MIPTV 2017 3

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over story

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APRIL 2018

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YEAR XXVI /SPECIAL EDITION MIPTV KIDS

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www.newslinereport.com

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XILAM ANIMATION

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Ventures into
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preschool content
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How has Xilam Animation evolved as business

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over the last few months?

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We’ve evolved our business by increasing our volume of production

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and by having launched seasons 5, 6 and 7 of Oggy & the Cockro-

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aches, and most recently, we are launching a brand new third

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season of Zig and Sharko. We’re also launching some brand new
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Xilam properties including Mr Magoo and Coach Me If You Can.

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What is Xilam Animation’s focus for MIPTV? What

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shows will you be bringing to the market?

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At MIPTV this year we will be closing the first round of sales for
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Mr Magoo. In addition to this, we’re also launching the brand

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new third season of hit animation Zig & Sharko at MIPTV.

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How has Xilam’s portfolio of shows evolved

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over the last year?

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We recently launched our very first preschool series, Paprika.

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As Paprika is Xilam’s first preschool IP, it signals a significant

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growth in the company.

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With a portfolio of 2000 animated episodes,

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how does Xilam Animation distinguish its offer

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from competitors?
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Xilam distinguishes itself as a reputable and recognised

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company in children’s television. We’re seen as experts in the

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2D animation space, which is a hyper demanding genre in

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terms of production.
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Why do you think your shows are so successful

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around the world?

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There is nothing more international than non-dialogued carto-

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ons, all the more so when they are delivered with high-produc-
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tion standards. We combine the true producer vision with

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incredibly talented artists, and that never gets old!

Morgann Favennec, EVP of Develop-
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ment & Global Sales, explains that In your opinion, what are the biggest trends in kids
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television for the year ahead?

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“there is nothing more international

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The change of users’ viewing habits will probably have the most
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than non-dialogued cartoons”. direct impact on the younger kids demographic. We feel serial
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6 MIPTV 2017
 @ newslinereport

programs for kids could be the next

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big trend, but the appetite for strong
Xilam extends ‘Oggy’ into mobile

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iconic characters and out-of-the-

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games with Nazara Partnership

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ordinary pre-school shows should

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remain unchanged.

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Xilam Animation is further bo-
What are the main territories

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osting the Oggy & the Cockroaches

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that you are focusing on targe-
brand into gaming with the appo-

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ting this year as a business?

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intment of Nazara Technologies,

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We are focusing on developing our a global mobile game company,

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business in China and making this a in a deal brokered via Xilam and

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key priority. We are also optimizing the presence of our library licensing agent, Dream Theatre.

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in Latin America as one of our key targets. Nazara will launch a raft of new

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captivating mobile games for youn-

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What are your business goals for the first half of the year? ger audiences that underscore the

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hilarious, entertaining brand va-

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Our business goal is to keep the sales revenues growing as fast

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(if not more!) as the growing production volume. lues of Oggy & the Cockroaches.

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The first game is expected to be available in the first quarter of

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We would also like to make our mark in the licensing and mer-
2018 in Asia Pacific, Latin America and Middle East. With an
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chandising market with Oggy & the Cockroaches and Zig & Sharko,
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ever growing digital landscape, Oggy & the Cockroaches is
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and install Paprika as a strong new option for preschool LM. ○

reaching new heights and raking up exceptional results on

digital platforms throughout the world. The series has a cult
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2017: A record year with € 24.4 million revenue,

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following on Facebook with more than 3.5M fans and 1.2M

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an increase of 54% subscribers on YouTube.

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Xilam announced its consolidated 2017 revenue of • 24.4 Marc du Pontavice, Founder and President of Xilam said:
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million, meaning an increase of 54%. This performance is all the “Xilam is eager to expand the presence of its properties in the
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digital domain. Nazara is one of the leaders in the mobile

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more impressive on the back of 40% growth in 2016.

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On the new productions was a substantial progress in volume gaming arena and we’re thrilled to be working together to
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take Oggy and his friends to new heights in gaming. We’re

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terms, very strong value growth. In 2017, Xilam delivered 63

excited to give kids yet another avenue to become immersed
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half-hour programs to broadcasters, compared to 51 in 2016.

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in his cheeky world as we celebrate 20 years of Oggy & the

This volume growth of 24% demonstrates the Group’s ability to
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Cockroaches.”
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satisfy strong market demand. With revenue of • 15.3 million, On the other hand, Manish Agarwal, CEO, Nazara Techno-
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this growth represents a 42% increase in value terms. This solid

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logies said: “With Oggy & the Cockroaches, Nazara will con-
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growth is a testament to the quality of the new programs offered tinue to deliver high quality games for the global market. We
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by Xilam and the company’s ability to build the value of its new
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have built a strong portfolio of successful games which have

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content. Digital platforms and television channels are now both
behind the sharp rise in sales of new productions.
Regarding its catalogue the performance improved on all
platforms. Catalogue revenue exceeded • 9 million in 2017, which
is an increase of 77% compared to last year. As such, Xilam
Xilam’s
Catalogue division has passed another major milestone which
attests to the long-term strength of its brands. This record
performance is the result of more intense competition between
traditional (paid and free) TV channels and digital platforms, in
which Xilam has a very strong foothold. Digital platforms now
account for 40% of Catalogue revenue and 23% of total revenue.
Xilam’s revenue growth is also due to the extremely sharp
increase in international sales, which now account for 56% of
total revenue. Standing at • 13.8 million, international sales
increased 80% compared to last year.
targeted young audiences in India over the last two years and
now with the Oggy & the Cockroaches IP, we can reach audien-
ces across emerging markets beyond India, by leveraging the
global appeal of the show.”
Cartoon Network Asia has scooped up seasons five, six
and seven of the series for its channels this year, with previo-
us seasons of Oggy currently running on Nickelodeon,
Youku in China and Netflix Asia Pacific (outside China and
India). In India, Oggy & the Cockroaches currently airs on
both Cartoon Network and Nickelodeon, as well as on Ama-
zon Prime. The series is also available on Cartoon Net-
work Latin America and on Cartoon Network Middle
East and Africa (MENA), and Gulli Bil Arabi. The series is
distributed in more than 160 countries around the world
and is watched in 600 million homes.

MIPTV 2017 7
 INCOMPANY

STAFF
Kerensa Samanidis assumed the posi-
tion of General Manager of Filmstruck
International. Turner International and
Warner Bros. Digital Networks chose Year XXV
the executive for the leadership of its MIPTV 2018 Edition
new streaming service of premium mov-
A+E Networks has elevated Chris- ies launched in the UK. In her new role,
topher Barry to SVP, Head of Fi- the responsibilities include: the overview of the program- Editors • Directors
nance, Ad Sales, Distribution, Inter- ming, product, brand, marketing, acquisition and mainte- Rafael Val
national and Digital. In his new role, nance of subscribers and communitarian management. María Pía Pazzaglini
Barry will work with Ad Sales, Dis- ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

tribution, International and Digital James Pitaro became the new Presi- Editorial Departament
divisions’ management to provide dent of ESPN. After the resignation of María Alejandra Sturiza
José Luis Fajín
financial oversight, business planning and strategic John Skipper in December, The Walt
Aldo Bianchi
support for growth initiatives and investments. Bar- Disney Company chose Pitaro for the
Pablo Garcia
ry’s new role includes overall revenue planning and role, as he was already in the compa- Damián Martínez
will combine his operational and financial experience ny since 2010, after nine years in Ya- Rocío Scapolan
in order to support and drive growth within A+E Net- hoo, as VP Media, and Director of the
works’ business divisions. Sports Division of the company. The executive begun as Commercial Departament
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co-President of Disney Interactive. Rafael Aboy

RCN appointed Eugenia Vélez Bar- ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○
Javier Fiorellino
reneche as Programming Manager. Patricio Wills joins Televisa on its
The executive will handle the TV con- Production Content area and Head of Design
tent for future productions. “In this Studio de Televisa Studios. His re- ADNOW
www.adnow.com.ar
moment, we are testing some projects sponsibility will be the continuation
really attractive for our slate in or- and strength of the process of con-
Printing House
der to attract our audience with big tent renovation. Patricio Wills reports Gráfica Pinter
teams and with a thought about the needs of our pro- to Isaac Lee, Chief Content Officer, info@graficapinter.com.ar
gramming, when and how, with a wide variety of high Televisa & Univision, and into its responsibilities are the
quality new content for different targets related to their talent overview, development and production of every
needs, so as to fulfill our audiences’ expectations”, ex- content produced by Televisa both for FreeTV and PayTV. Editorial Office
plained Vélez Barreneche. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Moreno 769 5th floor

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Angélica Guerra left Sony Pictures

C.P. C1091AAO
Juan Carlos Rodríguez took respon- Television and joined Apple. The ex-
sibilities at Televisa Deportes, where ecutive had been recently promoted Buenos Aires
he’ll be in charge of the coordination as Managing Senior in the Interna- Argentina
of production and Distribution of all tional Production team of the studio, Phone/Fax: +54(11) 4115 7610
Sports Content made by the compa- but now she will lead the program- info@newslinereport.com
ny on all of its platforms and will ming in Latin America for the tech www.newslinereport.com
directly report to the co-CEOs of the giant. Previously, Guerra was SVP and Managing Direc-
Group, Alfonso de Angoitia and Bernardo Gómez. At the tor of Production for Latin America and USH. In that role,
same time, Rodríguez will still be President of Univi- she transformed SPT in one of the most proliferative Newsline Report
sion Deportes, as it will help to the synchronization of indie production companies of the region, expanding its is a monthly
strategies and coverage of relevant sport themes, as presence to Colombia, Mexico and Brazil. publication of
the World Cup Russia 2018. ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○

Avant Garde
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Turner Latin America announced the Ediciones S.A.

