Tbivision.Com August/September 2013

KIDS TV UNDER DRAMA THE MICROSCOPE HOT PICKS Page 16 Page 38

TBIvision.com August/September 2013

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pOFC-01 Zodiak AugSep13.indd 2 27/08/2013 15:27 pOFC-01 Zodiak AugSep13.indd 3 27/08/2013 15:27 The road to success

Four days of spectacular events and brushing shoulders with A-listers. Endless opportunities for networking, discovering the best in global programming and sealing big deals. They say success is all about being in the right place at the right time. They’re right. The red carpet’s waiting. The moment is yours. Register today.

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TBI CONTENTS AUGUST/SEPTEMBER 2013 24 6

6 THE TBI INTERVIEW

Stewart Clarke gets the low down on Modern Times Group Studios from boss Patrick Svensk and Jesse Whittock speaks with the CEO of MTG’s latest acquisition, Jeremy Fox of DRG

16 KIDS TV 2013: BOOM OR BUST?

With unprecedented levels of change impacting the children’s content business, Stewart Clarke gauges the opinion of all the major players to assess the state of the kids TV market

24 KIDS HOT PICKS

A rundown of the hottest new children’s TV properties set to hit the market at MIPJunior

32 EURO DRAMA IMPORTS

New research reveals Europe’s top imported dramas and biggest-spending broadcasters

38 DRAMA HOT PICKS

TBI’s guide to the drama hits of tomorrow featuring 10 of the most anticipated scripted shows launching at MIPCOM in October 38 CONTENTS AUGUST/SEPTEMBER 2013

REGULARS 4 Editor’s note • 10 People • 12 ProSiebenSat.1 • 14 Reflex • 44 Last word: Miles Bullough, Wildseed Studios

For the latest in TV programming news visit TBIVISION.COM TBI Auhust/September 2013 3 p04 Ed Note AugSep13 27/8/13 14:21 Page 10

EDITOR’S NOTE STEWART CLARKE

he lessons the kids content business is learning and So, a period of unparalleled opportunity… complete with challenges it’s facing are signposting what is in store for the unparalleled challenges. In our Last Word slot, Miles Bullough, the ex- T ‘grown-up’ TV sector. Of course, the wider TV world is already Aardman television chief, discusses how and why the new business grappling with audience fragmentation, new digital platforms and the he has set up with Jesse Cleverly will embrace the new content world impact of broader economic troubles, but the kids business brings with seed funding for the best start-ups and creatives. each of these issues into far sharper relief. We also speak to one of the new content houses on the block. The Speaking to broadcasters, content sellers and producers about the people running MTG Studios and its new acquisition, DRG, tell us kids sector in 2013 elicits the same response, that the revenue streams about how it will grow in this brave new TV world. And as the golden the business was built on are either disappearing or harder to access; age of TV drama stretches on, we look at the US imports that are and that new money-making avenues are opening up, but accessing making the most money in Europe. them means braving a new digital frontier where each deal will be Meanwhile, one thing relatively unchanged in the TV world is that constructed in a different way to the last. October is the time when all corners of the industry congregate upon The international SVOD services such as Netflix are also moving Cannes. We also look at the very best new kids series and dramas from bulk buying to a policy of making more selective acquisitions launching at MIPJunior and MIPCOM, selecting the shows that are and often now looking for exclusivity. They are also looking for most likely to cut through the white noise of buying and selling in originals, which is great news, but a very small number of content the Palais. companies will get to play in that arena. The kids producers, distributors and broadcasters able to adapt most quickly are clearly at an advantage and our children’s TV state of the industry piece offers insight for people in all sectors of the business.

Editor Stewart Clarke • [email protected] Published by Informa Telecoms & Media, Mortimer House, Direct line +44 (0) 20 7017 4244 37-41 Mortimer Street, London W1T 3JH Tel: +44 (0)20 7017 5000 Deputy editor Jesse Whittock • [email protected] e-mail: [email protected] web: www.tbivision.com Direct line +44 (0) 20 7017 5809 Printed in England by Wyndeham Grange Ltd, Southwick, West Sussex BN4 4EJ.

Contributing editor Stuart Thomson, Andy McDonald Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug and Oct) by Informa Telecoms Media, Mortimer House, 37-41 Mortimer Street, Contributors Miles Bullough, Simon Murray London, W1T 3JH, United Kingdom. The 2006 US Institutional subscription price is $255. Airfreight and mailing in the USA by Agent named Air Business, C/O Priority Sales manager Kate Roach • [email protected] Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Periodical postage paid at Direct line +44 (0) 20 7017 5295 Jamaica NY 11431. US Postmaster: Send address changes to Television Business International , C/O Air Business Ltd / Priority Airfreight NY Ltd, 147-29 182nd Street, Art director Matthew Humberstone • [email protected] Jamaica, NY11413. Subscription records are maintained at Informa Telecoms Media, Direct line +44 (0) 20 7017 5336 Mortimer House, 37-41 Mortimer Street, London, W1T 3JH, United Kingdom. Air Business Ltd is acting as our mailing agent.

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4 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM Breathless

Perfect lives built on lies.

itvstudios.com

p05 ITV Studios AugSep13.indd 1 23/08/2013 10:47 p06-08 Interviews AugSep13_jwscFINAL 23/8/13 15:21 Page 6

THE TBI INTERVIEW

MTG Studios CEO Patrick Svensk MTG STUDIOS MAKES ITS MOVE

MTG rebranded Modern Studios and created MTG Studios two years ago with little fanfare. However, subsequent deals for Paprika Latino and Novemberfilm have helped put it on the map. TBI speaks to its CEO, Patrick Svensk, about creating a Scandinavian-owned Studio and to the people running its latest and most notable acquisition, UK-based distributor DRG

hen MTG Studios beat Sky and others to the distribution business. punch with a £15 million (US$22.5 million) deal “The mission was to strengthen MTG’s content division from, for DRG in June, the international TV business sat basically, Strix in Scandinavia to something bigger, stronger and better,” up and took note, moving, as it did, MTG says Patrick Svensk, MTG’s executive VP, content and chairman & CEO W squarely into the international production and MTG Studios. 6 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM p06-08 Interviews AugSep13_jwscFINAL 23/8/13 15:21 Page 7

THE TBI INTERVIEW MTG STUDIOS

MTG operates 32 free-to-air channels in 10 countries and 73 pay TV creative, producer and rights-holder relationships that DRG has built over networks in 36 countries and Svensk, adds: “Our strength is that we are the years was the number one reason we bought them.” in so many markets. Our weakness has been the language… until we Sceptical market-watchers questioned the quality and relevance of the bought DRG.” DRG catalogue at the price the company fetched. Had the buyer been a In most territories, MTG is MTG Studios’ second or third largest client pure sales and production business that scepticism may have been be and Svensk wants to strike a balance, positioning the firm with both well-founded, not least as DRG shed some rights during the sales in-house and third party broadcast partners. “About 75% of Studio’s process, but the numbers made sense to MTG in the wider context of revenues come from clients outside MTG and we want to be seen as MTG Studios’ development. independent, but our ambition is also to take a large slice of MTG’s Svensk knows the super indie scene well, having been at Zodiak in programme spend,” he says. various roles. After a wave of consolidation led by the likes of RDF (and The deals for 53% of Paprika Latino, the CEE producer that started out then Zodiak), All3Media, Endemol and Eyeworks, the stage is, he says, in Romania, in June 2012 and for Oslo-based Novemberfilm a year later now set for the broadcaster-affiliated production and distribution groups left MTG Studios better positioned when it came to getting more of the to drive the deal flow. programming cash of the channels operated by the wider MTG group. A “The M&A space is much calmer than ten years ago,” he says. “There management shake-up announced in August will mean MTG moving are not as many indie producers to acquire, especially in the UK, and I Kaspars Ozolins, CEO of its Baltic TV operations, to Paprika as head of think as new ones come along they will take longer to be successful. operations as the producer moves into Estonia, Latvia and Lithuania. Meanwhile, the super indies won’t be as aggressive as they used to be in Having pushed Paprika into the Baltics, Svensk says that there are the old days, which leaves room for media verticals like ITV, more opportunities in the CEE region: “We think Paprika has an FremantleMedia and us.” opportunity to become the producer in the CEE region and a bridge Svensk adds: “In some ways ITV is the role model for what we are between west and east [Europe]. They are already doing a lot, but in doing now. They have changed from a UK free-to-air broadcaster to a another ten years they will be a really big production group.” global content company with a strong online presence. My job is to The MTG Studios chief talks about “being present where good content achieve some of what ITV has done.” is being made” with Strix already set up in Holland, a market where Strix’s distribution arm has been subsumed into DRG, which will Svensk says the company is “looking at opportunities”. In terms of being retain its brand. Paprika and Strix formats are now part of the DRG close to the heart of the English-language content market, the DRG deal catalogue, where they are not tied up by pre-existing deals as is the case was a game-changer. with Paprika’s top format Fish on the Cake, which is sold by Red Arrow. “We acquired DRG because it was a strategic function we needed, to The company also wants to add to its fact-ent heavy catalogue of have a strong, independent distributor,” Svensk says. “Strix was a programming with drama shows and three large MTG Studios projects distributor, but not really of third-party content, and the network of are about to be greenlit in Sweden. It is also looking at shooting English- DRG LOOKS FOR NEW SORT OF DRAMA

The £15 million Modern Times Group paid for UK distributor DRG look forward to a secure future. has more meaning than just new ownership for Jeremy Fox. “It Unscripted programming will remain a key pillar of DRG’s sales means we’re never going to be for sale again,” he tells TBI. business, and the firm’s managing director, acquisitions, Andrea DRG launched in 2006 when former Nine Network president Fox Jackson, says MTG provides a good fit. “One thing we’re both very and Chrysalis founder Chris Wright secured backing from good at doing is not leaving anything on the table when it comes private equity investor Ingenious Media Active Capital. to exploiting a set of rights. We’ve got very good track records in IMAC’s clout gave DRG the finance for company acquisitions and cross-pollinating,” she says. distribution of shows such including The Inbetweeners and Doc Jackson points to the recent sale of the Canadian version of Martin, but private equity business models mean an exit was comedy-science format Never Ever Do This at Home to NRK – the always part of the plan. broadcaster where the format originates from – as an example. As Fox puts it: “This company had been for sale since the day it “The whole thing has come full circle and there is something started.” wonderful about seeing an idea remade in different countries end Fox had exited his CEO role at the company in September last up imported back into the country from where it came,” she says. year when the news IMAC was seeking buyers first surfaced in the DRG has also assimilated the Strix International catalogue, which trade press, and Jonathan Jackson took over as managing director, comprises about 38 formats, and at MIPCOM will give “big ostensibly to lead a sales process. About a dozen companies promotion” to the more “under-exposed” titles, Fox says. Strix kicked the DRG tyres but in the end the Modern Times Group’s offer programmes will make up around 20-25% of the DRG catalogue. won out and terms were agreed. Unscripted formats will inevitably be the mainstay of the Now, with the deal completed, that chapter of the story is over. business but there is also be a renewed focus on drama Fox has returned as chief exec and his London-based team can development. This initially began in 2011 when DRG asked Anke

