SCRIPTED CONTENT NEW NORMAL
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MIPCOM 2020
PVOD VS THEATRICAL THE RELEASE PUZZLE
PRESENT AND FUTURE OF THE GAMING INDUSTRY
#173 ∙ YEAR 21 ∙ OCTOBER 2020
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www.intermedya.tv 3
18 GAMING
A BRIGHT AND PROMISING FUTURE The entertainment industry is changing at fast pace. Channels and platforms are multiplying, and they are all the in the search a shared goal: to capture consumers’ attention, who only have a limited daily time to spend
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on entertainment. In the eagerness to relax and occupy leisure time, there is a segment that has been catching people’s attention for a long time: video games. Señal News decided to immerse itself in the world of gaming.
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RED ARROW
VIACOM
MEDIAPRO
Joel Denton, Acting President at Red Arrow Studios International, highlights the value of working with a broad slate in a very challenging time for the audiovisual industry.
Guillermo Borensztein, VP Content Sales & Co-Productions at ViacomCBS, explains why the industry lives an excellent opportunity in order to generate better projects for the future.
Ran Tellem, Head of Development of The Mediapro Studio, responsible for the series “The Head,” describes what element makes a story stands out from the rest and emphasizes in the power of co-producing.
“TRENDS COME AND GO QUICKLY IN THE SCRIPTED GENRE”
“IT IS AN IDEAL TIME TO INVEST IN DEVELOPMENT”
“THE MAIN THING I’M LOOKING FOR IS SOMETHING DIFFERENT”
Follow us: /senalnews YEAR 21 ∙ #173 ∙ OCTOBER 2020 www.senalnews.com Developed and Designed by: Senal.TV LLC
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Señal News and www.senalnews.com are operated by SENAL.TV LLC. All text, content, photographs, video, audio, and graphics are owned by or licensed by Senal.TV or other third parties and are protected from any unauthorized use, copying and dissemination by copyrights, trademarks, and/or other proprietary rights and laws of the U.S. and other countries.
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US CORD-CUTTER HOUSEHOLDS, 2019-2024 millions, % change and % of households
31.2
35.5
39.3
43.0
46.6
24.6 36.2% 27.0%
19.1%
2019
27.3%
30.1%
32.8%
35.4%
24.1%
2020
13.6%
10.6%
9.4%
2021
2022
2023
Cord-cutter households
% change
IMPACT ON AD SPENDING
8.4%
2024
% of households
31,2
BY THE END OF 2020, IT IS PROJECTED THAT PAY TV IN THE U.S. WILL LOSE 31.2 MILLION SUBSCRIBERS.
1/3 77.6 BY 2024, MORE THAN ONE-THIRD OF U.S. HOUSEHOLDS WILL HAVE CUT THEIR PAY-TV SERVICES.
THERE ARE CURRENTLY 77.6 MILLION U.S. HOUSEHOLDS WITH PAY-TV, A 7.5% YEAROVER-YEAR DECLINE, THE LARGEST ONE YET.
THE LOSS OF VIEWERS IS COUPLED WITH A MAJOR HIT TO TRADITIONAL TV AD SPENDING. TOTAL SPENDING WILL DROP 15.0% THIS YEAR TO $60 BILLION, THE LOWEST THE INDUSTRY HAS SEEN SINCE 2011.
ECCHO RIGHTS TO DISTRIBUTE KVARTAL 95’S “SUGAR DADDY” International distributor entered into a deal with Ukraine’s Studio Kvartal 95 for their latest smash hit comedy series “Sugar Daddy”. The show was the best performing scripted title in Ukraine during the past year, winning huge audiences for broadcaster 1+1 and a highly dedicated fanbase. “Studio Kvartal has a reputation for creating comedies that really speak to audiences; the last time they had such a hit with the public, the lead character became the actual president of Ukraine!,” says Nicola Söderlund, Managing Partner of Eccho Rights, referencing to “Servant of the People”. •
RACHEL BENDAVID JOINS LIONSGATE AND BBC PARTNERSHIP Rachel Bendavid has been named Head of Scripted Programming for the Lionsgate and BBC Studios Los Angeles partnership. She will be responsible for overseeing the operations and content initiatives of the television partnership, as well as shepherding the development and production of its programming slate. The partnership was formed to identify, co-develop, and co-fund scripted formats and original intellectual property for the United States market. Within a year of its launch, it has already received pilot orders for its US adaptations of hit BBC series from Fox for “This Country” and CBS for “Ghosts”. “Lionsgate and BBC Studios are homes to deep and rich content portfolios and talent relationships,” Bendavid declared. •
PARAMOUNT+, THE BRAND OF VIACOMCBS’ STREAMING SERVICE ViacomCBS unveiled Paramount+ as the brand name for its upcoming global streaming service. The company’s transformed subscription video on-demand and live streaming service, CBS All Access, will be rebranded as Paramount+ in early 2021 as part of the service’s expansion to feature content from ViacomCBS’ portfolio of broadcast, news, sports and entertainment brands. ViacomCBS will also bring Paramount+ to international markets with an initial debut in Australia, Latin America and the Nordics in 2021.
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SPIRAL INKS DEAL WITH FREMANTLE FOR “TODA LA SANGRE” Spiral International partnered with Fremantle on the production of Mexican series “Toda la Sangre”. The show will be co-produced in Mexico by Fremantle’s Latin American division and the global distributor will also handle international rights outside of the Americas. The series is developed, produced, and distributed by Executive Producer Zasha Robles from Spiral International, a subsidiary of Etcetera Group, the creator behind the International Emmy winner show “Falco”. The show is also developed and will be distributed by both Lionsgate’s streaming service Starzplay in Latin America and Spanish-language streamer Pantaya, a Lionsgate and Hemisphere Media Group joint venture, in the United States and Puerto Rico. “Toda la Sangre” will be among Starzplay’s first international original series. •
ZDF SECURES DISTRIBUTION RIGHTS FOR “VOLTAIRE IN LOVE” ZDF Enterprises will distribute France Télévisions’ new historical drama “Voltaire in Love”. The show is currently in post-production and will be distributed globally by ZDF, except for French-speaking regions. It will also become accessible on the French platform Salto, set to launch promptly. “‘Voltaire in Love’ will be a standout title in our scripted catalog this autumn,” Robert Franke, Vice President ZDFE. Drama, ZDF Enterprises, said. “A fascinating biographical drama of one of the most forward-thinking figures of the Enlightenment who is being rediscovered by a whole new generation”. •
GAUMONT TO DEVELOP A NEW SPANISH LANGUAGE DRAMA SERIES Gaumont will develop a new Spanish language drama series, “Los Últimos Análogos” (working title), created by Max Zunino and Hari Sama, the award-winning team behind “This is not Berlin,” which premiered at the 2019 Sundance Film Festival and is the recipient of 12 Ariel Award nominations this year. Zunino and Sama will co-write the series, which chronicles the peak of the “Rock en Español” movement during the turbulent mid ‘90s in Mexico City. Sama is attached to direct the series, to be filmed on location in Mexico City. •
GLOBO LAUNCHES “ALL THE WOMEN IN THE WORLD” SERIES The production is an original romantic comedy Globoplay created by Jorge Furtado and directed by Patricia Pedrosa, which brings love as the center of the narrative. The show is part of the new catalog that Globo will showcase at Mipcom Online+. The series is a tribute to the poetry, genius and humor of Brazilian playwright Domingos de Oliveira, who died in March last year, at the age of 82, and left a vast portfolio of works that celebrate love, life and art with originality. “All Women in the World” is a reinterpretation, adapted to the present day, with philosophical reflections on life, love, and death. •
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GLOBAL AGENCY SOLD
“MR. WRONG” TO ATRESMEDIA
2020 INTERNATIONAL EMMY AWARDS NOMINEES SPAN 20 COUNTRIES The International Academy of Television Arts & Sciences announced the nominees for the 2020 International Emmy Awards. In total, there are 44 nominees across 11 categories and 20 countries. All these programs were broadcast between January 1 and December 31, 2019, in accordance with the competition’s eligibility period. •
FREMANTLE LAUNCHES “ENSLAVED” IN 130 TERRITORIES Fremantle has reached several international deals for “Enslaved: The Lost History of the Transatlantic Slave Trade”, the non-scripted series about the transatlantic slave trade. The documentary is set to launch in 130 territories. Following its U.S. premiere on EPIX, “Enslaved” will launch on Histoire TV (TF1 Group, France) after a pre-sale brokered by Fremantle, as well as History (Germany), Movistar+ and RTVE (Spain), HBO Portugal (Portugal), BBC Earth (Poland), Discovery Film and Spektrum (Eastern Europe), Cosmote (Greece), BBC Persian (MENA), National Geographic (Latin America), M-Net (Africa, South Africa), and Cable & Wireless (Caribbean). Fremantle also recently announced that BBC Two in the UK will broadcast a 4-part reversion of the series. •
Atresmedia Televisión acquired the broadcasting rights of “Mr. Wrong,” a successful romantic comedy distributed internationally by Global Agency, which will be released soon in Spain. The show is a creation from Gold Film, one of the main Turkish production houses. Currently airing in Turkey on Fox channel, “Mr. Wrong” is generating great interest around the world. “There is a big appetite for romantic comedies. ‘Mr. Wrong’ will be one of the most prominent projects of this season. We are very happy to bring the series to the Spanish audience. In the difficult coronavirus days we are in, a romcom series like ‘Mr. Wrong’ will be very good for the viewers’ souls,” Izzet Pinto, Founder and CEO of Global Agency, said. •
CINEFLIX ACQUIRES THE SECOND SEASON OF “AN ORDINARY WOMAN” Cineflix Rights has acquired the second season of breakthrough Russian drama “An Ordinary Woman” from 1-2-3 Production and Look Film, following the international success of the first season. “An Ordinary Woman” was the first Russian drama to be shortlisted for the prestigious Séries Mania festival in 2018, with Anna Mikhalkova winning the coveted best actress award for her role as Marina. Cineflix Rights has already sold seasons 1 and 2 of the series to SBS Australia and Canal+ Poland, with TVNZ also taking season 1. Other deals, including the United States, are in the pipeline. •
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MEDYAPIM TO BRING “DOCTOR FOSTER” TO TURKEY Production house Medyapim announced that it is adapting the award-winning BBC Studios’ “Doctor Foster” series for Turkish audiences. The show will be broadcast on Kanal D on October 2020 and Madd Entertainment will distribute it as “A Woman Scorned” to selected territories in the international market. •
NICOLA SHINDLER AND ITV STUDIOS TO LAUNCH DRAMA VENTURE Multi-award-winning and acclaimed producer Nicola Shindler will launch a new scripted label within ITV Studios. Based in Manchester, the new label will see her develop and produce premium drama for the UK and international markets. Shindler will join ITV Studios and launch her new label in 2021 and international distribution for Shindler’s new label will be handled by ITV Studios. Shindler is one of the UK’s leading drama executive producers and renowned for her creative relationships with the talent which has led to a hugely impressive body of work, including “Happy Valley,” “#Last Tango,” and “Years and Years”. •
ATV’S “THE OTTOMAN,” AWARDED AT VENICE ATV’s “The Ottoman” won “The Best Telenovela” category at the Venice TV awards on 28th September 2020. The prime-time drama, which airs on Wednesdays in Turkey, has completed its first season with excellent rating results. The second season is going to be on air in October. Two weeks after the Venice Film Festival occurred, international jurors met in Venice for the annual Venice TV Award. The jury evaluated TV shows from all around the world in 16 categories as the awards are seen as a statement that “the TV industry remains active, successful and creative”. •
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EO MEDIA TO MANAGE IMPACTO CINE’S MOVIE CATALOG EO Media continues to boost its distribution division catalog, signing a new deal to manage the Latin America broadcast sales of Impacto Cine, including a quality catalog of over 60 titles after their theatrical release. The catalogue is led by most recent Oscar Academy Award Best Picture “Parasite,” from writer, director and producer Bong Joon-ho; and recent Sundance Film Festival Special Jury Award “Shirley,” starring Elisabeth Moss, Michael Stuhlbarg and Logan Lerman. •
2.65
BILLION
Scripps Company purchased ION Media for USD 2.65 billion. The acquisition will also yield USD 500 million in synergies, set contractually over the next six years, ensuring the combination of Scripps’ Katz networks and Newsy.