EOne gave Peter Micelli the role of
Chief Strategy Officer, Film, Televi-
sion and Digital, from where will su-
pervise the whole business of the
company. Reporting to Mark Gordon
and Steve Bertram, Micelli has to
generate innovative alliances for
eOne, besides developing a new TV strategy for the com-
pany, including the analyses of possible opportunities
of merging and acquisitions.
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inclusion of Sergio Nakasone on its
Newsline Report
Content Production area, in the role
is a trademark.
of Director Entertainment Content De-
velopment. Reporting to Tomás Intellectual
Yankelevich, and based in Chile, Na- property registration
kasone will develop new content for Nº 214.136.
the brands of the company, and will work closely on the
coordination of the team headed by Javier Goldschmied, Printed in Argentina.
Director of Programming and Production of Chilevision,
the FreeTV channel of Turner Latin America in Chile.
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8 MIPTV 2018
 @ newslinereport

Randy Falco
leaves Univision by the end of the year
The Executive Presi-
dent will leave his po-
sition after almost
eight years. The unex-
pected announcement
was made only for
months after the exten-
sion of the contract that
kept Randy Falco in
the Presidency until
January 2020. The day
before the announcement, Francisco J. López-Balboa ex-
plained that he left Univision in order to look for new oppor-
tunities, and Peter H. Lore was proclaimed new CFO.
DIXIT
“Everyone is looking at whether these combinations of AT&T
Under its presidency, Falco created Univision Deportes
and Time Warner or Fox and Disney pass government approval
Network and launched new broadcast services so as to di-
and muster, the fact is nobody for some reason is looking at the
versify the incomes of Univision. Over the last term of 2017
monopolies that are Google and Facebook. There’s no question
the incomes of the company fall an 8%, meaning USD 780
that in a Google and Facebook’s world, monetization of content
billion; compared with the same term a year ago, when it
is important, but while Netflix and Amazon have changed con-
reached USD 846 billion.
sumption habits in many genres of content, live news and live
Saban Capital, owner of Univision, stated: “during it time
sports are immune to them. Monetizing digital and mobile con-
as CEO, Falco has modernized the organization of Univision
tent has been more difficult than we expected, and that the
increasing the incomes and reducing the debt to record lev-
Facebook-Google duopoly receive a majority of every new dig-
els. We couldn’t be more proud of his performance”, and
ital dollar. However, CNN has never been more relevant, and
pointed that the leaving executive will help with the restruc-
OTTs has not had a dramatic effect on us. Our core business has
turation of the company.
never been stronger”.

Jeff Zucker, President of CNN Worldwide.

Netflix invested more than USD 6 billion in 2017
The latest report of the digi-
tal giant was published and
the highlighted number is
that during the last year, Net-
flix invested USD 6.3 billion
in original programming and
acquisitions, only comparable
with the number of a tradi-
tional TV giant.
With that number, Netflix
became the streaming service with the highest investment in
non-sports content. Saying this, its business strategy is only
comparable with companies like Time Warner (USD 8 billion),
FOX (USD 8 billion) and Disney (USD 7.8 billion). In the list is
also included NBCUniversal, with its more than 10 networks,
that invested USD 10.2 billion in that kind of content.
The investment on content made by Netflix is highly superior
from VIACOM’s, Amazon’s or CBS’, and also higher from the
new players of the industry, Apple and Facebook who des-
tined nearly USD 1 billion in this content.
On the other side, some estimations concluded that Netflix
will increase the budget this year, reaching the USD 8 billion
just only for new original content.
Discovery concludes the acquisition of Scripps Networks Interactive
Under a statement, the Company confirmed the
operation and also highlighted the creation of Dis-
covery Inc; as a result of the combination that
“creates the new global leader of the real life-style
entertainment business, through all the screens
available”. David Zaslav, President & CEO of Dis-
covery explained: “our new name is a milestone on
our history as we become a differentiated media
company, with a portfolio with the most trustwor-
thy family brands of the world. As a new leader of
entertainment, Discovery will reach a loyal and passionate audi-
ence with inspiring content that informs and entertains in every
platform. We will have available for our clients and distributors
all the new ways to reach targeting audiences in scale, and will
take advantage of the leadership position so as to create a new
value and growth opportunities for its stockholders”.
The change of name to Discovery, Inc. shows the new focus on the
growth of those areas where Discovery shines, telling stories through
genres deeply beloved and empowering its fans in order to explore
the world around them whenever and wherever they want.

MIPTV 2018 9
 KIDS
STUDIO 100 MEDIA / M4E
Brings the latest kids’ creation
of Luc Besson
How has evolved the businesses of Studio 100
Media / m4e since last Mipcom?
Studio 100 Media and m4e have moved into new offices
becoming really one big family now. Although still operat-
ing as single companies, having all staff under one com-
mon roof has the most positive effects on using all syner-
gies concerning our national and international activities.
During the last months we have set the path for an excit-
ing future with new company subsidiaries like Josh Selig’s
Little Airplane Production or with new content that we
are developing, such as a “Vic the Viking” live action TV
series. Combining the strengths of two successful compa-
nies such as Studio 100 and m4e with all their properties
– the library features more than 17,000 episodes of kids
and family entertainment programs - and adding a strong
production slate with promising properties for the future,
we are about to establish one of the leading company
groups for kids & family entertainment worldwide.
Which is the focus of Studio 100 Media | m4e for
this MIPTV?
We are in Cannes with a brand new season of the pre-
school program “Tip the Mouse”, now offering 78 funny
and adventure-driven episodes for kids and families. With
“Arthur and the Minimoys” we stay in a tiny environment
and re-visit a fantastic world of the Minimoys – almost
invisible to the human eye. This fast-paced action-series
is based on the hugely successful movie saga about
“Arthur” that was created and directed by Luc Besson.
These are only two highlights from our extensive program
portfolio that will meet the needs of every broadcaster,
channel or digital platform.
More titles that we feature at MipTV are “Maya the Bee”
with the second season now broadcasted internationally,
“Mia and me” for which season 4 and a feature film are in
pre-production, or “Wissper” where a second season is in
pre-production as well.
What was the impact of ‘Tip the Mouse’ in the
world? What are your expectations regarding
the new season?
10 MIPTV 2018
First, ‘Tip the Mouse’ was a very strong publishing proper-
ty with more than 11 million copies of the children’s books
sold, translated into 32 languages. The TV series has then
been sold to over 100 countries where it was successfully
broadcasted and in many territories a strong licensing
program has been established as well. With the second
season we will for sure continue this success story.
How can you describe the offer of ‘Arthur
and the Minimoys’? And how does it differ
from the competition? Jo Daris, CCO,
‘Arthur and the Minimoys’ already builds on a long suc-
cessful (brand) history. It all started with children’s books describes that
in France and was then turned into three feature films
that were all produced and directed by Luc Besson (the
after the union, the
visionary French director of movie hits like “Léon” “The portfolio is com-
Fifth Element” or “Valerian”). Now as producer of the
series, Besson is bringing in his and other creative talent pound by more
to the show. Of course there is everything that a boy brand than 17,000 epi-
determines: a hero they can identify with, unique accesso-
ries and weapons and super warriors. The values that the sodes of kids and
series transports are friendship, bravery, optimism, inge-
nuity, curiosity and nature protection. The brand heri-
family entertain-
tage, its unique ingredients and its fantastic style distin- ment programs.
guishes the series from others in the market.
How has the industry changed with the appea-
rance of online platforms and multi-viewing,
towards the monetization of content, and
children consumption?
It definitely has. We are constantly exploring the direct
offering of new exploitation opportunities, from YouTube
channels to SVOD/TVOD apps and at the same time we
are having a selective approach towards external new
delivery platforms. There are a lot of issues on the con-
tractual side since several rights are blocked by older
linear broadcaster contracts and solving those takes up a
lot of time and energy.
Do you think that there’s a need of re-thinking
new content so as to renew the industry and
its markets?
I definitely think that we should rethink the way we pro-
duce content. We are evolving more and more to delivering
more than just the animated series. From the start we
include game development, YouTube assets, interactive
content, etc. We also try to change the contractual rela-
tionship with the linear broadcasters from the start, which
is very challenging. But we do feel that linear channels
are today still the key driver for further exploitation.
KIDS @ newslinereport

