Realscreen Jan/Feb 23

Be sure to check out the nominees and special award recipients for the 2023 Realscreen Awards.

JANUARY + FEBRUARY 2023

FIRST LOOK

The outlook for family-friendly factual; Realscreen’s editorial team makes its picks for 2022

TRAILBLAZERS

Realscreen salutes innovative execs making an impact in unscripted and beyond

FACTUAL UNDER 40

Celebrating rising stars and bright lights in the biz

THE FINAL CUT

Our annual, somewhat irreverent look at the year that was

ON THE COVER

This issue marks the arrival of the inaugural Factual Under 40 report, honoring unscripted and non-fiction execs who are aged 40 or under. Logo design and execution by Mark Lacoursiere.

Of paths and passions

hile some spend a good portion of their lives searching for a vocation that will provide a sense of purpose (and, hopefully, a half-decent paycheck), I suppose I can count myself lucky that my ambitions in that area were set at a fairly early age.

When I was in my tween phase, perhaps about 10 or 11, I was enamored with — okay, obsessed with — two things: music and magazines. The really sweet spot was where the two converged, and the high point of every Saturday was a trip to our local corner store, which was blessed with a heaving magazine rack frequently stacked with the rock music mags of the time — Hit Parader, Circus, Creem and Rock Scene were among my faves.

Now, anyone in my age group who is familiar with those publications and some of their, um, racier features can certainly question the wisdom of my parents in allowing me to continually spend my allowance on them. The truth is that a lot of the spicier content probably sailed over my curly head, and my parents were probably glad that my tastes at the time gravitated more towards Kiss (they did have a ballad on the radio, after all) than, say, the Sex Pistols (although my appreciation for punk came soon enough).

My love for those magazines prompted me to create my own: mutilating back issues with scissors and taping select pics into scribblers, creating fonts with my multi-colored pens, crafting imagined interviews with the stars of the time, and proudly displaying the results to my friends (sadly, not one of them subscribed). As time progressed, my absorption of the printed word, supplemented with my dad’s volumes of Time and Newsweek, morphed into a love of writing and journalism in various forms, which ultimately led me to J-school and, several years later along a long and winding road, to these pages.

In this first issue of the new year, we’re introducing a report that celebrates the work — and passion — of 30 individuals who, while hailing from different backgrounds and different areas of the unscripted and non-fiction screen content industry, share a couple of common bonds. Given that the title of the feature is “Factual Under 40,” that covers one of them: they are all, as of this writing, aged 40 or under.

But the other thread that connects these 30 people is a passion for this business — be it producing or developing content for it, connecting creators within it, or working towards creating a more diverse industry itself. It’s a passion that has served to set a path before each of them, one that has already taken them far and will surely continue to present incredible opportunities to them in the years to come.

Here’s to finding your path, and having the courage to follow where it leads.

January + February 2023 Volume 26, Issue 2

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Grace and gratitude in uncertain times

Aswe enter a new year, it’s a good time to reflect on the one that has just passed.

Before the holidays of 2021, we made the painful decision to postpone the Realscreen Summit scheduled for Austin in January 2022, in reaction to the surge in COVID-19 cases globally. While many were disappointed, including yours truly, it was absolutely the right and responsible call.

As we emerged from the Omicron haze in the late spring of ‘22, there was a palpable and collective sigh of relief and, dare I say it, jubilation within the unscripted and non-fiction community as we were finally able to congregate, shake hands, hug, do business, and revel in the in-person experience with a postponed but still memorable Summit in Dana Point, California. It was rejuvenating and gratifying to be able to host an event that allowed us to once again promote business dealings and provide opportunities to meet and network — things that we’d once taken for granted, and now had a renewed appreciation of.

Around the same time, however, a dark cloud started to form over the entertainment and media industry, and we began to witness mass layoffs and belt-tightening as large-scale mergers were completed and media stocks began to plummet. We all know someone who, through no fault of their own, has found themselves out of work. It’s been tough to watch good friends go through this unsettling time, but one thing that I’ve noticed is how peers, colleagues and partners have come together to support each other in this “great upheaval.”

In a recent Realscreen column, unscripted veteran and head of Night Studios Alex Piper commented: “Our industry is not zero sum. In fact, the sum is not as great as the parts. Kindness will always be the best content we can create.” Powerful stuff, and I share the sentiment.

As I write this, we’re a month out from the 25th anniversary of the Realscreen Summit in Austin, and in the past several weeks I have seen our partners and community band together to make things work in circumstances that haven’t been the easiest to maneuver. Kindness and collaboration always win out, and I’m grateful for the creative ways we’ve come together to offer an unforgettable experience.

Wishing all of our readers and partners a peaceful, prosperous and productive 2023.

‘Til next time, go well.

Claire Macdonald SVP & publisher Realscreen

KID-FRIENDLY FACTUAL

While some factual genres seem tailor-made for coviewing, in recent years there has been a wide range of non-fiction hits geared towards the young set. Here, we explore the challenges and opportunities in kids factual content today. Wildlife ER, from WildBear Entertainment, is launching on Love Nature in January.

Necessity is the mother of invention, as the saying goes, and as COVID-19 kept the world indoors for the better part of three years the dramatically increased demand for home viewing spurred both streaming and linear platforms to deliver content to fill that need. As a result, what came to be known as “pandemic programming” stretched across genres, and demographics.

One of the many genres that benefited from this surge in viewer demand has been factual programming for kids. As the pandemic led to a rise in children’s daily screen time (as noted by the New York Times and CNN, among others), and as many parents and caregivers naturally preferred that the programming being viewed by kids should be relatively enriching, both linear and streaming outlets responded with a plethora of content that was both educational and entertaining.

In the U.S., public broadcaster PBS saw traffic to PBS Kids rise significantly as lockdowns began. According to Forbes, PBS Kids’ broadcast reach grew by 15% among kids in the 2-8 age group, while streaming numbers grew by nearly 30%.

PSBs in the UK saw a similar explosion in engagement for kids content. “During lockdown everyone had more time to spare, so we had figures that were unprecedented,” notes Patricia Hidalgo, director of the BBC’s children’s and educational programming. “There was a 99% increase for iPlayer requests and 217% uplift for BBC Bitesize, so the weekly users of our video entertainment, online education and gaming content was far higher than the year before.”

“COVID-19 and the restrictions around going out were a huge

Shinner

impetus for increased family viewing,” says Richard Bradley, co-founder and CCO of Lion TV. “The BBC had a large chunk of children’s programming with an educational or factual element on every day.”

One such title was Lion’s BAFTA-winning Horrible Histories , which ran for multiple seasons on the BBC’s kids channel, CBBC. Based on a kids book series from author Terry Deary, the show employed live-action sketch comedy and musical numbers to recreate key moments in history, taking as many elements from Monty Python as traditional kids programming. Lion’s expertise in specialist factual content might have given the series an educational edge, but its entertainment

quotient was perhaps the key to its longevity.

“Factual content is an invaluable educational tool, as well as being entertaining, and can be a very important part of helping kids understand a world that can feel scary and overwhelming,” says Jo Shinner, executive producer at the BBC’s Natural History Unit (NHU). Besides the landmark series that the NHU is known for, which are textbook examples of content made for coviewing, the division has also produced or coproduced shows specifically for CBBC, including such series as 2021’s Planet Defenders and the “mockumentary” kids series The Zoo with DHX Media.

“Our Natural History Unit content is always a classic Reithian combination of

Factual content is an invaluable educational tool... and can be a very important part of helping kids understand a world that can feel scary and overwhelming.”

Orangutan Jungle School from NHNZ has aired for two seasons thus far.

‘educate, inform and entertain,’” says Shinner. “I feel like kids content generally has become massively skewed towards animation and drama in recent times, but it is really important for all territories to try and maintain factual content on screen for our younger viewers so they have a range of output to enjoy, as we all do.”

“Factual for kids, particularly beyond preschool, faces real challenges,” states Bradley. “There is less of it being commissioned, in part because of the dominance of other genres in young people’s lives: animation, YouTube UGC content, games. As producers of kids factual, we have to be creative and smart and find ways to make our content irresistible.”

In the case of such programs as Horrible Histories and Operation Ouch! — a Maverick Television–produced series for CBBC that took kids behind the curtain in British emergency rooms — humor is the secret sauce for keeping young viewers engaged. “Comedy factual is gold dust with this age group, [because] they want to laugh and to share funny content with their peers,” says Bradley. “Also,

comedy lasts, and the audience returns to it again and again.”

Another method of drawing kids’ eyeballs to factual content is by leaning on the kind of heightened production values that also typify premium non-fiction programming made for adults.

“We have really focused on very highquality visuals, strong storytelling and warm, uplifting and affirmative shows,” says Alison Barrat, SVP of production and development at Love Nature.

During the pandemic, the Blue Ant–owned streaming platform offered such kidfriendly programs as Wild Dogs: Pack vs. Pride from Icon Films and My Best Friend’s an Animal from Big Wave Productions, which bring something of a blue-chip sensibility to children’s content.

“We want viewers to be transported into the natural world, where they can come to love nature and can feel good about what the wider world can offer them,” continues Barrat. “I think that is a very powerful and inviting place to be and to spend time as a viewer, regardless of which generation you fall in.”

Creating content with precisely that kind of crossgenerational appeal is another crucial pillar of kids’ factual. “Parents and teachers are valuable allies in terms of sharing what we do, [and] co-viewing is always going to be an important part of family entertainment,” says the BBC’s Hidalgo. “Our factual programming might be targeted to children,

but is often very clever and sophisticated in its scripting, so it is not a surprise parents also enjoy watching along.”

At the same time, however, the makers and broadcasters of kids factual programming must create content that can function in the absence of parents and caregivers, while still earning — and keeping — their trust in it as a viable source of additional education for their children.

