World Screen L.A. Screenings 2013

www.worldscreen.com

L.A. Screenings Edition

THE MAGAZINE OF INTERNATIONAL MEDIA • MAY 2013

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DEPARTMENTSWORLD VIEW 8A note from the editor.

UPFRONTS 10New shows on the market.

NETWORK SCORECARD 143The top 50 shows on U.S. network television.

WORLD’S END 146In the stars.

special report

WHITE HOT HOLLYWOODThanks to deep libraries and a constant flow of new product, the Hollywood

studios are meeting the challenges presented by digital platforms.—Anna Carugati

one-on-one

CBS’S ARMANDO NUÑEZAs the president and CEO of CBS Global Distribution Group, Nuñez is

charged with overseeing both international and domestic distribution of

product from CBS Television Studios, Showtime and more. —Anna Carugati

on the record

WARNER BROS.’ JEFFREY SCHLESINGERThe president of Warner Bros. International Television oversees what is

considered to be the world’s leading distributor of programming, with

some 61,000 hours available.—Anna Carugati

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6 World Screen 5/13

contents

MAY 2013/L.A. SCREENINGS EDITION

PublisherRicardo Seguin Guise

EditorAnna CarugatiExecutive EditorMansha Daswani Managing Editor

Kristin BrzoznowskiContributing EditorElizabeth Guider

Special Projects EditorsJay StuartBob Jenkins

Editor, Spanish-Language PublicationsElizabeth Bowen-Tombari

Associate Editor,Spanish-Language Publications

Jessica RodríguezAssociate EditorJoanna PadovanoOnline DirectorSimon Weaver

Production & Design DirectorVictor L. CuevasArt Director

Phyllis Q. BusellSales & Marketing Director

Cesar SueroSales & Marketing Manager

Vanessa BrandBusiness Affairs Manager

Terry AcunzoSenior EditorKate NorrisCopy EditorMaddy Kloss

Ricardo Seguin GuisePresident

Anna CarugatiExecutive VP &

Group Editorial DirectorMansha Daswani

Associate Publisher & VP of Strategic Development

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BEST BUYS This annual media-buyers survey explores how

brands and broadcasters are finding new ways to attract Latin

American consumers 66…AMERICAN DREAM A look at the

production and development processes used by the U.S.

networks 74…INTERVIEW Univision’s Cesar Conde 93

#LOVE Social media is being widely used as a

way to connect fans with a number of leading

telenovelas 83…INTERVIEW Rebecca Jones

and Mónica Spear, the star s of Telemundo’s

Forbidden Love 90

HUNGRY FOR APPS Exploring the use

of apps in building up successful kids’

brands 112…INTERVIEW DHX Media’s

Steven DeNure 118…PROFILE The

International Emmy Kids Awards 122

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BY ANNA CARUGATI

Then, just as we thought we had averted digitalArmageddon, on the morning of January 10, headlinesscreamed that AOL had acquired Time Warner. Say what?An Internet company was going to buy the media behe-moth that was home to Warner Bros., Turner Broadcasting,HBO, Time Inc. and Time Warner Cable for more than$160 million. It was the largest merger in corporate history.The thinking at the time was that “new” media—in thiscase the Internet—was deemed more valuable by investorsfor its potential for growth than “old” media: newspapers,magazines, film and television.

The word “convergence” was bandied about and thenewly formed AOL Time Warner would lead the way:TimeWarner’s prime assets would get access to digital platforms,while AOL would provide high-speed Internet to TimeWarner’s cable systems. A new, better, converged world was

at hand.Well, we all know what hap-

pened. The premise of the deal waswoefully misguided, and in May2009 Time Warner announced itwould split from AOL. But thestigma attached to traditionalmedia companies persisted. Stockprices of all major media compa-nies remained grossly underval-ued as Wall Street continued tobe highly skeptical of traditionalmedia’s ability to adapt to thedigital world, monetize its con-tent on digital platforms andincrease profits.

If we fast-forward to today, the stock prices of mediacompanies are up and earnings are way up. What hascaused this increase after a long spell of stock doldrums?I am no financial analyst, nor am I an expert in technol-ogy, but I believe media companies’ ability to embracedigital platforms has made all the difference. What used tobe an “us-versus-them” mentality, with content creatorsseeing technology and digital platforms as the enemy,the ultimate disruptors of business models, has changed.Rights holders of movies and television shows are mak-ing significant strides in harnessing the possibilities thatdigital platforms offer.

There is no question that the Internet brought themusic industry to its knees. But lessons have beenlearned. Consumers have taken the driver’s seat, dictat-ing how, when and on what screen they want to watchtheir favorite programming, and major media companieshave answered in kind. What was at first a trial-and-errorapproach—what to provide for free and what to chargefor—has given way to a number of established modelsthat allow for decent remuneration of content.

iTunes and other download-to-own sites work for con-sumers. Netflix definitely works, as do countless other suchsubscription sites. The success of HBO GO is proof thatconsumers will embrace the TV Everywhere or authenti-cation model: subscribe to one service, such as cable TV,and then when you want to watch, say, Game of Throneson your computer, you simply go through an authentica-tion process to prove that you already subscribe to HBO togain access to online episodes.

As we see in the main feature of this issue of WorldScreen, Hollywood studios have found many ways to carveout substantial revenues from digital platforms. What wasa two-way battle of content owners versus disruptivetechnologies has morphed into a three-way minuetbetween consumers, technology and content owners.Technology allowed TV episodes and films to be streamedonline and consumers flocked to sites that offered thisconvenience. Content owners scrambled to get paid forwhat was being streamed, and now they are, often hand-somely. Consumers are taking the convenience of watch-ing wherever and whenever to new limits—namely, bybinge viewing. We all do it, and what a pleasure it is tocatch up on favorite series by watching episode afterepisode after episode. This works particularly well withserialized drama, and this new viewing habit has pusheddigital platforms to pay more than decent prices for hotshows. In turn, that has given serialized dramas new lifeafter their first broadcast, when not so long ago serializedfare was dead on arrival in the syndication market.

The relationship between viewers, technology andcontent is getting more and more intertwined and inti-mate. It seems every morning we wake up to a newscreen, device or outlet for content. In this brave newdigital world, smart companies spot opportunitiesthrough the disruption.

Think back to the dawning of the year 2000. Remember how we woke up on

January 1 in fear that Y2K or the Millennium bug had caused computers at home

and at work to break down and created unimaginable havoc with banking systems,

air traffic controllers, anything computerized?

Embracing Change

THE RELATIONSHIP

BETWEEN VIEWERS,

TECHNOLOGY AND CONTENT

IS GETTING MORE AND

MORE INTERTWINED

AND INTIMATE.

8 World Screen 5/13

milestonesworld view

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The reality show Family Restart, on offer from Dori Media Group,gives estranged families a chance to reconnect by pairing parentsand their adult children with a life coach to mend their brokenrelationships. In another Dori Media reality show, The Band, aspir-ing young performers train, sing, dance and battle for their chanceto be one of a five-member band that could potentially becomethe next big musical hit. The company is also presenting the teenseries S.Y.P.D., in which a police department and ministry ofeducation decide to create the first-ever teenage police station ata high school. “Our catalogue consists of content that travels world-wide,” says Nadav Palti, the president and CEO of Dori MediaGroup. “The idea, the concept, the story line and even the look ofthe cast in our dramas can be suitable all over the world.”

