{"id":8267,"date":"2018-03-26T09:40:52","date_gmt":"2018-03-26T13:40:52","guid":{"rendered":"http:\/\/worldscreen.com\/tveurope\/its-a-hit\/"},"modified":"2018-03-29T10:40:43","modified_gmt":"2018-03-29T14:40:43","slug":"its-a-hit","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tveurope\/2018\/03\/26\/its-a-hit\/","title":{"rendered":"Euro Buyers’ Shopping Lists"},"content":{"rendered":"

\"\"<\/a>Leading European channel buyers share their shopping lists and reveal the challenges of multiplatform rights acquisition. <\/em><\/p>\n

How do you seize viewers\u2019 attention when the competition for audiences keeps on growing? That is one of the critical questions European buyers were asking themselves as they weighed their priorities in preparation for MIPTV.<\/p>\n

Local television businesses are being transformed as the streaming giants, principally Netflix, continue to make broadcasters and platform owners across Europe nervous.<\/p>\n

This is especially true in a dynamic and hyper-competitive TV environment like the U.K. Even pay-TV giant Sky has been forced to introduce a new, more cost-effective \u00e0 la carte viewing menu to keep customers sweet and minimize cord cutting.<\/p>\n

For distributors, the good news is that the demand for content has never looked keener. This is particularly true of scripted shows that can be streamed in single episodes or watched as boxed sets. In other ways, too, the fear of Netflix is altering the market for rights.<\/p>\n

\u201cThe streaming services are competing for the same shows as us,\u201d explains Sasha Breslau, the head of acquired series at British broadcaster ITV. \u201cAs we all know, some of the shows at last year\u2019s L.A. Screenings were presold to Netflix and Amazon.\u201d<\/p>\n

WINDS OF CHANGE<\/strong>
\nWith a new senior management team in place and Brexit-induced confusion causing uncertainty in the British advertising market, ITV is keeping a close eye on its costs. One casualty is the pay channel ITV Encore, which is being reinvented as an online-only, boxed-set service.<\/p>\n

\u201cIn the past, I bought Nordic noir for Encore and other high-end, foreign-language shows for the channel,\u201d explains Breslau. But overall, her MIPTV shopping list remains extensive. \u201cIn all genres, there is a bountiful supply of content across both scripted and non-scripted,\u201d she says.<\/p>\n

At the market, her priority is to keep ITV\u2019s portfolio of digital channels competitive. Last summer, ITV2 was the subject of intense social-media buzz when it experienced a surprise breakout hit in the form of homegrown reality show Love Island<\/em>. At MIPTV, Breslau would like to balance the schedule by finding more scripted fare for ITV2, notably comedy.<\/p>\n

\u201cI am trying to reinforce and consolidate ITV2\u2019s reputation for great American comedy. We already have Family Guy<\/em>, American Dad<\/em> and Two and a Half Men<\/em>, which in the last six months performed very strongly,\u201d she points out.<\/p>\n

FACTS OF LIFE<\/strong>
\nFor female-skewing ITVBe, Breslau is hunting for glossy, fun reality shows that can sit alongside the Real Housewives<\/em> franchise. The channel\u2019s sweet tooth is well known by certain distributors. \u201cCake Wars<\/em> has done well for us. Anything involving cakes, desserts, chocolates, sweets. But they\u2019ve got to feel contemporary. In the last 12 months, I\u2019ve passed on some of them because they felt a bit old. And they\u2019ve got to have long runs.\u201d<\/p>\n

Plastic surgery, motherhood, home improvement and glamorous makeover series are also on ITVBe\u2019s radar.<\/p>\n

ITV4, meanwhile, is in the market for high-volume factual entertainment likely to prove popular with men. The channel\u2019s staples include Pawn Stars<\/em>, Storage Wars<\/em> and Counting Cars<\/em>. Breslau knows only too well that free-to-air rivals backed by U.S. firms like Blaze, which was launched in the U.K. by A+E Networks in 2016, are direct competitors.<\/p>\n

