Telemundo has struck a multi-year co-production deal with Turkish producer-distributor Inter Medya. The pair plans to capitalize on success of Turkish telenovela formats re-worked for Spanish-speaking audiences in the U.S. and co-create several scripted shows for the Telemundo network.
Telemundo has had success with several Turkish-created dramas in recent years and today’s deal “propels Turkey’s storytelling powerhouse into the U.S. Spanish-language marketplace exclusively with Telemundo,” said Karen Barroeta, Executive Vice President, Production and Development for Telemundo Television Studios. “Merging the power and appeal of Turkish properties with Telemundo’s superior production capabilities further strengthens our position as a leading producer of premium scripted content.”
Inter Medya is among the most well-known Turkish production and distribution companies, comprising one of several that have established the country has a key creator and seller of high-end telenovela formats globally in the past decade.
It represents well-travelled Turkish series such...
Telemundo has had success with several Turkish-created dramas in recent years and today’s deal “propels Turkey’s storytelling powerhouse into the U.S. Spanish-language marketplace exclusively with Telemundo,” said Karen Barroeta, Executive Vice President, Production and Development for Telemundo Television Studios. “Merging the power and appeal of Turkish properties with Telemundo’s superior production capabilities further strengthens our position as a leading producer of premium scripted content.”
Inter Medya is among the most well-known Turkish production and distribution companies, comprising one of several that have established the country has a key creator and seller of high-end telenovela formats globally in the past decade.
It represents well-travelled Turkish series such...
- 5/17/2022
- by Jesse Whittock
- Deadline Film + TV
Though the onslaught of streaming giants is impacting Turkey’s TV landscape, it’s not as though Turkish shows weren’t doing gangbuster global biz way before Netflix and other platforms arrived on the scene.
“Turkish dramas were already reaching audiences all over the world on linear TV,” says Ekin Koyuncu, head of prominent broadcaster Kanal D’s international sales arm. And that is why streamers are now so keen on making Turkish originals.
What changes with having Turkish originals streaming on global platforms is that “the age targets are totally different,” she says. “With this [platform] product, we are gaining the awareness of a younger population, especially in the U.S. and Europe, where our linear penetration is actually low.”
So “both sides are benefitting from each other,” Koyuncu points out.
The new batch of Turkish dramas going out globally via both linear and streaming outlets includes:
Aziz
This 1930s-set...
“Turkish dramas were already reaching audiences all over the world on linear TV,” says Ekin Koyuncu, head of prominent broadcaster Kanal D’s international sales arm. And that is why streamers are now so keen on making Turkish originals.
What changes with having Turkish originals streaming on global platforms is that “the age targets are totally different,” she says. “With this [platform] product, we are gaining the awareness of a younger population, especially in the U.S. and Europe, where our linear penetration is actually low.”
So “both sides are benefitting from each other,” Koyuncu points out.
The new batch of Turkish dramas going out globally via both linear and streaming outlets includes:
Aziz
This 1930s-set...
- 4/2/2022
- by Nick Vivarelli
- Variety Film + TV
After conquering eyeballs in the Middle East, Latin America and Europe, Turkish TV dramas are now reaping stellar ratings in the U.S. on Spanish-language media giant Univision.
And at its recent upfront Univision announced it’s set to serve up more of the often female-centric skeins known in Turkey as “dizi.”
Since its U.S. launch in February, Turkish romancer “Sefirin Kizi” (The Ambassador’s Daughter) known as “La Hija del Embajador” to Hispanic viewers – who account for 19% of the U.S. population, or 63 million people – has now reached more than 9.2 million total monthly viewers, making Univision the No. 1 U.S. network among Hispanics and bilinguals and outperforming ABC, CBS, NBC, Telemundo and all cable networks in the weeknight 10 p.m. slot, Univision says.
On Univision’s UniMas network the recent premieres of female empowerment drama “Fatmagul” (pictured) retitled “Qué Culpa Tiene Fatmagül?,” which turns on its titular young woman...
And at its recent upfront Univision announced it’s set to serve up more of the often female-centric skeins known in Turkey as “dizi.”
Since its U.S. launch in February, Turkish romancer “Sefirin Kizi” (The Ambassador’s Daughter) known as “La Hija del Embajador” to Hispanic viewers – who account for 19% of the U.S. population, or 63 million people – has now reached more than 9.2 million total monthly viewers, making Univision the No. 1 U.S. network among Hispanics and bilinguals and outperforming ABC, CBS, NBC, Telemundo and all cable networks in the weeknight 10 p.m. slot, Univision says.