SONY TO DEVELOP DRAMA SERIES INSPIRED BY CHOCQUIBTOWN Sony Pictures Television Latin America announced during the American Black Film Festival (ABFF) the development of “Somos Los Prietos” (We are the Black Ones), a new drama series inspired by AfroColombian Sony Music Latin group, ChocQuibTown. The project is being developed in coordination with Sony Music Latin and marks the first crosscompany collaboration between SPT international production and Sony Music in Latin America. •
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MARKETING TIME
THE STREAMING (MARKETING) WARS By Alejandra Moreno
AS THE MARKET BECOMES MORE CROWDED, CHIEF MARKETING OFFICERS WILL NEED TO WORK HARDER THAN EVER. THE GOAL? REACH CUSTOMER’S ATTENTION AND, MOST IMPORTANTLY, LOYALTY.
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he entertainment industry is surfing a very challenging time. New launches on the streaming side arrive on a daily basis. Disney, WarnerMedia, NBC, and ViacomCBS frequently share weekly news about their platforms and expansion strategy in order to compete with Netflix, Amazon, Apple, and other tech giants. As the market becomes more crowded, Chief Marketing Officers will need to work harder than ever. The goal? Reach customer’s attention, subscribers’ dollars, and, most importantly, loyalty. Netflix is probably the bestshaped company for that fight. They recently announced Bozoma Saint John, former Apple, Uber, and Endeavor executive, to serve as its CMO, making her their third CMO only in the last year. It seems that Bozoma has the green light for setting more innovation and new creativity benchmarks to keep winning the attention of consumers. It would be great to see if she keeps betting on the brand’s authentic and funny voice. That’s a unique and personalized style that the popculture embraces today. 14
Last May, WarnerMedia launched its rebranded streaming service: HBO Max. The company embraced an original and extensive marketing and media blitz. With the Covid-19 pandemic context, WarnerMedia executives had to recalibrate some tactics and parts of its marketing strategy. HBO Max’s new campaign kicked off with a beautiful spot featuring classic WarnerMedia assets, positioning itself as a curated collection that now has a different voice and a new purposedriven tagline. The platform evolved from the well-known “It’s not TV. It’s HBO” to a proprietary statement: “Where HBO Meets So Much More”. Acquired by Viacom for $340 million in 2019, Pluto entered into the multi-region streaming war of the AVOD business model. Pluto’s “Drop In” campaign is the company’s largest-ever consumer activation. It features clear value-proposition commercials but also OOH, TV, and streaming audio ads, with a new brand identity, a fresh on-air look, and tagline: “Drop In. It’s Free”. If we talk about streaming wars, we need to talk about Disney+. Its brand and strategy take the words of Kevin Roberts, former CEO and Chairman of Saatchi & Saatchi, and author of “Love Marks”. Roberts always suggested that human attention has become the world’s leading currency, and brands have an extraordinary opportunity to make emotional connections with customers. That’s what Mickey’s streaming service does, on an
experiential and functional level. Last month, Disney reported more than 50 million subscribers, partially boosted by the stay-athome orders from the COVID-19 pandemic. At the same time, that growth was possible thanks to an unprecedented campaign in Disney’s history, as promised by Ricky Strauss, President for Content and Marketing. The comprehensive marketing plan aimed at a 90% KPI awareness included support of own digital and non-digital platforms and in-house creative projects. One billion followers were activated on social media, with an aggressive cross-promotion strategy on TV and theme parks. It also featured subscription plans designed for Disney-branded Visa cards and first option subscription for fans attending the D23 event. It seems that the giants of the streaming wars will be open to new business models and they will also bet on innovation for marketing and communication. It will involve marketers, agencies, and advertisers. We should expect multiple experiences, suggestive campaigns with top-talent involved, original content, and attractive pricing for the post-COVID-19 pockets. We will need to remember two bits of advice for the months to come: first, clean-up the storage on your devices, ready for new apps. Secondly, clean-up your schedules for enjoying more streaming free trials.
DAVID TENNANT IS
THE INFAMOUS MUSWELL HILL MURDERER
@all3media_int all3mediainternational.com
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THE FUTURE
LESSONS FOR AN UNKNOWN FUTURE By Pablo Mancuso
President & Owner, Accion Group
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n what month of the pandemic are we? Not sure if it’s over, it’s starting, or this is the famous “new normal,” but there is one thing I am entirely convinced about: the future is and will be unpredictable. Not even the best analysts from Wall Street or the most powerful A.I. algorithm ever created in Silicon Valley could predict that during 2020 we would go through one of the most significant health and economic crises of our times. No doubt it’s been hard almost for everyone, but it’s (still) a great moment to learn from it. Some lessons are already taken from our industry:
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Re-invention is a way of being: How many times did you heard something like, “you need to reinvent yourself”. It’s probably the second phrase most used last months after “I hope you are safe”. Now, innovation will be crucial for all companies which have refused to change before. It is time to move out of the dangerous comfort zone. Revamping old ideas or launching new products is simply not enough. The change has to be more profound. Is that what Oracle thought in order to work on its partnership with TikTok in the USA? A software company is now in charge of 100 million young users from the hottest social video platform on earth.
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Plans B, C (or D) could save your business: Although they may look unattractive compared to the A category plans (which make real revenue), we always had to have new strategies and ideas. What if last year someone told you that Disney would make more money from streaming than from their theme parks? Taking that decision was not for free, but today it’s a light for the mouse company’s shareholders. It won’t replace Disney parks, but streaming is Plan A for sure while the main Disney’s business is closed.
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Sometimes it is not the fault of the crisis; it’s just a bad idea: We need to be responsible for our acts. Something so basic and so hard to accomplish at the same time. It’s easy to blame others or context 16
when things just don’t work out. Like when you spent 1,8 billion dollars on short-form premium content for mobiles only, and you ended up blaming the pandemic when nobody asked for that product. Quibi is thinking of a potential sale of the company, just after five months of operation. It’s probably better to accept failure and embrace change from there (they are still on time to do that).
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Some things can change and never come back as they were: We kind of know that. Internally (very deep on us), there is no discussion about a single life concept: everything has an end. With new streaming companies pushing the old cinema rules and people changing, the movie industry is close to being disrupted without theaters. After some experiments with good titles that skipped theatrical release and premiered on streaming (Disney’s “Mulan”), it’s not enough to replace theater revenues even if it is a great business tool. On the other side, a great movie like Cristopher Nolan’s “Tenet,” premiered in the “new normal” theaters, had a disappointing box office revenue, with the lowest U.S. weekend gross in 32 years.
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Hard work and creativity always pay off! Don’t worry, we’ll pass through this storm, and probably we’ll be stronger than before. This lesson is to applause each one of us. The response of the audiovisual industry in terms of creativity to adapt to this new landscape was amazing. It required considerable efforts in order to change plans and keep the boat afloat. We are lucky to be part of one of the greatest and more innovative industries in the world. Crises destroy bad companies, and healthy companies survive crises. Most important, great companies are improved by crises. So keep reinventing yourself, always have as many alternative plans as you can, assume your responsibility, accept that things can (and will) change, and work hard. With those skills, we will be prepared for the unknown future. Finally, please, not every call needs to be a video-call!
formats that fascinate and entertain A WINNING FORMULA IN ANY LANGUAGE
@all3media_int all3mediainternational.com
New primetime format for ABC, US. From the producers of Gogglebox.
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OVERVIEW
THE “MULAN” CASE: THE PVOD VS. THEATRICAL RELEASE PUZZLE OMDIA’S RECENT RESEARCH REVEALS THAT 17% OF SURVEYED CONSUMERS WOULD PREFERER TO PAY A PREMIUM RENTAL TO WATCH DISNEY’S “MULAN” AT HOME, A VERY SIMILAR RATE TO THE 21% THAT WOULD LIKE TO WATCH THAT MOVIE IN THEATERS’ OPENING WEEKEND.
“Would you be comfortable going to the cinema to watch Mulan if it were released in your local cinema on September 4th?”
US 22%
17%
13%
21%
27%
UK 16%
21%
18%
21%
17%
17%
23%
AUSTRALIA 15%
23%
29%
MX 21%
21%
28%
10%
19%
CHINA 6% 13%
40%
31%
9%
ALL RESPONDENTS 21%
25%
17%
19%
18%
Yes, I would watch it in the cinema straight away. Yes, in the first month but not immediately. No, I would rather pay a premium price to watch it at home. No, but I would watch it if available at no additional charge on a video subscription service. No, I am interested in watching Mulan but would not feel comfortable going to a cinema or paying a one-off fee or subscription to watch it at home.
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n the week leading up to the September 4th global premiere of Disney’s movie “Mulan,” the research company Omdia polled consumers across five global regions to gain insight into audience theatrical and PVOD interest. Disney has previously announced that “Mulan” would be premiering on Disney+ for a premium rental price in territories where the streaming service is available. The movie was released on Disney+ in the US, UK, and Australia; and it was released theatrically in Mexico and China. Omdia’s survey gauged audience comfortability with going back to theaters since the spread of Covid-19 virus. In the US, 12.6% of those surveyed said they would pay a premium to watch “Mulan” at home versus 39.2% that would see it in theaters on opening weekend or within one month. In the UK, around 6% more consumers are willing to pay a premium price to watch the title at home, bringing the total to 18.2% in favor of PVOD. The higher interest in PVOD in the UK reflects whole Western Europe’s response, influenced by a region that experienced a higher impact of the COVID19 pandemic and its lockdown measures. The US experienced mixed state-bystate responses, nevertheless movie theaters are closed almost everywhere in the country. Of those interested in watching “Mulan,” 20.7% of respondents said they would go to watch it on the opening weekend, and 24.9% would see it in theaters within one month. China and Mexico are both over the index of interest in going to the cinemas, with a 71.2% and 49.6% rate respectively. The entertainment marketplace in China typically leans around the theatrical window, with a yet low popular PVOD business and high piracy rates. As China has also
largely opened-up since pandemic lockdowns, consumer interest in public theaters is going higher. In relation to that scenario, Maria Rua Aguete, Senior Research Director at Omdia, commented: “PVOD will never replace the experience of going to a theatre. In fact, mandatory isolation has reinforced the value of attending events in person, like going to the cinema”.
Maria Rua Aguete
Sarah Henschel
Sarah Henschel, Senior Analyst at Omdia, added: “If PVOD is a success with ‘Mulan,’ traditional windows may begin to shift permanently. Right now, studios should utilize the unique opportunity of the pandemic to gauge if shifted windows can become more profitable than traditional windows. However, the prospect of further titles avoiding theatrical release will not sit well on the part of exhibitors still reeling from five months of screen closures and widespread rerouting titles into 2021 and beyond. Exhibitors can find comfort in continued consumer feeling and preference for the cinematic experience. If further PVOD tests find success globally, exhibitors may need to cut PVOD revenue deals with studios or bundle offerings together with digital opportunities”. By Omdia
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GAMING
THE BRIGHT AND PROMISING FUTURE OF THE GAMING INDUSTRY SEÑAL NEWS DECIDED TO IMMERSE ITSELF IN THE WORLD OF GAMING TO EXPLORE THIS FASCINATING BUSINESS, UNKNOWN TO MANY, BUT WHICH, NEVERTHELESS, HAS MANY THINGS IN COMMON WITH THE ENTERTAINMENT INDUSTRY AS WE KNOW IT.
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he entertainment industry is changing at fast pace. Channels and platforms are multiplying, and they are all the in search of a shared goal: to capture consumers’ attention, who only have a limited daily time to spend on entertainment. In the eagerness to relax and occupy leisure time, there is a segment that has been catching people’s attention for a long time: video games. Aware of its immensity and the enormous amount of opportunities it presents for the future, Señal News decided to immerse itself in the world of gaming to explore this fascinating segment, unknown to many, but which, nevertheless, has many things in common with content and industry as we know it. // WHAT IS GAMING? We started with the basics. Are gaming and e-sports the same thing? “E-sports” is short for “electronic sports” and it is the 20
popularly known name for video game competitions structured by players, teams, leagues, publishers, organizers, broadcasters, sponsors and spectators. Other names are “competitive gaming,” “organized play,” “e-gaming,” or “pro gaming”. While both gaming and e-sports refer to playing video games, they are two different things. E-sports are competitions structured under a mantle that is generally professional, and those who compete tend to dedicate themselves 100% to that discipline. Gaming, on the other hand, refers to a much more recreational activity, where competition also exists, but it is far away from the formality that a paid tournament, for example, could represent. As in any other one, there are several actors that are part and play a fundamental role in the gaming industry. It could be said that the first and main ones are the publishers, who are the holders
of the intellectual and industrial property rights of video games and franchises. In addition, they often organize their own competitions. In a second line are the manufacturers of consoles and/or online services, such as Microsoft (Xbox), Nintendo, Sony (PlayStation) or Valve (Steam). Furthermore, there are organizers, which are the ones who design and host video game competitions. The players, logically, are also a fundamental piece, since they are the ones who attend the competitions held by the organizers. Other actors that make up the industry are broadcasters, sponsors, development studies, media, online services, and consultants, among others. // LIVE STREAMING Acting as a traditional broadcaster in the TV industry are the streaming platforms such as Twitch, YouTube, Mixer or Facebook. Among those, Twitch is the undisputable king.
