World Screen

THE MAGAZINE OF INTERNATIONAL MEDIA • MAY 2010

www.worldscreen.com

L.A. Screenings Edition

WSN_610_COVER:WSN_109_COVER 5/5/10 11:36 AM Page 1

WSN_610_lionsgate:_1006_SOLID 5/5/10 5:06 PM Page 1

WSN_610_lionsgate:_1006_SOLID 5/5/10 5:06 PM Page 2

WSN_610_SBT:_1006_SOLID 5/6/10 5:47 PM Page 1

WSN_610_SBT:_1006_SOLID 5/6/10 5:48 PM Page 2

PublisherRicardo Seguin Guise

EditorAnna Carugati

Executive EditorMansha Daswani

Managing EditorKristin Brzoznowski

Editor, Spanish-Language PublicationsElizabeth Bowen-Tombari

Executive Editor,Spanish-Language Publications

Rafael Blanco

Production and Design DirectorLauren M. Uda

Online DirectorSimon Weaver

Art DirectorPhyllis Q. Busell

Sales and Marketing Manager Kelly Quiroz

Business Affairs ManagerErica Antoine-Cole

Sales and Marketing CoordinatorCesar Suero

Senior EditorsBill DunlapKate NorrisJay Stuart

George Winslow

Contributing EditorsLisa Haviland

Grace HernandezBin Liu

José Miguel LópezSpencer Sunshine

Contributing WritersDieter BrockmeyerChris ForresterBob JenkinsElena Mora

David del ValleDavid Wood

Ricardo Seguin Guise, PresidentAnna Carugati, Executive VP and Group Editorial Director

Mansha Daswani, VP of Strategic Development

WORLD SCREEN is aregistered trademark of WSN INC.

1123 Broadway, Suite 1207 New York, NY 10010, U.S.A.Phone: (212) 924-7620Fax: (212) 924-6940

Website: www.worldscreen.com

©2010 WSN INC.Printed by Fry Communications

No part of this publication can be used,reprinted, copied or stored in any mediumwithout the publisher’s authorization.

contentsMAY 2010/L.A. SCREENINGS & BANFF EDITION

departmentsWORLD VIEW 8A note from the editor.

UPFRONT 10New shows on the market.

NETWORK SCORECARD 135The top 50 shows in the U.S.

WORLD’S END 138In the stars. special report

MINORITYREPORT

The U.S. Hispanic market holds huge potential for media companies and advertisers.—Anna Carugati

one-on-oneLIONSGATE’S KEVIN BEGGS

As the president of television programming and production, Kevin Beggs is

leading the development and production of acclaimed series like Mad Men.—Anna Carugati

on the recordCOMCAST INTERNATIONAL MEDIA GROUP’SKEVIN MACLELLAN

Overseeing all of Comcast’s international businesses—including channels,

program distribution and new media—Kevin MacLellan is now also expanding the

company’s U.S. production business.—Anna Carugati

24

20

28

2420 28

WORLD SCREENis published seven times per year:January, April, May, June/July,

October, November and December.Annual subscription price:Inside the U.S.: $70.00

Outside the U.S.: $120.00Send checks, company information and

address corrections to:WSN INC.

1123 Broadway, Suite 1207New York, NY 10010, U.S.A.

For a free subscription to our newsletters, pleasevisit www.worldscreen.com.

6 World Screen 5/10

FOCUS ON FORMATS Finding the key to

success in the format business 86…LOOKING

FOR LOVE Dating and marriage shows are

proving popular 90…INTERVIEW Fernando

Gaitán 92

THE THIRD DIMENSION The prospects

for 3-D TV in the kids’ space 108…

INTERVIEW Selena Gomez 112

These targeted magazines appear both inside World Screenand as separate publications.

FULL SPEED AHEAD Advertising trends in the region 64…EYES ON THE SCREEN Selling

movies into Latin America 72…INTERVIEWS News Corp.’s Chase Carey 76…

TV Azteca’s Mario San Román 97…Bandeirantes’ João Carlos Saad 102…House’s Hugh

Laurie 117…Antena 3’s Carlos Fernández 120…AETN’s Abbe Raven 122…NCIS’s Shane

Brennan 126…Endemol’s Tom Toumazis 128…ON TV’s Bernarda Llorente & Claudio Villarruel 130

86

112

WSN_510_TOC:1_05 WSN TOC 5/6/10 5:03 PM Page 2

WSN_610_FOX:TEMPLATE 5/5/10 5:07 PM Page 1

8 World Screen 5/10

A NOTE FROM THE EDITORANNA CARUGATI

Firstly, as you take it into your hands, it elicits aninvoluntary reflex reaction: It’s so cool! Steve Jobs didit again. Secondly, its ease of use takes the concept ofuser-friendliness to a new level. I have long been acomputer moron, but this baby is a walk in thepark—it’s easy to use the keyboard, easy to surf theweb, and it’s fast, idiot-proof and extremely conven-ient. Like many others leaving MIPTV, I found thatmy flight out of Nice was cancelled. A fellow strandedpassenger whipped out her iPad and within secondswe were perusing hotel options, while my BlackBerry was still booting up.Of course, I don’t really need the iPad, but I can seeseveral uses for it. While I can download all the pro-

gramming, movies, information and music Iwant on my laptop, the laptop is heavier andbulkier. Plus, when I travel, I usually lug,along with my laptop and iPod, a slew ofmagazines—honestly, a minimum of fivepublications and then printouts of other arti-cles I want to read, in addition to at least twobooks, more often three or even four. Whatcan I say? I read a lot.Holding that delicious, thin, lightweightiPad, I envisioned putting all my music, mag-azines, articles and books onto it. Yes, I know,reading on the iPad is not as good an experi-ence as it is on the Amazon Kindle or SonyReader, but think of the benefits to myback—I would have fewer pounds to carry.I know there are kinks that still need tobe worked out with the iPad, includingthe whole Flash issue. The iPad won’t runvideos created in Adobe’s Flash software,even though half of all videos available onthe Internet are done in Flash. By banning

Flash, Apple is making iPad owners buy movies andTV shows from iTunes rather than watch them forfree on other websites. Apple also operates the AppStore, which is the only place consumers can buyapps for their iPads. This whole “walled garden”approach to the iPad is problematic for many in theindustry, but making people pay for content couldgo a long way in changing the pervasive belief that

everything on the Internet is free—because it’s not.If you are watching a movie or TV show, somebodywrote, produced and directed it and they deservecompensation.And that, in my opinion, is a major benefit of theiPad—it has the power to start changing the percep-tion (the expectation, actually) that everything on theweb is free. And my daughter’s generation, thanks tothe iPod touch and the iPad, is completely comfort-able with the notion of micro-payments (becauseMom is doing the paying). But plenty of adults, too,will pay for an app or a game or a TV series that theyreally, really want.This is very good news indeed. The iPad will notsingle-handedly wipe out piracy, but it will start tochange the mentality among young consumers andviewers. And, as I’ve learned as a parent, change inbehavior does not come about through rules andrestrictions. A change in behavior occurs when thereis a change in motivation. What new devices like theiPad, the iPod touch, apps and social-networking siteshave helped create are digital communities of fiercelyloyal fans who rally around and feel connected to avideo game or a TV show or a star. Consumers youngand old are motivated to feel part of or know moreabout a certain game or TV show. They want to extendthe experience the game or show provides. In our Onthe Record interview, Kevin MacLellan, the president ofComcast International Media Group and ComcastEntertainment Studios, talks about the power of socialmedia to create communities around shows, and howthese sites have become much more effective than anymarketing campaign. In our One-on-One, Kevin Beggs,the president of television programming and produc-tion at Lionsgate, mentions Mad Men and Weeds, twoseries that have extremely loyal fan bases, of the kindthat will buy an episode or more on iTunes, becausethey’ve just got to see it. And that “just got to see it”desire for a show or game or app, combined with the“just got to have it” desire for the iPad, is a powerfulforce, one I believe can start to change perceptions andmotivations. Now if you’ll excuse me, my daughterfinally fell asleep, and the iPad is just sitting there, call-ing my name….

My daughter received an iPad as a present and my reaction was one of “shock and

awe.” The shock (because on principle I don’t believe an 11-year-old should own

a $700 electronic gadget) quickly gave way to awe, as I was given a chance to play

with that wondrous device.The iPad is a thing of beauty for many reasons.

The Power of Desire

world view

THE IPAD...HAS THE

POWER TO START

CHANGING THE

PERCEPTION...THAT

EVERYTHING ON

THE WEB IS FREE.

