(Continued on Page 12) Looking at next month’s L.A. Screenings, now in its 60th year, one cannot help but marvel at the resilience of a market that was never formally organized, but grew organically. The year 1963 was a magical one for the TV industry, with trade shows galore popping up in Europe, including MIPTV (France), MIFED (Italy), the Monte Carlo TV Festival (Monaco), not to mention NATPE and the L.A. Screenings, both in the U.S. The L.A. Screenings were created by the U.S. studios and were born as the May Screenings, an event designed to showcase the Pilots for the New Broadcast Season Being Decimated My 2¢: Flush ratings, qualitative methods, and appreciation index MIPTV Preview: Stuck between London and the L.A. Screenings A shrinking list of 2023-2024 U.S. TV season pilots Series development is Lille’s mania. The review is on Page 30 Page 16 Page 12 Page 10 Last year’s broadcast pilot season had around 35 shows to present, the lowest number ever — until now, that is. This go-round looks to be considerably lower. The 2023-2024 season is down from a 2013 high of 98 shows to a total of 21 shows between ABC, CBS, FOX, and NBC. One of the reasons for this reduced total is the change in programming strategy over at The CW network, where the new owners, contrary to the old regime, are straying from scripted content. However, the number of shows once ordered by The CW would not take the current order total of 21 anywhere near that record low of last season. The 21 piContent, NATPE Battle for CEE Mart Supremacy (Continued on Page 26) L.A. Screenings at 60 Still Shows Teen’s Pimples In 1867, the Austro-Hungarian empire was formed with a compromise that created a dual monarchy. The current standoff between C21’s Content Budapest (formerly Content East) and Brunico, the new owner of NATPE Budapest, seems like the AustroHungarian power struggle all over again — only without the aid of (Continued on Page 22) U.S. TV networks’ fall programs. It followed the Upfront presentations in New York City, organized by the networks’ ad sale divisions to present their clients and ad agencies with the new TV shows that would soon make it to the air. Similar in nature to the L.A. Screenings are the London TV INTERNATIONAL www.VideoAge.org THE BUSINESS JOURNAL OF FILM, BROADCASTING, STREAMING, PRODUCTION, DISTRIBUTION March/April 2023 - VOL. 43 NO. 2 - $9.75 VISIT US AT R7.F28
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Cover Stories Before analytics there were other methods for gauging viewers’ interest, the most common being ratings. But the frontrunner was “Flush Ratings.” Page 30 News L.A. Screenings is 60, but still shows teen’s pimples and growing pains Showdown in Budapest: Content and new NATPE battle for CEE TV market supremacy U.S. broadcast TV season and the shrinking list of alpha nets’ pilots 4. World: Cartoons on The Bay, Q&A with Roberto Genovesi 6. World: Key U.S. SVoD platforms in Parrot-style figures 16. Market Preview: MIPTV fighting to survive stuck between the London Screenings and the L.A. Screenings 8. Book Review: A toast to Hollywood, 400+ talent and executives featured 10. Series development is Lille’s Mania, a review 14. New series pilots for U.S. broadcasters ABC, CBS, FOX, and NBC 18. Content Americas report: Market success overshadowed by looming competition 28. Friendly skies become friendlier with free Wi-Fi. Plus calendar of industry events MAIN OFFICES 216 EAST 75TH STREET NEW YORK, NY 10021 TEL: (212) 288-3933 WWW.VIDEOAGEINTERNATIONAL.COM WWW.VIDEOAGE.ORG P.O. BOX 25282 LOS ANGELES, CA 90025 VIALE ABRUZZI 30 20131 MILAN, ITALY EDITOR-IN-CHIEF DOM SERAFINI EDITORIAL TEAM SARA ALESSI (NY) BILL BRIOUX (CANADA) ENZO CHIARULLO (ITALY) LEAH HOCHBAUM ROSNER (NY) SUSAN HORNIK (L.A.) CAROLINE INTERTAGLIA (FRANCE) OMAR MENDEZ (ARGENTINA) LUIS POLANCO (NY) MIKE REYNOLDS (L.A.) MARIA ZUPPELLO (BRAZIL) PUBLISHER MONICA GORGHETTO BUSINESS OFFICE LEN FINKEL LEGAL OFFICE STEVE SCHIFFMAN WEB MANAGER BRUNO MARRACINO DESIGN/LAYOUT CLAUDIO MATTIONI, CARMINE RASPAOLO VIDEO AGE INTERNATIONAL (ISSN 0278-5013 USPS 601-230) IS PUBLISHED SEVEN TIMES A YEAR,. PLUS DAILIES, BY TV TRADE MEDIA, INC. © TV TRADE MEDIA INC. 2023. THE ENTIRE CONTENTS OF VIDEO AGE INTERNATIONAL ARE PROTECTED BY COPYRIGHT IN THE U.S., U.K., AND ALL COUNTRIES SIGNATORY TO THE BERNE CONVENTIO AND THE PAN-AMERICAN CONVENTION. SEND ADDRESS CHANGES TO VIDEO AGE INTERNATIONAL, 216 EAST 75TH STREET, SUITE 1W, NEW YORK, NY 10021, U.S.A. PURSUANT TO THE U.S. COPYRIGHTS ACT OF 1976, THE RIGHTS OF ALL CONTENT DONE ON ASSIGNMENT FOR ALL VIDEOAGE PUBLICATIONS ARE HELD BY THE PUBLISHER OF VIDEOAGE, WHICH COMMISSIONED THEM Features
April 2023 dard numbers that the event has always had. VA: Will it always take place at Aurum [a conference complex in Pescara]? RG: The festival will take place at Aurum as far as the professional program is concerned, in the squares of Pescara as far as the public program is concerned, and in the city’s multiplex cinema as far as the film program, retrospectives, and previews are concerned. VA: Will the main Italian animation producers be present (such as Rainbow, Mondo TV, Rai Kids, The Animation Band, Atlantyca, ShowLab)? RG: Yes, as always, since Cartoon Italia [the Italian National Association of animation producers] is an associate of the scientific committee of the festival. VA: Will there be forms of participation with the Region sector, such as: Scuola Internazionale di Comics (Pescara), Accademia del Fumetto (Pescara), Scuola del Fumetto Inkiostro (Martinsicuro), Scuola di Fumetto Abruzzo (L’Aquila), and the high school ISIA? RG: The International School of Comics in Pescara has been one of the festival’s partners since last year. We are counting on extending the collaboration to all of Abruzzo’s industry entities that would like to [participate]. VA: How many awards will be given out? RG: Cartoons on the Bay gives out its traditional Pulcinella Awards, which are the internationally recognized Oscars of animation. There are eight categories in the competition, plus the artistic direction awards, the Lifetime Achievement, Studio of the Year, and from this edition, the Meta, Transmedia and Gender awards. In addition, since last year, COTB has exclusively hosted the Sergio Bonelli Award [named after the Italian cartoonist]. VA: Do you have any events planned to promote Cartoons during fairs such as MIPTV? RG: COTB’s international consultants attend all industry events and there is a different promotional approach for each one, but the festival’s presence is constant. Pictured above is last year’s COTB event in Pescara. VideoAge: The Italian children’s TV festival Cartoons on The Bay (COTB), which is taking place May 31June 4, is not held around the same time as other major European audiovisual events (too late for MIPTV in Cannes, too early for NATPE Budapest and Content Budapest), which makes it difficult to attract foreign operators (who would need to make a special visit in order to attend). So why not schedule it closer to other events? This has worked well in the past for both Cartoons and Prix Italia (both RAI events). Roberto Genovesi: The dates were chosen in agreement with the Abruzzo Region and the Municipality of Pescara [the Cartoons venue]. The festival is 27 years old and its authority is recognized. I could make the argument the other way around. VA: How many participants are expected this year? RG: We have recently put the COVID pandemic behind us and the numbers are going back up. We are counting on returning, as early as this year, to the stanCartoons on The Bay: Q&A with Artistic Director Roberto Genovesi World (Continued on Page 6) 4 APRIL 2023 JUNIOR PAGE_ 7.284”x 9.055” VIDEO AGE JR. PAGE GRB Studios www.grbtv.com l sales@grbtv.com Genre: Docu-series Duration: 6 x 60’ Genre: Docu-Series Duration: 8 x 60’ MIPTV 2023 STAND R7.A16