For the latest in TV programming news visit TBIVISION.COM TBI August/September 2013 7 p06-08 Interviews AugSep13_jwscFINAL 23/8/13 15:21 Page 8

THE TBI INTERVIEW MTG STUDIOS

language pilots in Europe using its production facilities in the Baltics and also the possibility of adding a digital content business. Svesnk says: “Our elsewhere, but London-based DRG is clearly the company’s major route producers do not have the greatest expertise in digital-born products and into that English-language market. they require different skills to those most TV producers have, so you Svensk says: “The UK and US markets are obviously the most might see us adding brand assets in that space.” important in terms of English-speaking content creation and we’re The blueprint for what MTG Studios should be and how it should get working with DRG to understand the best way to be involved there. That there took six months for Svensk and former MTG CEO Hans-Holger could mean more investment in developing and co-developing ideas with Albrecht to hammer out, but it was cast into question when Albrecht left outside producers or more spent on advances and minimum guarantees, to run telco Millicom last September. or that we invest in companies direct, to give them the capital to expand. However, new boss Jørgen Madsen is backing the Studios business, There are several possible models.” Svensk says: “Jørgen has been backing the plans from day one. He’s more There are, effectively, two divisions within MTG Studios, with one of a content guy than Hans-Holger and has produced sporting events; he’s working with external producers in the UK and US and run by Andrea from the storytelling side of the MTG business.” TBI Jackson and another working with internally-owned producers and run by former Strix International boss Jonas Linnander-Manfred. With the DRG deal done, the next chapter in the MTG Studios story will not involve any UK or US acquisitions, aside, possibly, from some catalogue deals. However, the mainland European production base of Paprika, Strix and, since June, Norwegian producer Novemberfilm could be added to, with the Netherlands and Benelux the areas of focus. “If there are more deals in the next three-to-nine months they will be in continental Europe,” Svensk says. “The UK/US focus is on building the platform and network of producer contacts that DRG has.” There is

Stoll to identify new projects for the international market and acquire the rights. The process sees DRG do the initial development before bringing on a production company to create a series. DRG then takes the project to the international market. “We have to make sure that the drama we get will sell on the international market but because we’re not producers, and we never will be, we need to make things happen. If we just sat here and waited for dramas to be produced so we could bid for them we’d do one a year,” says Fox. DRG has just brought on an American prodco to produce an unnamed series from a UK writer set in Sweden, it is understood. This all comes as the US scripted market is growing exponentially – a “sea change akin to when Big Brother opened up the formats market,” is how Fox describes it. “An agent told me that two years ago only half a dozen broadcasters were doing scripted drama and that now that number is 47, and there will be 50 by the time people read this,” says Fox, predicting even the likes of news net CNN and gameshow channel GSN will eventually get in on the act. Cable offers opportunity to independent distributors like DRG because many of the new channels commissioning scripted shows are separate to the vertically-integrated studio system that sees the likes of Disney, NBC, CBS and Fox swallow up rights, Fox claims. “These new channels will not want to go through the expensive development process and will look to foreign partners,” he adds. “They don’t often have their own distribution, and if they do, it’s for distribution of non-scripted. Therefore, an independent distributor that’s experimenting with drama development while DRG’S Jeremy Fox keeping the rights has a great opportunity.”

8 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM NEW PRESCHOOL FUNNY FOR KIDS

[HD]

NEW ANIMATION

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NEW LIVE ACTION

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p09 Viacom AugSep13.indd 1 22/08/2013 10:24 p10 People MonitorAugSep13_jwSCfinal 23/8/13 15:19 Page 34

MONITOR PEOPLE ON THE MOVE TBI takes a look at the latest comings and goings in the international kids television business and reports on who’s moving where

Turner has hired PATRICIA HIDALGO as its chief content officer, EMEA, filling a role vacat- ed by Michael Carrington earlier this year. Hidalgo reports to Pete Flamman, and has joined from Disney where she was VP,content and programming strategy and is the second senior executive to swap Disney for Turner in recent months after Giorgio Stock joined in April as president of Turner Broadcasting System EMEA. Cartoon Network’s chief content officer Rob Sorcher is one of two Turner Broadcasting System executives who have been promoted in a management reshuffle. Sorcher has added the title of VP to his duties, while Mike Lazzo, senior VP of programming and production for Adult Swim and Williams Street Studios, becomes executive VP and creative director.

PHIL KENT will end his 12-year tenure as CEO of Turner Broadcasting in January when Time Warner CFO John Martin replaces him. As of January 1, 2014, Martin will step into the chief exec role, reporting to Time Warner CEO Jeff Bewkes. Kent will remain as chairman for a transitional period thereafter. Martin is seen as a possible long term replacement for Bewkes, who at 61 may seek retirement in the foreseeable future. Canada’s Corus has promoted executive VP Doug Murphy of the Canadian firm’s TV division to COO of the parent Corus Entertainment unit.The move is part of a restructure designed to bring Corus’TV and radio units closer together. Murphy is now executive VP and COO of Corus Entertainment and in control of television and radio.

NATALIE OSBORNE has been upped to managing director of 9 Story Enterprises, which in turn has closed a deal for the underlying rights of CCI’s children’s TV catalogue. Her expanded role now covers all worldwide sales, consumer products and strategic partnerships. Osborne joined 9 Story Entertainment in 2006 to launch 9 Story Enterprises and is now in charge of the newly expanded distribution division. Eric Huang has left Mind Candy, the company behind Moshi Monsters, for digital agency Made in Me. At the London-based firm he has taken the newly-created role of development director, working to develop brands and intellectual property across publishing and broadcasting platforms. MARJORIE COHN has joined DreamWorks Animation. Cohn exited Nick earlier this year and has now joined DWA as its first head of television. Also joining is another former Nick exec, Mark Taylor, who will become head of television production. DWA exec Peter Gal, who is currently overseeing the company’s Dragons: Riders of Berk and Turbo F.A.S.T., rounds out a new-look top team as head of television development.

Nancy Kanter has been upped to executive VP,programming and GM of Disney Junior Worldwide. Kanter has been elevated from senior VP at the preschool net, where she oversees the development and production of all Disney Junior original series. She joined the Mouse House in 2001 and worked on the rebranding of Playhouse Disney to Disney Junior.

STEVE WYNNE has left kids-focused producer Rival Media and set up a TV division at London-based Pretzel Films. Pretzel has hitherto been known as a producer of commercials and corporate content, but wants to move into TV with docs, entertainment shows and kids TV projects. Howard Myers is now in sole charge of Rival.

10 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM THE WORLD IS WATCHING Independent global distribution since 1984

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pXX Beyond AugSep13.indd 1 14/08/2013 11:20 p12 ProSieben Monitor AugSep13scFINAL 27/8/13 15:16 Page 30

MONITOR PROSIEBENSAT.1

ALL EYES ON P7S1 AS OPPORTUNITY KNOCKS

The future ProSiebenSat.1 Media is the subject of intense speculation following the latest structural changes at the European broadcast and media giant, reports Jesse Whittock

n August 16 German TV and media firm ProSiebenSat.1 completed a stock conversion that reduced its majority shareholders’ voting shares from 88% to 44%. Significantly, the move converted private equity houses KKR and Permira’s non-voting preferredO shares, held by a holding vehicle called Lavena Holding 1, into tradable common stock, essentially turning the firm into a fully-listed company. When news of the switch broke toward the end of July, the German financial press immediately saw the move as KKR and Permira’s most concrete attempt to create a viable exit plan – selling the Lavena shares would net them an estimated €3.4 billion (US$4.6 billion). Many predict they will exit before the end of the year if possible. However, P7S1 insists this is not guaranteed. “After the deal [KKR and Permira] will hold a 44% stake, but we do not know if and when they will sell,” a spokeswoman said at the time. What is certain is that KKR and Permira have been umming and Mob Wives producer Left/Right is a key international title for P7S1 ahhing for some time. Earlier this year, they hired JPMorgan Chase to investigate their options, but this did not end in an expected sale despite strong financial results and growing analyst confidence in P7S1. However, P7S1 claims it is now in the elite roster of top ten international producers. the pair did sell 19.7 million preference shares – approximately 9% of the New York-based reality and factual TV producer Left/Right has been previous 53% stake held. singled out as a particular growth driver. The eight year-old company is KKR and Permira originally acquired their shareholding in October behind series including Showtime’s This American Life and VH1’s 2006 from German Media Partners, a Haim Saban vehicle that launched popular Mob Wives and joined the P7S1 stable in August 2012, in an after Saban Capital Group had acquired a controlling stake in 2002. acquisition Red Arrow group managing director Jan Frouman charac- NBCUniversal, Time Warner and Discovery Communications, the terised, in an interview with TBI, as “by far the biggest deal we have latter of which acquired P7S1’s Scandinavian SBS Nordic business for done”. It is also working on a series featuring extrovert criminal defence US$1.7 billion this year, have latterly been linked with the Lavena stake. attorney Adam Reposa with Watson Pond Productions for Spike TV. P7S1’s overall group revenue for the second quarter of this year was P7S1’s international sales arm, Red Arrow International (fka SevenOne €624.8 million, up 11.4% on the figure for the same period in 2012. International) has also been successful, selling formats including Earnings also grew despite numerous acquisitions, and P7S1 CEO Benidorm Bastards, The Last Cop and The Taste into the UK, US and Thomas Ebeling said that by 2015, he wanted the group to generate France and finished series including French crime drama Jo to numerous additional growth of at least €600 million. broadcasters. P7S1 is an attracting interest not only because of its channel operations It has also struck a long-term distribution agreement with innovative across Europe but increasingly also because of its digital and internation- Israeli digital television company Screenz to represent the latter’s al content businesses. products exclusively in Europe and non-exclusively elsewhere, including Digital revenue for Q2 grew 65.5% year-on-year to €112.6 million, with the US. It soon after sold a Facebook dating app to SBS-owned Belgian its German VOD platform Maxdome and new web TV service MyVideo broadcaster VIFJ to run alongside its remake of the Singl3s format. Germany currently taking market share of about 47%. Despite expansion “Engaging digital natives, building brands and finding new ways for costs, the digital segment posted significantly improving earnings of sponsoring and monetisation – these are the challenges of our industry,” €24.4 million. Red Arrow International’s managing director Jens Richter said earlier Meanwhile, international content arm Red Arrow Entertainment this year. continued to grow, with external revenue growing 42% to €25.4 million. Overall, P7S1 remains the second largest broadcast group in Germany Half-year revenue was up even more considerably, 74.7%, taking the total behind Bertelsmann, which operates RTL and its production wing, to €50.5 million. FremantleMedia. However, with the changes at P7S1 and Bertelsmann Following a spending spree, Red Arrow now has stakes in 18 produc- lowering its share in RTL from 92.3% to 75.1% earlier this year, there is tion companies across nine territories, including four in the US and UK. major change afoot among Germany’s premier media companies. TBI

