Videoage International October 2021

I N T E R N A T I O N A L www.V i deoAge.org THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION October 2021 - VOL. 41 NO. 5 - $9.75 ???? (Continued on Page 30) I n a recent article, the Italian daily La Stampa reported that, since the advent of streaming, U.S. dominance in the international TV sales market has greatly diminished. To drive the point home, the newspaper listed many drama series produced in different countries that became very popular worldwide. However, most of the titles listed were streaming originals, so we at VideoAge elected to replace them with equally successful broadcast series, since made-for-streaming content is not typically sold market by market worldwide. Countries that were successful with their broadcast series (such as Canada and Israel) quickly MIPCOMTalk withBuyersOn Sensitive Topics My 2¢: We should be having fun, but having fun is a serious biz MIPCOM Preview: In Cannes and Cancun just to see you New U.S. TV Season: what’s available for the int’l market The Century Plaza hotel wants the L.A. Screenings back Page 34 Page 22 Page 14 Page 8 W e asked a group of in- ternational TV program buyers whether MIPCOM is a good market to acquire new content, and the answer was an overwhelming “Yes!” Tel Aviv, Israel-based Revi Ben- shohsan, general manager, Israel, Russia/CIS, at SPI International, added: “MIPCOM also provides us with the opportunity to explore new companies, which is an undeniable advantage of such markets.” Similarly Los Angeles-based Klooma’s Kenn Viselman hails MIPCOM because “it gives you access to many smaller production companies that you may not have been aware of.” U.S. TV Divisions That Take Prezs’ Personalities (Continued on Page 16) Streaming Strips The U.S. of Its TV Exporter Role T he editorial task at hand was rather challenging for a TV trade publication. We were to determine whether the U.S. studios’ international content sales divisions tend to assume the personalities of their presidents. The obvious an- swer is a resounding yes, but the questions that remain are: Why and how? (Continued on Page 26) found themselves being tapped as good sources of content for streamers such as Netflix and Amazon. This became a boon for local production companies, but reduced the countries’ overall international sales. On the oth- er hand, in countries such as Turkey, where local productions are mostly made for broadcast