In This Issue: Studios’ Pilots Indies’ TV Fare MIP-ing Around Defining a Job THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION MAY 2012 VOL. 32 NO. 3 $9.75 ® www.videoage.org However, while surveying LAM executives, it became clear that many didn’t want to rank any one market as more or less important than another. Neither were most of them willing to BY SARA ALESSI Latin American companies have always had a large presence at the L.A. Screenings. In fact, it’s one of their two biggest annual TV events, and many take the opportunity to unveil new productions there. But which countries represent the most enthusiastic and lucrative buyers for them? VideoAge set out to answer that question, as well as to discover how individual country sales compare to those made to pan-regionals, and what type of programming sells best internationally. Ranking LAM’s Biggest TV Markets for Indie LAM Co.’s (Continued on Page 34) (Continued on Page 30) U.S. Drama Imports Top E.U. TV Schedules CBS Studios International (CBSSI) became Europe’s top distributor of imported drama series in 2011, taking the lead fromWarner Bros. The newly released Imported Drama Series (IDS) European report by Essential Television Statistics (ETS) states that CBSSI’s drama programs filled 4,861 hours of primetime across 119 channels in 21 territories in Europe. Warner Bros. was in second place with 3,891 hours (see chart on page 30). The IDS European report is a collaboration among ETS; the Madigan Cluff, consultants for global advertisers and broadcasters; and Digital TV Research, all based in London. Said Jonathan Bailey, co-author and managing director of ETS, a company that keeps databases on the transmission details of all imported programs worldwide: “The number of hours [licensed] by each major distributor is driven by a small number of highly With Wi-Fi Onboard, Passengers May Bypass IFE BY LUCY COHEN BLATTER In the past, airlines used to charge for entertainment and serve free food. Today, they offer mostly free entertainment and charge dearly for food and beverages. Their business model has clearly changed, or perhaps they’re adapting to what people now perceive as entertainment, or what they’re willing (Continued on Page 32) (Continued on Page 28) BY DOM SERAFINI The U.S. television business model is so unique that no other country has been able to duplicate or replicate it. Basically, this is because it doesn’t make any business sense. Would any other TV industry be willing or able to spend more than $500 million a year on development to come up with shows that have an 80 percent failure rate? And this is after having invested $240 million to produce pilots, and accumulating some $1.2 billion in deficit per season. However, for the U.S., this development process, which orbits around the new season’s Upfronts, seems to be set in stone. A few years ago, NBC tried to do away with some pilots for the new season in order to save a reported $50 million, only to quickly Development: Necessary Evil of the U.S. TV Biz “There’s a Don Quixote and a Sancho Panza to pitch you” Sección en Español TV NET because people don’t know how to self-medicate C H A R L I E S H E E N
V I D E O A G E • N o . 3 • M a y 2 0 1 2 Cover stories: Development: The necessary evil of the U.S. television business model Ranking Latin America’s biggest TV markets for Latin indies Research shows that U.S. drama imports now top E.U. TV schedules With Wi-Fi on airplanes, passengers may soon be able to bypass the on-board entertainment offerings 4. World. Hispanic U.S., Monte Carlo, China, U.K. 8. Book Review. Pauline Kael: A criticized film critic with a troubled, controversial life 10. MIP-TV Review. After a slow start, business as usual, only different 13. Sección en Español Vale la pena pelear por el rico mercado mexicano L.A. Screenings: comediantes, show británicos ya probados y familias locas Es una jungla allá afuera: buscando ganancias en los lugares correctos 20. L.A. Screenings 2012 Guide Networks’ commissioned pilots Who’s screening and where Independent distributors’ new product 36. Conferences, travel news and calendar of events 38. My 2¢. Defining a job. When you can’t, just say you’re a plumber: it will simplify your life
MA Y 2 0 1 2 (Continued on Page 6) Highlights From Hispánicize 2012 The third annual Hispánicize heated up Miami from April 10-13 this year. The event, a social media resource for Hispanic marketers and influencers, is a partnership of the Hispanic Public Relations Association, Hispánicize and the Public Relations Society of America. The Latincentric event focuses on Latino trends and trendsetters in entertainment, social media, marketing and media, and provides an opportunity for brands, filmmakers, media, marketers, innovators, bloggers and celebrities to come together. During the “Is Your Brand Ready to Engage Latinos Online?” session, representatives from various brands discussed how they develop social media strategies and platforms to engage Hispanics in the online world, and the “Hispanic Media Relations in 2012” session explained how to use traditional and social media tools to tell stories and generate coverage. Participants explored what studies and polls indicate about Latinos’ attitudes toward the LBGT community in the “LGBT Latinos: Why SmartMarketers Get It andWhich Brands Are Doing It Best” session. Finally, “From Tech Laggards to Leaders: The Latino Digital Divide Revisited” looked into how Latinos are influencing the mobile, web and social media revolution. More than140 speakers and80 sessions kept attendees busy. Filmmakers, actors and celebrities in attendance included Andy Garcia, Emilio Estefan, Steven Bauer, Cesar Millan, Jessy Terrero, Gina Rodriguez, Dominik Garcia-Lorido, Yul Vasquez, Nelly Galan, Pepe Serna, Maria Elena Salinas, Angel Salazar, Mauricio Mendoza, Rick Najera and Yeniffer Behrens, among others. Next year’s event will take place April 9-12. WMA Moves To Shanghai At the CCTV Gala at MIPTV in Cannes, France, Monte Carlo-based Marcor International announced that the 2012 World Music Awards (WMA) will take place in Shanghai, China on October 27 at the Olympic Stadium. The extravaganza is now in its 22nd year. Celebrities from the film, fashion, TV and sports worlds will present the awards to the world’s best-selling recording artists, who will perform before a live audience of 80,000 music fans. This is the first time an awards show has been produced in an Olympic Stadium. This will also be the first awards show to be broadcast and streamed live simultaneously across the globe. The show already airs on network television in 160 countries around the world, reaching more than a billion TV viewers worldwide. The World Music Awards are presented on sales merit with no voting jury involved. Sales figures are reported to the organization by the record companies, the trade magazines and the national member groups of the International Federation of Phonographic Industry. Pictured below: Ma Runsheng, general manager CCTV; WMA’s Melissa Corken; Zhuang Li, VP of Paravision; WMA’s John Martinotti and Tina Tian, president of Paravision. Actor Andy Garcia and Manny Ruiz, Hispánicize 2012 founder and director, at the screening of Garcia’s new movie For Greater Glory June 26-28, 2012 Sofitel Chain Bridge Hotel, Hungary natpebudapest.com Sign Up Now! IN BUDAPEST AT THE SOFITEL YOUWILL FIND: s PARTICIPANTS FROM COUNTRIES s PROFESSIONAL CONTENT BUYERS MANY WHO DO NOT GO TO -)0 s GLOBAL CONTENT SUPPLIERS s ! TRANSACTIONAL MARKETPLACE FOR 46 SERIES TELENOVELAS FORMATS CHANNELS s !CCESS TO .!40%\\"UDAPEST DATABASE VIA MY.!40% ONLINE SCHEDULING AND NETWORKING TOOL !FTER YEARS OF MANAGEMENT BY OUR FRIENDS AT "!3)# ,%!$ $ISCOP %AST IS NOW .!40%\\"UDAPEST .!40%\\#ONTENT &IRST IS A NON PROlT TRADE SHOW ORGANIZATION BASED IN ,OS !NGELES THAT WILL BE CELEBRATING OUR TH ANNIVERSARY NEXT YEAR 7E ARE PROUD TO BE THE SOLE ORGANIZER OF THE "5$!0%34 MARKET AND INVITE YOU TO ALSO CONSIDER .!40%\\-IAMI IN *ANUARY ¥ .!40% !LL RIGHTS RESERVED Visit us at LA Screenings Hyatt Regency Century Plaza Suite 1739
