INTERNATIONAL www.VideoAge.org THE BUSINESS JOURNAL OF FILM, BROADCASTING, STREAMING, PRODUCTION, DISTRIBUTION March/April 2024 - VOL. 44 NO. 2 - $9.75 (Continued on Page 20) Co-Financing Replacing Old Era Co-Production During the “Spotlight on Turkey” seminar held at Content Americas in Miami in January, University of Georgia professor Carolina Acosta-Alzuru offered an academic analysis of the appeal that Turkish TV series have for Latin American audiences. The seminar also analyzed something that is becoming clear among producers the world over: the incongruity between co-production and cofinancing. It is known that production companies want to produce their own developed content. It is also known that a project has to be presented to an outlet with financing in place, which means that financial partners are always needed. Therefore, wouldn’t it be more logical to be talking about co-financing instead of co-production? Plus, the co-financing model has proven to be a more attractive option than co-production — which in Europe often turns (Continued on Page 26) Diversity was a bone of contention throughout the first days of the Winter Television Critics Association (TCA) Winter Press Tour, held at The Langham Huntington Hotel in Pasadena, California. However, by the fifth day, when presentations came from ABC, Disney+, Disney Branded Television, and Freeform, the issue had evaporated. The TCA Tour is an interview event coordinated between the TCA committee and the different U.S. TV outlets — networks, independents, PBS (public), caTV Execs Unload Their Frustrations On TCA Journalists (Continued on Page 22) The Newfronts, which began for some U.S. media companies on March 20, will continue up until May 2, 2024 in New York City, while other firms are gearing up for the Upfronts, which will start the morning of May 13. L.A. Screenings, Upfronts Endure More Challenges My2¢: Confusion between “truth” and “competence” Pilots, straight-to-series commitments, renewals for the 2024-25 season Miami Report: Two TV trade shows at once caused dismay MIPTV Preview: 61-year-old spring mart ends its run Page 30 Page 24 Page 14 Page 12 C M Y CM MY CY CMY K secretofpearls_ilan_18,5x16_cmyk.pdf 1 22.03.2024 19:57
INTERNATIONAL SALES Delmar Andrade dandrade@recordtv.com.br www.recordtvnetwork.com Thiago Castro tbcastro@recordtv.com.br
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. 2024. 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 Incompetence masquerading as personal truth might be beneficial to one’s health. Too many truths, however, could cause agita. Page 30 Cover Stories News Content executives unload their frustrations on TCA journalists The L.A. Screenings and Upfronts endure more challenges Co-financing is replacing old era co-productions Features 12. MIPTV preview: A 61-year-old spring event struggles surrounded by successful markets 14. Miami Marts Report: Two TV trade shows at once. Competing dates caused dismay 18. Book review: Will Prestige TV (aka Peak TV) change with streamers in crisis? 24. Pilots, straight-to-series commitments, renewals for the 2024-2025 season 28. Airlines predict more problems than last year. Plus, calendar of events 4. World: NAB Las Vegas deals with hardware, and touches on all aspects of show biz 6. World: Super Bowl and TV misconceptions 8. World: Series Mania, Lille’s premier TV conference, grows in the midst of turbulence. Cartoons return to Pescara 10. World: New formats coming up
4 World VIDEOAGE April 2024 (Continued on Page 6) vention Center venue will house more than 1,200 exhibitors and welcome an expected 65,000 participants, of which 25 percent hail from outside the U.S. The convention encompasses the technical aspects of film and TV, as well as advertising, legislative topics, business trends, linear media, broadcasting, cable channels, new media, including social media, and streaming (SVoD, AVoD, and FAST), with a spotlight on the fast-paced creator economy. The key trends to be explored at NAB 2024 include: How AI is evolving production and workflows; 5G as an increasingly viable option for live production; acceleration of ATSC 3.0 use cases and rollout; the future of linear broadcast in a mobile streaming addicted world; and monetizing celebrity. This latest trend was well evident during the commercial breaks of the recent Super Bowl broadcast in which TV commercials featured movie, TV, and sports stars galore. Outside the NAB exhibition floors, participants can attend conferences and workshops that are held in meeting rooms. Passes are priced at $299 per participant. However, some seminars, especially those that have been officially described as “educational,” will be held on the show floor and are for free. NAB officials pointed out that NAB Las Vegas operates differently than NAB New York in October. There, most conferences are free. This year, the four-day NAB Show in Las Vegas starts on April 14, which conveniently falls exactly four days after the end of MIPTV in Cannes. In the past, the dates of the two events clashed, forcing film and TV executives to make a choice. The verdict is still out as to what will happen next year. NAB will begin April 5, while MIPTV’s dates are still up in the air as the organizer, RX France, has been considering a move to London in February (see separate story on page 12). As for the NAB Show 2024, the Las Vegas ConNAB Las Vegas Deals with Hardware, And Touches on All Aspects of Show Biz Famous Quotes “The word ‘influence’ from the Latin word ‘influere’ (to flow in) dates to the 14th century. ‘Influencer’ caught on as a marketing term in the 1960s. A 2005 Times article considered influencers to be something like newage socialites.” The New York Times, March 10, 2024 Genre: Paranormal Duration: 10 X 60’ Genre: Paranormal Duration: 10 X 60’ Genre: Paranormal Duration: 8 X 60’ 300-hours of holy $%#@! www.grbmediaranch.com l info@ grbmediaranch.com
