{"id":6681,"date":"2016-09-20T10:01:25","date_gmt":"2016-09-20T14:01:25","guid":{"rendered":"http:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/"},"modified":"2016-09-23T09:55:05","modified_gmt":"2016-09-23T13:55:05","slug":"dramatic-pacts","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/","title":{"rendered":"Dramatic Pacts"},"content":{"rendered":"

Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.<\/em><\/p>\n

Co-production may be the de-facto model for making high-end scripted programming today, but in a complex market where innovative financing approaches are essential, the very meaning of the term is in a state of flux.<\/p>\n

\u201cThis word \u2018co-pro\u2019 has become so used and abused,\u201d says Rola Bauer, the CEO of TANDEM Productions and head of U.S. TV production and co-production at STUDIOCANAL, who has been a pioneer in structuring deals for premium English-language drama. \u201cI\u2019m calling them international productions. Every country has their local productions, and the Americans are renowned and successful with their American productions. Then there\u2019s all of us out there in the world who do not have the deep pockets of America and are trying to create international productions that also land very successfully in America.\u201d<\/p>\n

There is no one-size-fits-all approach to co-production today, observes Carrie Stein, the executive VP of global production at Entertainment One (eOne). \u201cWe treat each project individually and on a case-by-case basis. When we find a piece of material that we all respond to, then we determine the best way to put it together commercially, financially and creatively.\u201d<\/p>\n

By the simplest definition, a co-production is \u201ctwo partners collaborating fully, creatively and editorially on a project, and then additional financing is made up from tax and location incentives, a distribution advance and maybe a presale,\u201d explains Caroline Torrance, the head of scripted at Zodiak Rights. On that front, the slate at the company currently includes three high-profile titles:\u00a0Versailles<\/em>, a co-production between Zodiak Fiction, CAPA and Incendo;\u00a0Rebellion<\/em>, produced by Touchpaper for RT\u00c9 with SundanceTV as a co-pro partner; and\u00a0Occupied<\/em>, a TV2 and ARTE co-pro from Yellow Bird.<\/p>\n

\u201cThe other model that often gets called co-production but really isn\u2019t co-production is where you\u2019ve got one commissioning broadcaster, and you make up the rest of the funding with more presales rather than co-productions,\u201d Torrance adds. \u201cSometimes all you need is a presale to de-risk the project, to help you get it over the line, rather than full-blown co-production partners.\u201d<\/p>\n

Both models are in play at Federation Entertainment, and each \u201chas its own specificities and difficulties,\u201d says Lionel Uzan, the company\u2019s co-founder and managing director.<\/p>\n

For example, the company is on board as a partner on the U.K.\/French co-pro\u00a0The Collection<\/em>, which has two primary broadcasters (Amazon Prime U.K. and France T\u00e9l\u00e9visions) and a distributor (BBC Worldwide) involved, with Lookout Point taking the creative lead as the production house.<\/p>\n

Federation brought in a portion of the budget through France T\u00e9l\u00e9visions and public subsidies, Uzan says. Federation also serves as the \u201cmiddleman\u201d of sorts between France T\u00e9l\u00e9visions and Lookout Point and contributed local expertise for the show, which is set in post-World War II Paris. \u201cWe helped a lot by bringing remarks and notes on the scripts, helping the U.K. part of the production to choose French actors, and we brought in some French talent, especially on the costume design.\u201d<\/p>\n

The other model, Uzan says, is when there is a single commissioning broadcaster and Federation helps the project \u201cfinancially, creatively and in terms of distribution.\u201d Such is the case with the Finnish drama\u00a0Bordertown<\/em>.<\/p>\n

\u201cThe idea here is really not to [participate in the] creative too much,\u201d Uzan says. \u201cThe producer is building the project around the requirements of the local broadcaster. We are not interested in changing the nature of the project. What\u2019s interesting for us is the fact that it has local authenticity. We do a light-touch intervention on the creative side, trying to help the producer to understand how the international market works and what kinds of elements could be problematic for the international market.\u201d<\/p>\n

At STUDIOCANAL, Bauer is looking at the slates of the company\u2019s various creative outposts to determine if projects can be turned from local commissions into international productions. At Urban Myth in the U.K., for example, STUDIOCANAL brought in Netflix as a partner on the E4 commission\u00a0Crazyhead<\/em>. At RED Production Company, BBC America was brought in on\u00a0Quatermass<\/em>. \u201cInstead of RED doing what they traditionally do\u2014get their anchor network out of the U.K. market\u2014we said, Let\u2019s see if we can land your anchor network in the U.S.,\u201d Bauer says.<\/p>\n