MIPTV 2018 11
 KIDS
CYBER GROUP STUDIOS
Shows its diverse library with
1000 half hours
How have evolved the businesses of Cyber Group
over the last months?
We have been active structuring a very diverse slate of
new series. We are developing in-house 7 productions in-
cluding : “The Pirates Next Door” with France
Televisions, ”TAFFY” with Turner (Program to be the first
boomerang original), “Gigantosaurus” with Disney World-
wide, France Televisions (France) and Super RTL (Ger-
many), “Tom Sawyer” with SRC (Canada), ARD/HR (Ger-
many) and RAI (Italy), “Mini-Ninjas” in coproduction with
TF1 productions (France) and “Sadie Sparks” that we are
doing with Disney EMEA. Our aim is to provide high qual-
ity programming for the different segments of the mar-
kets. We started with 3D and Preschool “ZOU” we went to
Kids with “Zorro The Chronicles”, we are now heading with
“TAFFY” to our first cartoon which is a very exciting adven-
ture! We really want to bring to kids the best programs.
Why do you think that your offer is well-known
around the world?
The company’s aim is to bring the public a number of
programs in different genre always of the best quality. To
bring the highest quality entertainment, the company
collaborates with the best creative talents around the
world, and develops breakthrough technology to enhance
its productions. Cyber Group Studios is also proud to
continue the development of partnerships with top pro-
ducers by bringing them high value access to key players
on the international market.
Today our rich and diverse library includes 1000 half hours of
programming targeted at kids and family and Cyber Group
Studios continues to establish a strong presence worldwide
by signing new agreements with buyers worldwide.
After opening new offices in Los Angeles, Cyber Group
Studios decides to extend its international exposure on
digital platforms thanks to key partnerships and new dig-
12 MIPTV 2018
ital specialist. Lately Cyber Group Studios opened its new
interactive division that will aim at developing games
and interactive experiences on digital platforms, on tradi-
tional console platforms and PC. We work hard and invest
a lot to bring the best programs and we make all our
efforts to get in touch with the audience on the different
media it enjoys our programs whether traditional pay or
free TV, new SVOD platform or AVOD services.
How has the industry received your
latest shows?
“Mirette Investigates” has been sold in most of the Euro-
pean territories including in Germany to WDR, in Spain to Raphaelle
RTVE, In Belgium to RTBF and VRT and in Asia including
in Japan that is a very difficult market (Disney Japan). Mathieu, SVP,
“The Pirates Next Door” still in production, has been sold
in Scandinavia to SVT, NRK and DR, In Spain to RTVE,
Sales, Acquisitions
and deals are being closed as we speak in Italy, in Ger- & New Media,
many, in Latin America and in Asia. On the other hand,
“Gigantosaurus” has been sold for television to Disney admits being
worldwide. France Televisions (France) and Super RTL proud to continue
(Germany) have jumped into our next big preschool se-
ries at a very early stage and we are as well very excited the development of
to have closed a deal Master Toy deal with Jakks Pacific
INC. So yes we are very happy to bring different type of
partnerships with
programs to the market and to see that we got such a top producers.
great response from our clients.
In your opinion, which are the Kids’ Industry
Trends for this year?
In terms of programs, comedy is really the key elements to
all targets and almost all genres of animated series. Hy-
brid programs are as well a new trend and we are develop-
ing two projects in this category. On the consumer side we
are living huge changes and digital has become key in
how kids watch their favorite shows. This is even more
than a trend, it’s a new frontier for us.
Which are your goals for the first half of the year?
We are looking forward to developing our digital strategy
both with our existing catalogue and with original con-
tent. I just hired Loic de Boudemange to run our Digital
operations. He has a strong record in digital expertise as
he served as Social and Digital Manager for 5 years in the
TF1 group and 2 years within TV5MONDE. His goal at
cybergroup is to maximize our performance on digital plat-
forms and to optimize the visibility of our all programs
with a focus on the existing strong brands we have such
as ZOU and ZORRO. More globally he will implement our
digital strategy and direct to consumer positioning.
KIDS @ newslinereport

MIPTV 2018 13
 KIDS
ENTERTAINMENT ONE FAMILY AND BRANDS
“‘PJ Masks’ is now broadcasted
in 85 territories worldwide”
In your opinion, which are
the Kids’ Industry Trends for
this year?
Broadcasters are becoming more and
more selective in choosing shows as they
have to consider the limitation in the
number of slots available. They look for
shows that can engage kids but that
can also be watched together with their
parents. We’re seeing quite a big de-
mand for live action shows too.
How has the business of eOne
Family & Brands evolved over the
last months?
Our animated preschool superhero series, PJ Masks, has
gone from strength to strength. The show is now broad-
cast in over 85 territories worldwide and in addition to the
Disney Junior global network it also airs on multiple FTA
and VOD platforms in France, China, Australia, the UK,
Italy, Nordics, Mexico, Brazil, Taiwan, Indonesia and Ma-
laysia. Consumer products launched globally to great suc-
cess last year which has strengthened the fan base and
series 2 is now rolling out around the world, with series 3
currently in production.
Peppa Pig continues to be a big favorite with families
worldwide and we have new episodes currently in pro-
duction and rolling out on-air. We’re also starting to
build momentum for our new animated kids’ comedy
series Cupcake & Dino: General Services which launched
at MIP Junior last year. The series is slated to air from
summer 2018 on Teletoon in Canada and Disney Chan-
nels Latin America, and will debut as a Netflix Original
on the SVOD global platform.
To facilitate the growth of these properties in key markets
we have a network of local offices in New York, Melbourne,
Hong Kong and São Paolo. The team based our London
headquarters has also grown considerably to manage the
incredible success of PJ Masks and ready new properties
launching later this year.
14 MIPTV 2018
Monica Candiani, EVP, Content Sales, sug-
gests that the limitation in the slots available
makes broadcasters choose content carefully.
Which is the focus of eOne
Family & Brands for this MIPTV?
The key highlights from our portfolio at
MIPTV this year will be our new show
Cupcake & Dino: General Services, PJ
Masks, which has become a hot TV prop-
erty around the world, and the univer-
sally loved preschool series Peppa Pig.
Which are going to be the strategy for the new
episodes of ‘Peppa Pig’ in the world?
We will be globally rolling out new episodes of Peppa Pig
from 2019. There will be key themes linked to these epi-
sodes with great marketing initiatives and special events
to celebrate them with partners around the world.
Why do you think that ‘PJ Masks’ is gaining the
attraction of the industry?
PJ Masks is the perfect combination of dynamic, fast paced
action and heroic characters with wholesome and age
appropriate storylines that teach values such as team-
work, patience and overcoming your
fears. The strong ratings demon-
strate that kids love it and parents
are comfortable that it’s suitable
viewing for the 2-6 age group. Mer-
chandise launched around the world
last year and has been a big hit with
kids, the products also help
strengthen the connection children
have with the show which has a pos-
itive effect on ratings. The quality
of the content and the show’s in-
stant popularity with kids and has really helped it stand
out in a crowded marketplace and with new episodes land-
ing this year and a third series in the pipeline we hope to
nurture this popularity for the long term.
Which are your goals for the first half
of the year?
We are aiming to secure more FTA partners for PJ Masks
and with the strong interest we are receiving for our new
show Cupcake & Dino: General Services, we’re looking to
start signing broadcast deals for this program too.
KIDS @ newslinereport

MIPTV 2018 15
 KIDS
How have evolved the businesses
of 9 Story over the last months?
9 Story continues to grow and
expand its global footprint. We
recently acquired Out of the Blue
Enterprises in New York, a leader in
children’s media across content
creation, TV production, digital
applications and consumer pro-
ducts. Joining forces broadens our
development capabilities, increases
our consumer products reach and
extends our presence in the U.S.
Which is the focus of 9 Story for
this MIPTV?
We have an exciting slate of new
content to present this year at Miptv,
including new series in production,
new acquisitions and new seasons of
existing shows. We will be sharing
first episodes of Let’s Go Luna!
(80x11’), our latest animated series
for PBS KIDS created by Emmy-
award winning animator,
writer and artist Joe
Murray (Rocko’s Modern
Life, Camp Lazlo). We also
will be showcasing the
newly acquired stop
motion series The Diary of
Bita and Cora (26x5’)
from Spain’s TV ON
Producciones. In
addition, we will be
featuring Luo Bao Bei
(52x11’), an animated
series for kids 4-7, that
16 MIPTV 2018
9 STORY MEDIA GROUP
Celebrates the
40th anniversary
of ‘Garfield’
Federico Vargas, Senior Director Distribution, describes the
recent acquisition of Out of the Blue Enterprises.
has been gaining traction internatio-
nally since we first presented it at
Mipcom. We will also be presenting
new seasons of our top selling
animated shows, like Daniel Tiger’s
Neighbourhood and Nature Cat.
How has evolved your portfolio
over the last months?
It’s the 40th anniversary of the
Garfield comic strip coming up in the
spring and to commemorate we’re
remastering the classic series. The
classic brand continues to be incredi-
bly popular around the world.
Why do you think that your offer
is well-known around the world?
Our content has universal themes,
which is ultimately what makes our
shows successful not only in Latin
America but also internationally.
Shows like Daniel Tiger’s Neighbour-
hood (Disney Junior Latin America),
Wild Kratts and Peg + Cat (Disco-
very), and Camp Lakebottom (Disney
XD Latin America) have sold
successfully all around the world.
Another example would be an
evergreen series like Garfield, which
never goes out of style.
In your opinion, which are the Kids’
Industry Trends for this year?
We are seeing strong performance
across the entire kids’ category,
including preschool, 4-8 year old
“bridge” programming and 6-11 year
old comedies. Preschool is always
popular and series like Daniel Tiger’s
Neighbourhood and Peg + Cat have
performed well in Latin America. We
also see a strong demand for content
geared towards 4-8 year olds; the kids
that are growing out of preschool but
not yet ready for 6-11 year old
comedies. Shows like Wild Kratts and
Nature Cat serve this audience quite
well. And then our 6-11 year old
comedies like Numb Chucks and Camp
Lakebottom are also in high demand.
For linear and OTT players to be
successful, they really need to have
programming options for everyone in
the family, across age demographics.
Which are your goals for the first
half of the year?
We have three main goals
for the Latin American
market this year: maintain
marquee linear relationships
that are partner and brand
driven; partner with regional
OTT players and participate
in shared growth opportuni-
ties; and continue to grow
our Free TV base. It is our
view that each of these
initiatives are fundamental
to growing our distribution
business in the region.
MIPTV 2017 17
 C
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over story

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APRIL 2018

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YEAR XXVI /SPECIAL EDITION MIPTV

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www.newslinereport.com

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INTER MEDYA

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“We will boost
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our efforts to
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advertise and sell

feature films”
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Which is the focus of Inter Medya for this MIPTV?