WSN_610_WORLD VIEW:WSN_407_WORLD VIEW 5/5/10 2:31 PM Page 2

WSN_510_BEYOND:TEMPLATE 5/4/10 5:09 PM Page 1

THE LEADING ONLINE DAILY NEWS SERVICEFOR THE INTERNATIONAL MEDIA INDUSTRY.

For a free subscription, visit: www.worldscreen.com

Along with a slate of scripted comedies, including the sitcomSex Angels and School Has Gone Mad, Bandeirantes is highlight-ing a number of projects that are infused with the flavors ofBrazil. From Justice, a docudrama that features real Braziliancases in a TV court, to Kick Off, which features interviews withmany world-renowned soccer players out of the stadium, Bandis keen on presenting pieces from its native culture to theworld. “People from different nations want to know about ourcountry,” says Elisa Ayub, the director of national and interna-tional content. “Television is certainly one of the best ways todiscover our colors, our sounds and our way of living. Buyerscan have access to these contents through us.” Another way ofshowcasing the culture of Brazil is through music, and Band isoffering up a roster of concerts that cover everything fromsamba to bossa nova, from the legendary Tom Jobim to thenewest Brazilian music stars.

• Sex Angels• School Has Gone Mad• Justice• Kick Off• Music Concerts

Bandeirantes Group

As most of the key titles in Beyond Distribution’s cataloguehave found success in the U.S. and Canada, the company seesthe L.A. Screenings as an opportunity to increase its exposurein the Latin American market as well. “The L.A. Screenings isa good venue to raise awareness for both Beyond Distributionand our new titles released into the market,” says SherryFynbo, the VP of sales for the U.S., Canada, Latin America,South Africa and in-flight. “We can’t compete with the stu-dios, but there are a lot of slots to fill with HD and 24-hourschedules, so it is imperative that we showcase our program-ming there as well.” Among the titles Beyond will be present-ing is MythBusters. There’s also Stop. Rewind; the preschoolseries Wild Animal Baby Explorers; and Six Degrees of TV. Inanother dose of celebrity, Let’s Talk About Pep features Sandra“Pepa” Denton from the hit female recording group Salt-n-Pepa as she looks to get back into the dating game.

• Six Degrees of TV• MythBusters• Let’s Talk About Pep• Wild Animal Baby Explorers• Stop. Rewind

Beyond Distribution

“Brazil is getting more andmore popular around theworld in politics, business,culture, sports, music and allkinds of entertainment.”

—Elisa Ayub

Kick Off

“There are so many newchannels launchingthroughout Latin Americaand I’m confident there willbe a home for all of ourprogramming.”

—Sherry Fynbo

Let’s Talk About Pep

www.band.com.br/international

www.beyond.com.au

WSN_610_UPFRONT:EUR_1006_ELLENDER 5/4/10 6:05 PM Page 2

_410_BAND PROGRAMMING:_410_BAND PROGRAMMING 5/5/10 6:09 PM Page 1

Claxson Media is touting its production abilities in a widerange of genres that appeal to a variety of buyers’ needs. “Thecompany is strongest in achieving the highest quality of pro-duction whilst being able to produce around the world, andin any language without limitation, and at the same timemaintaining competitive production costs,” says ArielTaboada, the head of programming, production and opera-tions. For the L.A. Screenings, Volcano Hunter gets top billing.The adventure series features photographer Carsten Peter,who heads to Hawaii and gets involved with the culture, reli-gion and landscape in an effort to get the shots he wants.Spanish snowboarding brothers Ruben and Isaac Vergés leadthe action in Brotherhood of the Snow, which features the pairtraining to participate in a world championship competition.Another travel production, All That Show: The Trip, takes asnapshot of musicals from around the world, while In the Deepfeatures a journey from Italy to Egypt from the perspective ofworld champion deep-sea diver Gianluca Genoni.

• Volcano Hunter• Brotherhood of the Snow• All That Show: The Trip• In the Deep

Claxson Mediawww.claxsonmedia.com

The Borgias is an epic drama centered on the family thatschemed its way through the Italian Renaissance. JeremyIrons takes the lead role as the family’s patriarch in the series,which has been ordered for a 10-episode first season byShowtime in the U.S. The show adds to the strong dramaslate in the stable of CBS Studios International. The CSI andNCIS franchises are recognized brands the world over, andtheir procedural format has made them all the more appeal-ing for broadcasters, according to Armando Nuñez, Jr., thepresident of CBS Studios International. He adds, “That is onevery good thing about our library, that we have these twovery strong franchise shows…. I’m certain they are going tobe around the world for a very long time to come.” Thespin-off NCIS: Los Angeles and drama The Good Wife havealso been top performers in the U.S. “I have to say we are ina very good run and we don’t see anything down the roadthat is going to change that,” says Nuñez.

• The Borgias• CSI• NCIS• NCIS: Los Angeles • The Good Wife

CBS Studios International

The Good Wife

“Our studio produced the number one and number two newdramas in American televisionwith NCIS: Los Angeles and TheGood Wife.”

—Armando Nuñez, Jr.

www.CBSCorporation.com

Brotherhood of the Snow

“After successfully producing for the U.S.market for over two years now, Claxson is beginning to make a stand as a prominent production company with international appeal.”

—Ariel Taboada

12 World Screen 5/10


LAT_610_CLAXSON:TEMPLATE 5/5/10 4:14 PM Page 1


Globo TV International is taking 13 new releases to theL.A. Screenings this year—telenovelas, dramas, documen-taries and more. “We’re very happy with the performanceof our products,” says Raphael Corrêa Netto, the head ofinternational sales, “with a highlight on the formats cate-gory and products such as Profession Reporter.” Among thetelenovelas on offer are Watercolors of Love, written byWalcyr Carrasco, and Seize the Day, which was shot in Riode Janeiro as well as in international locations such asJerusalem, Jordan and France. Another popular product isthe police series Internal Affairs. “GloboDOC documen-taries are winning over viewers,” Netto further points out.The titles were exclusively produced for the internationalmarket, under the supervision of Globo’s award-winningjournalism team. “With innovative programs, we have thepossibility to reach new horizons,” says Netto. “And this isour expectation for products like GloboDOC.”

• Profession Reporter• Watercolors of Love• Seize the Day• Internal Affairs• GloboDOC

Globo TV InternationalSeize the Day

www.globotvinternational.com

With some 5,000 hours of programming on its slate, Pol-kaProducciones is positioning itself as a leading supplier offiction in Latin America. The shows are all produced inArgentina and have had successful runs in prime time intheir home territory. Many have also traveled well inter-nationally, notes Alex Lagomarsino, the CEO ofMediaBiz, Pol-ka’s international agent.

Lagomarsino points out that Killer Women has been asuccess in many territories, such as Mexico, Colombiaand Ecuador, with discussions under way in someEuropean countries as well. The series On the Edge cen-ters on a psychotherapy group that is the meeting pointfor several patients with different issues. There’s also theaction comedy Breaking Codes and the drama Be Kind toMe, which tells the story of an almost-divorced couplethat starts family therapy. Further offerings includeMaster Thieves, which is based on real events.

• Killer Women• On the Edge• Master Thieves• Be Kind to Me• Breaking Codes

Pol-ka Producciones

“We believe Argentina is a very competi-tive place and has great opportunities toproduce high quality at a good cost.”

—Alex Lagomarsino

www.pol-ka.com

“The series, mini-series andtelenovelas speak about dramaand humor, and the documen-taries and specials presentBrazilian culture to other countries.”

—Raphael Corrêa Netto

Be Kind to Me


WSN_610_POL-KA:TEMPLATE 5/4/10 5:11 PM Page 1

One of the lead shows that SBT TV Network is bring-ing to the L.A. Screenings is Bridal Veil for Sale, a modernremake of one of Brazil’s biggest hits from the 1970s.Another is A Rose with Love, a romantic comedy that hasbeen a ratings hit in Brazil. Following on the trendtoward talent competitions is What’s Your Talent?, whichshowcases a variety of acts, from singers and dancers tomagicians. Carolina Scheinberg, the VP of sales at SBT,says the show has been a strong draw with audiences. Onthe current-affairs front, there’s Reporter’s Connection withthe award-winning reporter Roberto Cabrini.Scheinberg says of the show: “His journalistic scoopsbecome discussion topics in news panels worldwide.”Adventure reporter Richard Rasmussen puts his ownslant on wildlife in Wild Adventure. He takes himself intothe wild and has his own unique connection with theanimals, Scheinberg explains.