TWITCH KNOWS INFLUENCER MARKETING
Fans can connect directly with their favorite broadcasters, giving them a new level of access they don’t typically get with more traditional influencers.
Ignacio Estanga
Founded in 2011 and acquired in 2014 by Amazon in a $970 million deal, Twitch has long ago become the go-to option for those who want to become streamers. “In uncertain times, community and entertainment are more important than ever. In this 2020, viewers are finding both on Twitch,” the company asserts. Twitch’s easily accessible live streaming offer has grown with the same pace as gaming. The reason is quite simple: live streaming platforms are specially designed to enable gamers to broadcast their gaming sessions live and to interact with huge audiences that enjoy watching them play, chat, and explain their pro-gamer advices. Sometimes they even send rewards to their audiences.
EVERY DAY
Nearly half a million streamers broadcast live on Twitch
EVERY MONTH
The are over 3 million unique broadcaster channels
// A HUGE AND PROFITABLE AUDIENCE Those people who follow their favourite e-sports professionals behind a screen are creating an ever-larger and increasingly attractive audience. In fact, by 2020, Statista’s data forecasts that there will be 495 million e-sports viewers worldwide, a figure that will rise to 646 million in 2023. This is a significant increase compared to the 395 million of 2018. That, of course, translates into profit. According to Statista, in 2020 the global e-sports market is valued at over US$1 billion, and it is estimated that global e-sports market revenues will reach nearly $1.6 billion in 2023. Most of earnings will come from sponsorship and advertising, with the remaining
IN 2018
505 billion minutes of content were watched. That’s 960,807 years!
TO DATE
Twitch has run hundreds of successful campaigns with influencer partners
coming from media rights, publisher fees, merchandising and tickets, digital and streaming. In terms of revenue, Asia and North America are today the two largest e-sports markets, while China represents almost a fifth of the total. Without a doubt, the electronic sports is an industry that not only grows, but it does it at a fast pace and with no forecast of slowing down. This business is sustained in three main characteristics: an increasing number of games and players, revenues that grow monthly, and the essential support of live streaming. Moreover, it is strong in a modern-times key factor: viral content that travels all around social media. No doubts, a steady present and a more than promising future for an actually “new” business. By Federico Marzullo
TOTAL E-SPORTS REVENUE (U$S MN) AND YEAR-ON-YEAR GROWTH (%) 2019-2024 But why people enjoy so much watching others play? To explain this phenomenon, Ignacio Estanga, Director of Content & Partnerships for Latin America at Twitch, made a comparison with live sports, and indicated that when we see a professional player, we do so because he is one of the best in his discipline, something that is replicated in e-sports. “We watch because it entertains us to see sport at its highest quality. The same happens on Twitch, because you have the best e-sports players on the platform,” he assured.
Total
Year-on-year growth
3.000
25,0%
2.500
20,0%
2.000
15,0%
1.500
10,0%
1.000
5,0%
500 -
2019
2020
2021
2022
2023
2024
0,0%
The Overwatch League
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22
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PANCHO MANSFIELD
OVERVIEW
THE NEW NORMAL FOR SCRIPTED DEVELOPMENT
PRESIDENT, GLOBAL SCRIPTED PROGRAMMING AT EONE
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EXECUTIVES FROM SOME OF THE BIGGEST SCRIPTED CONTENT PRODUCERS SHARE THEIR THOUGHTS ON HOW THE PANDEMIC AFFECTED THE GENRE’S PIPELINE FOR 2020. ON THE CREATIVE SIDE, THEY ANALYZE IF SOMETHING POSITIVE CAN BE RESCUED FROM THESE CHALLENGING TIMES.
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he COVID-19 pandemic changed the plans of every single player in the entertainment industry. While the channels tried to stay afloat by programming old and ready-made products, scripted content producers felt the strong impact of being unable to shoot. How much did the pandemic affect their plans? Can something positive be rescued from this time on a creative level? Señal News talked with executives from some of the biggest scripted production companies in order to describe a new normal for the industry.
CARMEN LARIOS
HEAD OF CONTENT AT A&E LATIN AMERICA
“
By Romina Rodriguez, Federico Marzullo and Diego Alfagemez
FRAN ARAÚJO
ORIGINAL DRAMA DIRECTOR AT MOVISTAR+
“
The scripted development has been the least affected area by the pandemic. Undoubtedly, the greatest impact has been the impossibility of holding face-to-face meetings with the creators, which are enormously valuable in bringing together different points of view when it comes to development. However, on the positive side, we have greatly streamlined the process of receiving projects and have launched several series over recent months, while continuing to make progress with all the projects we already had underway”. “We always take a detailed approach and spend a great amount of time on the development of every series. Whatever time is needed. We don’t pre-set deadlines or rush to finish the development phase. Each story has its process. We need to dedicate the
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I believe there is both a creative and production advantage to having a more extensive development process for scripted shows. On the creative side, you have more time to finalize all the scripts, and on the production/fiscal side, you have the advantage to block shoot and design the setup before you begin principal photography. Momentum and energy are key elements of the television-making process, and having too much time on your hands can become an obstacle. It is essential that in the early stages of development, you have a sense of your potential buyers. It starts with the creative and a passion for whatever that story might be, but there is also a pragmatic element of looking at the real cost of the series and the potential homes. It’s not science, sometimes projects evolve, and the business model might adjust”.
The development process is crucial, especially for productions where the script has a significant weight. It also impacts on the pre-production, the shooting, and the final product. Stories with a good development time will always be stronger, and if you have the possibility of better planning, the production and postproduction plans will improve the budget’s scope”. “With a good development process, it is more likely to achieve a better business model. It gives you the time to present the project to possible co-producers or partners and obtaining a more robust budget that will reinforce the whole project”.
time that each project requires. It can sometimes be achieved quickly, and sometimes could take longer. Some creators need to spend more time in the early stages; some write fast quickly, while others need to write many different versions. Of course, we like to engage in an open conversation with the creators. We try not to be too detailed or specific with our comments because we know that the development phase could become an arid journey for the creator. We usually grant plenty of creative freedom when we are convinced that we all want to tell the same story”. “If you see the development phase as the space in which the project gestates and is born, then obviously it is vitally important. It all depends on each story’s nature and the stage it has reached when it gets to us. Some stories can provide a great opportunity for co-production or to locate specific talent from day one. In contrast, others need a refocussing job in order to make the most of its potential”.
CHRISTIAN VESPER
EVP, CREATIVE DIRECTOR, GLOBAL DRAMA AT FREMANTLE
“
It’s been a great time for development. Everyone is focused on development. The first months of the pandemic were crazy, and all the production was closed down. Once that part ended, producers were able to dig deep into development. Therefore, there has been a productive time, surprisingly”. “We are in such a rich period of storytelling, so it is hard to say if we could generate better stories. We will see many titles coming into the market, which is complicated because I think that the commissioners have been buying a lot. Certainly, I think the nature of
the stories will change. I don’t know if companies will be selling quite many dystopian stories right now, as we live in a dystopia. Right now, people are looking for a lighter kind of shows as a form of escapism”. “We come very early in the development process. We evolve with the development from the beginning because we help guide the producers into a place of what works in the marketplace that ultimately makes financial sense. Most of our producers know their local markets very well, so we do not have to advise them too much there, but we discuss the global opportunities or what kind of projects could work outside the local territories. That is a critical discussion, and we try to have it as early as possible in the process”.
MONTSE GARCÍA
LAURA FERNANDEZ ESPESO
DIRECTOR OF FICTION AT ATRESMEDIA TV
CORPORATE DIRECTOR & HEAD OF TV AT THE MEDIAPRO STUDIOS
“
The global health crisis has generated a multitude of changes in content production. The development of projects has continued; the content industry has not stopped. We have continued to work aligned with our teams and with our broadcast and platform partners to get all our projects forward”. “Generating good stories depends on many things, but having adequate time to work them well in development is essential. All the time and care that you invest in the development process will directly impact the result. Clients are increasingly involved in this phase of the project. A large part of a project’s success is linked to the investment of time, equipment, and money we dedicate to development. We also pay much attention to choosing the right partner with whom we would share the entire development process”. “The development process is essential, as it is where we elevate the project’s structure in terms of content and strategy. We organically do that and respecting the needs of the story to be told. There are many decisions made in this phase: concept, tone, choice of characters, locations, or the show’s format”.
ANDREA MARULANDA
DIRECTORA GENERAL DE PRODUCCIÓN AT TELEVISA
“
All the time that we can invest in research, development, and the construction of stories and characters is, without a doubt, time that enriches any production. During the development process, we find unsuspected angles, surprising points of view, and innovation. A good story that takes the time to translate into a good script is the only basis
“
Our priority is to continue generating quality content, and the pandemic has not diminished our work intensity. We have continued to develop the projects that we already had underway and have even commissioned new ones. It has also been a very creative moment where professionals have taken advantage of this situation of loneliness and confinement, where great ideas have appeared”. “On many occasions, development is not about time, but about being clear about what idea we want to tell. It is important to have the project’s bases defined because that makes your work much easier. It is a wonderful and complex creative process that takes time, but the most important thing is to have a good story and well-defined characters”. “The development stage is crucial because it gives us a precise idea of what we want to deliver. It tells us what our project is about, its business model, partners, and financing pipeline. Fortunately, we are in a great time for scripted, with great professionals and much creative talent”.
for having great productions. Good direction, great casting, and beautiful photography would enhance a good script”. “The development process strengthens each project, adding possible co-producers, ideal scenarios, logistics. It maximizes budgets and production values that later will impact on screen. Today, it is essential that development and production design starts at the very beginning of the story. Only then it is possible to build a powerful production in terms of content and viable in terms of budget”. 25
INTERVIEW
“TRENDS COME AND GO QUICKLY IN THE SCRIPTED GENRE” JOEL DENTON, ACTING PRESIDENT AT RED ARROW STUDIOS INTERNATIONAL, HIGHLIGHTS THE VALUE OF WORKING WITH A BROAD SLATE IN A VERY CHALLENGING TIME FOR THE AUDIOVISUAL INDUSTRY.