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At the end of 2017, we had announced that we would launch at

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least one new title at every major market. Following that, the
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first product we will launch at MIPTV is a new drama produced

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apim. Soft launched at Discop in Dubai, The Pit has

by Ay YYapim
apim
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already generated a lot of interest. Featuring actors Aras Bulut

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Iynemli and Dilan Cicek Deniz, The Pit is the story of a young
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man named Yamac, who comes from an influential family ruling

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over Cukur, a neighborhood in Istanbul. Torn between his love,

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his family, and his neighborhood, Yamac has no idea that his life
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is never going to be the same when he has to go back to Cukur

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to become the head of the family. The second product that we

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will launch at this market is a fresh format. Taking place in a

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luxurious beach house in the Caribbean, The Perfect Couple is a

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dating game show where contestants compete to win the limited

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number of room keys in order to avoid sleeping outside. The

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losing contestants, who stay outside, have to fight in an elimina-

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tion duel to determine the one going home.

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Which is your view on the industry, and the

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emerging new genres?

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While television series and feature films are still constantly being
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produced and watched, we believe that OTT and VOD platforms

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are going to increase tremendously in the near future, which will

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be accompanied by a massive development of digital productions.

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Can Okan, Founder & CEO,

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How has change the industry the appearance

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admits that the company is of online platforms and multi-viewing, towards

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looking for an expansion in the monetization of content?

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We believe that OTT and VOD platforms, developing more and

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Africa, South East Asia and

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more, will become very important for our business in the near
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Western Europe. future. As you know, we were proud to have sold 4 of our TV
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18 MIPTV 2017
 @ newslinereport
Colombia received ‘Broken Wings’
series to Netflix, the biggest online platform in the world, only a Last February, Colombia’s Canal 1 launched the Turkish dra-

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ma ‘Broken Wings’ that was broadcasted with ‘Mrs. Fazilet

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few months ago and think that this trend will continue to grow in

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our favor in the coming years. and her Daughters’, just a month later the announcement of

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that sale. Both dramas were acquired by the Colombian net-

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Do you think that there’s a need of re-thinking new work during NATPE. ‘Broken Wings’ tells the story of Zeynep

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brothers, Emre and Cemre and their sister Aysunm, who lost

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content so as to renew the industry and its markets?

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Nowadays, besides dramas, there are a number of new genres their father, and sink into poverty its only hope is that their

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mother is a strong, powerful and young woman.

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being produced in Turkey, such as dramedies, criminal dramas

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and actions. Due to the high production quality of Turkish content,

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we are confident that these new genres will be as successful as

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our dramas in the international market. Indeed, Hayat, one of

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our recent dramedies, has attracted a lot of interest from

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various territories in the last few months and we hope to

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conclude some new deals soon.

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How has the industry received your latest shows?

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The popularity of Turkish content in the world has reached

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exciting levels over the last decade, especially in Latin America,

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Eastern European countries and Central Asia. Following the
latest political situation in the MENA region, the sales of Turkish ○
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content has moderately decreased. However, with Turkish

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series being exported to more than 130 countries across the

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globe, we have recorded a production boom in the domestic TV

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industry. Our diverse catalogue, which features intriguing

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storylines and talented cast members, such as Endless Love,

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Mrs. Fazilet and her Daughters; and Broken Wings, are already
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very successful in these territories. Our goal this year is to sell

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more and more in Africa, South East Asia and Western Europe.
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Which is the reason that your gameshows are

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gaining the attraction of the market, as your

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dramas already do?

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Today’s game shows are very different in format from their

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counterparts of early television, but one thing is still crucial -

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dramatic tension. The decisive moments of suspense and

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drama are particularly important in nowadays’ entertainment

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shows, especially in a market where everyone is focusing on

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the next primetime product. We’re looking for emotional and our series Endless Love, Hayat and In Between, our internatio-
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dramatic content, and when the excitement is there, it’s a great nal sales increased by 60% since 2016 and we strongly believe
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game format to deliver. that 2018 will bring on even greater results. We not only plan to
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expand the sales of TV series, we also want to boost our efforts

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Which are your goals for the first half of the year? to advertise and sell feature films. We believe that just like
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As you know, 2017 was an important year for our company as Turkish drama series, Turkish movies will become extremely
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we celebrated our 25th anniversary. It was also a particularly popular in the international market and our company holds a
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successful and fruitful year. Thanks to the worldwide success of huge catalogue of movies.
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‘The Pit’ arrived in Chile

During last Discop Dubai, Inter Medya announced that its latest title, The Pit was acquired by
the Chilean network Mega. Known as a big Latin American house of Turkish Dramas, Mega has
several titles of this genre on its screen. The production was announced last month, through an
alliance with Ay Yapim. “We are proud of work again with Mega and I think The Pit will be a
huge success on that screen. It is such a high quality series with very dramatic features. As the
story goes by, lots of secrets and surprises are being developed”, explains Can Okan.
Produced by Ay Yapim and broadcasted in Turkey on Show TV, The Pit increased the rating number
episode by episode, reaching a 30% share in the competitive Turkish market.

MIPTV 2017 19
 CONTENTS
CANADA MEDIA FUND
“Sales of Canadian content
continue to increase”
How has evolved the
businesses of CMF in the
beginning of the year?
Over the last several months, the
Canada Media Fund has continued
to support Canada’s screen-based
industries through predictable and
stable funding policies, but also
through our ongoing promotional
efforts at international markets
where we promote Canada as a
reliable coproduction partner. We
also continue to seek out new
international partnerships that will
allow us to maximize our funding by
pooling resources with international
funding agencies.
Most notable is our renewed partner-
ship with Proimagenes Colombia,
as well as new incentives with Film
Fund Luxembourg and a dedicated
fund to support Indigenous produc-
tion in the Arctic. Dedicated
coproduction incentives have been
developed or renewed with the
Danish Film Institute, Medienboard
Berlin-Brandenburg (Germany),
Broadcast Authority of Ireland, the
Jerusalem Film Fund (Israel), NZ On
Air (New Zealand), and Wallimage
(Belgium). More international
agreements will be announced in the
coming months. We are thrilled to
see that our dedicated co-develop-
ment and coproduction funding
initiatives have fostered mutually
20 MIPTV 2018
Valerie Creighton, President
& CEO, renews its partner-
ship with Proimagenes
Colombia for new original
productions.
beneficial relationships and we’re
seeing increased international
interest in working with the CMF as
a partner and with Canadian
producers.
Which projects would you
highlight at MIPTV and what are
your hopes and expectations in
this regard?
At MIPTV, in addition to the Canada
Pavilion, Canadian producers will
be participating at In Development,
a MIPTV-Canneseries initiative
allowing them to develop coproduc-
tion opportunities for drama series,
a genre in which Canada has a
great deal of coproduction experi-
ence. We will also showcase a
number of short-format series at
Canneseries. Canada’s presence
will be toped-off by a showcase of
three VR projects at the VR library,
as well as by the presence of Maya
Kodes, a holographic experience and
virtual singer who will interact with
and entertain guests at the Canada
Pavilion. This 360, fully-integrated
approach speaks to the growing
Canadian presence at international
events like MIPTV, where Canadian
creators have been able to develop
unique business opportunities,
taking Canadian content around
the world.
We strive to create as many business
opportunities for Canadian produc-
ers as we possibly can. We also want
to reinforce Canada’s position as a
coproduction partner of choice by
developing partnerships with
counterparts in other major produc-
tion countries in Latin America,
Europe or Asia-Pacific. Canada is
known for providing a very competi-
tive environment for television and
digital media production and
coproduction. We intend to build on
this reputation and to support the
phenomenal work Canadian produc-
ers accomplish year after year in
order to meet consumer demands of
tomorrow.
How have the latest titles worked
in the international market?
Canadian productions are exported all
around the world and sales of
Canadian content continue to
increase. Canada is in fact among the
top-five TV exporters in the world.
Turning to digital media, even if the
technology is still quite nascent,
augmented and virtual reality are
catching on quickly. Consumers are
increasingly hungry for content on a
growing number or platforms and
devices, including VR. Technology
has provided innovative options for
sharing stories with audiences from
all parts of the world. In this
context, the Canada Media Fund has
made a strategic decision to invest
in an ever-growing number of VR
projects as an important part of the
funding it provides to Canadian
digital media.
Canadian companies are at the
forefront of digital media innovation.
By way of example, Montreal is fast
becoming a global centre of excel-
lence in VR, rivalling much larger
production hubs around the world.
Thanks to the reputation of Canadian
digital media content, the expertise
acquired by producers, and a funding
ecosystem that supports innovation
and creative storytelling, Canada is
well positioned to lead in the
promising VR market and to respond
to consumer trends.
CONTENTS @ newslinereport