• A Rose with Love• Bridal Veil for Sale• What’s Your Talent?• Reporter’s Connection• Wild Adventure

SBT TV Network

“We offer avariety of showsand there hasbeen a demand forall our genres.”

—Carolina Scheinberg

The fourth edition of RomaFictionFest, a festival dedicatedto TV programming from around the world, will take placein Rome from July 5 to 10. RomaFiction will premiere threeprograms at this year’s festival.

Lennon Naked, a bio-pic by Edmund Coulthard producedby Blast! Films for BBC Four, examines the public and pri-vate life of John Lennon from 1967, the year he met YokoOno, until 1971, when the Fab Four broke up and Lennonmoved to New York.

Stones in Exile is a documentary produced by PassionPictures for BBC Worldwide and executive produced byMick Jagger and Keith Richards. The doc features rare,never-before-seen archival film, photos and interviews withthe Rolling Stones as well as new conversations with theband and the artists they have influenced. The project is acomplement to the re-release of Exile on Main Street, whichwill feature never-before-heard tracks.

Le jeu de la mort (The Game of Death) is a documentary thattells of a shocking experiment conducted during a fake gameshow, in which contestants were told they must apply elec-tric shocks to fellow contestants whenever they gave a wronganswer, regardless of the pain inflicted or the electrical charge,which in the final round reaches a lethal level.

RomaFictionFestConciliazione Auditorium

www.romafictionfest.it

Lost’s Carlton Cuse and Damon Lindelof receive the 2009RomaFictionFest Special Award.


www.sbt.com.br

A Rose with Love


WSN_610_ROMA:TEMPLATE 5/4/10 5:11 PM Page 1

_510_brightcove:_510_brightcove 5/4/10 5:12 PM Page 1

_510_brightcove:_510_brightcove 5/4/10 5:12 PM Page 2

For decades, the Hispanic populationin the U.S. has been growing at a fastclip. Going from 22.4 million in 1990to 46.9 million as of July 2008, thenumber of Hispanics has surpassedthat of African-Americans, makingthem the largest ethnic minority inAmerica, comprising 15 percent ofthe total population. The economic and political

prowess of Latinos in the U.S. canno longer be ignored. Mainstreamadvertisers have started targetingthis group, whose purchasing poweris on a powerful upward trajectory. According to HispanTelligence, the

market research division of HispanicBusiness, the purchasing power ofHispanics amounted to some $870billion in 2008 and is projected toreach $1.3 trillion by 2015. Income-producing Hispanic households areexpected to represent 13.8 percent ofthe U.S. population by 2015.During the 2009–10 television

season, some 114.9 million U.S.homes had a TV set. According toNielsen, the number of Hispanic TVhouseholds is at about 13 million. Last, but certainly not least, 9.7

million Hispanics reported votingin the 2008 presidential election,helping to place Barack Obama in theWhite House (that was about 2 mil -lion more Latinos than voted in2004). Although the recession hasslowed the migration of Mexicansand other Latinos into the U.S.,this year’s census is expected toreveal not only an even greaternumber of Hispanics, but clearer

details about the demographics ofthis significant group.“The census is going to be game-

changing because it is going to man-ifest a view of this country that noone has ever seen before,” says DonBrowne, the president of TelemundoCommunications Group, whichoperates Telemundo, the second-largest Spanish-language broadcastnetwork in the U.S. “It’s going tochange a lot of perceptions and it’sgoing to really be a wake-up call thatthis country has changed and willcontinue to change in a dramaticway. Hispanics will be a force to bereckoned with in terms of theirgrowing influence in governmentand growing economic power.”Indeed, in an otherwise bleak

economy, Hispanics represent one ofthe few areas of growth, especiallyfor advertisers. “We’re at a tipping point, where

brands are realizing that it is now abusiness imperative to market toHispanics,” says César Conde, thepresident of Univision Networks,the leading Spanish-language broad-cast group in the country. “Everyoneis looking for untapped ways to growtheir business, and the Hispanic con-sumer is one of the few bright spotsin the marketplace. We also knowfrom research that was conducted bySimmons in early 2007 that viewersof Spanish-language television arefour times more likely to make a pur-chase decision based on advertising inSpanish than non-Hispanic viewersare to English-language television.

20 5/10World Screen

The U.S. Hispanic market holds huge potentialfor media companies and advertisers. By Anna Carugati

MinorityAl Extremo onAzteca América.

Report

WSN_610_HISPANIC:WSN_0406_ANYTIME 5/4/10 6:09 PM Page 2

5/10 World Screen 21

Hispanics feel that those advertiserswho speak to them in Spanishrespect and understand them. It isvitally important for any marketerlooking for sustainable growth tounderstand this and act on it.”

As a result of the new numbersthat will be unveiled by the census,“there is going to be an enormousshift of meters placed in Hispanichomes, and there is going to be adramatic growth in Hispanic media,”adds Telemundo’s Browne. “The bigcompanies that are looking for thebest and surest way to grow theirbusiness in the next two to five yearsare going to be totally energized andenlightened that this is the fastest,quickest way to grow.”

Nielsen will, in fact, adjust thenumbers of homes it uses to mea sureratings according to the numbersrevealed by the census. “The censuswill set new benchmarks,” says DougDarfield, the senior VP of multicul-tural measurement for the NielsenCompany. “And the census is the bestindependent source that we can useto say that we are measuring the pop-ulation on a lot of characteristicsaccurately and fairly.”

The census will undoubtedly con-firm what Hispanic media insidershave known for years—that theHispanic audience in the U.S. is con-stantly evolving. As new generations

become acculturated, fully bilingual,and, just like their Anglo contempo-raries, media savvy, they demandmore than just telenovelas. They wantprogramming on multiple platforms,unlike their parents or grandparents,who were accustomed to a two-network television universe.

THE MAJOR PLAYERSThe majority of the Hispanic TVaudience automatically tunes in toUnivision for novelas, news andfootball. Its ratings are so high thaton any given night in prime time,Univision often comes in as the thirdor fourth most-watched broadcastnetwork in the U.S., jumping pastone of the major networks—CBS,ABC, NBC or FOX.

In fact, during the February Sweepperiod, Univision outperformed atleast one of the English-languagebroadcast networks 21 out of 25nights, or 84 percent of the time,among adults 18 to 34.

While Univision has been produc-ing its own news, sports and enter-tainment programming, it has longbeen relying on Mexico’s Televisaand Venezuela’s Venevision for prime-time telenovelas and has deals withboth companies till 2017. And while2017 may still be a long way off,Univision has decided to start pro-ducing more of its own content.

“We announced [in December] thelaunch of Univision Studios, whichmarks the next phase in the evolutionof Univision Communications,” saysConde. “The creation of an in-housestudio builds on Univision’s originalproduction capabilities in multiplegenres, which account for over 4,000hours of original programming annu-ally across the company. UnderUnivision Studios, we will haveenhanced capabilities to produce andco-produce telenovelas, reality shows,dramatic series and other program-ming formats, not only for our threetelevision networks, but for our inter-active platforms Univision.com andUnivision Móvil as well.”

Although Univision remainsdominant in the ratings, Telemundohas seen constant ratings growth formore than a year, thanks to its pro-duction of original novelas. Ratherthan acquire finished novelas fromother countries, Telemundo hasopted for producing its own andhaving the freedom to include prod-uct placement as well as topical newsand social issues that are relevant toU.S. Hispanic viewers.

When Telemundo decided in 2004to produce its entire prime-timeschedule, it set in motion a strategythat has paid off in several ways.

“Our story is a story of reinven-tion, of dramatically changing a busi-

ness model, and the facts speak forthemselves,” says Browne. “We aredelighted with our performance onall different platforms—broadcast,cable, international and digital—theyare all performing extremely welland are being fueled by our originalcontent. [Our novelas] are now in104 countries and our internationalbusiness, led by Marcos Santana, isgrowing by 20 percent a year. Theidea of creating and owning yourown content is that you have toevolve, you have to be able to growyour business on a multiplatformbasis, and international is critical—it is a significant part of our rev-enue now.”

SOMETHING FOR EVERYONENumerous smaller TV services aretrying to offer something differentfrom the novela-news-and-sportsprogramming menu available onUnivision and Telemundo. Somehave attracted attention from majorinternational media companies.

V-me is a 24-hour digital-broadcastservice, presented by some 40 affili-ate public-TV stations and carriedon cable and satellite. Currentlyavailable in more than 70 percentof all Hispanic homes, V-me’shousehold distribution is the thirdlargest in the U.S., followingUnivision and Telemundo.