“The best factual content is also a ‘guilt-free babysitter,’” says Shinner. “Now more than ever, kids of all ages have access to tablets and remotes. So it is even more important to be producing content parents or carers would feel comfortable [having them watch] unsupervised.”

“We’re very mindful of creating content that children will genuinely want to engage with, [and] Horrible Histories and Operation Ouch! are great examples of parentapproved and child-loved content,” adds Hidalgo.

“[But] the key is to make good factual entertainment programs, full stop.”

We have focused on very high-quality visuals, strong storytelling and warm, uplifting shows.”

Factual for kids, particularly beyond preschool, faces real challenges.”

Barrat

Bradley

Operation Ouch took kids behind the curtain in UK emergency rooms.

With more options for watching non-fiction and unscripted screen content than perhaps ever before, it can be a daunting task to keep up with all of the great work that’s out there. Somehow, we at Realscreen manage. Here, our editorial team selects a few of its favorites from the past year.

WHATWELOVED

Premiering at the Sundance Film Festival in January, Fire of Love has already enjoyed a long run throughout the year of acclaim and awards, and deservedly so. Sara Dosa’s documentary on volcanologists Maurice and Katia Krafft is a tender story, told with spectacular archival footage.

The story of the two French volcanologists covers their dedication to researching, recording and understanding volcanoes, while capturing footage of volcanic events. The Kraffts’ passion led to their deaths in 1991, when they were caught in a flow of hot gas and volcanic matter while filming eruptions at Mount Unzen, in an incident that killed 43 people.

The tireless work with archival material by Dosa and her team paid off with a thrilling feature that’s breathtaking when seen on a big screen, like no other documentary released this year. It’s coupled with the care Dosa takes in depicting the Kraffts’ love for one another, and for nature.

No other documentary this year drew from such grand, dazzling footage while simultaneously telling a story so beautifully human. Andrew Jeffrey

One of the docs that has stayed with me this year is director Shane Belcourt’s Beautiful Scars , about Canadian singer-songwriter Tom Wilson. It’s an adaptation of Wilson’s memoir, which explores his own secret family history that touches on Canada’s shameful treatment of Indigenous people. It’s powerful and moving while also managing to be hopeful and uplifting.

A docuseries that really grabbed me was Edge of the Unknown with Jimmy Chin (pictured). Chin, one half of the team behind the award-winning docs Free Solo and The Rescue (with his wife and filmmaking partner Elizabeth Chai Vasarhelyi), made this series that focuses on athletes bouncing back from injury, near-death experiences and other traumatic setbacks extremely compelling.

Finally, I recently watched Is That Black Enough For You?!?, the directorial debut from film critic Elvis Mitchell. While it was marketed as a doc about so-called “Blaxploitation” films, it’s really about the entirety of Black cinema. As movies about movies go, it’s as good as it gets. Justin Anderson

Riotsville, USA from Sierra Pettengill is a searingly critical archival doc about a 1960s U.S. government training program to combat urban unrest — which included the construction of Hollywood-style false-front towns where soldiers, police and National Guardsmen could practice crowd control as their colleagues play-acted as “agitators.” It’s a fascinating and chilling portrait of state power literally creating the reality it wants to believe in, rather than that it is actually confronted with.

But even as the climactic sequence of the police assault on protestors at the 1968 Republican convention in Miami shows how those fantasies have all-too-real-world consequences, Pettengill’s canny editing and footage selection shows up the manifold cracks in the media-made ideological superstructure that props up power’s justification for its deployment of brute force. And, in the archive from alternative sources that she features — including silent footage of community protest meetings in Miami shot by the participants, and intriguing snippets from a short-lived pubcasted newsmagazine — we see tentative yet tantalizing constructions of different realities, and different ways of representing them. Andrew Tracy

POINTED ARROW

A PRODUCER’S PERSPECTIVE

By John Smithson

Why, virtually every week, does yet another creative take the plunge and set up their own production company?

Despite being in the most torrid of times, launching a shingle is a gamble driven by an overwhelming desire to take control of your creative destiny, and, hopefully, leveraging this for your financial wellbeing. I have the greatest respect for these multi-talented producers and directors, with their irrepressible desire to take the considerable risks involved. But now?

We’re in a perfect storm of economic downturn, postlockdown torpor and seismic changes in the content creation business. Combine this with a turbulent working environment, and it feels like the odds are totally stacked against a fledgling indie. Lots of bad stuff is happening, and commissioning feels like it is on a slow burn. Big shows you’ve been developing for ages, which mere weeks ago looked like a sure bet, get dropped. Even worse, some shows are being cancelled mid-production.

The whole legal and financial obstacle course, inhabited by indies and commissioners, used to be a necessary process — something you had to go through. Now, it can feel like trench warfare. In this risk-averse, legally convoluted, rules-based culture, you have to be totally on top of it. This is when you need your lawyers, production management and finance team lined up beside you.

Still, even in the face of all of this, I love the chutzpah of those choosing to enter this domain and suddenly dealing with some of the biggest companies and greatest brands in the world. The stats tell the story. In the UK alone, in the depths of COVID, membership of UK trade association Pact doubled to 1,000 companies as lots of new indies joined, taking advantage of a fee waiver during lockdown. There’s also

encouraging evidence of an increasing cohort of nonscripted indies in the $25m+ turnover band, a vital sign of a sector in rude health.

More than ever, in this ultra-complex market we inhabit, I think that there is an elegant, life-enhancing purity about the option to make the shows you want to make, with the people you want to work with. You are living on your wits, and the adrenaline is intoxicating.

Recently, over a period of just a couple of days, three of the UK’s most talented new-generation indies were bought in eye-catching deals. What a shot of confidence to those in the next wave as they weigh the risk/reward ratio. Hats off to 72 Films, Voltage TV and Wildstar Films for their talent and market savviness. Across Europe and North America it’s the same story, with smart indies being snapped up.

I used to think, when M&A activity was at its peak, that all the good companies had been bought up by the big guys, and that was it. How wrong was that? Never underestimate the drive of new talent to emulate their peers, and their ability to seek out opportunities in this complex and dynamic ecosystem.

My knee-jerk answer to those who procrastinate on whether they should take the plunge is to urge caution and douse their ambition with buckets of cold water. But on reflection, if you really want to do it, deep down I know the right answer. You must. No ifs, ands or buts.

John Smithson is the creative director of Arrow Pictures, a feature and high-end factual label created out of Arrow, the UK-headquartered indie which he cofounded in 2011.

I love the chutzpah of those choosing to enter this domain and suddenly dealing with some of the biggest companies in the world.”

So said iconic artist Andy Warhol, and we’re inclined to agree. Our annual Trailblazers report celebrates the risktakers, the innovators, the change-makers — those who are impacting the non-fiction and unscripted screen content business through a mix of creativity, strategy and action.

By Barry Walsh

They always say time changes things, but you actually have to change them yourself.

CASEY KRILEY & JO SHARON / MAGICAL ELVES

ollowing the departures of company founders Dan Cutforth and Jane Lipsitz in 2019, two veteran members of the Magical Elves team have since moved into the C-suite and are making efforts to transform not only the Los Angeles–based prodco, but also the industry at large.

As the producers behind the long-running Top Chef franchise on Bravo (currently shooting its 20th season) and the critically acclaimed audience favorite Nailed It! on Netflix (now seven seasons deep), Magical Elves is placing the onus on aspirational unscripted content, eschewing the trainwreck-type reality that the genre still frequently dabbles in. And that’s by design, according to co-CEOs Casey Kriley and Jo Sharon.

Taking the reins in 2019, Kriley, who has been with the company since its inception, and Sharon, who joined in 2010, aim to produce a diverse slate from a genre perspective (Magical Elves also produces Oxygen’s highest-rated series, Cold Justice, as well as Nat Geo’s Brain Games) while also bringing that attention to diversity to its internal operations.

At present, 76% of Magical Elves’ permanent staff consists of women, LGBTQIA+ persons, and/or BIPOC individuals. Additionally, the company interviews at least 50% of applicants from underrepresented groups for every job, and aims for at least 50% diverse representation across all departments. Magical Elves has also partnered with BIPOC organization Hue You Know to assist with those staffing goals, and has signed onto Staff Me Up’s diversity & inclusion initiative.

Since its inception, Magical Elves has largely stayed away from the more salacious side of unscripted, and your current portfolio features content that is great for co-viewing across a variety of genres. Are there areas/ genres in which you’d like the company to grow further? We frequently talk about pushing ourselves out of our comfort zones and exploring new challenges; we believe that keeps things fresh and exciting not just for us, but for everyone that works at Magical Elves. Whether that means something different from our usual unscripted space, from a scripted or animated project to game shows, or perhaps a social experiment or even dating… we’re up for all of it!

Creating a diverse environment within the company as well as for your on-screen content has been a key priority for you over the past couple of years. How has the progress been, and have you encountered any challenges in doing this? What can the industry do better in this regard?

This has been and remains a big priority for us, and we’re always pushing to do better when it comes to diversity and inclusivity at Magical Elves. What we’ve learned is that it’s critical to make sure you are setting people up for success by giving them the resources and support they need to succeed — whether it’s somebody who is brand new to the industry or someone in a newly elevated role. This is a long-term commitment for us, and we’re determined to invest in all people equally as well as provide growth opportunities.

All signs point to a challenging year ahead for the entertainment business. As the heads of a wellestablished prodco, what advice would you give to smaller companies who will be facing this environment in the year ahead?

One thing we learned in the early days of producing during the pandemic was to look at the challenges we were facing not as a hindrance to making a great show, but as an opportunity to make creative changes and think outside the box — and we found great success with that mindset. We are approaching today’s challenges the same way — not necessarily looking at them as limitations, but as creative challenges.