Brazil takes center stage in a number of the current productionsfrom Bandeirantes Communication Group. Across the genres ofreality, fiction and documentary, Band is offering titles that “showthe various realities in the country,” says Elisa Ayub, the company’sdirector of international contents. One of the series being pre-sented is Elite Police Force, which follows four seasoned cops whoare transferred to a suburban police station. There is also Los Her-manos Lost in Brazil, a reality show that watches as three men—anArgentine, Paraguayan and Uruguayan—navigate Brazil over thecourse of one month. Also in the way of factual programming,Brazil: Challenges of a Country You Don’t Know explores the mostremote parts of the nation. Additional offerings from Band includeChef’s Favorite Choice and I Hate My Boss.

Bandeirantes Communication Group

“Over the pastyear we havefelt a growinginterest in ourIsraeli content,

which will continue at thisL.A. Screenings.”

—Nadav PaltiThe Band

Dori Media Group

Channels in search of formats that can easily be adapted fortheir local audiences can look to Global Agency for a host ofnew concepts. For example, there’s Don’t Say It, Bring It!, “afunny and fast-paced urban game show,” according to salesdirector Ivan Sanchez. In the format, contestants must presentthe host with an object that represents the answer to a ques-tion, to which they cannot respond verbally. “Don’t Say It,Bring It! has already sold to several territories, and there hasbeen a lot of strong interest in Latin America,” says Sanchez.The company is also offering the formats Rivals in Law, acooking competition, and the singing-based Talent Hunters.“We already have deals signed for Talent Hunters and Rivals inLaw, and see a great future for them as well,” adds Sanchez.

“I am confidentour latest titleswill be a greatfit for Latin

America and other countriesworldwide.”

—Ivan Sanchez

Global Agency

• Elite Police Force • Los Hermanos Lost in Brazil • I Hate My Boss

• Family Restart • The Band • S.Y.P.D.

• Don’t Say It, Bring It! • Rivals in Law • Talent Hunters

10 World Screen 5/13

I Hate My Boss

Rivals in Law

“Due to the greatworldwideeventsahead,Brazil isattracting

much interest from buyersall over the world.”

—Elisa Ayub

upfronts

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This year marks the first time that Keshet International is par-ticipating in the L.A. Screenings. Leading the company’s slateis Prisoners of War, the drama that inspired the Emmy Award-winning Homeland, which airs on Showtime in the U.S. Thetitle is being sold as both a format and as a finished series. “Thestory of men taken captive during conflict is one that can beadapted to every region, whether the conflict is military, polit-ical, criminal or environmental,” says Keren Shahar, KeshetInternational’s head of distribution and acquisitions. On theunscripted side, the company is highlighting Master Class, amusical talent competition for children, and Sure or Insure, anew family game show that gives contestants the chance totake home $1 million.

The strong international interest in Turkish dramas has ledKanal D to head to the L.A. Screenings for the first time.There, the company is presenting Kuzey Güney, a modern-day drama, and Time Goes By..., a period drama. “Both serieshighlight hopes, passions, love stories, family dramas, commu-nities and relationships,” says Ozlem Ozsumbul, the head ofsales and acquisitions at Kanal D. “Having all these universalelements, we believe that these series will be very appealing toeveryone around the world attending the market.” Kanal D isalso presenting My Partner Knows, which is already a hit inTurkey. The format rights have been sold to Romania andLebanon, “and there are several more deals to be confirmedsoon,” says Ozsumbul.

Kanal D

Keshet International

Launching on Netflix in the U.S. this summer, Orange Is theNew Black is a new drama set in a women’s prison. Lionsgatewill be discussing the title at the L.A. Screenings, alongsideChasing Life, a drama, and Saint George, a character-driven sit-com led by George Lopez. The company is also presentingthe comedy Satisfaction and the docu-soap Tequila Sisters, aswell as established hits such as Mad Men, Anger Managementand Nashville. Peter Iacono, Lionsgate’s managing director forinternational television, says, “The May Screenings has to bethe best time of the year to be in the content business. Thereis an incredible buzz and genuine excitement across the cityas hosts of international buyers descend on L.A. to search forthe next hit for their country.”

Lionsgate

• Kuzey Güney • Time Goes By... • My Partner Knows

• Master Class • Sure or Insure • Prisoners of War

• Orange Is the New Black • Chasing Life • Saint George

5/13 World Screen 11

Time Goes By...

“TimeGoes By...is one thehighest-

rated TV series everproduced in Turkey.”

—Ozlem Ozsumbul

Sure or Insure

“We’re excited to introduceour catalogueof content to

the Latin American marketfor the first time.”

—Keren Shahar

Orange Is the New Black

“We are veryproud of ourunique, high-

quality, highly eclectic mixof programs.”

—Peter Iacono


Attending the L.A. Screenings for the first time, Peace PointRights is putting forth The DNA of GSP, a documentaryzeroing in on the life of UFC fighter Georges St-Pierre, awelterweight world champion. The production is available asa 90-minute theatrical movie and as a mini-series with twohour-long segments. “We expect a big reaction to the DNA ofGSP film and mini-series since mixed martial arts originatedin Latin America and we expect a big buyer presence fromthis region at the Screenings,” says Les Tomlin, the presidentand CEO of Peace Point Entertainment. The company is alsolaunching titles from its movie catalogue, which containsnearly 50 features spanning a variety of genres, as well as newadditions to its library of lifestyle content.

One of Multicom Entertainment Group’s main focuses as oflate has been on increasing its delivery to digital outlets,according to chairman Irv Holender. From its catalogue, theindependent global distribution outfit is promoting mini-series such as Family Pictures, which stars Anjelica Huston, SamNeill and Kyra Sedgwick. The drama, based on Sue Miller’sbook of the same name, revolves around a family dealing withautism. There is also Every Woman’s Dream, a telefilm with acast led by Jeff Fahey, Kim Cattrall and DeLane Matthews.Adapted from a novel penned by Karen Kingsbury, the moviefocuses on a woman’s marriage to a man leading a double life.Multicom is also bringing to market the reality show GoldDiggers, among a number of other titles.

Multicom Entertainment Group

Peace Point Rights

• Gold Diggers • Family Pictures • Every Woman’s Dream

• Film Catalogue • The DNA of GSP • Lifestyle Catalogue

Every Woman’s Dream

“It seemsthat the

market is moving moreand more towards thedigital channels.”

—Irv Holender

The DNA of GSP

“Greatquality

content, whether it’s afilm or lifestyle series,is always in highdemand.”

—Les Tomlin

THE LEADING ONLINE DAILY NEWSSERVICE FOR THE INTERNATIONALMEDIA INDUSTRY.For a free subscription, visitwww.worldscreen.com/pages/newsletter


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NBCUniversal’sDefiance.