British production houses landing first-run commissions from American networks is certainly a new development in the fast-changing international drama business. And there are many more shifts under way.<\/p>\n

WINDS OF CHANGE<\/strong>\u00a0<\/strong>
\n\u201cThe landscape has changed a lot over the last year\u2014even in the last six months!\u201d says Ruth Berry, the managing director of ITV Studios Global Entertainment (ITVS GE). \u201cIt\u2019s a really competitive space. One of the big changes for us is around talent and channels wanting to understand who is involved [in a project] and their level of credentials.\u201d<\/p>\n

As an example, Berry cites the ITV Encore and Hulu co-production\u00a0Harlots\u00a0<\/em>from Monumental Pictures. The track record of executive producers Alison Owen and Debra Hayward was crucial, Berry says, as was the casting of Samantha Morton, Lesley Manville and Jessica Brown Findlay. \u201cThe ingredients are becoming key,\u201d she explains. \u201cThere are so many great stories out there,\u201d but networks and platforms want to be comforted that the execution will be spot-on. \u201cHaving more known about the quality of the people involved in the production is really helpful.\u201d<\/p>\n

Also on the ITVS GE co-pro slate is\u00a0Victoria<\/em>, which stars Jenna Coleman and is being made with PBS\u2019s Masterpiece by\u00a0Poldark<\/em>\u00a0producer Mammoth Screen.<\/p>\n

For Liam Keelan, the director of scripted at BBC Worldwide, the biggest change in the co-pro business now is that \u201cyou have to be incredibly ambitious. The market is a lot more crowded; there\u2019s a lot of really good product out there and the demand for A-list writers is greater than ever. You can\u2019t do me-too drama in this market. You\u2019ve got to raise the bar, you\u2019ve got to make sure it feels as if it has the scale of other dramas out there. I\u2019m not saying everything has to be like\u00a0War & Peace<\/em>. If it\u2019s not like that, then you have to be telling a very individual story that feels like it hasn\u2019t been told before. Something like\u00a0Happy Valley<\/em>\u00a0doesn\u2019t have the scale of a\u00a0War & Peace<\/em>, but it\u2019s telling a story that taps into universal themes around crime, relationships, all those subject areas that sell well. It has to feel as if it\u2019s got a very individual voice. Those are the kinds of things we\u2019re looking for.\u201d<\/p>\n

One project that Keelan mentions as being reflective of how the market has shifted is the aforementioned\u00a0The Collection<\/em>. \u201cIt\u2019s something that we\u2019re doing that feels completely new and fresh and that we wouldn\u2019t have been doing a year or two ago. BBC Worldwide is the majority funder, it\u2019s airing first on Amazon in the U.K. It\u2019s kicked off an interesting and fruitful partnership with Amazon in terms of originated output from the U.K.\u201d<\/p>\n

SOMETHING NEW<\/strong>\u00a0<\/strong>
\nOTT platforms have become significant investors in original drama, but they\u2019re not the only new players. There are networks across the globe that previously didn\u2019t commission scripted now willing to pony up cash, sometimes as co-producers with creative input, often just as prebuyers, to land compelling shows.<\/p>\n

\u201cIt\u2019s fantastic that there are so many more places to go and so many more people to see,\u201d Zodiak\u2019s Torrance says. \u201cI was recently in L.A. and New York, pitching various projects that we\u2019d like to find partners for, and there are almost no channels that aren\u2019t looking for a big scripted drama title.\u201d<\/p>\n

That development has changed the game for Keshet International (KI), which has made co-production a significant part of its overall scripted strategy. \u201cWhen we first started in the international market with scripted in 2007, the Israeli-American connection was a very natural and easy one, obviously more on the remake side,\u201d says Keren Shahar, KI\u2019s COO and president of distribution, referencing the adaptation of\u00a0Prisoners of War<\/em>\u00a0into\u00a0Homeland<\/em>. \u201cNow we also see that on the co-pro side. And now that we have a U.K. production company, it\u2019s very easy to talk to British partners and European partners in general. We\u2019re currently talking to Belgian companies, German companies and French companies; be it producers, channels or SVOD platforms. We are also speaking to Latin American partners for co-production ideas.\u201d<\/p>\n