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ast June, Red Arrow Studios named Joel Denton as Acting President of the company’s TV distribution business, Red Arrow Studios International. Based in London, Denton is a highly respected senior television executive, having held positions at A+E Networks, RHI Entertainment, and Hallmark Entertainment. Joel was also joint founder and Managing Director of Red Arrow Studios’ operations in the UK for two years from 2011. In an exclusive interview with Señal News, Denton describes the present and future of the company. What is Red Arrow Studio International’s strategy for the short and mid-term? “The priority over the next 12 months is to focus on our core strengths and specialist areas, particularly in scripted and formats. We have a broad scripted slate which is important as trends come and go quickly in this genre. As part of this, we’ll be focusing on our robust slate of ‘global drama,’ which ranges from returning, premium series like ‘Bosch,’ ‘Vienna Blood,’ and ‘Departure’ through
BOSCH
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to our catalogue of over 500 TV movie titles, which is in demand because it appeals to a broad family audience and is easy and flexible for broadcasters to schedule. We’ll also continue to tap into the increasing globalisation of the scripted genre, adding to our line-up with critically acclaimed non-English language drama projects like ‘Dignity’ and ‘The Bank Hacker’ ”. What will be the strategy for the format business? “Formats are also a big part of our strategy. We have a track record of launching interesting, off-beat, noisy and commercially successful formats that quickly become the new mainstream. For example, ‘Married at First Sight,’ which is now the world’s most locally produced relationship format, with 29 local productions and tape sales in 194 countries. What are the current main challenges of the international marketplace? “Over the last few months fewer shows have been able to go into production because of COVID-19, particularly on the scripted front, which has had an impact on the international distribution business. Unscripted shows have also faced challenges but are more adaptable. Fortunately, we do now have a number of dramas currently in production, such as second seasons of ‘Departure’ and ‘Vienna Blood,’ and on unscripted front a number of shows in our catalogue have produced and wrapped over the summer by deploying precautionary, COVID-19 friendly methods. For instance, season four of ‘Beat the Channel’ was produced with a much smaller
THE
STORY
OF
AN
ICON
a documentary by
Amanda Sans Pantling
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INTERVIEW VIENNA BLOOD
“BEING PART OF A LARGE BROADCASTER IN EUROPE IS INCREDIBLY BENEFICIAL FOR US. IT PROVIDES US WITH A PIPELINE OF SHOWS AND MORE BROADLY, RESOURCES FOR INVESTMENT”
DIGNITY
DEPARTURE
studio audience, while the latest UK season of the BAFTA Award-winning sports and entertainment panel show ‘A League of Their Own,’ produced by CPL Productions for Sky, was filmed without an audience and the celebrity participants were carefully distanced”. What are the advantages of ProSiebenSat.1 and Red Arrow Studios International working together as a production powerhouse? “Being part of a large broadcaster in Europe is incredibly beneficial for us. It provides us with a pipeline of shows and more broadly, resources for investment. We also work closely with our colleagues both at ProSiebenSat.1 and Joyn, the streaming service run jointly by ProSiebenSat.1 and Discovery. For example, we distribute Joyn’s first original drama series commission ‘Dignity,’ and two of our comedy dramas, ‘Ms Jordan’ and ‘Check Check,’ are Joyn and ProSieben commissions, both of which have been recommissioned for second seasons”. How is the distribution business adapting to the current global landscape in the context of COVID-19? “It’s a challenging time for the TV business in general but we are fortunate in that we have a large catalogue of titles and a supply of content, particularly from our inhouse production companies. The fact that markets have been cancelled and travel restricted means we have also had to rely more on video calls, virtual events and our own screening site to showcase content”. By Diego Alfagemez
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Meet us at MIPCOM! zdf-enterprises.de 29
INTERVIEW
“THIS IS AN IDEAL TIME TO INVEST IN DEVELOPMENT” GUILLERMO BORENSZTEIN, VP CONTENT SALES & COPRODUCTIONS AT VIACOMCBS, EXPLAINS WHY THE INDUSTRY LIVES AN EXCELLENT OPPORTUNITY IN ORDER TO GENERATE BETTER PROJECTS OF THE FUTURE.
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lthough 2020 is an adverse year for many people in terms of business, there are always positive aspects to highlight. Guillermo Borensztein, VP Content Sales & Co-Productions at ViacomCBS, thinks the COVID-19 pandemic context is an ideal opportunity to generate even better future projects. In an exclusive interview with Señal News, the executive explained how the company adapted to the “new normal” and ViacomCBS’s goals for the rest of 2020. Is co-production the best business model in th pandemic context? “Today, co-production is one of the most effective responses and a fundamental tool in our global growth strategy. It can be defined as one of the best possible models in this context, although it is not the only form of association. The different possible combinations (type and number of partners, places of production, investment, sales, and type of content) lie the association’s main attractions. The connection between content, talent, business, and commercial partners will be more decisive”. How has ViacomCBS’ distribution strategy adapted in recent months? “Initially, it represented a complete change in our strategy, which required rethinking the traditional business. It ended up enhancing our capabilities and distribution scope. Not only it changed the way we connect with partners
and customers, but it also has put producers and distributors back on the scene, improving the exploitation cycles of content in distribution”. What types of content are customers demanding? “From our experience in recent months, we have been favored by managing the distribution of a catalog that covers all demos, which includes local productions (Mexico, Brazil, Argentina, and Colombia) but also North American productions. That is both from our brands and also projects where the studio invests
without its associated screen. From the logic of demand, driven mainly by new and upcoming SVOD launches, Nickelodeon content and local productions (mainly Telefe and Comedy Central) stand out”. Is this an ideal time to distribute finished formats? “It is an ideal time to own the properties, beyond the format, with the vision of maximizing the distribution capabilities of a library on all possible platforms and territories. It is also ideal to think in advance and work on the original projects for the next two years. It is the right moment to invest in development, associate with talent, and develop what will comes next in terms of new projects”. What are ViacomCBS’s goals for the rest of 2020? “From the studio business, we will prioritize the health of our team by complying with all the protocols defined by the organization. We aim to restart our productions throughout the region. It implies finishing ongoing projects and the start of new shows. We also want to search for partners and clients for those projects we want to develop in the following months, and we plan to start shooting soon. In distribution, we are committed to maintaining the level of sales of the recent months (mainly in terms of finished programming), reaching our yearly goals by the last quarter, with the satisfaction of having expanded our client portfolio”. By Federico Marzullo
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Meet us at MIPCOM! zdf-enterprises.de 31
PRODUCTION
“THE MAIN THING I’M LOOKING FOR IS SOMETHING DIFFERENT” RAN TELLEM, HEAD OF DEVELOPMENT OF THE MEDIAPRO STUDIO, RESPONSIBLE FOR THE NEW SERIES “THE HEAD,” DESCRIBES WHAT ELEMENT MAKES A STORY STANDS OUT FROM THE REST AND EMPHASIZES IN THE POWER OF CO-PRODUCING.
D
espite the fact that the COVID-19 pandemic delayed Mediapro’s original plans, the company was still able to carry out many of the projects it had scheduled for this year. One of them, and perhaps the biggest one, was “The Head,” the psychological thriller that the group developed with Hulu Japan and HBO Asia, and that already debuted on Asia and Spain. Mediapro defines “The Head” as a murder mystery unlike any other, a survival thriller set in the most remote place on Earth. A puzzle box that will unfold on three separate timelines, told through the contradictory testimonies of the last two survivors of an Antarctic mission. The public will have to decide what really happened at the Polaris VI station and who they can trust, to unveil the mysterious eyes preserved by the ice. Ran Tellem, Head of Development of The Mediapro Studio, defines “The Head” as a great enigma, while recognizing that there is something unique in this story. For Tellem, finding that authenticity in a story is the only thing that will make it stand out from the rest, especially in times when content abounds, but not originality. “As a creator, the main thing I’m looking for is something different. I’m looking for the odd guy, the one that stands out in the crowd, that story that is different from all the other stories. I like to go into a genre but tell the story in a completely different way. That is what excites me. We are in a world where there is so much content being created, and a lot of it looks and feels like the other one. In that sense, in order to create something which is substantial, you need to have 32
something that will stand out very clearly,” Tellem told Señal News. The executive also pointed out a fundamental element when it comes to content development: timing. In that sense, Tellem believes that, if the story is not good enough, it will make even its own creators lose interest sooner or later. “Stories evolve. The distance between when you start developing an idea to the moment it becomes a series is usually a journey that last three or four years. So, in order to have something that will hold you for three or four years, you need something so powerful that you keep coming back to it,” he assured. In this search for a powerful and different story, for Tellem there is no better recipe than co-production. “Coproducing is the thing. Personally, it is the reason I left my previous job. I was looking for excitement, for meeting new people, understanding things that I do not know and changing the way I work. When you team up with somebody else, that meeting is a clashing of titans, a spark, and from that spark, a new story evolves. There are so many examples of things that I think are obvious, and when I meet somebody from another company, for him is completely unobvious, and vice versa,” he explained. Lastly, Tellem admitted that “it is very hard to find the DNA in a studio or a creator,” but he indicated that “if we were looking for one thing that connects all Mediapro stories, that would be that they are all super powerful stories, and that is what it stands out from the rest”. By Diego Alfagemez and Federico Marzullo
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PRODUCTION
PARTICULAR CROWD, TURNER’S NATURAL STEP INTO FILMMAKING PETER BEVAN, VP OF PARTICULAR CROWD; AND TOMÁS YANKELEVICH, EVP & CHIEF CONTENT OFFICER, GENERAL ENTERTAINMENT AT TURNER LATIN AMERICA, DESCRIBE TURNER’S ORIGINAL MOVIE BANNER.
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he audiovisual industry evolves at an increasingly accelerated rate. The immediacy of these transformations forces companies to redo their strategies and explore areas that are often unknown. This is what happened to Turner, when it saw an unexplored territory in film development, and decided to jump right in with the launch of its own label: Particular Crowd. Launched on the last edition of NATPE, Particular Crowd presents itself as a multiplatform production initiative. Its movies are available on a multiplatform basis, including linear premieres on TNT and Space, and theatrical releases via a partnership with Latin America’s theatre chain Cinépolis. Also, in recognition of the new habits of content consumption, select movies are also available in serialized episodic format (“snackable content,” as the company likes to call it) across an array of social media platforms. “Particular Crowd wants to be a multiplatform initiative. We do not want to think binary, like there is some content for movie theatres, some for TV and some for OTT. Our movies are available for all platforms, and I think that is where the whole industry is eventually going. Of course we still are cinephiles at heart, we still want our movies to be presented on the big 34
screen, but there are times where we feel that some movies should be play on a small screen. Our audience is able to access the content at the point of need, instead of being us the ones who decide in which screen they are going to watch the titles,” Peter Bevan, VP of Particular Crowd, commented to Señal News. Designed to appeal to a global audience, Particular Crowd movies present original stories within the most popular genres: comedy, romcom, horror, thriller, teen and family. “Our genre spectrum is quite broad, but there is a unified element in each one of those categories: we want a movie to feel elevated. If it feels like a formulated generic version of a movie that we have seen before, it is probably not for us. If it takes a familiar theme that is mainstream and accessible for the audience, but it gives a new perspective, that is
where we see those movies working well for us. You have to do something new with old concepts, kind of reinventing the genres,” Bevan said. When the company asked itself about the best way to produce films, they decided that the way to go was to do so in English. “That makes the titles universal, and we can get more co-production partners. It also gives us the opportunity to generate business outside of Latin America, and makes our own films able to coexist with the movies we keep getting from the majors in a seamless way,” indicated Tomás Yankelevich, EVP & Chief Content Officer, General Entertainment at Turner Latin America, in conversation with Señal News. Particular Crowd’s original plans of producing 100 movies a year were obviously affected by the pandemic. However, the label remains optimistic and not worried about a lack of ideas when the time to go back to production comes again. “Blockbusters are what works best. We love them and we program them, but at the same time they began to limit themselves creatively. However, it is not that there is no creativity, but there are few opportunities for this type of content that we understand today is lacking in the market,” Yankelevich concluded. By Federico Marzullo
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DISTRIBUTION
BIG BRANDS FOR THE MOST POPULAR GENRES JANEL DOWNING, VP LATIN AMERICA; AND SALLY HABBERSHAW, EVP, AMERICAS AT ALL3MEDIA INTERNATIONAL, DESCRIBE THE NEW LAUNCHES OF THE COMPANY BOTH FOR THE DRAMA AND ENTERTAINMENT SLOTS.