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hink about how youwatched movies andTV shows ten yearsago. Now thinkabout how many

different ways you have to enjoy yourfavorite films and series—on TV,computers, tablets and even mobilephones. What unimaginable conven-ience technology has given us! The very same platforms and

devices that enhance our enjoy-ment have caused unforeseen dis-ruption to the business models ofrights holders and distributors. “It’s like the Wild West!” says

Marion Edwards, the president ofinternational television at TwentiethCentury Fox Television Distribu-tion. “Everything we have knownabout windowing content haschanged. We all know how to win-dow film. We were always thought-

ful about how we shortened thetheatrical windows, shortened thehome-entertainment windows, lay-ered in EST [electronic sellthrough] and VOD day-and-daterelease with home entertainment,but television was like this childrunning wild and free in the world!No one ever really thought abouthow to window it or what the pur-

pose of windowing it should be.Now we find ourselves doing someincredibly interesting and compli-cated things and experimenting ina way that was never possible withfilm. And it’s only possible withtele vision because so many of thesenew interesting services are drivenby television.”“SVOD and over-the-top serv-

ices have fundamentally altered theway that shows are distributed,”adds Jim Packer, the president ofworldwide television and digitaldistribution at Lionsgate.But within the chaos, Holly-

wood studios have been able tomine unprecedented opportunitiesin the digital world. There is noquestion that today’s internationaldistribution business bears littleresemblance to the way shows andmovies were sold a decade ago. Not

only has technology added channelsand services and altered viewinghabits, but in response to today’ssavvy viewers, shows have becomefar edgier and more sophisticated.“Who we sell to and how we sell

our content has changed, butequally, the quality of the contentwe are selling has also changed,”says Belinda Menendez, the presi-

dent of NBCUniversal Interna-tional Television Distribution andUniversal Networks International.The production values and budgetsof current television series are on adifferent level from 10 to 15 yearsago, she explains. “Today, televisionis attracting the best writers, actorsand producers creating incredible,high-concept series that are attract-ing global audiences.”

THE AMERICAN WAY“For the most part, ten years ago,American series were not workinginternationally and there were veryfew of them in prime time,” saysJeffrey Schlesinger, the president ofWarner Bros. International Televi-sion. “In most cases, programswould usually go directly to freetelevision, and in most territories,especially the dubbed territories

[where programming is dubbedinto a local language], the showswouldn’t air until about a yearafter they premiered in America.Oftentimes, after their run on freetelevision, there was no place to gofor a second cycle. So shows prettymuch ran and then disappeared,with the exception of a few verysuccessful shows.”

Today, continues Schlesinger,things are very different. “First, U.S.programming is working in majormarkets in prime time and is thriv-ing. Second, broadcasters, especiallyin [English-language] territories,are airing programming very closeto the U.S. airdates. Third, indubbed territories, there are manycases where, in conjunction withthe broadcaster, we are making hitshows available ‘hot from the U.S.’on a transactional basis, meaning aday or a week after an episode airsin America, it’s available inVOD orEST in English with subtitles.”“High-speed broadband opened

the door for new, innovative digi-tal services that not only changedthe landscape, but also put theconsumer in the driver’s seat,”adds NBCUniversal’s Menendez.“Nonlinear viewing overall, which

includes everything from time-shifted viewing to OTT services topirate sites, has put pressure on ourlinear clients’ ability to bring in thesame audiences compared to 10 to15 years ago. In turn, it has putpressure on our business as well.”Studios have had to react to the

rapidly evolving TV scene. Every-one in the content business is


HOLLYWOODThanks to deep libraries and a constant flow of new product, the Hollywoodstudios are meeting the challenges presented by digital platforms.

WHITE H0T By Anna Carugati


keenly aware of what happed to themusic industry, when online filesharing of songs demolished recordlabels’ businesses. Studio executivesare determined not to let the Inter-net and new digital devices destroythe value of their content. “Technology has created all these

additional devices, and with themit’s created a desire for consumers tohave what they want when theywant it,” explains Fox’s Edwards.“They want it for free and theywant it on any device, and that isnot a business model that can sus-tain the cost of production, whichis currently several million dollars anhour for television. Every day we’reworried about the business models,concerned because we are startingto see greater and greater usage ofour content even within the firstwindow. Everyone knows that thelibrary value is really where you

start to churn money to help com-pensate for the loss of all the showsthat fail. When you have such heavyuse in the first window, which cov-ers broadcast and catch-up rights aswell as EST for the people whowant to watch without commercialinterruptions, then people start tosay, what happens next?”

OPEN WINDOWSDigital platforms have certainly revo-lutionized the traditional sequencingof windows. “It used to be that atthe end of the first season of a show,in theory, it would be renewed foranother season and two seasons lateryou could sell it in syndication andhopefully make a lot of money,” con-tinues Edwards. “But now, at the endof that first season, the series will gointo the SVOD window, about con-current with the home-entertainmentwindow. And while we are absolutely

being compensated very well for that,it’s changing the long-term additionallicensing activity that used to make upthe very long tail of distribution.” Studio executives have also noted

a sense of uncertainty in the interna-tional market. Buyers are concernedthat given the continued emergenceof new devices and platforms, theyare not acquiring sufficient rights.“Trust me, trying to close deals intoday’s environment is very difficult,because people are worried,” saysEdwards. “Things are changing soquickly, people are very worriedabout stuff that doesn’t even exist yetand may exist during the term oftheir license.”Despite the disruption and con-

fusion caused by new platforms,studios have found ways to do busi-ness with them, get remunerated fortheir content, and find new audi-ences in the process. But first, they

had to learn how to carve out win-dows for their programming in dif-ferent ways, and be willing to keepadjusting those windows, dependingon a given market’s circumstances.

OPPORTUNITIES ABOUND“New digital services are an excit-ing development to our businessbecause more players mean moreopportunities to sell our content,”says NBCUniversal’s Menendez.“We have the ability to reach dif-ferent audiences with our contentin the way they want to watch.“Digital platforms allow us to

implement creative windowingstrategies that grow our overallbusiness, and we have found newsyndication cycles for our librarycontent,” continues Menendez.“Recent examples of this strategypaying off include Heroes, the U.S.version of The Office, Battlestar


I spy: The FX original The Americans, distributed by Twentieth Century Fox, stars Keri Russell and Matthew Rhys as married undercover Soviet spies in the U.S. near theend of the Cold War.


Galactica and Warehouse 13—allbringing in healthy revenues onSVOD services.”“From our perspective, the issue

isn’t doing business with [digital plat-forms], it’s doing business in a smartstrategic way, which at the end of theday doesn’t hurt the value of theprogramming in the market, but addsvalue,” says Armando Nuñez, thepresident and CEO of the CBSGlobal Distribution Group. In today’s world of international

distribution, the key is to find theproper mix of outlets to maximizethe revenue that can be derivedfrom a show. A sales executive mustknow his or her product intimately,and studio product today is quitevaried. It includes broad-audienceprocedurals, soap-type series onbroadcast networks, edgier serial-ized shows on cable channels, andinnovative, push-the-envelope farethat finds a home on premiumservices like Showtime or HBO.

“Each show has to be positioned alittle bit differently,” explains Lions-gate’s Packer. “If you look at showslike Nashville, Mad Men and Weeds,each one has its own distributionstory in terms of how we approachthe market. With Mad Men, we firstsold to a lot of cable platforms andslowly migrated it to free TV, and itbecame an international phenom-enon. Now, many of the SVODplayers are buying the show afterit’s already been on the air on cableand broadcast, so in many marketswe have three or four differentpartners for the show. The samething happened with Weeds.”

NEW ROUTESAs Packer explains, the Nashvilledistribution path was a little differ-ent. “We pre-sold Nashville,” hesays. “It’s a broadcast network show,but because it’s about countrymusic, some people wondered howit would play internationally. So we

really focused on the soap nature ofthe show, since internationally soapsare very popular. And there is aweek-to-week story line to Nash -ville; there is a sexiness to it. Thesexiness really plays well interna-tionally and it’s been a very goodshow for us from that perspective.“This goes back to where tech-

nology helps,” continues Packer.“In one market we couldn’t get abroadcaster to sign upfront, so weput Nashville on iTunes as ‘hotfrom the U.S.’ and that stimulatedinterest in picking up the showbecause it was doing well oniTunes. That’s where digital givesyou a new model…. You can putan episode up in English the dayafter it airs in the U.S., build a fanbase, and then sell the show to thecable and broadcast world.”Lionsgate was one of the very first

studios to embrace digital platforms.In its deal for Mad Men, Netflix paidnearly $1 million per episode to

stream seven seasons of the multiple-award-winning series.

