Insight on screen TBIvision.com | April/May 2019 | MIPTV Issue

Television Business International Old money vs. new players The state of unscripted 2

Inside Neverland TBI Factual Dan Reed on storytelling 16

Original Factual Series Coming 2019

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Original Factual Series 2019

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Contents April/May 2019

Contact us

Editor Manori Ravindran [email protected] Direct line +44 (0) 20 3377 3832 @manori_r

Managing editor Kaltrina Bylykbashi [email protected] Direct line +44 (0) 20 7017 5390 Twitter @bylykbashi 2 Sales manager Callan [email protected] Direct line +44 (0) 20 7017 5295

Art director Matthew Humberstone [email protected] Direct line +44 (0) 20 7017 5336

Marketing executive Abigail Dede [email protected] Direct line +44 (0) 20 7017 6018

Editorial director Stuart.Thomson [email protected] Direct line +44 (0) 20 7017 5314 6 8

Commercial director Patricia Arescy [email protected] 2. Old money, new players face o for unscripted Direct line +44 (0) 20 7017 5320 Despite shiny new digital entrants, sustainable business models lag behind

6. Close-Up: CNN’s Amy Entelis The CNN Worldwide exec breaks down how to build world-class docs such as RBG and Three Identical Strangers @TBImagazine

8. Knocking down Netix Published by KNect365 TMT, Maple House, What drove the record-breaking deal for a feature doc on US Congresswoman 149 Tottenham Court Road, W1T 7AD Alexandria Ocasio-Cortez Tel: +44 (0)20 7017 5000 e-mail: [email protected] web: www.tbivision.com Printed in England by Walstead Roche Ltd, 10. Factual Hot Picks St Austell, Cornwall PL26 8LX.

© 2019 Informa UK Ltd All rights reserved 16. Viewpoint: Leaving Neverland’s Dan Reed Reproduction without permission is prohibited

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Old money, new players face o for unscripted

A wealth of shiny digital entrants may well suggest TV is currently a supplier’s market, but sustainable business models in unscripted are still lacking, particularly as stalwarts such as Discovery and Nat Geo endure major upheaval. Manori Ravindran reports

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ld money” cable networks and trying to figure it out, and over the next couple of Nat Geo’s Free Solo broadcasters and cash-flush years, OTT will become very well-defined,” he (opposite) digital players converged earlier tells TBI. this year for what is becoming an “There are more platforms than ever and more “Oannual face-off at the Realscreen Summit, with the channels to distribute to, so that gives producers a former staging much public hand-wringing around the lot more choice to get their content out to market. It embattled US cable landscape while the latter conduct also puts us in the driver’s seat in negotiations, where low-key meetings with international producers, with we can be upfront about the fact that a series can be the likes of Jeffrey Katzenberg’s Quibi seducing indie perfect for PBS but can also be sold into Netflix.” producers with upwards of $120,000 per-minute However, Mathew Gonzalez of Colorado-based budgets for high-end content. Plebian Pictures warns that while there is “a lot of However, it was abundantly clear that a production money lying on the table, it is too widely dispersed.” community increasingly spoilt for choice between “Historically, when the market was dominated by linear and digital partners is still grappling with linear players and those brands were thriving, you shrinking economies as it struggles to recoup back-end could be a producer working for a few networks revenue and rights. because you had your niche and the budgets were strong. But now with all the online buyers, you’re New players, new models splitting up the pie in so many ways that the money isn’t as good as it was in one place.” The number of digital buyers who made the trip to John Ford, GM of US producers’ trade body New Orleans was notably greater than in previous NPACT, estimates that the value of a typical nonfiction years, and included the likes of Facebook unscripted programme during its cable or network run has boss Toby Faulkner and Snap unscripted head Seth declined 10-20% – a scenario that has led to some Goolnik. Amazon Studios also sent an acquisitions networks mandating around 10-30% reductions in exec and business affairs exec to the market for a budgets year-on-year; reducing or eliminating budget limited period. bumps when renewing series; and placing smaller However, player that had prodcos buzzing series orders. was mobile streamer Quibi, who was represented on Sam Sniderman, EVP of global production for Blue the ground by new acquisitions exec Kate Presutti. Ant Media, notes that some of the Canadian business’ Set to launch later this year with AVOD and SVOD roster of prodcos have historically been “very reliant tiers, the business is to spend an estimated $497m on on the US cable industry, and that has hurt.” acquired content made at premium levels. While a “Things are still happening but they’re slower than “super-premium” scripted show could fetch $125,000 they used to be. We are trying to shift the business to per minute, an unscripted original could receive a be able to sell to new players in the market. They buy budget of $50,000 per minute. some of the same shows but their approach is different “ere is plenty Elsewhere, producers were also the targets of charm and has required us to reorganise things a little bit.” of great stu offensives by new AVOD – or ad-supported – entrants Selling into Netflix and Amazon, says Sniderman, being developed, Tubi and Pluto TV, which has been newly acquired by requires a different development process as the conceived and Viacom. platforms are more talent-focused and keen on star explored in the Noting that AVOD is the future of linear TV, Tubi directors and EPs than cable networks. market, but the chief content officer Adam Lewinson claims that in Gonzalez, whose recent credits include Food concepts are more two years, AVOD and SVOD partners will achieve Network’s Food Truck Fan Fight with celeb chef Eddie strongly thought parity in the market around viewership and highlighted Jackson, adds that producers increasingly have to do through and tightly the “strategic advantages for unscripted content living the talent packaging that, traditionally, an agent would focused” within an ad-supported environment.” do, and spend longer developing these projects. Chris Bonney “The beauty of classic reality TV is that the content Cineflix Rights “Trial and error” time for producers is relatively inexpensive, because you’re dealing with real people, so you can go out and make tape cheaply. James Joyce, head of development for finance But as we start to go and engage celebs because they programming-focused prodco and SVOD Real Vision, will cut through, it’s costing a lot more money because points out that producers are desperately trying to big-name talent wants a slice of the project. figure out “how to play in digital” when the OTT While the climate may lead some to wonder what landscape still remains “uncharted”. ‘premium’ even means if so much content is now “People are doing a lot of trial and error right now made at premium levels, Chris Bonney, CEO of

