set – and of course there was no studio together to help and support each other and we’ve audience as restrictions on social gatherings hadn’t had more emails of thanks than ever before from been lifted in Scotland. contestants who appreciated the extra mile our team As it’s a primetime Saturday night entertainment went to in looking after them. Karen Smith is MD of show on BBC One, we were keen to find a way to And despite everything I’m proud to say we made Tuesday’s Child and have hair and make-up for our contestants. We tried some bloody fantastic shows too. Because Covid, you Tuesday’s Child Scotland, FFP2 masks but they didn’t fit tightly enough to the can make life a whole lot harder, you can make us format producers of face to pass the face mask fit test, so we purchased anxious and concerned, but ultimately you can’t stop The Hit List 3M reusable half face masks 6000 series from a the music. TBI

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Formats Hot Picks The formats that caught our eye this month

can be produced in a socially entertaining is that it features distanced manner. everyday people who happen 9 Windows features nine to have amazing skills,” contestants, all beamed in from Fotini Paraskakis, EVP for their homes and appearing entertainment at The Story Lab, in the form of a giant, on- tells TBI. “They could easily set screen made up of – you be your neighbour with guessed it – nine windows. a hidden talent you had no idea Each of the contenders has they possessed. And although been discovered by one of the 9 Windows was developed show’s panel of three celebrities, some time before lockdowns who scour the country in search were a consideration, the show of the most remarkable and feels very much in step with unexpected talents. today’s environment.” Contestants proceed to reveal Although the show contains 9 Windows everything about themselves popular format elements, Distributor: The Story Lab including their extraordinary 9 Windows feels rather unique, Producers: Nippon TV hidden talents – which can be as Paraskakis explains. “Often, Broadcaster: Nippon TV anything from intricate body Japanese shows are more Logline: A funny and fast-paced gameshow-meets-talent contest camouflaging to blowing out freeform, whereas 9 Windows featuring nine contestants with astonishing and unusual abilities candles with a power-punch has a clearly defined structure, – in an attempt to impress a making it easy to adapt for This unique gameshow with Japan’s Nippon TV and studio-based jury and take diŽerent platforms and markets marks the first format to be combines elements of the home a cash prize. around the world, while still launched by The Story Lab’s traditional talent show with an “What makes every episode retaining a brilliant Japanese co-development partnership interactive studio setting that of 9 Windows so relatable and creative twist.”

Pooch Perfect works. “Dog ownership is revel in our furry friends being Distributor: Beyond Rights also on the rise; lockdown has pampered and to learn a little Producer: Beyond Productions (UK) led to a dramatic increase in more about how we can best Broadcaster: Seven Network, BBC One puppy purchases in a number care for them is exactly what Logline: Professional dog groomers compete in a series of ‘pawsome’ of countries, so many nations audiences are crying out for.” themed challenges to create epic ‘transfurmations’ of family pets are more obsessed than ever The format is also Covid-safe with its canine companions. To – the UK series was made while Combining canines, curling canine contenders and choose have a format in which we can in lockdown – adds Pattison. tongs and competition, Pooch who ultimately becomes the Perfect aims to capitalise on the nation’s top dog groomer. world’s love of dogs and their “Right now, people need owners’ love of grooming them. joy in their lives and Pooch The show is billed as a Perfect delivers just that – huge primetime entertainment format amounts of glorious, furry that features 16 professional fun,” says Damon Pattison dog groomers competing in a from Beyond Productions in the series of heats across various UK, which had the original idea themed challenges. Each week, for the format and is producing the groomers will reveal their the BBC One version. An creations on The Dogwalk, Aussie show for Seven Network where two expert judges will – hosted by Hollywood star deliberate over the week’s Rebel Wilson – is also in the

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How To Become Superhuman Distributor: Red Arrow Studios International Producers: Snowman Productions Broadcaster: Discovery (Denmark) Logline: Can a group of celebrities unlock their own superpowers and achieve the impossible, in this new adventure format

This celebrity-driven format also a visually spectacular series, first emerged earlier this year in which, during a time when the Denmark, following local tennis opportunities for international ace Caroline Wozniacki and her travel and exploration are family as they trained to climb limited, provides audiences with Mount Kilimanjaro. escapism and a chance to visit The show was originally new areas of the world.” produced by Snowman Challenges abound for Productions for Discovery competitors but as Mette Network Denmark and is now Nissen, Snowman’s head of Tough As Nails being launched as a format for programming, highlights, the Distributor: ViacomCBS Global Distribution Group the global business. It follows format has already faced the Producer: Raquel Productions., Tough House Productions celebrities who are trained to problems caused by Covid-19. Broadcaster: CBS (US), Global (Canada) untap their hidden superpowers “Denmark went into Logline: Competition format that celebrates everyday Americans who in only four weeks, with three lockdown just at the end of consider the calluses on their hands a badge of honour mentors on hand to train them production,” Nissen tells TBI. in three areas of ‘superhuman’ “We were almost at the top of “So many people who are on The relevance of the format, endeavour, from learning to Mount Kilimanjaro when we TV aspire to be famous or show he adds, is clear, as countries withstand ice cold temperatures had to tell the cast and crew oŽ a particular skill, whether look to their essential workers to surviving for long periods about the worsening situation it’s singing or dancing or being to maintain some semblance of without air. They must then face and give them the opportunity an influencer or being the next normality during the pandemic. the ultimate test: to scale one to turn back and go home. big star,” says Phil Keoghan of The US show was the first of the world’s highest and most Fortunately everyone decided to this rough, tough competition reality programme ever delivered challenging mountains, wearing continue and we were able to format. “We wanted to do a to CBS in 4K and had a clear as little clothing as possible. get everyone home safely.” The show that was about real people focus about those it cast. “It’s “It’s a new take on the reality- format also creates a camaraderie in real life who are real tough.” a show where every single driven adventure format because between celebs and crew, she The show celebrates unsung person was hand-picked based the celebrities need not only adds. “Everyone depended heroes and requires contestants on some connection they have physical stamina, but mental on each other’s help and trust. to test their strength, endurance, to a blue collar job, so there stamina too as they must learn Without that, no one would have agility and mental toughness was a tremendous amount of how to engage the power of the reached the top. We were also in a variety of challenges, with time making sure that everyone mind to achieve their final goal,” surprised by how easy it was a winner crowned at the end understood the people who we Tim Gerhartz, SVP of global to cast, many celebrities were of the series. Those who don’t were making the show about.” sales at Red Arrow Studios interested in taking part in the make it to the final rounds of the For Keoghan, this focus gives International, tells TBI. “It’s series when they heard about it.” individual competition have the the format global relevance. opportunity to win additional “It will appeal because it prizes in the team competitions doesn’t matter where you go throughout the season. in the world, there are men Keoghan, who hosts and and women who keep their exec produces the US show, countries running. There is a tells TBI the format provides a bond that working class people spotlight “on the people who have around the world and keep countries running, who roll whether it’s a farmer, someone up their sleeves every day, get that clears drains, puts in wires, the job done and who are going pours concrete, builds buildings, back to work after they come whatever it is, these people are and compete on our show.” part of making countries work.”

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e colourful world of co-productions

Sharing production costs on unscripted projects was on the increase prior to Covid-19, but is the pandemic accelerating this further? Tim Dams explores how the partnership trends are developing

Magical Land Of Oz is an udgets for unscripted productions have, This has made financing unscripted even more Oxford Scientific Films and by and large, been on a downward slope challenging than in the past, with many producers Northern Pictures co-pro for a number of years. It all depends, of saying that domestic tari s no-longer cover the true cost for the BBC, PBS and ABC course, on which broadcaster or streamer of production (which has itself risen due to Covid-19 Bis commissioning – budgets have actually risen for safe shooting protocols). For many producers, it is now premium unscripted, notably for streaming services. becoming diƒcult to make commercial sense of making However, as in so many areas of life, Covid-19 unscripted shows domestically. has acted as an accelerant, speeding up the overall The cuts have been most acute at commercial downward trend in unscripted budgets. Many broadcasters. Faced with steep advertising falls of up to producers report that unscripted programme budgets 50% during lockdown, they made drastic cost-savings. from public service and commercial broadcasters have In the UK, for example, ITV slashed £100m fallen by around 5-10% this year, and in some cases ($129m) from its overall programme budget, while much more than that. fellow commerical broadcaster Channel 4 cut £150m.