A MAD WORLD“Looking back, it was a moment intime that was critical because it didtwo things,” says Packer. “First, itshowed that Netflix would step upand is forward-looking enough tospend enough money to buy theback end of a show, and Mad Menwas the first big one that they did.Second, it showed that serializedshows, which had previously beenviewed as not having a lot of back-end value, could actually be incred-ibly valuable from a back-endperspective. A particular genre thatonce had a stigma attached to it sud-denly became the belle of the ball.“That one deal shifted the way

shows were distributed. If you look atAMC or some of the other net-works, they got a little bit more com-fortable with doing high-qualityserialized programming because they


Sign of the times: Following its massive success on AMC, the drama Mad Men was initially rolled out by Lionsgate to niche cable channels internationally,before eventually making its way to free-to-air and SVOD services.


knew they now had a back end. Itcreated a bit of a renaissance and,looking at the television landscapefrom basic cable to what Netflix isdoing with product, there is now a lotof really good television available.”

One of the most lauded series ontelevision now is Homeland. “Home-land is our miracle show and the showthat flies in the face of everything youthink” about serialized shows notworking internationally, says Fox’sEdwards. “It’s such a good show andit has performed incredibly well.”

Fox has also been successful withmany of its edgier basic-cable shows,although Edwards and her teamhave had to help international buy-ers understand that today, cableshows are certainly on par, quality-wise, with broadcast shows.

“It reminds me of when I firstcame to Fox and people said, ‘Wellyou know, FOX isn’t a real network.’You had to go through the struggleof explaining, ‘No, The X-Files is areal show!’ Now some people say,‘Cable shows, well, they’re not reallylike network shows.’ But the realityis that some of the biggest shows ontelevision right now are cable shows.I think people understand that thebudgets are the same and that greattelevision is great television, whoeveryou produce it for.”

NEW AVENUESOnce again, the digital world hasoffered new avenues for studioshows. Just as over-the-top platformscan help introduce shows to a broadaudience, digital terrestrial channelscan take shows that a free-to-airbroadcaster would not considerappropriate for its audience.

“For our clients who have a bignetwork channel and also a numberof smaller channels, including digi-tal terrestrial channels, cable pro-gramming can really create a lot ofnoise,” Edwards notes. “They maynot have been able to use Sons ofAnarchy on their main channel, butcertainly they can find a home forit on one of their digital channels.A show like The Americans reallyhelps people recognize that a greatshow is a great show.”

Schlesinger has found that thecable shows produced and distributedby Warner Bros. are well accepted byinternational buyers. “If you look atDallas, Rizzoli & Isles, The Closer orMajor Crimes, these are shows thatbuyers and the audience do not dis-criminate against because they orig-inated on TNT instead of one of themajor terrestrial networks,” he says.“We have tended to produce main-stream generalist shows for cable asopposed to others who are producingnarrow, targeted shows like Mad Men,Sons of Anarchy or The Walking Dead.Those shows by and large are onlygoing to appeal to certain networksin each country because they arevery targeted. So the generalistshows that might be appearing onTNT or USA Network are lookedat in exactly the same way as a sim-ilar program coming from thebroadcast networks.”

Digital channels are also provid-ing homes to comedies, which tra-ditionally have not sold as wellinternationally as dramas.

“With the addition of channelslike Comedy Central, we have some

broadcasters that are dedicated tocomedy and are specifically lookingto buy deep in the comedy vein,”Schlesinger says. “The great thing iswe are seeing a lot of buyers comingback for second and third cycles ofour comedies. In some cases, we aregetting a higher license fee in the sec-ond cycle than what we got whenwe first sold the show. Of course, weare granting more runs, but onceshows are perceived as successful andbroadcasters can strip them, there ishuge value to a hit sitcom.”

GOING LOCALEdwards, who has been selling TheSimpsons and Modern Family, stillthinks comedy doesn’t travel well—not as finished product anyway. Sell-ing scripts of comedies and allowingbroadcasters to make their own ver-sions is much more effective.

“We produced a Russian versionof How I Met Your Mother. We arelooking at a version in the MiddleEast. We have a version of ModernFamily that will begin shooting inIsrael and Chile. Comedy is the onething that’s really right for local ver-

sioning because the original U.S.show is not going to work that well,whereas if you localize it, it does havethe possibility of really becomingsuccessful,” says Edwards.

In fact, the studios have been sell-ing formats for a broad range ofscripted series. Fox has licensedPrison Break, among several otherformats, into Russia. Warner Bros.recently announced a version ofGossip Girl with Televisa and ofNip/Tuckwith Caracol in Colombia.CBS has licensed the format for Taxiin the Ukraine and Cheers in Spain.

The international distributionbusiness has changed so much in thelast decade, and as it continues toevolve, studios need to find a newbreed of salespeople with a very spe-cial combination of abilities.

“So many different things need tobe done now,” says Fox’s Edwards.“There is the old-fashioned negotia-tion of license fees and terms andnumber of runs. That’s the easiestthing we do now and it happens thequickest. We need people who have areally good background in technol-ogy; content protection is somethingthat every deal requires.”

“I’ve been running distributionoperations for 28 years,” says Lions -gate’s Packer. “Ten years ago, I lookedfor pure sales skills when I hiredsomeone. Fast-forward to today andsales skills are about half of what Ilook for. The other half consists oftechnical skills, knowing how to win-dow product and being comfortablewith change. If you’re not comfort-able with changing windows, chang-ing client dynamics, then you won’tbring value to the team.”

“We have a very stable team ofindustry veterans and that’s whatenables us to do such a great job,” saysSchlesinger. “But we’re also constantlylooking for bright young people andbringing them in to our organization.Basically you have to look for some-body who is passionate about ourbusiness, who has a strategic view,who understands technology, is cul-turally sensitive and, in the end, is ableto tell a clear, persuasive story. Ourproduct is all about story telling; ulti-mately, so is sales.”


Dream team: CBS Studios International has placed the mega-hit CSI, which airson CBS in the U.S., with a number of international broadcasters.


LAT_0513_MARVISTA_Layout 1 4/29/13 1:39 PM Page 1

on the record

WS: You now oversee both domesticand international distribution. Wheredo you see potential for growth?NUÑEZ: I look at the businesses as dif-ferent pods, if you will. I can see greatgrowth opportunities internationally,and I see growth opportunities domes-tically as well. In the U.S., I think we arejust starting to scratch the surface givenhow digital platforms are evolving andhow content is going to be monetizedon those platforms. Cable channels inthe U.S. are always going to need bothour library content and our hugely suc-cessful off-network content. When itcomes to syndication, we are by far thenumber one syndication company in theU.S. with Entertainment Tonight and Dr.Phil and Judge Judy. These are big, bigshows in the U.S. and in many placesaround the world as well.