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ne trend that has been felt across the globe in the last six months is the growing demand for feel-good programming, as audiences seek out shows that bring as much positivity as they do entertainment. With this in mind, All3media International is focusing on two primetime entertainment brands this Fall that fit the bill perfectly. “Little Mix – The Search,” a fresh, energising and warm take on the talent-show; and “The Cube,” a a multi-award-winning game-show. “Talent competitions have always been popular in Latin America, and ‘The Search’ is an original new take. Recorded auditions will see six unique new bands created which are then mentored by a collaborative team of top vocal coaches, choreographers and music producers ahead of the live shows,” Janel Downing, VP Latin America at All3media International, stated. All3media International is expecting strong interest in the show from the Americas, driven by “Little Mix’s” huge social media fan base in the region. When looking at the band’s monthly YouTube video views by country, Brazil, Mexico and the US feature in the top six, 36
Road Kill
and Brazil takes the lead in a list of Instagram fans by country. “The series has a really enthusiastic, positive feel, delivering an inspiring and entertaining show that genuinely nurtures the talent involved. Alongside finished tape rights, we’ll also be talking to broadcasters about format rights as the idea lends itself perfectly to adaptation, with local bands taking
Janel Downing
the helm,” Downing added. All3media International will also launch the multi-award winning “The Cube”. Relaunching in the UK and commissioned in the US, this primetime game show brings a proven track record of ratings success. It also delivers a major benefit to broadcasters considering local adaptation, which it can be produced in the now socially distanced world. “’It’s rare to find a distinctive feel-good proven entertainment format that’s perfect for co-viewing and can easily meet today’s production requirements. We think ‘The Cube’ represents a fantastic investment for broadcasters seeking a primetime game show that the whole family can enjoy,” Sally Habbershaw, All3media International’s EVP, Americas, stated. DRAMA SPOTLIGHT As premium crime drama continues to draw in viewers globally, All3media International has become
Sally Habbershaw
a go-to destination for buyers looking for globally appealing content in this genre. At Mipcom Online+, the distributor adds three new dramas: the political thriller “Roadkill,” and two true-crime titles: “Des” and “White House Farm”. Janel Downing is confident “Roadkill” will have huge potential in Latin America. “Alongside being a fantastic modern thriller set amid the ever-shifting dynamics of 21st century politics, ‘Roadkill’ has two major plus points: Hugh Laurie as its lead and its production company, The Forge, creators of already proven successes such as ‘National Treasure’ and ‘Kiri,’” Downing said. Furthermore, All3media International will bring renowned talent to its true-crime slate, with the launch of “White House Farm” and “Des,” both from New Pictures. Globally renowned actor David Tennant takes the lead role in “Des”. “Nilsen was astonishing in his honesty about his crimes but what he couldn’t remember was who they were. So, this is a tale not of a hunt for a murderer, but a hunt for the murdered. Latin American audiences will know and love David Tennant from his stellar role in ‘Doctor Who,’ so his uncannily accurate portrayal of this complex and clever psychopath is sure to be a must-see,” Downing said. By Diego Alfagemez
www.trt.net.tr
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DISTRIBUTION
THE GLOBAL APPEAL OF
RUSSIAN DRAMAS
R
ussia Television and Radio attends MIPCOM+ with the goal of presenting five highend series of different genres to international buyers: the dramas “Zuleikha Opens Her Eyes” and “Ekaterina: Pretenders”; the thriller “The Blood Widow”; action series “On the Edge”; and the film adaptation of the “Anna Karenina” novel. “Zuleikha Opens Her Eyes” is based on a multi-award-winning novel by Guzel Yakhina, inspired by her grandmother’s dramatic life. “It is a touching story about a woman who finally finds her own voice and starts building a life for herself,” Julia Matyash, Director of Sovtelexport, told Señal News. The thriller “The Blood Widow” is a spine-chilling story based on a real-life story of the most notorious female serial killer in Russia. “On the Edge” is an action series about three strong young women who fight for their lives and freedom, overcoming cruel challenges under very hard circumstances. “All three series are based on real-life events, which correspond to the ongoing trend in TV industry,” she explained. “They portray unusual and strong female characters. Completely different plots, completely different destinies and women. These are amazing stories that create a flood 38
RUSSIA TELEVISION AND RADIO WILL LAUNCH FIVE HIGHEND SERIES OF DIFFERENT GENRES AT MIPCOM+. JULIA MATYASH, DIRECTOR OF SOVTELEXPORT, THE SALES ARM OF THE COMPANY, DESCRIBES THE POTENTIAL OF EACH SHOW FOR THE INTERNATIONAL ARENA.
Julia Matyash
“We are looking forward to expanding our distribution in Latin America, enhance the contact database, and strengthen relationships with our long-standing partners” of emotions through the masterful directors’ work and brilliant leadactresses’ performance,” Matyash stated. According to the Sovtelexport Director, the interest in period and costume dramas is still strong in the international market and doesn’t seem to be fading anytime soon. “’Ekaterina: Pretenders’ and ‘Anna Karenina’ are filled with lavish costumes, impressive decorations, and exquisitely reproduce the spirit of the past,” she affirmed. CROSSING BORDERS The strong Russian dramas are catching the attention of international audiences. “Ekaterina:
Pretenders” was already sold to Japan, Croatia, South Korea, and Slovakia. “Anna Karenina” was a great success on the international market as well. “It was sold to the MENA countries, China, Japan, Croatia, Poland, Mexico, Slovakia, Albania, Hungary, Hong Kong, Macao, Taiwan, and Greece,” Matyash described. “We are looking forward to expanding our distribution in Latin America, enhance the contact database, and strengthen relationships with our long-standing partners,” Matyash said. “’Zuleikha Opens Her Eyes’ was already presented to some major Latin American channels and we have received very good reviews on it,” she added. Russia Television and Radio next steps involve the adaptation of a new reality, while finding ways of broadening communication routes to present the best of Russian content to buyers. “Sovtelexport has already developed a strategy to promote its titles under these challenging circumstances. We are trying our best to not let our clients feel incommoded by the current situation, taking into account the specificities of each digital event,” concluded Matyash. By Romina Rodríguez
www.trt.net.tr
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INTERVIEW
“IN TURKEY WE ADAPT EASILY TO ALL KIND OF SITUATIONS” OZLEM OZSUMBUL, HEAD OF SALES AT MADD ENTERTAINMENT, EXPLAINS WHY THE READY-MADE CONTENT IS A GREAT OPTION FOR THE CURRENT CONTEXT AND ANTICIPATES THE DISTRIBUTOR’S OFFER FOR MIPCOM.
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orldwide recognized for its dramas, Turkey felt the impact of Covid-19 and the stoppage in production affected many areas of the business. However, the success of Turkish titles is such that the distribution of finished products became a more than attractive option during the pandemic. Ozlem Ozsumbul, Head of Sales at Madd Entertainment, explains why these ready-mades are a good option nowadays and anticipates the distributor’s offer for Mipcom. What new dramas will Madd present at Mipcom? “We are representing all the new titles from Medyapım and Ay Yapım, the biggest production houses in Turkey. We have new shows, ongoing titles and completed shows in our catalogue. Some of them have already started and some others will be on air soon. Among the new titles our highlights are ‘Love Is in The Air,’ ‘Kimsesizler’ and ‘The Agency,’ and among the ongoing shows are ‘A Miracle,’ ‘The Choice,’ ‘The Teacher,’ and ‘Nehir’”. With so many complications around production, finished products are presented as an profitable option. Do you think that it is a growth opportunity for new territories that had not been exploited before? “Show must go on in our business. Audience and TV stations need fresh and ready content, and this is a good opportunity for all producers and content providers. Content demand is so high, but it is really difficult to produce because of all the Covid-19 complications. At Turkey we are quite successful in production, we are fast, and we adapt easily to all kind of situations. Turkish people’s multifunctional working style, experience, and dynamism provide a big chance. The demand from broadcasters for Turkish content is great. We are also trying to reach some other new territories as well. It is a big opportunity”. What are the audiences expecting from Turkish dramas? “The audience always wants great stories, talented cast, and high-quality in production. Dramas, love, and woman stories are the main targets for us. We are also trying to search new ways or styles in drama that we can mix with the Turkish touch of storytelling for our audiences”. 40
How do you analyze the launch of online markets as a solution to the cancellation of events? “We have to adapt to new situations immediately, and online markets were really fast solutions to reach buyers. During the global home office period we are also using some digital meeting solutions to connect, exchange info, and present our content. Of course, we prefer to meet all our colleagues face to face, but their safety is the most important thing right now. We will continue to keep in touch with them via online meetings and events for a while”. How much has your sales strategy changed? “Now we are much more focused on meeting with our partners. All buyers and exhibitors now have limited access to offices, but they are also working online 24/7. It is a really different experience for all of us. We are preparing short and attractive presentations to tell our stories in new suitable ways. We are trying to create private and personal strategies for Turkish content experts all around the world”. What are Madd’s main goals for the rest of 2020? “Madd has the strongest catalogue from Turkey because of the power of Turkey’s two most talented and experienced production companies. They have proven success and sustainable quality in each of their titles. Our most important mission is to stay strong and together. We want to be the best partner for each program need. We are sure that all of our new, ongoing, and finished titles will be the perfect fit and match to broadcaster’s needs”. By Federico Marzullo
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DISTRIBUTION
“IT IS THE TIME TO SUPPORT EACH OTHER”
MIKAELA PEREZ
MIKAELA PEREZ, SALES MANAGER AT KANAL D INTERNATIONAL, REVEALED ITS STRATEGY TO CONTINUE WORKING DURING THE PANDEMIC AND OUTLINED ITS CLIENT’S CURRENT MAIN DEMANDS.
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anal D International has always been characterized by a wide range of Turkish dramas that were in high demand all over the world. In the current scenario, the COVID-19 pandemic did not slow down this trend, but on the contrary, it increased the demand for Turkish dramas dubbed into Spanish. “From the beginning of the pandemic, our strategy has always been to put together a catalog of content dubbed into Spanish,” Mikaela Perez, Sales Manager at Kanal D International, explained to Señal News. “We even closed many deals for shows that have already aired in many Latin American countries. Our clients have chosen to buy content that has already worked for them, that they already know, and may not represent any risk,” she stated. Together with the extensive library of the Kanal D International, at Mipcom, the company will highlight the series “Price of Passion,” which is currently being dubbed into Spanish and tells a classic love story between a bad boy and a good girl. “In Spanish, it will be called ‘Amor en Blanco y Negro’ because of that contrast between the two personalities. It has 96 episodes and is an excellent
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“From the beginning of the pandemic, our strategy has always been to put together a catalog of content dubbed into Spanish”
product for Latin American primetime,” Perez said. Moreover, Kanal D International will also promote the successful Turkish remake of “Doctor House,” called “Hekimoglu,” which is now in its second season. “It is also a perfect product with different characters from the original show,” Pérez remarked. Another Kanal D highlight for Mipcom is the series “New Life,” currently airing in Turkey, which tells a slightly dark love story between a bodyguard and the wife of a rich and powerful man. “She tries to escape from her unhappy marriage, and the bodyguard tries to stop her, but then a charming love story breaks out between them,” Perez explained.
ONGOING PROJECTS Since the beginning of the COVID-19 pandemic, Kanal D International has remained close to its clients through various digital platforms and constant phone calls. “We have been able to adapt very quickly, and therefore, we did not lose contact with our customers,” Pérez said. “In the short term, we are planning to continue contact with our clients through video calls, without losing the conversation with them. The most important thing, despite business, is that it is a time to support each other; it is a time to show our constant assistance to our clients because we are all going through the same situation,” Perez said. Por Romina Rodríguez
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DISTRIBUTION
THE SECRET BEHIND THE MOST BINGED TV SHOWS THE BRITISH COMPANY HAS HELD ITS FALL FESTIVAL, A THREE-WEEK-LONG EVENT WHERE IT PRESENTED THEIR LATEST DRAMAS, FRESH FORMATS, AND NON-SCRIPTED CONTENT TO GLOBAL BUYERS.
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TV Studios held its Fall Festival, a three-week long virtual event where international buyers had the opportunity to access to new dramas, fresh formats, and non-scripted content as well as meeting face to face with the ITV’s team and hearing from the creators, producers, and talent directly in their own homes or offices. Between the new highlights, ITV Studios revealed the launches of World Productions’ “Vigil” and “The Pembrokeshire Murders” new dramas; the celebration of the 10th anniversary of “The Voice” and new commissions of “Love Island,” “Beat the Chasers,” and “We Want More”. Maarten Meijs,
President Global Entertainment at ITV Studios
“We created the Fall Festival in order to make sure we don’t lose the connection with our clients because it is already really tough for everybody involved but we wanted to create an event where we could make screenings of our shows but also offer a space for individual market meetings. We felt that it was is the right thing to do,” Meijs stated. From the beginning of the COVID-19 pandemic, ITV Studios
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protected its biggest titles. “We have 80 productions ongoing globally, all in different stages,” Meijs said. The company has also come up with new ideas in order to continue with the production pipeline. Not even production has been canceled. As an example, the US version of “Love Island” has moved its stage from Fiji to Las Vegas. ITV Studios has also invested in its own production hub in Gran Canaria, Spain. “With that development we’ve actually increased the sales of the show, with 17 ongoing versions,” Meijs explained. “In the current landscape, we feel that what the audience want is to watch feel-good content and game shows like ‘The Voice’ are very important. Escapism is crucial as well, with reality shows like ‘Love Island’ or ‘I’m a Celebrity, Get me out of here’. We are very well represented across the boards and we are constantly curating our catalog,” the executive asserted. Regarding the creation of TV shows to binge, Meijs revealed that it’s about the overall series structure. “It is about the cliffhangers from episode to episode, but also about elements that keep you glued to the screen. We build tension points in our formats and that is incredibly important,” he concluded.