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Spending slashed territories in order to get a show commissioned,” he explains. “It’s a much In some cases, broadcasters have saved money simply As an example, Ford cites Australian true crime larger trend than by cutting back on ordering shows. “Spending has story The Night Caller, a Stan Original from EQ Covid-19. We’ve taken a huge hit, for one simple reason,” says Martin Media Group and Salon Pictures, that has been pre- been in a world of Durkin, CEO of UK production and distribution firm sold to AMC Networks’ streaming service Sundance collaboration for Wag Entertainment. “Broadcasters know we can’t Now in the US and Canada, Sky Crime in the UK a while already” film stu . So why should they hand over the money.” and DR in Denmark ahead of its oƒcial launch by Samuel Kissous, Jonathan Ford, managing director of distributor Abacus at MIPCOM. Pernel Media Abacus Media Rights, confirms that broadcasters Going global is one way of cutting costs, says are cutting spend in the wake of coronavirus. Durkin. He cites Wag’s returning series What On “Advertising revenues have fallen and there have been Earth? and Strange Evidence as good examples of cuts in spend across the board,” says Ford. “Some truly global brands. “They go out in most territories broadcasters are delaying buying until 2021 or in the world. They’re shows that broadcasters can beyond. Or they are delaying start dates to 2021 so acquire for a fraction of the price they’d normally that the licence fee comes out of next year’s budget.” have to pay.” Cecilie Olsen, SVP of global content, non-scripted, Durkin adds: “Broadcasters are under pressure to at ITV Studios, says that broadcasters’ decision to acquire more content for less money. One way of cut budgets due a lack of advertising spend in recent doing this is to share the cost burden of programming months is “natural and understandable”. But, she with broadcasters in other territories. This means stresses, the trend for broadcasters to look at where compromises. The content is less local in flavour. But they could cut spending started before the pandemic. they get a much bigger bang for their buck.” “What it has perhaps led to in some territories For such co-productions, the usual rules apply in is broadcasters looking even closer at where they terms of what content works best. can come up with creative collaborations and save Character led shows and docu-soaps with local money,” says Olsen. interest are far harder to sell into the international Such collaborations – whether co-productions or market, notes Durkin. international pre-sales – have long been an important By contrast, shows with “international relevance” part of funding shows for many producers. But they are best suited for global partnerships says Ford, may become even more widespread due to Covid-19 citing history, science, crime or those featuring well- and broadcaster budget cuts. known presenters or personalities. “Again, it’s a trend that had already begun prior Olsen explains: “We tend to see projects that are to the pandemic,” says Olsen, pointing to the deal universal, or speak specifically to certain territories, The Night Caller has pre- that ITV Studios struck at end of last year for The work better as a co-production. That’s why natural sold to broadcasters and Garden’s 24 Hours In Police Custody with ID USA history projects are a good fit – they have been platforms in the US, UK, and Channel 4, to produce a US version of the working in this way for many years.” Canada and Denmark programme. Olsen also picks out natural history series Magical Land Of Oz, an Oxford Scientific Films and Northern Pictures co-pro for the BBC, PBS, Screen Australia and ABC. Samuel Kissous, president of France-based production company Pernel Media, also puts a potential rise in unscripted partnerships into context. “It’s a much larger trend than Covid-19,” says Kissous. “We’ve been in a world of collaboration for a while already.”

Partnering for take-o

Yet partnership deals are becoming increasingly important simply to get a show o the ground, says Abacus’s Ford. “There is a model by which we are exploiting pre-sales into multiple broadcasters’

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What On Earth? is a “truly Hindering or helping? the co-production agreement with its Canadian global brand” says Wag partners. As lockdowns hit, it quickly became Entertainment CEO Martin It’s not just certain subject matters that are hard apparent that this would not be possible. To honour Durkin, as it goes out in to collaborate on internationally though. Pernel’s the co-production agreement, post is now going to most territories in the world Kissous provides a note of caution about any take place in Canada instead. immediate rise in unscripted partnerships due to “It means that we will be editing a series in the pandemic. Canada with a director based in France, which “In certain ways, Covid can accelerate is going to be fun,” says Kissous. “So, actually, partnerships. But it can also hinder it – because how Covid-19 has been a big hindrance in the co- do you set up those collaborations if you don’t meet production because we cannot bring the shooting people? Collaborations actually start when people teams together in the same territory, because flying meet. You can say as much as you want about is an issue.” Zoom, but nothing replaces two people meeting Because of ongoing Covid-19 travel restrictions face to face.” and the fact that physical markets like MIPCOM His point is backed up by Martin Durkin. Asked have gone online this year, it’s becoming increasingly for his advice on how to strike global unscripted diƒcult for producers to strike up new partnerships partnerships, he says: “Get on a plane, if you – leading many to fall back on existing relationships. can find one. To sell global you need to travel. Says Kissous: “You can work with people you’ve Broadcasters don’t like buying from people they’ve worked with before Covid, but it’s more diƒcult to never met, or have only met once.” do so with new people because you don’t really have But, with a second wave of Covid-19 now a chance to meet anyone.” looming in many parts of the world, travel is only On the plus side, however, non-scripted is likely likely to become harder. to emerge as a winner out of the pandemic as Kissous illustrates the challenge this can now broadcasters look to restock their slates with content cause. Speaking over the phone from a French that is relatively more a ordable and easier to castle location where Pernel Media is shooting produce under coronavirus restrictions than genres the fourth season of The Real War Of Thrones: A such as scripted. History Of Europe – about the reign of Louis XIV Against this backdrop of rising demand but falling – Kissous points out that the docu-drama series is a budgets, partnerships are likely to become an even co-pro with French-Canadian production company more important part of the non-scripted funding Idéacom International. mix – albeit for certain kinds of programmes only Initially, Pernel Media had planned to bring over and for producers who already have well-established some Canadian crew to France as a condition of global relationships. TBI

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p42-44 Factual Copros TBI OctNov20-ML.indd 44 02/10/2020 16:51 17-19 NOVEMBER 2020 LILLE, HAUTS-DE-FRANCE (FR) Illustration partially designed with Freepik by Nicolas Haye - Studio Redfrog Illustration partially

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pXX Cartoon 360 TBI OctNov20.indd 1 22/09/2020 14:44 TBI Factual | Hot Picks

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

Cured Distributor: Drive Producers: Story Center Films, Singer & Deschamps Productions, Independent Television Service (ITVS), with funding provided by the Corporation for Public Broadcasting Broadcaster: PBS (US) Logline: Until 1973, US psychiatrists classified every gay person as mentally ill. Cured spotlights the activists who challenged this diagnosis

This documentary reveals the “Cured stands apart because story behind the battle between it highlights a pivotal but LGBTQ activists and the little-known moment that American Psychiatric Association changed the course of history (APA), who until 1973 classified for LGBTQ people around the homosexuality as a mental illness. globe,” says Patrick Sammon, this decision reverberated far The project has been five The timely show, available as a president and founder of Story beyond the US, reframing not years in the making but started 90-minute or 60-minute special, Center Productions. “Far from only the medical establishment’s production just in time to capture tracks what is arguably the most being an arcane chapter in view, but also LGBTQ people’s interviews with many of the significant turning point in gay the history of psychiatry, the conception of themselves.” major protagonists in the story. liberation history, combining epic battle that led the APA to The show’s relevance today The result, he adds, is a doc eyewitness testimony with never- remove homosexuality from its hardly needs emphasising but that “stands as a lasting legacy before-seen archival footage to manual of mental illnesses was a Sammon says one of the key to the pioneers who put their illuminate the strategy and tactics revolutionary moment,” he tells messages is “the revelation that a careers and reputations on the that led to a pivotal moment in TBI. “Given the APA’s influence handful of determined individuals line in order to advocate for this the struggle for LGBTQ equality. on psychiatry around the world, can transform an entire society.” momentous change.”