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6 World VIDEOAGE April 2024 (Continued From Page 4) (Continued on Page 8) beer served at pubs, the traditional junk food served at homes and sports bars, and the celebrities present at the Las Vegas Allegiant stadium. Specifically for the Super Bowl, according to a survey by Chicago-based Numerator, 19 percent of the TV viewers did not pay attention to the game, but 82 percent watched the Halftime show. As for the best TV commercial, 29 percent favored the coffee shop chain Dunkin Donuts spot with Ben Affleck, Matt Damon, and Jennifer Lopez. Similarly, for the Sanremo Festival, the key attractions were the various antics of the participants, the celebrities involved, the live performances, and the controversies surrounding the event. For five days, starting February 6, 2024, Italy’s RAI enjoyed record TV audiences for its Sanremo Festival, where the highlight wasn’t the songs, but the performances, which included John Travolta doing a few steps of the “Chicken Dance,” (called the “Duck Dance” in Europe), which is usually performed at weddings. For Travolta’s performance, the 69-year-old Hollywood star was reportedly only compensated for travel expenses ($200,000) by RAI, but it was pointed out that he was paid $1 million by the manufacturer of the sneakers that he was wearing on the RAI show, the Italy-based U-Power. For many years the music competition has been popular not as much for the songs it produced as for the antics of its participants. Gone are the days when songs like Volare and Quando Quando debuted at the Festival. Sanremo is now popular for gags such as the one performed by Travolta. In the final analysis, both shows demonstrated that broadcast television is alive and well worldwide, given the right program mix. The 58th annual Super Bowl, the American football final, which took place on February 11, registered a record TV audience of 123.4 million viewers in the U.S. And in Italy the previous day, February 10, the 74th Sanremo Music Festival final attracted a record number of 14.3 million TV viewers. The number of TVHH in the U.S. is 125 million, while in Italy it is 25 million. However, in both cases observers miscredited the type of program that aired. The first was said to be sports. The second, songs. In reality, the sports element, like the songs element were just incidentals. Indeed, the main attraction for the Super Bowl were the TV commercials, the Halftime show, the Super Bowl & TV Misconceptions. In Italy, Travolta Trampled by the Chicken Dance CONTACTS Isabella Marquez for Century Plaza exhibition imarquez@eventstm.com Dom Serafini for VideoAge domserafini1@aol.com WEBSITE UPDATES www.videoageinternational.net/new-us-tv-season-guide/ L.A. Screenings: Basic Info Indie Screenings May 14-17 Century Plaza Hotel Studio Screenings May 18-23 Various Studio Lots Parties CP & Studio Lots By invitation only VideoAge Issue Out May 13 Printed and PDF
8 World VIDEOAGE April 2024 (Continued From Page 6) (Continued on Page 10) ered at Series Mania’s 2024 Lille Dialogues summit. After several years of growth, the number of TV series submitted to the festival stabilized at around 400 from a wide range of countries, while the number of conferences and keynotes reached 55 — all of which were broadcast live and are available on replay. Nonetheless, the event welcomed a record 4,000 participants from 60 countries. At this year’s edition, Series Mania Forum (the professional portion that took place from March 19 through the 21) expanded within the Lille Grand Palais, with new exhibition and networking zones offering more meeting spaces for participants and exhibitors. The Business Square joined the Delegates’ Hall and the Business Lounge, both of which were fully booked this year with over 60 exhibitors, including A+E, All3Media, Inter Medya, Cineflix, NHK, SPI, and BBC Studios. This year’s Series Mania, which took place in Lille, France, March 15-22, was marked by several international crises. First, the Russo-Ukrainian and Israel–Hamas wars drastically reduced the number of applicants from those territories. In Israel, many projects have been shut down since the October 7 Hamas attacks, making it impossible for Series Mania to include an Israeli production this year. Second, South America was still experiencing geopolitical and economic turbulence. Third, the Hollywood strikes, which paralyzed U.S. film and TV production for several months last year, explained why the 2024 lineup contained fewer American premieres. Fourth, Artificial Intelligence is also causing global upheaval, particularly as it affects how series are created and regulated. It was a point of contention during the Hollywood writers’ strike and the topic was covSeries Mania Grows in the Midst of Turbulence All About Cartoons on the Bay The 28th edition of the RAI-sponsored children’s entertainment and animation festival, Cartoons On The Bay, will return for a third time to the central Italian coastal town of Pescara, May 29-June 2, 2024. The festival will take place at three venues: The Aurum conference complex for the industry program (where exhibits and seminars will be located), the La Rinascita square (for the public forum), and the Cinema Massimo (for the screenings). All these venues are accessible to the general public, except for the Industry Area at the Aurum, which is accessible only to registered participants, who must show their festival badges. As usual, the festival will be giving out nine Pulcinella Awards in categories that include short films, feature films and video games. This year’s guest country is Spain, while the main topic to be discussed will be sports. ELEVATED STORYTELLING Capture Register Today! Use code MP03 for a FREE Exhibits Pass! EXHIBITS: APRIL 14-17, 2024 EDUCATION: APRIL 13-17 LAS VEGAS, NV Capture all things pre-production to post in Create, one of three curated collections at NAB Show — the preeminent event for the entire broadcast, media and entertainment industry. Here you’ll find the latest tools and advanced workflows elevating the art of storytelling. Everything to master your craft. And the all-new, interactive Creator Lab experience!
