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DAY 3. Thursday January 22, 2015

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Upfront

NATPE Daily 2015 . Day 3 . January 22

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Tweet your news #NATPE2015 and follow us @NATPE

IN THIS EDITION

5-7 News All the latest from the NATPE floor.

9 Q&A: Jonathan Katz CEO and president of Katz Broadcasting on why the time is right to launch a new broadcast channel focusing on comedy.

10-12 NATPE in Pictures From the parties to the panels, our team of photographers capture all the action as it happens.

14 Backstop Lilly Tartikoff (center) with Brandon Tartikoff Legacy Award honorees Jonathan Murray, Jay Leno, Linda Bell Blue, Adriana Cisneros, Ted Sarandos and Gustavo Cisneros at NATPE last night. TODAY AT NATPE FONTAINE BALLROOM

CHECK OUT THE TWEETS GLIMMER 1 & 2

Global Navigators I

Global Navigators II

9:15-9:45 a.m. International Keynote: Adriana Cisneros

9-9:45 a.m. International Co-production: Who and What You Need to Know About Europe

10-10:45 a.m. Sharpening the Focus: How U.S. Networks Are Engaging the Hispanic Audience Produced by: CAA

10-10:45 a.m. The World Is a Screen: Programming Trends Around the Globe

11-11:30 a.m. Exporting Expertise: A Conversation with José Antonio Bastón, Televisa

11-11:45 a.m. Evolution of News: How Digital Video has Transformed News Reporting

11:45-12:15 p.m. Embracing the ‘New Mainstream’: A Conversation with Joe Uva, NBCUniversal

Noon-12:30 p.m. The Ever-Changing Landscape of U.S. Television Sponsored by: Tandem

12:30-1 p.m. The Continued Vibrancy of the World’s Leading Channel Groups

12:45-1:15 p.m. Global Hollywood: Content Strategies for the New Digital World GLITTER

Access to Insight 9:30-10 a.m. Sell Your TV Concept Now: Talent vs. Concept – Which is More Important in Reality TV? MARKET FLOOR

2:30 p.m. Champagne Toast

NATPE president Rod Perth looks at the exciting announcements made this week and how NATPE is delivering on its promises.

10:15-10:45 a.m. M.E.T.A.L. Law Group LLP and Chica Intelligente LLC – A Download on Digital Campaigning & Safeguarding Your Brand: What Happens If I Don’t? 11-11:30 a.m. Cross MediaWorks: Airtime Alternatives to Traditional Syndication

NEWS


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Brands’ call to arms L

eading figures from the branding world yesterday admitted to NATPE delegates that their own industry needs to get to grips with the multiplatform era or risk losing millions of eyeballs on their products. Babs Rangaiah, Unilever’s VP of global media innovation and ventures, said marketers needed to “directly connect with content creators” to avoid “losing threequarters of our audience.” “If we don’t capture all the different places where a show runs, we are losing more than half the audience,” he said in the Masters of Marketing session The Content Conundrum – The View From the CMO Suite. He encouraged “much more interaction” between content creators and advertisers as cable subscriptions continue to decline, but admitted this may cause “tension” between the two sectors down the line. “Soon we will be

Klein: authenticity key The top priority when eyeing large and loyal digital audiences should be authenticity, according to Condé Nast Entertainment’s content boss Michael Klein. The publisher has gone digital in a big way over the past two years, clocking up more than two billion hits from 170 original online series created for brands such as Wired. But Klein, EVP of programming and content strategy for digital channels, told NATPE that creating authentic online content was key to targeting millennials, who would otherwise “call BS” on shows. “Look at YouTube celebrities – they’re successful because they’re building brands out of their homes and getting loyal fans building them up. The celebs that are successful remain true to that audience,” he said. Klein also revealed Condé Nast currently matches every dollar spent on online programming with the same amount on marketing.