A Perfect Planet Challenges were many and also dives into the myriad Distributor: BBC Studios varied, he says, but adds “it creatures that call Earth home Producers: Silverback Films would have to be a toss-up and provides deep insights into Broadcaster: BBC, Discovery (US), Tencent Penguin Pictures (China), between logistics (because we how animals have adapted to ZDF, China Media Group CCTV9, France Televisions filmed in 34 countries across the ever-changing planet and are Logline: A unique fusion of blue chip natural history and earth almost every continent), the able to survive to whatever the sciences that explains how the living planet operates increasingly unpredictable environment throws at them. weather, and filming very It is, he adds, “a completely This blue chip natural history America’s vampire finches, with ambitious animal behaviour.” fresh narrative” about Earth programming focuses on the intimate insights of the animal’s Cordey, who is series and likely to throw up more forces of nature to explore lives. It is also a timely entrant producer, adds that the show than a few surprises for viewers. how they drive, shape and to the increasingly competitive support Earth’s great diversity world of premium natural of life. From Kamchatka to history series, according to the Galapagos, China to the Silverback Films’ Huw Cordey. Bahamas, no expense has been “The pandemic has exposed spared on delivering stunning our vulnerability and with the footage from locations around potentially catastrophic impact the world to provide insights of climate change on our into our planet. doorstep, there has never been Expect to see a huge array of a better time to reflect on how animals, ranging from Russian perfect our planet really is,” bears in Kamchatka to South Cordey tells TBI.

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Mega Zoo Distributor: Fred Media Producer: WTFN Broadcaster: Nine Network (Australia), Animal Planet (US) and TF1 (France) Logline: Behind-the-scenes at the southern hemisphere’s largest zoo, where caring for 5,000+ animals is all in a day’s work

This animal-focused show and keepers adapt when the highlights not just the ever- gates are closed to the public for present interest in animals the first time in 157 years. among viewers but also the The show combines many Me And My Penis adaptability and ingenious rare and rarely-seen creatures Distributor: TVF International invention shown by producers using rock cams, remote Producers: Burning Bright Productions during the pandemic. controlled cameras and Broadcaster: Channel 4 Filmed in Australia at Zoos elaborate camera rigs, says EP Logline: This ground-breaking film sees men bare and reveal all Victoria’s three vastly diŽerent at WTFN Steve Oemcke, but to British artist Ajamu X to discuss and redefine understanding of sites: first, there is the Melbourne also features an “extraordinary” masculinity and the male body Zoo on the city fringe; then human cast, which “bring the savannah of Werribee drama and real emotion to Don’t be mistaken by its title, mainstream TV and that’s the Open Range Zoo; and finally the screen and many touching because this special is in no point. Me And My Penis aims Healesville Sanctuary, home of moments.” way a flippant 47-minutes of to break the taboo around the Australia’s most iconic animals. “We all need feel-good television. Instead, it dives into male sex organ and start a frank As expected, it oŽers behind- programming at the moment a subject area that has been conversation about masculinity.” the-scenes access to some of and Mega Zoo will deliver remarkably unexplored on TV The challenge was to persuade the 5,000 animals and the 800 wonderful feel-good moments to date, resulting in a fascinating men to open up and be honest staŽ who look after them, but in every episode,” he tells TBI. exploration of men and their about their masculinity, he adds, it also embraced innovative “It is also a great series for all the reproductive organ. but it also highlights how much camera technology – including family – so we can help bring The show is from the award- the conversation has moved body/harness cameras worn by people together too.” winning producers of 100 forward. “Even as recently as zookeepers – to gain insights The global appeal, he adds, Vaginas and sees men discuss 2015, this portrait of masculinity into zookeepers’ daily lives as is clear in its appearance on what masculinity means to and the fluidity it presents producers attempted to work screen. “It’s been beautifully them. UK artist Ajamu X makes wouldn’t have been possible,” around Covid-19 restrictions. filmed, so looks good, but it intimate photographic portraits, says exec producer Susanne The result is an obs-doc series also takes viewers right into the based on their experiences, to get Curran. “The men – non-binary unlike any other, which explores heart of this huge zoo and gives them to rethink the way they see men, trans men, everyone from both the challenges and daily them a unique behind-the-scenes their bodies and themselves. policemen to performance artists activities of a huge zoo-based appreciation of what it takes to The men, meanwhile, talk – wouldn’t have been there. This conservation organisation but keep it running – something they candidly about everything from is a film that could only have also dives into how the animals would never see as a visitor.” sex and infertility to violence, been made in 2020.” sexual abuse, homophobia and The show, which is believed mental health, to explore the to have become the first to have physical realities of the penis. aired in the UK to include shots And above all, it is moving, of an erect penis when it debuted as Clive Tulloh, MD of Burning on Channel 4 recently, also oŽers Bright Productions, explains. global insights. “It is a serious, thoughtful “We are confident that attempt by Ajamu to address this new film will resonate men’s vulnerabilities, break with audiences far and wide down taboos and explore what because of its open, honest the penis means psychologically and artistic approach,” says to men. The film is full of TVF International’s head of stories you don’t often hear on acquisitions, Will Stapley.

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Fatal Shot Distributor: DCD Rights Broadcaster: Mediawan Thematics (France), Autentic (Germany) Executive Producers: Serge Ou, Michael Tear Logline: One action can change the course of the world

On average, a world leader is a full series individually, it was assassinated every two years – found that by telling the story something that producers believes of assassinations there was a makes Fatal Shot a timely commonality to them all,” exec reminder for viewers globally. producer Serge Ou tells TBI. Diving into archive material “These events, at their very core, and interviews with historians, are about human beings. The journalists and academics, this human beings who are tragically four-parter uses forensic research killed and the human beings that locations and interviews filmed matter, does not entertain and hard facts to explore the commit the acts. So often these and no idea of how, or when, the conspiracy theories. “Obviously, motives, methods and minds stories are pared down to just other half could be completed.” there are hundreds of, if not of assassins. Each episode the act of assassination and lose It became, he says, an intricate more theories floating around diŽerentiates between types of perspective on the individual dance of communication, safety about the assassination of JFK killers – from religious zealots humans involved.” protocols and luck. and Martin Luther King Jr. but to political extremists – and The show was forced to “Interviews with the experts the more time we spent looking attempts to identify the cause that navigate the challenges of the were filmed under extremely at the subjects, and the more we an individual or group seeks to pandemic, adds director Andrew strict conditions with the director focused on the facts, the more further through their actions. Southwell, who found himself communicating remotely from we realised that the truth is out “Whilst each assassination and his team “in the very tricky the other side of the world.” there and it is mostly publicly event could have been made into predicament of having half our The show, despite its subject available,” adds Southwell.”

e Nazis Of Nuremberg of the potential consequences prosecutors in Nuremberg Distributor: Passion Distribution when division becomes a tool by during the trials but, as part Producers: Middlechild Productions which power can be gained and of a war crimes investigation Broadcaster: Channel 5 held on to.” team, he was also one of the first Logline: Exactly 75 years ago, the ‘greatest trial in history’ was The doc also includes many American soldiers to witness dramatically unfolding in a court room in Nuremberg, Germany details of the trials that are the devastation left behind by largely unknown, including the Germans as they retreated Marking the 75th anniversary Andrew Eastel, creative director details from Ben Ferencz. “He through Europe. It puts things of a pivotal moment in the at Middlechild Productions, tells was interviewed for the film into perspective when he says 20th Century, this archive- TBI. “It has been painstakingly from his home in Miami. He that until then “they didn’t even based documentary uses newly crafted with over 1,200 archive turned 100 this year. Not only know the term ‘concentration digitised footage from the trial to clips, many of them only was he one of the American camp’, they had no idea.” follow the twists and turns of a recently digitised from the trial courtroom drama like no other. itself, so the story plays out like a The show tells the story of the modern court room drama.” most incredible war crimes trial The relevance today is clear, the world had ever seen, oŽering he adds. “The Nuremberg Trials insights aplenty along with an were a first in international almost cinematic experience law, the impact of which we because of its lack of voice over. still see today whenever our “This feature length leaders are held to account documentary tells the for crimes against humanity. breathtaking story of the As we find ourselves in an Nuremberg Trials, when senior increasingly populist leaning Nazis faced Allied justice in political landscape, this film is court after World War Two,” extremely timely, reminding us

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p03 Magic Light Pictures TBI AugSep20.indd 1 27/08/2020 17:45 TBI Kids | Cartoon Forum

Cartoon Forum: e Highlights Reel

The Upside Down River artoon Forum may have moved online this year, but that doesn’t mean that there wasn’t still plenty to see, with 80 projects from 22 European countries presented to 260 buyers on Cthe new digital platform, many of them joining in for the fi rst time. Usually based in Toulouse, France, the event had to change its plans due to the pandemic, meaning no Cartoon Tribute this year either. But organisers stuck to roughly the same schedule and still ran across the three days of 15-17 September, with a total of 445 hours of animation on show online, with a combined budget of €327.2m ($383m). Home team France brought the most projects to the table, showcasing 31, followed by Ireland with eight, while Denmark and Spain were tied with six. Like last year, French animations once Goat Girl again received a lot of the attention, with large numbers of attendees logging in to view pitches for Dandelooo’s The Upside Down River, Cyber Group Studios’ Monster In My Pocket, Xilam Animation’s Gemma & The Defenders, TeamTO’s Tiny Island, Wonder Wai by Ellipsanime Productions and Alex Monster In My Pocket Player by Bee Prod. These were joined among the top 10 most-seen projects at the Forum by two Irish oŽ erings; Hanna & Nana by JAM Media and Goat Girl by Daily Madness Productions, as well as German outfi t Toon2Tango’s Hey Fuzzy Yellow and Luxembourg prodco Radar’s Mouse Ketti.