10 World VIDEOAGE April 2024 (Continued From Page 8) ly, Double the Money promises engaging gameplay as couples compete to double their initial investment by establishing small businesses. ITV Studios plays on celebrities’ fears, proposing Shark! Celebrity Infested Waters, set in the Bahamas, which are infested with sharks, and Don’t Look Down, challenging celebrities to jump from frightening heights after intense training. All3Media is set to captivate audiences with new formats like The Underdog/ Josh Must Win, in which former reality show contestants strategize to ensure an unlikely underdog emerges victorious. After the renewed success of classical hits The Traitors (pictured) and The Unknown, All3Media launches Fear Clinic, in which individuals confront their fears head-on in a 48hour therapy program, while The Dog Academy focuses on training unruly canines. Banijay presents a diverse range of formats, including the spin-off Deal or No Deal: Island, set on a tropical island where contestants must navigate physical challenges to uncover hidden cash prizes. Shaolin Heroes takes celebrities on a journey to learn the ancient martial art of the Shaolin Monks, while Love Triangle explores the dynamics of online dating through messaging and chat before couples meet in person. BBC Studios introduces Will You Marry Me? on Channel 4, where experts assist in orchestrating extravagant marriage proposals, ranging from parachute jumps to escape rooms. Fremantle’s Hot Mess Summer reality competition surprises contestants who think they’re going on vacation but end up having to run a bar on the island of Zante. Additionally, the company has recently acquired the Japanese format Freeze, where players are surrounded by frightening things (snakes, rats, etc.), but can’t move, laugh, or change their facial expressions in order to win. (By Maria Chiara Duranti, founder and chief editor of FormatBiz) There won’t be many surprises at MIPTV and the most anticipated titles are undoubtedly those related to AI. Everyone seems to be talking about it, but so far there aren’t any major titles utilizing artificial intelligence for the creation of innovative new products. Apart from a few experiments like the Korean Gone PD by MBC, the first reality show entirely produced (including the cast) with AI, currently, programs are still very much tied to the dynamics of familiar genres. Still, there are shows that audiences will be excited about. Among the new offerings are programs from studios like ITV Studios, All3Media, Banijay, and BBC Studios. Under the banner of “Home of Love,” ITV Studios is set to redefine the dating show genre with a series of innovative formats. From classic favorites like Love Island: All Stars and Love Island: Games, to LGBTQ+ dating shows like I Kiss a Boy/I Kiss a Girl, the studio is committed to representing diverse romantic narratives. Notable among the company’s line-up is A Party to Die, an adventure reality show in which celebrities find themselves entangled in a murder mystery during what they believe to be a wedding celebration. AdditionalNew Formats Coming Up on the Market
12 VIDEOAGE April 2024 A 61-Year-Old Event Struggles Amidst Successful Markets MIPTV Preview MIP-TV, or MIPTV as it is now called (sans hyphen), is set to take place in Cannes, April 8-10, 2024, in the same month that it has been staged for the past 61 years. But this edition will mark the end of its run. About two weeks prior to the start of this year’s MIPTV, organizer RX France announced the shutting down of the Cannes April event and the creation of MIP London, to run February 24-27, 2025 during the same week as the London TV Screenings. This year, all markets leading up to and following MIPTV showed signs of renewed vigor and growth. Starting with the two Miami TV trade shows (see separate story on page 14), trailed by Berlin’s EFM (which had some 12,000 participants, 614 companies with stands, and 1,263 buyers), the London Screenings (which welcomed an estimated 700 executives, of which 500 were buyers), and Series Mania (see separate story on page 8), which registered over 4,000 participants. After MIPTV, NAB Las Vegas is also expected to have a banner year (see story on page 4). Lucy Smith, Entertainment Division director of MIPTV organizer RX France, had previously said: “We enjoyed an early, very encouraging response to the plans for both market and pre-opening weekend this April. That response has been borne out with an expected 130-strong international line-up of exhibitors on the shop floor, including major studios and distributors, FAST, and tech companies, in addition to hundreds more exhibiting companies operating from within pavilions covering 11 countries, and we are again looking to welcome representatives from over 80 countries to Cannes overall.” Right now London is the venue for the successful London Screenings, which took place between February 26 and March 1, and next year will run February 24-28, 2025. The move will solve the calendar date problem that has been afflicting MIPTV since the L.A. Screenings first took flight in May of 1964, but became increasingly problematic in the 1990s. In the past, the month of February had proven to be good for content markets such as Monte Carlo, NATPE, and even the AFM. A London Screenings observer reported to VideoAge that MIPTV organizers “had approached key [London] players a few months back [in late 2023], but [that] they run their own event, not for profit.” MIP London will be staged at the Savoy Hotel and the adjacent IET London: Savoy Place event venue in London’s West End. The new market will have a comprehensive invitation program that gives free access to qualified buyers. “The creation of MIP London is a direct result of clear and evidenced market factors,” said Smith after the new market was announced. “There is a continued appetite for a global content market in the first half of the year. MIP London will not only alleviate a busy events calendar but will provide an additional entry point for international companies to gather in London at the same time.” She added: “Staging markets that provide clients with the best possible solutions for showcasing their content and facilitating deal-making is what we do best at MIP and take huge pride in, as proven over decades in Cannes and more recently Cancun… We have consulted with many of those already hosting events in London as well as with international companies looking to do so. Our vision is a market that complements, not competes with, the established screenings program, that provides further options for the widest range of international distributors, studios, and buyers to take part, and can bring even more business to London in February for the benefit of all. Leading RX France’s first MIP market in London is an opportunity I’m very grateful for.” As to this year’s MIPTV, one positive element of the market is actually being perceived as a minus by many: The absence of a massive U.S. studio presence at the Cannes market — coupled with a dearth of new shows — make content distribution companies with new product highly sought after. This is because MIPTV’s main attraction will be its business aspects. Executives don’t travel that far just to hear people talk at conferences. However, there might be some seminars that attract the market-oriented crowd. Indeed, trade markets should leverage conference sessions to bring content sellers and buyers together in meaningful, practical ways. Back on the market floor, Anil Khera of India’s One Take Media, commented: “MIPCOM and MIPTV are losing the footfall for walk-in buyers because of very high entry fees. The exhibitors also think twice before taking a booth in both exhibitions as costs of booth rental, fabrication, decoration, and rental of furniture are highest in the world in Cannes. The entry fee for buyers should not exceed 100 euro. The number of exhibitors and visitors is getting smaller every year because of above cost factors.” Johanna Salmela, Acquisitions executive at Finland’s YLE Television, expressed a similar view, but with a different take, “I’m sure there will be some people from YLE, but I have felt that some big companies have decided to skip MIPTV. After London Screenings, MIPTV is not that important. It is also quite expensive to travel to Cannes. Flights and accommodations are very expensive. I feel that the venue is not the best one. The Palais should be renovated. It is just too old.” Lucy Smith, RX France’s Entertainment Division director