Frank Cooper III directly connecting with content creators in a way we don’t do today,” he said. Frank Cooper III, PepsiCo’s chief marketing officer of global consumer engagement, said the branding industry was often too slow getting content to consumers. “It depends on the platform, but we are not moving that quickly,”

he said. “If it’s developing content on Snapchat, Vine or Instagram, we would like to move in a matter of days. But sometimes a week is too long.” Cooper also urged large brands to follow the lead of internet giant BuzzFeed and pump more content out at speed, despite not being fully tested. “BuzzFeed is testing content and learning what’s working. Large brands have to start adopting that methodology: put it out there, don’t perfect it and get data back on what is working and what’s not working,” he added. On a subsequent panel, Jonas Tåhlin, CEO of vodka firm Absolut Elyx, said the branding sector needs to develop more content to keep up with the evolving TV industry. “It’s now much less about thinking what good content you can produce. The game has now changed to producing as much content as possible,” he said. Andrew Dickens

Spurlock backs Netflix Super Size Me filmmaker Morgan Spurlock has praised Netflix for bringing documentaries to a wider audience. The celebrated producer told NATPE delegates yesterday: “Netflix is one of the greatest places in the whole world for documentaries,” and thanked other video-on-demand services for bringing the genre to public attention. “More people are watching documentaries on Netflix than anywhere else right now, period,” said Spurlock, founder of New York-based production outfit Warrior Poets. “It’s awesome. I can’t tell you how many people have watched Inside Man and every other movie I ever made on there.” Spurlock, who recently had his films Spark and Everything Must Go ordered by Disney-owned YouTube network Maker Studios,

Morgan Spurlock added that Netflix had enabled a “nationwide audience to be part of a conversation.” He also called for cinemas to introduce more day-and-date releases for docs and movies, which would see features debut simultaneously in theaters and online. “When my film Greatest Movie Ever Sold came out, Sony released it on 17 screens, so 99% of the country couldn’t even see the film,” he added. “So with a day-anddate strategy you would have been able to see this.”

NEWS IN BRIEF

Murray lays into foreign formats Bunim-Murray Productions chairman and Brandon Tartikoff Legacy Award honoree Jonathan Murray claimed the industry’s reliance on supposedly reliable foreign formats has meant “great ideas” from the States are being ignored. “We have innovative ideas but trying to get CBS, NBC, ABC and Fox to take those ideas seriously is hard,” he said during his A Chat With… session yesterday. Murray also slammed the cancelled Fox reality show Utopia, describing it as “badly cast and executed.” The series, based on a format created by Dutch company Talpa Media, was axed in November.

CMJ hires Diaz CMJ Productions II has appointed Latino television veteran Cesar Diaz as a consultant to propel its Spanish-language output. CMJ’s CEO and founder John Kuyk told NATPE Daily that Diaz’s recently launched 7A Media was helping his firm to forge co-productions with companies in Spain, Colombia, Brazil and Venezuela, as the Quebec-based factual production company made its first appearance at NATPE in Miami. Kuyk also revealed one of its latest shows, Wheels That Fail (18x30’), would debut on February 7 at 10 p.m. on Velocity in the U.S., as well as on CMT in Canada. Diaz previously worked at Venevision International.

Yahoo! in ‘Wild West’ Dan Harmon, whose cult comedy Community has been revived by Yahoo!’s online video service, yesterday said the explosion of new platforms commissioning original content has made for an unpredictable industry. “We’re in the Wild West right now and you don’t know which saloon is going to end up being the Hilton,” Harmon quipped during his A Chat With… session yesterday. Community returns for a sixth season on March 17 with Yahoo! Screen, having been cancelled by NBC last year.

NEWS


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NEWS IN BRIEF

Sutherland toasts toon Hollywood legend Donald Sutherland is sailing into town to present his animated feature film Pirate’s Passage during a champagne breakfast this morning. The presentation will be followed by a Q&A with Sutherland, who has co-produced, co-written and lent his voice to the family movie. It is based on the Canadian children’s novel written by William Gilkerson.