MIPTV 2018 21
 CONTENTS
KANAL D
“We are producing original content
for our OTT platform BluTv”
How have evolved the businesses
of Kanal D since the last MIPCOM?
We launched four new dramas Mehmed
the Conqueror, Wildrose, Broken and Fall-
en Apart that have gained the attention
of the whole international industry. We
have also two new dramas are on the
way and they will be announced soon. In
addition to the dramas, we have pro-
Manuela Caputi
At the new edition of MIPTV, Manuela Caputi,
Head of Sales at Mediaset Distribution, is
coming to the market with some hit script-
ed series and an unscripted formats just
broadcast on Mediaset Channels.
In February, Canale 5 launched the dra-
ma series ‘Wind of Passions’ -original ti-
tle ‘Furore’- (28x80’) produced by Ares
Film. Set in the Italian Riviera in Liguria
in the early ’60 tells the story of Giovanna
a young Neapolitan in search of her true
origins facing the hostilities of the Norther
prejudices against the southern migrants
22 MIPTV 2018
Kerim Emrah Turna, Director of Sales and Busi-
ness Development, explains that ‘Mehmed the
Conqueror’ will be the biggest hit of the year.
duced new OPT and PT programs such as Desperate House-
wives’ local adaptation and a TV classic Popstar 2018.
Which is the focus of Kanal D for this MIPTV?
Mehmed the Conqueror is the priority focus of Kanal D. This
will be the biggest hit of the year. However, all the dramas we
are airing and about to air are also important for us.
Our biggest hit, historical drama Mehmed the Conqueror, a
young starlet’s success story Wildrose, a heartbreaking family
drama Broken and daily drama Fallen Apart.
In your opinion, which are the Industry
Trends for this year?
The industry is running towards to digital and the demand for
original drama series has risen. The growth of SVOD platforms
over the last five years has been significant that’s why a seri-
ous amount of money has been invested in original content,
resulting in the number of digital series to increase exponen-
MEDIASET DISTRIBUTION
Italian series and formats
for the World
‘Love snack’, ‘The Catcher’ and ‘Ordinary Heroes’ are some of the key-titles.
who moved in search of a job and a new life in the North. In
prime-time, Canale 5 also launched a cycle of 4 TV Movies ‘Ordi-
nary Heroes’ -original title ‘Liberi Sognatori’- (4x100’) stories
about courageous people fighting for their ideals and killed
because of their integrity and honesty.
Caputi says that “the drama catalogue also includes the comedy
series ‘Immaturi’ (8x80’) based on the movie with the same title,
a very funny story of a group of classmates forced to go back to
school in order to get their final exam. The series had a good
response with an average share of 16.5%.But our little gem is
‘Love Snack’ a scripted comedy series of 3 minutes that sees two
single flat mates in search for love dating different person with
the aim to find the right one. The series of 30 episodes has been
successfully broadcast by Italia 1 in daytime”.
In term of unscripted formats, the company has an interesting
tially year on year. That’s why we are pro-
ducing original content for our OTT plat-
form BluTv.
Which are the main territories
where you are focusing your
business strategy?
Though we are well known in LATAM,
Eastern Europe, and MENA regions, we
would like to focus more on Western Eu-
rope, Africa, and the Far East for our
business strategy.
Which are your goals for the first
half of the year?
As Kanal D, we are working very hard
to reach the audience by all mediums
such as Pay TV, OTT, and TV everywhere
distribution channels. Besides these,
we are trying to keep our conventional
free TV clients as much profit as we
can with the help of the traffic that is
generated by our rich and high-quali-
ty content.
pilot about virtual reality, titled ‘The Catch-
er’ with a lot of interactive potentiality as
viewers at home can play with a special
app. “Conceived by Bic Formats of Axel
Fiacco is a very good idea for the Interna-
tional market constantly looking for virtu-
al reality formats”, explains the executive.
Mediaset also offers a talk show ‘The
Desk’ with no host but a great twist. The
guests take turn in different roles: in-
terview and interviewee. Celebrities, VIP
and actors enters and exits using me-
chanical armchairs that move them
from off stage to center stage with the
question displayed on a monitor.
CONTENTS @ newslinereport

MIPTV 2018 23
 CONTENTS
TALPA GLOBAL
Expands the success of its formats
Which is the focus of Talpa for this MIPTV?
Our focus is on building brands. We will bring our big
successful format ‘A Year to Remember’ to this MIP that had
an amazing first season in the Netherland. And we will bring
The Voice Senior, the latest spin-off of The Voice brand.
Furthermore our MIP slate consists of an excellent range of
shows. We will be introducing a big new cooking show,
Superstar Chef. A celebrity cooking competition that pairs
the best chefs in the country with the biggest celebrities.
These duos must cook to their highest ability while being
scored by 3 expert judges. First, the chefs intensely train
their celebrities. Then, during the competition, the chef and
celebrity cook together. By hitting the chef button, the lights
in the kitchen turn red and the chefs must stop cooking.
Now the celebrities must cook by themselves. Which celeb is
able to convince the expert judges and who will be eliminat-
ed? In this show the celebrities stir it up!
We will also be bringing some new entertainment factual
formats, and a new talent show, So You Think You Can Sing.
In this show three singers perform while being judged by the
audience and a professional jury, leading to a top 3.
However, this ranking remains a secret! Now it’s up to the
three singers to unanimously create the Top 3 that they think
has been ranked, in order to win a big money prize. Besides
having a singing talent, do the contestants also have a good
sense of self-knowledge and negotiation skills?
Another new format is Your House, Our Rules, in which
parents exchange families that are completely opposite
when it comes to background and, most importantly: their
house rules… What will happen when health freaks trade
places with a family that prefers binge watching TV series
with snacks over any form of exercise?
Which is the reason that your gameshows are
gaining the attraction of different territories all
around the world?
Indeed, we currently have several of our game shows on
air in different countries across the globe. We have put a
lot of focus and effort into this, because we know that
the game show genre - one of the oldest genres in the TV
world - is important in broadcaster’s schedules. It brings
different age groups together, they are being watched by
both young and old and connects them to the broadcast-
er. A strong game show has a long lifespan, bringing
continuity for the broadcaster. The development of game
shows is specialty that we have mastered well over the
years. Some of the biggest game shows come from the
Dutch market, like Deal or No Deal.
What is unique to Talpa is that we not only introduce new
game shows in a fast pace to the market, but that we also
link them to new technologies. This enables us to create
interaction and engagement with the viewers. For example,
with our successful game show 5 Gold Rings, where players
need to put the rings on the correct answer on a huge
24 MIPTV 2018
interactive LED floor which projects Annelies Noest, Director,
amazing animated pictures that are the
base of each question. Thanks to the Formats, thinks that the
unique connected gameplay, viewers can
play along on their smartphone at the
challenge with young viewers
same time and get to place their rings is not only to reach them, but
on their phone and become part of the
experience. 5 Gold Rings is now also also to activate them.
available as stand-alone game. This
means that audiences are able to play the 5 Gold Rings
game anytime, anywhere.
Are you thinking on investing in new original
formats for unusual territories?
We are a global company with a global network. We work with
partners with access to screen. The Netherlands is our primary
market, we are the number 3 export country of tv formats in
the world. We look closely at where it is relevant and realistic
to launch formats, and we have a selective approach as to
what we want to bring to market. The Netherlands is a good
blueprint because of the diverse public that is also well
developed in digitalization. We have a critical audience and
are therefore an ideal launching pad.
Why do you think that ‘The Voice…’ and all its family
of formats are so successful all around the world?
For a big part this is thanks to the execution; with full focus
and dedication we continuously improve the format with new
elements to keep it fresh. And we now added the spin-off ‘The
Voice Senior’ to our ‘The Voice Franchise’. Having seniors come
to the stage will give the whole genre and brand a completely
new feel. They are interesting characters with fascinating life
stories that just go out there and do their thing, and it’s great
to see the interaction with the families and grandchildren.
There is a different feel to the show.
Receiving its 4th Emmy in the USA last October, its 4th
Producers Guild Award and its second ‘Deutscher Fernseh-
preis award in January and continuous stellar ratings that
are even increasing each new season in most countries
proofs that we succeed in keeping this format fresh and up
to date and that it is still a very sustainable format.
CONTENTS @ newslinereport

Which are your goals for the first half of the year?
We will continue to further build our strategy for linear
broadcasters due to their increased need for big and bold
shows. We will be active across all platforms; by creating
connected content we activate engaged users across
multiple touchpoints. Like 5 Gold Rings, where both young
and old are watching and playing along with the app. The
format, that we improved recently with a new gameplay, has
already been sold to 6 countries and is doing really well at
the moment in France.
With our content we cater to all client types in the market;
the traditional players, the new players and the commercial
players. We recently closed a deal with TV Thunder in
Thailand to broadcast our hit show Dance Dance Dance on
the Asian OTT platform LINE TV. LINE TV is the online video
service of LINE, one of the largest chat services in Asia.
Based on our extensive knowledge we can adapt our content
to make it very suitable for OTT platforms.
And with our branded formats, like our co-creation
Design Dream in collaboration with Ikea, we help
advertisers to reach their goals, ranging from awareness
and engagement to conversion.

COMEDY CENTRAL - VIMN AMERICAS

“Original productions drives the

success of a channel”
Which is the creative focus of
Comedy Central on this 2018?
This 2018, we will keep the focus on those
formats that have been successful in
the channel like ‘Comedy Central Stand-
Up’, ‘La Culpa es de…’ and ‘Se Busca
Comediante’; while we’ll also keep de-
veloping new innovative content that
could be attractive to our audiences.
Since we were launched in the region,
we have established ourselves as pio-
neers in the stand-up, distinguishing
from the others Comedy Channels, and
now, more than ever, we are building
new experiences with new comedy series
that maintain our place in the industry.
Why do you think that your brands
are so successful in the region?
The success of a brand it is possible main-
ly thanks to their audiences. We recog-
nize that local content is a key so as to
establish a connection with the TV audi-
ences, and that’s why we invest our time
on studying its consuming trends (what
and how they look for content) so as to
provide them a better TV experience.
Which are the differences on
working on a same format but for
different territories?
In essence, the format is the same every-
where. The differences are bigger when
you have to take into account the talent
and its local humor. In each country, the
audience will have a better experience if
they know the talent, as it will captive
better the humor, as this is something
very regional. For example, ‘Comedy Cen-
tral Stand-Up’ and ‘La Culpa es de…’
are formats that have a tremendous suc-
cess on each country where it is broad-
casted, because they have well-known co-
medians in each region.
How can you describe the growth of
Comedy Central in Latin America
over the last time? Do you think that
the investment in original produc-
tions influences the success?
Comedy Central showed a continuous
growth over the years, both regionally and
in each country. As mentioned, the fact
that we keep investing on our original
productions in every country has a lot of
this, as we are now introducing off-air
Federico Cuervo, SVP Produc-
tion & Brand Manager, assures
that with local versions of its
international formats, the
brand grew exponentially.
events like the Comedy Central Fests, and
we keep reaching more and more people
through innovative and funny comedy ex-
periences that go beyond the screen.
Which are the features that
Porta Dos Fundos adds to
Comedy Central?
Porta Dos Fundos has a unique humor
style that can be adapted perfectly to
the Comedy Central one; and we are very
happy with the chance of create content
together. Porta Adentro was the first
project with them after the majority ac-
quisition of the Group. More recently, we
produced ‘Borges’ which was launched
on March in Brazil.
Which are Comedy Central goals
for 2018?
The priority of Comedy Central is the ex-
pansion of our audiences through a wid-
er amount of original content; increasing
the amount of hours of original produc-
tions in each country, and continuing with
the generation of trends in the comedy
environment through formats and inno-
vative humor experiences.