12 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM p13 Televisa AugSep13.indd 1 28/08/2013 09:56 p14 Reflex Monitor AugSep13scFINAL 27/8/13 15:17 Page 30

MONITOR FORMATS

TEAM BEHIND THE CUBE HOPE BUYERS SQUARE UP FOR REFLEX ACTION

round before one member of the winning family takes part in the end game. That involves them standing on a plinth and having green and red balls fired at them, the former earning them money as they are caught and the latter taking away from the total. The final twist is an all or nothing question in which the family can risk their winnings. The games themselves include leaping through glass panels and falling through giant balloons. Objective has made six 45-minute episodes for the BBC plus a celebrity special that features ex-rugby professional Austin Healey and retired athlete Iwan Thomas and their families. The Cube format sold to RTP in Portugal, RTL in Germany, STB in Ukraine, Cuatro in THE SHOW: Reflex Spain and Dragon TV in China. All3Media’s THE PRODUCER: Objective Productions sales arm is handling distribution of Reflex and THE DISTRIBUTOR: All3Media International managing director Louise Pederson says the THE BROADCASTER: BBC1 (UK) sales team will be using Adler’s Cube-shaped THE CONCEPT: Physical gameshow from the creators of The Cube credentials when talking to buyers. On that in which super fast, reflex-testing rounds are seen in slow motion basis, All3Media hopes to place it with broadcasters that have acquired The Cube as well as with some looking for a more cost-effective, eflex is the latest physical category, but Adler is keen to underline the dif- more family-skewed shiny-floor show. gameshow from Adam Adler, ferences. “It is the next show out of The Cube “We’re using Adam’s experience to sell it and creator of The Cube. Originally stable so there will be some link, but the will tell broadcasters they can have another piloted for Channel 4 in the UK – process is very different,” he says. “The main show from The Cube creators, because you the same broadcaster that piloted action is seen in slow motion, [and] the slow mo can’t have that on air 52 weeks a year,” says andR passed on The Cube – it has been taken to is the narrative and not a replay device.” Pederson. “The Cube is also not a cheap show series by UK pubcaster the BBC, which will The family-friendly feel is accentuated by to make and Reflex is much more scalable, it’s launch it on its flagship BBC One channel in well-known British host Shane Richie and the as creative and inventive, but can be rolled out primetime in early 2014. tone of the show has drawn comparisons with more cost effectively.” Whereas The Cube was about hand to eye Endemol’s Wipeout, although the look is very The producers say they deliberately made the coordination, Reflex tests, as the name suggests, different with the set described by Adler as show’s games as easy as possible to reproduce different physical reflexes. As with the earlier “very futuristic and Tron-like, without being logistically and financially. The UK version uses show, the emphasis is not on physical strength, alienating”. a lot of cameras to capture the best slow motion meaning a relatively level playing field between “Wipeout is great and we are competing in action – Adler talks about a tracking shot of a the sexes and across different age groups. that slot [on BBC One],” he continues. “It has a contestant running through a wall of cans as Like The Cube, which stretches to eight similar tone, there is a big element of slapstick looking like something out of a Hollywood seasons on ITV in the UK, there is a slow comedy in there and there is a comedy movie – but he says it can be made much more motion component to the action, but it is an voiceover from [BBC radio broadcaster] Ken affordably. “A lot of the big games are not nec- integral part of Reflex, not a way of replaying Bruce.” essarily better than the smaller, cheaper ones game highlights. The new show uses the super The pilot had individuals competing, but the anyway,” he adds. high-tech NAC/Ikegami hi-motion camera finished show pits two families of three against Having searched for a big shiny-floor format, utilised in the 2012 Olympics in a TV studio each other. They compete in rounds testing All3Media now has The Cube, Reflex and The environment for the first time. their reflexes in various games across three Million Second Quiz on its books. The Reflex The Cube’s lineage is a selling point and head-to-head rounds. There is then a two- and MSQ formats will be launching interna- Reflex is in the same physical gameshow versus-two section and a group mental reflex tionally for the first time at MIPCOM. TBI

14 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM pXX Globo AugSep13.indd 1 14/08/2013 11:22 p16-18,20 State of Kids TV AugSep13scFINAL 23/8/13 17:03 Page 16

KIDS TV STATE OF THE INDUSTRY KIDS TV 2013

It is a time of unprecedented change in the kids TV business as producers, distributors and broadcasters look out on a post-economic crash, digital world. Stewart Clarke talks to leading execs about whether the industry is booming or feeling the strain

x-Sesame Street writer and lat- new on-demand platforms and services, one In this environment the exposure – meas- terly indie prodco boss Josh thing is beyond dispute: digital and the glob- ured by the size of the deficit – a single part- Selig says that 2013 is a great al economic crisis have changed everything. ner will risk has decreased, meaning copro- time to be a creative. “If you’re a Digital is clearly now part of all producers duction is inevitable for those seeking to creator and producer of original and distributors’ plans. “Two years ago launch large, international shows. Zodiak content,E I believe this is a very good time to be Netflix was someone that sent you DVDs – Kids & Family CEO Nigel Pickard estimates alive. Not only are there a variety of new and now it’s nominated for Emmy Awards,” says that there could be 75-100 partners in all on a well-financed platforms to partner with, but a senior executive at one major kids produc- hit show and all will want various assurances. these new players have effectively lit a fire er/distributor. “I’m often left asking, ‘what HIT Entertainment is one of the kids firms underneath all the traditional broadcasters exactly are those rights we’re retaining’, that would have once risked a large deficit on who are having to step up their game, think because there are so many new terms and a potentially big project. But the model has more creatively, and spend on original IP or acronyms in deals,” they add. completely changed at the company – which risk getting left in the dust.” The travails of the broadcasters, mean- Mattel bought from private equity firm Apax The Little Airplane boss’s positive outlook while, mean new pressures on funding mod- in a US$680 million deal completed last sums up many of the opportunities and chal- els, which are having a direct impact upon February – to reflect the realities of running lenges facing the kids industry. The what’s seen on screen and how long it takes a kids business in 2013. Ex-Disney Consumer consensus is that it is a great time for savvy to get there. With a broadcaster covering only Products chief Edward Catchpole has been creators of content who are willing to work in as much as half of the cost of a commis- senior VP and running HIT since Jeffrey new ways, a testing albeit potentially reward- sioned show, it will take anything between six Dunn exited following the Mattel deal. ing time to be a distributor, and out and out and eighteen months to put the finance in “Under Apax the strategy didn’t work, which challenging period for the established broad- place for the remainder, producers say. Given is why HIT was up for sale,” he says. casters. The revolving executive door at that meaningful upside from ancillary Catchpole’s goal is to make the company Turner and senior changes at Nickelodeon revenues will not come in until possibly the the top preschool brand in kids TV world- underline the point. third season of a show, it could be five years wide and that aim is inextricably linked to In the production and distribution sector, before a hit series is a serious money spinner. digital. He says: “There’s been a huge frag- some have been stretched too. Rastamouse coproducer Dinamo Productions and the French arm of producer and distributor “These new digital Moonscoop both entered administration this year. players have effectively lit Meanwhile, Netflix has moved aggressively a fire underneath all the into kids, buying hundreds of hours and now traditional broadcasters commissioning originals and scoring a major output deal with DreamWorks who are having to step up Animation. Amazon’s original content push their game” for its Prime and LoveFilm services skews heavily to animation and kids series and Josh Selig, founder and underscores the fact that kids content is the president, Little Airplane next battleground in internet TV. Productions While the industry debates the effects of

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KIDS TV STATE OF THE INDUSTRY BOOM OR BUST?

mentation in content distribution and access passed. “We saw the digital bubble not burst, “For an indie producer, securing funding is to that content by consumers because of dig- but take a different form this year,” says a time consuming and sometimes frustrating ital services such as Netflix, LoveFilm and Richard Goldsmith, executive VP, global dis- process before production can even begin,” YouTube. In the past you would produce a tribution at The Jim Henson Company, who says V&S’ managing director Vickie Corner. brand, advertise [the ancillary products] on also used to work across digital at Warner “As independent producers don’t have the TV and your job was done, but broadcast is Bros. “The number of digital services being luxury of instantly tapping into funds that the not now the main platform to market your started has slowed down. Everyone thought bigger players have at their disposal, it is now brand.” regional services would open up significant increasingly important that the indie looks Getting Former BBC and Turner kids boss new business, which has occurred in a further than the collection of licence fees Michael Carrington on board as head of con- couple of markets, but has been slow to hap- that are ever decreasing and also beyond tent and production, HIT Global Brands, was pen. There are still big global players but they traditional mainline licensing. There is now the first step in getting HIT are being much more selective and also more opportunity than ever to enter into the content ready for this new, digital world. Catchpole says: “Michael’s task includes part- nering with consumer products, commercial “In the past you would distribution, live events and parks and resorts produce a brand, advertise because I view them all as content platforms. It’s also possible we go down the traditional [ancillary products] on TV TV route or make two, three, four, five or six- and your job was done, but minute long content that will engage with kids. We’ll develop content across all broadcast is not now the platforms and thinking this way opens up main platform to opportunities.” Meanwhile, as the on-demand platforms market your brand.” ramp up, distributors with deep libraries can Edward Catchpole, Senior VP, do huge deals, increasing the value of a big HIT Entertainment catalogue. “Digital was a major motivating factor in the acquisition of Cookie Jar [in 2012] and having a large library is a major looking for more exclusive rights for SVOD digital media realm with the lower production benefit as these new platforms launch,” says and in some cases to block shows from TV cost of apps for phones and tablets.” DHX Media’s senior VP, distribution, Josh as well.” One part of the funding model that has Scherba. “We’re now selling packages of A handful of producers and distributors largely gone away is home entertainment. As thousands of hours.” are eschewing the large volume business and digital has grown, DVD sales have dropped That is achievable with DHX’s library of middle ground and focusing their efforts on off a cliff. “We used to get an advance from 8,500 half-hours, which is rivaled only by a one or a small number of properties. local and international home entertainment few companies such as DreamWorks, but Platinum Films with its hit Matt Hatter companies and that hasn’t been replaced,” means the mid-size and smaller distributors Chronicles series on ITV and Nick in the UK says Alison Warner, VP, intellectual proper- might struggle to play in the digital field. – and self-sold around the world – and V&S ties, sales, acquisitions and coproduction for “Scale and access to capital has become as Entertainment with its preschool hit Technicolor. “As the market has fragmented, important as having great ideas,” Scherba Everything’s Rosie are good examples of funding is increasingly challenging and every says. “There has been a lot of consolidation in small, focused producers that are also time you have a new project you have to the kids space and it’s astounding how many handling international exploitation of their approach it in a different way, you can’t apply companies are not around that were here properties rather than hand them off to a one model to different shows.” four or five years ago.” large distributor. Again, digital is shaping In terms of new pots of funding or avenues Others suggest the era of massive library business models with programme sales just for growth, the new UK tax break regime is a deals with SVOD platforms has already one part of the equation. boon for producers there, while