RISING TIDE<\/strong>
\nThe U.K.\u2019s Channel 5, owned by Viacom, has recently increased its audience share, according to ratings compiled by the London-based BARB service. \u201cAlone among regulated U.K. broadcasters, we are putting on share,\u201d says Katie Keenan, Channel 5\u2019s head of acquisitions.<\/p>\n

\u201cWe have such a huge range of channels to buy for. There\u2019s so much content we screen at MIPTV and we\u2019ll think, \u2018Well, this could fit on 5STAR or our new channel, 5SELECT.\u2019 I am looking for a diverse and eclectic range of shows for all our channels.\u201d<\/p>\n

On the main network, Channel 5, the return of sitcom Will & Grace<\/em> has been a winner, but other broad-appeal, high-volume scripted shows are needed for the station. Meanwhile, 5USA is seeking crime procedurals, 5STAR wants series that can sit alongside such fare as Dance Moms<\/em>, and the upstart 5SELECT needs drama and factual. The majority of 5SELECT\u2019s content includes upscale shows that have already played on Channel 5. \u201cWe\u2019re showing things like World War II in Colour<\/em> on 5SELECT,\u201d notes Keenan.<\/p>\n

In continental Europe, J\u00f6rg Graf, COO of program affairs at Mediengruppe RTL Deutschland, makes the point that securing first-run series is more important than ever. Consequently, output deals have gone out of fashion.<\/p>\n

\u201cPeople won\u2019t watch dross anymore, they want original shows,\u201d he insists. Not that he has any complaints regarding the quality of American shows, despite the trend of locally produced drama outperforming acquired content.<\/p>\n

\u201cWe\u2019re not buying less, but we are buying differently,\u201d he says. \u201cAt MIPTV, we\u2019ll be looking for non-scripted and formats. But on the other hand, you never know if there will be a good drama. If it\u2019s a good offer, we will consider it.\u201d<\/p>\n

RTL Group\u2013owned VOX, which recently celebrated its 25th anniversary, now ranks among the top tier of German channels. \u201cThe schedules on Monday, Wednesday and Friday evenings used to have a lot of U.S. drama,\u201d Graf says. \u201cWe\u2019ve dropped them and are running domestically produced shows, including a German version of The Red Band Society<\/em>, which doubled our market share.\u201d<\/p>\n

Last year in Germany, RTL increased its lead over rival ProSiebenSat.1 Media. But R\u00fcdiger B\u00f6ss, executive VP of group programming acquisitions at ProSiebenSat.1, remains bullish. He highlights the success of Young Sheldon<\/em>. \u201cIt\u2019s our best-performing new comedy in the last 17 years. When the show launched, it achieved a share of almost 26 percent and [has stayed] at around 18 to 19 percent.\u201d<\/p>\n

While this prequel to The Big Bang Theory<\/em> has been a hit, at MIPTV B\u00f6ss is seeking \u201cfresh blood in comedy and drama.\u201d High on his agenda are \u201ceasy\u201d shows, such as procedurals featuring self-contained stories resolved in a single hour-long episode, and a strong medical drama.<\/p>\n

Similarly, Anette Romer, the head of acquisitions and formats at Denmark\u2019s TV 2, will be eyeing drama at MIPTV. British drama that can play successfully on TV 2 Charlie is on her radar. \u201cWe continue to see a shift away from U.S. series to European drama, particularly U.K. titles,\u201d she says. Meanwhile, TV 2 Fri and TV 2 Zulu need factual entertainment, and entertainment and comedy, respectively.<\/p>\n

The final season of the Danish drama Norskov<\/em> performed strongly for the broadcaster, as did the stripped 24-episode pre-Christmas family drama Tinka\u2019s Christmas Adventure<\/em>. In non-scripted, a parenting show based on Twofour\u2019s Happy Families<\/em>; The Farm<\/em>, making its debut; and Farmer Wants a Wife <\/em>all stood out.<\/p>\n