BREE FRANK / HUE YOU KNOW

after the killing of George Floyd in 2020, there was a much-needed global reckoning concerning diversity, equity and inclusion, and the TV industry was quite vocal in the steps it was intending to take. But change can be difficult, and time-consuming. While a crucial hurdle had been cleared in the name of creating a more diverse and inclusive entertainment business — specifically, the recognition of the need for change — implementing it remains an ongoing process.

Enter veteran producer Bree Frank. Her unscripted television career has seen her rack up credits on some 300 hours of content — ranging from such series as Wife Swap for ABC to Room Raiders for MTV and A Makeover Story for TLC — and has included stints at Zodiak Media in New York and, upon her move to the U.S. West Coast, Matador Content in Los Angeles, culminating in her current post as SVP of physical production for Hello Sunshine.

But it was a sleepless night in 2017 that set into motion a chain of events which would serve to not only add “non-profit company founder” to Frank’s resume, but would also help create scores of professional connections that ultimately bring the vision of a truly diverse television industry that much closer to reality.

Beginning as a Facebook group in that year, Hue You Know was created by Frank as a production resource group for media professionals of color. It is now an international platform, more than 16,000 members strong, that continues to serve as a safe space for professionals of all levels to post employment opportunities and seek mentorship and community.

You started Hue You Know back in 2017. What was the impetus for its creation, and how do you explain its growth to where it is now?

The idea for Hue actually came to me from a night of insomnia. I couldn’t sleep, and looked at my phone to see how many hours were left until my alarm would go off. When I looked at the time, I noticed it was February 1st. I asked myself, “What are you doing to contribute to Black history?” I was a working mom to two small children, and there were lots of protests happening around police brutality and other social injustices. I thought to myself that starting a Facebook group where I could create a safe space, share everything I learned from being in the industry, and raise awareness about opportunities would be my protest.

From your perspective as both someone working in the business and also as the founder of a media resource, has there been much positive change, and where are the areas that are still lacking?

I believe most of us have come a long way since the “summer reckoning.” How could we not? Hue has directly worked with amazing partners like National Geographic and CNN, who really leaned into being a part of the change. Amazon Studios, Warner Bros. Discovery, YouTube and Banijay have been great supporters of Coded for Inclusion, powered by Staff Me Up, which I deeply believe to be a viable resource to create meaningful changes in hiring practice. I’m so grateful to partners like AMC Networks, Fifth Season, Change Hollywood and Color of Change, who really walked the walk and used their company resources to help build Coded for Inclusion. With that said, there is a lot of work to be done beyond diversity. I would love to see more companies work on inclusive practices and ensure the psychological safety of the diverse hires they are championing. We also need pipeline programs for middle management and a commitment that comes with not just words, but also dedicated dollars to help grow resources.

How about your work in production? Is there an intersection between what you’re doing with Hue You Know and your work at Hello Sunshine? Are buyers generally more aware of the importance of creating content for diverse audiences?

It is critical for me to bring my full self to the table wherever I am. I am not interested in packing away parts of myself, so everywhere I show up I do so as a Black woman, mother, [and] executive who runs a non-profit called Hue You Know. Everything I know is leveraged to be of service to both Hello Sunshine and Hue You Know. I believe buyers are keenly aware of the importance of creating content for diverse audiences and many are making tremendous effort, yet we still have a long way to go and I am hopeful we will get there.

RAJA KHANNA / DARK SLOPE “t

here are always the people who will say, ‘Y’know, I’m just a few years from retirement, so I’m going to keep doing what I do,’” mused Raja Khanna, executive chair and co-founder of “extended reality” content company Dark Slope, in an interview with Realscreen last May. “And that’s fine. But there is always that other group that wants to innovate.”

The Toronto-headquartered company sits squarely in that camp, with its team hard at work on developing new ways to bridge immersive media technologies — currently found in gaming and set to form the backbone of the evolving metaverse — with virtual production. Its efforts are gaining attention and traction: a few weeks after that interview, the company announced a partnership with Toronto-based Insight Productions (the prodco behind Canadian adaptations of The Amazing Race and Big Brother, among other titles) to develop original competition formats “for a new era of metaverse entertainment.” Shortly afterward, Dark Slope brought on veteran unscripted exec Marnie Sugarman, most recently part of the development team at eOne, as an EP for its HyperReality banner, which is dedicated to developing “a new form of immersive, experiential television” that will “transform what were once considered limitations in factual and live-action content creation.”

If all that sounds ambitious, well, it is. And at a time when media companies are tightening belts and seemingly slouching toward austerity en masse, there might be some understandable

skepticism about extending television properties into the murky regions of the metaverse. But with Dark Slope earning a spot last fall on Deloitte’s Technology Fast 500, one is tempted to modify an observation made by David Bowie, who was something of an expert at marrying the innovative with the commercial: “Tomorrow belongs to those who can see it coming.”

What are your goals for Dark Slope for the year ahead?

At Dark Slope we have been quietly building our virtual production and creative chops for five years. For years we have used game engines, mocap, green screens and LED volumes to create virtual worlds, immersive games, animation, and now HyperReality programming. Our goal this year is to continue to build on that expertise while pursuing our strategy of creating great HyperReality programming both for brand and production partners, as well as for our own development slate of original shows.

We were recently honored to be named a Deloitte Fast 500 tech company (ranking #80 in North America), so we have set the bar high — recession or no recession, we are still going for it!

It’s no secret that it’s going to be an economically challenging time ahead for everyone. Does virtual production perhaps offer a more economically sound option for some projects?

In an environment where budgets are tight, I think that using virtual production techniques can help you get more creative “oomph” for your dollar, allowing shows to pop at even modest budget levels. At the same time, I think we will see bigger brands take awesome and big swings with this tech, creating the next generation of magnetic, subscriber-luring anchor programs. We are only at the very beginning of the virtual production revolution.

In 2022 there seemed to be avid interest in creating content that could exist within a metaverse environment, including within the unscripted space. But there still seems to be confusion within the “traditional” production business regarding what the metaverse is, and how to create content for it.

The arrival of VHS, or HD, or 4K or streaming did not fundamentally change what good content looks like. With the metaverse, like during the many technical revolutions in content delivery that have come before, storytelling fundamentals will stay intact.

The first answer to your statement is that the more things change, the more they stay the same.

That said, the formats and technologies of choice for consumption of content have been on an upsidedown, high-speed thrill ride since the internet showed up, and the metaverse feels like the free-falling stunt finish of that ride.

Join the West Coast’s biggest unscripted entertainment conference and get unparalleled opportunities to meet future partners, exchange ideas and gain invaluable intel about the industry, in a relaxed resort setting, away from big city distractions.

Jennifer Dettman Executive Director, Unscripted CBC

Jennifer Askin SVP, North America All3Media International

Matt Hornburg Co-CEO & Executive Producer marblemedia

Danny Fenton CEO Zig Zag Productions

J.C. Mills President & Commercial Director Cineflix Productions

Jodi Flynn President The Content Group

Yasmin Rawji EVP, Unscripted — Network Fox Entertainment

Phil Gurin President & CEO The Gurin Company

Naimah Holmes President Hot Snakes Media

Loren Ruch Group SVP, Production & Development, HGTV Warner Bros. Discovery

Today our global team of creators and virtual-world architects are working with unscripted buyers and producers to develop genre-defining HyperReality shows using LED volumes, mocap, game engines, XR and more. Just what the future ordered.

Let’s connect to elevate what is possible for entertainment. Here’s to the next 5 years,

Raja Khanna Co-Founder, Dark

Slope

The enthusiastic response to our inaugural Realscreen Factual Under 40 — created to recognize rising stars in the unscripted and non-fiction screen content industry aged 40 and under, via nominations from peers in the business — has shown us that highlighting the exemplary individuals in this demographic is long overdue.

A wealth of submissions from across the industry has resulted in this first list, representing professionals from myriad sectors and at various points in their careers. Read on to meet some of the younger talents who are shaping the industry today, and in the years to come.

In her role at Condé Nast, Amos collaborates with editors and journalists across the company’s portfolio of iconic brands — including Vogue , GQ , Vanity Fair , Wired and The New Yorker — to help transform the company’s best-in-class reporting into premium film and TV projects. Upcoming titles that she is currently shepherding include In Vogue: The 90s for Disney+, a documentary from Vogue Studios and Raw that offers exclusive access to Vogue editor Anna Wintour as it surveys the major fashion, music, film and cultural benchmarks of the 1990s; and Black Twitter , a docuseries based on a series of Wired articles about the impact that Black users have had on the social media platform.

“[Sarah is] a truly hands-on creative producer, bringing out the best in each project and person she works with,” says Helen Estabrook, Condé Nast Entertainment’s global head of film and television. Andrew Tracy

What’s your ultimate goal for your career in this business?

To have built a lasting reputation as someone whom people seek out to collaborate with. For me, the focus will always be on looking for projects where I can be inspired by others while helping my team overcome the chaos of our business in order to create truly impactful storytelling.

AMOS VP, PRODUCTION AND DEVELOPMENT, CONDÉ NAST

As the head of Wheelhouse’s digital-first and influencer arm, Wheelhouse DNA, the 39-year-old Baudry leads IP development and production and oversees the company’s day-to-day operations. CEO Brent Montgomery tapped Baudry to lead DNA when it launched in 2020, and she has since shepherded such unscripted series as Facebook Messenger’s Cookin’ with Brooklyn, starring Brooklyn Beckham; Discovery’s Curiosity Daily; Viceland’s Tumbleweeds with Killer Mike, and more.