News you can use: Noticiero Univision is a nightly newscast on Univision that features information on the latest issues most important to Hispanic and Latino Americans.

y



Last fall, PRISA—whose assetsinclude a stake in the mergedTelecinco and Cuatro group andSogecable in Spain, as well asPortugal’s TVI—acquired a 12- percent stake in V-me, with a view totaking majority control within 12months. In addition to its cash invest-ment, PRISA will contribute contentand production resources to V-me.

“V-me was born three years ago tobring a very high degree of produc-tion values and to explore and growareas of interest with the Hispanicmarket that still remain untapped,”says Carmen DiRienzo, the presi-dent and CEO of V-me.

“One of the reasons we are soexcited to have PRISA as a strategicpartner and owner is that they havean enormous amount of content ofthe highest caliber,” she adds. “Wehave the opportunity now to acquire,co-produce and produce, and lookat their literary properties and inte-grate our plans for character devel-opment with them.”

V-me’s programming strategy, infact, focuses on genres that are under-represented on the main Hispanicnetworks. After a schedule revamp inMarch, V-me now offers contempo-rary Latin films and a movie-reviewshow on Wednesdays, and has added astrip of dramatic fiction series at 11p.m. that include crime, family andeven mystery/paranormal dramas.Children’s, music and lifestyle pro-gramming round out V-me’s schedule.

DiRienzo explains that PRISA’seducational content, as well as itsslate of movies, music and lifestyleshows, fit in perfectly with V-me’smission. In addition, PRISA’s Internetand social-networking assets canhelp to substantially increase V-me’sdigital businesses.

MEXICANAL Network, a Mexico- based channel launched in 2005 byCablecom and Castalia Commun -ications, targets viewers in the U.S.,Canada and Mexico. Its schedule fea-tures a range of Spanish-languagecontent including news, culturally significant programs, sports and popular

entertainment from public broadcast-ers, independent producers and local-access stations throughout Mexico.

“The tagline for MEXICANALis, ‘Tu canal regional de México,’ sowhat viewers get from us is whatperhaps they cannot from the othernetworks,” says Luis Torres-Bohl,the founder and president ofCastalia. “[We] satisfy the news,information and entertainment needsof Mexicans living throughout theU.S., of which nine out of ten comefrom places other than Mexico City.So they don’t have any way oflearning of what happened inOaxaca or in Tuxtla Gutiérrez. Wehave that information, every singleday, so we help them get in touchwith their places of origin.Likewise, in Mexico we also pro-vide news from Chicago, LosAngeles and New York aboutMexicans who live and work inNorth America, and that is of inter-est to them.”

A targeted channel like MEXI -CANAL can provide advertisers spe-cial offerings. “Everybody nowadaysin a tight economy is looking to opti-mize the expenditure of dollars to

reach a certain consumer,” continuesTorres-Bohl. “We are offering a veryeffective alternative in terms of CPM,that is very targeted for a commu-nity. For example, [leading up to]Mother’s Day, we can targetMexicans living in the U.S. who wantto send money via many of the wireservices—and several advertise withus—to their mothers. We have similarprograms with the same advertisersfor the Christmas holidays, so peoplecan send gifts and money to theirfamilies in Mexico.”

Some of the most popular pro-grams on MEXICANAL are thedaily show Te levanta, which includesnutrition and lifestyle advice forwomen, and the boxing showsCuadrilátero and Fábrica de campeones.The channel also airs baseball asopposed to football because, asTorres-Bohl explains, baseball bringsthe family together.

IT’S ALL IN THE FAMILYFamily viewing is still a very impor-tant social activity among Hispanics,says Adrian Steckel, the CEO ofAzteca América. “People will cometogether to watch television, it’s noteveryone watching their own TV in

Carving a niche: The special Discovery Atlas: México Revealed, which aired on Discoveryen Español, takes viewers into the heart of Mexico, looking at areas such as localcrafts, cuisine and natural wonders.

A feminine touch: Eva sin Adán is a variety show on MEXICANAL geared toward women,discussing fashion, culture, beauty and more.


separate rooms. Hispanics have amuch more emotional connectionwith their networks. They are notwatching programs, they are watch-ing networks, and they have feelingsfor the network and it serves a pur-pose in their lives. When you look atEnglish-language networks, peoplewatch individual programs, such asLost or 24. Anglos have lost the con-nection with what CBS or NBCmeans in their lives—they are hop-ping around from one network toanother.”Azteca América operates in 69markets in the U.S. and will soonreach 71, in addition to its carriageon cable, satellite, Internet andmobile platforms. The service hasaccess to the programming fromTV Azteca’s three national net-works in Mexico, including alibrary of more than 200,000hours of original programmingand news from local bureaus in 32Mexican states. “We have complemented whatTV Azteca offers with shows that aregeared to the U.S. audience and pro-

duced especially for AztecaAmérica,” says Steckel. These pro-grams include the talk show Laura detodos, sin miedo a la verdad with thepopular host Laura Bozzo.

BETTING ON VARIETY“We do not program novelasagainst Univision’s novelas,” saysBob Turner, the president of net-work sales for Azteca América.“We’ve had success airing varietyand news programming to counterthe novelas on Univision.” Thisprogram strategy, along with thechannel’s continuous growth indistribution, has paid off. “Our adrevenues were up 6 percent in 2009over 2008, despite the worst econ-omy in decades,” says Turner. “Andthis year is even better; we had thebest first quarter in our history.”Cable channels are also offeringHispanic viewers alternatives towhat they can find on the mainSpanish-language broadcast net-works. If men are well served byESPN Deportes and Fox Sports enEspañol, Discovery Familia offers

several alternative genres forfemale viewers.“Discovery Familia offers Latinawomen a high-quality alternativethat is different from what they canfind on other channels, which is basi-cally telenovelas and talk shows,”explains Luis Silberwasser, the inter-national head of content forDiscovery Networks International.“Discovery Familia’s program-ming includes a daytime block ofprogramming for children that iscompletely in Spanish and offersunique learning experiences,” con-tinues Silberwasser. “Mothers can besure their children are in a safe envi-ronment where they can have fun,learn, and maintain their Spanishfluency. During the evening weoffer programming dedicated toHispanic women and families, withshows about travel, lifestyle, beauty,child care, homes and decoration—all shows that are really differentfrom other TV offerings in the U.S.Hispanic market.

Also targeting Hispanic viewers isDiscovery en Español, which offers awindow on the world through sci-ence, technology, history, nature andwildlife programming. If, as expected, the census offersdetailed information about thegrowing niches within the Hispanicpopulation, cable and digital pro-grammers may have more audiencesto target. “We are having conversationswith a lot of cable and satellitechannels about the possibility ofproviding some measurement sothey can start presenting themselvesto advertisers and open up the adstream,” says Nielsen’s Darfield.“Certainly at this point in time,[cable and satellite channels’] collec-tive share of the viewing [audience]is larger by many orders of magni-tude than the share of the ad dollarsthat they are taking in. The questionis, Who can find the model thatbrings content to market in a waythat makes sense to advertisers?”Whatever numbers the censusreveals, there is no doubt but that theU.S Hispanic market holds countlessopportunities for networks, pro-grammers and advertisers alike.

Being embraced: Más sabe el diablo(The Devil Knows Best ) is a Telemundotelenovela that features lovers

embroiled in intrigue, betrayal,vengeance and passion.

World Screen5/10 23


WS: Has Lionsgate Television pro-duced mainly for cable televisionbecause that’s where the opportunitieshave been, or has it been by design?BEGGS: Going back in time to whenwe began this journey, about 12 yearsago, we made a choice to work in cable,as we were averse to the risk of networkdeficit-financing models. We lacked

international, domestic, or home-entertainment distribution.

We were really just a productionentity, a Canadian company thatcould bring some Canadian taxadvantages. As we got a little big-ger, we had more distr ibutionopportunities, but we were stillvery risk-averse, so then cableseemed not only the place to beout of necessity but also the rightplace strategically. Happily, thetrajectory of our own businessparalleled what was going on inthe U.S., which was a proliferationof scripted shows on cable chan-nels. We have been in lockstepwith developments in the cablespace. We launched the highly suc-cessful series The Dead Zone forUSA Network, which, paired withtheir own ser ies Monk, trans-formed the network.

Right after that we did Weeds, and acouple of years later we did Mad Men.Working in cable has been both astrategic and a creative choice, and itmakes sense from a financial perspec-tive, but at the same time we are alwaysdeveloping for broadcast as well. Thisyear we stepped in as the studio on apilot for FOX called Wilde Kingdom

when the financing proved challengingelsewhere. By making the kind of dis-ciplined financial decisions we areknown for, we have positioned this tobe a strong contender among thecomedies in play at the network thisyear. Our basic-cable shows are doingwell, have multiple seasons and tangiblevalue, and in the long term allow us totake a few risks here and there that wemight not have before, and WildeKingdom is an example of that.