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Cineflix Rights, says distributors are not necessarily brands,” explains Plebian’s Gonzalez. complaining. “You have a tremendous churn around where “There is plenty of great stuff being developed, executives end up, and there’s been a lot of shifting. conceived and explored in the market, but the concepts Anytime you have that kind of mix, it’s going to are more strongly thought through and tightly focused. be challenging.” That’s been welcome. The demands and trendsetting of TBI understands that some channels within Scripps the SVOD players has helped to shape the quality.” portfolio are now being restructured to focus more However, Bonney notes that the challenges are on second-run content, with new programming out “even greater” to secure the right business model of the Cooking Channel, for example, coming to a for financing. standstill, and commissioning instead coming out of “Because linear broadcasters have slightly tighter the Food Network – one of Scripps’ more established purse strings and less per-hour budgets available, it is brands. putting pressure on producers. But for distributors, it is Indeed, Nancy Daniels, chief brand officer for creating opportunity and we are playing a more pivotal Discovery and Factual, jokingly admitted that the role in the financing process at an earlier stage.” flagship brand is “stealing” top shows on smaller channels, with programming such as Travel Nat Geo and Discovery’s new normal Channel’s Expedition Unknown now getting a second window on the main Discovery channel. Another factor affecting the US unscripted market is While the added exposure is beneficial, it could the “identity shift” taking place at companies such as mean there is potentially less opportunity to incubate Discovery, which marked its Realscreen debut as a talent on smaller channels and grow a brand, as merged entity with Scripps; as well as Nat Geo, which ratings pressure will be much higher on Discovery. forms part of the Disney+ SVOD platform now that Also, producers could be left at a disadvantage the Disney-Fox merger has closed. if programmes continue to be ordered out of the “Scripps was a strictly lifestyle brand, and now smaller commissioning budgets of Scripps’ networks, Discovery is wondering how to add its DNA to those only to end up on the main channel. However, restructuring has not necessarily been a thing. Cineflix Rights’ Bonney notes that there is a “much more decentralised structure in the acquisitions side of both Nat Geo and Discovery”. “They are involving the regions much more than they previously would, even if it’s an acquisition made across a whole international territory or globally where available. The Day We Walked On “Previously, we might not have sold directly to The Moon (right), Red Table Nat Geo in Eastern Europe, but we’re now doing Talk (below) that quite regularly. Perhaps that’s opened up some individual opportunities we didn’t have before, because that region might have a particular need that couldn’t be filled because of a centralised strategy.” TBI understands that Nat Geo has said to producers – many of whom are now pitching the business with family-friendly Disney+ in mind – to wait for more details around how the Disney-Fox merger and their positioning on Disney+ will affect commissioning dollars. Nat Geo EVP of global unscripted Geoff Daniels tells TBI: “The focus for Disney+ is more in the family-friendly space, but that’s not to be confused with kids or necessarily content for co-viewing. The idea is that we are going to offer something from the Nat Geo perspective that everyone in the family can be passionate about. It’s going to be safe and entertaining.” TBI