MA Y 2 0 1 2 (Continued from Page 4) Hollywood Gets China’s Cash The Motion Picture Association of America (MPAA) is bragging that, while U.S. cinema ticket sales have decreased, China has kept Hollywood smiling. U.S. cinema admissions have dropped drastically over the last 10 years, and they fell again in 2011. Admissions in the U.S. and Canada amounted to just $1.28 billion last year compared to $1.57 billion in 2002. Additionally, compared to 2010, box office revenues fell four percent to $10.2 billion. 3D revenues, which had been a good source of income, also took an 18 percent dip (down to $400 million). However, overall international box office revenues rose seven percent in 2011, in large part thanks to China, which grew by 35 percent, and Russia. The growth of China and other developing markets contributed three percent ($32.6 billion) of that seven percent increase. According to former Democratic senator and current MPAA chairman Chris Dodd, China is adding eight new screens a day, and 75 new Imax screens this year. The country has also raised the number of U.S.-made films it allows to be screened in its cinemas. As part of an effort to expand the quota placed on U.S.-made films in China, top execs at the six big Hollywood studios met with Xi Jinping, China’s VP and heir apparent. Plus, a number of Hollywood studios have struck joint venture deals with Chinese partners that ensure their movies qualify for distribution in the country. Disney’s Deal with blinkbox The U.K.’s online movie service blinkbox and Disney UK and Ireland have inked a deal that offers blinkbox customers access to a selection of Disney’s family entertainment. Per terms of the agreement, blinkbox customers will be able to buy or rent the latest titles instantly on their computers, Smart TVs, game consoles and tablets without subscription — many on the same day they’re released on DVD. Additionally, blinkbox users will be able to purchase TV drama series produced by Disney’s U.S. network production arm ABC Studios. blinkbox now has deals with all of the major studios, including Warner Bros., Paramount, Sony Pictures, 20th Century Fox and Universal, as well as more than 40 other programming providers. U.S. Kind(er) To Foreign Trade Show Visitors It looks like getting into the U.S. will get a bit easier for international visitors attending U.S.-based trade shows. Recently, U.S. President Barack Obama signed an executive order to facilitate inbound international travel. The president’s plans include expanding the reciprocal international trusted-travel program, adding Taiwan and other countries to the Visa Waiver Program, making visa processing more efficient (especially in Brazil and China) and appointing new members to the U.S. Travel and Tourism Advisory Board. He would also like the secretaries of Commerce and the Interior to lead a task force to help generate a “national travel and tourism strategy to promote domestic and international travel opportunities” throughout the U.S. The Department of Commerce is also responsible for managing a website for the public featuring vital information and statistics that will make it easier to understand visa processes in the U.S. The executive order requires the State and Homeland Security Departments to interview 80 percent of all nonimmigrant visa applicants within three weeks of receiving applications, thereby speeding up the visa process. In Brazil and China, the departments are charged with increasing visa processing capacity by 40 percent over this year. According to information from the State Department, visa issuances over the last five years have climbed 234 percent in Brazil and 124 percent in China. In 2011, the U.S. State Department issued 17 percent more visas than it did during fiscal 2010. As part of the effort to facilitate travel and visa processing, Commerce Secretary John Bryson appointed 32 private sector CEOs to the U.S. Travel and Tourism Advisory Board to assess and improve issues associated with traveling. The administration also plans to issue a final rule making the Global Entry program (a U.S. Customs and Border Protection program that allows expedited clearance for pre-approved, low-risk travelers upon arrival in the U.S.) permanent. The program will be expanded to airports in Charlotte, Denver, Minneapolis and Phoenix. 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©2012A&ETelevisionNetworks,LLC.All rights reserved.054 ENTRETENIMIENTO LA VIDA ES PELÍCULAS CRIMEN ESTILODE VIDA ENTRETENIMIENTO BIOGRAFÍA HISTORIA VIDAREAL PARANORMAL CONFLICTO Programas de las marcas más reconocidas en la televisión por cable en EEUU – HISTORY®, A&E® y Lifetime® + Contenidos que rompen records de las cadenas y generalmente ocupan el puesto #1 de los horarios de alta sintonía de la televisión de EEUU, incluyendo la televisión abierta. Visitenos en LA Screenings, Hyatt Regency Century Plaza Hotel, Suite 1712 o comunicarse con Mayra.bracer@aenetworks.com o mbracer@gmail.com. AETNinternational.com Lisa Kelly RUTAS MORTALES Stan Lee SUPERHUMANOS Rick Harrison EL PRECIO DE LA HISTORIA HISTORY OF THE WORLD IN TWO HOURS EL LUCHADOR SUEGROS MONSTRUOSOS LATINOAMERICANA SIN HUMANOS
V I D E O • A G E MA Y 2 0 1 2 8 AmericanauthorBrianKellow, whose past credits include biographies of singer-actress Ethel Merman and CBS radio soprano Eileen Farrel, tackles the life of esteemed and controversial American film critic Pauline Kael in Pauline Kael: Life in the Dark (Viking Adult, 432 pages, $27.95). Kael made a name for herself reviewing films in Berkeley, California, for a full decade before being snatched up by weekly magazine The New Yorker. At The New Yorker, she played an integral part in the magazine’s transformation from a decoration atop grandmotherly coffee tables to the modern magazine of record for the East Coast’s left-wing elite. Just how much of the magazine’s characteristic highbrow sarcasm and biting social commentary can be traced back to Kael’s highly personal, take-no-prisoners style of review is difficult to measure. After a brief introduction to Kael’s family roots (Jewish, originally from Poland), we learn of her upbringing in Petaluma, California, where her father managed an industrial-sized chicken farm. We learn of her energetic paterfamilias and his active involvement in the cultural life of the large Jewish community, taking particular interest in the neighborhood widows. In a less-thansubtle hint at