WS: Some say Elementary and Vegasare new versions of traditional proce-durals, because they have a mythologythat runs behind the crimes solved ineach episode. How have those showssold internationally? NUÑEZ: Hawaii Five-0 is also a pro-cedural and it has a story line andcontinuity that goes through theentire season of production. They arestill very easy shows to program andto schedule. If you go from the firstepisode of Elementary to the fifth, it’snot like a serialized drama where youwould have no idea what’s going on

in the story line if you jumped fromepisode one to five. Elementary has beenvery successful pretty much everywhereit has aired. Certainly it’s been successfulon Sky Living in the U.K., Sat.1 in Ger-many, TEN in Australia, Cuatro in Spainand Global in Canada. And we’ve beenvery successful selling Vegas as well.

WS: Do you take a different salesapproach with Dexter or Californication orThe Borgias than you would take withNCIS or Elementary?NUÑEZ: Yes. The first question you have toask yourself when you look at these prop-erties is, how broad are the shows? Is theinterest limited to the pay-television uni-verse, or is it a show that can be telecast aswell on free TV, or in many cases, both freeTV and pay TV? It’s hard to generalizebecause it really depends on the territoriesand markets you are talking about, butwe’ve been very, very successful with all ofthese properties. Dexter is not necessarilyan 8 p.m. show on a terrestrial broadcaster;it may be more of a pay-TV show. Inother markets, like France, Dexter airs onCanal+ and it airs late night on TF1. Thegood news about how we deal with Show-time content is that this premium paycontent is, first off, in great demand, andsecondly, it’s a limited commodity.There isjust not that much of it in the marketplace.We’ve been very successful with Showtimeseries, but they don’t necessarily fall into thecategory of NCIS and CSI because of thetype of shows that they are.

n October 2012, Armando Nuñez, who hadbeen the president of CBS Studios Internationalsince 2004, was appointed president and CEOof the newly formed CBS Global DistributionGroup and charged with overseeing both inter-

national and domestic distribution of pro-gramming from CBS Television Studios, CBSTelevision Dis-

tribution, Showtime and more.The group in cludes CBS

Studios International, whichsells CBS programming—including hit shows like the CSIand NCIS franchises, Hawaii Five-0, the new series Ele-mentary and Vegas, and the genre-defining shows Dexter,Californication and The Borgias that air on the pay serv-ice Showtime—to more than 200 markets across multiplemedia platforms. CBS Television Distribution is the lead-ing domestic syndicator and producer of first-run and off-

network programming and boasts such titles as JudgeJudy, the number one show in syndication, and Dr. Phil,the number one talk show, as well as EntertainmentTonight and Wheel of Fortune.

Beyond the distribution of finished product, Nuñez’steam also sells formats internationally and has formedjoint ventures to launch CBS-branded channels around

the world. CBS StudiosInternational has alreadypartnered with Chellomediafor channels in Europe, the

Middle East and Africa; with Reliance Broadcast Net-work for channels in India; and with Network Ten toprovide programming to a youth-targeted digital multi-channel service, ELEVEN. CBS also has ownershipinterests in two pay-television channels in Australia: TV1and SF. As Nuñez explains, there are many outletsaround the world for CBS product.

ARMANDO NUÑEZCBS Global Distribution Group

one-on-one


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WS: Even though there is a lot oflocal production going on across thevarious territories, would you say thatAmerican programming is sellingbetter today than it did ten years ago?NUÑEZ: Yes. I don’t view local pro-duction and acquisitions of Americanshows as mutually exclusive. Whenyou look at broadcasters around theworld, there is a combination of localproduction that goes on along withacquisitions. From a broadcaster’sperspective, American content is rel-atively cost-efficient, particularly inthe case of CBS; it’s a limited com-modity with a certain probability ofsuccess built in to it. It all workstogether in the ecosystem.

WS: What opportunities are youfinding with digital platformsinternationally?NUÑEZ: Incredible opportunities.We have been very active with Net-flix and Amazon and Hulu in Japan.Those are the U.S. players everybodytalks to, but we’ve also done dealswith local digital players like BT andVivendi in Germany and Avex Enter-tainment in Japan and mobile SVODplayers. We’re in business with allthese platforms. From our perspec-tive, the issue isn’t doing business withthem, it’s doing business in a smartstrategic way, which at the end of theday doesn’t hurt the value of the pro-gramming in the market, but addsvalue. We’re not taking money fromone pocket to the other; it’s incre-mental revenue to us. It’s a strategicview of windowed licensing.

WS: You’re making programmingavailable to multiple outlets with-out cannibalizing any of them.NUÑEZ: Absolutely. Digital plat-forms are just another outlet now tosell content to. And where SVODfalls into the [entire sequence of win-dows] is a function of pricing. Youwant to look at it in a strategic andholistic way so that you are not justgrabbing a few dollars here and for-saking the value of the programming.Don’t forget, especially on newshows—you need the traditional plat-forms to create these brands for you.

WS: You need to get to the broad-est audience first?NUÑEZ: For the most part. It is thetraditional platforms that promote,market and create the brands thatthen, in success, create all this othervalue for you. There is brand recog-nition for the shows you have soldas a result of that first exhibition.

WS: Your division also sells for-mats and scripts of CBS shows.NUÑEZ: Paul Gilbert runs ourformat and production group. Welicense the formats to our shows.The first ones people think aboutare our various versions of Wheelof Fortune and America’s Next TopModel that we have around theworld. We’ve done 20-plus localversions of Next Top Model and wesell the American version in morethan 100 markets. We just celebratedthe 30th anniversary of Wheel ofFortune. As part of MIPTV’s 50thanniversary, Reed MIDEM did alist of the 50 most iconic showsthat changed the landscape ofglobal television, and Wheel of For-tune was one of those shows.

We have also been more active inthe business of looking at some ofthe shows and scripts from ourlibrary and making local versions ofsome of them, including Taxi inUkraine. We had Cheers a coupleyears ago in Spain. Currently, weare in preproduction on Charmedand The 4400 in Russia.

If you take a step back, we are acontent-monetization machine. It’sall about monetizing the contentand doing it in a coordinated fash-ion. In this case, we want to makesure that we are not doing anythingthat impacts the sales of the U.S.episodes.

WS: Are you also continuing withbranded channels?NUÑEZ: Our joint venture withChello expanded into EasternEurope and western Africa. And wehave another joint venture forthree channels called BIG CBS inIndia, with Reliance BroadcastNetwork. We now have 22 chan-nels in 20 languages across 87 terri-tories—more than 100 millioninternational households.

WS: When buyers are screeningshows, even though they have to keepin mind all the platforms they areacquiring for, at some point doesn’tit all start with an emotional responseto a show or a character?NUÑEZ: At all points! It all startswith good programming—all of it.Leslie Moonves [president andCEO of CBS Corporation] has afamous quote he uses: “A bad showdoesn’t get better on a two-inchscreen.” That reminds us that goodprogramming generates greatbusiness. It doesn’t start with thetechnology; it all starts with theprogramming. Our buyers whocome to the L.A. Screenings aren’tthinking about what the multi-platform exhibition is going to befor whatever the next new showis. They are thinking, How am Igoing to generate the most eyeballsto watch the show and what’s thefinancial model that is going tomake this work? It’s all about theprogramming and that hasn’tchanged. There are just a lot morepipes and places now to put all thisprogramming.

By the book: CBS’s Elementary, a modern take on Sherlock Holmes, has been one of the breakout hits of the2012–2013 season and has been sold widely by CBS Studios International.