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KIDS TV STATE OF THE INDUSTRY

FremantleMedia has also invested heavily in setting up a kids and family division. One “The big global players are industry watcher estimates Fremantle has ploughed something between US$30-45 mil- being much more selective lion into kids fare. Whether the appetite and also looking for more remains to invest at that level remains to be exclusive rights for SVOD seen following senior changes at the RTL- owned firm, but it has numerous projects in and in some cases to block development and production. shows from TV as well.” There are newer players in the traditional channel space, although the likes of KidsCo Richard Goldsmith, executive are primarily in the acquisitions and not the VP, global distribution, commissioning game. However, it is buying The Jim Henson Company shows and, now under the control of Canada’s Corus and NBCUniversal, is launching new Syfy Kids branded blocks and BBC Worldwide has about 75 hours in pro- tion of the TV industry most likely to see acquiring content such as the aforemen- duction for its international CBeebies chan- multi-partner, multi-territory coproductions tioned Matt Hatter Chronicles. nel as it moves towards a schedule compris- – because of the awkward funding situation. Hendrik McDermott has been running ing two-thirds commissioned programming “In my experience the best shows are the KidsCo since Paul Robinson’s exit in late 2011 and, understandably as the exec signing off ones led by a singular vision and passion and and says that from a channel perspective, the on those commissions, Hurford Jones sees a that’s so much harder to do when you are in quality of content available has increased in lot of projects cross her desk. She notes truly the business of coproduction because that recent times. “I’ve noticed an increase in the original concepts are thinner on the ground. gets diluted,” says Bob Higgins, executive quality of programming out there – more “It is harder for innovative content to come VP, FremantleMedia Kids & Family high-end animation and a higher quality through in the current environment. Every Entertainment. “If you are at a broadcaster or threshold. When we look to acquire we have now and then you get a Teletubbies or Moshi Cartoon Network, Nick or Disney, you can a lot more choice.” Monsters or something conceptually new or allow for a lot more of that and allow the Henrietta Hurford Jones, director of delivered in a new way, but they are few and creators some flexibility and protection. If children’s investment at BBC Worldwide, far between,” she says. you are an indie that gets a lot harder and if agrees there is more to choose from. Almost everyone agrees that the best kids there are multiple companies and points of “There’s no lack of choice [for commission- shows are usually the ones where a talented view you don’t have that protection. But if you ers], but how many projects actually go into creative has been allowed the freedom to want something special and unique you have production is the issue,” she says. pursue a project but kids content is the sec- to make sure the creator and concept are adhered to.” In the UK the tax breaks introduced by the “It is now increasingly government have, producers hope, levelled the playing field with their counterparts in important that the indie Canada, France and Ireland. looks further than the “There was a positive feeling in Sheffield collection of licence fees [at the Children’s Media Conference in July] and the fact the tax breaks are in place is that are ever decreasing hugely exciting and gratifying,” says Mike and also beyond traditional Watts, CEO of indie producer Novel Entertainment and chair of industry organi- mainline licensing.” sation Pact’s children’s and animation policy Vickie Corner, managing group, which played a key role in the lobby- ing effort. But he tempers the optimistic director,V&S thought with a dose of realism. “It’s positive,

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KIDS TV STATE OF THE INDUSTRY

across different services and to be able to offer that flexibility to their “I’ve noticed an increase in partners. the quality of programming KidsCo is developing its own interactive out there, there’s more MyKidsCo service, which it plans to run in conjunction with the pay platforms it is on. high-end animation and a “We’re looking to grow from some smaller higher quality threshold – affiliates to larger ones,” McDermott says. “We’re now looking at being as flexible as when we look to acquire possible with rights with our affiliate we have a lot more choice.” partners.” The producer’s ability to push back on HendrikFor theMcDermott, most part it demands for digital rights depends on the managingis not our director, business KidsCo plan to be one of network, the status of the show and the money on the table. twenty pilots the picture, some indies bemoan a lack of If global and industry-specific factors are but commissions are no easier [to achieve], Michael Rosenberg, there are no new broadcasters and no new choice Entertainmentfor an international One sales partner. changing the way kids TV is made, sold and money to spend on the broadcaster front.” “There just aren’t enough distributors and I distributed, the pace of change is unlikely to The positive-but-realistic tone was accentu- would love to see more health in the distribu- let up as SVOD platforms wield greater ated when TBI broke the news in Sheffield this tion business for kids,” says one seasoned power, broadcasters grapple with how to keep year that Dinamo, the Wales-based kids’ TV indie producer. “When we think who we can eyes on screen and producers put together firm that counts Rastamouse and Abadas get to distribute a show and we have spoken new ways of financing shows. among its credits, had entered administration. to the main three or four distributors, we Whether that’s seen as an incredible With his Novel hat on Watts understands could do with a couple more options.” opportunity or a worrying challenge depends the funding challenges an indie faces – the Regardless of the size of the channel, the on where you sit in the kids TV world. producer makes Horrid Henry for ITV. Even dynamics of buying and selling content have “If you are a creative, whether young or with ITV in the UK, ZDF in Germany and initially Target Entertainment in place as distributor, Novel still had to cover the deficit for the first series. The situation remained the “If you are a creative, same for seasons two and three even after it whether young or old, I’d became it a hit, and the show has never been say it is as exciting a time as fully funded, which will again be the case if ITV does, as Novel hopes, order more. there has been in the last Zodiak Kids sells the series internationally fifteen years… but the following Target’s demise in early 2012. “The digital platforms have been around business side is really for a while but have been in the business of tough.” features or long run US series,” says Watts. Nigel Pickard, CEO, Zodiak “Now there are rumblings about whether M.E.E.A. and UK Kids & Family they are interested in shorter run kids content, which is the first time since Nick, Cartoon and the [digital] BBC channels began also changed because of digital and KidsCo’s old, I’d say it is as exciting a time as there has that there has been something new for kids McDermott addresses another quandary in been in the last fifteen years, there are producers.” this digital age: what rights are covered by a opportunities whether in traditional TV, gam- “US VOD players are the sunshine on the licensing deal. ing or SVOD and you can get ideas out,” says horizon,” agrees Zodiak’s Nigel Pickard. The channels will push for digital rights in Zodiak’s Pickard, “but the business side is With Target and Moonscoop France out of order to have the flexibility to exploit them really tough.” TBI

20 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM THE BEST OF ISRAELI CONTENT

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MIPJUNIOR 2013 KIDS HOT PICKS KIDS HOT PICKS

THE SHOW: Zack & Quack THE PRODUCERS: The Foundation, QQD Limited, High 1 Entertainment THE DISTRIBUTOR: Zodiak Rights THE BROADCASTER: Nickelodeon (US, international) THE CONCEPT: Preschool CGI series from Israel about a boy and his duck and their adventures in a pop-up, paper-folding world

Israel has emerged as one of the most distinctive and the characters were great,” book where they and their paper-folded influential TV content-creating hubs in the recalls Pickard who then beat off competition friends proceed through adventures, always world, but the country’s creatives are better to buy in to what was then called Quick aiming to get home before the last page. known for making the shows that led to Quack Duck. Although set in a book, the show is not gritty dramas Homeland and In Treatment Renamed Zack & Quack, which was felt based on a pre-existing publishing property, than preschool-friendly fare. gave a better feel of what the show was but several publishers are now vying for Zack & Quack could go some way to cor- about than its original title, the show was set book rights recting that, with the CGI kids series soon to up as a copro between Zodiak-owned Pickard says it is the show he is proudest debut on Nickelodeon in the US and interna- producer The Foundation and Dolev’s Israel- of in his time at Zodiak. With Nickelodeon on tionally. based QQD. Korean studio High 1 is on board in the US and internationally, the focus Its creator Gilli Dolev pitched the idea to animation duty. for the Zodiak team at MIPJunior and MIP- Nigel Pickard, CEO, Middle East, Europe, “The look and feel was developed from COM is free-TV sales and opportunities in Australia and UK at Zodiak Kids & Family at that pitching session, but the core notion of the territories in which Nick does not have a MIPCOM speed-pitching session four years the interactive adventures of Zack and his rights. ago. Until then Dolev’s calling card had been pet duck is still there,” Pickard says. The first episodes will deliver to the pay festival short The Happy Duckling. “It was The 52x11mins show follows Zack and his channel in September and buyers can see the best thing I had seen all year; it was titular duck sidekick. They live in a pop-up the first instalments in Cannes.

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MIPJUNIOR 2013 KIDS HOT PICKS

THE SHOW: Dr. Dimensionpants THE PRODUCER: DHX Media THE DISTRIBUTOR: DHX Media THE BROADCASTER: Teletoon (Canada) CONCEPT: Comedy action series about a boy and his unicorn mentor Dr. Dimensionpants is based on an idea from Canadian film director Brad Peynton (Cats & Dogs 2: Revenge of Kitty Galore). The emphasis is, producer DHX says, on the comedy in the action comedy toon. It tells the story of an everyday child, Kyle, who by chance finds a pair of ‘Dimensionpants’ – cosmic trousers that give him special powers. With the help of his talking unicorn mentor he must then learn how to use these super- hero powers and save the world. Unusually, the show does not have a raft of THE SHOW: Sam and Cat copro partners, with DHX making it following a THE PRODUCER: Nickelodeon commission from Canadian kids broadcaster THE DISTRIBUTOR: Viacom International Media Networks Teletoon. THE BROADCASTER: Nickelodeon (US, international) It was originally a Cookie Jar show in CONCEPT: Follow-up to iCarly and Victorious, starring the respective development for Teletoon. It landed with DHX female leads from those hit shows following its acquisition of its production counterpart last year. DHX then put it through its Vancouver studio, allowing production to Strictly speaking – and according to iCarly and Victorious], one goofy and one rock start earlier this year. The first instalments of Nickelodeon – Sam & Cat is more than a ‘n’ roll,” says Viacom International Media the 26x30mins series deliver in early 2014. spin-off. It’s a double spin-off. It earns that Network’s senior VP, Caroline Beaton. “People “We reworked elements of the show to status by virtue of having Jenette McCurdy are attracted to those characters. The core allow the writers to bring out the funny,” and Ariana Grande in the same series. The demo is the tween 6 to 11s although it will explains Josh Scherba, senior VP, distribution teen stars, better known as the leads in iCarly also do well in the 9 to 14 demos. It’s at DHX. “That meant a longer pre-production and Victorious respectively, come together for aspirational: the girls share a flat and run a process of about three months as there was a this new live-action series. business.” full overhaul of the creative.” The doubling up theme has continued with Grande’s rock ‘n’ roll cred is underlined by With its male leads, the show skews boy the show’s US broadcaster Nickelodeon the recent single she released and an album and is aimed at 6 to 11s. Scherba says that it ordering a second season comprising an addi- in the works. Although signed to Universal will tap into an ongoing demand for comedy. tional 20 episodes in July. That followed a very and nothing to do with this show or strong debut a month earlier in the US when it Victorious, Beaton says her star power and garnered 4.2 million viewers, making it Nick’s eight million Twitter followers – not to best new live-action show for three years. It mention McCurdy’s 3.5 million – have only subsequently settled into a healthy average helped build the profile of Sam & Cat. audience in the mid-to-high three millions. Victorious and iCarly both sold into over 50 Predictably given its heritage, the comedy territories and Beaton hopes to repeat that show was created by the man behind both level of success with the new show. iCarly and Victorious, Dan Schneider. The Broadcasters in Europe and Latin America are initial set-up sees Sam and Cat thrown both expected to buy it while their counter- together in the back of a moving rubbish parts in Asia are more challenging prospects, truck in a sequence of events that sees the as they largely favour toons over live-action. two become firm friends and, ultimately, The series launches internationally at launch their own business, Sam & Cat's MIPJunior and MIPCOM with VIMN on interna- Super Rockin' Fun-Time Babysitting Service. tional sales duty from the stand it now shares “They play the same characters [as in with Paramount.