KI\u2019s biggest co-pro this year has been the British version of\u00a0The A Word<\/em>, commissioned by BBC One and co-produced with SundanceTV. It also has a pact with Telemundo with the view to co-producing a drama for the U.S. Hispanic broadcaster. \u201cThe world is now our playground,\u201d Shahar says.<\/p>\n

Amelie von Kienlin, the senior VP of scripted acquisitions and co-productions at Red Arrow International, agrees, noting, \u201cThere are new countries opening up and everyone wants to have exclusive originals. The budgets for broadcasters are being reduced, and everyone is looking for alternatives to make the budgets bigger.\u201d<\/p>\n

SHARED VISION<\/strong>\u00a0<\/strong>
\nVon Kienlin adds, however, that co-pros are not just about rounding out the budget. When determining who to partner with, there are plenty of other factors to take into consideration.<\/p>\n

\u201cIn the end, it has to be someone who really shares the vision, someone who helps to move the project forward. We value notes, because they offer a different perspective.\u201d The caveat there, though, is ensuring that the creator\u2019s original concept isn\u2019t corrupted during the co-pro process.<\/p>\n

\u201cWe start from the idea,\u201d von Kienlin says. \u201cWe like to give the writer the freedom to work on a vision and define it before one goes out to partners. Otherwise, if you have too many partners from the beginning, it might get diluted. This is [a process] we chaperone.\u201d<\/p>\n

Zodiak\u2019s Torrance stresses that \u201cyou have to be driven by the creative of the project, not driven by the deal. It can be easy to get completely carried away with the deal, but then the partners involved are not on the same page creatively, and they don\u2019t want the same thing. The creative has got to have a meeting of minds. If you don\u2019t have that, then you\u2019re doomed to failure at the start. And if you don\u2019t have a really clear and honest conversation at the beginning about what you both want out of the partnership, then I don\u2019t think it can work either.\u201d<\/p>\n

For eOne\u2019s Stein, the biggest thing that can go wrong in a co-pro is a \u201cbroken telephone (or email). Communication is key! [It\u2019s important to] stay connected to broadcast and production partners and truly understand what it is about the show that they love; what will make it work for them commercially; and understand their development, financing and production processes and how best to work together to ensure mutual success. When you\u2019re dealing with different countries, time zones and languages, it\u2019s not always easy to connect on all the financial, creative and legal details that go into a series. My advice is to get ahead of it as much as possible by sitting down with all partners early on to make sure everyone wants the same show\u2014and then go from there.\u201d<\/p>\n

KI has been thrilled with the experience it\u2019s had so far with the BBC and SundanceTV on\u00a0The A Word<\/em>, which has been renewed by both broadcasters.<\/p>\n

\u201cI have to say, all parties were extremely open to listening to everyone\u2019s needs,\u201d Shahar says. \u201cThe moment you have that, it becomes an easy and manageable discussion.\u201d<\/p>\n

One key point of negotiation was windowing, Shahar notes. \u201cAs the distributor, we need to make sure that we can sell the series outside of the SundanceTV window as soon as possible. Although SundanceTV couldn\u2019t launch when they initially wanted to, there weren\u2019t any holdbacks. They realized that there were international considerations. It was a very civilized and calm discussion.\u201d<\/p>\n

While partner broadcasters and distribution companies must all back the same vision for a co-pro to be successful, the producers themselves also have a central role to play in making sure the process runs smoothly.<\/p>\n

\u201cIt\u2019s the producer\u2019s responsibility to maintain the vision of what they\u2019ve sold to the networks,\u201d says STUDIOCANAL\u2019s Bauer. \u201cIf they change it then the onus is on them to make sure everybody is on the same page.\u201d<\/p>\n

CAN WE CO-PRO?<\/strong>\u00a0<\/strong>
\nWhile the variety of projects on the market today would indicate that almost anything is fit for collaboration, there are some types of dramas that work better for co-production than others.<\/p>\n

\u201cWe would definitely look at every show individually,\u201d ITVS GE\u2019s Berry says. \u201cThey all have different appeal and different international reach and different editorial voices. There are ones where we say, Let\u2019s keep this U.K. And there are other projects where we think, OK, on this project we all agree between us\u2014the producer and the broadcaster\u2014that a co-producing partner would be beneficial, financially and editorially. We\u2019ll go find that partner who believes in the project the same way we do.\u201d<\/p>\n