infidelity, Kellow speculates that it may have contributed to his wife’s cold and unforgiving demeanor. Kael attended the University of California at Berkeley, but didn’t graduate for reasons she never made clear. Straight out of college, she wrote poems and short stories, but achieved little success, and moved to New York with her boyfriend in the early ’40s. There, increasingly dependent on her partner for cash and friends of friends for room and board, she developed a curious apathy for the city she would later permanently live and work in — as well as a clear distaste for its intellectual circles. But it was also in New York that she consolidated her long love of cinema. Upon returning toCalifornia a few years later, Kael found herself pregnant. From then on, her bohemian lifestyle, although far from expunged, took a backseat. Her big break came in 1955 when a friend and local radio personality, Weldon Kees, invited her to be a semi-regular guest at local radio station KPFA-FM. After Kees’s mysterious disappearance, she stepped in more frequently, and through her involvement with the radio show, met Edward Landberg, who owned two local movie theaters. They soon married, albeit briefly and unhappily. Kael’s film critiques were often well out of line with the consensus among other critics, both on mainstream, bigbudget blockbusters, and art house cinema imported from Europe (she despised the “art for art’s sake” feel of many of those films). In 1965, Kael published a collection of film reviews titled I Lost it at the Movies to much critical acclaim. The book’s success earned her an offer to write regularly for McCall’s, where she was often at odds with her editors because she regularly panned big-budget blockbusters (her review of The Sound of Music was particularly harsh). In 1966, she moved to The New Republic, where her writing was subject to constant editorial changes, often unbeknownst to her, and she left the job after just one year. Kael’s style was often unforgiving and harsh, perhaps exaggeratedly so — in the ’60s, she criticized almost every bigbudget Hollywood film she saw, fromDr. Zhivago to Lawrence of Arabia. However, some decades later, she praised similar bigbudget films, particularly the serial and commercialized James Bond franchise. After The New Republic didn’t publish her review of 1967’s controversial film Bonnie and Clyde, it was picked up by The New Yorker, and she joined the writing staff on a permanent basis a few months later. Although her brash writing style placed her immediately at odds with fellow writers at The New Yorker, Kael’s impact at the magazine was nearly immediate, and her collaboration with the magazine earned her a George Polk Award in 1970. She continued to push the envelope with regards to what is and is not acceptable for a critic to do. (One example is her insistence that she review the pornographic film Deep Throat.) And although she argued occasionally with the very editor who hired her — William Sean —most of her pieces were published unchanged. Fellowwriters at themagazine, however, were less than friendly, especially when reviewing her books (fellow New Yorker writer Renata Adler called one of her books, “without interruption, worthless”). In spite of this, her 1973 title, Deeper Into Movies, won the National Book Award. Toward the end of the decade, she served on the judge’s panel at the 1977 Cannes Film Festival. In 1979, she worked as a consultant at Paramount Studios, but left the position within five months after clashing with a director. As it turns out, Kael was very much out of touch with many aspects of the production process, specifically, the various changes a script goes through, even as the movie is filming. When she was moved from producer to “creative production executive,” her disagreements with studio executives replaced her clashes with the director. She was notably incompatible with Donald Simpson, Paramount’s senior vice president of Worldwide Production, who tended to favor pitches he felt the marketing department could sell — an idea in clear contrast with Kael’s more artistic aspirations. Kellow emphasizes Simpson’s frustration with working with Kael. But the author falls short of truly expressing how the industry responded to her (aside from the occasional not-so-favorable quote from Woody Allen). We do learn, however, what she thought about Hollywood: Kael felt that a major flaw in the system was the large amount of work heaped on the director. Miscast actors or disregarded rewrites were, in her view, problems caused by the producer failing to perform his share of the work. She returned to The New Yorker in 1980. In the ’80s, Kael was diagnosed with Parkinson’s, and her opinion of contemporary American cinema declined in tandem with her health. She felt that her experience with a major studio gave her an edge other critics didn’t have, and this was reflected in her writing, which became increasingly cynical. She finally retired from reviewing in 1991, but continued to write essays for The New Yorker sporadically. She died in 2001, at the age of 82. Much of Kellow’s biographical notes are taken directly from Kael’s writing. Kael was very much a product of so-called “new journalism,” a school where writing is deeply affected by personal experience and opinion. As such, Kael’s personal characteristics are well known to anyone who is familiar with her work. What is truly interesting is the story of her life before she became established. In keeping with her bizarre, impulsive, and bohemian demeanor, the manner in which she became a critic almost seems born of circumstance. Perhaps Kellow could have been a little less adoring and a little more poignant in his writing, as he is clearly a fan of her work. For better or worse, Pauline Kael was a bizarre character, fascinating beyond her role as a film critic. If only we could have learned more. YS Kael: A Film Critic’s Life Gets the Critique B o o k R e v i e w
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V I D E O • A G E MA Y 2 0 1 2 10 Acombination of factors made this recent MIP-TV a bit of a mixed bag, though mostly predictable. The Palm Sunday start made opening day devoid of energy, and although the pace picked up on Monday, by the next day some people were heading home to prepare for Passover and Easter. Another element that affected floor traffic in a negative way was the large number of conferences, seminars, roundtables and keynote speeches. They all took people away from the exhibiting floor — to the point that some distributors questioned the nature of the event, asking whether it’s now truly a market or a conference. Most agreed that a balance of the two is tolerable, but a slant toward the conference side is not. Finally, the absence of most of the U.S. studios (with only CBS and NBC Universal at the Palais with full-fledged stands) cut down both on the number of buyers and the length of their stay. In terms of final results, MIP organizers were able to claim some increases. Among the 11,000 executives in attendance, 4,000 were buyers. Overall participation was down from 11,500 last year, but the number of buyers remained the same, and the number of producers increased by 25 percent, with over 1,220 international