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p111 Kew Factual AprMay19.indd 1 25/03/2019 18:44 TBI Factual | Close-Up Breaking down a world-class documentary

CNN Worldwide’s Amy Entelis breaks down how to build a world-class doc like Three Identical Strangers and the Oscar- nominated feature RBG.

ince launching an originals strategy in 2012, since CNN’s first forays into long-form programming. CNN has built a formula for its series and “Docs that highlight Entelis says the “special personalities” that front CNN films that has repeatedly produced award- inspirational people series are one of the key reasons for its success in the winning non-scripted programming. – people who have programming arena over the past few years. SThis formula, according to Amy Entelis, executive changed the world – Individuals leading the pack include stand-up VP for talent and content development at CNN have been especially comedian W. Kamau Bell and his United Shades Of Worldwide, is based on building context for audiences succesful in the last America series and Lisa Ling with the docuseries as they encounter increasingly complex political and year” This Is Life With Lisa Ling, but the focus on big social moments in history. personalities really began with and This year, CNN surpassed itself by getting both Three Parts Unknown – CNN’s most successful title to date. Identical Strangers and Ruth Bader Ginsburg feature “We rely on our hosts to give us a point of view and doc RBG onto the Oscars shortlist, with RBG going on take on whatever story they are engaged in,” she says. to be an Oscar nominee and the favourite to win before “So our hosts of original series have a little more license being narrowly beaten by Nat Geo’s Free Solo. to follow their passions, give us a point of view and tell Here are the elements that made a success, according it to us in a special voice.” to Entelis: CNN tragically lost Bourdain as a key host in June 2018 after the travel documentarian and celebrity Follow the cult of personality chef died by suicide. Entelis says CNN will not look for a direct replacement for the series, but will try and RBG follows the life and career of the second female capture its essence across other programming. US Supreme Court Justice Ruth Bader Ginsburg “We think it was more or less lightning in a bottle who has not only built a legacy fighting for gender and it would be very hard to go out and try to recreate equality, but also a mass pop culture following that it,” says Entelis. has spawned merchandising from coffee mugs to toy “We are just going to keep on looking for and figurines. creating beautiful programming that can capture the It’s these types of strong personalities that have essence of what Parts Unknown meant to our viewers, driven documentary success over the past few years, without looking to make a carbon copy of it.” according to Entelis. “I think that docs that highlight inspirational people Focus on commissions over acquisitions – people who have changed the world – have been especially successful in the last year,” she says. “People CNN has an acquisitions and commissioning model are looking for that kind of encouragement.” for feature documentaries. While the former led to This focus on individual experiences has been in place breakthrough films such as the critically acclaimed

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SeaWorld doc Blackfish, Entelis says the channel has increasingly leaned on commissioning over the past few years. “The acquisitions model is a little bit riskier because you have to wait for things to show up and bid against a lot of other people who might have deeper pockets,” she says. “We can’t rely on filling our slate with acquisitions, so we’re relying much more on people bringing us films before they’ve started them, and then we partner with the filmmaker from the beginning or midway.” RBG arrived at CNN as an idea from co-directors Betsy West and Julie Cohen. “They walked in the door and said, ‘Would you be interested in RBG if we get access to her?’ We immediately said yes,” explains Entelis. The channel’s window strategy for films sees it “That’s a great example of a film that starts with submit projects to multiple film festivals and eventually a conversation and ends up, three years later, as an launch in theatres. Only at the end of that cycle will the amazing film that we’re all incredibly proud of.” film air on CNN itself. CNN’s commissioning model also allows the “This has been our successful strategy for six years channel to land projects at an earlier stage and help and it’s working for us. Many people ask us why we develop and elevate ideas with creators. go last, which is kind of counter intuitive. But we feel “We like getting in earlier and earlier with the like the festival and theatrical roll out really increases filmmaker. That way, we can control its destiny and the visibility of a film and brings a lot of attention to predict which films are ready for CNN, instead of it,” she says. being at the whim of the marketplace as you are with “By the time it gets to CNN, we feel that many more acquisitions,” explains Cohen, noting that each film is people have heard of the film and want to see it. And financed differently. we know that not many people go to see it in theatres, At times CNN underwrites entire films, while it but we feel like there’s still a sizeable audience that actively finds partners for others. remains to see that film on CNN.”