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WS: Broadcasters in South-ern Europe have beenseverely impacted by theircountries’ economic woes.How has that affected yourbusiness in those territories? SCHLESINGER: On amacro level, we had, from2011 to 2012, one of ourbiggest growth years in thelast ten years. So to us, thetotal macro marketplace isvery healthy. Having saidthat, yes, in some territorieslike Greece and Portugal,there has been a contractionand we’ve had to help someof our broadcast partners.Some countries in EasternEurope have also been hitparticularly hard by the fiscalcrisis and the downturn inadvertising.

In places like Italy andSpain, because we normallydo multi-year volume deals,the ups and downs on a year-by-year basis don’t affect usas much, because we mightbe in the middle of a multi-year deal. When a deal comesup for renewal, the health ofthe market has an impact.But the one thing that wesee is that in times of fiscalcrisis and pressure on pro-gramming budgets, the firstplace the reductions usually

hit are the expensive local produc-tions. Product that broadcasters buyfrom us is really a very good valuebecause it’s high-quality, profession-ally produced and reasonably pricedcompared to what it costs a broad-caster in Italy, France, Germany orSpain to produce a show locally.Normally a broadcaster will getmultiple runs on a U.S. show and itbecomes a sustaining asset. So evenin the height of the worst part of thefiscal crisis, when our deals came upfor renewal in some of the majorterritories, we had strong biddingand competition and were able toincrease our pricing, even thoughthe overall marketplace was underpressure.

WS: And what about the Britishmarket? SCHLESINGER: In the U.K. mar-ket, advertising is flat or down, butthey still have a strong need for key-stone shows. This year, for example,shows like The Following, Arrow andRevolution, which were licensed toSky, had multiple bidders and theprices for those shows were verycompetitive. The year before that,2 Broke Girls had multiple bids andended up on Channel 4 at a veryhealthy license fee. So, despite thechallenging advertising market, theU.K. is still a very significant marketfor U.S. series. We have not seen areduction in pricing for the shows

arner Bros. International Television isthe world’s leading distributor of pro-

gramming, with some 61,000 hours oftelevision shows and movies available to

sell to broadcasters, cable and satellitechannels and digital platforms of all sorts.

This hefty amount of content comes froma variety of divisions, including Warner

Bros. Pictures, Warner Bros. Television,Warner Horizon Tele-vision, Castle RockEntertainment, Telepic-tures Productions, NewLine Cinema, Warner Bros. Animation, Cartoon NetworkStudios, Shed Media, the Lorimar film and television library,and the Turner library, which contains Turner Pictures andthe classic MGM library, among other titles.

As president of Warner Bros. International Television,Jeffrey Schlesinger oversees all this and more. In 2009,the company set up Warner Bros. International Televi-sion Production, with the aim of acquiring or setting upentities around the world to produce local versions ofshows owned by the studio and as well as original con-tent. Schlesinger spearheaded the acquisition of ShedMedia in the U.K. and BlazHoffski in the Netherlands.He also oversees a bouquet of channels and digital services

around the world,which are groupedunder the heading ofWarner Bros. Inter-

national Branded Services. He talks to World Screenabout the continued appeal of Warner Bros. program-ming regardless of the platform and despite economiccrises.

JEFFREY SCHLESINGERWarner Bros. International Television

on the record


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that broadcasters really want. What-ever shows are perceived to be thehit shows at the L.A. Screeningswill go for more money than everbefore. But what has happened inthe U.K. is the broadcasters havebecome more selective, so there is astratification: you have some showsgoing for very high prices, someshows going at moderate pricesand some at lower prices. Becausemany of the shows that are pro-duced today are original series pro-duced for cable, they target a veryspecific demographic. So thoseshows may only be suited to one ortwo broadcasters. Therefore, youdon’t have the same competitionyou would see from a broad-basedgeneral-audience show. The U.K.is one market where there are novolume deals for series, so everyseries that comes out is a “jumpball” and when the buyers perceivesomething to be a hit, the biddingcan go into the stratosphere.

WS: Tell us about Warner Bros.International Television Produc-tion. Are you looking to acquiremore production companies?

SCHLESINGER: In 2010, weacquired Shed Media and then lastyear we acquired a company inHolland called BlazHoffski. We arecontinuing to look for comple-mentary companies, mostly in themajor territories. What we arealready seeing, in the short timesince we have acquired these com-panies, is a triangulation of IP flowfrom one country to another.Whether it’s a BlazHoffski formatlike Food CIA that Shed is nowproducing for Channel 4, whetherit’s The Bachelor that comes over tothe U.K. that Ricochet is produc-ing for Channel 5, or whether it’sthe Shed show World’s Strictest Par-ents that BlazHoffski is producingin Holland and Belgium, we’re see-ing a nice movement of creativityacross borders amongst three coun-tries. We also have a very strongformat sales group that is taking allthese formats internationally andlicensing them either to broadcast-ers or production companies inmany countries.

We’ve also seen a real growth inthe demand for formats for a num-ber of our scripted products. We

announced recently a version ofGossip Girl with Televisa, and a ver-sion of Nip/Tuck with Caracol inColombia. We did a version ofWithout a Trace in France with TF1.And we’ve done Without a Trace andCold Case in Russia. We’ve seen aresurgence of The Bachelor, which isdoing fantastically well for RTL inGermany in prime time, and it justfinished its run in France on NT1and will most likely be renewed. Sothis group is pretty vibrant and weare seeing a lot of activity.

WS: What about the BrandedServices unit? Technology is offer-ing new platforms and screensevery day. How do you decidewhere to place your product?SCHLESINGER: That’s a goodquestion. With Branded Serviceswe have two linear channels. Wehave the Warner Channel in LatinAmerica, which is doing phenom-enally well, and we have the WarnerChannel in Asia, which has beenon the air since 2010 and is grow-ing. And we still have a number ofbranded services that are SVODzones that we’ve done with many

digital platforms. But what’s reallychanged things is the entrance ofbig multinational SVOD playerslike Netflix and Amazon. Themoney that is being paid for ourproduct on an exclusive basis inSVOD is so compelling that ourstrategy has been changing fromone of creating and schedulingbranded SVOD areas with ourproduct to licensing our product tothese major players for very signif-icant amounts of money. So theBranded Services agenda is really ina state of change because of tech-nology, competition and deeppockets.

WS: So while a linear channel mayfeel that Netflix is a competitor, foryou it’s another outlet for yourproduct.SCHLESINGER: Yes, Netflix isabsolutely a new buyer in thechain of buyers. In some cases theyare going to be at the back end ofthe line, but in other cases they aregoing to be at the front end. InScandinavia, when our first-windowpay deal with C More came upfor renewal, we had very frothy bid-

Cult classic: The Warner Bros. series The Following, renewed by FOX for a second season, is the first television series for Kevin Bacon, who portrays atroubled former FBI agent on the hunt for a serial killer, depicted by James Purefoy, and his cult of murderous followers.



ding between Netflix and C Moreand in the end Netflix won. Soour films in their first pay windowin Scandinavia are going to be onNetflix, not on C More. In thatcase Netflix has become a com-petitive force. Certainly theentrance of Netflix and LOVE-FiLM in the U.K., as a competitiveforce to Sky, has been very goodfor us as sellers of content becauseuntil that point Sky was our onlypay outlet. Now both Netflix andAmazon [LOVEFiLM’s parentcompany] have acquired first-pay-window product. So we see themas a very healthy addition to themarketplace; in some cases theywill be first window and in somecases they will be second window.In some cases they will be the laststop, but the interesting thing isthey are willing to play in all posi-tions in the value chain.