Zodiak\u2019s Torrance suggests that it helps to have \u201csomething that is relevant in both countries, so that means you\u2019re often looking for well-known brands or subject matter that is known in many countries\u2014like Versailles, for example.\u201d<\/p>\n

Torrance adds that period drama, in general, is ripe for co-pro opportunities. What\u2019s challenging, she notes, is co-producing \u201clong-running returnable series. What can happen is, one country will air it, it\u2019ll be a success, they want to do it again, but the other country hasn\u2019t broadcast it yet, or they\u2019re not in a position to be able to greenlight it yet. Having said that, we are doing\u00a0Versailles<\/em>, and that\u2019s returning. So there are no rules.\u201d<\/p>\n

Red Arrow\u2019s von Kienlin, meanwhile, adds that sometimes a show that would be an unlikely co-pro contender ends up being an international success story.<\/p>\n

\u201cIf you look at\u00a0Cleverman<\/em>, this wouldn\u2019t be the most obvious international co-production because it\u2019s rooted very much in the indigenous mythology of Australia,\u201d von Kienlin says of the Red Arrow-distributed show, commissioned by ABC in Australia and co-produced with SundanceTV. \u201cBut at the same time, the subject is unique, and it\u2019s a world you\u2019ve never seen on TV.\u201d<\/p>\n

KI\u2019s Shahar has found that \u201cpeople today are much more sensitive to [local resonance] when they hear pitches for co-production. It\u2019s not just that we have a character named Marie in a French-Israeli co-pro. It needs to make sense and be organic.\u201d<\/p>\n

Stein at eOne agrees, noting, \u201cThe best time to embark on a co-production is when it is truly organic to the material, and the story lends itself to the sensibilities of various markets and partners.\u201d<\/p>\n

For her, eOne\u2019s new show\u00a0Ransom\u00a0<\/em>is an example of that. TF1 in France and Corus in Canada are co-producing, with CBS in the U.S. and RTL in Germany also on board to air the show.<\/p>\n

\u201cThe series is inspired by the renowned crisis negotiator Laurent Combalbert, who lives in Paris,\u201d Stein explains. \u201cHis rights were acquired by Wildcats Productions, our French producing partners, who were looking to develop a project with TF1. As we began to develop the characters and story, our lead character\u2019s ex-wife lived in Montreal with their daughter, so we made the decision to set our home office in Montreal. And suddenly it made sense to bring on a Canadian partner. The stories are set all over the world, so we knew the series would not only have global appeal, but we could shoot and post the series in Canada and France. The story naturally lent itself [to co-production].\u201d<\/p>\n

WIDE OPEN SPACES<\/strong>\u00a0<\/strong>
\nEven though some subjects and sub-genres tend to lend themselves better to co-pro than others, Zodiak\u2019s Torrance has found that \u201cthere isn\u2019t one type of drama that seems to be what people are looking for. There is so much flexibility and an openness to ideas.\u201d<\/p>\n

ITVS GE\u2019s Berry says that the company is exploring new opportunities in a number of markets, including Scandinavia. \u201cThere is still great talent out there,\u201d Berry says, \u201cand they\u2019re also really keen to work internationally. We\u2019re starting to work more with French production companies, who have access to a different talent pool.\u201d<\/p>\n

ITVS GE is also continuing to expand its American scripted business. Most recently it announced a pact with Little Engine. \u201cThey are fantastic producers who can work anywhere in the world, actually, and have got quite a lot of projects that could be grounded in Europe.\u201d<\/p>\n

BBC Worldwide\u2019s Keelan says that he is always looking for new partnerships, \u201cwhether it\u2019s with writers we\u2019ve not worked with before or packaging deals across SVOD and traditional linear broadcasters. Ultimately, it\u2019s about getting ahold of the best IP. You\u2019ve got to be very flexible. A couple of years ago it was, Let\u2019s wait and see what\u2019s coming down the track. Now we\u2019ve got to be involved at the very outset. Producers will ask, When do you like to hear about things, is it when it\u2019s about to be shot? No, absolutely not! It\u2019s when you\u2019ve got the germ of an idea. Something like\u00a0McMafia<\/em>, which we\u2019re involved in with the BBC and Cuba Pictures, came from a germ of an idea. As soon as we started talking about it\u2014not pitching it in a formal way, just talking very generally about it\u2014there was such a buzz in the market. It felt new and completely fresh. The earlier you can be involved in these things, the better.\u201d<\/p>\n