April 2023 $7.8 billion in Q4 2022 — up from $7.71 billion in Q4 in 2021. Disney+ is Parrot’s number two ranked service with 161.8 million WW subscribers. The platform generated $5.3 billion, up from 4.68 billion in Q1 2022. The figures for Hulu (which is 67 percent owned by Disney and 33 percent owned by Comcast) are similar to those of Disney +, except for the number of subscribers, which are reported to be 48 million. The figures for Disney+ and Hulu are the only ones that the Parrot report lists for Q1 (January-March 2023). However the report is still confusing since it says “Quarter 1 (JanMar 2023)” in the headline, and “Q2 2022” just below. In the other parts of the report, it mentions “Quarter 4” in the headlines, and “Q1 2022” just below. HBO Max comes third with 96.1 WW subscribers and revenue of $2.45 billion for Q4 2022, up from $2.38 in Q3 2022 (no Q4 in 2021 figures were reported). Figures for Discovery+ were the same as HBO Max. Peacock came next with 20 million WW subscribers, and revenue of $2.1 billion, up from $506 million in Q3 2022 (no Q4 in 2021 figures were given). Paramount+ followed with 56 million WW subscribers, but revenue of $1.39 billion, up from $1 billion in Q4 2021. For Prime Video and Apple TV+ no financials were given. Independently, VideoAge found 200 million WW subscribers for Prime Video, and 25 million WW subs for Apple TV+. In 2022, revenue for Prime Video was reported to be $19.21 billion. In comparison, in 2022, Disney+ generated $940 million more ($20.15 billion) with 35.8 million fewer subscribers. Disney+ reportedly lost 2.4 million WW subs between 2002 and Q1 2023. Missing from the Parrot report is the churn rate for each service, which could help to understand the true WW market size for the key U.S. streaming services, which are now 838 million TVHH, with many subscribing to multiple services. If subscription costs would increase, growth for the platforms could be coming either from cannibalization (i.e., churn) or advertising. The Los Angeles-based TV measurement company Parrot Analytics has issued a quarterly report card for Q4 of 2022 for the nine major U.S. SVoD platforms. This 21-page report is filled with charts, graphics, and observations that begin with an abstruse “Content Taxonomy System” description, as well as a multicolored chart to illustrate the “Share of Global Demand for Original Programing.” It also includes information on “Corporate Demand Share” and “On-Platform Demand Share.” Jenny Wall, who was recently appointed chief marketing officer for VideoAmp, a Los Angeles-based data measurement company for datadriven advertising ecosystems, and Parrot’s direct competitor, said that she understands marketers’ frustrations with complex measurement products, and that their attitude is: “I don’t understand it, so I’m not going to do it.” Starting with Netflix, which Parrot ranks number one in terms of total worldwide (WW) subscribers with 230.7 million, the platform generated Key U.S. SVoD Platforms in Parrot-Style Figures World (Continued from Page 4) 6 COME SEE US AT THE RIVIERA R7.N10! WWW.GLASSHOUSEDISTRIBUTION.COM VideoAge Ad.indd 1 3/31/23 2:26 PM
8 For any film buff, whether you’re an amateur or a seasoned vet, the questions you most often ask yourself are: Where do I begin? And what’s next? The history of Hollywood calls back to the late 19th century, which means there’s over a century of people, events, and stories to dig yourself into. And a new book from the writers and film historians Jeanine Basinger and Sam Wasson shares the diverse stories of over 400 people in the industry. Hollywood: The Oral History (768 pgs., Harper, 2022, $37.50) gives a singularly true account of Hollywood as told from the perspectives of hundreds of different people. Basinger and Wasson culled the records of the Los Angeles-based American Film Institute for the transcripts to the Harold Lloyd Master Seminars, a series of conversational lectures from Hollywood experts and insiders across different fields. The lecture series featured recognizably big names from people still working today, such as George Clooney, Jane Fonda, Spike Lee, Jack Nicholson, and Quentin Tarantino. But there were also acclaimed directors and talent from the past, including director Bernardo Bertolucci, comedian Lucille Ball, filmmaker Shirley Clarke, costume designer Edith Head, and director Vincente Minneli. The list doesn’t stop there, as the book also features many behind-the-scenes big shots, from studio executives and producers to agents and art directors. Basinger is a film historian, a former professor at Wesleyan University, and a trustee emeritus of the American Film Institute. She has authored several books, including scholarly works and general audience books on film and the history of Hollywood. Sam Wasson, who was a student of Basinger’s at Wesleyan, is the author of six books, including his most recent one, The Big Goodbye: Chinatown and the Last Years of Hollywood, which was also reviewed in the pages of VideoAge’s August/September edition in 2020. Both Basinger and Wasson bring an expert level of knowledge and experience that shows in how they structured the oral history. Hollywood collages together the various voices of its speakers. It’s a book that doesn’t ask you to read it all at once. Of course, the diligent reader can plunge through the 700plus pages of anecdotes, but the form of the book seems to encourage casual reading — a few pages here, a few pages there. Basinger and Wasson have organized the book into chapters that revolve around certain themes and topics, such as how careers began, the silent film era, the end of the studio system, and so on. But within each chapter, there is usually little narrative continuity, with each speaker offering commentary and short, amusing tales that last only a few paragraphs. The book’s design is such that different people share their experiences at various lengths, and then Basinger and Wasson include a quippy one-liner or joke from another person. For example, after passages from executives on the role of producers, the authors of the book inserted a witticism from Geoffrey Shurlock, the former director of the motion picture Association Production Code: “They used to say a producer was a man who knew what he wanted but couldn’t spell it.” The book begins