The entrance of the SVODplayers has really shaken up whatwas a very clear chain of win-dowing. Because they are insert-ing themselves at different points,it’s created a lot of confusion butalso a lot of opportunity andvibrancy in the market.

Every five years you tend to seea change in our business, eitherdue to technology or regulation,and each time it allows new play-ers to enter into the marketplace.When new players enter into themarketplace there is increasedcompetition. And when you are acompany that has a strong outputand a large library, you love seeingnew players come in because theyall have to buy their initial inven-tory of product and then competefor a slice of what’s new that theycan market and promote to createpoints of differentiation. We are atone of those inflection pointswhere we are seeing a rush ofwell-financed, multinational newplayers come in who are shakingup the landscape and causing thetraditional rules to be rewritten.Where that all shakes out will bevery interesting. We’ve seen manytimes when the competition cre-

ates a broadening of players, whichis usually followed by consolida-tion—and only the strong survive.It’s a pretty good time to be in thisbusiness with great output. Thereare a lot of places to sell it andthere is a lot of appreciation forhigh-quality American program-ming all over the world. It’s very,very different now than it was 10or 15 years ago.

WS: What kind of input doesWarner Bros. Television want fromyour division?SCHLESINGER: Money! First ofall, I think Peter Roth [the presi-dent of Warner Bros. Television] isthe most talented television exec-utive that I have ever worked with.He is a magnet for talent and deliv-ers us high-quality, globally appeal-ing shows every year. But, let’sremember that first and foremostPeter is making programming forthe needs of the U.S. networks.However, there is a recognition ofthe international market, and whileit’s not that a show will or will notget made because we think it will

or will not be successful interna-tionally, the attractiveness of theshow internationally will have animpact on the amount of moneywe are willing to spend to coverthe deficit. Where we come in ismainly in the financial structuringof the show, which may impact thecasting or how much action can bedone. We are always looking to putas much money on the screen aswe can, so if we feel confident[about the sales potential of ashow], Peter will then have moreability to create a bigger, better,stronger show by enhancing thecasting or action sequences.

WS: Your division also sells ani-mated programming from CartoonNetwork. Many companies arestruggling in the children’s market.What is your view?SCHLESINGER: I would saychildren’s animation is a chal-lenged marketplace because manyof the traditional terrestrial broad-casters who would run animationon their channels have now shiftedit over to their digital channels. In

a number of terr itories we seeanimation not air ing on mainchannels very much, so that pres-ents a challenge in terms of get-ting broad exposure, which isnecessary to drive your consumer-products business. We make veryhigh-quality animation andwhile we still do get it on the air,it does not air as much on tradi-tional terrestrial television. How-ever, between Cartoon Network,the terrestrials who still run it ona limited basis and their digitalchannels, we see a fair amount ofexposure. There’s also been com-pression of license fees becausethere are many [distr ibutors]who will give away programmingjust to have it exposed. We are ina unique position in that we pro-duce high-quality animationbased on proven franchises suchas Looney Tunes, Batman and Scooby-Doo. But admittedly, it’s a chal-lenge to get that balance betweenrecouping the production costsand getting the exposure youneed to drive your consumerproducts.


Horsing around: One of the bright spots on the NBC schedule in the 2012–2013 season, Revolution, which isexecutive produced by J.J. Abrams, has been licensed by Warner Bros. to Sky, among a host of other broadcasters.


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

1 NCIS CBS CBS Studios Intl. 13.4/21 1.2 1.5 3.6 4.5 5.0 6.5 14.3 16.82 The Big Bang Theory CBS Warner Bros. Intl. TV Dist. 11.4/18 2.0 3.0 5.7 6.8 7.5 8.4 9.3 9.63 NCIS: Los Angeles CBS CBS Studios Intl. 11.1/17 0.9 1.3 3.1 3.8 4.3 5.3 11.9 13.44 Person of Interest CBS Warner Bros. Intl. TV Dist. 9.9/15 0.9 1.4 3.2 3.7 4.7 5.1 11.0 11.05 Dancing with the Stars ABC BBC Worldwide 9.8/15 1.2 1.1 1.5 3.6 2.1 5.1 6.4 15.06 American Idol Wednesday FOX FremantleMedia Intl. 9.3/15 2.7 3.2 3.6 6.2 4.6 7.4 6.1 8.96 Dancing with the Stars: Results ABC BBC Worldwide 9.3/14 1.2 1.1 1.5 3.4 2.0 4.8 6.1 13.98 American Idol Thursday FOX FremantleMedia Intl. 9.0/14 2.7 3.3 3.3 5.9 4.3 7.0 6.0 8.79 Two and a Half Men CBS Warner Bros. Intl. TV Dist. 8.7/14 1.2 1.8 3.9 4.5 5.4 5.7 7.9 7.710 The Voice Monday NBC Talpa Media 8.4/12 2.4 3.2 3.6 6.6 4.4 7.6 4.6 7.111 Blue Bloods CBS CBS Studios Intl. 8.3/15 0.6 0.7 1.4 2.3 2.3 3.4 8.8 11.712 60 Minutes CBS CBS Studios Intl. 8.1/13 0.7 0.8 2.5 2.1 3.6 3.0 9.3 9.412 Elementary CBS CBS Studios Intl. 8.1/14 0.6 1.1 2.7 3.3 3.7 4.4 8.0 9.112 The Voice Tuesday NBC Talpa Media 8.1/13 2.2 2.5 3.3 6.0 4.0 7.0 4.4 7.115 Criminal Minds CBS Disney Media Distribution 8.0/12 0.8 1.3 2.4 4.5 3.2 5.5 6.3 8.816 Vegas CBS CBS Studios Intl. 7.9/13 0.4 0.6 2.0 2.1 3.0 3.0 9.5 9.517 Castle ABC Disney Media Distribution 7.8/13 0.5 1.1 1.9 3.3 2.5 4.5 5.7 10.417 Grey’s Anatomy ABC Disney Media Distribution 7.8/12 0.9 1.2 2.0 6.4 2.5 7.5 2.8 7.619 Modern Family ABC Twentieth Century Fox 7.7/12 1.5 2.8 4.3 5.9 5.2 6.7 4.0 5.920 CSI CBS CBS Studios Intl. 7.6/13 0.6 1.0 2.1 3.5 2.9 4.4 6.4 8.820 The Mentalist CBS Warner Bros. Intl. TV Dist. 7.6/13 0.5 0.7 2.0 2.7 2.7 3.7 6.9 9.722 CSI: NY CBS CBS Studios Intl. 7.3/12 0.7 0.7 1.3 2.4 2.0 3.3 6.8 10.022 Survivor: Philippines CBS CBS Studios Intl. 7.3/11 1.2 1.5 3.0 3.9 4.2 5.2 6.1 7.122 The Good Wife CBS CBS Studios Intl. 7.3/11 0.4 0.5 1.4 2.6 2.0 3.7 6.3 9.725 The Following FOX Warner Bros. Intl. TV Dist. 7.0/10 0.7 1.4 3.7 4.4 4.6 5.2 5.2 6.226 2 Broke Girls CBS Warner Bros. Intl. TV Dist. 6.9/10 1.0 1.6 3.2 4.6 4.4 5.6 5.3 5.426 Hawaii Five-0 CBS CBS Studios Intl. 6.9/11 0.6 1.1 2.2 3.0 3.2 4.0 6.3 7.628 Body of Proof ABC Disney Media Distribution 6.7/11 0.4 0.6 1.2 2.5 1.7 3.6 4.9 9.428 Mike & Molly CBS Warner Bros. Intl. TV Dist. 6.7/10 0.8 1.2 2.6 4.1 3.8 5.3 5.4 6.328 Revolution NBC Warner Bros. Intl. TV Dist. 6.7/11 1.2 2.2 4.1 4.6 4.9 5.4 4.5 4.831 Golden Boy CBS Warner Bros. Intl. TV Dist. 6.6/11 0.3 0.8 1.6 2.0 2.4 2.9 7.2 7.832 The Amazing Race 21 CBS Disney Media Distribution 6.5/10 1.1 1.4 2.6 3.5 3.5 4.7 5.0 7.033 Survivor: Caramoan CBS CBS Studios Intl. 6.4/10 1.1 1.5 2.6 3.4 3.7 4.5 5.4 6.534 The Bachelor ABC Warner Bros. Intl. TV Dist. 6.3/9 0.8 1.5 1.6 4.9 1.9 5.3 2.5 6.635 Once Upon a Time ABC Disney Media Distribution 6.2/9 1.7 2.5 2.4 4.9 3.0 5.3 3.6 5.436 Revenge ABC Disney Media Distribution 6.1/9 0.6 0.9 1.9 4.3 2.2 5.1 3.4 6.337 The Amazing Race 22 CBS Disney Media Distribution 6.0/9 1.1 1.2 2.3 3.1 3.2 4.2 5.1 6.638 How I Met Your Mother CBS Twentieth Century Fox 5.9/9 1.0 1.5 3.5 4.0 4.1 4.5 3.8 3.839 Bones FOX Twentieth Century Fox 5.8/9 0.9 1.1 2.1 3.3 2.7 3.9 4.4 6.139 Scandal ABC Disney Media Distribution 5.8/10 0.5 0.6 1.4 4.1 1.8 4.9 2.6 6.139 The X Factor Wednesday FOX FremantleMedia Intl. 5.8/9 1.7 2.6 2.6 4.4 3.1 4.8 3.1 4.642 60 Minutes Presents CBS CBS Studios Intl. 5.7/10 0.4 0.6 1.5 1.2 2.3 1.9 7.3 6.642 The X Factor Thursday FOX FremantleMedia Intl. 5.7/9 1.9 2.8 2.4 4.1 3.0 4.5 3.2 4.744 Made in Jersey CBS Sony Pictures Television 5.4/9 0.4 0.3 0.8 1.4 1.1 2.0 5.1 7.744 Undercover Boss CBS ALL3MEDIA Intl. 5.4/9 0.7 0.6 1.5 2.0 2.1 2.9 4.8 6.746 Chicago Fire NBC NBCUniversal Intl. TV Dist. 5.3/9 0.6 0.8 1.7 3.0 2.2 3.7 3.6 5.746 The Middle ABC Warner Bros. Intl. TV Dist. 5.3/9 1.4 2.1 2.0 3.0 2.6 3.8 3.3 5.348 Last Resort ABC Sony Pictures Television 5.1/8 0.6 0.8 2.1 2.0 2.8 2.6 5.0 5.348 Private Practice ABC Disney Media Distribution 5.1/8 0.4 0.6 1.0 3.8 1.3 4.7 1.7 5.448 Rules of Engagement CBS CBS Studios Intl. 5.1/8 0.7 1.0 2.6 2.9 3.8 3.7 4.5 3.9