WS: You have a number of partner-ships with some key production com-panies and producers. Why are thoserelationships important?BEGGS: We maintain a very low over-head in the television group. We have asmall group of multitalented executivesthat understand creative, production andbusiness aspects of the television busi-ness, enabling us to accomplish a greatdeal with fewer personnel.

We like the notion of making agree-ments with television producers—someof them are writers, some of them arejust interesting creative forces—whoare trafficking in worlds that we don’tnecessarily get into every day.

For instance, we have a deal withStanley Tucci and Steve Buscemi, who

oneononehe leading independent in Hollywood, Lionsgate, has basedits business on targeting niches that have been underservedby the major studios: horror films like the Saw franchise,urban movies like the Tyler Perry franchise, feature documen-taries and prestige movies like Crash and Precious. Along-side its film business, Lionsgate has grown its TV businesswith a less-is-more approach, which has yielded such criticallyacclaimed series as Mad Men, Weeds and Nurse Jackie.The company is also in the non-scripted-series business withshows like Paris Hilton’s My New BFF, which it producedfor MTV, and Scream Queens for VH1. Leading the development and production of series at the

company is Kevin Beggs, Lionsgate’s president of television programming andproduction. In addition to driving the studio’s business with third-party net-works, he is looking to boost the original programming slate at TV Guide Net-work, which Lionsgate co-owns. The output that Beggs is handling at Lionsgateis being rolled out around the world by Peter Iacono, the managing director ofinternational television. Having joined the studio earlier this year, Iacono’sremit includes leading the exploitation of brand-defining cable dramas andcomedies like Mad Me n and We eds , as well as an increasing slate of TVmovies and reality shows.


Kevin BeggsLionsgate

WSN_610_ONE-ON-ONE:1005_ONE-ON-ONE 5/4/10 6:11 PM Page 3

are known as actors but are alsoproducers and best friends and for20 years have been wanting towork together. They are in NewYork and have connections to cre-ative talent there. We have anotheragreement with Allan Loeb, who isa feature and TV writer. Allan hasWall Street: Money Never Sleepscoming out. He did a JenniferAniston movie for us withMandate Pictures called TheSwitch. Allan can tap into a range ofrelationships with lots of interest-ing writers, directors and othercollaborators. We have a deal withBrian Robbins, who is a prolificproducer and director in film andtelevision. We are writing seasontwo of Blue Mountain State with hiscompany, Varsity Pictures, andBrian is directing a pilot forLionsgate and Spike TV calledPlaying with Guns.

We’ve been very selective aboutwhat we do. We just renewed ourdeal with Jenji Kohan, the creatorand executive producer of Weeds,for another two years. And ofcourse, we have Matt Weiner, thecreator and executive producer ofMad Men, on an overall deal.

These agreements become reallysmart ways to maximize develop-ment and production opportuni-ties. And because of the way thesedeals are structured, these produc-ers are also betting on themselves,the more they get made, the bet-ter off they are going to be.

WS: What type of creative envi-ronment do writers and producersfind at Lionsgate? BEGGS: We are wildly supportiveand defenders of great creators,and we are not bureaucratic; we’rea small group. Some of the chal-lenges that creative people facein a large studio environmentinvolve dealing with too manypeople and having too many con-versations, and it’s hard to focuson the creative because it’s justlike working at IBM. We are justnot like that. There are a couple ofus who interface with everybody.And writers and producers canget to us all the time. And you cango all the way to the top to a guylike Jon Feltheimer, our CEO,who has a long history in TV. Heis available, and when we haveissues or problems at any level,with a network or maybe withcasting, that door is open and hewants us to come in with thewriter and the show runner so wecan talk about it. There is a lot ofaccess here, and for many produc-ers that’s just really rare.

From a business perspective, weproduce great shows in a disciplinedfashion with an eye toward bringingthem to profitability quickly.

Given the amount of work thatgoes into making a series, creatorsand producers want to know if theyare working toward a back end or


Man of the times: The Matthew Weiner–created drama Mad Men, which airs on AMC, has garnered much criticalacclaim since its debut, becoming the first basic-cable series to win an Emmy Award for outstanding drama.

Prescribed for success: Lionsgate produces the dark medical comedy Nurse Jackie, now in its second season, forShowtime, the premium cable channel that has become one of the studio’s key clients.


simply earning fees. Weeds and MadMen are on the road toward makingthe former a reality for the talentedproducers who make these shows forLionsgate and our network partners.

WS:What plans do you have forTV Guide Network?

BEGGS: With TV Guide Networkwe’re so excited about what isalready happening and what thefuture holds. Our role, aside frombeing co-owners, is to offer as muchcreative ammunition and support aswe can. I have been working withDiane Robina, who has come in as

head of programming, making sureshe is meeting with amazing talentand up to speed with how the orig-inal programming business worksfor cable. Whether we are buyingUgly Betty or Curb Your Enthusiasmor Weeds, we’re sending a message tothe creative world that TV Guide

Network is going to buy greatshows off-network. The next phaseis original programming. There hasnever been more talent available inthe nonfiction production world,and we are looking forward to find-ing terrific originals to help withthe TV Guide rebrand.

WS: What’s your broad strategy forboosting Lionsgate’s worldwide TVbusiness?IACONO: We have a multifacetedapproach to expanding Lionsgate’spresence internationally. The core iscontinuing to produce iconic, high-profile [shows] such as Mad Men andWeeds; broad-based shows such asBlue Mountain State; and expandingupon that with additional showsfrom our own productions, partner-ing with third parties, and looking atdoing more local productions, suchas the Dubai version of Paris Hilton’sMy New BFF.

WS: What are your plans for localproductions?IACONO: We are looking at doingthem all around the world, which isquite fun. There are potentially twomore locations where Paris would liketo find her BFFs [after series were pro-duced in the U.S., U.K. and Dubai].We’re also looking at doing adapta-tions of scripted shows. There’s a greatterritory that could be a wonderfulhome for a Mad Men adaptation.

WS: How has Mad Mendone internationally?IACONO: Mad Men hasdone brilliantly globally. Allof our broadcast partnersfrom around the worldsent in their trailers and wemade a compilation of thedifferent promotions fromaround the world. You can

see what different broadcasters focuson—some focus on the relation-ships, some on just the smoking andthe drinking, some on the drama,and the cheating! The beauty ofMad Men is it’s a really smart, well-produced show that draws you inslowly and once you’re there you’rehooked, and the audience is amaz-ingly loyal and they find the showon broadcast or on catch-up.

WS: As an independent supplier,what does Lionsgate offer broad-casters over the traditional Holly -wood studios?IACONO: The thing about the bigstudios, even today, is it is still anapproach of, Let me back up thetruck and give you an output dealand you’ll take all the television thatwe produce. That doesn’t work any-more. Broadcasters all have uniquepersonalities. If you back up thetruck, it’s not going to work for theshow, for the broadcaster, for the dis-tributor. We look to figure out howto get the shows to the right broad-casters and to the viewers who love

them. You need to have the right facefor each of those shows in order tostart that experience with viewers. Ifyou backed up the truck, some ofyour shows were never even broad-cast, which is a problem.

WS: What are your broad goals forthe next 12 to 18 months?IACONO: We have a wonderfullineup for the May Screenings—probably the biggest and broadestlineup that Lionsgate has had in

many years. We have one-hours andhalf-hours with pay-television broad -casters, basic-cable networks andtraditional broadcast networks.We’re continuing to enhance andexpand our third-party partner-ships. The bigger goal, towards theend of 12 to 18 months, is we’d liketo see another original productionas brilliant and as wildly entertain-ing and emotional and campy asParis in Dubai. Looking at TigerGate, which is the joint venture wehave in Asia with Saban CapitalGroup, we’re focused on expandingour network brands, Thrill and KIX,finding new territories for thosebrands as well as other Lionsgatebrands, such as TV Guide.


oneonone

Peter IaconoManaging Director, International Television, Lionsgate

Riding a high: Weeds, a dramedy produced for Showtime, continues itsstrong performance in the U.S. and abroad as it heads into its sixth season.