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THE SHOW: Filly Funtasia THE PRODUCERS: Screen 21, Black Dragon, HFDL (Dracco) THE DISTRIBUTOR: BRB Internacional (ex Germany) THE BROADCASTER: TBC CONCEPT: Animated series about a unicorn filly who lives in a fantasy kingdom, based on the kids brand Filly Funtasia will be trotting into MIPJunior and MIPCOM courtesy of Spain’s BRB, which is handling international sales. The 26x30mins series follows Rose, a unicorn filly who is the newest student at the School of Magic in the kingdom of Funtasia. Her fellow students include elves, fairies, prince and princesses and witches, all perfect- THE SHOW: Super Wings! ing their own brands of magic. THE PRODUCERS: FunnyFlux Entertainment, QianQi Animation, BRB founder and Filly exec producer Carlos Little Airplane Biern says the show ticked a lot of boxes for THE DISTRIBUTOR: Funnyflux Entertainment his company. “BRB was actively looking for a THE BROADCASTER: TBC strong show with proven toy-driven success,” CONCEPT: Animated series about a group of transforming planes that he says. “We were looking for a more ‘girly’ travel the world delivering packages to children brand as it was a gap in terms of target viewers that we’d had for several years and something our customers were asking for from us.” The international nature of the kids TV East. A global toy partner is in place in the The Filly property is owned by L&M special- business is encapsulated in a new show for shape of China's Alpha Group, which markets ist Dracco, which has launched products in 50 MIPJunior, Super Wings!, which was created products under the Auldey brand. territories. Biern says: “It is a very successful in South Korea, is being written in the US Gil Hoon Jung cites two inspirations for the brand, which now for the first time will have and animated in China. show. “First, I wanted to do something a great quality TV show where the audience Funnyflux Entertainment is hoping to fol- completely fresh and original with airplanes can finally identify with the characters they low up the success of its Zodiak-distributed and I loved the idea of planes that could played with and read for several years.” kids series Tickety Toc with the new animat- change their shape to become cool robots The producers are mindful that the first ed preschool series. who could swim, run, dig and, of course, fly,” wave of girls who played with the Filly toys The South Korean producer has joined he says. “The second inspiration was seeing are getting older and the target demo is about forces with its Chinese and US counterparts how excited children were whenever they ten years old for the series. They also hope respectively with QianQi animating the received any sort of present or package. I put the magic and wizardry elements and visual 52x11mins CGI series and Josh Selig’s Little these two ideas together to create Super style will pull in younger boy viewers. Airplane overseeing the writing. Wings!” A show about cute horsey characters has, of Funnyflux founder and Super Wings! In a kids TV world in which there are course, been done before, but Biern says this creator Gil Hoon-Jung says a deal with one of hundreds of vehicle based shows, the Super is different. “There are many successful shows the main kids networks is shaping up: “We Wings’ ability to transform will, the produc- about cute animals in preschool, superheroes already have interest from one of the majors ers say, make them stand out. The fact they or dinosaurs for boys action, or live-action so we're quite confident Super Wings will visit a different country in every episode also shows about becoming a famous singer or find a good home with a top international provides a jump-off point for curriculum- dancer,” he says. “Having a show based on broadcast partner.” based cultural diversity elements with Jett legendary magic creatures becomes some- Jett is the star of the show and is part of a and his friends learning key phrases, thing new if we creatively apply some terms: group of planes, known as Super Wings, landmarks and about the animals that live in our show is a sitcom based on an academy of which can transform into other vehicles. They the given destinations. magic and it is CGI.” travel the world delivering packages to kids. Gil Hoon Jung claims the animation will be Dracco is distributing the series in Germany The series is fully funded and went into theatrical quality. He says: “The action and and managing the brand internationally production earlier this year. The challenge in the flying sequences on Super Wings! are far except Spain where BRB will handle L&M. Cannes will be presales with Funnyflux over- more dynamic than anything typically seen Simba Dickie is already attached as master seeing sales excluding Asia and the Middle in a preschool series.” toy licensee.

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MIPJUNIOR 2013 KIDS HOT PICKS

THE SHOW: Beijing Opera Cats THE PRODUCERS: Toonmax Media, Dazzling Star Productions THE DISTRIBUTOR: Toonmax Media Distribution THE BROADCASTER: Toonmax (China) THE CONCEPT: Chinese action comedy series about a clan of opera-performing kung fu warrior cats

SMG is one of China’s largest media compa- Showdown channels – with the first episodes costumes and make-up provide an nies and its kids and family division, delivering at end-2014. undeniable Chinese flavour to the show. We Toonmax, is heading to Cannes with a new Toonmax recruited former Nickelodeon believe that kung fu fever and kids' love of action comedy. executive Alex Chien to make sure the script fun and adventure will carry our Beijing The series follows a quartet of characters and project are suitable for the international Opera Cats worldwide.” living in a fictional kingdom called Per-Petua. market and former PGS exec Justine Bannister International buyers will get a first look at Orphan Lil’Pai teams with the last three to help with the international roll out. the Flash-animated show at MIPJunior with a remaining survivors of the Opera Cat warrior In an era when kids TV shows invariably full episode ready later in the year. Chien is clan, who perform their favourite opera have numerous international partners, this is confident the show, which targets 6-to-10s, numbers by night, and the team proceed to based on a picture book by Xiong Liang and can cut through the clutter. battle the Dark Lord An and his army of is an all-Chinese affair. She says: “The title alone stands out as mutant monsters. “We are so proud to present this 100% completely original and the concept has not In late 2011, fledgling Beijing-based Chinese creation: Chinese story, Chinese been seen before in animation. We under- prodco Dazzling Star brought the project to origin and Chinese talent,” says Ye Chao, stand that the competition is tough but few Toonmax, which, suitably impressed, funded general manager of Toonmax Media. series embody a mix of humour and action the 40x22mins series. In China it will air on In a crowded market, the Chinese heritage adventure for this age group.” the Toonmax channel – Toonmax also is a selling point, adds Chien: “The originali- Toonmax says talks are already underway operates the HaHaTV and Animation ty of the Beijing Opera and its amazing for an online game based on the property.

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ghosts, witches, bandits, demons, dragons and other creatures along the way. Flying Bark is the lead producer with Telegael Teoranta and Indian studio Discrete Art also on board. Flying Bark parent company Studio 100 is handling international sales and will launch the CGI show in Cannes with early interest reported from Canada, Germany and the UK The TV show has a unique visual style that will set it apart, according to Flying Bark managing director, Jim Ballantine. “Tashi’s design draws on the new wave of integrated 2-D/CG animation techniques resulting in a contemporary and vibrant blend of colour and complexity,” he says. Clearly leaning heavily on the book series THE SHOW: Tashi with its themes of friendship and diversity of THE PRODUCERS: Flying Bark Productions, Telegael Teoranta, culture, the creative has nonetheless been Discreet Art Productions tweaked for TV. “The series is heavily inspired THE DISTRIBUTOR: Studio 100 Media by the book, however we have adapted our THE BROADCASTERS: ABC, Network Seven (Australia) scripts and storytelling to resonate with audi- CONCEPT: TV version of the million-selling Australian fantasy book series ences globally,” Ballantine says. “We bring to life the characters in animation based on how we – and children – see them from the book.” The Tashi book series comes from mother and The books and 52x11mins TV show tell the In Australia it will unusually be on both the daughter writing team Barbara and Anna story of Jack, a young boy bundled off to stay ABC and its commercial counterpart Network Feinberg and is being brought to the small with a distant cousin, the titular Tashi. The Seven, which will get it first. Currently in pre- screen for the first time by Australian produc- pair then embark upon wild adventures in and production, the series is aimed at 7 to 11s and er Flying Bark. around Tashi’s fantastical village, battling delivers late next year.

THE SHOW: Chamelia Canada’s Teletoon. THE PRODUCER: Technicolor, There is no broadcaster attached to Mercury Filmworks Chamelia, but CBeebies is the show’s THE DISTRIBUTOR: TBC sponsor for Cartoon Forum. THE BROADCASTER: TBC The 52x13mins series will tell the story of CONCEPT: Preschool show about a Chamelia, the chameleon of the title, who chameleon that does not blend in, unlike the other members of her species based on the Ethan Long books wants to stand out, not fit in. Appropriately, Chamelia is a series of kids books from the stories are based in the town of Ethan Long, the writer who picked up this Camouflage. The tales follow Chamelia’s year’s Theodor Seuss Geisel (aka Dr. Seuss) adventures in the playground, at the park award for Up, Tall and High! and at home. Technicolor and Mercury Filmworks are Kids TV veteran John Bullivant, who has now working up the property from publish- worked at TV Loonland and Hit er Little, Brown into a preschool toon. The Entertainment among others, has been pair will be scouting for new partners at brought on to develop the 2D TV series. this year’s Cartoon Forum before moving on Alison Warner, VP, intellectual properties, to MIPJunior and MIPCOM with the same sales, acquisitions and coproduction for brief. Technicolor, says: “It’s a brand new project It is the second time LA-based for us. When we saw Chamelia she sprang Technicolor and Ottowa-based Mercury out; they’re wonderful stories. We’re looking have joined forces after the pair teamed for for a European or North American partner to Atomic Puppet, which is in development for come on board.”