with “Beginnings”, a hodgepodge of Hollywood greats relating how they got their start in the business. So you have Raoul Walsh — director, actor, and founding member of the Academy of Motion Picture Arts and Sciences — saying he was a terrible actor. There’s Fritz Lang, the Austrian filmmaker best known for the silent sci-fi movie Metropolis, recommending running away from home, like he did. A few individuals talked about entering show biz after World War I, such as the American cinematographer George Folsey and the French-Serbian cinematographer Paul Ivano, both of whom seemed to just find themselves with jobs as if by accident, forgetting the expression that in Hollywood overnight success takes 15 years. One of the most striking chunks of the book is a chapter devoted to the studio workforce. Here, the book features the voices of the producers, the directors, the cameramen, the writers, the editors, the costume designers, the composers, the art directors, and so on. This section also includes Basinger herself. “To understand how the studio system worked, it’s necessary to consider all these various departments, the jobs on the payroll. What was the definition of each job? The level of responsibility? Each department had a definition, whether they abided by it or not”, Basinger says. “The way each department grew — and operated — is the true story of Hollywood.” Hollywood is an intimidating tome both in its heft and scale. At over 750 pages, requiring some heavy lifting, the book is thoughtful and light-hearted. As show biz encompasses over 100 years, huge spans of time are covered in the book — but because there are so many different people to hear from, each person brings a lifetime of details and specificity to paint as full a picture of Hollywood as possible. Basinger and Wasson have made the reading experience accessible and engaging for the most devoted Hollywood connoisseur, as well as the eager newcomer to Hollywood history. At times, the book’s organizational scheme may have the reader wishing for more context on who is speaking, and from which time period he or she is speaking from. But Hollywood: The Oral History will lead anyone to explore new paths and littleknown reminiscences in the vast story of Tinseltown. Film historians Jeanine Basinger and Sam Wasson sift through the archives of the American Film Institute and make an enormous contribution to the history of Hollywood. A Toast to Hollywood: A New Oral History Features 400-Plus Talent and Execs April 2023 Book Review By Luis Polanco “To understand how the studio system worked, it’s necessary to consider all departments... The way each department grew — and operated — is the true story of Hollywood.”
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10 A headline from VideoAge’s January 2023 edition reads: “Developments at Series Mania Deal with Development”, and now we have to update it by adding... “and Sales.” This is because there were so many international TV buyers at the 13th annual incarnation of Series Mania Festival and Forum, that it was in effect, for the professional attendees, more of a market than a festival. Indeed, the Forum — which is the business component of the Festival, and offers TV screenings that are open to the general public — attracted 3,800 participants, 500 more than last year. Considering that this year’s Forum, held at the Grand Palais of Lille, France, also housed an unprecedented 53 exhibiting companies (with Audiovisual from Spain having two separate stands), the Forum’s organizers are thinking of taking some extra space in the convention center for next year’s edition. During peak hours of this year’s event, which took up four levels of the Palais, it was difficult, if not impossible to find a vacant chair to rest or two chairs for a meeting. Similarly, a party at a hotel near the Palais hosted by French distribution company Federation reportedly attracted more than the 350-person occupancy limit. “It was so crowded that people were standing outside”, said Unifrance’s Hervé Michel. The success of this year’s Series Mania even attracted the French consumer media’s attention, with local TV coverage and a full feature in the national daily newspaper Le Monde, which reported that “The American creatives and producers arrived in force at Lille, and [the Forum] is more international than ever.” At this point, Series Mania should be renamed Series Bazaar. Indeed, the venue was so crowded that it resembled New York City’s Penn Station during peak hours. The Forum section of Series Mania saw a mix of exhibitors, drama buyers, panelists, journalists, producers, development executives, and agents. Coincidentally, “Creative Bazaar” is the Forum’s section introduced in 2021 that deals with scriptwriters and casting agents. Series Mania 2023 began on March 17 with its International Festival, offering TV screenings that were open to the general public, and ended on Friday, March 24. There were so many television programs to view this year that those screenings took place in five different local theaters. In effect, the Festival takes over the city of Lille for eight full days, with many French TV stars on parade at various venues. In addition to two international competitions (Compétition Internationale and Panorama International), the Festival offers numerous awards in categories such as comedies, formats, regional programming, and not-yet broadcast TV shows. Meanwhile, the Forum, the business segment of the event, began on March 21 and concluded on March 23. And that’s where the explosive growth unexpectedly showed up and, according to Francesco Capurro, head of Series Mania Forum, surprised him and his colleagues with the spectacular response from exhibitors, all of whom took residence on the second and fourth floors of the Palais, with brands like NBCUniversal, All3Media, Globo TV, and MediaPro in attendance. “Next year we’ll have to have a dedicated section in the guide for the exhibitors”, said Capurro, once he was made aware that no comprehensive exhibition list existed. By the way, while the Forum’s guide is published in English, the guide for the Festival is all in French. Next year’s dates are set for March 1921, 2024 (the festival will run March 15-22). Capurro’s team was able to leverage the Forum’s conferences — this year consisting of 69 panels — to attract both TV buyers and sellers. Carles Blanch, director of Program Acquisitions for TV3 Catalunya in Barcelona, Spain, was in Lille because he was invited to participate in a panel (Meet Buyers From...), but he said that he stayed a day longer to have a few meetings with sellers. All3Media’s Rachel Glaister explained her company’s decision to exhibit at the Forum instead of at MIPTV, which is set for April in Cannes: “Here, we’re meeting the drama buyers who recently screened our products at the London Screenings.” Greg Phillips of London-based Rainmaker Content, who participated with a desk, added: “Series Mania is now a preeminent calendar event for those presenting and setting up new drama projects intended for the worldwide marketplace