On Univision’s UniMas network the recent premieres of female empowerment drama “Fatmagul” (pictured) retitled “Qué Culpa Tiene Fatmagül?,” which turns on its titular young woman...
- 5/21/2021
- by Nick Vivarelli
- Variety Film + TV
Turkish TV dramas continue to make inroads around the world, primarily in linear and pay-tv slots congenial to these sophisticated soaps, which are generally sold in packages of 100 commercial hours per show. But bolder new titles in six-10 episode formats are increasingly being made for streaming platform play.
“The market is hot: we are producing like crazy despite the pandemic,” says Ahmet Ziyalar, chief of Istanbul-based sales and production company Inter Medya, who notes “it’s really hard to find available talents.”
Prices for Turkish product dropped some in the immediate aftermath of the pandemic, he points out, “because traditional broadcasters lost their advertising revenues.”
But ad intake is now starting to pick up. “We are signing more contracts,” says Ziyalar, who adds that due to lower prices “his revenues are the same” as before the coronavirus crisis.
Inter Medya’s top-selling shows include global hit “The Ambassador’s Daughter,” centering...
“The market is hot: we are producing like crazy despite the pandemic,” says Ahmet Ziyalar, chief of Istanbul-based sales and production company Inter Medya, who notes “it’s really hard to find available talents.”
Prices for Turkish product dropped some in the immediate aftermath of the pandemic, he points out, “because traditional broadcasters lost their advertising revenues.”
But ad intake is now starting to pick up. “We are signing more contracts,” says Ziyalar, who adds that due to lower prices “his revenues are the same” as before the coronavirus crisis.
Inter Medya’s top-selling shows include global hit “The Ambassador’s Daughter,” centering...
- 4/12/2021
- by Nick Vivarelli
- Variety Film + TV
Fox’s back-to-back talent show telecasts of “The Masked Singer’s” fifth season debut at 8 p.m. followed by the series premiere of “Game of Talents” with host Wayne Brady at 9 p.m. outperformed on Wednesday primetime fast-affiliate numbers.
“The Masked Singer” received a rating of 1.2 in the adults ages 18-49 demographic and 5.42 million viewers, and “Game of Talents” obtained a 0.7 in the key demo and 3.10 million viewers. In comparison with the performance of the Big 4 network’s primetime programming and the Spanish-language network broadcasts between 8 and 11 p.m., Fox was number one in the key demo on March 10, obtaining a 1.0 rating and 4.26 million viewers. NBC was atypically runner-up in the key demo for the evening, obtaining a 0.9 rating, but still triumphed over Fox in viewers with 6.65 million.
NBC’s “Chicago” crossover trio, which consists of the three dramas “Chicago Med,” “Chicago Fire,” and “Chicago Pd,” took up the top...
“The Masked Singer” received a rating of 1.2 in the adults ages 18-49 demographic and 5.42 million viewers, and “Game of Talents” obtained a 0.7 in the key demo and 3.10 million viewers. In comparison with the performance of the Big 4 network’s primetime programming and the Spanish-language network broadcasts between 8 and 11 p.m., Fox was number one in the key demo on March 10, obtaining a 1.0 rating and 4.26 million viewers. NBC was atypically runner-up in the key demo for the evening, obtaining a 0.9 rating, but still triumphed over Fox in viewers with 6.65 million.
NBC’s “Chicago” crossover trio, which consists of the three dramas “Chicago Med,” “Chicago Fire,” and “Chicago Pd,” took up the top...
- 3/11/2021
- by Mónica Marie Zorrilla
- Variety Film + TV
NBC’s two-day Season 20 debut of “The Voice” at 9 p.m. outperformed all other programs in Niseln Live+Same Day fast affiliate numbers on Monday and Tuesday night. On March 2, the singing competition scored a 0.9 in the adults 18-49 demographic and 6.16 million viewers.
CBS’ “NCIS” at 8 p.m. came second in the key demo with a 0.8 but triumphed over all shows aired during the evening in viewership numbers with 9.34 million watchers. CBS also ran new episodes of “FBI” at 9 p.m. and “FBI: Most Wanted” at 10 p.m..
Episodes of NBC’s newest sitcoms “Young Rock” and “Kenan” dropped, with the Dwayne “The Rock” Johnson-centered comedy obtaining a 0.6 in the key demo and 3.12 million viewers at 8 p.m. and the Kenan Thompson-led comedy obtaining a 0.5 in the key demo and 2.36 million viewers at 8:30 p.m.