STARRING JENNIFER FINNIGAN

FIREWORKS INTERNATIONAL19 Heddon Street, London, W1B 4BG, UK T: +44 (0)20 7851 6500 | 225 Arizona Avenue, Suite 250, Santa Monica, CA 90401, USA T: +1 310 576 1059 www.content�lm.com

LA Screenings: Suite 1721 at The Hyatt Regency Century Plaza

TV Movies: The Last Christmas - 1 x 2 hours Wedding for One - 1 x 2 hours

WSN_610_FIREWORKS:TEMPLATE 5/6/10 10:49 AM Page 1

WS: What are the priorities for ComcastEntertainment Studios?MACLELLAN: There are two hugelyimportant parts to this studio: we have alibrary of 700,000 hours of content,going back to the mid-’80s, when E!Entertain ment Television launched,which was the first of the channels thatare part of this group. That library isextremely valuable, and it includes inter-views with every celebrity you can pos-sibly imagine, as well as coverage ofevery fashion show and every red-carpetevent—the Academy Awards, the GoldenGlobes, you name it, we’ve been there.That content should be monetized morethan it is, so one thing the studio will do

is focus on creating new formats andprograms that can monetize thatlibrary more significantly.

We also have a very large amount ofphysical assets in Los Angeles. Weare actually the second-largest post- production facility in Los Angeles, afterCBS. We have more than 100 editsuites, 45 cameras, five studios, morethan 350 production personnel—andnot freelance production personnel.Part of the reason for that is that E!Entertainment Television, The StyleNetwork and G4 are actually pro-ducing the majority of their con-tent, whereas most channels havemoved to acquiring. So in terms ofour physical assets, our library con-tent, our production personnel andour talent in the building, I thinkthere are some real ways of creating

new revenue streams for the company.

WS: So you will be opening up the stu-dio for third parties as well?MACLELLAN: A large part of my ambi-tion for Comcast Entertainment Studiosis to continue to create a number of serieswith more successful episodes than almostany network I have ever come across. Ashow like The E! True Hollywood Story hasmore than 500 episodes that still continueto rate so well that we make more than 30of them a year. We have a show like TheSoup, which has been franchised into sixdifferent channels around the world andmakes 52 episodes a year on each of thosechannels. We’ve got shows for The Style

Network—like How Do I Look? or CleanHouse, which have some 150 to 200episodes apiece.

CES has been able to create a formulaby using those assets that I just dis-cussed, which provides long-runningseries that are cost-effective, createprofits and continue to be the backboneof most of the channels they are sup-plied to. So we will continue to acquirecontent from third parties for our net-works, but the backbone is what weproduce. And as any programmerknows, you need a constantly refreshedamount of content in order to programin today’s environment.

What I think is really promising is thatI can open up these production facilitiesand this library to third parties aroundthe world. At the end of last year, webegan pitching programs to U.S. net-works, and I’m really happy to say thatalready we’ve had three successes. Weproduced a series of specials for the ABCnetwork called Now and Then, which isabout where particular celebrities arenow. When you stop and think about it,who would be better to do that than E!,because we own the entire library. Wehave set visits [to shows] going back to1987, and there is nobody else who hasthat kind of content. They would have tocome to us to buy it anyway.

We have also produced some othertypes of content. One show is calledBaggage. It’s a game show for the GameShow Network. Jerry Springer is hostingand I’m really excited about it. It had a

s president of Comcast International Media Group(CIMG) and Comcast Entertainment Studios(CES), Kevin MacLellan is able to satisfy an impor-tant professional need of his: to learn somethingnew every day about the television business heenjoys so much. He is in the enviable position of

overseeing the international expansion of a port-folio of channels that includes E! EntertainmentTelevision, The Style Network, Versus, GolfChannel and G4, as well as international new

media and distribution, but he also manages a studio that produces more than1,100 hours of programming a year. Working alongside MacLellan is DuccioDonati, who is in charge of the day-to-day international distribution and channelbusinesses at CIMG. MacLellan and Donati talk to World Screen about the on -going appeal of celebrity and lifestyle programming.


Kevin MacLellanComcast International Media Group

on the record

WSN_610_ONE-THE-RECORD:1005_ONE-ON-ONE 5/4/10 6:13 PM Page 3

fantastic response at MIPTV, so Ican now take that format, which wecreated, along with our productionfacilities and our ability to producethe show, and sell that to third par-ties. There is no reason, particularlywith a studio-based show, that Icouldn’t produce it for the Australianmarket or the U.K. market—all Ineed to do is fly in the contestants.And if I’m producing [the interna-tional versions] at the same time asI’m producing the U.S. show, similarto what Endemol has done withWipeout, I can amortize the costacross multiple shows. And there isno reason that you have to do thatonly with extremely high-endexpensive content. Why wouldn’t youdo it with game shows? It makesperfect sense. And we have all thefacilities to be able to do that. SoI’m pretty excited about the oppor-tunities that presents.

WS: How are new-media plat-forms like YouTube, Facebook andTwitter helping to support yourprogramming? MACLELLAN: This is one of myfavorite topics right now becauseit’s changing all the time. It’s one ofthose things about our industrythat I love so much: there’s never amoment that I don’t have anopportunity to learn somethingnew, and every day I learn some-thing new about social networkingand new media. A couple of years ago I proba-

bly would have said that social-networking sites would help buildcommunities that were dedicated tothe channels. But what I’ve begun torealize is that social-networking sitesdo not build fantastic communitiesfor channels per se, but they do forindividual programs. People arefollowing personalities on social-networking sites. Chelsea Handlerfrom Chelsea Lately in the U.S. hasa massive following on Twitter andFacebook, and we can access that atany given point and advertise aparticular guest or a particular

stunt that Chelsea is doing and wesee real tangible results. The samegoes for a show like The Soup.Because so much of our content isso current and social-networkingsites are very much about what ishappening in the here and now, wehave had a lot of success with ourdaily and weekly shows, in particu-lar those that have large personali-ties in front of them—hosts whohave a point of view as opposed tojust somebody reading from ateleprompter. So people with atti-tude and a point of view likeChelsea Handler and Joel McHale

and Ryan Seacrest have a massivefollowing as well. That is howsocial-networking sites are helpingthe shows—and the shows thenhelp our networks.

WS: In today’s very crowded mar-kets, what does a channel need tolaunch successfully and connectwith viewers?MACLELLAN: A strong, definablebrand that needs to stand out in themarketplace, and it’s really helpfulwhen that brand is unique. I like tosay, “A brand that says what it doeson the tin”—it’s a British expression

for, “A brand that says what it doeson the box.” It’s really importantbecause a brand like Golf Channelis a beautiful brand—you can’t getconfused about what it is. E! En -tertainment Television falls into thatcategory as well—a really strong,definable and unique brand. As themarketplace gets more crowded,how many movie channels or doc-umentary channels or children’schannels or music channels can oneplatform actually support? It’simportant to be unique, not only inyour brand, but also in your con-tent. But it’s also important to stand


Cutting through the clutter: The Style Network, aimed at women 18 to 49, has an abundance of makeover shows, includingClean House, one of the channel’s top-rated series.


out, and a constant supply of freshcontent is really helpful. Not havingto acquire all your content fromthird parties and constantly being atthe mercy of the studios is also reallyimportant. I also think that findingthat right balance between local andinternational content is really

important. We launched E! as aHollywood channel, which wasacceptable to everybody, but overtime the way that we have beenincreasing our ratings is by addingjust the right amount of local con-tent as well. And when I say rightamount I mean every channel is a

profit-making venture and so thedifficulty is finding [how muchlocal content can be profitable]. Icould continue to produce 50 per-cent of my content in the U.K., butfrankly the U.K. pay-TV ad-salesmarket can’t support that. So is itten percent? Fifteen percent? Thirty

percent? Each market has proven tobe different. It’s really about findingthat balance between local andinternational content. So launchinga successful channel today dependson a strong brand, fresh content anda balance between locally producedand international content.

WS: How are you approaching thedistribution of CIMG’s contentportfolio to platforms worldwide?DONATI: Our mandate is monetizeour wholly owned content acrossthe entire value chain: channels, pro-gram sales, new media. We adopt adifferent approach for the program-ming from our international chan-nels, E! and The Style Network,than we do for the rest of our cata-logue. In territories where E! and/orThe Style Network already exist, weeither license content that no longerairs on the channel, or we premierethe content on the channel and thenlicense the second window to otherplatforms. As for territories wherewe do not have a channel but areplanning to launch one, we are care-ful to ensure that our licensing effortsstill guarantee that the brands areproperly represented. With the other

catalogues, such as G4,where we don’t have animmediate plan to launcha channel, we can licensemore aggressively.In addition, we want to

continue expanding ourprogram sales and formatsbusiness. We just starteddistributing some productfrom El Garage in LatinAmerica. We did thatbecause we felt that thequality of the program-ming was excellent andthat there were some nichebuyers in the market that

wanted this type of programming.With formats, we have closed sev-eral deals for Reality Hell in majorterritories, and Baggage, whichComcast Enter tainment Studios isproducing for GSN (Game ShowNetwork in the U.S.), has beenextremely well received.