Eyeworks USA rebrand Eyeworks USA has changed its name to 3 Ball Entertainment and restructured following Warner Bros.’ acquisition of its former parent Eyeworks Group last year. Chairman Reinout Oerlemans has named Todd A Nelson and Ross Weintraub as co-CEOs of the firm, with Brant Pinvidic promoted to chief creative officer and Jeff Goldman named chief business officer. JD Roth, meanwhile, will step down as CEO to take on a production role.

Legendary no to VOD Legendary Entertainment’s digital chief has poured cold water on speculation the studio will launch a VOD service this year. Greg Siegel, SVP of development and production for Legendary’s digital unit, said the firm has no plans to join the likes of Overstock in the VOD space anytime soon. “If the opportunity presents itself in the right way, maybe, but it’s not something we’re thinking about right now,” he told NATPE delegates yesterday.

Ecuavisa scores in U.S. Spanish-language U.S. network Ecuavisa Internacional will air ‘A’ league Ecuadorian Federation of Soccer matches, after agreeing a new rights deal. The deal runs until the end of the 2017 season with matches available to carriers including Time Warner Cable, Comcast Xfinity, DirecTV, Verizon Fios, as well as RCN and San Bruno systems via U.S. distributor Alterna’TV. The deal includes 139 games per year and multiplatform rights.

TV ‘trumps movies’ T

elevision dramas have now become more culturally relevant than movies, according to Netflix’s content chief, Ted Sarandos. Sarandos, who received a Brandon Tartikoff Legacy Award last night, said television had now “displaced” movies in the public’s consciousness because “distribution for TV has never been better.” “If people are going to watch Breaking Bad, they are not going to miss it, like they used to,” he said during his A Chat With… panel alongside the show’s creator, Vince Gilligan, and Arrested Development mastermind Mitch Hurwitz. “Audiences are just going to jump in and find the show a great experience. Whereas if you want to see a movie, you have to wait at least a year to watch it on Netflix, or you have to wait at least four or six months to watch it on pay-per-view or buy it on DVD,” said Sarandos.

Ted Sarandos, Vince Gilligan and Mitch Hurwitz Sarandos, who reiterated Netflix’s desire to launch around 20 original scripted shows a year, added that consumers’ access to movies was “super disconnected,” compared with television shows. However, he said his firm’s decision to make Sony movie The Interview available to subscribers in the U.S. and Canada, after it was pulled from theatrical release last year, highlights the changing film distribution model.

Gilligan, currently working on AMC’s upcoming Breaking Bad prequel Better Call Saul, said the lines between TV and movies had now become completely blurred. “Previously, TV was essentially a videoed stage play, but now we’ve got to the point where we premiere a show like Breaking Bad in a movie theater,” said Gilligan, adding that he was concerned about the future of the film business. Andrew Dickens

Drama volume ‘crisis’ Leading executives have warned of a glut of drama for viewers if VOD services continue to produce and acquire content at the current rate. Dan Zifkin, CEO of Vibrant TV Network, told NATPE Daily he saw Netflix’s original series creating a “churn effect,” meaning audiences will end up with too much choice. “Netflix has got Orange is the New Black and House of Cards, and that’s where a lot of the revenue and attention might be coming from,” he said. “But now they have to feed that monster and keep having those sorts of hits.” Speaking to NATPEtv, Adam Pincus, executive VP of GroupM Entertainment, said there was a growing need for a “curation of content” as over-the-top services continue to produce and acquire high volumes of drama. “It’s a riddle that needs to be cracked: how do you find and curate the best content for everybody’s

individual taste?” he said. “The next question will be, how much support will these shows get from audiences? Audiences will soon be faced with more programming than they could ever watch.” Meanwhile, FTI Consulting MD Mary-Ann Halford said services like Netflix have entered the “programming game,” where drama series are not always guaranteed success. “Sometimes you hit shows out of the park and other times you are not sure if they’re going to hit,” she said. “Marco Polo, for instance, has just been renewed, but let’s see if it gathers great audiences for the second season.” However, Hernan Lopez, president and CEO of Fox International Channels, countered: “Is the world a better place because so many books are being written? I think so. And you can say the same thing for dramas.”