Film festivals are key Know your audience

While much has been made about Netflix eschewing Entelis tells TBI that to stay ahead in a fiercely theatrical releases in recent times, CNN has built a competitive documentary arena that has increasingly successful window model by attending film festivals Three Identical Strangers gained the attention of major streamers, knowing your and emphasising theatrical releases. (above) and RBG (below) audience is the key to success. “It’s really about knowing what’s going to work on the CNN platform, who our viewer is, and what our viewer is interested in. If we stay true to that filter, we end up picking good shows,” she says. “A lot of the shows we’re doing might not work on other platforms, so it’s a balance about knowing what works on your particular platform. In that way, you stay competitive.” The demographic for CNN’s news audience is 60 years old, but Entelis says that original series and films have brought in new audiences that skew younger than its core audience. “We’re bringing in a young audience and the key is to make sure that we make programming that the regular CNN viewer would also find appealing and appropriate for what CNN means to them,” explains Entelis. TBI

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Factualp112-113 Amy Entelis AprMay19MCMRKBPASS.indd 7 27/03/2019 21:32 TBI Factual | In The Spotlight Knocking down Net ix What drove the record-breaking deal for a feature doc on US Congresswoman Alexandria Ocasio-Cortez?

etflix knocked down the house in February, dishing demographic they have been able to capture. out $10m for a high-profile film on newly appointed “They have changed the landscape almost overnight. They have US Congresswoman Alexandria Ocasio-Cortez, more been hugely successful, they haven’t detracted from each other and commonly known as AOC, and revealing a growing they have reached a much younger demographic,” he says. Ndrive towards youth-targeting feature docs. “As networks and programme-makers, we can cater to that The sale for Rachel Lear’s Knock Down The House out of audience. That’s what will stop the doc boom ending – to make things Sundance is the most lucrative doc sale to come out of a festival, that are smart but which also skew fairly young. doubling Netflix’s own $5m deal for Bryan Fogel’s Russian doping “There has been a tradition of making docs that were wilfully niche scandal doc Icarus out of the 2017 fest. or that felt like they weren’t for everyone. And if we can tell those The streaming giant aggressively outbid rivals Amazon and Hulu stories in entertaining ways that engage younger people, then we’re in and swooped for worldwide distribution rights, confirming that the a good way.” premium doc boom – particularly for younger-skewing fare – is far It’s fitting, then, that Netflix would pay millions more for a film from over. featuring the wildly popular Ocasio-Cortez than it did for dramas Netflix’s hot pursuit of the film – which follows four US working- such as Extremely Wicked, Shockingly Evil And Vile, which it bought class women, including 29-year-old Ocasio-Cortez, running for for $9m. Congress – comes on the heels of critical success for its doc Fyre “Everyone is documenting. Gen-Z is constantly with their Festival, which debuted in January and has already borne a reality smartphones. I imagine the Fyre Festival doc is the first of many to show for scene-stealing event producer Andy King, who took “taking come with access to these worlds that [older demographics] have one for the team” to the next level. no visibility of outside of Instagram,” said Rachel Brill, head of Fyre Festival – which famously lured social media influencers unscripted programming for US cable channel Epix. who paid thousands of dollars for an event that was doomed from Richard Klein, head of docs for Plimsoll Productions, adds that the outset – was also the subject of Hulu original Fyre Fraud, which the “thirst” for long-form docs is partly borne of a glut of “very, dropped days before Netflix’s film. very short-form stuff that is, after a while, relatively uncomplicated, Adam Hawkins, EVP of US television for Raw TV, producer uncomplex and not particularly insightful”. of the Oscar-shortlisted CNN and -backed feature “[Youth] are often looking for a bigger picture. There is a hunger doc Three Identical Strangers, says the two films are likely “the most for that, because I’m not sure young people are getting it when they’re significant documentaries of the last year”, based purely on the youth watching Love Island or a reality show.” TBI