WS: So you’ve expanded your slatewith third-party titles and the out-put for other networks fromComcast Entertainment Studios?DONATI: That’s our objective.However, the key for us is not tobuild a massive catalogue. Withover 1,200 hours a year comingfrom our own networks and alibrary of over 5,000 hours, wealready have plenty of product torepresent. The key is to diversifyour catalogue so we can open upadditional revenue streams in gen-

res that we are not currently ser -ving. I want to ensure that if wechoose to represent a show we doso because we believe we can do agreat job in selling it and we arethe best sales force to do so.

WS: What are your plans forCIMG’s channels?DONATI: E! Entertainment Tele -vision is already very broadly dis-tributed, so our main focus is oncontinuing to build the ratings on thechannel. We’ve had a great first quar-ter driven by an extremely successfulred-carpet season. We’ve seen solidratings increases across the board onall the rated channels—U.K., France,Italy, Australia. The objective for usis to continue that growththroughout the years, andwith new seasons of verysuccessful shows like KeepingUp with the Kardashians andKendra and promising new-comers like Pretty Wild, I amconfident that [we] willachieve that objective.As for The Style Network,

our main objective is toincrease distribution of thechannel, which launchedless than two years ago.We’re also going to bedoing some targeted acqui-sitions for the channel. TheStyle Network doesn’t havethe production-output vol-ume E! has, and we areusing that as an opportunity

to increase The Style Network’s rel-evance to local audiences throughacquired product that will resonatewith viewers.

WS: How is your new-media busi-ness faring?DONATI: It is growing extremelyquickly. In the beginning of 2008 welaunched the E! Online site in theU.K., Australia, France, Italy andGermany. Traffic has doubled everyyear since launch, and we are cur-rently delivering 1.5 million uniqueusers and 24 million page views amonth, which has allowed us to startmonetizing them through ad sales. In2010 we will be expanding the brandinto the mobile space as well withlocal-language WAP sites, iPhoneapps. This will move us closer toreplicating the E! Everywhere con-cept that has been extremely success-ful for us in the United States.


Duccio DonatiExecutive VP, CIMG

Blonde ambition: Chelsea Handler is the hostof E!’s late-night series Chelsea Lately.

on therecord


Rank Program Network Distributor Average Share Kids Teens M18–49 F18–49 M25–54 F25–54 M50+ F50+