14 VIDEOAGE April 2024 Miami Marts Report Two TV Trade Shows at Once. Competing Dates Caused Dismay “Negatives for both events were that many participants from foreign countries couldn’t afford to remain in Miami for two weeks with a fourday gap between markets.” Attending two competing TV content markets in the same city one after the other was a unique experience that NATPE Global and Content Americas offered to the international TV sector last January. The sector had experienced twomarket events before, but they were always held in different countries. One example was when MIPCOM was held October 7-11, 1985 in Cannes, France, and MIFED took place four days later in Milan, Italy. Then, in 1986, MIPCOM (October 27-31) had to do battle with The London Market, which was held three days later (November 3-7). However, the recent back-to-back schedule of NATPE Global (January 16-18, 2024) and Content Americas (January 23-25, 2024), held in two different nearby hotels in Miami, was a new experience — even for old timers. And there wasn’t a way to benefit from a two-market discount, since the event organizers couldn’t reach a compromise. Each market had its pluses and minuses. One major NATPE minus was its calendar dates, which many felt were too close to the Christmas holidays. “We weren’t ready,” said one TV executive from Argentina. Similar sentiments were heard often at Content Americas, which was held later. NATPE organizers explained that they picked up the dates from the old NATPE (whose brand they acquired after the old NATPE declared bankruptcy) without realizing that those dates had always been problematic for the European and Latin contingents, but endured since there was just one market to contend with. On the plus side, NATPE attracted a wide variety of participants and a large number of top TV executives. Plus its hotel, the InterContinental, was recognized as a quality venue. As for Content Americas, the pluses were its later calendar dates, the large number of exhibitors and participants, and a record number of content buyers from Latin America. On the minus side were the very slow Hilton hotel elevators, which could hinder the market’s future growth. Negatives for both events were that many participants from foreign countries couldn’t afford to remain in Miami for two weeks with a four-day gap between markets. Miami-based executives were able to attend both events, while out-of-town U.S. participants returned to Content after flying home. Many overseas delegates chose just one market. Content America’s organizers (U.K.-based publisher C21) have announced that the dates for next year’s event are January 21-23, 2025, and are deciding about a possible new hotel venue. NATPE Global organizers (publisher Brunico from Canada) have announced the new dates as February 3-7, 2025. They will combine NATPE with their Realscreen Summit event, both to be held at the Miami InterContinental Hotel. In an informal survey conducted by VideoAge, a number of buyers complained that without an advanced list of exhibitors at both markets, it was difficult to avoid making appointments with sellers located on floors far apart. The opening day saw the NATPE market floor — located on the hotel’s second level — pick up steam. The six elevators at the InterContinental should have been able to move people to where they were going quickly, but lots of traffic meant longer wait times. The market floor housed three pavilions, 21 company booths, and 27 company meeting tables. Plus, there was one meeting room on the market floor (Escorial Room). The private suites (on the 31st, 32nd, and 33rd floors) housed 17 companies, including a number of major U.S. studios (excluding NBCUniversal and Disney), with Lionsgate also taking a cabana by the hotel’s pool on the fifth floor, in addition to a suite. The five cabanas housed a total of five different companies. The pool area was also supposed to be used for the opening party, but a passing storm required a move indoors, to the second floor. Fox Entertainment’s Fernando Szew at NATPE Global At the WAWA luncheon during NATPE Global: VIP 2000’s Roxana Rotundo, RCN’s Maria Lucia Hernandez, Universal Cinergia’s Liliam Hernandez, Tondero’s Cecilia Gomez de la Torre, Banijay’s Michelle Wasserman Disney Entertainment Latin America’s Jack Morera, Heather Harris, Alis Perez, Fabiola Bovino, Barbara Lorenzo, Federico Llaver at Content Americas Mediaset’s Maurizio Colombo and Claudia Marra at Content Americas (Continued on Page 16)
16 VIDEOAGE April 2024 Miami Marts Report Content America’s organizers have announced that the dates for next year’s event are January 21-23, 2025. NATPE Global’s organizers have announced their new dates as February 3-7, 2025. A free, light buffet breakfast was included for all registered NATPE delegates. In terms of participants, in addition to content buyers and sellers, VideoAge met a vast array of executives, ranging from media consultants to on-air personalities pitching their own shows to channels and syndicators to international channel distributors (like Condista, which distributes Italy’s RAI, and IMD, which distributes Mediaset Italia) to producers, screenwriters, and TV channels (like France’s TV5 Monde) looking to expand their international distribution. NATPE Global had 83 exhibiting companies and 1,500 participants, of which 700 were buyers. Meanwhile Content Americas featured 146 exhibitors, including Disney Latin America, and 2,000 official participants, of which 1,000 were buyers. In terms of conferences, NATPE featured 21, including 94 speakers, while Content offered 27 conferences and 54 speakers. As for the markets’ festivities, NATPE started with an opening party, while Content ended with a closing party. NATPE hosted the WAWA luncheon, while Content featured the Rose d’Or Latinos Awards, as well as a Rose d’Or reception. The event was so well attended that, for safety reasons, the doors of the large hall in the Hilton where it was staged were closed due to overflow exactly three minutes before the 6:30 p.m. starting time, leaving a large number of Content Americas’ participants to watch the Rose d’Or proceedings from the monitors set up outside the room by the reception hall area. The Turkish Gala was another oversubscribed Content Americas-related event. It was held at The Temple House in Miami Beach on January 22, and was organized by Miami-based Universal Cinergia Dubbing to celebrate the success of Turkish content on TV across Latin America and around the world. Content Americas was an undisputed success. It was bigger than last year in terms of exhibitors, number of buyers, and total participation. MIP Cancun’s Maria PérezBelliere found the market “very busy,” and VideoAge was even able to publish a Daily, its first since 2020 at a Miami TV market. As mentioned above, one consequence of such success was that the Hilton hotel’s four elevators were slow to come during peak hours (mornings and evenings) to the point that it was quicker to use the stairs — even when walking all the way down from the top floor. (Continued From Page 14) The meeting tables area at NATPE Global The meeting tables area at Content Americas The Turkish Drama Gala organized by Universal Cinergia Dubbing during Content Americas NATPE Global panels featured a large number of top TV executives