Tiny Island A novel idea

Projects adapted from comic books and novels continued to prove popular this year, with more than 20 among the selection, including Duo Animation Production’s Girl power Fram – The Polar Bear, Dandelooo’s The Upside Down River, Autour de Minuit’s Two Little Birds and Gao Shan Pictures’ The Possum That Didn’t. t Another trend picked up on this nd Do y A year was the growing number ais D of productions led by female Two Little Birds teams behind the scenes or featuring leading female characters, including such projects as Tripode Productions’ Immobile Stars, KEDD Animation Studio’s Daisy And Dot, Daily Madness Productions’ Goat Girl and Wiggleywoo’s Finula Gilhooley.

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p50 Cartoon Forum Report TBI OctNov20-ML RJM.indd 34 01/10/2020 21:34 pXX Xilam1 Oggy TBI OctNov20.indd 1 22/09/2020 14:39 TBI Kids | Global Generation Dancing to a global beat

Streaming has created a generation of kids for whom watching content from outside their own borders is the norm. Helen Dugdale explores what effect this is having on the industry

he abundance of programming that from outside Australia, predominantly from the UK, Shows that deal with issues children have at their fingertips in 2020 Canada and USA, as we only make a small amount such as sexuality, like Find would have blown the minds of kids from of local kids content,” says Bernadette O’Mahony Me In Paris (above), are the 1980s and 90s. With just a scroll and a head of development and production at the Australian becoming more welcome Tclick, they can be transported to anywhere in the world Children’s Television Foundation. in the global marketplace and – as Laura Nevanlinna, CEO and co-founder of “What the streaming environment and other online entertainment and brand agency Ferly, highlights – it platforms have done is provide opportunities for them is creating a generation of viewers who are growing up to find content from non-English speaking territories, with a TV industry that is becoming more democratic. niche and other content that caters to specific interests “The YouTube generation gets to see things from so – and more options and more content. Content that many dierent places and dierent types of content. would not have found a home here on the small It’s helping to make children more agnostic to where number of traditional platforms.” the content is coming from as they’re growing up with Jonathan Clarke, founder of indie animation access to programmes that reflect not just their own company Distillery Films, echoes O’Mahony’s lives,” Nevanlinna says. Ferly’s original IPs spread from thoughts. ”The kind of programmes I grew up pre-school to high school, and include Angry Birds watching was definitely global content here in Ireland. Blues and Piggy Tales. We didn’t really have much homegrown animation at While some think this global generation is thanks to the time. I watched shows that were coming from the streamers, others believe the TV industry has always US and the UK.” After working in animation for 10 oered access to shows and content from around the years, Clarke set up Distillery Films in 2017 to focus world, just maybe not on such a scale. “Australian on making content that is audience-centred and more- children have always been exposed to kids content relevant to the emerging audiences.

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Discerning demands sensitive issues, as Levy has found. “We’re getting a “As professionals, lot less pull back on things that we used to do in the we really have to With kids now able to watch huge swathes of content past. In Find Me In Paris, there is one character that treat children like from abroad, the demands are increasing. But how is is gay, not very overtly, they just have a crush on the adults with shows this changing audience tastes and what does it mean boy in the series. A few years ago, Disney was so that respect them for show makers? Monica Levy, Federation Kids & against anything like that. But we are finding that the and consider them Family’s head of sales, believes the eects are positive. world is evolving. With this global generation, people important viewers” “I think it’s a good thing. They are harder to please are starting to realise that everywhere has the same Monica Levy, but there is more watching going on and they are more problems, and they want to feel good about themselves Federation Kids open to watching foreign-speaking programmes. They and feel part of a community.” & Family have become more discerning and are demanding Clarke praises the animation broadcasters for being higher quality programmes because they are brave when it comes to dealing with contentious exposed to all dierent kinds of cultures and the best issues. “In animation, we’re breaking a lot of new programming from everywhere. As professionals, we ground that other producers have been reluctant to really have to treat children like adults with shows that do. Nickelodeon has done a lot of stepping forward to respect them and consider them important viewers.” address gender binary and same-sex relationships.” Sarah Muller, head of BBC Children’s acquisitions Nevanlinna wants streamers and broadcasters of and independent animation, adds: “We still think it’s kids shows to work together to make sure that real about great storytelling and compelling characters, life – the good and the bad – is represented on screen. whatever those stories are and wherever they’re from. “There are a lot of conversations that kids will hear If anything, this enhanced exposure has added a around gender, race and politics. If you don’t show layer of sophistication to the audience and the type that in some way you’re missing a part of their life and of content that they want to consume – meaning missing the chance to show a more equal world. standards and expectations are now very high.” “It is important for children to see themselves and to Clarke from Distillery Films also notes the demand see families like their families. The families don’t need for higher quality programming and says the industry to be from the same part of the world as the viewer. It’s must listen to its audience. “Producers have to make more about do you recognise the circumstances, the content that is super-relevant to what the audience is structure and the interaction. The situations you show looking for, which on a global scale is being sensitive to will be similar across the world from sibling rivalry, to the dierent audiences and the cultural dierences and bullying, all those things that kids go through.” having an awareness of what that means.” For O’Mahony, the streamers have raised the bar. Sliding States, global growth “High-quality content is in demand, strong stories that appeal globally, and it’s allowed for higher budgets, Young viewers open to an array of global content – so we are seeing some concepts which in the past we coupled with outward-looking streamers – are also might have considered too expensive to make for only aecting the traditional centre of power for the kids a local broadcaster, or which may have not been made TV business. For years, US content has dominated the at all locally, find an audience.” kids market and it looks almost certain to remain the key player. As Nevanlinna explains, there will remain a Sensitive issues demand for the safe programmes that the US market is known for producing. “The volume of content now is One notable impact of the influx of more audience- huge. It makes it harder when parents ask themselves focused content is the eect it is having on tackling ‘what can my child watch safely?’ Certain companies have a seal of approval for parents so they can be a safe place to go for kids – like the Disney universe.” But producers, distributors and creators are seeing platforms and broadcasters actively looking beyond the US for shows now. “The streamers have levelled the playing field in some ways, even though most are Angry Birds Blues is from US-based,” says O’Mahony. “They are more outward- Ferly, whose CEO Laura looking than the US studios have been in the past, Nevanlinna says kids are they have created more opportunities, they are actively becoming happier viewing looking for non-US created and produced content and shows from other countries engaging more widely with content makers.” TBI

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

e Upside Down River very strong heroine but actually future, courage, curiosity, Producer: Dandelooo unveils her cracks.” humour and cuddliness – you Distributor: Dandelooo She adds: “Their destinies have them all.” Broadcaster: Canal+ cross and both are kids who will Aimed at 8-12-year-olds, the Logline: A young girl and the boy who loves her set out on evolve, thanks to each other. series is expected to land in early adventurous quest in a fantasy world to find a mythical river Their world is fantastical and 2022 and Canal+ is already magical, they are beautiful and onboard to broadcast the show. Paris-based outfit Dandelooo She is joined on her quest by authentic and with many values Sirvin says that the series should are producing and distributing Tomek, a shy boy whose world emphasised such as friendship, appeal internationally due to this 9 x 26-minute animated is turned upside down when love and courage, the series will its universal stakes. “How do adventure, based upon the Hannah enters his shop one day appeal to both boys and girls.” I grow up in a maelstrom of children’s novel La rivière à and captures his heart. Tomek Sirvin says the series is emotions facing adversity, letting l’envers by author Jean Claude soon begins his own mission to bound to capture children’s go of the past, building the Mourlevat. Set in a poetic win Hannah’s love. imagination with its strong future, finding my role, creating fantasy world, it tells the story Emmanuèle Pétry Sirvin, a emotional storytelling: “The strong relationships? of Hannah, who is searching partner at Dandelooo, describes thrill of adventure, the urge “It’s a refreshing, honest and for drops of water from the Tomek as “an anti-hero who for eternity, the pain of loss, moving series about hope and mythical Qjar river in order to surpasses his weaknesses,” the longing for love, the power an adventurous journey to the heal her sacred bird. while Hannah “seems to be a of friendship, the fear of the end of the world,” she says.