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MIPJUNIOR 2013 KIDS HOT PICKS

THE SHOW: Andy’s Dinosaur Adventures THE PRODUCERS: BBC Natural History Unit THE DISTRIBUTOR: BBC Worldwide THE BROADCASTER: CBeebies (UK, international) CONCEPT: Follow-up to Andy’s Wild Adventures utilising footage from epic natural history series Walking with Dinosaurs Andy Day is already known to preschool fans of Andy’s Wild Adventures, in which the kids presenter played a ranger at the fictional Pickle’s Animal Park (actually the UK’s Longleat Safari Park). The BBC’s highly-regarded Natural History THE SHOW: Kate & Mim-Mim Unit is now following up that show with Andy’s THE PRODUCER: Nerd Corps Entertainment Dinosaur Adventures. It will meld images from THE DISTRIBUTOR: FremantleMedia Kids & Family Entertainment NHU’s hit series Walking with Dinosaurs, CGI THE BROADCASTER: BBC Kids, The Knowledge Network (Canada), and green screens to put Day in the action, CBeebies (UK) creating a new show for preschoolers. CONCEPT: Preschool comedy about a young girl and her rabbit The 20x14mins series was greenlit by friend who travel to a fantasy world CBeebies controller Kay Benbow and Henrietta Hurford Jones, director of children's investment at BBC Worldwide. FremantleMedia Kids & Family Entertainment buddy comedy so kids can still take some- Making the show presented the NHU the aims to launch one show in each of the major thing away about friendship, but it’s not show’s writers with a unique task, she says. “It categories of kids TV per year and Kate & about teaching ABCs or 123s or learning a for- has been reverse engineered, you have to Mim-Mim is 2013’s preschool offering. eign language.” back the story into the footage, which is com- The show is Canadian producer Nerd Corps’ In a crowded preschool category, the pletely different to how you would normally do first move in preschool and follows Kate and laughs might be what seals deals with things and a great challenge for the writers.” her toy bunny Mim-Mim who in each of the buyers. Higgins says: “When they watch it Unlike Wild Adventures, in which a talking 52x11mins episodes travel to an imaginary they will be laughing, which they often don’t animatronic cat accompanied Day, he has a world where Mim-Mim becomes a walking, do when they’re buying. Kate’s relationship real sidekick in the new show (human) talking playmate. with Mim-Mim is truly funny.” dinosaur expert Hatty. They work at a small It was created by husband and wife team In Canada BBC kids and The Knowledge museum and embark on prehistoric adven- Scott and Julie Stewart who under their Network both have the show. tures with the help of a time-travelling clock. SpeakeasyFX banner were behind Sesame The preschool CBeebies digital channel has The show delivers to CBeebies in the UK at Workshop's Emmy Award winning series pre-bought the series and will launch it in the the end of the calendar year. It will go out on Abby's Flying Fairy School. UK next year. the public broadcast UK channel early in 2014 “They have tons of fans and understand Given one of the two main characters is a and on the commercial international CBeebies the preschool audience and what makes them plush toy there is built-in licensing and channels in the spring. laugh,” says Bob Higgins, executive VP, merchandising appeal and FremantleMedia is FremantleMedia Kids & Family Entertainment. in the throes of recruiting a toy partner. FremantleMedia and Nerd Corps worked The show is CG and the fact the story sees together previously on boy-skewed action Kate and Mim-Mim travel to a fantasy world toon Max Steele. gave the animators a lot to work with. Higgins says they came on board this show “The look they created makes me think of as distribution partners because of its a CG Dr Seuss-type world; it’s like something dynamic look and the standout comedy. you might see in The Lorax for example,” “In preschool a lot of programming is very Higgins says. Comedy is, as ever, in demand, pragmatic and educational and made to make he adds. “This is a boy/girl comedy with you think it is good for you – this just goes action and fantasy elements, so I think, more straight for the funny bone,” he says. “It’s a than most shows, it has a universal appeal.”

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p27 TBIvision jobs JunJul13.indd 1 10/06/2013 12:40 p32-34,36 Drama data AugSep13jwSCfinal 23/8/13 15:47 Page 32

EUROPEAN DRAMA IMPORTS DATA

Income for free-to-air channels in Europe is under pressure. Despite this, the European market for imported dramas remains substantial and was worth over US$5 billion last year. TBI takes a look at new research outlining the top titles, distributors and the biggest-spending broadcasters and finds the top shows taking a greater slice of the pie. EURO DRAMA IMPORTS DOWN BUT RICHER REWARDS FOR TOP PERFORMERS

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EUROPEAN DRAMA IMPORTS DATA

a bleak backdrop for producers and says: “Although the revenues delivered by programme sellers. imported drama in total fell significantly in However, the European market for 2012 compared with 2011, the revenues of the imported dramas remains substantial – the top 20 titles rose by 7.5%. With overall rev- main channels gained US$5.4 billion by enues to free-to-air channels falling, this sug- screening these programmes in 2012. gests that the major dramas pulled their The calculation was arrived at by compiling weight, driving advertising and other revenue the broadcast schedules for 1,677 imported to prime slots on the major channels.” drama titles across 119 major channels in 21 The numbers show that the proportion of territories in Europe, and calculating the revenues achieved by the top 20 titles has average income that the channel would have steadily risen from a 29.3% share in 2009 to received from advertising and all other 39.8% in 2012. income sources to support the programming. Jonathan Bailey, managing director of ETS, One major take away from the data is that says: “The top 100 titles only accounted for while the overall value generated has fallen, 47.8% of the total imported drama series the amount attributed to the top tier of shows hours, or 75,349 of the total of 157,606 hours has increased. screened in 2012. However, the top 100 titles For the producers and distributors of the commanded 64.4% of the imported drama big shows, times are good. series hours screened in primetime.” The top 100 titles gained 70.3% of the total He continues: “The top 100 titles value created, or US$3.8 billion, with the top contributed 63% of the total value created 20 largest titles generating US$2.2 billion. which is up from a 59% share in 2008.” The findings are contained in new research The large number of episodes available for from Essential Television Statistics, Madigan top-performing US drama titles gives pro- Cluff and Digital TV Research, titled The Top grammers the opportunity to schedule across 100 Imported Drama Titles in Europe. whole seasons and to run multiple episodes Michael Cluff, director at Madigan Cluff across day parts on some channels, some-

VALUE CREATED BY TOP 20 IMPORTED DRAMA TITLES IN EUROPE (US$M)

6000

5000

4000

NCIS: European TV’s most valuable brand 3000

here have been major declines 2000 in advertising revenues in southern and eastern Europe as 1000 the recession and subsequent austerity measures bite, with at 0 Tbest little growth in Northern Europe. 2009 2010 2011 2012 Furthermore, governments want to reduce funding to public broadcasters. These factors Top 20 Other titles have led to a 4.5% decline in 2012 in total income for Europe’s main free-to-air channels, which would seem to provide Source: Essential Television Statistics, Madigan Cluff, Digital TV Research

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EUROPEAN DRAMA IMPORTS DATA

Global Screen was, for example, ahead of TOP 20 TITLES BY VALUE Sony by some distance. There are two TOP 10 DISTRIBUTORS BY CREATED IN 2012 German companies – Global Screen and ZDF VALUE CREATED FROM TOP (US$M) Enterprises – and two British companies – 100 TITLES IN 2012 (US$M) All3Media and ITV Studios – in the top ten. NCIS 205 All3Media takes eighth place with only one Distributor Value created CSI: Crime Scene Investigation 188 title – Midsomer Murders. CBS 926.4 CSI: Miami 168 The number of transmission hours from Disney 666.9 Criminal Minds 162 each major distributor can change consider- Warner Bros. 593.0 CSI: NY 125 ably from one year to the next. CBS took the NBC Universal 416.5 How I Met Your Mother 122 top slot for primetime imported drama series Fox 367.1 The Mentalist 122 in 2012, followed by Warner Bros. Global Screen 177.8 The Big Bang Theory 117 In total, imported drama contributes a little Sony 110.0 House M.D. 102 less than 20% of all primetime broadcast All3Media 77.0 Sturm der Liebe 93 hours in Europe. This compares to about 15% ZDF Enterprises 75.9 Two and a Half Men 89 of hours in total across all dayparts. ITV Studios 70.5 Castle 88 However, this varies significantly by coun- Cold Case 80 try. Ireland screened only 7.2% of its import- Source: Essential Television Statistics, Grey's Anatomy 79 ed drama series hours in primetime in 2012, Madigan Cluff, Digital TV Research Midsomer Murders 77 with Czech Republic at 9.4% and Sweden at Desperate Housewives 70 Bones 68 Ghost Whisperer 67 Murder, She Wrote 67 NCIS: Los Angeles 63

Source: Essential Television Statistics, Madigan Cluff, Digital TV Research

times using the latest season in primetime and older seasons of the same title outside prime. CBS distributed the top three titles in 2012, with NCIS leading the pack by generating US$205 million. The three CSI franchises appear in the top ten. Only one of the top ten titles, Sturm der Liebe, originated from outside the US. The value derived per hour of broadcast for German series Sturm der Liebe was the highest within the top ten titles, at US$134,722 per hour. However, it screened for far fewer hours than most other programmes in the top ten, appearing in far fewer territories and airing fewer hours of reruns on secondary channels. NCIS, the top show by value created, was also the leading title by hours screened. The top five distributors accounted for 64 of the top 100 titles by value created in 2012. CBS was the clear leader, with Disney second, but some way behind. However, the US companies are probably The Mentalist made US$122 million in 2012 not as dominant as first appears. Sixth-placed

34 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM 2014 JANUARY 27-29 FONTAINEBLEAU RESORT t MIAMI BEACH