MIPTV 2018 25
 CONTENTS
GAUMONT
Reveals a CANAL+ Creation Originale
At MIPTV, Gaumont debuts the thrilling
crime drama NOX (6x60’), a CANAL+
Creation Originale, produced by Gaumont
that debuted on CANAL+ on March 12,
2018. French actress Nathalie Baye
(‘Catch Me if You Can’), Malik Zidi (‘Made
in France’) and Maïwenn (‘The Price of
Success’, ‘Pardonnez-Moi’) co-star.
In the darkness beneath Paris, retired
cop Catherine Suzini (Baye) is forced
back into action when her daughter Julie
(Maïwenn), also a respected police of-
ficer, disappears into the underground
tunnels of Paris. Catherine and her
daughter’s partner, Raphaël (Malik Zidi),
must chase every clue and use all their
instincts to navigate a hellish descent
into the basements of the city, navigat-
ing a terrifying maze of catacombs in a
race against time to find her.
“The vast underground tunnels that lie
under the city of Paris are the perfect
location for this dark thriller that explores
an ugly side of the human psyche,” com-
mented Vanessa Shapiro, President,
Worldwide TV Distribution and Co-Pro-
ductions. “Viewers will be on the edge of
26 MIPTV 2018
Vanessa Shapiro-Gaumont
their seats as they accompany Catherine
on her descent, sensing that something
very sinister is taking place below ground,
and root for her as she develops a love for
her daughter that grows stronger and
stronger as she begins to think that she
may never see her again.”
NOX is created by Fred Cavayé (Point
Blank, Radin), Quoc Dang Tran (Kaboul
‘NOX’ will show a different
view of Paris through the life
of a retired cop.
Kitchen) and Jérôme Fansten (Amnêsia),
with Tran also serving as screenwriter in
collaboration with Clémence Madeleine
Perdillat. Mabrouk El Mechri (Maison
Close) is the series director. Gaumont’s
Isabelle DeGeorges, President, Television
France, is the series producer.
Gaumont is handling the distribution in
the U.S., Latin America and Asia. STU-
DIOCANAL handles distribution rights
in Europe, Middle/East and Australia.
Other key highlights at MIPTV include Nar-
cos (40x60’), presented to linear TV part-
ners for the first time this year, the fourth
season for which is currently in produc-
tion. “The rise and fall of the Columbian
Drug lord Pablo Escobar is a story people
can’t get enough of,” explains Shapiro.
“We anticipate strong global demand,
when Narcos season three premiered in
September 2017, it dominated the month
as the #1 most in-demand Netflix title in
the U.S. and #5 most popular global title,
according to Parrot Analytics.”
The Art of Crime (6x60’) which debuted in
November 2017 on France 2 with over 4
million viewers, will also be spotlighted.
In this series, an unlikely duo come to-
gether to solve a series of crimes. Antoine
is a hot-headed ex-cop who has reluctantly
taken a job with a government task force
fighting illegal trafficking of cultural ar-
tifacts. Florence is a neurotic but renowned
art historian. Together, they captivate view-
ers as they contradict each other in every
way, while also being exactly what each
other needs to solve the crimes of con-
temporary and classic Paris.
CONTENTS
ALL3MEDIA INTERNATIONAL
Wants to replicate the US and UK
success globally
Titles like ‘Undercover Boss’ and
‘Kitchen Nightmares’ opened the
LATAM territory for all3media
International. That’s why the
company wants to extend that
recognition with its own scripted
portfolio, leaded by ‘ Kiri and
‘ Mistery Road’ .
Janel Downing, VP Sales, LATAM,
explained that all3media begun the
year with a strong presence in the
region, as 15 months after the
launch of its new office in America
they could set its portfolio on new
clients in the region and the USH,
and that gave them the chance to
keep consolidating the programming
Janel Downing, VP Sales,
LATAM, explains that after
the penetration of its for-
mats, the company wants to
insert its scripted titles.
of their current partners.
All3media International has 26 in-
house production companies and
through the International area they
travel with the content in order to
close investments for the program-
ming and in that way they can
complement its portfolio.
“The market is looking for more
dynamism, and that’s why we
decided to change the length of
several productions. We do also
change the features that we used
to look for in a production when it
came the time to acquire. The
industry is more open to receive
several seasons of a same shows
and that’s what we offer at
all3media International”, ex-
plained Dowining.
@ newslinereport
Regarding the new titles for this
term, all3media is launching, on
the entertainment side, ‘ Inside
Ikea’ , ‘Monty Don’s Paradise
Gardens’ and ‘Gordon Ramsay:
24hrs to hell and back’ . On the
scripted side, titles like ‘Mistery
Road’ , ‘ Kiri’ and ‘ The Miniaturist’ ,
want to replicate the global success
of the formats.
Which is the feedback received from
the LATAM and USH audiences?
Our formats portfolio was very well
received all over the region. What we
could feel over the last time is that
we are well-known for our Factual
Entertainment Formats. ‘Undercover
Boss’ is one of the most recognized
titles in the region and it was also
adapted many times for local
original versions in Chile and Brazil.
The same happened with ‘Kitchen
Nightmares’ that had its adaptions
in Chile and Argentina, with a re-
commission in Brazil. We have a
partnership with Discovery for 150
hours of factual entertainment, and
it is through this kind of alliances
that we can install and expand our
brand. The same thing is what we
look for in finished tape titles, so as
to unify our brand and portfolio all
over the region.
MIPTV 2018 27
 CONTENTS

UNIVERSAL CINERGIA

Opened a new studio in São Paulo

THE DUBBING COMPANY REACHED ANOTHER TERRITORY FOR ITS SERVICES

Liliam Hernández, President and

CEO, Universal Cinergia.
The executives are attending this
MIPTV, and the following markets of
the Industry, like LA Screenings,
MIPCOM, MIPCancun and ATF,
meeting their clients and looking
for new projects. “We believe that it
is really important to be alert to the
developments on the global media
market, to know the trends and new
Universal Cinergia officially opened doesn’t guarantee new projects, it content with a potential success.
the doors of its new studio in São puts us in a position of greater We are a company that is always
Paulo, in the region of Vila Madale- visualization and potential in order closed to our clients, meeting their
na, Brazil, and its operative to obtain new clients in different needs and challenges, providing
services begun with the Portuguese territories, that might need quality and incredible service”,
dubbing of the successful series ‘ El Portuguese languages”, affirmed concluded Hernández.
Señor de los Cielos’ (Telemundo).
The artistic director of the studio is
Luciene Andreotti, while Liliam
Hernández y Elisa Aquino will keep
their responsibilities on the sales of
the company, and Gema López will
still handle the operative business
of Universal Cinergia.
For the company, this is a key
moment, as the studio has just
signed a contract with Netflix for
the Dubbing Vendor Whitelist of the
Portuguese language. The suppliers
on that list are recommended by the
platform to its clients when they
look for specific services. “This is
such a success for our company, as
we work with huge determination
and professionalism. We are so
excited with the news, but as it

28 MIPTV 2018
CONTENTS @ newslinereport

MIPTV 2018 29
 CONTENTS

SONY PICTURES TELEVISION

Formats reach Scripted

Sarah Edwards, Creative Director of Global Formats,
explains the reason why the entertainment shows are
gaining the attraction of the industry.
How do you choose the appropri-
ate portfolio for the market?
We pride ourselves on having creative
slates that will delight buyers in their
originality and mainstream appeal. We
are always looking to bring new and ex-
citing formats, as well as our catalogue,
but it’s important that when buyers
come to us we can show them some-
thing original and entertaining.

Are you looking for new ideas to

Which are the main formats you
are focused on for MIPTV2018?
This year we are commercializing ‘The
Launch’, a new musical competition se-
ries that arrives to change the genre. The
show exhibits in an authentic and be-
hind-the-scenes way what it is need to
change a new artist and give live to a
song. On each episode, the artists’ audi-
tions represent the chance to record and
act a new original song, with the help of
a prestigious panel compound by legends
of the international musical industry.
On the other hand we are showing ‘The
Gong Show’, executive produced by the
actor/comedian Will Arnett. Every epi-
sode will celebrate unusually talented
and unique performers on a primetime
stage. A revolving panel of judges fea-
turing Hollywood’s hottest stars praise,
critique and gong contestants in one of
TV’s all-time great variety shows.
Titles like ‘Beauty Queen and Single’, ‘Mil-
lion Pound Menu’ (working title) and ‘Doo-
dlebugs’ complete our offer for this market.
develop at MIPTV2018?
We have just acquired the new music
format, ‘The Launch’, so we are certain-
ly in the business to acquire big and
exciting shows, and we have a creative
approach to collaboration with produc-
ers and channels around the world.
How has the market received
your latest shows?
At a recent showcase there was a lot of
excitement around ‘The Launch’
and ‘Million Pound Menu’ (work-
ing title) because it’s great fac-
tual entertainment made by
first-rate producers. ‘Doodle-
bugs’ is one that never fails to
make people laugh and ‘The Gong
Show’ is a fantastic update on a
brilliant classic format.
Why do you think that SPT formats
are gaining the attention of the
industry, in the same way as your
scripted titles already do?
Sarah Edwards
We have always looked for originality and
fun in our formats. The creators we work
with take pride in developing break-
through ideas, whether it’s ‘Raid the
Cage’ , ‘Shark Tank’ , ‘Release The
Hounds’ or ‘Beauty Queen and Single’. I
think buyers enjoy our pitches because
they are entertaining and that is, after
all, what we are all about!
Which are the main goals
for the Formats Area for
the first half of the year?
Our goal is always the same: to
work with the best creatives in
the world and make sure we
have a must-see slate of for-
mats that appeal to an inter-
national market. We have a
great team of producers, developers, and
sales people, all with a good instinct for
formats, and we are working tightly as
a team to bring the best ideas to MIP.