1 American Idol: Tuesday FOX FremantleMedia Enterprises 14.2/21 5.1 6.7 7.3 11.7 8.7 12.9 8.0 11.5

2 American Idol: Wednesday FOX FremantleMedia Enterprises 13.4/21 4.6 6.0 6.6 10.6 8.0 11.9 7.7 11.4

3 Dancing with the Stars ABC BBC Worldwide 12.5/19 2.0 1.8 2.5 6.4 3.4 8.2 7.9 17.8

4 NCIS CBS CBS Studios 11.5/18 1.1 1.7 3.6 4.6 5.0 6.3 12.5 14.2

5 The Mentalist CBS Warner Bros. 10.4/17 0.8 1.4 3.2 4.7 4.3 6.3 9.8 13.0

6 Dancing with the Stars: Results ABC BBC Worldwide 10.0/15 1.4 1.5 2.1 4.5 2.8 6.0 6.8 14.3

7 Undercover Boss CBS ALL3MEDIA International 9.8/15 1.8 2.8 5.8 6.6 6.9 7.7 8.0 9.2

8 CSI CBS CBS Studios 9.7/15 1.2 1.5 3.2 4.6 4.2 6.2 8.9 11.7

8 NCIS: Los Angeles CBS CBS Studios 9.7/15 0.8 1.4 3.1 3.9 4.2 5.4 10.2 11.6

10 Two and a Half Men CBS Warner Bros. 8.9/13 1.0 1.7 4.6 5.1 5.8 6.4 7.6 8.3

11 Desperate Housewives ABC Disney Media Distribution 8.8/13 1.3 2.0 3.0 6.6 3.8 7.7 4.9 8.9

11 Grey's Anatomy ABC Disney Media Distribution 8.8/13 1.0 1.6 2.7 7.6 3.3 8.1 3.7 8.4

13 60 Minutes CBS CBS Studios 8.6/14 0.7 0.8 2.7 2.5 3.7 3.4 10.2 10.1

14 Criminal Minds CBS Disney Media Distribution 8.5/13 0.9 1.2 2.9 4.5 3.8 5.9 7.1 9.9

15 The Big Bang Theory CBS Warner Bros. 8.4/13 1.1 2.0 5.1 5.6 6.1 6.7 6.3 6.9

16 The Good Wife CBS CBS Studios 8.4/14 0.5 0.7 1.8 3.5 2.6 5.0 6.9 11.4

17 CSI: Miami CBS CBS Studios 8.2/13 0.8 1.4 3.0 4.4 3.8 5.6 6.4 9.0

18 CSI: NY CBS CBS Studios 8.0/13 0.7 1.0 2.4 3.8 3.2 5.0 6.9 9.6

19 The Bachelor ABC Warner Bros. 7.8/11 1.4 1.9 2.2 6.5 2.7 6.9 3.0 8.1

20 Survivor: Samoa CBS CBS Studios 7.8/12 2.0 2.2 3.7 5.0 4.6 6.2 5.6 7.7

21 Survivor: Heroes vs Villains CBS CBS Studios 7.7/12 1.9 2.3 3.7 5.0 4.7 6.2 5.8 7.6

22 House FOX NBC Universal 7.4/11 1.3 2.1 4.4 5.4 4.8 5.9 5.0 5.9

23 Brothers & Sisters ABC Disney Media Distribution 7.0/11 0.7 1.0 1.9 4.8 2.5 5.9 3.2 7.7

23 Lost ABC Disney Media Distribution 7.0/11 0.9 2.0 5.3 5.4 5.7 6.0 3.8 4.8

23 Romantically Challenged ABC Warner Bros. 7.0/11 0.7 1.1 1.8 3.9 2.5 5.2 4.0 8.9

26 Amazing Race 15 CBS Disney Media Distribution 6.8/10 1.8 2.1 3.1 4.4 3.8 5.4 4.8 7.1

27 Castle ABC Disney Media Distribution 6.7/11 0.5 1.0 1.9 3.6 2.4 4.5 4.9 8.3

28 24 FOX Twentieth Century Fox 6.4/10 0.6 1.5 3.9 3.3 4.8 4.0 6.8 5.2

28 Bones FOX Twentieth Century Fox 6.4/10 0.9 1.5 2.5 3.6 3.0 4.3 5.3 6.5

30 The Amazing Race 16 CBS Disney Media Distribution 6.3/10 1.4 2.1 2.9 4.1 3.8 5.2 4.9 6.4

30 Biggest Loser 8 NBC Shine International 6.3/10 1.9 1.7 2.9 5.4 3.3 6.2 2.5 5.2

32 Private Practice ABC Disney Media Distribution 6.2/10 0.7 0.9 1.6 5.3 2.0 5.7 2.3 6.1

32 Cold Case CBS Warner Bros. 6.2/10 0.5 0.7 1.7 2.9 2.3 3.8 5.6 7.9

34 Law & Order: SVU NBC NBC Universal 6.1/10 0.6 0.8 2.2 3.6 2.6 4.2 4.0 6.3

35 V ABC Warner Bros. 6.0/10 0.9 1.2 3.9 3.3 4.6 3.9 4.3 4.5

35 Biggest Loser 9 NBC Shine International 5.8/9 1.6 1.7 2.6 5.0 2.9 5.7 2.1 4.9

37 FlashForward ABC Disney Media Distribution 5.7/9 0.8 1.1 2.6 3.4 3.2 4.1 4.0 5.5

37 Human Target FOX Warner Bros. 5.7/9 0.9 1.2 2.9 2.7 3.8 3.5 5.9 5.1

39 Extreme Makeover: Home Edition ABC Endemol Worldwide Distribution 5.5/8 1.8 1.5 2.0 3.4 2.6 4.2 3.2 6.1

39 Modern Family ABC Twentieth Century Fox 5.5/9 1.1 1.5 3.2 4.3 3.7 4.8 2.9 4.0

39 Three Rivers CBS CBS Studios 5.5/9 0.5 0.7 1.2 2.7 1.7 3.5 4.3 4.3

42 How I Met Your Mother CBS Twentieth Century Fox 5.4/8 0.8 1.0 3.3 3.7 3.9 4.2 3.4 4.0

42 Rules of Engagement CBS Sony Pictures Television 5.4/8 0.7 1.0 3.3 3.3 4.1 4.1 3.9 4.1

44 Numb3rs CBS CBS Studios 5.3/9 0.5 0.7 1.6 2.3 2.2 3.3 4.9 6.6

45 Ghost Whisperer CBS Disney Media Distribution 5.2/9 1.1 1.1 1.3 3.0 1.8 4.2 3.4 6.5

45 Glee FOX Twentieth Century Fox 5.2/8 1.2 2.8 2.7 4.9 2.9 4.7 2.1 3.1

45 Parenthood NBC NBC Universal 5.2/9 0.7 1.0 2.2 4.3 2.5 4.9 2.4 4.2

48 Medium CBS CBS Studios 5.1/9 0.7 1.0 1.3 2.7 1.8 3.8 3.5 6.5

48 The Office NBC NBC Universal 5.1/8 0.7 1.9 4.6 4.5 4.5 4.6 2.1 2.3

50 Miami Medical CBS Warner Bros. 4.9/9 0.4 0.6 1.0 1.8 1.5 2.8 3.9 6.9

For a complete list of the top 100 shows, visit www.worldscreen.com.


Source: The Nielsen Company, September 21, 2009, to April 25, 2010.A rating point represents 1,149,000 TV households; shares are the percentage of sets tuned to a particular program or station.

Courtesy of ABC.

american network scorecard

WSN_610_SCORECARD:WSN_108_SCORECARD 5/5/10 2:32 PM Page 2

Light Years Ahead

PRINT AND DIGITAL MAGAZINESWORLD SCREENTV LATINATV EUROPETV ASIA PACIFICTV MIDDLE EAST & AFRICATV KIDSTV NIÑOSTV REALTV FORMATSTV FORMATOSTV NOVELASTV LISTINGS

PRINT AND DIGITAL GUIDESWORLD SCREEN DISTRIBUTORS GUIDETV KIDS DISTRIBUTORS GUIDETV FORMATS DISTRIBUTORS GUIDELATIN AMERICAN CHANNELS GUIDELATIN AMERICAN DISTRIBUTORS GUIDE

WEBSITESWORLDSCREEN.COMTVLATINA.TVWORLDSCREENINGS.COMTVLATINASCREENINGS.TVTVKIDS.WSTVEUROPE.WSTVREAL.WSTVFORMATS.WSTVDATA.WSTVLATINA.WSTVUSA.WSTVNOVELAS.WSTVINTERACTIVE.WSTVLISTINGS.WSNEXTMEDIA.WSWORLDSCREENJOBS.COM

ONLINE NEWSLETTERSWORLD SCREEN NEWSFLASHWORLD SCREEN WEEKLYTV KIDS WEEKLYTV REAL WEEKLYDIARIO TV LATINATV LATINA SEMANALTV NIÑOS SEMANALTV NOVELAS SEMANALTV CANALES SEMANAL

VIDEOMEDIAMINUTETELEMINUTOWORLD SCREEN VIDEO REPORTSTV LATINA VIDEO REPORTS

George ClooneyGlobal distinction: Ageless Hollywood hunk. Sign:Taurus (b. May 6, 1961)Significant date: April 29, 2010Noteworthy activity: The star’s Italian home is ropedoff when soldiers are called in to recover an arsenal ofWorld War II-era bombs—nearly 500 pounds of handgrenades, mortars and aircraft bombs—discovered sub-merged in the depths of Lake Como, just 45 feet fromClooney’s villa. Horoscope: “Now is an important time to not only focuson yourself, but also your surroundings. Make sure thatyour environment is full of positive energies. If not, con-sider relocating.” (taurusfreehoroscope.com)

Jessica AlbaGlobal distinction: Smokin’ hot starlet. Sign:Taurus (b. April 28, 1981)Significant date: April 29, 2010Noteworthy activity: In New York to premiere her newmovie at the Tribeca Film Festival, Alba attempts to heatup some fish sticks in her room at the Smyth Hotel.Unable to figure out how to work the oven, the actressalmost causes a fire, filling the room with so much smokethat fire trucks are called to the scene. Horoscope: “The Taurus is usually an attentive person.You don’t often get distracted, because you understandthat certain relationships and tasks do require your fullattention.” (divinologue.com)

Shaquille O’Neal Global distinction: Basketball giant. Sign: Pisces (b. March 6, 1972)Significant date: April 18, 2010Noteworthy activity: The ex-wife of the seven-foot-tallsports star claims that he is using their 6-year-old son todeliver death threats to her new boyfriend. A documentobtained by gossip site TMZ claims the NBA icon told hisson to tell Mom’s boyfriend he was going to kill him. Thedocuments also claim that O’Neal “interrogated” the cou-ple’s children about Mom’s new man.Horoscope: “Pisceans can be unnecessarily suspicious andjealous, and this might cause a lot of heartache. As you longfor love, it is essential that you establish a loving relation-ship with your family.” (bizbrowse.com)


world’s endIN THE STARS

Michael Douglas

Rupert GrintGlobal distinction: Harry Potter’s pal. Sign:Virgo (b. August 24, 1988)Significant date: April 2, 2010Noteworthy activity: Grint, who has played RonWeasley in the Harry Potter films for the past nine years,stars as a troubled teen, indulging in drugs and sex, inthe new film Cherrybomb. He watches a very intimatescene filmed with the British actress Kimberley Nixonwith his parents at his side. “Filming it was a reallynerve-wracking experience but the worst bit waswatching it with my parents.... It was agonizing,” theEnglish actor tells London’s Mirror.Horoscope:“The year will be very romantic for you, Virgo.You must not shy away from intimacy. Be open to love andthe rest will fall in place.” (mydearvalentine.com)

Michael DouglasGlobal distinction: Hollywood leading man. Sign: Libra (b. September 25, 1944)Significant date: April 26, 2010Noteworthy activity: The actor, who has long had areputation as a Lothario, reveals that he seduced two ofhis mother’s friends when he was just 16 years old. Herefuses to name names. “I wouldn’t want to get any ofthem in trouble,” he says. “Though they’re probablydead now.”Horoscope: “Your sex appeal and confidence may be high.However, it is always important to exercise restraint.”(astrology.com)

Hugh HefnerGlobal distinction: Legendary ladies’ man. Sign: Aries (b. April 9, 1926)Significant date: April 27, 2010Noteworthy activity: The Playboy founder hears thatthe campaign to buy the open space west of the iconicHollywood sign is short on funds. He donates the final$900,000 needed to preserve the famous Los Angeleslandmark. In 1978, Hefner played a major role in a cam-paign to fix up the then-dilapidated sign. Horoscope: “Emotion plays an important role in yourlife, and once you feel deeply attached, your heart is init for the long haul. This makes Aries’s loyalty second tonone.” (cafeastrology.com)

Almost every national constitution

forbids the establishment of an

official state religion. But this sec-

ular bent doesn’t stop people from

looking to the heavens for answers

to life’s most troublesome questions:

Will I succeed? Will I find love? Will I

get seduced by Michael Douglas?

Every day, papers and magazines

worldwide print horoscopes—projec-

tions for people born in a specific

month, based on the positions of

the stars and planets. While many

people rely on these daily, weekly

or monthly messages for guidance

in their lives, some readers skip over

them entirely.

The editors of WS recognize that

these little pearls of random fore-

sight occasionally prove pro phetic.

But rather than poring over charts

of the zodiac to predict world events,

our staff prefers to use past horo-

scopes in an attempt to legitimate

the science.

As you can see here, had some of

these media figures remembered to

consult their horoscopes on signif-

icant days, they could have avoid-

ed a few surprises.

Jessica Alba George ClooneyShaquille O’Neal

WSN_610_WORLD'S END:WSN_1108_WORLD'S END 5/4/10 6:16 PM Page 2

For more information, please contact Ricardo Guise ([email protected])

AT DISCOP

Space Reservations . . . . May 28Ad Materials . . . . . . . . . . June 1

Including:• TV Novelas• TV Kids

DISCOP ad:template 5/6/10 5:07 PM Page 1

WSN_610_CBS:TEMPLATE 5/4/10 5:13 PM Page 1

Date post:	18-Feb-2016
Category:	Documents
Upload:	world-screen
View:	227 times
Download:	1 times

World Screen

Documents