Boxing supremo Oscar De La Hoya revealed further details of his new multi-platform Spanishlanguage network at a packed press conference yesterday. Sports, travel and lifestyle channel De La Hoya TV, first unveiled at a star-studded NATPE Opening Party on Tuesday night, will be available via cable and satellite and offers news, analysis and original programming on subjects including boxing and MMA. The network will launch this spring and will be available initially in Spanish with English-language content to follow. The venture is a partnership between the boxer, sports promoter José Alberto ‘Pepe’ Gómez and Fashion TV Latin America partner Victor Hugo Montero.

NEWS


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Admen fear inertia A

dvertising executives have criticized TV network chiefs for failing to embrace new media buying technology and accused industry insiders of “burying their heads in the sand” over changes in the ad market. New developments such as programmatic buying are being ignored by producers and channel execs – often out of fear that content would be devalued, said Matt Seiler, CEO at IPG Mediabrands. Seiler argued the opposite was true and encouraged execs to embrace the changing market. But he admitted it was “hard because it requires all of us to change.” “There are an awful lot of people who recognize that change is coming but they’d rather it didn’t come in such a disruptive way. Inertia is by far and away the biggest challenge we face – people don’t want to change and think if they bury their heads in the sand it will all be OK,” Seiler said.

Matt Seiler, IPG Mediabrands Lyle Schwartz, managing partner at GroupM’s implementation research and marketplace analysis division, admitted that changes to the ad-buying market would require restructuring and “financial change” for both the users and the sellers, but said more automation was inevitable. “Why do people assume programmatic is a problem?”

Schwartz asked. “Isn’t it a way of understanding how to deal with data and information? I’ve often found that when people in this industry say it’s somebody else’s problem, it means that they’ll sit back and wait for the industry to do it to them rather than get involved and lead.” Seiler added: “It’s big stuff that has to happen; the whole industry has to recognize this as a value. We all also have to recognize that these changes are not just inevitable but enviable and we have to be willing to change our organizations to capitalize on that.” There was a similar message from Alp Pekkocak, VP of product marketing for programmatic platform at YuMe, who said in a subsequent panel session that advertiser demand was beginning to “force publishers to be programmatic-ready. It’s slow but moving in the right direction.” Richard Middleton

YouTube dubbed ‘Walmart of VOD’

RCTV back in production

The rivalry between YouTube and Vimeo has moved up a notch after one of the latter’s executives described his firm as the Bloomingdales of online video platforms, against YouTube’s Walmart. The ad-free video platform is “empowering” content creators by giving them a better deal than they would get on YouTube, Vimeo’s VP of content acquisitions and business development, Sam Toles, told NATPE delegates yesterday. He claimed that YouTube celebrities can double their income with Vimeo On Demand, which is stepping up its pursuit of the Google-owned firm’s personalities. A number of creators from YouTube multi-channel network Maker Studios are set to switch to Vimeo after the two companies announced a partnership earlier this month.

Venezuela’s RCTV has launched its first new TV show in five years here at NATPE, after resuming telenovela production as a studio rather than a broadcaster. Piel Salvaje (120x60’) was unveiled to buyers here in Miami this week, and marks the Caracas-based company’s return to production after losing its broadcast license in 2010. “When we had a TV channel we used to produce many telenovelas and other programming each year, and we still have more than 4,000 hours in our library, but now we have returned to NATPE as a studio, RCTV Producciones, and a distributor, RCTV International,” said the latter’s director of sales, Katy Paulheim. The show, a.k.a. Wild Skin, stars Irene Esser (Corazón Esmeralda) and Carlos Felipe Alvarez (Dulce Amargo). Inspired by The Brothers