and those involved in this enterprise: Producers, writers, financiers, and distributors. It’s an extremely well-organized and valuable event.” Brazil’s Globo sent two executives, Gabriel Doria and Jessica Aguiar. Doria pointed out that that he (and Globo) are first-time exhibitors who came to Lille mainly to meet with European buyers and co-producers. Then there was Inter Medya’s Can Okan, who became the Forum’s only Turkish exhibitor in order to meet potential co-producers for his company’s new miniseries projects, highquality shows that consist of six to 12 episodes that run from 22-24 minutes each that were developed primarily for AVoD channels, which will allow the company to expand in Western Europe, the U.S., and Canada. According to Okan, exhibiting at Series Mania’s Forum is less expensive than MIPTV and even recent Miami TV markets. “In effect, it can be compared to a Budapest market”, said Okan. Another first for the Forum is the participation of a large number of top European distribution executives. Attendees included Cineflix’s Tim Mutimer, Fremantle’s Jens Richter, and Berta Orozco, who just joined Spain’s Mediacrest as head of International Sales and Co-productions. On various panels there were also executives of the caliber of All3Media’s Louise Pedersen, Banijay’s Cathy Payne, ZDF Studios’ Robert Frank, Paramount Plus’ Marco Nobili, TF1’s Rodolphe Belmer, and Sky Studios’ Cécile FrotCoutaz. Being equidistant from both Paris and Brussels (a 50-minute train ride from both), Lille’s Forum attracted many Paris-based and Brussels-based production companies, including Le Syndicat des Producteurs Independants (SPI), the association of independent French producers. Lille, a city of 230,000 residents, is also located in the northeast part of France, and as those who saw the classic French movie Benvenue Chez Les Ch’tis (Welcome to the Sticks) know, rain is always expected. But as far as the Forum was concerned, the rainy days made the outdoors appalling and the indoors appealing. In addition, France’s general strike on Thursday, March 23, in Lille turned out to be just an afternoon demonstration (see picture below). The French staged several national strikes throughout March to protest the government’s increased retirement age from 62 to 64 years old (“Mon Dieu, I have to work two more years”, was the people’s cry). Lille Event’s Explosive Growth Even Suprised its Organizers April 2023 Series Mania Report
12 April 2023 U.S. Broadcast TV Season (Continued from Cover) (Continued on page 14) lots join the list of “straight-to-series” orders already announced for the coming season. If we consider what has been rumored, and even stated, by network representatives, the numbers are not surprising. ABC, CBS, and NBC have essentially turned to year-round development via an “off cycle” or “second cycle” process, and FOX is no longer doing pilots for liveaction series, with the exception of Jenny Is a Weapon from Desperate Housewives creator Marc Cherry. The drama has a possible straight-toseries order. With a few exceptions, the nets don’t appear to be taking big leaps of faith with original ideas when it comes to pilots. Instead, they are betting on characters from existing series, hoping fans will follow them into new adventures. CBS is hedging on the character Elsbeth Tascioni (Carrie Preston), an attorney from The Good Wife and The Good Fight, in the new drama Elsbeth. The series follows the attorney as she uses her talent to bring criminals to justice with the NYPD. Similarly, a handful of this season’s pilots are based on pre-existing series, with ABC’s comedy Drop-Off, based on the British program Motherland, and its drama Untitled Drew Goddard, based on the French series Haut Potentiel Intellectuel. The ABC drama The Good Lawyer is a spin-off of the popular series The Good Doctor. It’s about a young lawyer with obsessive compulsive disorder whose symptoms are both a blessing and a curse. CBS is also betting on an existing property, though its comedy JumpStart is based on a comic strip, not another TV series. Then there’s Matlock, based on the longrunning mystery series starring Andy Griffith that ran from 1986 to 1995. CBS is betting on a reboot of this much-loved crime drama, and no doubt hoping that Kathy Bates’ star power will help draw in viewers, as well. The new edition follows Madeline Matlock, played by Bates, as she rejoins the workforce at a top law firm and uses her shrewdness to expose corruption and, of course, like the original Matlock, win cases. Speaking of star power, Damon Wayans Sr. and Damon Wayans Jr. are headlining CBS’ Untitled Wayans Project as a father-son duo navigating the waters of parenting an adult who is a parent himself. It seems as if the nets are really betting that viewers want to spend their nights in the courtroom, with plenty of legal dramas on tap. This includes the aforementioned The Good Lawyer (CBS), Elsbeth (CBS), and Matlock (CBS), as well as Public Defenders (ABC) and Judgement (ABC). Whether viewers are looking for law, crime, or family dramas or comedies, the network execs are hoping there’s a pilot (or two or more) out there for all viewers. And here’s the pilot list (if the series will be picked up, the distributors are indicated). (By Sara Alessi in New York and Mike Reynolds in Los Angeles) ABC (COMEDY) Drop-Off Writer: Julieanne Smolinski Exec Producers: Michael Showalter, Sharon Horgan, Stacy Greenberg, Clelia Mountford, Stacy Greenberg, Kira Carstensen, Paul Feig, Dan Magnante, Holly Walsh, Helen Serafinowicz Cast: Ellie Kemper Prod Co.: Lionsgate, ABC Signature Premise: Julia is a working mother for whom nothing is working, so she goes looking for her village. With the help of new friends Calvin and Liz, Julia discovers she just might succeed at balancing work and parenting from time to time. Based on Horgan’s British comedy Motherland. Distributor: Lionsgate Public Defenders Writer/Exec Producer: Eddie Quintana Exec Producers: McG, Mary Viola, Corey Marsh Cast: Anthony Anderson, Erika Hinningsen, Arturo Castro, Kimrie Lewis, Natasha Lopez, Isaiah Dòdó-Williams Prod Co: 20th Television, Wonderland Sound and Vision Premise: Up to their earholes in student loan debt, four inexperienced public defenders work tirelessly to keep their clients out of jail. Along the way, they have to rely on each other to navigate their first defendants, the absurd court system, and the copy machine that always jams. Distributor: TBD ABC (DRAMA) The Good Lawyer Writers/Exec Producers: David Shore, Liz Friedman Exec Producer/Director: Ruben Fleischer Cast: Kennedy McMann, Felicity Huffman, Bethlehem Million Prod Co: ABC Signature, Shore Z Prods, Sony Pictures TV Premise: Dr. Shaun Murphy (Freddie Highmore) seeks legal representation to help him win a case and puts his faith in a promising young lawyer who has obsessive compulsive disorder. Distributor: Sony Pictures TV The Hurt Unit Writers/Exec Producers: Matt Lopez, John Glenn Exec Producer/Director: Marc Webb Cast: Ben McKenzie, Michelle Ortiz Prod Co: ABC Signature, Black Lamb Premise: A cutting-edge