Ruth Berry,
Managing Director, Global Distribution at ITV Studios
During the Fall Festival, ITV Studios offered a wide range of titles of different genres. “It’s about trying to get the breadth and depth without overwhelming people. One of the keys for us is really trying to pick up a huge great amount of shows for everyone. We have buyers from all over the world, on Pay-TV, Free TV, or OTT streaming, and the key for us is to try to catch everybody’s attention,” Berry stated. ITV Studios put its focus on business development. “I think we’ll end up a couple of years ahead on the innovation front because we spent so much time trying to find the solution around the challenges the COVID presented,” Berry said. “As a distribution business, it gave us a chance to look at how we can help and support our clients, what their needs are, what their challenges are, and spend time getting closer to people and help them navigate this current crisis,” she added. Mike Beale,
Managing Director, Global Creative Network at ITV Studios
“The secret of our success is the fact that we look for the universal truths, general topics that can travel easily. We follow those elements that would mean something for everybody everywhere, elements which have the same meaning for everybody. You can do an amazing show in your local territory, but it doesn’t mean that it will travel around the world, so we are always looking for those eye-catching moments that the viewers will continue to view and enjoy,” Beale described. “We are not looking for volume, we are looking for the right ideas. We are eager to talk to producers and creators from around the world, and Latin America could be a great home for some big new formats that we don’t get to see quite often,” he said. By Romina Rodríguez
Scripted Series / Comedy Drama, 10 x 22’ redarrowstudios.com/international
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EVENTS
MEDIA TRENDS, NEW STRATEGIES, AND COVID-RELATED MARKET SHIFTS EXECUTIVES FROM THE GLOBAL BIGGEST MEDIA COMPANIES WERE PART OF NATPE VIRTUAL STREAMING PLUS. THEY DISCUSSED REVAMPED DISTRIBUTION TACTICS, THE AVOD MARKET’S GROWTH, AND THE IMPACT COVID-19 PANDEMIC ON THE AUDIOVISUAL BUSINESS’S DYNAMIC.
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his year’s “NATPE Virtual Streaming Plus,” the digital version of the international event, showcased discussions between television and media executives, covering programming and distribution strategies and the increasing usage. Media companies shared the forms in which they coped with circumstances during the COVID-19 pandemic and highlighted the fast growth of the AVOD market and Korean and children’s content. According to Michele Edelman, Head of Growth at Premiere Digital Services, studies indicate that streaming now accounts for 25% of US Television Viewing, and 79% of streaming is dominated by Hulu, Netflix, Disney+, and Amazon Prime Video. Furthermore, Michael Quigley, EVP of Content Acquisitions at HBO Max, explained that HBO collaborated with its internal brands for acquisitions and licensed third-party content, launching more than 10,000 hours since the 27th of May. “We treat their content with the same care as we treat our own,” Quigley said. Pluto TV and Tubi served as testimonials of the rapid growth in the AVOD market. Pluto TV owns and operates more than 75% of its channels and has experienced a 25% spike in total viewing minutes, 46
a 20-minute increase peruse per week, among other growth stats. The company is currently communicating with content suppliers and holds an active launching schedule for global territories, with two additional regions rolling out in Q4. Adam Lewinson, Chief Content Officer at Tubi, said that, since April, the AVOD service received an 8 million increase in 5 months and 200 million hours of TVT. Thirty-three million monthly active users were reached, with a significant 65% year over year increase. ViacomCBS already started to launch set of changes for the rebranding of CBS All Access to Paramount Plus. Around 3500 episodes and 20000 movies are slated to be available at the platform. “At this point, we are very well on our way to fulfilling that vision to be the global leader in free streaming TV,” Marc DeBevoise, CEO and President for ViacomCBS Digital, said. In a discussion about the growth of their respective services, Tim Natividad, Head of Global Performance Marketing at Roku, and Mike Keyserling, Chief Operating Officer at Philo, both credited viewership increases to the quality of content. Roku now has over 14,000 channels and a 3,000 subs
year-over-year growth while Philo accumulated more than 750,000 subscribers in the second quarter. “We saw a real opportunity to bring together a collection of very popular and high-value content at a price point that has never been offered before,” Keyserling said. On another side of the streaming business, Doug Scott, Co-Founder at Subnation, explained that gaming’s increasing popularity creates a shift of viewing and programming behaviors, redefining programming distribution and overall consumption. Social media has been integrated into that business model, with e-commerce partnerships and brands releasing new gaming gear lines. Coming from the traditional linear business, Peter Blacker, EVP, Revenue Strategy & Innovation at NBCUniversal Telemundo Enterprises, said that the company has had to “filter a pivot” for the acceleration in digital consumption during the pandemic. The network has found itself developing a digital, omnichannel approach that will fulfill the needs of all platforms and languages in order to facilitate faster content release. Monetization agreements have been adjusted to single-year increases instead of the usual 5-year delas with its clients. Finally, Jennifer Dodge, EVP at Spin Master, credited the growing demand for children’s content to education, animation, engagement, and music balance as the key to attracting the youngest audience. Korea content was also recognized for its international growth during NATPE Virtual Streaming Plus. Distributed across 34 communities, demographics that have stood out for Korean content indicate that the US and Canada are among the most viewed countries. By Karla Florez
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INTERVIEW
“WE ARE FOCUSED ON DEVELOPING ORIGINAL STORIES WITH A STRONG LOCAL FLAVOUR” MARIA BONARIA FOIS, CEO AT MONDO TV IBEROAMERICA, ENUMERATES THE DIFFERENT BUSINESS MODELS THAT THE COMPANY IS DEVELOPING IN ORDER TO EXPAND ITS INTERNATIONAL FOOTPRINT.
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ondo TV is working on different business models: new scripted developments, coproduction projects for the animation environment, and the expansion of the capabilities of its studios in Canarias. To describe that scenario, Señal News interviewed Maria Bonaria Fois, CEO at Mondo TV Iberoamerica. What is Mondo TV Iberoamerica’s strategy in terms of scripted and drama production? “We are looking for talented authors, with distinctive voices, with a unique take on stories and characters, whether they’re developing a new idea or reworking a classic one, whether it’s real or fictional. We are currently focused on developing original stories with a strong local flavour, in some cases inspired by true stories. They’re primarily intended for the Italian and Spanish markets but are a good fit for Latin America and beyond. We have been serving audiences in these regions for years as both a producer and distributor of high-quality kids’ entertainment. We are particularly proud to be working alongside Isla Audiovisual to develop an original dramedy set in Spain and Italy. It’s a great story based on real people and events and has strong international potential. We’re also working with Tile Storytellers on a project based on the classic American screwball comedy set in Naples and Madrid. We’re still working with Vip2000TV on the ‘2050’ Sci-Fi project, and we will have big news about that soon. We’re always scouting in Europe and Latin America for international co-production projects and partners”. How would you define the value of co-productions for the international business of Mondo TV? “Co-productions are one of the pillars of our business. A great example is our partnership with Toon2Tango, the new kids and family entertainment venture headed up by industry experts Ulli Stoef and Jo Daris. It is a strategic alliance, forged to strengthen Mondo TV’s presence internationally. Another crucial recent partnership for Mondo TV Iberoamerica has been with Myriam Ballesteros, from MB Producciones, to coproduce two special projects created by Myriam: ‘Annie & Carola’ and ‘Masked Cinderella’”. 48
What is the international potential of shows like “Annie & Carola” and “Masked Cinderella”? “Both projects have enormous international potential. The creative team’s expertise behind them, and especially of the creator Myriam Ballesteros, is an obvious plus. ‘Annie & Carola,’ a coproduction with RTVE, is a story aimed at girls aged 6 to 10. ‘Masked Cinderella’ is aimed at kids from 6 to 12, with a multi-layered story with a rich universe of characters”. Mondo’s studios in Canarias have had a vital role for the company in the last years. What is the expansion strategy for that business unit? “We launched the studio in 2016 with an initial focus on 2D and pre-production services, and its growth has been exponential. Today, the studios takes on pre-production services and complete visual development for multiple animated series, starting with some of our most significant animation projects. We recently announced a major expansion that will fundamentally change the strategy of Mondo TV Iberoamerica and the production dynamics of the entire group. The studio’s offer will soon include a 3D CGI production capability. It has also built an impressive roster of IPs through strategic co-productions such as ‘Bat Pat2’ (with RTVE and RAI) and ‘Nina & Olga,’ the animated adaptation of the globally popular preschool publishing property ‘Olga the Cloud’ (with Enanimation)”. What will be Mondo’s new launches in terms of animation for the last months of 2020? “At Mondo TV Iberoamerica, we will continue focusing on the distribution of the main Mondo TV titles, notably ‘MeteoHeroes,’ which launched on Cartoonito Italia and is enjoying fantastic audience figures. There’s also the third season of ‘Sissi the Young Empress’ and ‘Robot Trains 3’. The first two series of ‘Sissi the Young Empress’ have been a big success with the show’s target audience and established ratings hit in over 40 countries. Broadcasters have already picked up the third season in Portugal, the USA, China, Switzerland, and Italy. Moreover, the third season of ‘Robot Trains’ will launch soon”. By Diego Alfagemez
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DISTRIBUTION
FOR UNCERTAIN TIMES, ADAPTABILITY AND VARIETY Ariel Tobi
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emisphere will attend Mipcom Online+ with its most recent titles, including films such as “Adventures of a Boy Genius,” “Four Enchanted Sisters,” “Sheeps & Wolves: Pig Deal,” “Back of the Net” and “Next Level”. “We decided to be present in the virtual markets, and we are currently evaluating how they work for us. Although we still do not have enough information to establish it, we are aware that it is what is available, and that is why we have decided to be at Mipcom and MipCancun. It is still too early to know what will happen next year,” Ariel Tobi, SVP Production & Distribution at Hemisphere, stated. The executive acknowledges that everybody has to be open-minded and not run the risk of being left out of the market. Beyond COVID, some routines have arrived to stay forever. Even though the networking of physical events has been lost, Tobi maintains that nothing is the same without face-to-face. “One of the things that will not last is the disappearance of face-to-face events and conferences. That moment is where programmers and production managers, who tend to have very hectic working days, take the time to find out what’s new and plan what can be done in the future. Each event implies closing and opening something; that is the methodology of our industry,” Tobi said. However, Hemisphere’s executive trusts that the platforms for virtual meetings could provide a useful follow-up for the weeks in between 50
ARIEL TOBI, SVP PRODUCTION & DISTRIBUTION AT HEMISPHERE, ANALYZES THE IMPACT OF THE COVID-19 PANDEMIC ON THE PRODUCTION AND DISTRIBUTION BUSINESSES FOR THE SHORT AND LONG TERM. events. “Before the COVID19 pandemic, we used to travel a lot after each event, and that will surely change. It will be necessary to select precise targets and avoid unnecessary regionals trips,” Tobi emphasized. THE POWER OF THEATRICAL According to Tobi, the entire audiovisual product has moved decisively towards mainstream shows. In this sense, it makes a clear distinction between each content buyer. “The type of content that a platform needs in order to track audience is different from what a broadcast TV wants to cover its programming grid. We can see this trend in different segments and during times of low ad revenue, where channels need independent products. It is not possible to fill a TV channel’s programming grid only with studio’s movies. The streaming platforms do not need to fill any grid; they just need to track the audience and retain the one they already have. They are two different kinds of business. Therefore, we all have to adapt and go towards the world of theatrical,” Tobi prognosticated. However, through the COVID-19
crisis, the landscape has become more complex and will have a considerable impact on the audiovisual industry. “The problem is that the pandemic also hit the cinema business, and that impact will be felt in the whole distribution cycle of large films, which are those that go to movie theaters. All distributors who had their films ready to launch in theaters tried to reach the best possible deals with streaming platforms,” Tobi analyzed. What will happen to independent films in short to medium term? “Independent films will not going to have the opportunity to premiere in theaters. There are so many movies on hold that when theaters reopen, they won’t have time to schedule smaller titles due to previous deals with the majors. The windowing strategy will change,” Tobi asserted. When evaluating how the current context would affect the industry’s production and distribution plans, the executive has a vision that is as clear as it is realistic. “The stop in production generated this year will impact distribution during 2021. The titles presented in Toronto are exactly the same as those shown in Cannes. The same thing will happen at the American Film Market. Unquestionably, the production gap produced by the pandemic will generate a significant bump in the distribution business until it is reactivated. It will occur in 2021; we will only have new launches in 2022”. By Aldo Bianchi
Adventures of a Boy Genius
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INTERVIEW
“THIS CHALLENGING PERIOD HAS HELPED US TO INCREASE OUR FORMAT PRESENCE” BEATRIZ CAMPOS, RECENTLY NAMED SVP GLOBAL SALES & PRODUCTION FINANCING AT STUDIOCANAL, EXPLAINS HER GOALS IN THIS NEW ROLE, AND TALKS ABOUT THE CHALLENGES IT PRESENTS.