NEWS IN BRIEF

Sales for Nick’s Witch Viacom International Media Networks has confirmed sales of teen series Every Witch Way to Televisa (Mexico), TV Globo (Brazil), Telenica (Nicaragua) and Teleamazonas (Ecuador). The show, Nickelodeon Latin America’s first English-language production for international distribution and now in its third season, has also been licensed to YTV for English-speaking Canada. It is based on Nickelodeon’s Latin American series Grachi. Meanwhile, MTV Latin America’s Acapulco Shore has been picked up by undisclosed broadcasters in Brazil, Greece, Italy, Portugal and Spain.

BBC bags Chile deals Chilean broadcaster Chilevision has acquired a raft of factual programming from BBC Worldwide, including Wild Arabia and Generation Earth. Elsewhere, Chilean cable provider VTR has picked up a package of children’s content after entering into an agreement with BBC Worldwide Latin America for the first time, in a deal that includes U.K. animation Sarah & Duck. TVN, Chile’s stateowned channel, has also added BBC factual shows, with more details due later this year.

Motors TV for Americas

RCTV promotes Piel Salvaje Karamazov, the show follows two rival families in the cosmetics industry. Even though the telenovela genre is evolving, with youngerskewing shows and shorter runs, Paulheim said: “There is still a huge market for traditional telenovelas like Piel Salvaje.” RCTV lost its free-to-air broadcast license in 2007 and later its cable and satellite license, but has now re-emerged. “We plan to produce two telenovelas per year, with our second starting in May,” added Paulheim.

U.K.-based Motors TV will expand into North and South America this month. The auto-themed satellite channel is launching a feed in English for the U.S. and another in Spanish for Latin America on January 28, via channel distributors Thema and Eutelsatowned Alterna’TV, respectively. Motors TV already has more than 30 million subscribers in Europe.

Telefe backs Smilehood Argentinian distributor Smilehood is launching what it calls the first transmedia kids’ series from Latin America, Los Creadores (Creators). Argentinian broadcaster Telefe is already attached to the show, as is a major, as-yet undisclosed subscription VOD platform in Latin America.

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Q&A WITH…

Jonathan Katz

NATPE Daily 2015 . Day 3 . January 22 Tweet your news #NATPE2015 and follow us @NATPE

Follow Jonathan on Twitter: @bounce_tv

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Jonathan Katz, CEO and president of Katz Broadcasting, and chief operating officer at Bounce TV, reveals why the time is right for a new broadcast channel offering comedy.

Katz game for Laff This week you revealed plans for a new digital broadcast channel, Laff. What is the strategy behind the move? Everybody is talking about over-the-top and digital, and that’s the sexy part of the business right now. But there’s a symbiotic relationship between OTT and these new over-the-air broadcast networks. Put simply, consumers are gravitating away from expensive satellite and cable subscriptions and embracing Netflix, Hulu or Amazon – but they still want to see the NFL or The Blacklist, so they buy an antenna. When they turn on that antenna they discover there’s a whole universe of programming options available to them, much like the early days of cable. Our job has been to identify the gaps in the market with compelling content that’s easy to define. Why is comedy an untapped opportunity in the broadcast market? Our first focus is on consumers who watch television over the air – we love our cable carriage but we focus on those broadcast consumers. And while there are places that viewers can find sitcoms and comedy, there is no one comedy destination. You’re also launching a Laff app and website. How will the digital content differ from linear? We look at Laff as a brand that happens to be on multiple platforms but the programming will be differentiated. So the linear channel will be more traditional longform shows while digital will be curated, originated and original shortform. You’re skewing Laff towards women. What makes that demo attractive to a new comedy channel? Laff is aimed at adults aged 18-49, with a slight female skew. One of the things we learned in our research is that people believe digital comedy tends to skew male. The truth is that women make up a very large percentage of online viewers, so there’s an opportunity to partner with female comedians and folks who are producing content aimed at women online. We also have several major

on competing multicast channels, which tends to be a bit more classic. How have carriage discussions progressed? We’re partnering with ABC Owned Television Stations and the Scripps station group. Both are tremendous leaders in their markets and believe in Laff as a companion to their primary signals. We’re actively engaged with several other major station groups and expect other announcements soon.