medical drama about a highly skilled team of trauma surgeons and nurses who race into the field to treat the patients who won’t make it to the hospital in time. When the sick and the injured can’t get to the ER, the HURT Unit (Hospital Urgent Response Team) brings the ER to them. Distributor: TBD Judgement Writer/Exec Producer: Joey Falco Exec Producers: Melvin Mar, Jake Kasdan, Jordan Cerf Cast: Sarah Shahi, Portia Doubleday, Christine Adams Prod Co: 20th TV Premise: A high-stakes legal soap that redefines the genre by playing out over two timelines. Fifteen years from now, a woman being vetted for a Supreme Court seat recounts her experience at a prominent D.C. law firm in 2023, where the only thing more controversial than the cases was her messy love life, caught between two feuding brothers. Now, with a Supreme Court seat on the line, all of her darkest secrets are at risk of coming out, threatening her nomination, her reputation, and her marriage. Distributor: Disney Media & Entertainment Distribution Untitled Drew Goddard Writers/Exec Producers: Drew Goddard, Sarah Esberg, Pierre Laugier, Anthony Lancret, Jean Nainchrik Cast: Kaitlin Olson Prod Co: 20th TV Premise: Based on the French series Haut Potentiel Intellectuel, the drama revolves around a single mom with three kids and an exceptional mind who helps solve an unsolvable crime when she rearranges some evidence during her shift as a cleaner for the police department. When they discover she has a knack for putting things in order because of her high intellectual potential, she is brought on as a consultant to work with a by-the-book seasoned detective, and together they form an unusual and unstoppable team. Distributor: Disney Media & Entertainment Distribution CBS (COMEDY) JumpStart Writer/Exec Producer: Wayne Conley Exec Producers: Aaron Kaplan, Melanie Frankel, Bridget McMeel, Wendi Trilling Co-Exec Producer: Robb Armstrong Prod Co: CBS Studios, Kapital Entertainment, Andrews McMeel Entertainment, Trill TV Premise: Based on the comic strip of the same name, set in Philadelphia, the comedy follows Joe, a cop; his wife Marcy, a nurse; and Joe’s partner, Crunchy. Joe and Marcy are young, hip, urban parents with old-school values who are willing to sacrifice for their kids and have some laughs while doing it. Distributor: Paramount Global Content Distribution Untitled Wayans Project Writers/Exec Producers: Kevin Hench (Last Man Standing), Damon Wayans Exec Producers: Damon Wayans Jr., Kameron Tarlo Cast: Damon Wayans Sr., Damon Wayans Jr. Prod Co: CBS Studios Premise: Legendary talk radio host and happily divorced “Poppa” (Wayans Sr.) has his point of view challenged at work when a new female co-host is hired, and at home where he finds himself still parenting his adult son (Wayans Jr.), a brilliant dreamer who is trying to pursue his passion while being a responsible father and husband. Distributor: Paramount Global Content Distribution
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14 CBS (DRAMA) Elsbeth Writers/Exec Producers: Robert King, Michelle King Exec Producers: Liz Glotzer, D Robert King Cast: Carrie Preston Prod Co: CBS Studios Premise: After her successful career in Chicago, Elsbeth Tascioni (Preston), an astute but unconventional attorney, utilizes her singular point of view to make unique observations and corner brilliant criminals alongside the NYPD. Based on the character featured in The Good Wife and The Good Fight. Distributor: Paramount Global Content Distribution Matlock Writer/Exec Producer: Jennie Snyder Urman Exec Producers: Joanna Klein, Eric Christian Olsen, Kathy Bates Cast: Kathy Bates Prod Co: CBS Studios Premise: After achieving success in her younger years, the brilliant septuagenarian Madeline Matlock (Bates) rejoins the work force at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases and expose corruption from within. Based on the classic television series of the same name. Distributor: Paramount Global Content Distribution The Never Game (ordered to series) Writer: Ben H. Winters Exec Producer: Justin Hartley Director: Ken Olin Cast: Justin Hartley, Mary McDonnell, Robin Weigert, Abby McEnany, Eric Graise, Fiona Rene Prod Co: 20th TV, CBS, AfterPortsmouth Prods, Change Up Prods Premise: Revolves around survivalist Colter Shaw (Hartley), who roams the country as a “reward seeker” and uses his tracking skills to solve mysteries as he contends with his own fractured family. Distributor: TBD FOX (ANIMATED COMEDY) Krapopolis Creator/Exec Producer: Dan Harmon Exec Producer: Jordan Young Director: Pete Michels Voice Cast: Richard Ayoade, Hannah Waddingham, Matt Berry, Pam Murphy, Duncan Trussell, Dove Cameron, Tara Strong, Alanna Ubach, Stephanie Beatriz Prod Co: Bento Box Entertainment, Fox Entertainment Premise: An animated comedy set in mythical ancient Greece, centered on a flawed family of humans, gods and monsters that tries to run one of the world’s first cities without killing each other. Prod. Co: Bento Box Ent., Fox Ent. Distributor: Fox Entertainment Global Universal Basic Guys/The Hoagie Bros. (ordered straight-to-series for 2024) Writers: Adam Malamut, Craig Malamut Prod Co: Fox Ent, Bento Box Ent, Sony Pictures TV, Sony Pictures Animation Premise: Brothers Mark and Hank Hoagies suddenly find themselves with no jobs when the Glantontown Hot Dog factory switches over to automation. Lucky for them, the town started a radical Universal Basic Income pilot program, giving all Glantontown residents $3,000 per month with no strings attached. Now, Mark, Hank and the rest of their local buddies are overflowing with the perilous combo of free time and stupid ideas. Distributor: Sony Pictures TV FOX (COMEDY) Jenny Is a Weapon (possible straight-to-series order) Creators: Marc Cherry, Joshua Michael Stern, Ryan McPartlin, Travis Lively Writers: Marc Cherry, Joshua Michael Stern Exec Producers: Marc Cherry, Joshua Michael Stern, Ryan McPartlin, Travis Lively, Mindy Schultheis, Michael Hanel Premise: A sheltered Maryland housewife who, at the moment her marriage falls apart discovers she has special psychic powers, is recruited by a secret government agency where she will have to juggle her broken family and save the world. Distributor: Fox Entertainment Global NBC (COMEDY) Non-Evil Twin Writers/Exec Producers: Amber Ruffin, Kenny Smith Exec Producer: Jenny Hagel Co-Exec Producer: Olivia Morris Cast: Amber Ruffin Prod Co: Universal TV Premise: A woman is forced to step into her sister’s role as the leader of a Fortune 500 company despite knowing little about business and even less about the way her sister has been running the corporation. Distributor: NBCUniversal Global Distribution St. Denis Medical Writers/Exec Producers: Justin Spitzer, Eric Ledgin Exec Producer: Simon Heuer Prod. Co: Universal TV Premise: A mockumentary about an underfunded, understaffed Oregon hospital where the dedicated doctors and nurses try their best to treat patients while maintaining their own sanity. Distributor: NBCUniversal Global Distribution Untitled Mike O’Malley Project (ordered to series) Writer: Mike