TV production companies. Exhibitors reported mixed results regarding the Sunday start, but the consensus seemed to be that though Sunday was busy, it wasn’t as full a day as should be expected for the first day of MIP, and both buyers and sellers were better prepared to get down to business on Monday. While Lionsgate’s Peter Iacono from Santa Monica said that Sunday morning was indeed busy, for Tomas Darcyl of Argentina-based Telefilms, “Monday [was] a little busier.” This marked Toronto-based Peace Point’s first trip to MIP, and Julie Chang commented, “With the market starting on Sunday, it was off to a strange start. We had more appointments on Monday.” Of course, with Easter and Passover on people’s minds (Easter fell on the following Sunday and Passover began on Friday night), the halls of the Palais began to clear out on Wednesday, the last day of the market, with Robert Evans of Canada’s Best Boy Entertainment reporting: “Our schedules [were] busy every day except the last day. We [didn’t] have as many appointments scheduled for Wednesday.” On the other hand, there were those like Rekha Shah of CCI Entertainment in Toronto who found that, “Even Wednesday was booked. I don’t think the Sunday schedule affected the market.” For the most part, despite the slower opening day and the dip in overall attendance, it was a busy market, with Massachusetts-based Echo Bridge Entertainment’s Emilia Nuccio reporting: “Our sales team [was] booked up.” With the reduced presence of the studios, Canadian companies took top priority status, with approximately 109 exhibiting companies (many of them camping out under the Canadian Pavilion), and about 106 more attending without a stand. China was also wellrepresented this year. There were more than 200 delegates from that country, and a number of Chinese dignitaries as well. As for MIP goings-on, CABLEready celebrated its 20thanniversarywitha party at the Palais des Festivals’ Les Marches. FremantleMedia held a press breakfast and lunch on Sunday, where attendees were introduced to the company’s new production partner, Morgan Spurlock. MTV’s hit reality series Jersey Shore came to Cannes, with stars Deena Nicole Cortese and Vinny Guadagnino attending the market, where it was also announced that TF1 had acquired the series. Entertainment One celebrated its anthology series Femme Fatales with a cocktail party featuring a number of its stars. Additionally, former top-model Elle Macpherson made an appearance as the executive producer and host of Electus’ new show Fashion Star, which made its debut in the U.S. on NBC in March. Electus International has sold the complete series to 75 territories and optioned format rights in a number of territories as well. Amid all the celebrations, participants took time out of their busy schedules to remember industry veteran Jim Marrinan, who passed away unexpectedly on March 23. Other big news to report: RHI Entertainment re-branded as Sonar Entertainment, and CCI Entertainment, which is traditionally known for its children’s programming, gave itself a fresh look, too. The company entered the world of TV movies with the launch of six thrillers at MIP. Said CCI’s Shah, “The thrillers are a new direction for us that are allowing us to meet new buyers, and that has been invaluable.” 3D TV was a popular topic of discussion, with a total of nine conferences on the subject held on Tuesday. A 3D TV producers’ bootcamp was held on the last day, and president of the Los Angelesbased International 3D Society, Jim Chabin, delivered a keynote touching on technological advances of 3D TV, as well as increased advertiser interest and the decreased cost of 3D systems. On Sunday at the Global Animation Marketplace session, Amandine Cassi, headof International Researchat Eurodata, reported that children’s TV viewing is on the rise across the globe. However, fellow panelists Michael Carrington of Turner Broadcasting, Kay Benbow of CBeebies and Jules Borkent of Nick International underscored the difficulty in finding funding for new animation. Days two and three put the spotlight on Branded Entertainment, with case studies and screenings showcasing examples of the best in internationally branded entertainment. As part of the program, Jonathan Mildenhall, vice president Global Advertising Strategy and Content Excellence for The Coca-Cola Company, delivered a keynote. In addition, the second Brand of the Year Award recognized Heineken for its contribution to the development and production of branded entertainment programming. As part of MIPCube, Roma Khanna, president of Television Group and Digital at MGM, became the first recipient of the Media Architect of the Future Award. Next year, MIP-TV will return to its traditional Monday start, running April 8-11 at the Palais des Festivals. SA After a Slow Start, Business as Usual M I P - T V R e v i e w CBS Studios International’s Armando Nuñez Jr. and Barry Chamberlain At the Viacom Media Networks showcase: Jersey Shore cast members Deena Nicole Cortese and Vinny Gaudagnino with Caroline Beaton, Viacom’s SVP International Program Sales and Chris Linn, MTV’s EVP of Programming and head of Production
internacionales). Familias locas (à la Modern Family) parecen estar ocupando el centro de la escena en el frente de las comedias. (Ej.: de ABC, Como vivir con tus padres el resto de tu vida-How to Live With Your Parents Nosotros enVideoAgeseguimos de cerca los pilotos de TV, mucho antes de que las nuevas series de las cadenas americanas sean anunciadas en los Upfronts. Por ahora, varias tendencias han emergido entre los cerca de 90 pilotos (unos pocos más que el año pasado), que han sido comisionados por las cadenas para la temporada 20122013. Mientras que las usuales series de policías, dramas legales y series sobrenaturales están bien representadas en las listas de las cadenas, hay también una gran variedad de otras opciones para los espectadores (y los compradores Sección en Español THE BUSINESS JOURNAL OF FILM, BROADCASTING, CABLE TV, PAY TV, VOD, DBS, IPTV, PRODUCTION, DISTRIBUTION MAYO 2012 VOL. 32 NO. 3 $9.75 ® www.videoagelatino.com L.A. Screenings: comediantes, shows británicos ya probados y familias locas (Continuación a la página 14) (Continuación a la página 14) POR BOB JENKINS México posee una rica economía, lo que la hace un buen mercado publicitario. Su economía es la segunda más grande en Sudamérica y la 13ª en el mundo. Es un mercado en el que la televisión domina la publicidad, con dos grupos de broadcasters comerciales declarando detentar el 58% de toda la cota publicitaria: Televisa y TV Azteca. Esto comparado con, por ejemplo, sólo el 9% que recibe la radio y un 8% para la prensa. El Mercado publicitario de México es sumamente considerable. En su perspectivas de 2011 a 2015, PricewaterhouseCoopers (PwC) brinda una estimación provisional de la cifra de publicidad en la televisión mexicana en 2010 de U$D 2.8 billones (creciendo de U$D 2.56 billones en 2009) y predice que ese número crecerá anualmente para llegar casi hasta los U$D 4.1 billones a fines de 2015, representando un 7.7% de la Tasa de Crecimiento Anual Compuesto (TCAC o CAGR en inglés). Mientras tanto, los analistas de Medios de Screen Digest, estiman que el número de hogares abonados al cable