For a complete list of the top U.S. network shows, visit www.worldscreen.com.

Source: The Nielsen Company, September 24, 2012, to April 14, 2013A rating point represents one percent of the estimated 1,142,000 TV households; shares are the percentage of sets tuned to a particular program or station.

Courtesy of ABC.

networkscorecard


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IN THE STARS

Jon HammGlobal distinction: Mad Men’s main man.Sign: Pisces (b. March 10, 1971)Significant date: March 19, 2013Noteworthy activity:An AMC insider reportedly tellsthe New York Daily News that the well-endowedactor has been instructed to wear underwear whilefilming certain scenes on Mad Men, due to the tight-fitting clothing.Allegedly, Hamm’s “impressive anatomy”has also required the network to Photoshop certainpromotional shots throughout the series’ run.Horoscope: “You have the chance to shine, largelybecause you are projecting yourself with self-respectand modesty at once. You are especially appealing andcharming during this transit just by being yourself.”(cafeastrology.com)

Hugh JackmanGlobal distinction: Australian heartthrob.Sign: Libra (b. October 12, 1968)Significant date:April 13, 2013Noteworthy activity: The Les Misérables actor isaccosted at a New York City gym by a woman declaringher love for him. According to reports, she also throwsa used razor at Jackman, one that is allegedly filled withpubic hairs. The accused female is arrested shortly after-wards and charged with stalking. Horoscope: “Turn on those coquettish charms, but takecare not to get entangled into the slippery slope of obses-sion. Be aware that this transit could bring you the loveof your life or a tricky entanglement with hints of FatalAttraction sewn in.” (astrostyle.com)

Gordon RamsayGlobal distinction: Hot-tempered chef.Sign: Scorpio (b. November 8, 1966)Significant date:April 8, 2013Noteworthy activity: No stranger to litigation, the 46-year-old millionaire is being sued by a New York Cityaccounting firm for old invoices that add up to $75,000.According to the lawsuit, the Hell’s Kitchen host and hisbusinesses have “breached their contractual obligationsby failing to make payment.”Horoscope: “Try to repay your debts or due if any, beforethey lead you to unfavorable situations.” (astroved.com)

Reese Witherspoon

Eva LongoriaGlobal distinction: Small-framed actress.Sign: Pisces (b. March 15, 1975)Significant date:April 6, 2013Noteworthy activity:While lounging on a beach inPuerto Rico, the former Desperate Housewives star suffersone of the much dreaded “nip slips” that plague manya celebrity. This particular type of wardrobe malfunctionis not a first for the petite beauty, whose nipple alsomade an appearance on the red carpet at a GoldenGlobes after-party.Horoscope: “If you will be photographed or filmed, orotherwise profiled, make allowances for delays, changes ormistakes....” (jessicaadams.com)

Reese WitherspoonGlobal distinction: Hollywood darling.Sign:Aries (b. March 22, 1976)Significant date:April 19, 2013Noteworthy activity: After her husband gets pulledover for drunk driving, the leading lady, who is ratherintoxicated herself, gets arrested for disorderly conduct.She even plays the “Do you know my name?” celebritycard. The Legally Blonde star later issues a statementapologizing for her embarrassing behavior, admitting, “Iclearly had one drink too many.”Horoscope: “It is possible that you may face humiliation.You should try to avoid such a situation in which you mayfeel embarrassed or you may face defeat. For this, it is essen-tial that you should not make an issue of anything that con-cerns your status and prestige.” (dailyzodiac.c53.org)

Selena GomezGlobal distinction: Spring Breakers star.Sign: Cancer (b. July 22, 1992)Significant date:April 14, 2013Noteworthy activity: Gomez stirs up controversy bywearing a bindi to complement her Bollywood-stylegetup during a performance at the MTV MovieAwards. Afterwards, a Hindu statesman requests that thestar apologizes for sporting the traditional religioussymbol as a fashion accessory.Horoscope:“You may need to deal with disapproval....No matter what you do, someone will disapprove ofsomething!” (glo.msn.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 go to North Korea with Dennis

Rodman?

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 avoided

a few surprises.

Hugh Jackman Eva LongoriaJon Hamm


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World Screen L.A. Screenings 2013

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