FANNY BAUDRY MD, WHEELHOUSE DNA

Prior to joining Wheelhouse, Baudry was head of content and development at Scooter Braun’s The Creative Studio. She also previously served as VP of global acquisitions, formats and programs, at Banijay, where she was responsible for building the acquisitions division and acquiring non-scripted formats for the company’s subsidiaries including Bunim/Murray, Air Production, Nordisk Film TV, and more. Justin Anderson

What’s your ultimate goal for your career in this business?

Currently, I’m just excited to continue building what we’ve started at Wheelhouse. With Brent Montgomery and Ed Simpson at the helm we have an ambitious plan, and I’m looking forward to making more great content with the world’s best creators.

SARAH

According to A3, the 32-year-old Bressler’s focus is “bridging the gap between the digital and traditional worlds.” Well-versed in digital media, Bressler also has a deep understanding of the unscripted TV ecosystem, and while much of her business is centered on talent working in front of the camera she also helps such clients launch and run their own production companies.

Beginning at ICM Partners, Bressler joined A&E’s development team before moving to Hearst Digital Media, where she helped build out an internal prodco that sold some of the first short- and mid-form series to Facebook Watch and Snapchat. Barry Walsh

Who would be your dream client?

Michelle Obama! Because… MICHELLE OBAMA!!

With Vice Studios in London since 2021, Bristow has previously worked with MGM Studios in the U.S., as well as Lightbox and John Battsek’s Passion Pictures, making documentaries for such networks and platforms as HBO, Netflix, A&E, Showtime and CNN. Credits include Detainee 001 and The Longest War for Showtime, and White Coat Rebels with Participant Media, among others. At Vice Studios, she is currently working on projects for assorted buyers with top-flight doc directors that will be announced in the new year. According to Alexander Moore, Vice Studios’ global head of documentaries, “Alice is the person you can rely on to make seemingly impossible documentary projects possible.” BW

What’s one project you want to get on the air over the course of your career?

There’s one project that I’ve been working on for some time, about a unique woman at the center of the world of high-stakes poker. Her journey is fascinating and complicated. As a poker player myself, in addition to the project’s intimately personal narrative, this combines things I care about deeply. Getting this on air is my current mission… but no doubt there will be many more to come!

SOPHIE BRESSLER SENIOR AGENT, A3

ALICE KATE BRISTOW PRODUCER, VICE STUDIOS

One of two execs in our Factual Under 40 list who got their start in the business via NBC’s page program, Bushue spent 12 years with the U.S. broadcast net, culminating in the role of SVP of alternative development and current programming. In that post, she oversaw numerous hit series, including America’s Got Talent, Ellen’s Game of Games, World of Dance, Little Big Shots and Hollywood Game Night. From there, she moved to Jada Pinkett Smith and Will Smith’s Westbrook Studios as SVP and head of unscripted, where she has shepherded such projects as Amend: The Fight for America for Netflix and Welcome to Earth for Disney+ and Nat Geo. In submitting a nomination for Bushue, an industry peer said: “I can’t think of anyone in the industry who has accomplished as much as Sahara has at her age. She is a role model and mentor to so many in the industry.” BW

Born and raised in Trinidad and Tobago, Camps, 35, is an experienced television editor with over a decade of that experience in unscripted TV. He has worked with UK-headquartered Woodcut Media since its inception, and has cut titles for a wide range of broadcasters, including How I Caught the Killer (Sky), Murder at My Door (Crime & Investigation), Combat Ships (Smithsonian Channel) and Defenders of the Sky (History), amongst many others. In recent years, Camps has also contributed to the narrative development and scripting of the programs he works on, including The Killer in My Family (UKTV) and Murdered at First Sight (Sky). “It’s unusual for an editor to be a ‘safe pair of hands’ at the same time as utterly fantastic from a creative perspective, and Liam is just that,” says Woodcut CEO Kate Beal. AT

Now a partner at WME, Caspi, 35, hit his 12-year milestone at the agency last September. He focuses on high-level non-scripted production companies, producers, and documentary filmmakers, representing a variety of creators working across broadcast and cable, including Scout Productions (Queer Eye), Campfire (The Innocent Man, Jiro Dreams of Sushi), Unrealistic Ideas (McMillion$) and Critical Content (Catfish). Among his notable sales are the Queer Eye reboot and Selling Sunset titles on Netflix, Legendary and The Way Down on HBO Max, WeWork and Pharma Bro to Hulu, and the recent Barney the Dinosaur docuseries I Love You, You Hate Me to Peacock. Prior to joining WME in 2011, Caspi co-founded the app start-up Appventurous. JA

What made you want to be part of the unscripted content business?

Seeing the ability, in the nonscripted group [of WME], to build companies from the ground floor. Being an entrepreneur before joining the company, I realized I could use those skills in helping clients grow profitable and sustainable businesses.

Evans, 35, is an Emmy-winning producer and EVP of non-fiction content at Campfire Studios, the premium scripted and non-fiction production company run by prolific film producer and CEO Ross Dinerstein. She has produced projects across all genres of nonfiction television, from shiny-floor shows to reality TV and premium documentaries. Her most recent credits include Hulu’s WeWork: Or the Making and Breaking of a $47 Billion Unicorn, which was named outstanding business and economic documentary at the 2022 News & Documentary Emmy Awards; Low Country: The Murdaugh Dynasty, the record-setting The Way Down: God, Greed and the Cult of Gwen Shamblin and Heaven’s Gate: The Cult of Cults, all for HBO Max; FX’s Hysterical; and CNN’s The Lost Sons

Currently, Evans has more than 10 projects in development for platforms including HBO Max, Netflix and Hulu, among others. JA

SAHARA BUSHUE SVP, HEAD OF UNSCRIPTED, WESTBROOK

What’s your ultimate goal for your career in this business?

My clearest focus in all my work is to tell engaging, yet sensitive and respectful human stories. Particularly in the genre of true crime, I want to ensure that the dignity of victims and survivors is fundamental in every program.

What made you want to be part of the non-fiction content business?

Being from a small town in New England, I couldn’t resist the allure and mystique of the “entertainment industry” and all of its facets. Understanding real, human stories and finding a creative and entertaining way for an audience to hear them is a challenge that is equal parts exciting and important.

NIR CASPI PARTNER, NON-SCRIPTED, WME

LIAM CAMPS

LEAD EDITOR, WOODCUT MEDIA

REBECCA EVANS EVP, NON-FICTION CONTENT, CAMPFIRE STUDIOS

Among his many duties as VP of content for the factual programming SVOD platform Curiosity Stream, Franzini greenlights commissioned programs and coproductions with international and domestic partners, oversees Curiosity’s internal team of producers and editors, and provides an editorial voice that reflects the values and vision of the company’s founder, John Hendricks. He also serves as the face of the company at major international markets and actively fosters new relationships with leading networks, distributors, and production companies around the globe.

“Jorge has the unique talents of a writer/producer, programmer, tech wizard and subscriber-data analyst, all-round strategist, and people person, [as well as] tremendous business acumen,” says Curiosity Stream’s former chief content officer, Steve Burns. AT

What’s your ultimate goal for your career in this business?

A successful career, to me, would be one filled with relationships that continue to help me grow and give me the opportunity to help the next generations of filmmakers come into their own, too.

Gamsu, 34, got his start at London-based indie Outright Distribution, part of Shed Media, and later moved to Warner Bros. International Television Production before joining Red Arrow as VP of non-scripted, where he was instrumental in the rollout of such global formats as Old People’s Home for 4 Year Olds and Married at First Sight

After relocating to the U.S. with Red Arrow, Gamsu joined Fremantle in 2019 as president of non-scripted content acquisitions, where he has been responsible for acquiring key factual titles such as the Hulu docuseries

The Curse of Von Dutch and the feature doc Dreamland: The Burning of Black Wall Street. He also serves as EP on Ample Entertainment’s recently announced Fyre Festival doc “sequel,” After the Fyre, and on National Geographic and Disney+’s Wild Fish: Last of the Giants JA

Go consults on Amazon’s film and TV productions from development through launch to ensure that the content is authentic and inclusive of people from historically excluded communities across gender, race, ethnicity, sexual orientation and disability status, both in front of and behind the camera.

Prior to her current post, she worked as director, business development, diversity and inclusion at production resource company Staff Me Up. Before that, she served as a line producer and production manager on such series as Surviving R. Kelly and Bill Nye Saves the World. BW

What do you want to be doing in 2025?

In 2025, I want to be making impactful changes around psychological safety in film/TV. It’s important that we create mechanisms that empower producers and department heads to create safe spaces for talent to show up as their fully authentic selves.

JORGE FRANZINI VP OF CONTENT, CURIOSITY STREAM

What do you want to be doing in 2025?

As the unscripted world enters a period of uncertainty and unease, I want to keep working with indie creatives to get their content produced and seen globally. It’s crucial we continue finding innovative ways to finance and distribute content.

Recently appointed VP of unscripted for Hot Snakes Media after serving as director of unscripted development for Propagate Content, Idehen has over 10 years of experience as a producer, director, development executive and content creator, delivering numerous shows for an array of networks and platforms that includes Lifetime, VH1, WEtv, E!, TLC, BET, Oxygen and more. She has also established parallel careers for herself as an artist strategist, marketer, branding consultant and educator.

“She is both a creator and a strategist, and enjoys both the creative and business sides of unscripted equally,” says Tamra Simmons, executive producer of Live Always Production. AT

What’s one project you want to get on the air in your lifetime?

A celebrity chess format that the first Black grandmaster, Maurice Ashley, and I have been working on for years, and are finally gaining traction on after The Queen’s Gambit. We now have a huge celebrity on board, and we’re going to market with it very soon!