hacia fines de 2010 es de 5.8 millones, y predicen que esta cifra crecerá a unos 7.2 millones hacia finales del 2015. Además, estiman que los suscriptores al servicio satelital de unos 4.4 millones a fines del 2010, crecerá a unos 11.7 millones a fines del 2015. Las cifras de ingresos generadas por el acceso a Internet son todavía más impresionantes. Las cifras provisionales de PwC para 2010 son de U$D 2.7 billones (creciendo de U$D 2.2 billones en 2009) y predicen que estos valores se verán doblados o más para el 2015, arribando a U$D 5.7 billones con un sorprendente TCAC del 16%. En estos tiempos de economías tensas, muchos podrían pensar que estas cifras hacen de México un mercado por el que vale la pena pelear – y están en lo cierto. Los tres más ricos y poderosos barones de los medios en México — el hombre más rico de la tierra, Carlos Slim; el dueño de Televisa, Emilio Azcárraga Jean y Ricardo Salinas Pliego propietario de TV Azteca Vale la pena pelear por el rico mercado mexicano Emilio Azcarraga Jean y Ricardo Salinas Diego Es una jungla allá afuera: buscando ganancias en los lugares correctos Como sabemos, los grandes Estudios tienen los productos para atraer a los compradores (tanto en términos de calidad como de cantidad). Es por ello que no necesitan vender, sólo tomar órdenes de compra. ¿Pero qué pasa con los Estudios independientes? ¿Qué es lo que deben hacer para (Continuación a la página 16)
V I D E O • A G E MA Y 2 0 1 2 (Continuación de la página 13) Mercado Mexicano (Continuación de la página 13) L.A. Screenings y Ricardo Salinas Pliego propietario de TV Azteca — están involucrados en una batalla para convertirse no solamente en los operadores mexicanos del Triple-Play (TV, Internet y voz) si no en monopolios del quadplay, que incluye telefonía móvil. A inicios del año, Slim no disponía de la licencia de broadcast, y aún no la tiene, aunque, su compañía principal, Telmex, maneja el marketing y la cobranza del operador satelital DishMéxico. Azcárraga no disponía la de operador de telefonía móvil, y Salinas que es dueño de telefonía móvil, Iusacell, luchaba por conseguirle a su compañía un pedazo del mercado de telefonía móvil — 70% del cual está controlado por Telmex de Slim — para obtener un 5% del mercado, y de hacer frente a una deuda de más de U$D 1.5 billones. Iusacell también se vio envuelta en una prolongada disputa legal con otro operador de telefonía móvil mexicana, Nextel, por una licencia del espectro que subasta el gobierno; sin embargo, ambas compañías acordaron dar de baja el caso el último mes. Iusacell también inició acciones legales en contra de Televisa sobre el mismo punto, pero luego dejó caer el caso cerca de fin de año cuando aceptó vender el 50% de las acciones de la compañía a Televisa por unos U$D 1.6 billones según fue informado. De ese monto, U$D 1.57 billones serán utilizados para cubrir las deudas convertibles de Iusacell. Las ventajas de este acuerdo para Iusacell son claras, y para Televisa este arreglo le ofrece el Santo Grial de ser un operador de quadplay. (Megacable, que controla cerca de la mitad del mercado mexicano del cable, anunció en octubre que ofrecerá quadplay asociándose con la subsidiaria mexicana de Telefónica de España, pero el servicio será de una Red Virtual de Operador de telefonía móvil, lo que significa que ofrecerá servicios de telefonía móvil a sus clientes, pero no tendrá su propia infraestructura, tales como licencias de frecuencias o transmisores).Entonces,superficialmente, este parece ser un buen arreglo para todos, pero no todos piensan así. Las acciones de Televisa cayeron un 9.7% con el anuncio del acuerdo, y la corporativa for the Rest of Your Life y Sólo los tontos y caballos — Only Fools and Horses, y de NBC, Cena de viernes por la noche — Friday Night Dinner, y muchos más). Entonces 2012-2013 bien pueden ser los años de los comediantes, con Sarah Silverman,Mindy Kaling escritora de The Office, y Roseanne Barr, todas dispuestas a brillar en sus propias comedias (en Fox y NBC respectivamente). El piloto de Ellen DeGeneres The Smart One (en el que actúa su mujer Portia de Rossi), ha sido comisionada por ABC. Apúntenselo a la popularidad de Familia moderna, Smash y Glee — shows en los que personajes gay ocupan el centro del escenario — o al cambio de actitud respecto al matrimonio gay en Estados Unidos, pero parece ser que The New Normal, una comedia comisionada por NBC que gira alrededor de una pareja gay y la mujer que ofrece su vientre como sustituta, no podría haber llegado tan lejos unos pocos años atrás. (Partners, de CBS, si bien hace foco en dos hombres heterosexuales, gira alrededor de un casi-casamiento entre dos amigos varones de larga relación). Quizás no sorprenda, la lucha de la cadena NBC, que ha comisionado más de 20 pilotos, buscando encontrar un giro para sus éxitos en 2012-2013. Entre los que parecen ser tienen más posibilidades de ser tomados sonChicago Fire de Dick Wolf, que trae al creador de La ley y el orden de regreso a NBC con un drama acerca del Departamento de Bomberos de Chicago, y Revolution de J.J. Abrams, que se centra en un grupo de personajes que viven en un mundo donde todas las formas de energía han dejado de existir. Ambos tienen en su haber sido los creadores de series de gran suceso (Abrams fue el cerebro detrás de Lost). En la arena de las comedias, NBC apuesta a las ex estrellas de comedias de ABC Roseanne Barr y John Goodman (Roseanne) con Downwardly Mobile, una comedia situada en un trailer en un parque. 1600 Penn, de la misma cadena, cuenta la crónica de la vida de una familia disfuncional en la Casa Blanca. Sumamente interesante, un ex vocero del presidente de los Estados Unidos Barack Obama, es uno de los productores (¿quizás basado en hechos reales?). La cadena ha dicho también que está explorando un derivado de The Office basado en la vida de Dwight Schrute, que tendrá lugar mayormente en la granja de remolachas de la familia Schrute. (La cadena CW también está con el tema de los derivados con los Diarios de CarrieThe Carrie Diaries, una precuela de Sex and the City). NBC trae de regreso un rostro familiar — si bien uno mucho más siniestro. Hannibal es una serie de suspenso basada en el famoso caníbal de El silencio de los inocentes, y ya ha recibido una orden para producir la serie. NBC también está probando su suerte con un formato británico llamado Cena de viernes por la noche, que gira alrededor (correcto, lo adivinó) de una loca familia y la cena semanal de todos juntos. Además, la cadena del pavo real ha comisionado un piloto llamado Bad girls-Chicas malas, basado en una serie británica que sigue a un grupo de prisioneras y sus carceleras. NBC no es la única cadena que va detrás financiera UBS comentó, “la clave detrás del intento de Televisa de convertirse en un jugador de telecomunicaciones, y especialmente uno, en el negocio de la telefonía móvil, es defensiva”. Y siguió, “vemos el sentido, pero no comprendemos por qué el patrimonio, opuesto a acuerdos comerciales, es una obligación”. Mientras tanto, Slim, un hombre acostumbrado a hacer su propio camino, ha comenzado con el streaming de contenido, incluyendo noticias, deportes y programas culturales, incitando a TV Azteca a demandar a sus operadores de telefonía, América