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Consumers are gravitating away from expensive satellite and cable subscriptions and embracing Netflix, Hulu or Amazon – but they still want to see the NFL or The Blacklist, so they buy an antenna.

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studio deals done for sitcoms and theatricals. We haven’t yet announced any acquisitions, but they’ll be contemporary hit sitcoms and big, broad blockbuster movies. It will all be very recent and different from other product

Are you looking for original programming? Between linear and digital there will be original content, but the question is timing. We’re very focused on the stand-up space and digital comedy as brand drivers. We’re committed to making Laff.com and the Laff app destinations for comedy lovers and the content we acquire, curate or originate on the digital side may migrate to the linear channel. How does Laff fit alongside your other multicast channels like Grit and Escape? We pride ourselves on setting clearly defined brands that tell consumers exactly what they’re going to get. So Bounce is an AfricanAmerican channel, Grit is for men, Escape is for women and Laff is for comedy lovers, with a slight female skew. We’ll continue to reinvest in stronger programming and we are very optimistic, not just for our brands and networks but for the digital broadcast and multicast space.

NATPE in Pictures


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Tweet your y news #NATPE2015 and follow us @NATPE

Left and below: Escapologist and star of Escape or Die Dean Gunnarson performs the Death Tank stunt at the Opening Night Party.

Left: The NATPE crowds network in the Fontainebleau lobby. Above: Pausing to watch the video wall.

Above: A packed press conference for boxing champion Oscar de la Hoya’s channel announcement. Right: Admiring the kit on show in the CES Genius booth.


NATPE in Pictures


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Above left: The launch of $1,000,000 Talent Search gets plenty of attention poolside at the Fontainebleau. Above: Jay Leno happily poses for a selfie with Carlos Morett. Left: Catching up with the news on the market floor. Right: Oscar de la Hoya gets into a good natured tussle with Rod Perth.

Norman Lear with (from left) Connor Franta, Marcus Johns and Tyler Oakley at the lunch for brands and content creators. Right: Cameras rolling on the market floor.

NATPE in Pictures


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Morgan Spurlock in his Storytellers & the Shaping of Pop Culture session.

Gathering for the Opening Night Party.

Left: Dressing the part poolside. Above: Gayle Klinger-Gradess of Project Anything is Possible. Left: NATPE CEO Rod Perth with MediaLink’s Michael Kassan (center) and Button CEO Michael Jaconi. Right: Talking business beside the Fontainebleau pool.

BACKSTOP

Rod Perth 14


Follow Rod on Twitter: @PerthRod


Three days in Miami Rod Perth, president and CEO of NATPE, reflects on a successful, highly diverse and valuable week.

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ay three, and what a week! Intentionally, this has been our most diverse conference ever. We are all increasingly interdependent in this digital world, but it still comes down to finding the right talent and making shows with compelling storytelling and great characters. A vibrant market and conference – where connections are made, ideas are born and deals get done – begins with the people who come together under one roof with the common purpose of moving their business and this industry forward. NATPE is committed to delivering on the entire content continuum, from development to distribution and monetization across platforms. I’m happy to say we are delivering on that promise, and this year we saw growth across virtually every sector of the industry. Amongst many other exciting announcements this week, coming from all corners of the industry, Oscar de la Hoya was here to announce his new namesake boxing network; YouTube is on track to launch its own original scripted and unscripted content by the end of the year; Donald Sutherland presented a trailer for the new animated family movie Pirate’s Passage; FremantleMedia made news by partnering with AOL on its first longform series, Connected; Overstock.com revealed it will be launching a digital content platform; and more. With exhibition space sold out and with more buyers in attendance from every territory, we’re hopeful that everyone will close out the week having made valuable new connections. We are confident our conference program, with 200 speakers participating in more than 70 sessions, leaves you feeling inspired and more knowledgeable of the dynamics of this business. This year’s lineup of Brandon Tartikoff Legacy Award honorees – Ted Sarandos (Netflix), Gustavo and Adriana Cisneros (Cisneros Media, Latin America), Jonathan Murray (co-creator of The Real World, and one of the pioneers of reality