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couple of weeks ago, Studiocanal announced significant promotions within its business, further underlining its position as one of Europe’s leaders in television and film production, distribution and worldwide sales. As part of that restructure, Londonbased Beatriz Campos was promoted from Head of International Sales (TV) to SVP Global Sales & Production Financing. Campos is now implementing and deploying a global commercial strategy for the international financing and distribution of Studiocanal TV’s productions and third-party opportunities. In conversation with Señal News, she detailed her goals in this new role. What challenges does this new position present for you? “Rather than challenges, we see plenty of opportunities to bring exciting projects to the company. We have extraordinary support from the group, which allows us to increase the scale of the productions we want to be involved with. We are working on different angles. First of all, supporting the group channels and the production entities within Studiocanal TV to deliver more ambitious projects, which require equally ambitious budgets. My new role enables me to find all the ingredients to develop content at a higher level, bringing fruitful partnerships internationally. Another goal, of course, is to support and look after the talent we have the incredible privilege to work with. Moreover, we will also continue to scout third party opportunities with the aim to invest to bring them to the screen and diversify our offering”. UFOs
How is the company adapting its sales strategy in these times of pandemic? “These unexpected times have given us an opportunity to reflect on a more creative and fluid way of working. We understood the challenges our clients were facing and have invested a lot of time finding different ways to support them. Luckily, we have built a strong library catalogue over the years and, with more slots becoming available, we have been able to explore more windowing opportunities. In particular, the foreign language side of the catalogue has achieved higher exposure penetrating new markets, fulfilling the hunger for content the world is facing. This challenging period has also helped us to increase our format presence. We have strong IP and it was the perfect time to explore different adaptations”. What are clients looking for right now? “We continue to see a demand for high end European productions that are resonating around the world independently of the language barrier. We are finding more broadcasters launching these productions in their primetime slots, normally reserved for the major US series with equally successful ratings. In addition, the sudden boom of digital streamers has also contributed to offering a flexibility which has defined the taste of the audiences in favour of a more varied slate. We are also experiencing a high demand for short form series, breaking the boundaries of traditional TV. Furthermore, the current circumstances we are living in have created an appetite for light hearted content. There seems to be a need to escape from complex and negative realities and find comfort in alternative genres. We have responded to this appetite and we are bringing a handful of new uplifting dramas and comedies to the market in the coming months, such as ‘Finding Alice,’ ‘UFOs,’ ‘La Flamme,’ ‘About Last Night,’ and ‘All The Way Up,’ among other titles. Lastly, we would like to highlight the growing trend of local adaptation. At a time where everything seems to be more universal, let’s not forget that local productions are still attracting high performance”. By Federico Marzullo
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KIDS
“CRUNCHYROLL HAS BUILT OUT THE MOST EXPANSIVE LIBRARY OF ANIME”
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nime powerhouse Crunchyroll accomplished a new milestone in 2020: crossing three million paid subscribers globally and over 70 million registered users. “Crunchyroll has been around for more than ten years, and the growth trajectory we’ve seen over that period thanks to the support of the anime community has been pretty stunning,” Waell Oueslati, EMEA Acquisition and Licensing Director at Crunchyroll, told Señal News. The executive explained that both VOD and streaming businesses have grown. “Crunchyroll has built out the largest and most expansive library of anime anywhere, and we’ve seen exponential audience growth as a result,” he said. Oueslati also mentioned that there are many celebrities (Megan Thee Stallion, Billie Eillish, Michael B. Jordan, and John Boyega) who are also anime fans that are helping grow the fandom. “We crossed the 3-million milestone in less time than expected. Fans are connecting in many ways virtually, and we’re fortunate to be able to provide comfort and entertainment during these times,” he added. “Anime continues to grow in popularity all over the world,” stated Oueslati. “We see anime’s evolution from an exclusively Japanese category to a worldwide sensation as one of the most fascinating case studies in modern branding history and a testament to the power of anime’s ability to tell rich and captivating stories,” he added. 54
WAELL OUESLATI, EMEA ACQUISITION AND LICENSING DIRECTOR AT CRUNCHYROLL, EXPLAINS THE COMPANY’S LAST YEAR’S STRATEGIES TO EXPAND ANIME’S REACH AND THE NEW TITLES FOR 2021.
360 DEGREE APPROACH In order to expand the anime genre’s international reach, Crunchyroll has over 100 local marketing experts on the ground in key territories. Last December, the company closed the acquisition of Viz Media Group Europe and now has two operations in Europe (Paris and Berlin) with expertise in streaming and manga publishing, film distribution, and DVD. “We’re looking to extend our broader 360-approach internationally within this next year”, Oueslati confirmed. On the distribution side, Crunchyroll has recently worked with Cartoon Network Latin America and TNT Comedy in Germany to bring fans a linear offer for anime. The company has also participated in several international virtual conventions, panels, and events. “We’ve just wrapped the first-ever worldwide ‘Virtual Crunchyroll Expo’ with an incredible lineup of guests, premieres, panels, and performances in a three-day digital event,” the executive described. Crunchyroll’s top properties for 2021 will include “My Hero Academia,” “Captain Tsubasa,” in Europe, and the Crunchyroll Original series “Tower of God,” and “The God of High School”; alongside with “Jujutsu Kaisen,” “Bananya,” “Mobile Suit Gundam,” “Re: ZERO,” “The Junji Ito Collection,” “One Punch Man,” “Dr. STONE,” and “Black Clover”. By Romina Rodríguez
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DISTRIBUTION
“WILDLIFE PROGRAMMING IS NOW MORE RELEVANT THAN EVER” ANNE OLZMANN, MANAGING DIRECTOR AT ALBATROSS WORLD SALES, DESCRIBES THE COMPANY’S REVAMPED STRATEGIES IN ORDER TO ADAPT TO THE CURRENT CONTEXT AND CONTINUE WITH ITS DISTRIBUTION PIPELINE.
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he factual distributor Albatross World Sales will have a strong presence at Mipcom Online+ with brand-new wildlife, science, and travel offers. In the science genre, the company will showcase “On Thin Ice,” a filmed documentary about the thawing permafrost in the Russian Arctic; and “Banquet of the Beasts – The Cycle of Life,” an unusual documentary sets out to uncover the fascinating science behind the decomposition. In terms of nature programming, Albatross’ new highlights are “Nature’s Nurseries” and “Africa’s Wild Roommates – How Animals Share Bed and Board”. “We noticed an uptick in requests for cute animal content and stories with a less bleak ending,” Anne Olzmann, Managing Director at Albatross World Sales, told Señal News. Lastly, the distributor will also introduce “Grizzly Encounters,” a two episodes series that dives deep into the massive bears’ inner workings. “Wildlife programming is now more relevant than ever to tell stories with an emotional impact,” Olzmann said. Albatross’ executive says that travel content is well sought-after, 56
Herders
Anne Olzmann
so Albatross brings “The Danube,” which follows the river from its source to the Black Sea; and “Herders – Guardians of the Earth,” which visits pastoralist communities around the world. “While watching intriguing animal behavior does have a great appeal and is in very high demand, the world has been changing. Global issues like climate change, wildlife conservation, and deforestation have become more pressing matters, so we don’t have to close our eyes towards these issues, and we have been actively looking for documentaries that feature great footage of animal behavior, but with a scientific twist,” Olzmann stated. THE CHALLENGE OF SELL CONTENT Like every other corner of the audiovisual industry, the factual genre
has to deal with the massive impact of the COVID-19 pandemic on the production pipeline. “We navigated the challenges of the past months well. We have experienced a rise in demand, but the decision-making process takes a lot more time with people working from home. As many productions were stopped in their tracks, a large number of clients reached out to us in order to acquire additional programming,” Olzmann described. Regarding the near future, Albatross World Sales expects to see more of its local wildlife shows on the screen in the following year due to travel restrictions. “We can’t wait to prove that it can also be wonderful to explore nature in front of your doorstep for once. Moreover, 2020 marks our tenth anniversary. It’s been an exciting ride, and we’re really sad that we weren’t able to celebrate with our friends and colleagues, but hopefully, we can do some catching up in the new future,” Olzmann concluded. By Romina Rodríguez
Monkey Revolution
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The Great Seljuks: Guardians Of Justice
DISTRIBUTION
THE LATEST TURKISH HITS ARRIVE AT MISTCO’S OFFER AYSEGUL TUZUN, MANAGING DIRECTOR AT MISTCO, DESCRIBES THE INTERNATIONAL APPEAL OF “THE INNOCENTS” AND “THE GREAT SELJUKS: GUARDIANS OF JUSTICE,” BOTH MASSIVE RATINGS HIT IN TURKEY.
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he Turkish drama “The Innocents,” which is the latest TRT series produced by OGM Pictures, will be distributed by Mistco worldwide. Broadcasted on Tuesday nights, the series has fully taken over the rating charts in Turkey and has been reached a top position with 21,99 share in Total; 28,36 share in AB group; and 24,50 share in 20+ ABC1. So far, “The Innocents” is the best performance series of the season. “’The Innocents’ is produced by OGM Pictures, one of Turkey’s leading producer companies. It tells the extraordinary love story between Han (Birkan Sokullu) and İnci (Farah Zeynep Abdullah) under the pressure of Safiye (Ezgi Mola), Han’s elder sister, who suffers OCD as a result of a traumatic childhood. The series leads its slot in Turkey and also has a huge fanbase on social media,” Aysegul Tuzun, Managing Director de Mistco, stated. “We are excited to share our brand new outstanding series with our partners. As a result of its local performance, a strong story, and a talented cast, we are confident that the series will achieve international success,” the executive added. Regarding its presence at Mipcom Online+, Mistco will also offer the new seasons of globally well-known shows: “Melek: A Mother’s Struggle” and “The Last Emperor”. Despite the pandemic context, we had good results in terms of sales this year. ‘Melek: A Mother’s Struggle,’ ‘Hold 58
Aysegul Tuzun
My Hand My Champion,’ ‘The Circle,’ and ‘Resurrection: Ertugrul’ reached new territories throughout new deals we closed in the past months,” Tuzun said. “With our new titles and the support of our extensive library, we aim to keep the momentum in the fall season. Even though Mistco will attend all virtual markets, we are looking forward to see our partners anywhere in the world anytime soon,” she added. Regarding buyers’ primary global needs for Turkish drama, Tuzun highlighted that shows made in Turkey have unique storytelling and embrace stories that grab
audiences from the first episode. “Both ‘The Innocents’ and ‘Melek: A Mother’s Struggle’ tells real human stories. As long as the show touches the audiences’ heart, the success comes along with it no matter in what country the series will air,” Tuzun stated. NEW RATINGS HIT Mıstco’s brand new series “The Great Seljuks: Guardians Of Justice” jumped to the top of ratings on Monday nights in Turkey. Another highlight of the company’s Mipcom Online+ offer is airing on TRT 1 and produced by Akli Film. “The Great Seljuks: Guardians of Justice” was the highest-rated premiere of Turkey’s season and led the AB target. “The story is about Sultan Meliksah, who was the most courageous Sultan of the Seljuk Dynasty. It has a great cast, sets, and a strong story. It is a real visual feast. TRT has great know-how for historical drama production, and we are confident that the series will be a new global phenomenon,” Tuzun said. “When it comes to ‘The Great Seljuks: Guardians of Justice,’ the series offers all the elements we need for a successful historical drama: an intense story of a hero, high production quality, and a wellknown cast. Even though the market seems limited for this genre, we are confident that the series will also achieve international,” Tuzun concluded. By Diego Alfagemez
Queen
DISTRIBUTION
TRULY INTERNATIONAL DRAMA, WITH UNIVERSAL STORIES JIMMY GEORGE, VP, SALES & ACQUISITIONS AT GOQUEST MEDIA VENTURES, DESCRIBES THE COMPANY’S NEW SHOWS FOR MIPCOM ONLINE+, AND ITS REVAMPED STRATEGY FOR THE INTERNATIONAL ARENA.
Jimmy George
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he global content distributor GoQuest Media Ventures has a strong focus on international dramas and will launch three new titles at Mipcom Online+. One is the latest version of an award-winning global hit drama, “Mother’s Choice,” and two titles inspired by real stories: “Rats” and “Queen”. “What makes a drama truly international is its ability to touch audiences across borders. That happens when stories reflect basic human emotions that cover universal themes,” Jimmy George, VP, Sales & Acquisitions at GoQuest Media, told Señal News. “Rats” is a transfixing six-part series set in the evolving world of the Czech-Vietnamese meth syndicates led by an immigrant mafia, funded by cryptocurrency monitored by the
DEA. Furthermore, “Queen” is a gripping series that is inspired by the life of a controversial political figure, who entered politics after achieving stardom in Indian cinema during the early 1950s. Finally, “Mother’s Choice” is a format adaptation of “Mother,” the hit series produced by Japan’s leading broadcaster, Nippon TV. It tells the story of a desperate escape and the struggling love of a mother and daughter. It revolves around a schoolteacher, Elena, who decides to protect a seven-year-old student from her abusive mother and her deadbeat boyfriend. Besides, GoQuest Media offers “Three Days Before Love,” a powerful drama about a lonely rich businesswoman. She gives money to a young entrepreneur in exchange for three days of his undivided attention. “Our dramas explore family relations, loss, survival, and triumph, which make them truly international for worldwide audiences,” George stated.