\u201cTogether with Location, Location, Location<\/em>, these factual-entertainment titles perfectly fit Danish viewers\u2019 continued interest in everyday issues and the day-to-day agenda\u2014housing, health, cost of living, education and parenting,\u201d says Romer.<\/p>\n

At the Stockholm-based MTG, Jakob Mejlhede, executive VP of programming and content development, has shows that engage the emotions at the top of his MIPTV wish list.<\/p>\n

\u201cI\u2019m looking for feelings. Viewers can choose from so many films and series across so many platforms, we only remember the content that makes us feel something. As long as that criterion is fulfilled, I am bringing a very open mind to this year\u2019s MIPTV,\u201d he declares.<\/p>\n

Recent breakout hits have included Counterpart<\/em> (the first episode was directed by Norway\u2019s Morten Tyldum), S.W.A.T.<\/em> and Absentia<\/em>. \u201cThese are very different shows and attract very different audiences, but they get all the essentials right,\u201d Mejlhede says. \u201cWhen you tell a story in a unique way through interesting characters and a sharp script, usually everything else falls into place.\u201d<\/p>\n

The growth of MTG\u2019s streaming ser\u00advice Viaplay means Mejlhede is casting his net wider than ever. \u201cWe have every type of viewer you can imagine,\u201d he says. \u201cIt\u2019s a serious business, keeping everybody happy. As long as it\u2019s good, people today are ready for pretty much anything. On-demand creates so much freedom, both for us and for our customers.\u201d<\/p>\n

This point is not lost on Sarah Wright, the director of acquisitions at Sky. The platform\u2019s U.K. streaming service, Now TV, has given the pay box another winner\u2014and a way of responding to the challenge from Netflix and Amazon. It curates hundreds of boxed sets.<\/p>\n

\u201cI am very pleased with the rise of the streaming services because we\u2019re part of it,\u201d she says. \u201cIt\u2019s different services for different customers at different times in their lives. Acquired content is a key part of Now\u2019s offer.\u201d<\/p>\n

Wright adds, \u201cSky\u2019s customers love acquisitions. I recently spent time with some focus groups. They told me we have the best of the U.S. and beyond at Sky. That\u2019s why they subscribe.\u201d<\/p>\n

Game of Thrones<\/em> remains a huge show for Sky Atlantic, while on Sky 1, The Simpsons<\/em> continues to help drive the schedule. Of late, Sky Arts has made a splash, thanks to its Passions <\/em>series. The strand has featured left-field takes on a range of English writers, including Jane Austen and the controversial, politically incorrect poet Philip Larkin.<\/p>\n

Such is the demand to feed the Sky content pipeline that Wright and her team now buy throughout the year. \u201cMIPTV provides an opportunity to reconnect with the market,\u201d she explains. \u201cWe might see the small- to medium-sized distributors there. We discuss all sorts of projects. We\u2019re in that golden age of scripted shows.\u201d<\/p>\n

That, of course, is true. But buyers struggle to secure all the rights to scripted content in an era when catch-up platforms are essential to everyone who runs TV networks.<\/p>\n

PLAYING CATCH-UP<\/strong>
\n\u201cWe rarely buy stand-alone nonlinear rights,\u201d says TV 2\u2019s Romer. \u201cCatch-up, in addition to clearing linear rights, is a must. We consider it to be an integral part of the deal. Subscribers to TV 2 Play expect to be able to find titles for preview or time-shifted viewing. Stacking is crucial to drama titles, but each deal is distinct and we have to fight every single case.\u201d<\/p>\n

Romer\u2019s comments strike a chord with Breslau at ITV, who notes, \u201cAll distributors are keen to retain stacking rights because they can extract secondary value from them.\u201d<\/p>\n

She was pleased to obtain series stacking rights for the comedy Ghosted<\/em> at last year\u2019s L.A. Screenings, but that deal was the exception rather than the rule. \u201cDistributors can window these rights to SVOD services,\u201d adds Breslau.<\/p>\n