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NATPE is not a niche market. Our mission is to exist at the intersection of linear and digital, and we continue to build momentum.

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programming), Linda Bell Blue (over 20 years as exec producer on Entertainment Tonight) and Jay Leno – are all entertainers and visionaries who continue to shape this industry. A special thank you to Brooke Burke-Charvet, who hosted a spectacular evening. NATPE is not a niche market. Our mission is to exist at the intersection of linear and digital, and we continue to build momentum. Focusing on a multi-platform strategy and pipeline has become our promise. And as advertisers are increasingly seeking opportunities to align with quality video, the silos between digital and traditional

television producers are disappearing. We are, and always will be, about content first, and more importantly, content without borders. We have developed fresh events that create new relevance and value for every corner of the business. One of our goals this year was to bring more advertisers and brands to NATPE because they are the underpinnings of everything we do. We aggregated a group of leading CMOs and content creators for a VIP closed-doors luncheon that set the stage for a private exchange of ideas. Brands in attendance included Pepsi, Burger King, MasterCard, Unilever, Absolut, Danon, L’Oreal and Chipotle. On the creators’ side, we had Norman Lear, Vince Gilligan, Dan Harmon, Morgan Spurlock and Ted Sarandos, to name a few. We also had participation from agencies, including Digitas, Piro, Universal McCann, Group M Entertainment Global, Liquid Thread, MediaLink, MEC, Populus Brands, IPG Media Brands and Simulmedia. NATPE||Reality overall was a big success, including an elite roster of speakers and Tuesday’s Pro Pitch event, during which we had 26 buyers from major reality-based networks hear more than 160 curated pitches from aspiring content creators. Things got real at the Reality Breakthrough Awards Luncheon, hosted by Howie Mandel, and the inaugural winners taught us one thing: if you ever find yourself naked and afraid in a shark tank with Anthony Bourdain, it’s not a Hollywood game, and you should seek immediate help from Todd Chrisley. (Kudos to Naked & Afraid, Shark Tank, Anthony Bourdain: Parts Unknown, Hollywood Game Night and Chrisley Knows Best!) As we wrap up our event in Miami, we are turning our attention to NATPE||Europe (June 22-26) where we anticipate global attendance with special focus on the CEE region. One area we plan to expand is the conference component, across both production and distribution strands. We look forward to seeing you there.

The award-winning official NATPE Daily is published under contract by C21Media Ltd (www.c21media.net). Editor: Ed Waller. Reporters: Jonathan Webdale, Clive Whittingham, Andrew Dickens, Richard Middleton, Julian Blake, Nico Franks, Kevin Downey, Marc Berman, John Hazelton, Toni Sekinah. Chief sub editor: Gary Smitherman. Photographers: Simon Wilkinson, Vaughn Ridley. Head of production: Lucy Scott. NATPE Daily client contacts: Suzanne Gutierrez, Maria Moscowitz, Evie Silvers, Sheri Wish. NATPE executive liaison: Beth Braen, Natgeda Remy. Material coordinator: Pamela Silverman. Proof reader: Ayan Bhattacharyya. NATPE Daily client contacts (C21Media): Odiri Iwuji, Peter Treacher. Editor-in-chief & managing director, C21Media: David Jenkinson. Meet the NATPE Daily team in Plunge or email [email protected].

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