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EUROPEAN DRAMA IMPORTS DATA

10% also at the low end of the scale. In con- trast, the proportion was 39.3% in the IMPORTED DRAMA SERIES IMPORTED DRAMA SERIES Netherlands. PRIMETIME HOURS BY HOURS FOR ALL-DAY BY CBS was also the leader in the all-day DISTRIBUTOR IN 2012 DISTRIBUTOR IN 2012 category across all 1,677 titles, with Warner Bros. second again. Only 8% of Sony’s imported drama series hours were in CBS CBS Other 23,417 Other 5,066 primetime during 2012, with CBS showing 7,387 48,961 the highest proportion, at 22%. A large proportion of the imported dramas Warner are transmitted by a relatively small pool of MGM 122 22,199 MGM 1,078 broadcasters. BBC 268 Warner ITV 459 4,369 BBC 2,366 The value of imported drama series for the ITV 3,586 Sony 684 Fox Disney top 20 channels was US$2.1 billion in 2012 – 2,384 Sony 8,146 Fox 18,386 Disney 14,062 or 39% of the total value of all imported NBCU 3,424 NBCU 2,449 drama in Europe. This proportion is almost 15,488 unchanged since 2008. These top 20 channels are less dependent Note: These figures refer to all 1,677 imported drama series titles covered – not just the top 100. on imported drama than their smaller siblings, relying on imports for about one Source: Essential Television Statistics, Madigan Cluff, Digital TV Research tenth of their hours. Eleven of the top 20 channels screened Italy, Germany and France generated 55% total number of imported drama series fewer than two hours a day of imported of Europe’s total value in 2012. hours was 7,733 across 10 Dutch channels in drama series in 2012. Nearly every country has experienced a 2012, down from 8,486 a year earlier and a Italy was the top country by value created decline in total value generated by imported high of 9,206 hours in 2008. With the from imported drama series in 2012, closely drama over the last five years. notable exception of Net5, most Dutch chan- followed by Germany. France was third. It is not just the hardest hit economies nels do not screen many imported drama The UK was a long way behind as few that have lost out, with the Netherlands, for series, with RTL4 and SBS6 having signifi- imported dramas are aired on the main free- instance, experiencing a fall of 17%, taking cantly reduced their imported drama series to-air channels. the total to US$148 million in 2012. The hours in recent years. Across Europe, five of the 119 channels surveyed screened 11 or more hours a day of METHODOLOGY imported drama series. However, all of these channels are secondary in viewing terms. Romania’s Acasa showed 5,809 hours, or Definition of value calculation individual episodes or series of programmes 15.9 hours a day, and was top in 2012, fol- Essential Television Statistics and Madigan in individual national markets. lowed by the E4 channel in the UK with Cluff establish programme value by taking the 5,563 hours, or 15.2 hours a day. combined annual net advertising, license and Definition of programme data Public broadcasters screen fewer import- public subsidy revenues for each channel These analyses are based on ETS’s database, ed drama series, especially in primetime, profiled. These annual revenue figures were which is compiled from published schedules although there are some notable exceptions. then split for each channel by hour and by available in individual national markets. In total nearly half of the public service month following the advertising rate card and Programme titles have been identified and channels profiled air some imported other investment patterns established for the checked by ETS. The imported drama series drama. channel or similar channels in the same category is defined as all live-action fiction Digital TV Research’s managing director market. Channels that carry no advertising or series, including miniseries, which are pro- Simon Murray sums up the findings. “The that have advertising break patterns that do duced or primarily coproduced by a foreign value created by imported drama has fallen not extend across all transmission hours had country. Sitcoms such as Friends are back from its peak in 2008, partly reflecting their value allocated by using the most included, but animated series such as The the lower revenues in free-to-air television, comparable channel available. Simpsons are not. but also indicating a slight reduction in the Given the mixture of advertiser-funded and number of hours played,” he says. other funding sources, this data does not www.digitaltvresearch.com “However, the market has become more reflect specific advertising break patterns or www.madigancluff.com focused on a smaller number of high billing specific spikes in ratings which may occur for www.etstv.com titles, which are seeing increased revenues in a declining market,” Murray adds. TBI

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MIPCOM 2013 HOT PICKS DRAMA HOT PICKS

THE SHOW: Pinocchio THE DISTRIBUTOR: Global Screen THE PRODUCERS: FFP New Media,WDR, B Water Studios, Gradient FX THE BROADCASTER: ARD (Germany) THE CONCEPT: Part-animated miniseries version of Carlo Collodi’s classic children’s novel about a wooden puppet that comes to life

Global Screen decided it had a hit on its “From its first publication in 1881 the story national holidays,” she continues. hands with this remake of Pinocchio “as early has been brought to children around the globe “Furthermore, an increasing number of as at script stage”, says the company’s head in various editions in both literature and film. clients are interested in a theatrical release of of TV sales, Marlene Fritz. The programme We are convinced that the market is now open the 120-minute version.” retells the story of the pine wood puppet to a new take on the beloved adventures of The remake, which launches on ARD in a carved by an Italian toymaker that comes to the cheeky wooden puppet,” says Fritz. Christmas slot, is particularly interesting for life and goes on a series of madcap adven- The part-animated €5.4 million (US$7.2 its hybrid live action/animation design. New tures before reuniting with its ‘father’ and million) miniseries is being sold in 3x60mins, German animation studio B-Water employed becoming human. 2x90mins and 1x120mins formats, with performance capture techniques to create the The project had come to German distribu- scenes screened in Cannes before more unique effect. tor Global through Michael Smeaton’s FFP footage is released at the American Film “It took only five months after finishing New Media production outfit, at which point Market in November. “Therefore, we will be principal photography to deliver the Anna Justice was already attached to direct able to meet the requests and needs of the animation part of the miniseries comprising and most of the cast were in place. This, different markets more easily,” says Fritz. two 90-minute parts; this is very fast in com- added to the heritage of the story, is why it “Our television clients will find this to be a parison to similar projects, yet the quality of is launching in Cannes this autumn. perfect family entertainment program for the animation is extraordinary,” says Fritz.

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MIPCOM 2013 HOT PICKS

THE SHOW: The Tunnel THE DISTRIBUTOR: Shine International THE PRODUCERS: Kudos Film & Television, Shine France, Filmlance THE BROADCASTERS: Canal+ (France), Sky Atlantic (UK) THE CONCEPT: Gritty Anglo- French crime drama based on the Scandinavian noir series Bron Shine International will hope three is the magic number as it takes this new incarnation of the popular Nordic noir series Bron (aka The Bridge) to the global market. Where the original had Swedish and Danish detectives investigating a body carefully left between the two countries’ borders and 2012’s US version on FX paired Mexican and US sleuths, this series begins with a murder in middle of the Channel Tunnel, which connects England to France. “This version has particular resonance because of the Anglo-French context. The way the English and the French bounce off each other creates some great dialogue,” says Shine International’s CEO Nadine Nohr. The 10-part series stars the UK’s Stephen THE SHOW: Baby Sellers Dillane (Game of Thrones) and France’s THE DISTRIBUTOR: A+E Networks International Clémence Poesy (In Bruges) and incorporates THE PRODUCERS: Reunion Pictures, Trafficker Productions elements of the recent European economic THE BROADCASTER: Lifetime Television (US) and social crises, which leads to “quite a lot of THE CONCEPT: A seemingly respectable adoption agency owner dark humour you wouldn’t necessarily expect”, doubles as the ruthless head of a black market baby trafficking ring according to Nohr. The UK-France collaboration extends all the way to the production and broadcasting, with Dark scripted concepts are certain to lead to respected adoption agency who is secretly Broadchurch producer Kudos Film & Television two things – curiosity and notoriety, as the running an international child smuggling oper- and Shine France coproducing and paycasters current success of meth drama Breaking Bad ation. Sky Atlantic and Canal+ set to transmit it. proves. And as Marielle Zuccarelli, managing Emmy-winning Jennifer Finnigan plays a “The story naturally lends itself to coproduc- director, international content distribution, A+E customs officer determined to bring Alley’s tion and they’ve genuinely cracked it in the Networks International, notes, “it doesn’t get empire down by gathering evidence from the coming together of two cultures,” says Nohr. darker than baby trafficking”. countries from which the business snatches This Lifetime Original comes from Robert babies. Halmi Sr., telemovie royalty and former head Filming took place in Brazil, India and of RHI Entertainment, and represents a Canada. spiritual successor to his 2005 Lifetime mini “Telemovies are doing very well worldwide, Human Trafficking. and this one has huge appeal, especially as Baby Sellers’ subject matter has already it’s been produced in different territories connected with the United Nations, which gave around the world,” says Zuccarelli. “Baby the movie a special screening at its New York Sellers definitely has an edge in terms of inter- headquarters in August, with Halmi Sr. joined national with the subject matter and the cost.” by the likes of Ewan McGregor and Lifetime Though Lifetime is a female-skewed net- executive VP and general manager Rob work, Zuccarelli predicts Baby Sellers will Sharenow at the event. draw in male viewers from the 18-54 demo. The 1x120mins show stars Kirstie Alley In Cannes A+E will be targeting commercial (Cheers) as the boss of a seemingly well- broadcasters with co-viewership ambitions.

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MIPCOM 2013 HOT PICKS

THE SHOW: She’s With Me THE DISTRIBUTOR: Keshet International THE PRODUCER: Endemol Israel THE BROADCASTER: Channel 2 (Israel) THE CONCEPT: A reworking of the odd couple theme in which a world famous model falls in love with a lowly baker boy Use the phrase ‘new Israeli scripted drama’ and you’ll certainly grab attention in Cannes, and Keshet International – the firm that sells Homeland format Prisoners of War – has one such project in its bag. She’s With Me comes from Endemol Israel (Kuperman Productions before the recent Endemol acquisition) and is written by the host of Big Brother Israel, Assi Azar, potentially giving it mass market appeal. The love story sees a young family- orientated baker and an international model and star fall in love after a chance meeting, THE SHOW: Fleming and is told from the young baker’s point of THE DISTRIBUTOR: BBC Worldwide view. He has just split with a long-term girl- THE PRODUCER: Ecosse Films friend, while his unlikely new love has broken THE BROADCASTERS: Sky Atlantic (UK), BBC America up with a Hollywood star, played by Sex and THE CONCEPT: A biopic of the conflicted James Bond creator the City star Jason Lewis. Ian Fleming combining thriller and history elements “It has all the ingredients of a fairy tale but is a realistic love story,” says Keshet International’s head of acquisitions and sales, Everybody has heard of the late Ian Fleming, rapher John Pearson to create an authentic Keren Shahar. but who was he? This is the question look at his life. "We’ve got those typed man- The show has already found traction in the Douglas Rae, founder and managing director uscripts so we feel very well researched on US, where talks are underway for a local ver- of Ecosse Films, says he set out to answer in it," says Rae. sion. “The US has a growing appetite for for- this new Sky Atlantic and BBC America copro- Shooting on the period piece took place eign acquisitions, and because we have Jason duction. primarily in Hungary to utilise local tax Lewis in the original, I’m very optimistic about Rae claims Fleming will tell the true story breaks and because of the "scale Budapest selling it as a finished tape too,” Shahar says. of the late author behind the James Bond offers”, Rae explains. "At one point, we had franchise, who he describes as "a true enig- to shoot the Admiralty, which is a huge ma". building in London, and it was easier cost- Fleming's life mirrored the one he created wise to take over a building in Hungary than for Bond, though often in far less glamorous to get the real thing. Rather ironically, the ways as the miniseries will highlight. building we got was a former Communist Fleming spent the Second World War as a Party headquarters." British intelligence agent before moving into Other scenes were shot in London and newspapers and finally on to spy writing. Majorca, which stood in for Jamaica, where "This is a warts-and-all examination of a Fleming wrote Bond novels including Dr. No man who really wanted to be someone and Live and Let Die. else," Rae adds. In Cannes, BBC Worldwide will be going The Fleming estate turned down Ecosse’s big on the series, which is set to launch in a approach for input as it is already working primetime slot on UK satellite channel Sky on developing a feature film with director Atlantic in early 2014. US cable channel BBC Duncan Jones, so this four-part biopic will America has taken advantage of stateside use transcripts from Fleming’s family and interest in Bond by coming on board as a close confidantes collected by Fleming biog- coproduction partner.