1964 “Screenings” 1978 “May Screenings” The L.A. Screenings Evolution In the beginning... 1983... a new name! 2002 ... ... ... ... ... ... www.videoageinternational.net/new-us-tv-season-guide
18 Book Review VIDEOAGE April 2024 Cultural critic Peter Biskind presents a persuasive account of the rise of prestige television that begins with the business and entertainment shift inaugurated by HBO. Will Prestige TV (aka Peak TV) Change with Streamers in Crisis? By Luis Polanco Are we nearing the end of prestige TV? Many such headlines ran last year as a slew of the biggest shows on streamers and cable networks came to an end, from Max’s Succession to Netflix’s The Crown to AMC’s Better Call Saul. In his latest book, Pandora’s Box: How Guts, Guile, and Greed Upended TV (400 pages, William Morrow, 2023, $32.50), Peter Biskind brings his critical attention to the phenomenon of prestige TV (also known as peak TV). In general, prestige TV refers to the “Golden Age” of television, starting from the turn of the millennium to now. It was named after the first “Golden Age in Television” from the 1950s, and describes television programming marked by its high production values, innovative storytelling, and complex and morally ambiguous characters. In Pandora’s Box, Biskind argues for an understanding of contemporary television history that considers how changing business models and technologies impact storytelling and viewing audiences’ habits. Biskind is a cultural critic and film historian who served as editor in chief of American Film magazine and as executive editor of Premiere in the 1980s and 1990s. His writing has appeared in several national publications, including The New York Times and The Washington Post, among others, and he currently serves as a contributing editor at Vanity Fair. He’s published eight books, including Easy Riders, Raging Bulls: How the SexDrugs-and-Rock ‘N’ Roll Generation Saved Hollywood and Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film. Pandora’s Box looks at the contributions made by HBO, cable networks, and streaming services to prestige TV. The network was merged with Warner Bros. in 1989, and in 2023 the streaming version of HBO was rebranded MAX. For Biskind, HBO laid the groundwork for establishing a new model of TV with programming and audiences that could be described as “anti-network.” Biskind offers historical background into the development of HBO as it’s known today, and he explains that because HBO was not beholden to advertisers and sponsors in the same way as traditional broadcasters, this allowed the company to tell stories that couldn’t be told elsewhere. HBO cultivated programming and viewers with a taste and high tolerance for violent anti-heroes, self-deprecating humor, shock value, black comedy, jocular vulgarity, and a crudeness bordering on sexism and misogyny. Early successes included The Larry Sanders Show, which debuted in 1992 and lasted six seasons, a sitcom about an insufferable comic with a late-night show and an acid tongue who lords over the cast of characters. Then, before there was The Sopranos, there was Oz, a prison drama that ran for six seasons starting in 1997, which proved that HBO showed what the networks wouldn’t touch: an intensity of blood and violence, and a compelling penchant for narrative dilemmas that might seem impossible on the networks (such as killing off the lead character). A year later, Sex and the City premiered. Based on the sex columns of Candace Bushnell, the show followed the metropolitan travails of four modern women and discussed topics that had hardly skimmed the surface of broadcast TV: women’s sexual autonomy, homosexuality, sexual health, and cancer, among other topics. Incorporated into the discussion of all these shows is the importance of the executives who shaped HBO, such as Michael Fuchs, Sheila Nevins, and plenty more. In response to HBO’s critical success with The Sopranos, the crime drama that broadcast for six seasons starting in 1999, basic cable had to step up to the plate. Basic cable channels like FX and AMC were forced to rethink their programming, which in turn elicited edgier programs, such as FX’s The Shield and Nip/Tuck, and AMC’s Mad Men. When Netflix hit the streaming stage of TV, Biskind notes that its achievements came in part from disrupting the industry by instituting unconventional business tactics (for example, releasing an entire season’s episodes for viewers to binge-watch) and from the quality of the programming that harkened back to the grittiness and edginess of The Sopranos. The streaming model allowed for new narrative possibilities through a show’s pacing and plot. “Streaming, and bingeing in particular,” Biskind writes, “revived season-long and even series-long story arcs that allowed us to have story and character at the same time. Moreover, whereas network gospel dictated, ‘Don’t confuse the viewer,’ eliminating the intervening week between episodes meant they could fracture their narratives.” Shows like House of Cards and Orange is the New Black (both of which started streaming in 2013) found success in humanizing the bad-good guys (or girls) who resembled morally gray characters like Tony Soprano. Pandora’s Box offers an intriguing perspective on the developments of TV programming. Biskind’s writing voice is informative, entertaining, and wry, a combination that pleasantly matches the irreverence of many of the shows under discussion in the book. Now, as many have pointed out, prestige TV might be in its final days, and this might also be due to the changing dynamics between networks and streamers. Streamers appear to be in a state of crisis. Netflix, for example, inflates its programming with Alist celebrity talent, which comes at a premium, and lures network and cable producers with record-setting deals (Think: Shonda Rhimes and Ryan Murphy). To compete and bring in some money, streamers have also incorporated ad-supported tiers for subscription, which might have an adverse effect on the type of programming available on these platforms. “As the streamers become more heavily dependent on ads, expect that the sponsors will want to exercise control over content, just as they do on the networks,” writes Biskind. The overall TV landscape appears to be that streamers’ programming is looking more like the network shows of yore while the networks are getting marginally more edgy. As Biskind puts it: “To some degree, streamers and networks are trading places.”