NICOLE GO DEI PRODUCTION PROGRAM MANAGER, AMAZON PRIME VIDEO & STUDIOS

HARRY GAMSU

VP, UNSCRIPTED ACQUISITIONS, FREMANTLE

VALERIE IDEHEN

VP, UNSCRIPTED, HOT SNAKES MEDIA

STEPHANIE JENKINS ARCHIVE PRODUCER, FLORENTINE FILMS

A longtime staff producer at Florentine Films, 34-year-old Jenkins has been making award-winning documentaries for over a decade. Most recently, she helped produce the eight-hour docuseries Muhammad Ali, where she managed a team that pulled in more than 1,000 hours of footage from more than 100 international archives, including what may be the earliest extant moving-image footage of Ali, then still Cassius Clay, as a 13-year-old signing up for a youth boxing tournament in his hometown of Louisville, Kentucky.

In addition to her work at Florentine, Jenkins has contributed archival research to non-fiction media such as Radiolab, Spike Lee’s Forty Acres and a Mule Productions, and The New York Times Op-Docs, where she is sourcing short documentaries from the 1930s to the 1990s for a special project that will see the films restored and relicensed for the website. AT

What made you want to be part of the non-fiction content business?

There is nothing quite like walking into a vinegarsmelling room and uncovering the hidden materials there.

[In my work] I’ve developed a deep respect for both these artifacts themselves, and for the people who capture and preserve them.

Long established eOne’s U.S. unscripted programming division in 2012, which in the decade since has developed a packed slate of long-running shows that continue to receive new season orders. Among her successes are Ladies Night for BET; Ex on the Beach and Siesta Key for MTV; WEtv’s Growing Up Hip Hop franchise; and the feature doc Mary J. Blige’sMy Life for Prime Video.

In her role as president of global unscripted television, 38-year-old Long oversees all aspects of the division, with a focus on further developing, growing and diversifying its pipeline, relationships and scope. Long also leads Whizz Kid Entertainment, following eOne’s acquisition of a majority stake in the UK-based prodco in 2018. JA

What made you want to be part of the unscripted content business?

I worked for a big music manager [in Nashville], which meant I spent my weekends on a tour bus. One weekend there was a director filming a documentary of the tour, and I thought, “Wow, this is a job — to film for the world to see the cool stuff I call and tell my mom about!”

TARA LONG PRESIDENT, GLOBAL UNSCRIPTED TV, EONE

CATHERINE MCCORMICK SENIOR MGR, ACQUISITIONS, CINEFLIX RIGHTS

Spearheading Cineflix Rights’ content acquisitions from the UK, Ireland, Australia and New Zealand, McCormick has a proven track record of identifying international hits that have the potential to build into global brands. In the past year alone, she secured more than 300 hours of content — including such internationally successful titles as Richard Hammond’s Workshop and Our Yorkshire Farm — which brought more than $20 million of revenue to the company.

“Catherine has a fantastic ability to spot the potential for a show to travel internationally, and then work with the producer and sales team to nurture them into longrunning global successes,” says Richard Life, head of acquisitions at Cineflix Rights. AT

What made you want to be part of the non-fiction content business?

I have always been inspired by documentaries and their ability to tell important stories and bring awareness to wider audiences. I feel very privileged to be able to collaborate with such talented content creators from all over the world and to help bring their stories to a global audience.

McDermott launched the prodco Blackfin in 2014, and grew the company so rapidly that eOne acquired it a mere seven years later and brought its young founder on board as president of U.S. unscripted television. Now 37, McDermott oversees an expansive slate of non-fiction content and also spearheads eOne’s work in the true-crime space, helming the Netflix hit Killer Inside: The Mind of Aaron Hernandez and also shepherding such titles as Chasing Ghislaine and Unseamly: The Investigation of Peter Nygård

On the formats front, McDermott is executive producing Easy Bake Battle for Netflix and Lincoln Log Project for Roku, and he is also overseeing the upcoming Dungeons & Dragons documentary from Joe Manganiello and Kyle Newman, which is being readied for the legendary RPG’s 50th anniversary. AT

What is your most significant career achievement to date?

Bootstrapping Blackfin from a small WeWork office to one of NYC’s largest unscripted indies, eventually being acquired by eOne.

MCDERMOTT PRESIDENT, U.S. UNSCRIPTED, EONE

AUTENTIC GOES WILD

Discover our new titles from Terra Mater Studios!

GENO

RYAN MCNEILY PARTNER, NON-SCRIPTED, WME

A Chicago native, McNeily is a partner in the nonscripted film and TV group at WME, where he has worked for the past 13 years. He specializes in the packaging and selling of premium non-fiction TV projects and independent film sales, representing a diverse roster of celebrities, high-end producers and filmmakers that includes Amblin Television, Lightbox TV, RJ Cutler, Miley Cyrus, Hillary and Chelsea Clinton’s prodco HiddenLight, Lena Waithe and Boardwalk Pictures. JA

What made you want to be part of the unscripted content business?

It was an accident for me. I chanced into this department as an assistant just starting out at the agency. It was the team and a slew of great mentors in the group that got me sticky with it. I stayed for the high pace, variety of clients and entrepreneurial ecosystem of the genre.

At the time Vox Media Studios (VMS) was launched in 2015, Mumm was the youngest VP at its parent company. Since then, VMS has had over 40 series on the air, and in the last two years, has sold 36 series and films and is in active production on 20 titles. Perhaps best known for the Netflix series Explained, VMS, under Mumm’s oversight, is expanding the scope of projects and formats, moving specifically premium documentaries and scripted TV and film.

In 2022, VMS racked up 12 premieres across theatrical, streaming and cable including its first theatrical release, Breaking; Mind Over Murder from Nanfu Wang on HBO; Keep This Between Us for Freeform and Hulu; and projects for two Vox Media verticals, The Future Of, The Verge’s first series with Netflix, and Uprooted from NowThis for Discovery+. Upcoming: a PGA Tour doc series for Netflix. BW, JA

What’s one project you want to get on the air in your lifetime?

I’m already grateful to be producing a bucket list project in our forthcoming doc series for Netflix set in the PGA Tour. Beyond that, I am obsessed with The Cut’s coverage of fashion under editor Lindsay Peoples and I’m eager to do something big with them.

CHAD MUMM CHIEF CREATIVE OFFICER, VOX MEDIA STUDIOS

JONTY NASH CO-FOUNDER, NOBODY’S HERO

Nash co-founded the unscripted production company Nobody’s Hero in 2020 with partner Christopher Potts (whom he met when the two were development executives and producers at UK-based Tiger Aspect), producing together under the company’s overall deal with ITV America. Their current credits include Netflix’s Snack vs. Chef and Bullsh*t the Game Show with Howie Mandel, as well as the upcoming Farming is Life for National Geographic.

Prior to forming Nobody’s Hero, Nash was an EVP at Unrealistic Ideas, the company behind the Emmy-nominated doc series McMillion$. Prior to that he served as SVP of development at Magical Elves alongside Potts, where, in addition to Nailed It! and Sugar Rush, they developed Animal Planet’s Cat vs. Dog JA

O’Dowd leads the BBC Studios L.A. unscripted team to develop, sell, and produce both U.S. originals and adaptations of successful global formats in genres ranging from game shows to music programs and lifestyle series. An executive producer for the NBC revival of Weakest Link with Jane Lynch, he also has credits on such recent titles as ExRated (Peacock), When Nature Calls with Helen Mirren (ABC) and the Netflix true-crime doc Murder Among the Mormons “[Ryan] leads by example with an entrepreneurial spirit, bringing boundless energy to each new challenge he undertakes, along with his astute creative instincts and his penetrating judgment,” says Valerie Bruce, general manager of BBC Studios L.A. Productions. AT

What made you want to be part of the unscripted content business? I love television. And I love telling stories. There’s something great about the quick pace and turnaround time our unscripted genre affords us as content creators. I wake up every day feeling tremendously fortunate to be able to make shows that entertain, educate, and empower people around the world.

What’s your most significant career achievement to date? Probably launching Nobody’s Hero in 2020, only a couple of weeks before the pandemic hit, and managing to sell multiple series through a pretty crazy time. Or, possibly, staying 35 for the last 15 years.

As director of programming, planning and scheduling at NBCUniversal Telemundo Enterprises, Rivero, 39, oversees the content strategy for Spanish-language cable network Universo. She is responsible for the execution of short- and long-term programming strategies, screening and evaluation of content, language customization, scheduling of linear and VOD platforms and, ultimately, achieving ratings goals.

In 2022, Rivero introduced a true-crime vertical on Thursday nights featuring Snapped: Crímenes de Pasión, extending the Snapped franchise of sister network Oxygen to a Spanish-speaking audience. BW

ANGELINA RIVERO DIRECTOR OF PROGRAMMING, NBC UNIVERSO

What do you want to be doing in 2025?

I’d like to be working on a factual original production for the U.S. Hispanic market, shining a light on the Latino experience in this country.

Joining Netflix from Hulu in 2018, Rutsky, 39, oversees original unscripted series as well as the streamer’s unscripted coproduction strategy, collaborating with networks and producers around the world. He’s served as a production executive on myriad Netflix series, including Drink Masters, Blown Away, Selling Sunset, Down to Earth with Zac Efron, and the Michael Jordan docuseries The Last Dance, which Rutsky singles out as “a lightning-in-a-bottle moment that’s difficult to top.”

Marblemedia co-CEO and exec producer Matt Hornburg, who works with Rutsky on Blown Away and Drink Masters , says that “Justin is an admired champion of storytelling. As an executive, his collaborative style, strong creative instincts, and trusted business approach have attracted deep relationships with the producing community.” BW

What’s the project you’d love to get on screen over the course of your career? The definitive, autobiographical story of Jay-Z (or anything with Mr. Carter, really).