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p54-59 Kids Hot Picks OctNov20 - ML RJM.indd 54 02/10/2020 11:20 TBI Kids | Hot Picks

Presto! School of Magic Doopie Producer: TeamTO Producer: Submarine Distributor: Federation Kids & Family Distributor: Superights Broadcaster: M6, Canal+ Broadcaster: N/A Logline: Animated comedy about a group of children who join a very Logline: Hybrid live-action/stop-motion series for pre-schoolers, special school to learn the art of magic following the adventures of well-meaning plush toy Doopie

Based on Studiocanal’s worldwide. It is the ‘magic’ theatrical release The House element that kids love as they Of Magic, this 52 x 11-minute can enter a world of escapism spin-oŽ animated comedy series and mystery, where anything from Paris-based TeamTO is possible. Presto! School Of tells the story of a group of Magic oŽers all that and more. talented children who dream of It is a fun, light-hearted series in becoming magicians. which our heroes discover the Among them are star secrets behind the magician’s students Dylan and Lisa, curtain.” along with friends Nica, Violet French broadcasters M6 and and Vincent, all of whom Canal+ are already on board become pupils at the school as partners, while the series of renowned retired magician will be distributed worldwide, Lorenzo. The youngsters have outside of China, by Federation diŽerent reasons for attending – Kids & Family. but all of them share a passion Levy says it is the show’s for conjuring, illusion and the magical nature that will give craft of magic. it global appeal: “Magic is a This 26 x 7-minute series is interacts seamlessly with all the “We believe this is the only universal skill (and passion) that a hybrid of live-action and live-action actors”. animated kids show that is has transcended cultures and stop-motion, following the He adds: “Every episode about the real ‘art of magic’, generations throughout time, titular Doopie, a plush toy who features a diŽerent child actor says Monica Levy, head of sales so when it comes to attracting lives in a store and goes out of around 4 to 6 years old,” at Federation Kids & Family. young viewers on a global into the world each day, where explains Felix: “Looking at “We all know that magic as scale, there are no barriers. It is he embarks on all kinds of kids their own age acting and a theme is timeless, enchanting an uplifting, fun, entertaining adventures with the children that interacting is very important for and intriguing for kids comedy that kids will enjoy.” he meets. the target audience, as they start Doopie and the children often discovering their own world.” land in bizarre situations, which Felix explains that by its the gentle toy manages to solve design, the series should appeal in his own unique, illogical, but to children all over the world: entertaining way. “The magical store where “Doopie lives in a world Doopie lives in is designed to with a slight elevated reality, be a heightened reality in which which gives it the magical touch cultural specificity is avoided, pre-schoolers enjoy,” says making it an intriguing world Bruno Felix, co-founder at series for kids. producer Submarine: “Doopie’s “Each episode features a child curiosity and fascination for the from a diŽerent continent, who world matches that of young shares Doopie’s curiosity and viewers, making Doopie a fun the desire to have fun. Doopie and empathetic character.” also helps the children deal The series features a unique with any struggles they might visual style and Felix says be dealing with. These struggles that the character is brought are universal, making the show to life though “a very subtle a timeless story that can be puppeteering technique, and he enjoyed for years to come.”

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p54-59 Kids Hot Picks OctNov20 - ML RJM.indd 55 02/10/2020 11:20 TBI Kids | Hot Picks

Elinor Wonders Why Producers: PBS & Pipeline Studios Distributor: PBS International Broadcaster: PBS Kids, CBC Kids Logline: A curious rabbit introduces pre-schoolers to science and nature through the questions she has about the world around her

This animated series for pre- schoolers aims to get youngsters asking questions about the world around them, following Elinor, the most observant and curious rabbit in Animal Town. Through her eyes and adventures, youngsters will be introduced to science, nature and community. Among the pre-schoolers’ curiosity with passionate about communicating confidence to say: “I don’t know questions Elinor will seek to an innovative science inquiry science in humorous and the answer. Let’s explore it answer include why birds have curriculum and will encourage engaging ways – and are certainly together.” feather, how ants make their the adults in children’s lives to qualified to do so. Cham holds a Cham adds: “Our hope is hills and what is making those help them answer their questions PhD in robotics, while Whiteson that the show will help foster “whoo hoo” sounds at night? by exploring together,” says is a professor of physics and the natural curiosity of young “Kids learn best when Linda Simensky, head of PBS astronomy at the University of children and make them want their parents and caretakers Kids content. California. to explore and learn, just like are engaged in their learning. Show creators, Jorge Cham Whiteson hopes that the Elinor and her friends do in Elinor Wonders Why will spark and Daniel Whiteson, are show will give parents the these stories.”

Big Blue Producer: Guru Studio Distributor: Guru Studio Broadcaster: CBC Kids, ICI Radio-Canada Télé, ABC Kids, CTC Kids Logline: Young siblings Lettie and Lemo dive beneath the waves on submarine adventures that bring them face-to-face with all manner of underwater creatures

This 52 x 11-minute 2D an underwater sci-fi world filled animation follows siblings Lettie with creatures from all walks and Lemo on their underwater of life,” says Corey Caplan, adventures as they lead a quirky director of international sales at submarine crew, joined by a Guru Studio. magical fairy stowaway named The series comes from the relevant.” of comic adventure, while Bacon Berry, on a mission to mind of one of the studios’ Aside from the laughs and underscoring the universal explore and protect the denizens designers, Gyimah Gariba, who the adventure, the studio also values of discovering our of a vast ocean-covered planet. Caplan reveals has amassed “a hopes that the series will inspire diŽerences and of caring for “Big Blue is an epically massive online following for his children to help make the world each other and our shared hilarious show filled with distinct illustrative style” and a better place as they dive deep home on this big blue planet,” high-stakes adventure. Together says: “We can’t wait to unveil into the mysterious of the ocean. says Caplan. “By working with Lettie, Lemo and their Big Blue to buyers who are “Big Blue drops young together we can make our misfit crew, kids will dive into looking for something new and viewers into a wacky world world a better place.”

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Future Bros Brave Bunnies Producer: One Animation Producers: Glowberry & Anima Distributor: One Animation Distributor: Aardman Broadcaster: N/A Broadcaster: N/A Logline: Seven-year-old boy-genius Andy finds himself face-to-face Logline: Adventurous rabbits hop on board the Bunny Bus as they set with his 13-year-old self – and realises he is sorely lacking out to visit new places and make new friends