O’Malley Exec Producer: Jon Cryer Cast: Jon Cryer, Abigail Spencer, Donald Faison, Finn Sweeney, Sofia Capanna Prod Co: Lionsgate, Universal TV Premise: Centers on former marrieds Jim (Cryer) and Julia (Spencer). After an amicable divorce, the exes decide to continue to raise their kids at the family home while taking turns on who gets to stay with them. Things get more complicated for Jim when the owner of his faU.S. Broadcast TV Season April 2023 (Continued from Page 12) vorite sports team (Faison) enters the picture and wins Julia’s heart. Distributor: NBCUniversal Global Distribution (U.S. only) NBC (DRAMA) Found (ordered to series) Writer: Nkechi Okoro Carroll Exec Producers: Greg Berlanti, Sarah Schechter, David Madden, Lindsay Dunn Cast: Shanola Hampton, Mark-Paul Gosselaar, Brett Dalton, Gabrielle Walsh, Arlen Escarpeta, Karan Oberoi, Kelli Williams Premise: In any given year, more than 600,000 people are reported missing in the U.S. More than half that number are people of color that the country seems to forget about. A public relations specialist — who was once herself one of those forgotten ones — makes sure there is always someone looking out for the forgotten missing people. But unbeknownst to anyone, this everyday hero is hiding a chilling secret of her own. Distributor: WB Worldwide Television Distribution The Irrational (ordered to series) Writer: Arika Lisanne Mittman Exec Producers: Mark Goffman, Samuel Baum Director: David Frankel Producer: Jesse L. Martin Cast: Jesse L. Martin, Maahra Hill, Travina Springer, Molly Kunz, Arash DeMaxi Premise: A world-renowned professor of behavioral science lends his expertise to an array of high-stakes cases involving governments, law enforcement and corporations. Based on Dan Ariely’s book Predictably Irrational. Distributor: NBCUniversal Global Distribution Murder by the Book Writer/Exec Producer: Jenna Bans Exec Producers: Bill Krebs, Casey Kyber, Retta Cast: Retta Prod Co: Universal TV, Minnesota Logging Co. Premise: A big city Instafamous book reviewer takes a page from the murder mystery books she reviews and becomes an unlikely detective to uncover the shocking truths about an eccentric seaside town. Distributor: NBCUniversal Global Distribution Wolf Writer/Exec Producer: Michael Grassi Exec Producer/Director: Lee Toland Krieger Exec Producers: Greg Berlanti, Sarah Schechter, Leigh London Redman, Henrik Bastin, Melissa Aouate, Jonathan Cavendish, Andy Serkis, Will Tennant Prod Co: WB. TV, Berlanti Prods, Fabel Ent, The Imaginarium Cast: Zachary Quinto Premise: Inspired by Oliver Sacks’ extraordinary life and work, the drama follows a revolutionary, larger-than-life neurologist and his team of interns as they explore the last great frontier, the human mind, while also grappling with their own relationships and mental health. Distributor: WB Worldwide Television Distribution C M Y CM MY CY CMY K
16 The big MIPTV story this year might very well be the rapid expansion of the London Screenings. Most of the major U.K. and European distributors, as well as a good sprinkling of U.S. studios, screened their wares between February 27 and March 3, 2023, with BBC Studios hosting a London-based showcase that same week. After that come the L.A. Screenings, to be held May 17-25. The Screenings are back in full swing with its second in-person event following the pandemic. MIPTV, set for April 17-19, is stuck in the middle, and some buyers are planning to treat it as a two-and-a-half day event, with meetings scheduled with smaller companies, as well as a few larger ones, who didn’t screen in London and/or will not be in L.A. Said one European buyer: “MIPTV will be less frenetic and busy than MIPCOM, but that will allow for more time and sometimes the best deals are done when you are less rushed.” Thus, the success of the London Screenings might — in a strange twist of fate — be the very thing that saves MIPTV, set to take place 43 days later in Cannes, 28 days before the L.A. Screenings in Los Angeles. Indeed, unlike MIPTV and MIPCOM, where buyers typically don’t have time to screen because they are meeting with different companies every half hour, at the London and L.A. Screenings buyers are only busy screening. “[London] is a screenings market just like the L.A. Screenings”, said one buyer who recently returned from the U.K. This means that after the Screenings content sellers could leisurely meet with buyers at MIPTV for actual negotiations, maximizing the number of meetings in one location and, at the same time, saving money by reducing the number of business trips they have to take. A total of 28 distribution companies were at the London TV Screenings, including Warner Bros., Sony Pictures, Banijay, and Cineflix, which were scattered among various venues such as the Soho Hotel, the Ham Yard Hotel, the Groucho Club, and the Dean Street Townhouse. Lionsgate, Paramount Global, Fox Global, and NBCUniversal hosted cocktail parties. Some companies hosted screenings for the first time this year, including Red Arrow, Newen, and Abacus, and all had English-language drama series to sell. Buyers came from across Europe, the U.S., Canada, Australia, and New Zealand. This could mean that those companies might need to attend MIPTV in order to start the actual negotiations that were not possible at the Screenings. And indeed, some distributors who were previously planning to skip MIPTV have reconsidered attending the Cannes market. When they started a few years ago, the London Screenings took the Wednesday to Friday slot immediately after the BBC Showcase, which was held in Liverpool in February, and attracted several hundred buyers. But three years ago a group of U.K. TV content distributors, including All3Media, Banijay Rights, eOne, Fremantle, and ITV Studios, got together to coordinate their screenings around the BBC Showcase and established the London TV Screenings as they’re known today. Buyers are invited by the distributors and, this year, space was at such a premium that some distributors only allowed one buyer per company, and they had to schedule additional screenings to accommodate the overflow. Last year, the BBC canceled its in-person showcase due to COVID worries. Other distributors took up the calendar dates for their London Screenings, which lasted a full week in London. This year, the BBC was back with a shorter event in London that lasted all day Monday, and continued on Tuesday morning. Each of the screenings was within a five-minute walk of each other in London’s West End. At the L.A. Screenings, in addition to all the U.S. studios on their lots, an estimated 60 content distribution companies will set up shop at the Century Plaza Hotel, May 17-19 for the independents, and May 20-25 for the studios. A good number of distributors attend each of these screenings, but even combining the number of participating sales companies at both the London and L.A. Screenings, that number wouldn’t come close to the expected 150 exhibition companies that will attend MIPTV this year. What is especially significant is that the companies that attend London or