JUSTIN RUTSKY DIRECTOR, NON-FICTION ORIGINALS, NETFLIX

RYAN O’DOWD EVP, ENTERTAINMENT & MUSIC, BBC STUDIOS LA

SHELBY SHAFTEL SVP & HEAD OF CURRENT SERIES FOR UNSCRIPTED FORMATS, NBCUNIVERSAL

Shaftel oversees large-scale formats for NBC, Peacock and the company’s cable portfolio, and is also tasked with spearheading projects from concept through production and post, directing creative, staffing decisions, talent, and high-level brand partnerships. She oversees some of the company’s biggest hits, including The Voice, America’s Got Talent, Password, American Ninja Warrior and USA Network’s Barmageddon

Like her fellow Factual Under 40 honoree Sahara Bushue, the 38-year-old Shaftel got her start with NBC in 2006 as part of the network’s page program, and went on to work in various roles throughout her tenure at the company as part of its alternative programming team. JA

What made you want to be part of the unscripted content business?

I love the range and variety of the worlds we get to explore in unscripted and the people we meet within them. We get to tell real stories and hopefully, viewers can relate to those stories, while also escaping into something totally different from themselves.

As EVP of development at the Intellectual Property Corporation (IPC), now part of Sony Pictures Television’s non-fiction group, Shanfield has shepherded and/or executive produced such titles as Secrets of Playboy (A&E), The Curse of Von Dutch (Hulu), Selena + Chef (HBO Max) and the forthcoming The Climb (HBO Max) and Jewish Matchmaking (Netflix). He joined IPC after serving in development leadership roles at Asylum Entertainment, Oxygen, Irwin Entertainment and Shed Media US, and he also developed and produced for Mark Burnett Productions on such franchises as The Apprentice and Shark Tank. “Matt is a truly gifted developer and seller, but perhaps more importantly, he is also a great leader and embodies the spirit of collaboration,” says Sony Pictures Television non-fiction co-president Eli Holzman. AT

What’s your most significant career achievement to date? Actually getting my daughters to sit down and watch a full episode of one of our shows without them sneaking away to their room and watching YouTube videos on an iPad, while I sit alone on our couch for the rest of the night.

MATT SHANFIELD EVP, DEVELOPMENT, INTELLECTUAL PROPERTY CORPORATION

Visit our booth at RealScreen Summit for a chance to win an iPad

DANIEL SHARP FOUNDER, DASH PICTURES

Before moving into the film and TV industry, Sharp founded and served as CTO for the London-based tech company Stonewash, which specialized in creating tablet and smartphone apps for media companies. Under his Dash Pictures shingle, he has crafted content for such outlets as Disney, the BBC, Channel 4, Discovery, Nat Geo, History, PBS, Science and Travel Channel, and has received Emmy nominations for both seasons of Disasters Engineered (Science Channel/Discovery UK).

In June 2022, Disney and National Geographic released Vikings: Rise and Fall, a six-part history series produced and directed by Sharp. BW

What’s the best piece of advice you’ve received from someone in the industry?

The best advice always comes from Bo Stehmeier [CEO, Off the Fence], whether solicited or not. Bo constantly reminds me to focus on the parts of the job I excel at and enjoy, and to build a team to take care of the other parts.

As head of the acquisitions team at Fifth Season, Tang seeks out and secures best-in-class content for the company’s global TV distribution slate, building partnerships with producers and financing projects at all stages of production. Notable unscripted titles developed on her watch include celeb-hairdresser docusoap Blowing L.A., from Fulwell 73; the acclaimed investigative docuseries Victoria’s Secret: Angels & Demons, from Film 45 and Altimeter; Lightbox’s premium limited docuseries Spector and Curse of the Chippendales; and Hulu’s WeWork: Or the Making and Breaking of a $47 Billion Unicorn Prior to joining Fifth Season, Tang managed series acquisition for Sky UK, and she also has over a decade of experience in acquisitions and coproductions at leading international broadcasters and network groups, including the BBC, ViacomCBS, and Discovery. “She’s a powerhouse that we’re lucky to have, and we’re proud of everything she’s achieved so far,” says Fifth Season’s president of television distribution, Prentiss Fraser. AT

What do you want to be doing in 2025?

Hearing more pitches and seeing more greenlights from women.

with

LIZ TANG EXECUTIVE DIRECTOR, ACQUISITIONS, FIFTH SEASON

The first MIP market of 2023

The biggest week in unscripted

Cannes Palais des Festivals 17-19 April 2023

The Spring International TV Market - 60th Anniversary

BRIAN TANNENBAUM HEAD OF UNSCRIPTED ORIGINALS, ROKU

Leading Roku’s push into unscripted originals, Tannenbaum helped construct the streamer’s go-tomarket content strategy for original content, built up its programming portfolio, and created the entire infrastructure of the Roku Originals team from the ground up. He has forged and expanded creative partnerships with such top prodcos as Hello Sunshine, World of Wonder, eOne and Westbrook Media, and shepherded such top-flight IP as The Great American Baking Show (a stateside edition of the beloved UK format) and Honest Renovations, a home reno series hosted by Jessica Alba and Lizzy Mathis.

Prior to joining Roku, Tannenbaum led alternative and unscripted programming for the short-form streamer Quibi, managing a slate of more than 50 television titles. AT, JA

What’s one project you want to get on the air in your lifetime?

Watch What Happens Live! with Brian Tannenbaum

A senior agent at A3 Artists Agency in its alternative programming, digital media, licensing and branding department, Thompson, 34, focuses on packaging and staffing unscripted programming across broadcast, cable, and streaming networks. In addition to his work in the unscripted space, Thompson has been an early adopter of emerging and new media markets, sourcing digital, podcast, and NFT opportunities for clients. His client list includes such full-service production companies as Big Table Media, Citizen Pictures, Coolfire, Nobu Productions, Sender Films, OverUnder Content, Xpedition Media, and Motiv8 Media, among others.

Thompson began his tenure at A3 Artists Agency in 2018, after starting his career at Rebel Entertainment Partners in 2011. BW

A composer and producer, Vanacore also serves as vice president of creative services at U.S.-headquartered music production company Vanacore Music, which is well known for its work on such top unscripted franchises as Survivor. With Lee’s help, Vanacore has branched out into new territory to become a trusted source for bespoke and licensed music for scripted, advertising, film, trailers and digital media.

Having spent time as a pro touring musician, Vanacore combined his connections in the artist community with his licensing know-how to launch a record label for the company, featuring songs produced by successful commercial acts. BW

LEE VANACORE VP, CREATIVE SERVICES, VANACORE MUSIC

What’s your most significant career achievement to date? Something I’m very proud of is having our songs validated in the marketplace. We have garnered millions of streams across all major DSPs (Spotify, Apple Music, etc.) for the songs produced under our label.

What’s your most significant career achievement to date?

Being promoted to agent at age 24. After college, I took a leap of faith and turned down opportunities to work in finance and moved to L.A. to pursue a career in the entertainment industry, with no contacts or knowledge of how the business worked. Shortly after, I landed my first job as an agent assistant, and was an agent less than two years after that. That moment is especially significant to me, because it confirmed that I had made the right choice.

Willgoss, 38, oversees all Nutopia’s development and is responsible for driving the company’s creative strategy, managing external partnerships and overseeing new projects from conception to greenlight.

He first joined Nutopia 15 years ago after completing his PhD, and went on to develop America: The Story of Us for History, Nutopia’s first commission and the network’s highest-rated special ever, in 2010. Since then he has conceived, developed or launched over 250 hours of premium unscripted content, including One Strange Rock for National Geographic, Babies and The Last Czars for Netflix, and Civilizations for PBS and the BBC. BW

JARED THOMPSON SENIOR AGENT, A3

WILLGOSS CHIEF CREATIVE OFFICER, NUTOPIA

What’s one project you want to get on the air in your lifetime?

My not-so-secret nerdy passion is history, and I’d love to land a One Strange Rock or Limitlesssized project in that genre.

SIMON

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1200, Papineau Avenue, 1st Floor, Montreal (Quebec), H2K 4R5, Canada Tel.: 514 284-5555

Email: distribution@zone3.ca Website: www.zone3.ca/en

Contact: Mélanie Ratté, Senior Director, International Distribution and Business Development

THE DEVIL’S LOT

Are we as brave, resilient and hardworking as our ancestors? In this epic reality competition format, two groups of fearless contestants take a trip back in time and face larger than life challenges without the help of modern-day comforts or technologies and make their way through the social game in order to walk away with the $100,000 grand prize. Any country’s piece of history can become the backdrop to this exciting immersive format! 2 seasons produced in Canada

SINGLE PARENTS CRUSING

In this fun, escapist format, one single mom and one single dad set sail on a 10-day cruise for the chance to find true love! Ten other single parent suitors join them as they compete to sweep them off their feet. The contenders must overcome challenges to gain special alone time in exotic locations with one of the two main single parents. Each parent is joined by their children and the suitors must win them over too! Which suitor will be cast away during the elimination happy hours? Will the single parents find true love and create a united family? 2 seasons produced in Canada

Tel.: +49 6131-9911130, Email: unscripted@zdf-studios.com, www.zdf-studios.com

Erich-Dombrowski-Str. 1, D-55127 Mainz/Germany, Tel.: +49 6131-9911130, Email: unscripted@zdf-studios.com, www.zdf-studios.com

ZDF Studios was originally founded in 1993 as ‘ZDF Enterprises’, a private subsidiary of ZDF, one of the largest and most renowned television broadcasters in Europe. company was renamed ‘ZDF Studios’ on 1 April 2022. Based in Mainz, the business is responsible for distributing programmes worldwide, implementing international productions, acquiring licences and merchandising key brands under its own name, ZDF and for third parties. Successfully established as an independent market player Germany and globally, it operates as part of a strong network of 30 direct and indirect subsidiaries and a liates. ZDF Studios has the largest German-language programme stock in the world, plus a constantly growing catalogue of international productions consisting of series and mini-series, television films, documentaries and children’s programmes. By continually evolving, the ZDF Studios group has been able to open up numerous business areas in the television and media sector. As a result, ZDF Studios now provides a comprehensive full-service offer and covers every stage in the creation exploitation chain of successful TV productions in all genres, from developing content producing, licensing, marketing, merchandising, online rights and much more.