Seven-year-old Andy is a succeed more.” motivated, energetic genius Aimed at 6-11-year-olds, who, through the use of a time Schofield says that amid the machine he invented, comes laughs, the 52 x 11-minute face to face with himself aged CG series should appeal to 13. However, the younger youngsters worldwide as it Andy is not very impressed tackles themes that they all with the lazy, moody teenager have to deal with as they he appears destined to grow up start to grow up. to be, so sets out to reshape his “It’s an intriguing concept older self in his younger image. allowing for a lot of fun and While the two main comedy, bringing together characters are the same person, the same person at two very Michele Schofield, SVP of diŽerent and crucial milestones content distribution at One in their childhood. Animation and EP on the series, “It allows a refreshing look says it is their diŽerences that at the growing pains faced by drive the show: “Andy aged children as they start thinking Ukraine’s Glowberry and from diŽerent backgrounds, 7, brings heaps of energy and about what shape they want Spain’s Anima have teamed and making friends,” he adds: optimism to the show which their life to take and recognising up to produce this tale of “Our Brave Bunnies are driven we know young audiences the control they have over their courageous and curious rabbits by their bunny-curiosity – will love, but the series’ unique future self.” as they seek out adventure and they love to learn from the premise gives the character “The juxtaposition of our exploration on the ‘Bunny Bus’. diŽerent characters they meet. a poignant opportunity to protagonists, Andy, aged Aimed at pre-schoolers, each We have put a lot of work discover some of his self-doubts 7-years-old and 13-years- episode of the 52 x 7-minute 2D into developing a wide range “With the help of his older, old, will oŽer a spectrum animated series starts with a ride of character personalities. 13-year-old self and his friends of experiences, moods and on the special bus, with brother Children will recognise these and family, we hope young emotions which are sure to be and sister bunnies, Bop and Boo, traits in themselves and their viewers will feel encouraged as relatable to kids around the getting oŽ at each stop to meet playmates.” they see Andy start to grow and world,” adds Schofield. new animals, play new games Gladman explains that the and build new friendships. bunnies’ love of travelling and “Youngsters will really love meeting new people allows the simple, colourful and cute them to celebrate diversity on character designs, and the the show: “Our little Brave exciting worlds that Bunny Bunnies are on a big journey Bop and Bunny Boo explore to explore the world; the to make new friends. We show is about travelling and have a great cast of characters making friends from diŽerent too, with wonderful voice backgrounds, with a core talent who inject extra fun mission to celebrate diversity, into the series,” says Robin all of which resonates with Gladman, senior distribution international audiences. We & acquisitions manager at hope that, by following the Aardman. ‘brave’ example set by Bop and “The unique themes of Boo, children will learn to view Brave Bunnies centre around other cultures with curiosity, exploring, meeting new people empathy, and an open mind.”

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Bobble e Little Witch Producer: Gutsy Animations Distributor: N/A Broadcaster: N/A Logline: A young girl leaves the city behind for the countryside, where she learns the ability to communicate and live in harmony with nature

Helsinki-based Gutsy Animations is behind this empowering new animation with a strong environmental message, which it says is inspired by strong female characters both real and mythical, from young activist Greta Thunberg to Finnish goddess of the forest Mielikki. Reetta Ranta, head of brand and development at Gutsy Animations and the creator mythology in a totally original tiny house on her eccentric Great fun activities they can replicate of the series, explained: “This way, with themes and characters Aunt Pearl’s land in the country, and engaging facts about nature, is new green kids’ brand, at that will resonate globally.” Bobble learns to communicate wrapped up in engrossing a time when it is needed more The series, which is aimed with nature and carries the storylines,” says Ranta, adding than ever. Bobble The Little at six-to-nine-year-olds, tells stories of her adventures in her that: “Bobble The Little Witch Witch will be a celebration the story of Bobble, a young bright purple hair. celebrates nature and interacting of nature, community and girl who doesn’t seem to fit in. “Bobble finds magic in the with the natural world, sustainable living. When Bobble’s parents decide to everyday world and is constantly wherever you are on the planet.” “The stories also use Nordic downsize and leave the city for a creating, oŽering young viewers

e Boo Inn Currently in development, the neighbourhood inn that just Producers: Little Airplane & Pinguim Content pilot script for this international happens to be haunted. Distributor: N/A co-production is being worked “The ghosts that the kids Broadcaster: N/A on by Little Airplane in New meet include an adorable ghost Logline: Spooky animated comedy series for kids about a family who York while a teaser is being Dachshund named Salami move into a haunted hotel produced at Pinguim Content and his sweet elderly owners, in Brazil. Edward and Edith. Every Aimed at four-to-eight-year- episode features some new olds, the 52 x 11-minute playful encounter with the animation follows the supernatural.” adventures of siblings Oliver Selig reveals that the and Abigail who live in an inn production is a happy union bought by their parents without of Airplane’s scripts and knowing that the previous voice talent and Pinguim’s owners still lived there – as visuals: “Our two studios are ghosts. considered global leaders in “The Boo Inn is a spooky pre-school content, and we’re comedy for preschoolers,” very excited to be combining says Little Airplane founder forces,” says Selig, adding: Josh Selig: “It features a “Plus a gently scary comedy for mixed-race family who run a kids is long overdue.”

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FriendZSpace Battle Of e Bugs Producers: T&B Media Global & Flying Bark Productions Producers: Jellyfish Originals & Alpha Group Distributor: Studio 100 Media Distributor: N/A Broadcaster: N/A Broadcaster: N/A Logline: Three youngsters (and one BotDog) blast off into outer space Logline: Three youngsters don special mechanical suits and do battle on a mission to make friends with alien kids with robot bugs that have invaded the planet

Aimed at 6-to-10-year-olds, Isaac Lin, head of global this 26 x 22-minute animated content and brands at Alpha action-adventure comedy series Group, praises the “truly is set in a futuristic world that international collaboration” has been invaded by huge, that is bringing the show to mechanical robot bugs. While life, and says: “Simon, Alpha humanity has the monsters and Jellyfish have consciously secured behind a protective crafted the characters, world barrier, it’s only a matter of time and stories to resonate with before they strike again. Saving a global audience. Kids the world falls on the shoulders everywhere will root for our of three pre-teen kids who are characters as they attempt to sent beyond the wall to spy save our world and delight in on the bugs and discover their the gadgetry and inventiveness secrets. What’s more, the kids of robot-bug tech. We know each get a mechanical bug suit kids love robots, heroes and of their own. insects – in this show, they Thailand-based T&B Media isn’t always as straightforward “Kids love new technologies get to embrace all of these Global have joined forces as it sounds. and are naturally fascinated by favourites in one hit.” Flying Back Productions, part “A signature element in the insect life,” says show creator Natalie Llewellyn, MD at of the Studio 100 Group (which series is that every alien kid Simon Nicholson. “Battle Of Jellyfish Originals, adds that is distributing), for this new wants to be friends in the end, The Bugs combines both these the “ambitious, futuristic CGI animated series. Aimed at but to get there will rarely fascinations in an awe-inspiring, universe where robot-bugs 5-9-year-olds, the series follows be easy,” says Buehr. “On futuristic, buggy-tech world. threaten human existence” three youngsters – Alice, Leo every planet our heroes meet Set this against thrilling helps to create a “heightened and Kim - who seem like aliens with diŽerent customs action, high-stake stories and a reality” sandbox where they outwardly normal children but or comical alien biological big dose of funny and you have can create stories that oŽer actually regularly jet oŽ for peculiarities that always create the perfect action-adventure children “a truly cinematic adventures in outer space. hilarious complications – and television show.” experience.” TBI “FriendZSpace is all about these must be dealt with. This kids and kid culture – alien and creates comic situations in every human,” says Dorian Buehr, single episode.” head of global distribution at Buehr adds that the concept Studio 100 Media: “It’s about of friendship, and being embracing our diŽerences and inclusive of people who getting into exciting trouble might be very diŽerent from in the process. The series you, lies at the heart of the has a rich immersive world series: “Many shows circle of characters for a universal around ‘having’ friends. With community of kids.” FriendZSpace the core of the Joined by BotDog (described show is how to find friends. as “half puppy and half high- Making friends as the essence tech Swiss army knife”) the of the show means being open, trio’s mission is simple – to find showing kids that they should alien youngsters and introduce have fun exploring diverse themselves. But making friends perspectives on life, cultures, with kids from other planets ideas and people.”

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p54-59 Kids Hot Picks OctNov20 - ML RJM.indd 59 02/10/2020 11:20 pXX Xilam2 Pffirates TBI OctNov20.indd 1 22/09/2020 14:41 Hot Properties | October/November 2020

Tel: +1 416 646 4434 Web: blueantmedia.com Stormborn Episodes 3 x 60’; HDR, After the Fires (w/t) Episodes 1x60’ The Weather Files: Total Impact Contacts: Julie Chang, Interim 4K & HD Genre Natural History Genre Natural History Synopsis A Episodes 8x60’ Genre Factual EVP, International, Blue Ant Media; Synopsis Narrated by Ewan McGregor, gripping account of the Australian Entertainment Synopsis Takes viewers Ludo Dufour, SVP, Co-Productions Stormborn is an epic, story-led drama, bush res of 2019, the animals that inside extreme weather events and & Sales, Blue Ant International; Nick lmed in Norway, Scotland and Iceland, struggled to survive, and the people natural disasters like never before, with Solowski, Director, International Sales & capturing incredible animals, over one who gave their all to save them. gripping accounts from survivors, rst Acquisitions dramatic year. responders and scienti c experts. Hot Properties Q&A: Ludo Dufour, SVP, International Co-Productions and Sales, Blue Ant International