L.A. could represent 50 percent of MIPTV’s revenues, considering how large they are. In addition, the significant number of buyers in L.A. (estimated at 800) and in London (700) represent a great seller-to-buyer ratio, much higher that the one found at MIPTV (which in recent years has lured about 1,000 buyers). In terms of countries at MIPTV, 80 countries will be represented, with France leading the way, followed by the U.K. and the U.S. Notably absent during an early March check of attendees are exhibiting companies from Argentina, while all the major Italian companies will be housed at an Italian pavilion. In terms of expectations, there are some diverging opinions among distribution companies. “We are expecting a smaller crowd this year”, said Monica Levy, co-head of Distribution at France’s Federation Studios. “As most companies are conscious of cost-cutting and profitability, many are modifying their travel and market policies to attend fewer faraway markets — with fewer people.” However, countered Emmanuèle Pétry Sirvin, producer and head of International at France’s Dandelooo, “I am delighted to hear that many more clients are attending MIPTV this year. It seems to have become an important market once again after years of downsizing.” Similarly, Marta Ezpeleta, director of Distribution and International for Spain’s The Mediapro Studios, reported: “[MIPTV] is a key event in our calendar as it takes place in spring, and this allows us to see the trends that will mark the year.” She then added, “MIPTV is more focused at the European level [compared to MIPCOM], but it is still a major event and offers interesting business opportunities.” According to Tom Devlin, the Florida-based president, International TV Sales & Marketing, of the Los Angeles-headquartered Allen Media Group/ Entertainment Studios, “MIPTV 2023 will be better than 2022. Buyers and exhibitors want the live events. Our industry continues to go through amazing times, but face-to-face meetings are invaluable!” In terms of territories, Pia Laurel, department head of International Sales & Distribution, for Philippines’ ABS-CBN, said that at MIPTV she “will focus on Africa, Asia, Europe, and MENA.” Similarly, Marina Di Pancrazio, chief content revenue officer for Canada’s Just For Laughs, said “For [MIPTV] we’re focusing on several territories [but mainly]: Europe, the Middle East, and Africa.” MIPTV: Fighting to Survive Stuck Between London, L.A. Screenings April 2023 MIPTV Preview Marina Di Pancrazio, chief content revenue officer of Just For Laughs
18 The first edition of Content Americas was a resounding success, and was universally welcomed and praised by participants. However, the market’s venue, the Hilton Downtown Miami, was, for various reasons, universally disliked by participants. Attendees were also impressed by how quickly the market was put together. It took C21 Media, the U.K. trade publishing company that organized it, just a few short months to prepare and plan for the event. It was only in October 2022 that the company’s executives announced plans to replace the dearly departed NATPE with an all-new TV market that was already set to take place January 24-26, 2023, just a few days after NATPE would have traditionally been held. Content Americas has all the attributes needed to continue for years to come. But there’s a big problem looming in the distance, even though Brunico, the Canadian publishing company that acquired the NATPE brand after NATPE filed for Chapter 11, hasn’t yet fully explained how it plans to use the NATPE name to stage its own NATPE Global in 2024, except that it will be in January and in Miami. Brunico’s president, Russell Goldstein, was seen roaming around Content Americas meeting with several people. He was reportedly invited by David Jenkinson, C21’s managing director, and VideoAge was one trade that he wanted to meet with. But since that interview didn’t end up happening, and he told us, via e-mail, that “there’s nothing to report at the moment”, we can only speculate as to what his future plans for NATPE are. Brunico is known for organizing two markets: Reelscreen Summit, which took place in Austin, Texas in January 2023 and focuses on unscripted and non-fiction entertainment; and Kidscreen Summit, which highlights children’s content, and is held in Miami in February. Now, if Brunico were to combine these two events with NATPE Global (thereby creating a MIP-TV style market taking place alongside events that could rival MIPJunior and MIPFormat) in January or early February — something that it, reportedly, isn’t prepared to do — Content Americas would have a difficult time surviving in late January. The event is now set for January 23-25, 2024, once again at the Miami Downtown Hilton hotel, which is reportedly undergoing renovation. However, if Brunico would ultimately choose to move this possible combined market to March (close to April’s MIP-TV), the event won’t affect Content Americas, but will drastically impact MIP-TV. In effect, whatever Brunico chooses to do in 2024 could determine the fate of two markets: Content Americas and MIP-TV. But there’s also a third option. If Brunico leaves both Reelscreen and Kidscreen as they are (which seems to be the case), and instead tries to build a new niche for NATPE Global, the new entry wouldn’t create issues for Content Americas or MIP-TV, only perhaps a weaker NATPE Global, since Content Americas was able to effectively replace NATPE Miami in 2023. While all of that is still up in the air, what is clear is the fact that Miami is still a favorite destination for executives in the Americas, and the city will undoubtedly continue to host one or two TV markets a year in the coming years. The proof of this is the positive response that Latins reserved for Content Americas just 68 days after the same executives met at MIP Cancun. One explanation is that Latin executives have a January visit to Miami ingrained in their calendars, but it’s also because Miami is an attractive destination for all (except those who hail from LatAm’s South Cone, where January is considered a summer vacation month). Going back to the first edition of Content Americas, it is said that old timers who attended the first few editions of MIP-TV in the 1960s often reminisce about the fact that participants’ pictures were posted on a big board at the entrance of the market venue. This was before printed market guides became a thing. And in our post-market (printed) guide world, the organizers of the very first Content Americas Market Success Overshadowed By Looming 2024 Competition April 2023 Content Americas Report Inter Medya’s Can Okan and Beatriz Cea Okan Rlaxx’s Teresa Alonso Lopez, FilmRise’s Melissa Wohl, Emilia Nuccio, Claudia Morales, and Olympusat’s Hulda Acevedo Kanal D’s Sibel Levendoglu and Selim Türkmen ATV’s Emre Görentaş, Mustafa Keyvan, and Merve Doğan (Continued on Page 20) The positive response that Latins reserved for Content Americas just 68 days after the same executives met at MIP Cancun ... it’s also because Miami is an attractive destination for all.