VIDEOAGE April 2024 Co-Financing 20 (Continued from Cover) into so-called “Europudding,” a mish-mash of many elements — as it bypasses the legal frameworks that make co-productions difficult to navigate. Still, the question remains: In how many forms can co-financing take place? To expand on this topic VideoAge called on two Turkish producers/distributors who spoke at the aforementioned Content Americas seminar (Erdem Seckin, CEO of OGM Pictures, an Istanbul-based company that also runs its OGM Universe distribution division, and Kerim Emrah Turna, founder and managing director of MediaHub, an Istanbulbased production and distribution company). Separately, VideoAge reached out to Robin Philip, founder of Geophil, an Indian national based in Dubai who recently completed a joint venture with MediaHub for the upcoming Turkish drama series Alaca. Also sitting on the seminar panel were two reps of TV outlets that have programmed Turkish TV series: Deniz Sasmaz Oflaz, CEO of BluTV, a Warner Bros.-acquired Istanbulbased streaming channel, and Jimmy Arteaga, COO of Hemisphere Media Group, which also runs WAPA-TV in San Juan, Puerto Rico. From what was said during the presentation it seems more logical to talk about co-financing instead of co-production, and it was in this spirit that VideoAge posed a few questions to Philip, whose Geophil was originally established in 1985 as a book distributor, and only later expanded into IP development. Philip started by explaining that “co-financing as a concept has evolved over the years. Back in time, the most popular co-financing option used to be as a debt instrument where the co-financers get their principal and a fixed return within a fixed period of time with no access to revenue or IP share. Production houses found it difficult to attract financing from banks and investment funds and hence this was a preferred option, and the cofinancers were typically high net worth individuals or moneylenders.” He continued: “Co-financers today are mainly companies that either own a media platform somewhere or have a media distribution business or media-focused venture capital funds. We see models that have a mix of co-financing in exchange for certain rights, as well as a share of revenue.” Seckin, CEO of OGM Pictures and OGM Universe, further explained: “The most common form [of co-financing] involves cash investments, where one party provides funds for the project in exchange for a share of profits or revenue. Another form is in-kind contributions, where goods or services are provided instead of cash. Co-financing can [also] involve the exchange of distribution rights. In this scenario, one party provides cash in exchange for the rights to distribute the project in a specific region. Profit-sharing is another form, where one party receives a percentage of the profits generated by the project instead of a fixed return on investment.” On a side note, OGM’s press agent pointed out that the closest thing to a co-venture the company has engaged in was for Omer, a TV series produced by OGM for Turkey’s Star TV and distributed by Eccho Rights. The 2023 series was adapted from the Israeli TV drama Shtisel. MediaHub’s Turna added an extra element: “Unlike traditional investment models, cofinancing opportunities in co-production often offer a shorter ROI time, which is beginning to attract new investments from outside the industry. This influx of external investment not only expands opportunities but also enhances output and quality, catalyzing growth and innovation within the coproduction ecosystem.” To Seckin, the ideal partnership is when all parties “have a say in key decisions regarding the project, including the script, cast, and budget. This helps ensure that everyone’s input is considered and that the project reflects the vision and goals of all partners. A successful partnership is built on trust and respect, and this can only be achieved through open and honest communication.” And, added Turna, “the ideal partnership leverages the strengths of each participant to create innovative and impactful content.” Geophil’s Philip took this a step further: “The first step to forging a good partnership is to agree on a forecast by market for the revenue that could be generated for a particular [piece of] content. This will help ensure that each partner is getting a share of distribution rights in line with their investment.” But Philip also believes that “involvement in script, cast, and budget should be limited to the pre-production stage. Thereafter, one should trust the instincts of the local producer who is based in the market where the content is being produced. Else, the product can lose its natural flavor. So it’s critical that all partners develop a trust with the line producer before signing and let them lead the creative process so you retain the local essence of the project.” Similarly, Seckin feels that “it’s important to maintain the core vision of the project and ensure that any changes or suggestions align with that vision. In terms of the budget, partners should have a say in how financial resources are allocated to ensure that the project stays on track financially. However, it’s essential to establish clear budgetary guidelines and ensure that all decisions are made with the project’s best interests in mind.” Finally, Turna summarized the discussion with this: “Turkish content enjoys a privileged position thanks to its global outreach, and with its distinctive and recognizable traits, presents a particularly compelling opportunity for investment when partnered with collaborators who understand its appeal.” Going back to the Content Americas’ seminar, Professor Acosta-Alzuru acknowledged after a post-seminar talk with VideoAge that her presentation did not cover the part of the worldwide success of Turkish TV series that had to do with their massive and well-targeted marketing campaigns and high visibility at international TV trade events. (By Dom Serafini) Pictured on the front cover are the panelists at the “Spotlight on Turkey” seminar. Kerim Emrah Turna, managing director of MediaHub Robin Philip, managing director of Geophil Erdem Seckin, CEO of OGM Pictures and OGM Universe “Co-financing opportunities in coproduction often offer a shorter ROI time, which is beginning to attract new investments from outside the industry.” Kerim Emrah Turna, MediaHub