Tell us about the story-led element of Stormborn and how Ewan McGregor themselves, when the res were too dangerous to allow media within the vicinity. came to be involved on the project. In the aftermath of the re, the crews were supervised by park rangers in accessible This natural history trilogy tells the story of one dramatic breeding year in the areas. From a narrative point of view, the program focuses mainly on the immediate wildlands of countries on the edge of the North Atlantic. Against a backdrop of aftermath of the devastation and follows stories of recovery eorts. ice-carved rock, towering seas and erce storms, otters, arctic foxes, and reindeer, struggle to make homes, nd mates, and raise their young, the Stormborn. How are the eight episodes of The Weather Files structured and what type The producer, Scotland-based Maramedia, had worked with McGregor before of weather events are featured? and brought him on board to lend his iconic voice to the series, which features Each episode tells extreme weather stories through the eyes of real-life survivors, breathtaking footage of northern Scotland. rst responders and scienti c experts. Audiences are taken inside the disasters with gripping, rst-hand accounts, dramatic original footage, cutting-edge How did crews deal with the dangers of securing footage for After The science and graphic animations of how things work. The series also oers a new Wild res and how is the show structured from a narrative point of view? twist on the genre by examining aspects of natural disasters that most people The crew underwent training with the Rural Fire Service of NSW to access re fronts have never heard about, including the unexpected and surprising ripple eects as media accredited crew. Many of the key re shots were obtained from re crews of disasters.

Tel: +44 (0) 207 323 3444 Web: www.beyondrights.tv Contact: Simona Argenti, Head of Sales Pooch Perfect Episodes 8x60’ (plus Edges Unknown Episodes 7x60’ Murder In The Outback: The Falconio Format) Genre Entertainment/ Genre Adventure Documentary/ & Lees Mystery Episodes 4x60’ Genre Competition Synopsis Rebel Wilson Reality Synopsis A fresh new twist on True Crime Documentary Synopsis hosts this primetime series featuring the survival genre. Brett Rogers and Re-examination of Peter Falconio’s professional pet stylists competing in a Cli Quinn head back in time to try the disappearance, the guilty verdict in a series of ‘pawsome’ challenges to create original toughest jobs, including logging. murder trial clouded with doubt, and epic ‘transfurmations’ of family pets. the impact on those the case touched. Hot Properties Q&A: Kate Llewellyn-Jones, CEO, Beyond Rights

What makes Pooch Perfect a relevant format for int’l viewers at this time? immerse themselves in each job, with some of the equipment and techniques Right now, people all over the world need joy in their lives and Pooch Perfect used by their pioneering heroes. The producers wanted to ensure that they were delivers huge amounts of glorious, furry fun. Dog ownership is on the rise; able to experience the ups and downs of each job, and to authentically test their lockdown has led to a dramatic increase in puppy purchases in a number abilities in order to answer the all-important question: Has modern man gone of countries, so many nations are more obsessed than ever with its canine soft? companions. To have a format in which we can revel in our furry friends being pampered and learn more about how we can best care for them is exactly what How did the team behind Murder In The Outback approach research for the audiences are crying out for. show and secure interviewees? Research was a two-year process of combing the legal les of Brad Murdoch and What types of jobs are included in Edges Unknown and how do producers building on years of research and leads that lawyer Andrew Fraser had followed. balance their experiences with the historical elements of the show? Some interviewees were secured after protracted contact and discussions to The jobs featured – including logging, prospecting, cod shing, bootlegging check their stories, others were people who had been attached to this case and cattle ranching - are derived from the earliest industries human beings since day one. Overall, it was a very long-running, detailed and forensic process, established as they ventured out and built communities. Brett and Cli fully underpinning a large, complex production.

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Tel: +(1) 323 817 1300 Web: electricentertainment.com Contacts: Sonia Mehandjiyska, Head Leverage 2.0 Episodes 16x60’ Genre Almost Paradise Episodes 10x60’ The Outpost Seasons 1, 2, 3 & 4 of International Distribution; Nolan Action, Crime Synopsis Hitter, Hacker, Genre Action, Crime Synopsis A US Episodes 49x60’ Genre Fantasy, Pielak, SVP International Distribution & Grifter, Thief have reunited. Together DEA agent retires to a tranquil beach in Adventure Synopsis Talon avenges Co-Productions; Steve Saltman, Head of they take down the powerful and help the Philippines. Against doctor’s orders, the destruction of her village. On Domestic Distribution the powerless in a world far more he uses his skills as a long-time operative her journey, she discovers she has dangerous than the one they faced to put away criminals. supernatural powers she must learn to before. control to defend the Outpost. Hot Properties Q&A: Dean Devlin, CEO, Electric Entertainment

Tell us more about the storylines in Leverage 2.0 and how the lead the island, he and our audience are taken into a world and culture they’ve never characters come together to assist the powerless. seen. Shot entirely on the Philippine island of Mactan, Almost Paradise is a fun and Leverage 2.0 revolves around a newly reunited Leverage team, facing a world adventurous episodic drama/comedy made up of places, people and culture where the playing eld is more lopsided than ever before. Joining them are two that is completely fresh and unexplored by television audiences. new members, one a man who has come to realize he’s been on the wrong side of history and is desperate for redemption and the other a young gen-Z hacker/ Supernatural dramas have proven hugely popular over recent years, what builder who wants to be part of something that can make a dierence. Leverage sets The Outpost apart from others? has always been about a mis t family that comes together for a greater cause. Blending myth, magic, fantasy and a bit of science ction, The Outpost has consistently grown it’s audience every year as more and more fans are Almost Paradise follows a retired US drug enforcement agent living in the discovering all the show has to oer. From epic and massive battle sequences, Philippines – how did producers go about shooting this show and what to intimate and touching character relationships, to mind blowing digital eects, does it o er international viewers? The Outpost has so much to oer. At times whimsical and then conversely heart Almost Paradise is the very rst American scripted television series to be shot breaking, fans have embraced the epic adventure of Talon, a loner woman/ entirely in the Philippines. As our lead character, Alex Walker comes to discover warrior navigating the balance between the human and supernatural worlds.

Tel: +1 718 369 9090 Web: lmrise.com Bloodline Detectives Episodes Deep In Vogue Episodes 1×63’ Genre The Dog Doc Episodes 1x101’ Genre Contact: Danny Fisher, President and 20x60’ Genre True Crime Documentary Documentary Synopsis Synonymous Documentary Synopsis Follows the CEO; Melissa Wohl, Head of Sales; Max Synopsis A compelling 20-part series, with the black, gay ballrooms of 1980s founding father of integrative veterinary Einhorn, VP of Acquisitions hosted by preeminent legal analyst and NY, the lm celebrates the colourful, medicine who created a mecca for renowned former prosecutor Nancy queer, emotional and political stories of holistic care, oering hope to scores of Grace that explores the advanced form Northern Vogue and its people. hopeless animals (and their owners). of Familial DNA testing. Hot Properties Q&A: Melissa Wohl, Head of Sales

How is Bloodline Detectives with Nancy Grace structured and how did adulation, and respect for the rst times in their lives after years of bullying and Nancy Grace come to be on the show? abuse from family and peers. They discovered that a lot of the reasons that gay The show’s opening minutes detail each episode’s crime, most of which have black men were seeking an aspirational artistic outlet through Vogue in the 1980s become decades old cold cases, and then delves into the leads law enforcement NYC, were for the same reasons that Northern youth was seeking Vogue now. have pursued. Using innovation from geneticists and the broader use of DNA databases, exciting new leads emerge allowing investigators to nally identify Who is the central gure in The Dog Doc and how did producers nd out the perpetrators. We approached Nancy Grace to be our host because we know about him? she has a key resonance with the true crime community. The Dog Doc’s main character is Dr. Marty Goldstein. Director Cindy Meehl had been a long-time client at his clinic and was quite inspired at the unique way Tell us about the characters featuring in Deep In Vogue and how the show the veterinarians treated their patients with remarkable results. The clinic uses a captures their stories? holistic approach to treatment by focusing on diet and natural supplements as The characters featured in the documentary, all from Houses competing in the much as possible. This commonsense approach to health is a message that is Manchester ICONS Vogue Ball, describe personal stories of people coming to love often undervalued in the standard clinic that focuses on pharmaceuticals and and accept themselves, gaining back their sense of self, and receiving applause, the disease, instead of focusing on promoting overall health.