But as a free-to-air network, ITV can exist comfortably without stacking rights, unlike Sky, whose subscribers expect flexible viewing opportunities.<\/p>\n

\u201cSometimes we may buy a show as a boxed set only,\u201d Wright says. \u201cOr we might buy a show for Sky Store across all the territories. We\u2019ve always acquired a broad set of rights because we utilize them.\u201d<\/p>\n

MTG\u2019s Mejlhede is adamant that stacking rights are crucial in today\u2019s environment. \u201cAs a viewer, I am going to get much more from a new season if I\u2019ve had the chance to dig into earlier runs.\u201d Earlier this year, the latest season of the rebooted The X-Files<\/em> and every previous season were made available to viewers via a mix of free-to-air channels and subscription platforms. \u201cWe want deals that allow us to do that,\u201d he stresses.<\/p>\n

WINDOW WATCHING<\/strong>
\nIn Germany, ProSiebenSat.1\u2019s B\u00f6ss highlights the value of securing a catch-up window. \u201cWe need 35-day catch-up rights,\u201d he says. \u201cWe are addressing that with all of our licenses. They are very helpful and see that the market is changing. It\u2019s an essential part of our strategy.\u201d<\/p>\n

But complicated rights deals stretch budgets. \u201cI never have enough money,\u201d says B\u00f6ss. \u201cOur budgets are not decreasing, but there are a couple of players out there with deep pockets. It\u2019s a very competitive market. We have to spend our money cleverly.\u201d<\/p>\n

At Sky, there have been hints from CEO Jeremy Darroch that the company is earmarking more cash for acquired shows. Wright declines to elaborate. \u201cWe have a programming budget. We work out where it\u2019s best spent depending on the projects. I would never rush to buy a show I didn\u2019t think was right for us.\u201d<\/p>\n

ITV\u2019s Breslau indicates that overall license fees are on the rise, but there are a lot of dramas that distributors can\u2019t shift. \u201cIf you look at the L.A. Screenings for the last three years, you\u2019ll see a lot of shows that haven\u2019t found a home in the U.K.\u201d<\/p>\n

In other words, buyers know that, once again, there will be a lot of drama waiting to be sold at MIPTV. But what, if anything, is missing from the market? \u201cThere is too much attention on scripted,\u201d says Sky\u2019s Wright.<\/p>\n

In common with several other buyers, she still hasn\u2019t given up hope of finding the next big entertainment hit\u2014\u201ca brand-new format that knocks everybody\u2019s socks off.\u201d<\/p>\n

If a successor to The X Factor<\/em>, Strictly Come Dancing<\/em> and The Voice<\/em> is turning out to be elusive, so too are shows aimed at the hard-to-reach audience of 16- to 24-year-olds. \u201cThey are the hardest shows to find,\u201d says Channel 5\u2019s Keenan. \u201cThat audience is very picky, and they are spending a lot of time away from TV sets watching on other devices, but as Love Island <\/em>proved, find the right show, and that audience will come to it. We have successfully served that audience many times across our channels, but in terms of content targeted at that demographic, there is a lack of programming.\u201d<\/p>\n

TV 2\u2019s Romer has a different perspective. \u201cNo genres are missing from the market\u2014it is more the thirst for original, groundbreaking ideas,\u201d she says. \u201cOr new takes on existing stories. It is refreshing when developments like \u2018true crime\u2019 blow fresh air into crime.\u201d<\/p>\n

But perhaps the last word should go to MTG\u2019s Mejlhede, who pinpoints the contemporary audience\u2019s lack of patience in an on-demand era. \u201cFirst episodes are fast becoming a genre in themselves,\u201d he says. \u201cThe competition is so tough you need to hook viewers straight away. Think of it as a pilot for a series that\u2019s already been made. It\u2019s a genre like all the others, and there are so many ways you can bend the rules. Just don\u2019t forget the emotion. Don\u2019t make me wait to feel something. Get me right from the start.\u201d<\/p>\n

Pictured: Warner Bros.\u2019s <\/em>Young Sheldon.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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