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20 event did something similar by posting photos of all of the registered participants online. As per opening day, Tuesday, January 24, 2023, some 1,500 participants were officially in attendance (later increased to 1,600), in addition to the usual crew that attends these types of hotel-based markets without badges in hand. The number of exhibitors was exactly 102. According to the original release issued by C21, the number of participants included 500 buyers. All in all, in terms of attendance, this inaugural Content Americas in downtown Miami was not that far off from the last in-person NATPE Miami event (held in Miami Beach in 2020), which also recorded an estimated 1,500 participants. According to an official account, all of the Hilton hotel’s 528 rooms were sold out. During its three days of activities, the market offered 22 conferences, including one featuring Pierluigi Gazzolo, CEO of ViX, TelevisaUnivision’s Spanish-language streaming service; Fernando Szew, CEO of Fox Entertainment Global; Karen Barroeta, executive VP, NBCUniversal Telemundo Enterprises; and Ben Silverman, co-CEO of Propagate Content. These talks mostly focused on each company’s new content line-ups and support for traditional TV. “I believe linear TV will be around for years to come, and content will continue to adapt as the rest of the landscape shifts”, reported Telemundo’s Barroeta, while Propagate’s Silverman criticized the streamers, and Fox’s Szew predicted that AVoD will bring an injection of capital into the global TV market. There were also two major screening/evening cocktail parties hosted by Spain’s Secuoya Studios and Miami-based Telemundo Global Studios, and four other parties, including the welcoming and closing parties. There was also a lunchtime session sponsored by the China Pavilion, and a breakfast reception hosted by the governor of the Jalisco State of Mexico, while a “luncheon for all attendees” was set for those participants who wanted a sneak peek at Warner Music’s Melody series. A press conference to present Ecuavisa Studios’ 2023 production slate was also held. After some initial hesitation from competing trade publishers, Content Americas organizers ultimately managed to get endorsements from all of the major trade publications. “It’s commendable that C21 was able to organize a market in a few short months”, said content buyer Cida Goncalves, who was at the Miami market as an invited buyer of content for her distribution pipe. “I think the market is successful and will continue.” Others who spoke with VideoAge’s reporters felt similarly. Content Americas’ success has been attributed to three main factors. First is the fact that industry people like being in Miami. Second is that the January market is an ideal place to follow up with executives met at MIP Cancun. And last is the fact that the market’s organizers offered a discount to those who pre-paid (and were never reimbursed) for the NATPE 2022 show that was ultimately canceled. That Miami is a favorite venue for a LatAm market is readily apparent by the fact that only a few exhibitors at Content Americas had anything new that wasn’t already offered to buyers at November’s MIP Cancun, and yet the same buyers and sellers happily came together again to see each other at this new event. In Cancun, the exhibitors merely showed their new catalogs. In Miami, many have said that they actually got contracts signed. The reason given was that MIP Cancun organizers put time constraints on meetings (25 minutes max), but at Content Americas meetings took as long as necessary, and thus were more conclusive. Another advantage of Content Americas was the possibility of interactions between the distributors for co-productions and adaptations of successful series, as in the case of Turkish series like Blue Cage, a co-production between Telemundo Global Studios and Inter Medya. As for the presence of the U.S. studios, reps from all of the majors were in attendance, with Disney, FOX, Lionsgate, MGM, NBCUniversal, Paramount, Sony Pictures, and Warner Bros. making appearances. In addition, there were key LatAm studios like Globo, MediaPro, Secuoya, Telemundo, and TelevisaUnivision. Plus, all the main Turkish production and distribution companies, including ATV, Calinos, Global Agency, Inter Medya, Kanal D, MADD, MISTCO, OGM, TRT, and Raya. Not surprisingly (considering the appeal of the climate), there was also a good Canadian presence, with companies like Just For Laughs, which attended as a last-minute decision, as indicated by chief content revenue officer Marina Di Pancrazio. Others, like TLN and Film One Media had been planning to attend for a while. At the event, Toronto-based CosMedia took the opportunity to announce the launch of its LatAm distribution arm, focused on localizing Canadian movies and series IP and delivering them to the Latin American market. April 2023 Content Americas Report Calinos Entertainment’s Firat Gulgen, Duda Rodrigues, Cristina Duffy, and Asli Serim NBCUniversal Telemundo Enterprises’ Karen Barroeta TRT’s Mustafa Ilbeyli, Gökce Aydogdu, and Mustafa Aydogan Globo’s Pablo Ghiglione, Jessica Aguiar, Marcela Parise, Angela Colla, and Isadora Filpi (Continued fropm Page 18)
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