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Tel: +331 40 74 76 76 Web: lagardere-studiosdistribution. Shipwrecks: When History Resurfaces Beau Séjour season 2 Episodes 10x52’ Inés del Alma Mía Episodes 8x55’ com Episodes 6x52’ Genre Factual - Genre Thriller Synopsis Maurice Genre Period drama – Literary Contact: Emmanuelle Bouilhaguet, History Synopsis Join Kevin Sempé witnesses his own lifeless body, dangling Adaptation Synopsis The story of Inés Managing Director; Randall Broman, on an exciting series of underwater from the mast of his sailboat. He doesn’t Suárez, who travels to the New World Senior VP Sales; Catherine Couriat, expeditions to nd shipwrecks around believe he killed himself. He starts to seeking her lost husband and discovers Senior VP Sales; Fiona Railane; Sales the world and bring bits of history up investigate his own murder. The only the love of her life and takes part in the Executive from the depths. problem: he is dead. conquest of Chile. Hot Properties Q&A: Emmanuelle Bouilhaguet – Managing Director, Lagardère Studios Distribution

What kind of submerged secrets can viewers expect to see revealed? eyes of our heroine, Inés de Suarez, a very little-known historical gure. Beautiful For the rst time ever, fascinating stories of forgotten shipwrecks like the Empress and out of her time, she was born into a world of male power, war, greed and of Ireland, deadly sea combats like the Battle of the Philippines, and other conquest, where women were expected to be seen and not heard. Although waterlogged mysteries of the deep will be revisited from an unprecedented set several centuries ago, it is a fascinating, contemporary story that will nd underwater viewpoint. Take Operation Dragoon during WW2. The term relevance with audiences today . “D-Day” conjures up Normandy beaches teeming with American soldiers, but the invasion of Southern France on August 15, 1944 (the other D-Day) truly What does the supernatural aspect bring to Beau Séjour? sped up the liberation of Paris. The team dives deep into the Mediterranean to The supernaturel aspect is the very core of this concept and it gives to the show nd wreckage from ships, landing craft, spotter planes, torpedo launchers and its originality and very unique universe. But there is realism in how this ‘non-living’ minesweepers, bringing lesser known naval expeditions like this one to light. man is portrayed. Forget mist, spirits, walking through walls of haunted castles. Maurice acts as a man made from esh and blood. There’s nothing supernatural What was it about the original novel Inés del Alma Mía that drew you to about him at all. He’s just like you and me. In every other crime thriller series, you will adapt it for TV? nd the killer or the cop’s point of view, but with Beau Sejour 2, we have the victim’s The novel takes us back to Spain’s conquest of Latin America told through the perspective who will investigate his own murder and, eventually, nds redemption.

Tel: +7 495 725 57 18 Secret for a Million Episodes 147x90’ Noble Detective Episodes 20x48’ The Missing Episodes 16x48’ Genre Web: sales.ntv.ru Genre Entertainment show Synopsis Genre History, crime, drama Synopsis Drama, crime Synopsis Dedicated Contacts: Marina Kataya, Head of The show where celebrities reveal their A story of a Russian Sherlock Holmes policemen and enthusiastic volunteers International Sales Department; personal secrets for a cash prize. who starts his career as a police clerk but from search-and-rescue team work Natalya Stogova, International Sales and quickly advances to solving mysterious together to nd missing people. Based Distribution and complex cases. on real events.

Hot Properties Q&A: Timur Weinstein, General Producer

Where did the idea for Secret for a Million come from and what types of secrets Where is Noble Detective set and why will this show appeal to international have emerged to date? viewers? The show’s idea is universal, so it’s easily adaptable in any country with Noble Detective is a period crime show. Currently, we’re negotiating the sale of rights celebrities whose secrets the public wants to know. Actors, musicians and with several Asian broadcasters. The international audiences will surely appreciate politicians sell their secrets for money. More secrets – more money! We prepare great production values, lavish costumes and sets, and the thrilling narrative set in questions for each hero individually, starting with harmless ones concerning Tsarist Russia. The two main characters are investigating a series of mysterious, brutal everyday habits and ending with deeply held secrets that can’t be revealed for murders both the slums and the socialite’s boudoir. any money! The guest can veto the most delicate question only once. Secret for a Million repeatedly became the leader in its timeslot and best True-life dramas are increasingly popular, what makes The Missing stand out? broadcasting event, becoming #1 weekend entertainment format in Russia. It The Missing an action-packed story of father and son whose jobs are to nd people was adapted in Azerbaijan this September; local versions to be aired in three gone missing: the adult and distinguished Oleg is a policeman, the young and countries in 2021. This year Secret for a Million was included in the Content independent Pasha is a volunteer. They butt heads all the time, professionally and Innovation Awards short list in two categories. personally. The show features real father and son as protagonists; the subject of missing people and volunteer work is now in demand globally.

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p61-63 Hot Props OctNov20.indd 63 01/10/2020 22:59 TBI | Opinion

Last Word Briege Whitehead Relationships, resilience & rebates

hile the year is far from over, 2020 Digital and Visual E­ects (PDV) rebate of up to 20% “Opening up to has been a historic one for the for the first A$500k of expenditure, plus a further collaboration, television industry, seeing more 10% for qualifying tasks on all expenditure over researching change in the past six months than A$500k. If you add that 20% figure to the federal available rebates inW the past six years. But much of it has been positive: government’s existing 30% PDV o­set, administered and thinking producers have demonstrated great ingenuity to through Screen Australia, producers could receive up laterally about deliver shows within new health and safety protocols to 50% of their qualifying post-production budgets. productions should forced by Covid-19; brilliant ideas have been At a time when broadcaster budgets are keep us creating developed during lockdown downtime; and di­erent suppressed, meaning production budgets are content through this conversations are now being had about where and tighter than ever, this is a significant benefit. Local pandemic” how to produce, opening up new opportunities productions seeking investment will be more outside the traditional hubs. attractive with up to half their post budget locked-in, Many Australian producers, myself included, are while out-of-state and overseas producers can save open to fostering partnerships with international the same sums by bringing their post work here. producers who need our versatile backdrops, wildlife During the pandemic, producers everywhere or talent to produce or complete shows. And, state- realised that post-production work can be done bound as we still are, the same is certainly true in remotely, provided you have skilled operatives. So reverse. even if they can’t travel, the second incentive should White Spark Pictures is based in Perth, Western be appealing, especially given WA is in a di­erent Australia (WA). While the state may have flown time zone to the east of Australia, allowing greater under the radar compared to those on the other side overlap with working days in much of the rest of the of the continent, WA has a growing, world-class world. Production may soon be easier too as WA has creative community that has supported numerous had zero community transmission of Covid-19 for documentaries, plus critically-acclaimed movies such more than 100 days. as Breath and Rabbit Proof Fence and internationally All of this means Western Australia is one of the broadcast series including Itch and Mystery Road. world’s most competitive places for production Baz Luhrmann and Ben Elton have directed here, and will make the region an even more attractive and we’ve welcomed international talent from Ewan proposition for both international and domestic McGregor and Simon Pegg to Kate Walsh. producers looking to make the most of their budgets. Significantly, what Western Australia also has is We all need to be open to di­erent ways of doing a state government truly invested in helping both the things at the moment – and if new opportunities domestic and international production sectors and come with a highly-skilled workforce and a huge this has become particularly evident during Covid incentive attached, it should be a no-brainer. Plans are now taking shape for a huge, state-of- The rapid spread of Covid-19 has reinforced just the-art studio complex to complement our how small the world is and how inter-connected we production boom and, with two new incentives are. It doesn’t look like it’s going away anytime soon, launched in August, there’s never been a better time so opening up to more international collaboration, to produce here. researching available rebates and tax breaks, and The new WA Screen Fund (WASF), administered thinking laterally about undertaking di­erent aspects Briege Whitehead is by Screenwest, can support productions with up of productions where there are obvious advantages founder of Australian to A$2m (US$1.4m) in funding and even provides should keep us creating content through this producer White Spark additional contributions for location scouting. pandemic – and ensure we emerge more robust and Pictures Screenwest also announced a WA Post-production, resilient on the other side. TBI

64 October/November 2020

p64 Last Word OctNov20-ML RJM.indd 32 01/10/2020 21:49 pXX Xilam3 Tangranimals TBI OctNov20.indd 1 22/09/2020 14:42 pXX NEM TBI OctNov20.indd 1 24/09/2020 12:15