The Weight Serving the international TV industry in good and in challenging times with print Issues, PDF editions, weekly online features, and daily e-newsletters. www.VideoAge.org www.VideoAgeDaily.com of VideoAge Reaches unusual HEIGHTS
VIDEOAGE April 2024 L.A. Screenings 22 The dual events signal the imminent arrival of the new TV season. They also show that the TV sector still values this now traditional bazaar (which consists of the “Newfronts” for streamers, and “Upfronts” for the linear sector) despite executives repeatedly stating that TV seasons these days are yearlong occurrences. These events clearly still energize both (air-time) buyers and sellers in New York City, as well as (international content) buyers and sellers in Los Angeles. The starting day of the broadcast TV Upfronts, which will again include Netflix in its midst this year, will feature NBCUniversal in the morning, FOX in the afternoon, and Telemundo in the evening of May 13. The following day, Tuesday, ABC will step up to the podium with its presentation to advertisers. On Wednesday, it’ll be Warner Bros. Discovery’s turn in the morning, while Netflix will take a bow in the afternoon, leaving the evening for YouTube Broadcast. Netflix promises to return to the stage on Thursday, May 15 with an all-day presentation. As per last year, Paramount will not have an Upfront even though its CBS network will have a good number of new shows. While this is all taking place in New York City, 4,000 kilometers west, in Los Angeles, the studios will be getting ready to welcome their major clients to town to shop for their new and renewed series. But before the studios take over, the independent producers and distributors will host their own screenings. The indie portion of the event will start on Tuesday, May 14, with set-up at the Fairmont Century Plaza, and will run up until Friday the 17th. As usual, it’ll all be coordinated by Isabella Marquez. Some Latin buyers will arrive in Los Angeles on Monday, May 13. Then on Saturday, May 18, the studios will take over with the Latin Screenings at Paramount Global. The Latin Screenings will continue on Sunday at NBCUniversal, Monday at Warner Bros. Discovery, Tuesday at Sony, and Wednesday at Disney. The event will conclude on Thursday, May 23. This year, the Canadians will stage their “Deal Night” later than usual (on Sunday, May 19), while Content L.A. will run May 16-17 at the same Century Plaza Hotel. In fact, some European buyers will be in L.A. by Thursday, May 15, in time for Content L.A. Fox Entertainment Global and Lionsgate are each expected to screen and host events. Fox Global is expected to have screenings and a party on Sunday afternoon, while Lionsgate reps have not yet announced the company’s schedule. It is possible that MGM will have an event on Friday. Also expected are a few afternoon and evening drink gatherings at the studios. The L.A. Screenings Guide, published by VideoAge, will be available in print on May 13, 2024 (and available digitally a few days earlier). Below is the traditional list of series and commissioned pilots for the 2024-2025 U.S. broadcast TV season. VideoAge’s May edition will include an updated list with the new shows that the U.S. studios are producing and/or distributing and will include those generated for other TV outlets (cable and streamers). ABC (COMEDY) Forgive and Forget Writer/Executive Producer: Eugene Garcia-Cross Showrunner/Executive Producer: Robin Shorr Executive Producer: Ty Burrell Cast: Ty Burrell Premise: Hank, a perennial “life of the party,” gets an unexpected diagnosis, leading him to reconnect with his responsible adult son Ben. Prod Co: 20th TV Shifting Gears Writers: Mike Scully, Julie Thacker Scully Executive Producers: Tim Allen, Mike Scully, Julie Thacker Scully, Marty Adelstein, Becky Clements, Richard Baker, Rick Messina Cast: Tim Allen Premise: Matt (Allen) is a stubborn, widowed owner of a classic car restoration shop. When Matt’s estranged daughter and her teenage kids move into his house, the real restoration begins. Prod Co: 20th TV ABC (DRAMA) High Potential (Based on the French series, Haut Potential Intellectuel) Show runner/Executive Producer: Rob Thomas Executive Producers: Drew Goddard, Sarah Eisberg, Dan Etheridge, Pierre Laugier, Anthony Lancret, Jean Nainchrik Cast: Kaitlin Olson, Daniel Akdeniz, Javicia Leslie, Amirah J, Matthew Lamb, Judy Reyes Premise: A single mom with an exceptional mind partners with a seasoned detective to solve crimes. Prod Co: ABC Signature, Goddard Textiles, Spondoolie Productions, Itineraire Productions, Septembre Productions CBS (COMEDY) Poppa’s House Writers: Damon Wayans, Kevin Hench Executive Producers: Damon Wayans, Kevin Hench, Andy Ackerman Cast: Damon Wayans, Damon Wayans Jr., Essence Atkins, Tetona Jackson Premise: Wayans is a legendary talk show radio host, who is happily divorced. “Poppa” is challenged at work when he’s joined by a new female co-host. Meanwhile, at home, he tries to pursue his passion while balancing being a responsible father. Prod Co: CBS Studios, Two Shakes Entertainment Young Sheldon Spin-off Creators: Steven Molaro, Chuck Lorre. Executive Producers: Steven Molaro, Chuck Lorre, Steve Holland Cast: Emily Osment, Montana Jordan Premise: Mandy and Georgie raise their young family in Texas while navigating the challenges of adulthood, parenting and marriage. Prod Co: WB TV, Chuck Lorre Prods CBS (DRAMA) Matlock Writer: Jennie Snyder Urman Producer: Thom J. Pretak Cast: Kathy Bates, Beau Bridges, Skye P. Marshall, Jason Ritter, David Del Rio, Leah Lewis, Eme Ikwuakor, Helen Hayden, Nicole de Boer Premise: After achieving success in her younger years, the brilliant septuagenarian Madeline Matlock (Bates) rejoins the workforce at a prestigious law firm where she uses her unassuming demeanor and wily tactics to win cases and expose corruption from within. Inspired by the classic television series of the same name. Prod Co: CBS Studios, Cloud Nine Prods, Sutton Street NCIS: Origins (straight to series) Showrunners/Executive Producers: Mark Harmon, Sean Harmon, David J North, Gina Lucita (Continued from Cover) (Continued on Page 24) Broadcast Pilot Season 2024-2025