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p13 ITV Planet Child AprMay19.indd 1 27/03/2019 16:31 ITV0242_PlanetChild_TBI_FP_AW.indd 1 26/03/2019 16:12 TBI Factual | Hot Picks

Factual Hot Picks The top factual titles heading to MIPTV

Top Pick

Almost Fashionable – A Always Rain On Me? and Sing criticism as it is about the band, weeks. I couldn’t take it. It got Film About Travis – also directed the film. involving interviews with me sad.” Distributor: Limonero Films The -based several not-so-favourable critics, The resulting film, however, Producer: Gezellig Pictures in musician got the doc bug after who speak candidly about is a delightful snapshot of the association with Final Cut making a film for the band’s the group. iconic band drawing from Logline: A music critic is invited last album and, looking to take “There are some journalists around 90 hours of footage by one of his least favourite a different angle on the rock in the doc who seem to be tour and archive of the group bands to cover their tour in doc, invited music journalist about music,” explains Healy. from its Britpop years. Mexico and Travis sceptic Wyndham “There are others who are The doc, which won the Wallace to join them on a tour about music but also a bit Audience Award at the 2018 What most people may not of Mexico. about pizzazz and danger. If International Film know about Scottish pop band “I knew Wyndham didn’t you’re not Jim Morrison or Festival, secured distribution Travis is that they have a thick like the band and I thought that Amy Winehouse falling out of recently through fledgling firm skin. How else could any group was a cool lens to look through, the local pub, they think Limonero Films, after Healy invite one of their worst critics rather than have someone who it’s boring. met “maverick” distributor to join them on tour? could be fawning over us,” “Sitting for months on end Pamela Martinez-Martinez at Travis frontman Fran Healy he says. listening to people talking about Amsterdam’s IDFA festival. TBI – who wrote many of the band’s What ensues is a film you – that took its toll,” laughs understands the film is close to hit songs, such as Why Does It that is as much about music Healy. “I had to stop for three a UK broadcast sale.

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100 Vaginas human anatomy that is generally Distributor: TVF International misunderstood, simply because Producer: Burning Bright you rarely see accurate visual Productions representations of the vagina. Broadcaster: Channel 4 (UK) “It’s a groundbreaking doc Logline: Women tell frank and both visually and editorially, and powerful stories about the most in the current climate, where intimate part of their bodies there is greater focus on gender and sexual equality and the Burning Bright’s critically #MeToo movement, it has come acclaimed documentary smashes at exactly the right time,” taboos around women’s bodies says Stapley. with frank interviews that yield The producers’ daring paid powerful stories about periods, off for Channel 4, which drew pubic hair, rape and female a consolidated average audience genital mutilation, birth, porn of 1.4m (9.1%), making and the secrets of the clitoris. it the broadcaster’s biggest “No subject matter was documentary in a 10pm slot off-limits,” says Will Stapley, since March 2018. I Am Richard Pryor head of acquisitions for Stapley says initial response to Distributor: Fremantle London-based specialist factual the film domestically has been Producer: Network Entertainment distributor TVF International. “fantastic” and has translated to Broadcaster: Paramount Network (US) “The producers wanted to try “huge interest” overseas. Logline: Inside the private life of the late American comic genius and reflect the truth of women’s “Some countries and experiences – either directly broadcasters will be less inclined Fresh from its SXSW premiere “It’s a contemporary, relevant through their individual stories to accommodate due to stricter last month, Jesse James Miller’s story because it’s one of identity or thematically.” censorship laws, which certain 90-minute film on Richard and race, particularly when you Intended to be a film that VOD players don’t have to Pryor delves into the psyche think about the Black Lives every woman can relate to in abide by, but the point of the of the late American genius, Matter movement,” she explains. some way, 100 Vaginas covers film is to take people out of their detailing his background as the “Pryor was very involved in universal experiences – some comfort zones, cross borders, child of a sex worker and pimp politics because he presented through images that have never break down prejudices and be and subsequent rise to comic a popular face to the wide before been seen factually on TV. a film that everyone can take stardom. mainstream audience, but he had It sets out to portray a piece of something away from,” he says. Part of Fremantle’s acclaimed a lot to say about politics and I Am… doc strand, the film race at the same time.” features interviews and a rich Fremantle has had initial collection of archival footage interest in the film from a number and photography, using Pryor’s of broadcasters on the back own voice as narrator. of sales success for I Am Paul Fremantle’s SVP of non- Walker, on the late Fast And The scripted content Angela Neillis Furious actor. says the film includes archive “Comedy is always more of footage from Pryor’s stints a niche interest, but with Pryor’s on The Ed Sullivan Show as Hollywood credentials, it goes well as his own programme, beyond the niche,” says Neillis. in addition to interviews with The distributor is now several famous comedians and investing heavily in premium filmmakers. factual and is pursuing “all “It’s a really interesting the classic factual genres head archive-interview combination on”, looking to bolster its slate that tells a fascinating story,” with natural history, history she says, adding that Pryor’s and music, including US cable story details a struggle against channel Epix’s highly anticipated the odds. series Punk.

