Formats TBIvision.com April/May 2016 FormatspOFC AprMay16.indd 1 18/03/2016 10:01 FormatspIFC Kabo2 AprMay16.indd 1 18/03/2016 20:10 CONTENTS INSIDE THIS ISSUE 6 This issue 10 2 Formats make a comeback Médiamétrie/Eurodata TV Worldwide data and analysis shows that entertainment and factual entertainment are making an international comeback 4 Viewpoint Gary Woolf All3Media International’s commercial chief explains how to capture digital and global deals in an increasingly complex rights landscape 6 Motoring up With Top Gear set for a relaunch, motoring formats are hot right now. TBI speaks to the newTop Gear team, as well as others making shows in which the car is the star 10 Survival Survival formats remain popular around the world. Andy Fry looks at trends in the genre and the shows that are moving the dial in the international TV world 14 Hot Picks The very best new formats launching at MIPTV, from battling robots to football team makeovers 20 Last Word Kate Beal on having tea with gangsters 14 Editor Stewart Clarke • [email protected] • @TBIstewart Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug and Oct) by Informa Telecoms Media, Maple House, 149 Tottenham Court Road, London, W1T 7AD, United Deputy editor Jesse Whittock • [email protected] • @TBI_Jesse Kingdom. The 2006 US Institutional subscription price is $255. Airfreight and mailing in the USA by Agent named Air Business, C/O Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Sales manager Kate Roach • [email protected] Periodical postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Television Art director Matthew Humberstone • [email protected] Business International , C/O Air Business Ltd / Priority Airfreight NY Ltd, 147-29 182nd Street, Jamaica, NY11413. Subscription records are maintained at Informa Telecoms Media, Maple House, 149 Tottenham Publisher Tim Banham • [email protected] Court Road, London, W1T 7AD, United Kingdom. Air Business Ltd is acting as our mailing agent. Published by Informa Telecoms & Media, Mortimer House, © 2016 Informa UK Ltd All rights reserved 37-41 Mortimer Street, London W1T 3JH Reproduction without permission is prohibited Tel: +44 (0)20 7017 5000 e-mail: [email protected] web: www.tbivision.com Printed in England by Wyndeham Grange Ltd, Southwick, West Sussex BN4 4EJ @TBImagazine For the latest in TV programming news visit TBIVISION.COM TBI Formats April/May 2016 1 Formatsp01 Contents AprMay16scJW.indd 3 18/03/2016 18:33 TBI FORMATS DATA Formats set for dramatic revival Analysis of new programmes launched by genre round the world shows that the level of original entertainment, factual and fact-ent shows is on the rise. TBI digs into the stats with Eurodata f the 8,500 new programmes ways to relay information, the Eurodata analyst the entertainment and factual categories. launched by channels last year, says. While scripted remains a hot category of In drama, less than half the new shows just over half were original programming, last year also saw an increase in launched last year were wholly new ideas, with creations. the volume of unscripted content. perennial favourite scripted still getting first- Although the 2015 sample “Drama is very important, but when we time launches in numerous territories. Owas wider (44 countries) than the previous look at the evolution of programming trends In entertainment, where ideas are generally year’s, making a like-for-like comparison in 2015 we can see entertainment was rising,” cheaper to develop and produce than in drama, difficult, Estelle Chandèze, Médiamétrie/ Chandèze says. almost 23% of the new launches were wholly Eurodata TV Worldwide’s international Eurodata groups programmes in three original. That total hits the 60% mark when the 2015: A CREATIVE YEAR PROGRAMMES LAUNCHED SPLIT BY GENRE 8500+ 8500+ new programmes launchednew programmes launched 23% TV + SVOD 23% TV + SVOD ENTERTAINMENT In 2015 ENTERTAINMENT In 2015 53% are original creations 40% 53% FICTION 37% FACTUAL are original creations 40% FICTION 37% FACTUAL research manager, says that the overall volume categories in its analysis: fiction; entertainment, wider factual category is included. of new shows is about the same, but the which encompasses reality and gameshows; The research clearly shows there is an uptick proportion of original programmes in that mix and factual, which comprises docs and other in investment in entertainment programming. is up year-on-year. unscripted fare. “First of all this is explained by economics,” “Last year, what we saw was that in production Of the new shows launched last year, fiction says Chandèze. “It is difficult in some countries ENTERTAINMENT 57% and distribution everyone was more risk averse, still led the way, accounting for 40% of the total. to produce fiction, because entertainment is which meant there were more adaptations However, factual (37%), and entertainment generally much cheaper.” [formats] of existing shows and imports,” says (23%), each with a spread of shows that are In a fragmented viewing environment, Chandèze. “But 2015 was also a yearFACTUAL when we formattable, accounted for a greater proportion 60%entertainment shows can also draw a broad saw more ideas and more creativity, inspired by when combined. Also, within those figures, audience and drive appointment viewing, the rise of new technology.” most drama was acquired and/or imported, especially those with live elements. News and factual were key categories in often from the US, with a higher degree of “Entertainment shows can be a way to terms of genres embracing new tech,FICTION and new entirely new programme ideas 43%coming from make people come together around a screen,” 2ENTERTAINMENT TBI Formats April/May 2016 For the latest57% in TV programming news visit TBIVISION.COM Formatsp02-03 MediaMetrie AprMay16scSCjwSCfinal.indd 2 18/03/2016 18:28 FACTUAL 60% FICTION 43% 8500+ new programmes launched 23% TV + SVOD ENTERTAINMENT In 2015 53% are original creations 40% FICTION 37% FACTUAL TBI FORMATS DATA SHARE OF ORIGINAL CREATIONS BY GENRE ENTERTAINMENT 57% FACTUAL 60% FICTION 43% Chandèze says. “They can be a way to create Korea and Japan were among the current “It is interesting because in fiction, you are [televisual] events, and reinforce the links entertainment hotspots. seeing new territories emerge,” Chandèze says. between people. The UK and Denmark were notable in terms She adds that, globally, various parts of the “Factual and entertainment tend to be more of original factual and fact-ent production, while world are notable for producing and developing local; people like to see people from their in scripted, India and China was at the top of programming in specific categories. “Different own country,” she adds. “Maybe the time of the list, both creating a large volume of original regions have different areas of expertise,” she original fiction is over and being replaced by content for their huge domestic audiences. says. “There is a new world map of content original docs, magazine shows, talkshows and Nigeria, the centre of the Nollywood genres. In terms of entertainment, Asia is the entertainment.” phenomena, and Turkey, which has emerged as a fastest growing, while for fiction it is the Middle In terms of the provenance of new shows, leading drama-creating nation, were also notable East, Africa and India. For factual [and fact-ent] Eurodata’s research shows the US, South for creating a large volume of original drama. it is still Europe.” TBI TOP CREATORS OF ORIGINAL CONTENT IN 2015 Russia South Denmark Korea 45% 38% China 26% U.K. Turkey 60% 41% Japan U.S.A. 47% 44% 29% 25% Egypt India 44% 80% Nigeria % of launched programmes in 45% the country among total Original ctions Original entertainment Original factual 44 territories – January 1st to December 6th 2015 For the latest in TV programming news visit TBIVISION.COM TBI Formats April/May 2016 3 Formatsp02-03 MediaMetrie AprMay16scSCjwSCfinal.indd 3 18/03/2016 18:28 VIEWPOINT GARY WOOLF, EVP, COMMERCIAL DEVELOPMENT, ALL3MEDIA INTERNATIONAL VIEWPOINT GARY WOOLF Should we go through the window to the world? t this year’s Consumer deals with companies outside of the US, while Our global digital sales unit works with Electronics Show in Las continuing to grow our linear TV business. the regional sales teams to understand the Vegas, Reed Hastings took Digital media now accounts for about 25% local market pressure on exclusivity and to the stage to announce the of our turnover. We also believe that whether holdbacks. We are able to balance where the ‘switching on’ of Netflix in through the continued growth of ‘digital- opportunities sit, and work out a windowing 130A territories. Amazon has moved into new first’ players, or through the evolution of our plan across key titles that we hope ensures our markets and African service Naspers is looking ‘traditional TV’ client base, digital revenues clients get a fair return on their investment. to defy national borders in the coming months. across the industry will continue to grow It is this mix that also allows us the time In short, the number of potentially global aggressively. to speak with new businesses coming to VOD platforms continue to grow. That’s great, but managing and contracting market to understand the latest twist on what So how do you licence globally in an is the challenge – how do you work with is ultimately still television. It gives us a sense industry that has traditionally worked on a increasingly global platforms while retaining of foresight in our decision-making. market-by-market basis? How do you manage strong sales with regional clients? After As with all leading distributors, we have the inevitable disruption to how content is all, if a platform is available in over 130 a territory sales team structured to really windowed (and indeed watched), and the territories, who is going to write the deal? dive deep and super-serve their markets.