ZDF Studios GmbH Erich-Dombrowski-Str. 1, D-55127 Mainz/Germany, Tel.: +49 6131-9911130, Email: unscripted@zdf-studios.com, www.zdf-studios.com

ZDF Studios was originally founded in 1993 as ‘ZDF Enterprises’, a private subsidiary of ZDF, one of the largest and most renowned television broadcasters in Europe. company was renamed ‘ZDF Studios’ on 1 April 2022. Based in Mainz, the business is responsible for distributing programmes worldwide, implementing international productions, acquiring licences and merchandising key brands under its own name, ZDF and for third parties. Successfully established as an independent market player Germany and globally, it operates as part of a strong network of 30 direct and indirect subsidiaries and a liates. ZDF Studios has the largest German-language programme stock in the world, plus a constantly growing catalogue of international productions consisting of series and mini-series, television films, documentaries and children’s programmes. By continually evolving, the ZDF Studios group has been able to open up numerous business areas in the television and media sector. As a result, ZDF Studios now provides a comprehensive full-service offer and covers every stage in the creation exploitation chain of successful TV productions in all genres, from developing content producing, licensing, marketing, merchandising, online rights and much more.

ZDF Studios was originally founded in 1993 as ‘ZDF Enterprises’, a private subsidiary of ZDF, one of the largest and most renowned television broadcasters in Europe. company was renamed ‘ZDF Studios’ on 1 April 2022. Based in Mainz, the business is responsible for distributing programmes worldwide, implementing international productions, acquiring licences and merchandising key brands under its own name, ZDF and for third parties. Successfully established as an independent market player Germany and globally, it operates as part of a strong network of 30 direct and indirect subsidiaries and a liates. ZDF Studios has the largest German-language programme stock in the world, plus a constantly growing catalogue of international productions consisting of series and mini-series, television films, documentaries and children’s programmes. By continually evolving, the ZDF Studios group has been able to open up numerous business areas in the television and media sector. As a result, ZDF Studios now provides a comprehensive full-service offer and covers every stage in the creation exploitation chain of successful TV productions in all genres, from developing content producing, licensing, marketing, merchandising, online rights and much more.

ZDF Studios GmbH Erich-Dombrowski-Str. 1, D-55127 Mainz/Germany, Tel.: +49 6131-9911130, Email: unscripted@zdf-studios.com, www.zdf-studios.com

ZDF Studios was originally founded in 1993 as ‘ZDF Enterprises’, a private subsidiary of ZDF, one of the largest and most renowned television broadcasters in Europe. The company was renamed ‘ZDF Studios’ on 1 April 2022. Based in Mainz, the business is responsible for distributing programmes worldwide, implementing international coproductions, acquiring licences and merchandising key brands under its own name, for ZDF and for third parties. Successfully established as an independent market player in Germany and globally, it operates as part of a strong network of 30 direct and indirect subsidiaries and a liates. ZDF Studios has the largest German-language programme stock in the world, plus a constantly growing catalogue of international productions consisting of series and mini-series, television films, documentaries and children’s programmes. By continually evolving, the ZDF Studios group has been able to open up numerous business areas in the television and media sector. As a result, ZDF Studios now provides a comprehensive full-service offer and covers every stage in the creation and exploitation chain of successful TV productions in all genres, from developing content to producing, licensing, marketing, merchandising, online rights and much more.

Taking cameras to new heights, the iconic series Africa from Above (10 x 52’, UHD) at Africa’s spectacular people, places, and wildlife from a totally new perspective. Weaving through mountains, coastlines, waterfalls and jungles, the series captures the lives the continent’s unrivalled wild animals, but also travels over towns and cities to explore the history, architecture, industry and unique cultures, revealing how people survive in some of its most extreme locations. The series captures Africa in a way that has never been seen before, using the latest technology, airborne and on the ground. The landmark factual series is produced by Off the Fence Productions and an impressive range of renowned co-producers with ZDF Studios the lead partner as well as the global distributor. Joining on the production are ZDF, ARTE, ORF, and Britain’s UKTV, owned by BBC Studios.

Taking cameras to new heights, the iconic series Africa from Above (10 x 52’, UHD) at Africa’s spectacular people, places, and wildlife from a totally new perspective. Weaving through mountains, coastlines, waterfalls and jungles, the series captures the lives the continent’s unrivalled wild animals, but also travels over towns and cities to explore the history, architecture, industry and unique cultures, revealing how people survive in some of its most extreme locations. The series captures Africa in a way that has never been seen before, using the latest technology, airborne and on the ground. The landmark factual series is produced by Off the Fence Productions and an impressive range of renowned co-producers with ZDF Studios the lead partner as well as the global distributor. Joining on the production are ZDF, ARTE, ORF, and Britain’s UKTV, owned by BBC Studios.

Taking cameras to new heights, the iconic series Africa from Above (10 x 52’, UHD) looks at Africa’s spectacular people, places, and wildlife from a totally new perspective. Weaving through mountains, coastlines, waterfalls and jungles, the series captures the lives of the continent’s unrivalled wild animals, but also travels over towns and cities to explore the history, architecture, industry and

in some of its most extreme locations.

before, using the latest

Taking cameras to new heights, the iconic series Africa from Above (10 x 52’, UHD) looks at Africa’s spectacular people, places, and wildlife from a totally new perspective. Weaving through mountains, coastlines, waterfalls and jungles, the series captures the lives of the continent’s unrivalled wild animals, but also travels over towns and cities to explore the history, architecture, industry and unique cultures, revealing how people survive in some of its most extreme locations. The series captures Africa in a way that has never been seen before, using the latest technology, airborne and on the ground. The landmark factual series is produced by Off the Fence Productions and an impressive range of renowned co-producers with ZDF Studios being the lead partner as well as the global distributor. Joining on the production are ZDF, ARTE, ORF, and Britain’s UKTV, owned by BBC Studios.

The

produced by Off

Taking cameras to new heights, the iconic series Africa from Above (10 x 52’, UHD) at Africa’s spectacular people, places, and wildlife from a totally new perspective. Weaving through mountains, coastlines, waterfalls and jungles, the series captures the lives the continent’s unrivalled wild animals, but also travels over towns and cities to explore the history, architecture, industry and unique cultures, revealing how people survive in some of its most extreme locations. The series captures Africa in a way that has never been seen before, using the latest technology, airborne and on the ground. The landmark factual series is produced by Off the Fence Productions

The International Launch Screening of Africa from Above will take place on Monday, October 17th at 16:15 in Auditorium A of the Palais des Festivals, followed by a Q&A with Ralf, Rueckauer (VP Unscripted, ZDF Studios), Bo Stehmeier (CEO, Off The Fence), Friederike Haedecke (Deputy Head of Department History + Society, ZDF), Marcus Arthur (CEO of UKTV and President of BBC Studios UK & Ireland) and Wolfgang Bergmann ARTE Germany and Coordinator ARTE for ZDF).

The International Launch Screening of Africa from Above will take place on Monday, October 17th at 16:15 in Auditorium A of the Palais des Festivals, followed by a Q&A with Ralf, Rueckauer (VP Unscripted, ZDF Studios), Bo Stehmeier (CEO, Off The Fence), Friederike Haedecke (Deputy Head of Department History + Society, ZDF), Marcus Arthur (CEO of UKTV and President of BBC Studios UK & Ireland) and Wolfgang Bergmann ARTE Germany and Coordinator ARTE for ZDF).

ZDF

Surviving Hothouse Earth (3 x 50’) takes different approach in tackling the issue of climate change. Produced by Bilderfest Factual Entertainment for ZDF in association with and ZDF Studios, the documentary takes look into our planet’s distant past in order understand it’s present and unravel our Earth’s climate has always undergone changes, but for the first time, humanity is determining these developments. With global warming increasing, many climate researchers assume that the Earth is heading for a new Hothouse period. By studying previous phases planet’s history, scientists hope to find clues to how we could survive in the future. climate change being the biggest challenge we face today, Surviving Hothouse Earth will offer a fascinating insight on the scientific research that is being undertaken to mankind find a solution.

Surviving Hothouse Earth (3 x 50’) takes a different approach in tackling the issue of climate change. Produced by Bilderfest Factual Entertainment for ZDF in association with Arte and ZDF Studios, the documentary takes a look into our planet’s distant past in order to understand it’s present and unravel our destiny. Earth’s climate has always undergone changes, but for the first time, humanity is determining these developments. With global warming increasing, many climate researchers assume that the Earth is heading for a new Hothouse period. By studying previous phases in the planet’s history, scientists hope to find clues to how we could survive in the future. With climate change being the biggest challenge we face today, Surviving Hothouse Earth will offer a fascinating insight on the scientific research that is being undertaken to help mankind find a solution.

Surviving Hothouse Earth (3 x 50’) takes a different approach in tackling the issue of climate change. Produced by Bilderfest Factual Entertainment for ZDF in association with Arte and ZDF Studios, the documentary takes a look into our planet’s distant past in order to understand it’s present and unravel our destiny. Earth’s climate has always undergone changes, but for the first time, humanity is determining these developments. With global warming increasing, many climate researchers assume that the Earth is heading for a new Hothouse period. By studying previous phases in the planet’s history, scientists hope to find clues to how we could survive in the future. With climate change being the biggest challenge we face today, Surviving Hothouse Earth will offer a fascinating insight on the scientific research that is being undertaken to help

of UKTV and President of BBC Studios UK & Ireland) and Wolfgang Bergmann ARTE Germany and Coordinator ARTE for ZDF).