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e House of Extraordinary People physical differences.” finished tape of the programme, Distributor: TCB Media Rights The show also covers as well as format rights. Producer: Hey Sonny Films serious personal struggles “We have received interest Broadcaster: Channel 5 (UK) and challenges the public’s from the US, Australia and the Logline: Nine amazing people from all over the world live together for perceptions of otherness, adds , so our sights are 10 days to challenge the prejudices they encounter daily Davey. set on closing deals in those “For the first time, the territories, but the sales team Hey Sonny’s 3 x 60-minute doc confrontation and sheer joy. Hey show gives these housemates is also expecting to lock deals series unites nine characters with Sonny made the series hoping a platform to talk about their across many other European physical differences ranging that viewers will go on a journey experiences and hopefully territories,” says Davey, noting from such rare conditions as with the housemates, and really creates understanding.” that there is scope for the show polycystic ovary syndrome, understand what is at the heart The distributor has so far to return to C5 in the future which causes one female of them and see beyond their received interest in both the with different housemates. housemate to grow a full beard, to a mother of three with a disorder that results in non-cancerous growths all over her body, to a man who has undergone extensive cosmetic surgery to resemble his pet parrots. “Each one of them is genuinely extraordinary, and everyone brings something different to the table,” explains Nicola Davey, acquisitions and co-productions exec for TCB, noting that the show is “warm and uplifting” in tone. “There is laughter, tears,

e Weekly City story looking at a specific , but Distributor: Red Arrow International working group. Both are deeply rather a show fronted by its Producer: The New York Times, Left/Right compelling, according to the journalists who are telling the Broadcaster: FX, Hulu (US) exec. stories they’ve been reporting on. Logline: The first narrative news TV series from The Gray Lady “The fact that the current US There are no scenes of editorial president sees [The New York meetings.” The New York Times is looking current affairs stories in today’s Times] as enemy number one to build on the success of its headlines will be a “minority” is something that helps all of popular podcast The Daily with but that all stories will be about us because it has elevated the a 30-part doc series that goes topical events. paper,” says Fraser. beyond the headlines and into “This is in-depth coverage “It’s why we were happy to those reporting its stories. that potentially gets access to be involved in the show, because Set to first premiere in June stories that were previously we knew their brand is so strong on cable channel FX and impossible.” now.” immediately thereafter on Details around specific The exec assures that the SVOD platform Hulu, each episodes are under wraps, but series will differ from Liz episode is experienced through Fraser has seen two stories thus Garbus’s 2018 doc series Times reporters around the far. for Showtime, The Fourth world and their subjects. While one is an international Estate, which examined the Alex Fraser, SVP of story involving US citizens in a publication’s first year of acquisitions for Red Arrow “very unusual and unfamiliar reporting the Trump presidency. Studios International, says land”, another is a New York “This is not a series about