What everyone will be keeping their eye on in the months and years to come is how the U.K. exits the EU and what ramifications that will have on the co-pro sector. No one knows yet what it will mean for the movement of talent between countries. How British shows will be classified under European content quotas is unclear. Access to financing may change. For now, the mantra appears to be business as usual\u2014until it\u2019s not.<\/p>\n","protected":false},"excerpt":{"rendered":"

Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.<\/p>\n","protected":false},"author":290,"featured_media":6682,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[77,70],"tags":[],"class_list":["post-6681","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","pmpro-has-access"],"yoast_head":"\nDramatic Pacts - TVDRAMA<\/title>\n<meta name=\"description\" content=\"Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dramatic Pacts - TVDRAMA\" \/>\n<meta property=\"og:description\" content=\"Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/\" \/>\n<meta property=\"og:site_name\" content=\"TVDRAMA\" \/>\n<meta property=\"article:published_time\" content=\"2016-09-20T14:01:25+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-09-23T13:55:05+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worldscreen.com\/tvdrama\/wp-content\/uploads\/sites\/11\/2015\/09\/VERSAILLES.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1\" \/>\n\t<meta property=\"og:image:height\" content=\"1\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Mansha Daswani\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Mansha Daswani\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/\",\"name\":\"Dramatic Pacts - TVDRAMA\",\"isPartOf\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#website\"},\"datePublished\":\"2016-09-20T14:01:25+00:00\",\"dateModified\":\"2016-09-23T13:55:05+00:00\",\"author\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\"},\"description\":\"Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.\",\"breadcrumb\":{\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/worldscreen.com\/tvdrama\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Dramatic Pacts\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#website\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/\",\"name\":\"TVDRAMA\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/worldscreen.com\/tvdrama\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad\",\"name\":\"Mansha Daswani\",\"description\":\"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. She can be reached on mdaswani@worldscreen.com.\",\"url\":\"https:\/\/worldscreen.com\/tvdrama\/author\/mdaswaniworldscreen-com\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Dramatic Pacts - TVDRAMA","description":"Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/","og_locale":"en_US","og_type":"article","og_title":"Dramatic Pacts - TVDRAMA","og_description":"Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.","og_url":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/","og_site_name":"TVDRAMA","article_published_time":"2016-09-20T14:01:25+00:00","article_modified_time":"2016-09-23T13:55:05+00:00","og_image":[{"url":"https:\/\/worldscreen.com\/tvdrama\/wp-content\/uploads\/sites\/11\/2015\/09\/VERSAILLES.jpg","width":1,"height":1,"type":"image\/jpeg"}],"author":"Mansha Daswani","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Mansha Daswani","Est. reading time":"15 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/","url":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/","name":"Dramatic Pacts - TVDRAMA","isPartOf":{"@id":"https:\/\/worldscreen.com\/tvdrama\/#website"},"datePublished":"2016-09-20T14:01:25+00:00","dateModified":"2016-09-23T13:55:05+00:00","author":{"@id":"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad"},"description":"Producers and distributors are evolving their co-production strategies as the drama business becomes more competitive.","breadcrumb":{"@id":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/worldscreen.com\/tvdrama\/dramatic-pacts\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/worldscreen.com\/tvdrama\/"},{"@type":"ListItem","position":2,"name":"Dramatic Pacts"}]},{"@type":"WebSite","@id":"https:\/\/worldscreen.com\/tvdrama\/#website","url":"https:\/\/worldscreen.com\/tvdrama\/","name":"TVDRAMA","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/worldscreen.com\/tvdrama\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/worldscreen.com\/tvdrama\/#\/schema\/person\/83da304c8bad8bfdb3edd7eb47cfe5ad","name":"Mansha Daswani","description":"Mansha Daswani is the editor-in-chief and associate publisher of World Screen. She can be reached on mdaswani@worldscreen.com.","url":"https:\/\/worldscreen.com\/tvdrama\/author\/mdaswaniworldscreen-com\/"}]}},"_links":{"self":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/posts\/6681","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/users\/290"}],"replies":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/comments?post=6681"}],"version-history":[{"count":0,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/posts\/6681\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/media\/6682"}],"wp:attachment":[{"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/media?parent=6681"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/categories?post=6681"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldscreen.com\/tvdrama\/wp-json\/wp\/v2\/tags?post=6681"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}