30 MIPTV 2018
CONTENTS @ newslinereport

MISTCO

Turkey keeps growing worldwide

AYSEGUL TUZUNa
How have evolved the
businesses of MistCo over
the last months?
The last months have been very
successful for us. We have not only
made many new deals for various
new territories and titles, we have
also entered in LATAM with our high-
‘Mehmetcik: Kûtulamâre’
comes as the successor of
‘Resurrection: Ertugrul’.
est-rated drama ‘ Resurrection:
Ertugrul’. We closed 3 separate
deals, with TVN in Chile, with ATB
in Bolivia and with VME in the US
Hispanic regions for ‘Resurrection:
Ertugrul’ and TVN Chile has start-
ed broadcasting the show already.
As a very famous drama from our
catalogue, ‘The Last Emperor’ has
been sold to Balkans very recently.
And we are very glad to see the
interest from new territories for
‘The Last Emperor’. As another new
market for Turkish dramas, we
must highlight our deals in Africa
region where we sold two of our
contents, ‘To Better Days’ and ‘The
Prisoner of Love’. The last one has
also recently been sold to Astana
TV in Kazakhstan and Imedi TV in
Georgia. And for Africa, we believe
that TRT dramas will expand in this
region in a very short time.
Which is the focus of MistCo
for this MIPTV?
At this MIPTV, we are launching TRT’s
brand new epic drama ‘Mehmetcik:
Kûtulamâre’. The series is based on
the heroic story of a young man who
could sacrifice his own life to save
the country and people who are in
need of help. And when it comes to
the production quality of the show it
is definitely incomparable to any
other series and its story is incredi-
bly affective. ‘Mehmetcik: Kûtu-
lamâre’ has become a hit in Turkey
starting from the first episode. We
are also launching a new miniser-
ies named Alija, based on the life
story of Bosnian President Alija Izzet-
begovic, and it’s gaining the attrac-
tion of the Balkan countries.
TRT has recently produced two new
series and we are also launching
them at MIPTV this year. Lion Fam-
ily and Let’s Go are both very en-
tertaining and well-received dra-
mas. Lion Family is the funny story
of members of a family whose lives
change after one day the beautiful
and spoiled landlady arrives and
starts to live with them. Let’s Go is
a very successful title with a very
interesting plot in which the pro-
tagonists go bankrupt, leave their
luxurious city life and start to live
in a village. The series is doing great
on Saturday ratings as well.

POL-KA PRODUCCIONES

Keeps developing new titles

with its regional partners
The production Company is working on ‘El Lobista’ a new series under the
alliance with Cablevision, Turner Latin America and eltrece.
As a key production company in Argenti-
na, Pol-ka is always working on new ti-
tles for the Latin American market. Few
years ago, the company closed several
coproduction deals, and one of those is
a partnership with Turner Latin Ameri-
ca and the cable operator Cablevision
for ten years of original titles. This first
half of the year’s bet is ‘El Lobista’, a
12-episodes series starred by Rodrigo
de la Serna (‘Call me Francesco’), Darío
Grandinetti and Leticia Brédice.
With a launch establish for next April,
the series is written by Patricio Vega
and directed by Daniel Barone. The pro-
duction tells the story of Franco (de la
Serna), a lobbyist, friend of particulars,
companies and corporations. His job
consists on influence, interfere and pres-
sure all of its contacts with power with
the aim of close highly rentable and lu-
crative business for his clients. His name
is a brand in this ‘intermediation’ world,
but there are several competitors who
are looking for a presence in the same
area, and Natalia Ocampo (Brádice)
arrives as his biggest threat. Both of
them will live fighting each other, divid-
ing the wins and lost. the lobbyist’s influences in order to clean
As an ambitious man, Franco will try to his fortune built from charity but also
close ‘the business of his life’ and be- from transactions with an illegal ori-
cause of that, he will build a relation- gin. The difficulty of the case will expose
ship with the pastor Elián Ospina (Gran- Franco, who will be in the first time un-
dinetti), a dark character that will use der the eye of the justice.

MIPTV 2018 31
 CONTENTS

ITV STUDIOS GLOBAL ENTERTAINMENT

Strengthens its position as creator

and distributor
Ruth Berry, MD, highlights that on the ITVS GE Drama Festival the
company received close to 300 buyers.
What is the focus
of ITVS GE for this
MIPTV?
Our scripted slate is
headlined by the highly
anticipated Vanity Fair,
written by Golden Globe
nominee Gwyneth Hugh-
es and produced by
Mammoth Screen, and Cleaning Up, a contemporary se-
ries from Sister Pictures, starring Bafta award winner
Sheridan Smith. In addition, we are also taking Movistar’s
Cesc Gay drama Felix , Mainstreet Pictures’s Age Before
Beauty, written by Poldark writer Debbie Horsfield, CBC orig-
inal series Little Dog, produced by Cameron Pictures and
Elemental Pictures, and Mopar Media Group produced Rig
45, an MTG Studios original series.
Meanwhile following the triumphant return of Dancing on Ice in
the UK earlier in the year – which re-launched after a four-year
hiatus with 7.4 million viewers and a 33% share – the
format leads our unscripted slate alongside last year’s smash
hit Love Island, now in four territories and with several more
soon to be announced. Five new formats complete the line-up,
with Potato’s An Hour To Catch A Killer, Gameface’s quiz
show Brightest Family, Five Star Hotel from Little Gem and
Motion Content Group and ITV Studios’ Guess The Star and In
For A Penny all included.
How has your portfolio evolved over the last months?
In addition to our vast range of new and returning program-
ming from the UK, we are increasingly looking at broadening
our international content, and in the last 12 months, we have
acquired Italy’s Cattleya, the team behind Gomorrah and Net-
flix’s first Italian original Suburra, and France based Tetra
Media Studio, producers of Les Hommes de’le Ombre.
This is also reinforced by bringing both Felix and Rig 45 to this
market, the latter adding to other Scandinavian shows in our
catalogue such as Greyzone and Aber Bergen.
I’d also point to Hulu and Monumental Pictures’ Harlots, now
in its second series, as an example of how we are working more
and more with our OTT partners as well, something we are
confident of building on yet further over the coming months.
How has the industry received your latest dramas
highlighted at your ITVS GE Drama Festival?
We had a tremendous response to the event, with close to 300
buyers present. It was a great opportunity to start discussions
with them at an earlier stage than we might have done in the
past and the feedback we have received has been very encour-
aging. We were able to showcase the real volume of our cata-
logue, bringing our dramas to life with the help of our creative
partners, and giving those in attendance the chance to pre-
view what we have coming up, not just at MIPTV but for the
rest of the year and beyond.
We opened the event with Vanity Fair, which we are very excited
about. It will air on ITV in the UK followed by Amazon Prime in
the US later this year, and has also pre-sold in Sweden with
SVT, with more to come. We also took an in-depth look at some
of our international titles such as Felix and Aber Bergen. With
exclusive insight from producers into other shows including
Cleaning Up and Harlots, as well as sneak peaks at forthcom-
ing dramas such as Mammoth’s The War of the Worlds, buyers
certainly seemed enthusiastic about what they’d seen.
What are your goals for the first half of the year?
Looking specifically at the LATAM market, we are excited about
launching Dancing on Ice as we are hearing more and more
about the desire for tried and tested shiny floor formats there
while we are always looking for opportunities to work with new
clients in LATAM, and we hope that some of our broader Euro-
pean dramas, such as Felix for example, will appeal to new
buyers in a different way.
More generically, we are in a very strong position as both cre-
ators and distributors of content right now, which allows us to
be flexible about how we take a show from development to
screen. This enables us to look at a range of potential partner-
ships, be they co-productions, co-developments or global OTT
deals, which will help us with our continual aim of offering our
clients – both existing and new – real breadth of choice.