Móvil y Teléfonos de México. Las cosas llegaron a mayores durante el streaming de los recientes Juegos Panamericanos, en los que Telmex fue conjuntamente el sponsor y el dueño de los derechos Online mexicanos, mientras que TV Azteca poseía una porción de los derechos de emisión de broadcast. Viendo el desarrollo de estos hechos, todos los cuales han ocurrido en los últimos 15 meses, sería fácil pensar que México es ahora un mercado dinámico a punto de entrar en un período de cambios significativos, pero Eddy Ruiz, Vicepresidente Ejecutivo y Gerente General de A+E Ole Networks, con base en Miami, Florida, piensa diferente. “La televisión en México está dominada por Televisa y TV Azteca, y no veo que esto vaya a cambiar — ¡no en nuestras vidas!” Explicando su razonamiento, continuó Ruiz, “México es un mercado intensivo de broadcast, y, a pesar de que el cable ha ido creciendo considerablemente en años recientes, estas dos compañías son por lejos las fuerzas dominantes”. Aún así, hay señales tangibles de un cambio en el mercado, producido por el crecimiento de los sectores de cable y satélite (Cabsat). En pocos años desde su entrada al mercado, Dish ha crecido hasta cerca de unos 2.7 millones de suscriptores hacia fines del 2010 según Screen Digest, quien predice que esta cifra crecerá hasta 4.9 millones para fines de 2015. Y tal como lo marca Ruiz, los canales de “Cabsat” tales como A+E están produciendo ahora contenidos locales. Mientras Ruiz insiste que esas producciones locales demuestran el crecimiento del sector “Cabsat”, y “que nos diferencian y dan a los suscriptores la sensación de recibir valor por su dinero”, sostiene con firmeza que “no veo mayores cambios ocurriendo en un futuro inmediato.” Él agregó, “de acá a cinco o seis años, veo al mercado mexicano tal cual lo es hoy, sino más acentuado”. de los ya probados shows británicos. ABC tiene dos comedias basadas en series que vienen del otro lado del charco: Sólo los tontos y caballos, que sigue a dos hermanos callejeros y su abuelo mientras pergeñan ideas para volverse ricos, y Red Van Man, acerca de un hombre que se hace cargo de la empresa de limpieza familiar. Si bien no está basada en una serie británica, algunos podrían decir queGilded Lilys espera subirse a la ola de la locura alrededor de Downton Abbey. El drama gira alrededor de la apertura de un lujoso hotel de primera clase de estilo gótico en 1895, y la trama va detrás de aquellos que trabajaron y se hospedaron allí. Si hay una tendencia en la temporada 2012-2013 de ABC, es lo supernatural — con 666 Park Avenue, Beauty and the Beast y Gotham en la esfera de los dramas, como así también una comedia aún sin nombre de Dan Fogelman acerca de una comunidad cerrada habitada por extraterrestres. FOX, por otro lado está en la pista del espionaje. La cadena ha ordenado dos pilotos que giran entorno de mujeres espías — una, Asset, sigue la historia de una mujer que vive una doble vida (en su vida ordinaria es periodista gráfica) y la otra, todavía sin título, gira entorno de una espía adolescente. CW tiene más pilotos que nunca — un total de ocho dramas — incluyendo su propio desarrollo de Bella y la bestia (no confundir con la fantástica realización de ABC del cuento de hadas clásico). La cadena ha ordenado una serie futurista denominada The Selection, un drama llamado Joey Dakotabasado en un formato israelí, y Arrow, basado en los superhéroes de DC Comics, Flecha verde, entre otros. Mientras que las otras cadenas hacen foco en comedias de familias locas, CBS sigue su trabajo en la amigable ruta de la comedia, con sitcoms tales como la de Louis C.K. y Spike Feresten en una comedia aún sin nombre acerca de un grupode jóvenes trabajandopara concretar sus sueños creativos; una comedia todavía sin nombre de Greg Berlanti sobre un muchacho que descubre estar enamorado de su socia y mejor amiga, Partners, acerca de dos amigos de larga data que más bien parecen estar casados; Friend Me, sobre dos muchachos que van a Los Ángeles a trabajar para Groupon; Super Fun Night, es sobre un trío de amigas que son nerds, y una comedia sin título que gira alrededor de un muchacho que trabaja sentado en un cubículo pegado al de la chica que rompió su corazón. En el frente de los dramas, en CBS los shows detectives/policías van a lo grande, con series como The Widow Detective, acerca de un policía condecorado que se convierte en marido, amante y padre de las familias de sus tres compañeros de trabajo; Applebaum, en la cual una ex fiscal del estado se convierte en investigadora privada para evitar morir de aburrimiento quedándose en su hogar haciendo de madre-ama-de-casa; una pieza todavía sin nombre ubicada en 1960 sobre un cowboy que se vuelve sheriff en Las Vegas; Golden Boy, que sigue el meteórico ascenso de un oficial de policía a detective a jefe de policía, y Trooper, acerca de una madre que se convierte en policía de estado. CBS trae de regreso al detective más famoso del mundo con Elementary - que encuentra a Shelock Holmes viviendo en estos días en la ciudad de Nueva York. Por supuesto, son los anunciantes americanos los que determinan que es lo que será elegido, pero sin que esto importe, deberá ser una temporada interesante. 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MA Y 2 0 1 2 (Continuación a la página 18) (Continuación de la página 14) Es una jungla allá afuera desplazarse en la jungla en la que se ha convertido el negocio de la TV y encontrar alguna ganancia? Desafortunadamente lo que encontrarán será el total de lo que los (grandes) Estudios hayan dejado: básicamente el 20% del negocio dividido entre 10 mini-majors y otras 500 compañías de pequeño tamaño a nivel mundial. Naturalmente, tratar de maximizar los derechos de explotación y determinar lo que puede ser retenido, consume tiempo y a lo largo del tiempo, ofrece pocos resultados, pero si los productores y los distribuidores son desligados de los principales sistemas de distribución (de los broadcasters), no queda realmente una alternativa. Según Tom Devlin, de Entertainment Studios, con base en la ciudad de Nueva York, quien es considerado como el rey de la jungla, las estaciones (de TV) apuestan a la familiaridad: “Productos nuevos e innovadores los asustan”, dijo. Por sobre esto, hay una competencia desigual con los grandes equipos. Un distribuidor de programas ubicado en Las Vegas se quejó de que, en Latinoamérica un productor de Inglaterra y otro de Canadá venden animaciones infantiles por sólo unos pocos dólares dado que sus principales ingresos provienen del merchandising. Una cosa está clara: Los Estudios independientes deberán gastar más dinero y horas de trabajo que los (grandes) Estudios para hacer alguna venta. Y, la jungla allá afuera sólo permite la supervivencia de los más inteligentes. Es por ello que el negocio de la venta de programación televisiva es actualmente tan complicada. Sin tomar en consideración variantes y sub-variantes (P. ej.: suscripción a VOD y servicios VOD a la carta) que ofrecen varias empresas de distribución, hay al menos 15 maneras de vender contenidos con oportunidades de reprogramar contenidos existentes. Pero, si bien pareciera haber un buen número de maneras de explotar los derechos, los productores de programas y los sindicadores todavía