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MIPCOM 2013 HOT PICKS

THE SHOW: True Heroines THE DISTRIBUTOR: Breakthrough Entertainment THE PRODUCER: British Columbia True Heroines Entertainment THE BROADCASTER: Hulu (US) THE CONCEPT: Suburban housewives with superpowers in post-World War II America are pursued by a shady corporate group

This series almost certainly represents the “An initial episode screened at one of shows what they can pull off. Heroines has first time burlesque dancing, sci-fi and these live shows and did so well that the got something very different to everything period dramedy have come together on any producers decided to do a web series for that’s on air today,” he says. size or type of screen. the fans already attached,” explains Nat US on-demand service Hulu has acquired True Heroines is a project that began life Abraham, president, distribution at exclusive streaming rights to the seven- in the nightclubs of the Canadian west, Breakthrough Entertainment, which has minute episode web series but where the True Heroines burlesque troupe come on board to take it international. Breakthrough is now planning to partner have been performing a risqué routine for Abraham compares the concept and with broadcasters to create a longer form years. When their act was picked up by series feel to classic ABC sitcom Bewitched, version. “We saw the potential in the writ- movie producers Michelle Ouellet, Nicholas which has been syndicated around the ers doing something in long form,” says Carella and Nicholas Simon, the concept for world since its launch in the 1960s. Abraham. “If it connects anything like it has a sci-fi/period web show based on the trio “Only the [stars] and the audience know done organically so far, then we may well was born. they have these powers and each episode be on target with this.”

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MIPCOM 2013 HOT PICKS

a gang of smugglers as they try to find Blackbeard’s fabled diamond treasure. The two-part series is another result of BSkyB’s major push into originally-produced British content, and an example of the level of ambition the satcaster has. “Sky wanted it to be movie scale and for it to be a boys’ adventure. They were unapologetic in the desire for big, bold drama,” explains McCulloch. It’s also an example of how Sky is attempting to exploit that content on the global market, with its sales arm, Sky Vision, distributing the show instead of producer Company Pictures’ stablemate All3Media International. Aiding Sky Vision’s sales efforts are the THE SHOW: Moonfleet cast, which includes Hollywood actor Ray THE DISTRIBUTOR: Sky Vision Winstone, who plays smuggler Elzevir, and THE PRODUCER: Company Pictures Aneurin Barnard (The White Queen) as the THE BROADCASTER: Sky1 (UK) boy, Tom. Ben Chaplin, Omid Djalili and THE CONCEPT: Fast-paced family-skewed action adventure update newcomer Sophie Cookson also feature, of J. Meade Falkner’s classic smuggler novel while Life on Mars creator Ashley Pharaoh wrote the scripts. “As a kid, Moonfleet had gotten Ashley There’s no shortage of pirate-themed a smuggler story in the same vein as Indiana into writing and he had therefore always projects hitting the market this year, but per- Jones. Its about the call to adventure.” harboured the desire to do it,” says haps only one featuring smugglers, as Dan Moonfleet is a reinvention of J. Meade McCulloch, who predicts the show will fill McCulloch, executive producer on Moonfleet Falkner’s 1898 novel of the same name and slots similar to Doctor Who’s 7pm Saturday notes. “The key in this isn’t a pirate story; it’s follows a young Dorset boy’s adventure with slot on UK pubcaster BBC One.

Serangoon Road marks the first time HBO Asia has commissioned an original series, which Content Television’s president Greg Phillips says will be a major selling point at MIPCOM, where the series will be Content’s “major point piece”. The 10x60mins series came to HBO Asia through creator and writer Paul Barron, and has both Australian partners – Great Western Entertainment, ABC TV and Serangoon Road THE SHOW: Serangoon Road Productions – and Singapore’s Infinite Studios THE DISTRIBUTOR: Content Television attached as producers, with the support of THE PRODUCERS: Great Western Entertainment, Serangoon Road the Media Development Authority of Productions, Infinite Studios Singapore. THE BROADCASTERS: ABC (Australia), HBO Asia It follows an Australian ex-pat living in THE CONCEPT: A noir detective series set in exotic 1960s Singapore 1960s Singapore who helps to keep a private featuring an Australian ex-pat private detective detective agency running at the request of the widow of the recently-murdered owner. global throughway that brought together the series as an “exotic action drama with The period backdrop is a key element of together traders, gangs and international fully developed characters and great casting” the show’s appeal, Phillips notes, touching on expatriates from the East and West. and an over-arching arc surrounding the iden- major historical international conflicts such as “1964 was a time when Singapore was a tity of the murderer. the Malayan Emergency. The titular nexus for the whole Far East; a rich mixture of Acting talent includes Joan Chen, Don Hany Serangoon Road was at the time a major East and West,” says Phillips, who describes and Maeve Dermody.

42 TBI August/September 2013 For the latest in TV programming news visit TBIVISION.COM p40-44,46 Drama Hot Picks AugSep13sc 27/8/13 14:37 Page 43

MIPCOM 2013 HOT PICKS

THE SHOW: Wings of Love THE DISTRIBUTOR: Global Agency THE PRODUCER: TIMS Productions THE BROADCASTER: Kanal D (Turkey) THE CONCEPT: A miniseries about a life-long love affair, based on Turkish novel The Wren With 2013’s drama vintage largely comprising procedurals, crime thrillers and pirate stories, buyers may be pleased to find Global Agency’s latest scripted offering is, at heart, a love story. But that doesn’t mean Wings of Love won’t offer any jeopardy, says distributor Global Agency’s sales director Senay Tas. “It’s a love story between a girl and a man and [is about] how life can bring people together even after heartbreak,” she says. Based on Reﬂat Nuri Güntekin’s 1922 novel of the same name about the life of a female teacher and her on-off romance with the love of her life, it is set in the early 20th century against a backdrop of a collapsing Ottoman Empire. “Historical drama has been quite popular in the past few years and we expect this to be another success,” says Tas, who also points to the production set-up as a key selling point. “It’s produced by TIMS Productions, the company behind the much-travelled Magnificent Century and all of the territories THE SHOW: Hinterland we’re working in with that series are very THE DISTRIBUTOR: All3Media International interested because of that reason,” says Tas. THE PRODUCERS: Fiction Factory, S4C Coproduction Fund, Tinopolis, Wings of Love has the same costume All3Media International designers and music score team as Century, THE BROADCASTERS: S4C (Wales), BBC Cymru Wales, BBC4 (UK) which tells the story of the early Ottomans, THE CONCEPT: The English-language version of a Welsh detective giving it a “vivid, elaborate feel,” she adds. drama set in the wilds of Ceredigion Global will be in Cannes seeking presales. “We’ll target Central and Eastern Europe and the Middle East,” says Tas. “We know for a Hinterland is the English-language version of begins working in Aberystwyth, Ceredigion, in fact this is going to go very well in Russia and Welsh detective drama Mathias, which S4C’s western Wales. “It’s a classic stranger in town Ukraine, they’ve already expressed interest.” programming commissioner Gwawr Lloyd model,” says Lloyd. says is the first of its kind to come out of The production’s “otherworldly” backdrop – Wales in “over a decade”. Uniquely, it is the “vivid, marshy, filmic” – has “become a char- first ever back-to-back drama for S4C and acter in itself”, says Lloyd, much in the same BBC Cymru Wales with scenes shot consecu- way critics describe the Baltimore portrayed tively in both languages. in HBO’s The Wire. The show first went into development three Denmark’s DR and BBC4 in the UK have years ago, when S4C’s drama team identified already pre-bought the project, while the pubcaster lacked a detective show All3Media International will be shopping the comprising self-contained episodes, “which project in Cannes. “We want to target English- every channel should have”, Lloyd says. language slots on European broadcasters and It follows a troubled but exceptional chief around the world,” says Lloyd. All3 is expect- inspector with an unorthodox streak who ing strong VOD interest, she adds.

For the latest in TV programming news visit TBIVISION.COM TBI August/September 2013 43 p44 Last Word AugSep13_JWscFINAL 23/8/13 15:24 Page 4

MILES BULLOUGH, MANAGING DIRECTOR,WILDSEED STUDIOS LAST WORD MILES BULLOUGH SOWING THE WILDSEEDS – AN INVESTMENT 101

hen Jesse Cleverly within them. We knew that Wildseed Studios we might not understand some of the projects and me were plan- could play a role in providing an alternative we invest in – we wanted to be able to invest on ning our business we career path for self-motivated creators looking a hunch or in talent. If you understand a spent a long time try- to grow. project immediately, it might be because it’s ing to figure out what On the finance side we played around with similar to something that has gone before. If Wthe problem was it was going to solve. We a lot of models before alighting upon a you don’t understand it, there is at least a possi- knew we couldn’t afford to become just 50x£10,000 (US$16,000) formula as an bility that it is something truly innovative with another kids production company trying to initial investment, adding more to projects that a chance of becoming that breakout hit. You muscle in on an increasingly crowded market. make an impact. We talked to people that we can only live by that ideal if you can invest There were certain things that we knew thought we might want to work with and without fear. from the get-go: we were worried about the asked them what amounts of money would We wanted to try and swim in the inviting ability of existing companies working in kids’ make a meaningful difference to them. One of blue ocean, not the shark-infested red one. This media to attract new talent. In a recession peo- our prospects – now a friend and signed-up means not trying to compete through ple tend to hang on to their jobs, and the talent ‘Wildseed’ – thought very hard when we asked investment-heavy technological innovation, pool starts to stagnate and shrink. Most him what he could make with £10,000. ‘Three infrastructure or marketing. It meant working interesting and new things in the media are feature films,’ he said. He was wrong of course at low cost and putting ideas at the heart of invented by people in their twenties. They may but, as it turned out, only by two films. what we do. We reasoned that if we put IP at the be shaped and driven to success by silver- We knew that in a recession development centre of our company rather than a platform haired sages but those people rarely invent funding gets squeezed and if we could raise like TV, YouTube or books, and in particular IP them. We wanted Wildseed Studios to be a money to invest into new IP and be noisy based around really well thought-out company that could become a destination for about it, we would get the attention of a lot of characters, we could build a business that could emerging talent trying to take their creations to people with ideas looking for finance. prosper on a multitude of platforms and not the next level and beyond. One of the key decisions was to raise fear the ebb and flow of platform popularity. We designed the company to offer creative enough money to make us fearless in our Our first hire will be a social media mentorship, commercial advice and finance approach to any individual project. We took manager. Being in a conversation with creators to emerging talent. When Jesse and I entered inspiration from the approach of the venture and above all audiences is something that is the business it was still possible to access capitalist who makes numerous small bets on key to our test-and-roll-out methodology: creat- training and there were career paths that new companies, knowing that the one ing ‘minimum viable products’, watching the could be followed within large organisations breakout success will more than compensate reaction, tweaking and republishing or failing like the BBC. As those institutions shrink, so for the other failures or moderate successes. fast and moving on. do the opportunities for new talent to flourish We wanted to be able to live by the idea that More than anything we wanted to have fun, to make fun things with fun people and to do so without having to ask anyone’s permission. If you understand a project immediately,it might be Our most exciting conversations since we announced ourselves have been with people because it’s similar to something that has gone before. working at the margins of our industry. There are interesting new ideas to be found there and If you don’t understand it, there is at least a possibility we’ve tried to configure our business to that it is something truly innovative with a chance of cultivate the wild seeds that are germinating. We’re a few months old now. We’ll let you becoming that breakout hit. know how those seeds grow. TBI

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