NBC also ran the Season Three debut of “New Amsterdam” in the 10 p.
CBS’ “NCIS” at 8 p.m. came second in the key demo with a 0.8 but triumphed over all shows aired during the evening in viewership numbers with 9.34 million watchers. CBS also ran new episodes of “FBI” at 9 p.m. and “FBI: Most Wanted” at 10 p.m..
Episodes of NBC’s newest sitcoms “Young Rock” and “Kenan” dropped, with the Dwayne “The Rock” Johnson-centered comedy obtaining a 0.6 in the key demo and 3.12 million viewers at 8 p.m. and the Kenan Thompson-led comedy obtaining a 0.5 in the key demo and 2.36 million viewers at 8:30 p.m.
NBC also ran the Season Three debut of “New Amsterdam” in the 10 p.
- 3/3/2021
- by Mónica Marie Zorrilla
- Variety Film + TV
Focused on Latin America and U.S. Hispanic markets, last week’s MipCancun Online Plus market-conference was a boutique affair, attracting 600 delegates from 500 companies and 44 countries.
Far more than MipTV and even Mipcom, however, MipCancun’s lineup of speakers marked a virtual who’s who of relevant leading industry figures, led by the top executives for Latin America at companies shaping the region’s film-tv future: Netflix’s Francisco Ramos; Disney Plus’ Leonardo Aranguibel; ViacomCBS Intl. Studios and Networks Americas’ J.C. Acosta; Amazon Prime Video’s Pablo Iacoviello; NBCUniversal Telemundo’s Marcos Santana; and Sony Pictures Television’s Ana Bond.
Wrapping Friday, 2020’s MipCancun kicked off on Nov. 17 as Disney Plus launched across Latin America. That seems appropriate. One subject dominated most keynote and panels, one way or another: The impact of the still ongoing Ott revolution on Latin America’s production sector. Below, find 10 takeaways from MipCancun 2020’s conference.
Far more than MipTV and even Mipcom, however, MipCancun’s lineup of speakers marked a virtual who’s who of relevant leading industry figures, led by the top executives for Latin America at companies shaping the region’s film-tv future: Netflix’s Francisco Ramos; Disney Plus’ Leonardo Aranguibel; ViacomCBS Intl. Studios and Networks Americas’ J.C. Acosta; Amazon Prime Video’s Pablo Iacoviello; NBCUniversal Telemundo’s Marcos Santana; and Sony Pictures Television’s Ana Bond.
Wrapping Friday, 2020’s MipCancun kicked off on Nov. 17 as Disney Plus launched across Latin America. That seems appropriate. One subject dominated most keynote and panels, one way or another: The impact of the still ongoing Ott revolution on Latin America’s production sector. Below, find 10 takeaways from MipCancun 2020’s conference.
- 11/23/2020
- by John Hopewell, Pablo Sandoval and Anna Marie de la Fuente
- Variety Film + TV
Olivia de Havilland, one of the last remaining actresses of Hollywood’s Golden Age and the last surviving star of Gone With the Wind, died July 26 of natural causes at her residence in Paris, where she lived for more than six decades, according to Variety. De Havilland was 104.
De Havilland turned 104 on July 1. She was the older sister of Joan Fontaine, who died in 2013 at 96. The two Academy Award-winning actresses were estranged for most of their lives. Olivia Mary de Havilland was born in Tokyo on July 1, 1916. Her parents, Walter de Havilland, an English professor, and actress Lilian Fontaine, were British. De Havilland and her sister grew up in Saratoga, California, with their mother. Her father married the family’s housekeeper and remained in Tokyo. Havilland’s first performance was in a school production of Alice in Wonderland.
She made her stage debut in Max Reinhardt’s production of Shakespeare’s A Midsummer Night’s Dream.
De Havilland turned 104 on July 1. She was the older sister of Joan Fontaine, who died in 2013 at 96. The two Academy Award-winning actresses were estranged for most of their lives. Olivia Mary de Havilland was born in Tokyo on July 1, 1916. Her parents, Walter de Havilland, an English professor, and actress Lilian Fontaine, were British. De Havilland and her sister grew up in Saratoga, California, with their mother. Her father married the family’s housekeeper and remained in Tokyo. Havilland’s first performance was in a school production of Alice in Wonderland.
She made her stage debut in Max Reinhardt’s production of Shakespeare’s A Midsummer Night’s Dream.
- 7/27/2020
- by Alec Bojalad
- Den of Geek
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