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Beyond Innovation Tata – Escobar’s Widow Distributor: A Tall Order Distributor: Drive Producer: Globalive Media Producer: Telegramme Media Broadcaster: Bloomberg Television Broadcaster: Club Illico (French-Canada), Discovery (LatAm, Iberia, Logline: Uncovering the world’s new and emerging technologies that Italy, Spanish-speaking US) change the way we live and do business Logline: Pablo Escobar’s wife breaks her silence about life with the world’s most famous drug trafficker Hosted by venture capitalist He tells TBI that the hosts’ Anthony Lacavera and tech backgrounds have allowed journalist Michael Bancroft, them to access an “extensive this 26 x 30-minute series looks network” of investors and tap to demystify the emerging into the business and finance tech, cutting-edge research and communities. groundbreaking businesses that “These strengths, coupled are transforming the way we with an experienced research live and do business. team, keeps us in sync with The show features David a wide range of innovators Hanson of Hanson Robotics, whose potential impact on the the company that made the AI- world makes them fascinating powered Sophia; Karan guests.” Wadhera of Snoop Dogg’s The presenter says his cannabis investment firm Casa background also “provides a Verde Capital; and NBA star unique lens through which we Jeremy Lin, who has backed a approach coverage, balancing smartphone app that uses AI the insider’s perspective on and computer vision to help the business side with the basketball players train. objectivity of experienced The world of Pablo Escobar is “There is a lot of discussion “People are naturally journalism”. well-known to global audiences around how implicated she captivated as these changes Noting that the team has via Netflix’s hit drama Narcos, might be around the criminal begin to touch every part of scored early sales from the but those closest to him, such as activity of Escobar and that their lives, from their businesses in-flight industry, Bancroft his wife Victoria Eugenia Henao will be discussed in the doc to their health and daily adds that the show is a (or Tata), are rarely in the itself,” says Hurst, adding that routines. We all want to know “great fit” for both OTT and limelight. In this 2 x 60-minute producers have also secured what’s coming next and there’s broadcast partners seeking documentary, Henao tells her access to the ex-wives of never been a more exciting time premium factual science and story with never before seen other cartels. to get an in-depth preview,” tech programming that can archive footage. “You can see how a woman says Bancroft, who also exec be served in either half-hour “I was immediately drawn who became part of a cartel produces the show. episodes or bite-sized segments. to the show because we are by way of marriage at such a very aware of the macho young age would then find it environment of Escobar and the incredibly hard to extract herself cartel, but we don’t often see from that situation. It’s a very the female stories behind these interesting story, morally, into worlds,” Lilla Hurst, co-founder whether [Tata] was implicit or of distributor Drive, tells TBI. oblivious.” Drive helped shape the Drive is pitching the film treatment and pitched it into into OTT services as well international broadcasters, as traditional broadcasters, targeting the LatAm and Spanish- says Hurst, noting that the speaking territories in particular. distributor’s recent experience The film presents “very selling anniversary docs on personal” home movie footage Princess Diana demonstrated of Tata when she was a teenager, that free-to-air channels can also as well as the early days of her “come up with the goods” when relationship with Escobar. it comes to the right product.

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Factualp116-118,120,122 Factual Hot Picks AprMay19MCMRKBPASS.indd 13 27/03/2019 21:37 TBI Factual | Hot Picks

e Green Book: Guide to events that could spark interest Freedom among their viewers and Distributor: Off The Fence international audiences,” she Producer: Impossible Factual says. Broadcaster: Smithsonian “Producing The Green Channel Book: Guide to Freedom with Logline: A deep dive into the Impossible Factual ahead of real-life inspiration behind Oscar- the release of the now Oscar- winning feature film Green Book winning film was strategically brilliant.” In the 1930s, a black postal The exec foresees the film worker from Harlem in New travelling to most of the major York City named Victor Green territories around the world, published The Negro Motorist particularly given the increased Green Book – a manual that level of attention around the would become part-travel subject matter. guide and part-survival guide The sales team is targeting for African-Americans looking major European territories to navigate safe passage and Oscar in February – a boon owned factual distributor, tells such as Italy, Germany, France, also serve as a catalyst for new for Impossible Factual’s TBI that the business, which Scandinavia and Spain, where businesses. documentary, for which a has represented content from offers have already begun rolling The book is also the preview was quickly shipped to US cable channel Smithsonian in. touchpoint for the feature film Off The Fence’s buyers on the exclusively since 2008, knew Syer-Willoughby notes Green Book, which stars Viggo back of awards glory. about the project well in advance. that parts of Asia, Africa and Mortensen and Mahershala Loren Syer-Willoughby, head “Smithsonian are extremely Australia will also be looking at Ali and won the Best Picture of acquisitions for the ZDFE- knowledgeable about upcoming the film.