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OBJECTIVES FOR THE PANDEMIC CONTEXT Despite the current challenging times for the industry, GoQuest Media has achieved many goals this year, and one of these
Mother’s Choice
is the catalog acquisition of “Rats”. “This year was also special as we closed our first format commission in Germany for the hidden camera series, ‘What The F***!,’ a feelgood show, with existing format adaptations already successful in The Netherlands on NP01 and TV2 in Norway. There is a huge amount of interest in this format with various deals in the pipeline from some very major territories,” George said. For the last part of 2020, the independent distributor will continue to increase its drama distribution business. “We are expanding further into Europe, North America, and Latin America while sticking to our roots as the leading independent distributor in India and of Indian content,” said George. “We are still growing, and we are actively seeking to expand our catalog by hand-picking global premium series through third-party acquisitions. We will also expand further into the creative side through development in conjunction with strategic partners and leading producers around the globe,” added. GoQuest Media Ventures will continue to attract global talent to bolster its presence in key markets as Mipcom Online+. By Romina Rodríguez
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PRODUCTION
THE KITCHEN SECRETS OF COOKING SHOW’S PRODUCTION
S
imilar to most other production companies, Gusto TV shut down its operations with the outbreak of the COVID-19 pandemic. The company sent all of its staff to home once the emergency was declared. All post-production, color correction, master control, translations to Spanish and Mandarin were executed at home. “We tried as hard as possible to make sure that everybody’s fine. At the end of the day, what we do here is fantastic and amazing, but it’s television, and there’s no reason for anybody to get sick doing this,” Chris Knight, President and CEO at Gusto TV, stated. The studio was among the first in Canada to reopen for production in July. Safety protocols were enforced inside its building. Filming time has increased to allow individuals to follow safety measures properly. The building has also been divided into sections, with some segregated. “The pandemic generated a new framework, with people doing things more than ever before while watching content and cooking. So, we seem to have hit the Zeitgeist and the sweet spot,” Knight said. Yet viewership, VOD deals, and
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CHRIS KNIGHT, PRESIDENT AND CEO AT GUSTO TV, DEFINES THE CHALLENGES OF PRODUCING MASSIVE COOKING SHOWS DURING THE COVID-19 PANDEMIC RESTRICTIONS, WHICH LED TO THE LAUNCH OF “COOK LIKE A CHEF” AND “COMBINATION PLATES”.
linear activities have significantly increased during the COVID-19 pandemic; advertising has experienced lower revenues. The release of productions has slowed, with titles in the pipeline on hold for release until January. Shows that required more than the number of people allowed on set, such as “Cook Like A Chef,” were also delayed. The shift from physical to digital for interactive events like Mipcom had complicated the global sales strategy. “I hope to continue our expansion once all the dangers and restrictions from COVID-19 decreases. We all agree that this is the new way of doing business because I don’t see ourselves going back to a market anytime soon,” Knight stated. “CombiNATION Plates” production began in June at Gusto’s state of the art secure production facility in Ottawa. Bell Media commissioned the series for their CTV Life Channel. It is set to air on all Gusto TV global channels as well. Knight explained that the series was shot in front of a 12 foot by 35-foot concave rear projection screen, showcasing high-quality food chandeliers and Edison light bulbs to exude a 5-star restaurant experience. “It’s a very
visually stunning show that is shot in a very different way. Our biggest priority for is to create entertaining content. ‘CombiNATION Plates’ is about exploring and celebrating different cultures through their cuisine,” Knight described. Knight highlighted that the company established different production plans from any other traditional cooking shows. It included camera effects, music, and studio’s space’s design. “If you look at ‘Cook Like a Chef’ and ‘CombiNATION Plates,’ these are high concept sets that are not kitchens, and are designed to be visually stunning, with a unique use of music and the camera,” Knight said. With five seasons with 165 episodes, “Cook Like A Chef” was aired last month. Its global popularity also resulted in an award win cookbook. “In ‘Cook Like A Chef,’ each episode focuses on a single ingredient with an expert chef explaining how to cook with it. It’s about personal relationships and emotional connections. That’s what we’re trying to do with our programming: you need to make an emotional connection with the viewer,” Knight defined. By Karla Florez
LUNES DE MODA - ESTRENOS
AMERICAN STYLE DESDE EL 5 DE OCTUBRE
TOP DE ESTILO NUEVA TEMPORADA
A PARTIR DE LAS 20:30 Mx / 22:30 Ar
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INTERVIEW
“MY FIRST GOAL IS TO BE SURE TO LISTEN PROPERLY TO EACH CLIENT”
L
JONATHAN SOUTH, SENIOR SALES EXECUTIVE AT HAT TRICK INTERNATIONAL, TALKS ABOUT THE MAIN CHALLENGES OF HIS NEW ROLE AT THE COMPANY, AND THE IMPORTANCE OF THE DISTRIBUTION BUSINESS IN THE AMERICAS.
ast year, Jonathan South joined Hat Trick International to handle all sales in the Americas, Spain, and Portugal. The company has recently restructured its team and placed all the Americas’ business under the same Senior Sales Executive. “With so much interest in our programming from streamers and multi-territory brands, it makes sense for us strategically to have the same person handling all of the Americas,” South told Señal News. “My objective is always to try and visit each country and have time to listen properly about how people are programming, how the content business is developing, and how they see the competitors and the market,” he added. In the short term, Hat Trick International is participating in Mipcom Online+ and will join in ATF as well. “I will join in Latin America market events, even if they are virtual ones. I want to make as many connections with buyers as possible,” South stated. “Our short-term distribution goal is to place Jed Mercurio’s big scripted drama ‘Bloodlands’ in Latin America, Spain, and Portugal. We also want to make sure our factual output is as well known in the Spanish speaking world as it is everywhere else,” he added. South has closed several deals for different Hat Trick International’s programs. “I was immediately able to identify certain parts of our catalog that would fit quite quickly in some of my territories,” South stated. Before Mipcom Online+, the Senior Sales Executive sold “George Clarke’s Amazing Spaces” to Discovery/HGTV in North America and TVE Spain. “We have a significant volume with this title, and I know the show will repeat the success it has on Channel 4 in the UK,” South considered. Another title that Hat Trick will present at Mipcom Online+ is the new drama series “Bloodlands”, from Hat Trick’s new prodco joint venture with Jed Mercurio - HTM. The series stars James Nesbitt. “I pre-sold the title in the US and Canada during the lockdown, and at Mipcom, I will
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Kate and Koji
Bloodlands
be focussing on Spain and Latin America. Everyone is hungry for good quality scripted content,” South said. The scripted offer is enriched by a successful sitcom from ITV called “Kate & Koji” about to start its second season production. “We are working on a deal in the US now,” South said. Hat Trick will also offer “Derry Girls,” which is a massive hit on Netflix. “As early seasons come out of exclusivity with Netflix, we are ready to sell the series to linear players everywhere,” he added. SUCCESSFUL FORMATS On the factual content side, Hat Trick International distributes in–house and third-party producer content. A great example is the “Rich House Poor House” series and its sister show “Rich Holiday Poor Holiday”.”’Rich House Poor House” is a very successful format for us. Local versions are currently on air in Germany, Netherlands, Finland, and Belgium, amongst others,” South described. Hat Trick International has a very successful dating show airing on ITV called “Dinner Date,” which has also been produced in Germany, Australia, and South Africa. “I think it would fit perfectly in Latin America. It’s a funny, heartfelt format that is great for a 16-35 audience. I would love to start talking with producers and networks in Latin America that want to look to formats because we have some great ones to offer,” he concluded. By Romina Rodríguez
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DISTRIBUTION
UNIVERSAL STORIES AND CONTENT DIVERSITY
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ussian distribution company NTV Broadcasting is bringing a new slate of entertainment formats and drama series to Mipcom Online+. “We offer distributors and buyers a diversity of genres, from crime and mystery series to historical dramas and comedies,” Timur Weinstein, General Producer at NTV Broadcasting, told Señal News. The original format “Secret for a Million” has been a smash hit throughout eight seasons in a row, and a permanent leader of the local weekend day primetime slot in Russia. “It has been named the leader of weekend’s entertainment, and it remains as the most popular program on Russian TV,” Weinstein said. NTV Broadcasting will also offer new seasons of its best-established franchises. “It gives us a great story for international TV market and the acquisition executives,” Weinstein affirmed. Among the show’s new seasons, Weinstein highlighted the crimedy “Shepherd,” a mixed-genre project for all audiences that was last year’s most popular series in Russia. “In Pursuit” is another project that the distributor launched in 2019. “It’s viewing share jumped to 15.6%, and the online audience climbed to 70 million in just a few weeks,” Weinstein described. 66
TIMUR WEINSTEIN, GENERAL PRODUCER AT NTV BROADCASTING, TALKS ABOUT THE RUSSIAN DISTRIBUTOR’S NEW OFFER FOR MIPCOM ONLINE+ AND THE GLOBAL APPEAL THOSE SHOWS.
Moreover, the second season of the supernatural thriller “Beyond Death” is also in production. “The first season became the most viewed primetime event among all series on Russian TV during that time,” Weinstein added. Finally, NTV’s General Producer highlighted “The Missing,” a profoundly touching psychological drama about “Search and Rescue” missions conducted by police and volunteers. “All the projects mentioned above, as well as hundreds of our other series, are universal and easily adaptable,” he added.
Timur Weinstein
INTERNATIONAL APPEAL In 2020, the Azerbaijani channel ARB TV acquired the rights for “Secret for a Million” format, and in 2021 the show will be aired in three more countries. Free digital TV channel Telewizja WP broadcasted “Shepherd” in Poland, and Dori Media Group purchased the project’s rights. They licensed ‘Shepherd’
to Wirtualna Polska Media Group. Furthermore, “Noble Detective” attracted several Asian market players. NTV reached several more global deals. “Schubert” is available on Bilibili in China, “Road to Calvary” is on Netflix, “Countdown” was aired on Arait Multimedia in Vietnam, and the historical drama “Aria of the Doomed,” dubbed into Arabic, is now available on TenTime. In Latin America, NTV content is being adapted by Encripta. “We are constantly in touch, and at the same time, we’re negotiating actively with other players in this big market,” Weinstein said. The Russian company is also interested in buying new formats. Last March, NTV launched the first season of the Russian version of “The King of Mask Singer” (South Korea). “We were the first to adapt the show in Russia, and it was a huge success,” Weinstein said. NTV has also adapted popular drama series like “Shameless,” “Bron/Broen,” and “Good Wife”. “Our mission is to offer international audiences our best binge-able and original shows and bring the best projects from all over the world to Russian audiences,” the executive stated. By Romina Rodríguez
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INSIGHT STATS TO UNDERSTAND CURRENT AND FUTURE TRENDS
RESEARCH
STREAMING AND VIDEO INDUSTRY IN EUROPE STREAMING TIME BY EUROPEAN REGION H1 2019 vs H1 2020
Q2 2019 vs Q2 2020
174%
63%
Global
160% 140%
122%
100%
81% 49%
60% 40%
56%
53%
9%
Eastern
80%
61%
134%
All Europe
120%
239%
Northern
58%
Southern
20% 0%
JAN
MAR
FEB
APR
MAY
JUN
70%
Western
137%
Source: Conviva
VOD AND LIVE TV SHARE IN EUROPE 348% 2020 All Europe
18%
2019
Eastern Europe Northern Europe
33%
Southern Europe
196%
184%
Western Europe
VOD 106%
LIVE vs
67%
64%
82% 11%
8%
19%
30%
13%
5%
-2% -4% MINUTES / PLAY
TOTAL MINUTES Source: Conviva
22%
Computer Smartphone
37% 4%
10% 14%
MINUTES / PLAY
-9% TOTAL MINUTES
EUROPE CONTENT CONSUMPTION
Connected TV Tablet
Source: Brightcove
61%
60%
49%
45%
46%
46%
39% 32%
34%
31%
9%
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19%
8%
0
0
0-1 MIN.
2-5 MIN.
6%
6%
9%
10%
0 6-20 MIN.
21-40 MIN.
41+ MIN.
10%
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