32 MIPTV 2018
CONTENTS @ newslinereport

MIPTV 2018 33
 CONTENTS
FREMANTLEMEDIA INTERNATIONAL
Sells its ‘American Idol’ Cooperates on
to Amazon Prime Video a thriller series
The OTT service will see the show in the UK two days for Netflix
after it first airs in the US.
‘American Idol’, the iconic series that
revolutionized the US television
landscape by pioneering the music
competition genre, goes global as
FremantleMedia International
completes deals for the new series in
150 territories.
The latest deal to have been completed
is with Amazon Prime Video UK,
which will see American Idol air
exclusively in the UK two days after it
first airs in the US.
On the deal, Jamie Lynn, EVP, Head of
Sales and Distribution, EMEA for
FremantleMedia International said:
“American Idol has launched to
fantastic ratings on ABC in the US
and we are excited that Amazon Prime
Video will become the exclusive home
of the new series in the UK with this
unique deal. To see one of the biggest
entertainment shows on a streaming
service is a not only a first, but
testament to the appetite for Ameri-
can Idol and will be a whole new way to
34 MIPTV 2018
reach fans of the series.”
FremantleMedia International’s global
sales team have secured a multitude
of new international deals for new
season of the entertainment series
with CTV (Canada), Foxtel (Australia),
Canal Sony (Latin America), MNET
(Africa), SIC (Portugal and Portu-
guese-speaking Africa), Intervision
(Greece), Three (New Zealand),
Fjarskipti (Iceland), Novalifå
(Greece), Sia All Media (Lithuania),
Marjan Television (Farsi-speaking
MENA), beIN (MENA) and beIN Series
Home&Entertainment (Turkey).
American Idol launched on ABC to an
overnight audience of 10.3 million,
making it the number one show in its
timeslot and more than doubling the
slot average. The “Idol” format has
taken on original versions in 55
countries around the world,
and American Idol itself has played to
a worldwide audience
across 150 territories.
ZDF ENTERPRISES
‘Tabula Rasa’ (9x50’) is available on the
platform all around the world, with the
exception of Germany, UK and France.
‘Tabula Rasa’ is a Caviar
production, co-produced by
Belgian broadcaster Eén
and Germany’s ZDFneo,
and created with the
support of the Flanders
Audiovisual Fund and with
the help of the Belgian Tax
Shelter incentive by
Minister Van Overtveldt.
With the exception of Germany, the United Kingdom and France,
where Netflix has a second window for the series, millions of
Netflix subscribers are now able to discover the psychological
thriller. ‘Tabula Rasa’ was created and written by Malin-Sarah
Gozin and Veerle Baetens, with Christophe Dierickx rounding
out the team of writers. The series was directed by Jonas
Govaerts and Kaat Beels. The leading roles are played by Veerle
Baetens, Stijn Van Opstal, Cécile Enthoven, Natali Broods, Lynn
Van Royen, Tom Audenaert, Peter Van den Begin, Gène Bervoets,
Jeroen Perceval, Hilde Van Mieghem, Viviane De Muynck and
François Beukelaers.
‘Tabula Rasa’ is a compelling, psychological thriller about a
young woman with memory loss who is the only key in a
mysterious missing person’s case. Mie D’Haeze (Veerle
Baetens) is detained in a psychiatric institution. She is
visited by police inspector Wolkers who is trying to solve a
disturbing case of a missing person - Thomas De Geest. In
order to find him, Mie has to find her way through the dark
maze of her recent past… it all began when she moved to a
strange house in the woods a few months earlier. The more
Mie remembers, the more she begins to distrust everyone
around her… but especially herself.
The series was one of the highlights on Belgian channel VRT
last autumn. With a market share of 44%, and no less than
an average of 1,250,000 viewers, the series was the fiction
program with the highest number of viewers last year.
‘Tabula Rasa’ has already completed an impressive
international tour, being selected to be shown at interna-
tional festivals such as Series Mania (both in Paris and
Melbourne), MIPCOM (Cannes) and the leading genre
festival Fantastic Fest in Austin (Texas, USA). The series is
currently airing in Germany on ZDFneo. ZDF Enterprises is in
charge of the worldwide distribution of the series.
CONTENTS
A+E NETWORKS
Launched Singapore Digital Studio
Sean Cohan
A+E Networks has begun rolling out
digital studios outside of the United
States, under an A+E Digital
International initiative, with the
first digital studio having launched
in Singapore, for Asia, it was
announced by Sean Cohan, Presi-
dent of International & Digital
Media, A+E Networks. The rollout
further cements its leadership
position in creating cross-platform
content and reaching viewers
everywhere they consume content.
The full-service, integrated creative
and content creation units will
specialize in producing original,
premium short- and mid-form
digital content assets, themed
around network brands and those of
its partners.
In Asia, these brands include
HISTORY, Lifetime, FYI and
Crime+Investigation. In its bid to
effectively respond to the changing
preferences of Asian consumers,
this content will be distributed
through online platforms, adding to
its already substantial OTT offer-
ings, which include some of the
most compelling long-form content
in the industry.
“At A+E Networks, we are storytell-
ers who understand the needs of
our audience, especially in today’s
highly dynamic content landscape.
A growing share of the consumer’s
The facilities are deployed so as to cement its leadership
position in creating cross-platform content and reaching
viewers everywhere they consume content.
time is spent consuming short- and
mid-form content. We have
recognized this opportunity and are
taking a leadership position in
investing in the creation of digital-
first storytelling that is in keeping
with the high creative standards we
have set for our brands globally,”
said Cohan.
Continued Cohan: “Harnessing our
strong cross-disciplinary content
creation capabilities, we are excited
to roll out digital studios to help our
viewers experience all their favourite
brands through the new lens of
short- and mid-form content.
Moreover, it also helps our partners
and clients leverage our fan base
and engagement through meaning-
ful branded experiences and bespoke
branded content.”
“We are delighted that A+E Net-
works has chosen to further expand
operations in Asia with the launch
of their first digital studio in
Singapore. This is a testament to
Singapore’s attractiveness as a
location for global media companies
to innovate and experiment with new
business models for the region, as
well as add to our base of digital
content creation and commercial
capabilities across the media sector,”
said Tung Meng Fai, Director,
Infocomms and Media, Singapore
Economic Development Board.
In Asia, A+E Networks has forged
strong growth for its brands in the
online space since October 2016
with a unique reach that has
doubled to 331 million and engage-
ment that has grown 196 percent to
81 million. Collectively, the net-
work’s flagship brands – HISTORY,
Lifetime and FYI garnered over 218
million video views and 3 million
watched hours across its digital
@ newslinereport
platforms. During this period the
company also created bespoke
branded solutions for regional
brands such as POSB Bank, Silk Air,
Shiseido and Nestlé.
With the new digital studio in Asia,
A+E Networks will be able to provide
an additional value-add service in
the form of integrated content
marketing solutions to help brands
build stronger fan bases and
meaningful brand experiences in the
volatile online and mobile space.
Standing out among the completed
work is HISTORY’s digital-first
series, The History Hustle, a host-led
short-form edutainment show
featuring Simon Yin (Hidden Cities:
Extreme).
OMG! Philippines showcases
amazing Filipino artists and
artisans. The short-form digital
piece features, among others, a
sculptor who carves miniatures out
of crayon sticks and an artist who
harnesses sunlight through a
magnifying glass to create his
masterpieces.
In the same vein, Shiseido worked
with Lifetime to show how the region’s
top female MMA fighter, diver, pastry
chef and dancer all find their
strengths while showcasing
Shiseido’s latest product.
Nestlé also collaborated with Lifetime
to create short-form branded clips
focused on an active and healthy
female lifestyle and featuring the food
and beverage brand’s own ambassa-
dors in action.
MIPTV 2018 35
 CONTENTS
BBC WORLDWIDE LATIN AMERICA/US HISPANIC
“Our ideas are widely valued
on our region”
How has the market received
your latest titles?
The reception has been extraordinary,
both in terms of programming distri-
bution and formats commercialization.
Our partnership with Endemol Shine
Brazil, for example, allowed us to cre-
ate the Brazilian version of ‘Dancing
with the Stars’ that is being broad-
casted by Rede Record. On the same
way, the local version of ‘Bake off Bra-
zil - Mão na Massa’ has been a tremen-
dous success on its first two seasons
on air in SBT and Discovery Brazil. The
same happens with ‘What not to wear’
that is on its 12ve season on SBT. Some
weeks ago we have launched ‘El Gran
Uruguayo’ in Canal 10 of Uruguay. This
is the local version of the format ‘Great
Britons’, and this is another test that
titles and formats of BBC Worldwide
are widely valued on our region.
In your opinion, why is the
British content so well-known
around the world?
BBC is a unique brand in the market
and a name highly recognized as a pro-
vider of world-class premium content
and as an international platform for the
exhibition of the best examples of Brit-
ish creativity. BBC Worldwide is the
biggest TV programming distributor in
the world, just only behind the biggest
36 MIPTV 2018
David Hanono
studios in the US, with a portfolio of
more than 45.000 hours. It is a brand
that inspires confidence and whose qual-
ity content has been approved all over
the years with several prizes of the TV
industry like BANFF Awards, the Critics’
Choice Television Awards and, of course,
the Emmy Awards.
Which are the key territories for
your growth strategy?
Our main goal is to reach all the plat-
forms with our main titles and formats
in every single corner of Latin America.
Into that platforms we count FreeTV,
PayTV, SVOD and OTT, among others.
That’s why we have strength our pro-
duction capabilities in markets like
Brazil through the alliance with En-
demol Shine Brazil.
David Hanono,
General Manager
Sales & Digital,
described the
different partner-
ships in the region
and the penetration
of British content.
In Latin America we have sold more
than 600 hours of drama content
thanks to significant partnerships in
the South Cone with VTR in Chile and
Cablevision in Argentina that offer the
series ‘Doctor Who’ (S1-10), ‘The Last
Post’ and ‘Ripper Street’ (S1-4) on its
services On Demand. The subscribers
of Flow, the digital platform of Cable-
vision, can enjoy the series ‘Rillington
Place’ and ‘Luther’. While our pan-re-
gional partners supplied the increase
on the demand of British dramas with
partners like Sony Crackle that offers
‘Top of the Lake’ and ‘Born to Kill’ on
its digital platform, AMC brought ‘Ma-
igret’ (S1-2) and DirecTV did the same
with ‘Paula’ for Latin America.
Which are going to be the
main trends of the industry
for this year?
I consider that during the next years the
industry will be strongly focus on the
production and commercialization of
content, with the main goal of covering
the growing demand that is being gen-
erated by the different distribution plat-
forms. In this sense, BBC Worldwide is
in a very competitive position as we are
controlling all the rights of the content
that we produce and commercialize, both
in the level of programming and for-
mats. That’s how we could satisfy the
demand of classic programs with adap-
tations that reflect the culture and the
local attractions.