deben encontrar la forma de generar ingresos, teniendo en cuenta que los pequeños Estudios independientes generalmente no pueden llegar a los grandes compradores y que hay tres maneras de hace dinero con contenidos: por medio de la publicidad, licenciando o venta directa. Por ejemplo, para Michel Zgarka, de XII Tribes Entertainment con base en Montreal, Canadá, “ingresos virales (P. ej.: YouTube) representaron grandes ingresos para Gummibar & Friends. Con casi dos billones de hits y pudiendo rentabilizar cada hit, para nosotros fue un elemento clave en la estructura financiera de especiales de TV y series”. Ciertamente, si las ganancias que provienen de los grandes proveedores de TV se pueden llamar “macro”, los “micro” son una miríada de pequeños pagos que los productores y distribuidores pueden extraer del universo online. Esta es una buena manera de redituar contenido que es difícil de vender a los proveedores de TV (P. ej.: comedias) o que están fuera del ciclo popular (P. ej.: novelas en primetime). Antiguo material de archivo es también un candidato perfecto para los micro-pagos. Investigadores en Inglaterra descubrieron que, para ese servicios de contenido, los consumidores están dispuestos a pagar de U$D 0.10 centavos a U$D 3.25 dólares. Se estima que a nivel mundial los Micro-pagos por contenido digital han estado cercanos a los U$D 12 billones de dólares. Ken DuBow de Opus Distribution con base en Los Ángeles descubrió una buena estrategia en ventanas compartidas, si bien éste no es un concepto nuevo. Esto agrega ingresos cuando una estación de TV que ha adquirido algunos títulos a lo largo de varios años le permite al distribuidor vender algunas de esas mismas películas a otros mercados. Lo que puede ser considerado un nuevo desarrollo — y no es barter (trueque) o posicionamiento de producto — es el patrocinio (sponsorship), o venta a anunciantes. Tal como lo explicó Aldo Di Felice de TLN con base en Toronto, Canadá, este último desarrollo es utilizado especialmente por el fabricante de coches alemán BMW, Nike y Gillete, cuya programación pagada con sus anuncios es dada sin cargo (también Red Bull trata
MA Y 2 0 1 2 de vender ese tipo de programación). Nike, por ejemplo, tiende a financiar documentales que, a veces, ni siquiera muestra su marca. Un ejemplo del negocio de contenidos patrocinado dirigido directamente al consumidor es Screen Media Popcornflix.com, ubicada en la ciudad de Nueva York, con 350 films disponibles de manera gratuita y financiada con publicidad. Otro aspecto del negocio que no debe ser desestimado son los DVD. Todavía aportan grandes cifras para un “negocio que está muerto”. En 2011 el negocio de los DVD’s en USA alcanzó los U$D 18 billones. Si bien se espera cierta erosión este año, Steve Ronson, Vicepresidente Ejecutivo de A+E Enterprises con base en Nueva York, cree de todas maneras que se sostendrá como un mercado robusto. La erosión es causada por el hecho de que películas y episodios unitarios rápidamente pasan a ser digitales; por lo tanto, los Estudios americanos lentamente están reduciendo su independencia de los paquetes de negocios, causando una caída en el volumen. “Veo una gran oportunidad en el negocio de los DVD’s, especialmente si los grandes Estudios limitan su participación”, dijo Ronson. A+E Networks Home Entertainment coloca cerca de 200 nuevos títulos por año en DVD con cantidades que varían de 5.000 a 250.000 unidades. “El punto de equilibrio es relativamente bajo”, dijo Ronson, “cerca de 2.500 unidades”. A+E Networks (recientemente renombrada AETN) posee un catálogo de 10.000 títulos en DVD, y en 2011 colocó 15 millones de DVD’s. Las ventas de DVD’s de A+E Networks son realizadas de manera directa en su sitio Web (que representa el 25% total de las ventas), en grandes tiendas generales como Wal-Mart y en los “Incos” (compañías de Internet) como iTunes, Amazon, etc. Consultado acerca de si la piratería era más problemática para los DVD’s o para el contenido digital, Ronson respondió, “si los precios son adecuados, la piratería no es un gran problema para ninguno de los dos”. Entre las nuevas fuentes que producen ingresos, se encuentran los Canales Web (Web Channels) del tipo YouTube del cual Google fuera pionero. La “Inco”, compañía de Internet salió al mercado con 100 Canales Web con un total de 25 horas diarias de programación original. Los canales comprenden 19 categorías, incluyendo animales y mascotas (por FremantleMedia), fitness (por Lionsgate), wrestling (por WWE), y sátira (por The Onion publications). YouTube les da a los proveedores un 55% de los ingresos por publicidad, luego de recuperar el dinero adelantado a los productores. El contenido queda en exclusivo para YouTube por 18 meses. Hasta el momento, YouTube ha adelantado U$D 100 millones a los proveedores de contenido. Cada canal recibe entre U$D 3 a U$D 5 millones por adelantado. Entre las diferentes formas de repartir la sindicación de contenidos tipo “hair”, se encuentra la denominada “interstitions” (publicidad de tránsito) en los cuales los programas cortos (del tipo preferido por los operadores de telefonía móvil) son insertados entre programas más extensos. Un típico ejemplo de semejante servicio es lo que ofrece NewsProNet, con base en Miami, Florida. La compañía produce microprogramas de 2-3 minutos de duración para ser insertados dentro de los noticieros de las estaciones de TV, y clips de 1-2 minutos para Canales de TV online. Finalmente, en determinadas instancias, el dueñodel contenidopuede obtener réditos de la banda de sonido de un programa ubicándolo en plataformas tales como iTunes o Amazon, que resultan ser un buen modelo de negocios para compañías tales como Entertain Me Group ubicada en Londres, una compañía de producciones que recientemente ha lanzado una división de distribución para sus programas de música y documentales. DS (Continuación de la página 16) Es una jungla allá afuera
V I D E O • A G E MAY 2 0 1 2 2 0 1 2 2012-13 Network Commissioned Pilots L . A . S C R E E N I N G S 20 *Indicates that the pilot has already been picked up (as per May 8). ABC Drama 666 Park Avenue A young couple manages a legendary NYC apartment building where supernatural phenomena endanger the tenants Americana A soap revolving around a legendary fashion designer, his family and business Beauty and the Beast A fantastical re-imagining of the classic fairy tale set in a mythical world Devious Maids Follows the lives of four ambitious Beverly Hills maids Gilded Lilys Revolves around the opening of Gotham’s first luxury hotel in 1895 Gotham A female detective discovers a previously unseen magical world in New York City Last Resort The crew of a nuclear sub ignore an order to fire and declare themselves the world’s smallest nuclear nation Mistresses* Four women with scandalous love lives are at the mercy of their relationships Nashville* A family soap that follows one music star at her peak and another on the rise Penoza The widow of an assassinated criminal is dragged into his role at a crime syndicate to save her family Scruples About a rich and powerful designer/boutique owner in scandal-ridden Hollywood Untitled Roland Emmerich Project A New York City astrophysics grad student is chosen to destroy the forces of evil Zero Hour A man