If We Built It Today most importantly, the cost. “There isn’t a presenter so Distributor: Sky Vision The show is rich in visuals, it’s very adaptable for different Producer: Arcadia Content says the exec, who highlights territories with a different Broadcaster: Knowledge Network (Canada) the graphics used to illustrate voiceover,” says Shingleton. Logline: Factual series exploring the engineering, design, politics and how the Colosseum might “That’s one of the things that danger of the world’s greatest architectural achievements and what look like in modern times. will make it very appealing to they would look like today Drone footage is also used to the international market.” go to the locations of buildings The show is expected to sell If Noah’s Ark was built today, and puts a historical twist on themselves, in addition to a widely into Europe, Asia and what would it look like? How it, and vice-versa,” explains number of expert interviews Australia, into either individual would we go about it, and how Barnaby Shingleton, director of with architects, stonemasons channels or a pan-regional much would it cost? These entertainment and factual at and engineers. broadcaster. TBI are the questions Arcadia’s Sky Vision. innovative new series looks An episode centered on the to answer. Roman Colosseum discusses Pre-sold to Discovery Science how the structure was initially out of the US, the 8 x 60-minute built for a newly installed series explores the Pyramids, emperor who wanted to cement The Great Wall of China, his relationship with the people. Venice canals and the Roman “Today if you built it, there Colosseun, to name a few would be different motivations, landmarks. mainly around money,”explains “One of the reasons we Shingleton, adding that the were interested in working episode then looks at the with Arcadia is because it building materials of today, how takes modern engineering much time it would take and,

14 April/May 2019

Factualp116-118,120,122 Factual Hot Picks AprMay19MCMRKBPASS.indd 14 27/03/2019 21:37 p119 Keshet Factual AprMay19.indd 1 25/03/2019 19:34 TBI Factual | Opinion

Viewpoint Dan Reed Uncovering the story in Leaving Neverland

eaving Neverland took nearly three years The truth is that documentary making is fraught “ I had no prior to make, from the moment I first read with risk, but the biggest risk of all is not being able interest in Michael the names “” and “James to see what’s right in front of you and, literally not Jackson and still Safechuck” – the two men at the heart understanding what your story is about. Falling into have only a general Lof the documentary – to the four-hour epic that is that trap is a lot easier than you’d think. grasp of his oeuvre. now broadcasting in almost every territory in the I’m often asked about how I approach the I researched him in world except China, where I’m told a deal is in the producing and directing decisions that go into order to verify James works. shaping a documentary. That question always and Wade’s accounts, It has roiled the press and social media on a triggers a mild panic in my head. The answers but this was never a scale we never expected, particularly on Twitter. I hear myself giving are annoyingly vague and film ‘about’ Jackson.” Much of the activity on the platform is repetitive, something like, “It’s an organic process, informed bulk noise from the truthers, the by experience and opportunity…”. and their lawyers. The truth is that in documentary – and this was But amongst the threats and insults are a certainly the case with Leaving Neverland – the good few sober, thoughtful messages from director sometimes doesn’t know what the film is psychotherapists, child sexual abuse survivors and about until quite late in the edit. The longer you ordinary people reflecting on the true theme of can wait before locking down your storytelling the documentary: the careful, patient grooming strategy, the greater chance you have that it will be of children and families by a trusted figure who, the right one. And so my editor Jules Cornell and I years or decades later, is seen to have been a sexual found ourselves drawn into the complex, fractured predator. and tragic world of the Safechucks and Robsons, That’s what this has always been about for me: two families who experienced the same journey opening people’s eyes to the true face of child into the same fairytale-turned-nightmare. sexual abuse, giving people a way to talk about What we began to realise is that the story this most misunderstood of all taboos. of these families’ 20-year encounter with a I’m not a chronicler of celebrity or music stars. manipulative sexual predator was told with My home territories are terrorism, war and such brutal honesty and in such unflinching, crime – subjects I’ve explored relentlessly over the comprehensive detail that it would hold its own as past 20 years. I had no prior interest in Jackson a ground breaking reference-work on grooming and still have only a general grasp of his oeuvre. child sexual abuse no matter whether the predator I researched him in order to verify James and was a priest, a teacher, a family member or… Wade’s accounts, but this was never a film “about” Jackson. And that’s what I’m most proud of: the Jackson. It focused on the two boys this grown fact that the predator in this case was one of the man involved in his life. most famous figures of the 20th century means Dan Reed is the director So how did the core purpose of the film – and that the lessons of Leaving Neverland will reach a of Channel 4/HBO the radical storytelling decisions involved in far wider audience than I could have ever hoped documentary Leaving focusing on just two families – take shape over for a four-hour epic on child sexual abuse with Neverland those three years? nine interviews in it. TBI

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