Surviving Hothouse Earth (3 x 50’) takes different approach in tackling the issue of climate change. Produced by Bilderfest Factual Entertainment for ZDF in association with and ZDF Studios, the documentary takes look into our planet’s distant past in order understand it’s present and unravel our Earth’s climate has always undergone changes, but for the first time, humanity is determining these developments. With global warming increasing, many climate researchers assume that the Earth is heading for a new Hothouse period. By studying previous phases planet’s history, scientists hope to find clues to how we could survive in the future. climate change being the biggest challenge we face today, Surviving Hothouse Earth will offer a fascinating insight on the scientific research that is being undertaken to help mankind find a solution.

Surviving Hothouse Earth (3 x 50’) takes different approach in tackling the issue of climate change. Produced by Bilderfest Factual Entertainment for ZDF in association with and ZDF Studios, the documentary takes look into our planet’s distant past in order understand it’s present and unravel our Earth’s climate has always undergone changes, but for the first time, humanity is determining these developments. With global warming increasing, many climate researchers assume that the Earth is heading for a new Hothouse period. By studying previous phases planet’s history, scientists hope to find clues to how we could survive in the future. climate change being the biggest challenge we face today, Surviving Hothouse Earth will offer a fascinating insight on the scientific research that is being undertaken to help

War Gamers (6 x 50’) reveals the untold fascinating story of the WRENS (Women’s Royal Navy Service), whose brilliant tactics defeated a massive convoy of German U-boats in WWII. In January 1942, Churchill ordered the Royal Navy to determine why Hitler’s U-boats are winning the Atlantic war. Royal Navy officer Gilbert Roberts has a unique talent: he knows how to recruit and train war gamers. With a dedicated team, he can unpick the German strategy and work out how to defeat the opposing force. But with no male officers available to join a war gaming school, Captain Roberts selects a team of women. None of has ever been to sea. Together these WRENS not only determine how the U-boats are sinking so many British and American ships, they also come up with a plan to defeat them. War Gamers celebrates the extraordinary skill and genius of the women who played a crucial role in ending Hitler’s dominance in the Atlantic. Produced by World Media Rights for Curiosity Stream in association with ZDF Studios and History.

War Gamers (6 x 50’) reveals the untold fascinating story of the WRENS (Women’s Navy Service), whose brilliant tactics defeated massive convoy of German U-boats in WWII. January 1942, Churchill ordered the Royal to determine why Hitler’s U-boats are winning the Atlantic war. Royal Navy o cer Gilbert Roberts has a unique talent: he knows how recruit and train war gamers. With a dedicated team, he can unpick the German strategy and work out how to defeat the opposing But with no male o cers available to join a war gaming school, Captain Roberts selects team of women. None of has ever been to sea. Together these WRENS not only determine how the U-boats are sinking so many British and American ships, they also come up a plan to defeat them. War Gamers celebrates the extraordinary skill and genius of women who played a crucial role in ending Hitler’s dominance in the Atlantic. Produced World Media Rights for Curiosity Stream in association with ZDF Studios and History, series premieres on the flagship SVOD Curiosity Stream in 2022.

War Gamers (6 x 50’) reveals the untold fascinating story of the WRENS (Women’s Royal Navy Service), whose brilliant tactics defeated a massive convoy of German U-boats in WWII. In January 1942, Churchill ordered the Royal Navy to determine why Hitler’s U-boats are winning the Atlantic war. Royal Navy o cer Gilbert Roberts has a unique talent: he knows how to recruit and train war gamers. With a dedicated team, he can unpick the German strategy and work out how to defeat the opposing force. But with no male o cers available to join a war gaming school, Captain Roberts selects a team of women. None of has ever been to sea. Together these WRENS not only determine how the U-boats are sinking so many British and American ships, they also come up with a plan to defeat them. War Gamers celebrates the extraordinary skill and genius of the women who played a crucial role in ending Hitler’s dominance in the Atlantic. Produced by World Media Rights for Curiosity Stream in association with ZDF Studios and History, the series premieres on the flagship SVOD Curiosity Stream in 2022.

War Gamers (6 x 50’) reveals the untold fascinating story of the WRENS (Women’s Navy Service), whose brilliant tactics defeated massive convoy of German U-boats in WWII. January 1942, Churchill ordered the Royal to determine why Hitler’s U-boats are winning the Atlantic war. Royal Navy o cer Gilbert Roberts has a unique talent: he knows how recruit and train war gamers. With a dedicated team, he can unpick the German strategy and work out how to defeat the opposing

War Gamers (6 x 50’) reveals the untold fascinating story of the WRENS (Women’s Navy Service), whose brilliant tactics defeated massive convoy of German U-boats in WWII. January 1942, Churchill ordered the Royal to determine why Hitler’s U-boats are winning the Atlantic war. Royal Navy o cer Gilbert Roberts has a unique talent: he knows how recruit and train war gamers. With a dedicated team, he can unpick the German strategy and work out how to defeat the opposing But with no male o cers available to join a war gaming school, Captain Roberts selects team of women. None of has ever been to sea. Together these WRENS not only determine how the U-boats are sinking so many British and American ships, they also come up a plan to defeat them. War Gamers celebrates the extraordinary skill and genius of women who played a crucial role in ending Hitler’s dominance in the Atlantic. Produced World Media Rights for Curiosity Stream in association with ZDF Studios and History, series premieres on the flagship SVOD Curiosity Stream in 2022.

unique cultures, revealing how people survive

The series captures Africa in a way that has never been seen

technology, airborne and on the ground. The landmark factual series is

the Fence Productions and an impressive range of renowned co-producers with

Studios being the lead partner as well as the global distributor. Joining on the production are ZDF, ARTE, ORF, and Britain’s UKTV, owned by BBC Studios.

International Launch Screening of Africa from Above will take place on Monday, October 17th at 16:15 in Auditorium A of the Palais des Festivals, followed by a Q&A with Ralf, Rueckauer (VP Unscripted, ZDF Studios), Bo Stehmeier (CEO, Off The Fence), Friederike Haedecke (Deputy Head of Department History + Society, ZDF), Marcus Arthur (CEO of UKTV and President of BBC Studios UK & Ireland) and Wolfgang Bergmann (CEO

and an impressive range of renowned co-producers with ZDF Studios the lead partner as well as the global distributor. Joining on the production are ZDF, ARTE, ORF, and Britain’s UKTV, owned by BBC Studios.

The International Launch Screening of Africa from Above will take place on Monday, October 17th at 16:15 in Auditorium A of the Palais des Festivals, followed by a Q&A with Ralf, Rueckauer (VP Unscripted, ZDF Studios), Bo Stehmeier (CEO, Off The Fence), Friederike Haedecke (Deputy Head of Department History + Society, ZDF), Marcus Arthur (CEO

Now that we’ve bid adieu to 2022, it’s a good time to look back at the year that was, and offer the odd prediction or two about the year ahead. Here, we’ve asked several execs within the unscripted content business to do just that.

a Julie Bristow, founder/executive producer, Catalyst b Alison Dammann, SVP, Good Caper Content c Jesse Fawcett, founder/CEO, Fireworks Media Group d Ethan Goldman, founder/CEO, Anchor Entertainment e Paul Heaney, co-founder/CEO, BossaNova Media f Nick Mavroidakis, executive producer, Woodcut Media

g Aliza Rosen, founder/president, AYR Media h Bo Stehmeier, CEO, Off the Fence i Simon Thomas, president, ITV Entertainment j Shawn Witt, president, Leftfield Pictures (an ITV America company)

I NEVER THOUGHT THEY’D MAKE A PROGRAM ABOUT:

Fake cake! JF A competition to spot fake cake. EG

A man with a penis on his arm (The Man with a Penis on His Arm). But they did. I saw it. And it was wonderful. NM How about The Man with a Penis on His Arm? PH

THE IDEA I WISH I HAD IN 2022:

Is It Cake? I was going to justify this with a lengthy spiel, but no, I just love cake. NM

Love on the Spectrum JB, BS, JF

THE IDEA I’M GLAD THAT I HAD IN 2022:

The Sarlacc Money Pit, which we haven’t pitched to Disney yet, but it will blow their minds when we do! SW

THE SERIES/DOC PEOPLE WILL STILL BE TALKING ABOUT FIVE YEARS FROM NOW:

Love is Blind It delivers every time. AR

Fire of Love. AD Something that is probably in deal-making hell right now. ST

IN 18 MONTHS, NO ONE WILL BE TALKING ABOUT:

Ye. SW Crypto. AD Cutbacks and belt-tightening… we all hope! JF

HOW WAS IT FOR YOU?

THE MOST

POSITIVE DEVELOPMENT

IN THE INDUSTRY IN 2022 WAS:

Meaningful relationship meetings in person — anywhere. JB

Leaning into podcasts for IP. AR

Producers altruistically lending advice and offering each other guidance to help get passion projects financed/made. EG

THE MOST NEGATIVE DEVELOPMENT IN THE INDUSTRY

IN 2022 WAS:

The intense platform amalgamation and industry shrink. So many great people out of work. ST

The total collapse of the range and diversity of buyers from the pay-TV market. BS

IF 2022 TAUGHT ME ONE THING, IT WAS:

To persevere and have conviction in your ideas. EG

Evolve. You can’t step into the same river twice. JB

THE BUZZWORD I DON’T WANT TO HEAR IN 2023:

“I don’t want anyone pivoting on my narrative.” PH

Meta-crypto-blockchain. ST

MY NEW YEAR’S RESOLUTION FOR 2023:

Drink more water. Sell more shows. Wear less sweatpants. AD

To make TV as fun as it looked before I first joined the industry. BS

Calm down. It’ll be fine. PH