VIDEOAGE April 2024 L.A. Screenings (Continued From Page 22) 24 Monreal Narrator: Mark Harmon Cast: Austin Stowell Premise: Follows a young Leroy Jethro Gibbs as he starts his career as a new special agent at the NCIS Camp Pendleton office. Prod Co: CBS Studios Watson (straight to series) Producer: Aaron Kaplan Executive Producers: Craig Sweeney, Morris Chestnut, Sharon Moalem, Brian Morewitz, Larry Teng Cast: Morris Chestnut Premise: Watson takes place in a universe where Holmes has been killed off by his nemesis Moriarty. Watson has resumed his medical career as head of a clinic treating rare diseases, switching his focus from solving crimes to solving medical mysteries. Prod Co: CBS Studios, Kapital Entertainment FOX (DRAMA) Baywatch (Pilot pick-up) Exec Producer/Writer/Showrunner: Lara Olsen Executive Producers: Michael Berk, Douglas Schwartz, Gregory J. Bonan. Premise: Daring ocean rescues, pristine beaches, and iconic red bathing suits are back, along with a whole new generation of Baywatch lifeguards, who navigate complicated, messy personal lives in this reboot of the iconic series. Prod Co: Fremantle, Fox Entertanment Doc (Based on the Italian series, Doc - Nelle tue mani) Showrunner/Executive Producer: Barbie Kligman Executive Producers: Hank Steinberg, Erwin Stoff Cast: Omar Metwally, Amirah Vann, Jon Ecker, Anya Banerjee, Scott Wolf, Patrick Walker, Molly Parker Premise: Doc centers on the brilliant Dr. Amy Larsen (Molly Parker), Chief of Internal Medicine at Westside Hospital in Minneapolis. After a brain injury erases the last eight years of her life, Amy must navigate an unfamiliar world where she has no recollection of patients she’s treated, colleagues she’s crossed, the man she loves, or the tragedy that caused her to push everyone away. Prod Co: Sony Pictures TV, Fox Entertainment Studios Murder in a Small Town Writer/Executive Producer: Ian Weir Executive Producer/Director: Milan Cheylov Executive Producers: Nick Orchard, Morris Ruskin, Sharon Wisnia, Jon Cotton Cast: Rossif Sutherland, Kristin Kreuk Premise: (Based on L.R. Wright’s novel) Karl Alberg moves to a quiet coastal town to soothe a psyche that has been battered by big-city police work. But he will need to call upon all the skills that made him a worldclass detective in solving the murders that continue to wash up on his shore. Prod Co: Fox Ent., Future Shack Ent., Sepia Films, Soapbox Prods, Mojo Global Arts Rescue Hi-Surf Showrunner: Matt Kester Executive Producers; John Wells, Erin Jontow, Daniele Nathanson Cast: Robbie Magasiva, Arielle Kebbel, Adam Demos, Kekoa Kekumano, Alex Aiono, Zoe Cipres, Sea Shimooka. Premise: Follows the personal and professional lives of the lifeguards who are firstresponders, patrolling and protecting swimmers, surfers and others on the North Shore of Oahu—the most dangerous stretch of coastline in the world. Prod Co: John Wells Prods, WB TV, Fox Entertainment Universal Basic Guys (animated) Creators/Executive Producers: Adam Malamut, Craig Malamut Writers: Adam Malamut, Craig Malamut Showrunner: Dan Lagana 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 Universal Basic Income pilot program, giving all residents $3,000 per month with no strings attached. Prod Co: Bento Box Ent., Fox Ent., Sony Pictures Animation, Sony Pictures TV NBC (COMEDY) St. Denis Medical Writers/Executive Producers: Justin Spitzer, Eric Ledgin Executive Producers: Simon Heuer, Ruben Fleisher Cast: Wendi McClendon-Covey, David Alan Grier, Allison Tolman, Josh Lawson, Mekki Leeper, Kahyun Kim 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. Prod Co: Universal TV, Spitzer Holding Company. Untitled Reba McEntire Project (pilot) Writer/Executive Producer: Kevin Abbott Executive Producers: Reba McEntire, Michael Hanel, Mindy Schultheis, Julie Abbott Cast: Reba McEntire Premise: Reba inherits her father’s restaurant and is less than thrilled to discover that she has a new business partner in the halfsister she never knew she had. Prod Co: Universal TV NBC (DRAMA) Dr. Wolf Writer/Executive Producer: Michael Grassi Executive Producers: Greg Berlanti, Sarah Schechter, Leigh London Redman, Henrik Bastin, Melissa Aouate (Fabel), Andy Serkis, Jonathan Cavendish, Will Tennant, DeMane Davis Cast: Zachary Quinto, Tamberla Perry, Ashleigh LaThrop, Alexander MacNicoll, Aury Krebs, Spence Moore II, Teddy Sears. Premise: Revolutionary, larger-than-life neurologist Oliver Wolf and his team of interns explore the last great frontier — the human mind — while also grappling with their own relationships and mental health. Inspired by the life and work of Oliver Sacks. Prod Co: Berlanti Prods, Fabel Ent., The Imaginarium, WB TV, Universal TV Grosse Pointe Garden Society (pilot order) Writer/Executive Producers: Jenna Bans, Bill Krebs Executive Producer: Casey Kyber Premise: Four members of a suburban garden club, all from different walks of life, get caught up in murder and mischief as they struggle to make their conventional lives bloom. Prod Co: Universal TV, Minnesota Logging Company Suits: L.A. (pilot order) Executive Producers: David Bartis, Doug Liman, Gene Klein Writer/Executive Producer: Aaron Korsh Premise: Ted Black, a former federal prosecutor from New York, has reinvented himself representing the most powerful clients in Los Angeles. His firm is at a crisis point, and in order to survive he must embrace a role he held in contempt his entire career. Prod Co: UCP, Hypnotic The Hunting Party Created By: JJ Bailey Writer/Executive Producers: JJ Bailey, Jake Coburn. Premise: A high-concept crime procedural about a small team of investigators who are assembled to track down and capture the most dangerous killers our country has ever seen, all of whom have just escaped from a top-secret prison that’s not supposed to exist. Prod Co: Universal TV (The pilot season line-up was compiled by Mike Reynolds) List accurate up to date of publication, March 28, 2024. Updates made after that date will be added, as the information is made available, to the online version of the story at www.videoageinternational.com.
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