who’s spent 20 years as the editor of a skeptics magazine is pulled into a huge conspiracy Comedy American Judy A cosmopolitan woman moves to the suburbs, juggling stepchildren, a mother-inlaw and her husband’s ex: the town sheriff Awesometown Four young NYC professionals work and live together How to Live With Your Parents For The Rest Of Your Life A single mom moves in with her eccentric, inappropriate parents Malibu Country A divorcee moves her kids from Nashville to Malibu to restart her singing career The Manzanis An Italian-American family in a quiet New Jersey town clashes with WASPy neighbors Only Fools And Horses Get-rich-quick schemes of two streetwise brothers and their aging grandfather Prairie Dogs An uncool cubicle worker (at a cool company) reaches out to a thief who stole his identity to help him change his life Red Van Man A man is forced to put his dreams on hold when he takes over the family handyman business The Smart One A successful woman must work for her ditzy sister, now mayor of a major city Untitled Dan Fogelman Project A NJ gated community is populated by aliens disguised as humans Untitled Kari Lizer Project A high-powered female executive finds herself unemployed and acting as a fulltime mom to her two teens Untitled Mandy Moore Project A newlywed couple run a hip, new restaurant in the wife’s hometown CBS Drama Applebaum A former public defender becomes a private investigator to keep from being a bored stay-at-home mom Baby Big Shot A woman from a blue-collar background uses street smarts in the white-shoe world of a Manhattan law firm Elementary Famed detective Sherlock Holmes lives in modern-day New York City Golden Boy (a.k.a. Untitled Berlanti/Wootton) Tracks one cop’s meteoric rise from officer to detective to police commissioner Trooper A mother-turned-state-trooper takes a common sense approach to police work Untitled Pileggi Period Piece/Ralph Lamb Project The true story of Ralph Lamb, a rodeo cowboy who became a Las Vegas sheriff Widow Detective A decorated police detective becomes a surrogate husband, lover and father to the families of three deceased partners Comedy Entry Level An advertising executive has to work near the girl who broke his heart Friend Me Two 20-something guys move from Indiana to L.A. to work for Groupon Partners Two lifelong male friends’ relationship is tested when one decides to get married Super Fun Night Three nerdy female friends have a “super fun” Friday night every week Untitled Berlanti/Malins Project (a.k.a. Oh Fk, It’s You) Centers on a man who realizes after a health scare that he’s in love with his best friend and business partner Untitled Dorf/Falcone Project A single 37-year-old must move in with his parents Untitled Louis CK/Feresten Project A group of young people work to achieve their creative dreams amid tough financial times Untitled Martin Lawrence Project A widowed father joins the police academy after losing his job in construction CW Drama Arrow Based on the DC Comics superhero Green Arrow Beauty and the Beast Loosely based on the CBS drama from the late 1980s, described as a romance “with a procedural twist” The Carrie Diaries A Sex and the City prequel follows a younger Carrie Bradshaw Cult A PA and blogger investigate fans of a show who may be re-enacting its crimes First Cut A medical student learns that hospital life is not all that different than high school Joey Dakota A filmmaker travels back in time to the 1990s where she falls in love with the subject of her film, and has to figure out how to prevent his death The Selection 300 years in the future, a poor woman is chosen by lottery to compete to become the next queen of a war-torn nation Shelter Centers on the staff and guests of a historic New England summer resort FOX Drama The Asset Espionage drama revolving around a female spy in the NYC office of the CIA Guilty An attorney is falsely convicted of fraud but keeps taking on cases Mastermind About the complex relationship between a diabolical serial killer and damaged FBI agent Mob Doctor A surgeon, indebted to the Chicago mafia, moonlights as their doctor Rogue The orphaned daughter of a CIA operative encounters a rogue agent who serves as a surrogate father and mentor Comedy El Jefe A guy from a wealthy family must move in with his housekeeper The Goodwin Games A father leaves a fortune to his three children only if they agree to his terms Let it Go Ensemble comedy about a married couple, his best friend and her sister Like Father A dynamic, charismatic dad is only 19 years older than his adult son Little Brother A man discovers a half-brother he never knew — and he’s a con artist Living Loaded A hard-partying blogger changes his ways when he becomes the host of a radio show Mindy A female gynecologist tries to navigate both her personal and professional lives Ned Fox Is My Manny Revolves around a mother who hires her brother to serve as a “manny” Prodigy Bully A young genius uses brains and brawn to get what he wants Rebounding About a man recovering from the death of his fiancée, who gets help from his pickup basketball team NBC Drama Bad Girls Follows inmates and staffers in a federal women’s prison Beautiful People A “what if” drama set 10 minutes into the future about families of mechanical human beings Chicago Fire Follows the complex and heroic men and women of the Chicago Fire Department County A group of young doctors, nurses and administrators work in a morally compromising L.A. County Hospital Do No Harm A modern take on Dr. Jekyll and Mr. Hyde , where a neurosurgeon must wrestle with a dangerous alter-ego Frontier A Western adventure drama about a group of travelers in the 1840s Hannibal* Follows the protagonist of Silence of the Lambs Midnight Sun An FBI investigation of disappearances in an Alaskan commune Mockingbird Lane* A reinvention of the classic series The Munsters Notorious A soapy drama about a detective who goes undercover among a wealthy family to solve the murder of her best friend Revolution* A group of people live in a world where all forms of energy have ceased to exist. Comedy 1600 Penn* About a dysfunctional family in the White House Animal Practice* A veterinarian loves animals but usually hates their owners Downwardly Mobile The proprietor of a mobile home park acts as a surrogate mother to its residents Friday Night Dinner About a quirky family that has dinner together every Friday night Go On* A sportscaster suffers a loss and finds solace from his group therapy sessions Guys with Kids Three 30-something guys enjoy the adventures of parenting despite never having grown up Happy Valley A woman leans on her co-workers to help her plot revenge on her ex-fiancé Isabel A 10-year-old girl has magical abilities Lady Friends Two lifelong girlfriends find their lives changing when one of them gets married The New Normal* A family comedy centering on a gay couple and their surrogate Next Caller Please A brash satellite radio DJ butts heads with his new, plucky, feminist co-host Save Me* A housewife believes she is a prophet Susan 313 A woman re-adjusts to single life after a decade-long relationship Table for 3 A woman finds out her father is dating the “mean girl” from high school
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