Nicely Entertainment and The Steve Jaggi Company announce a new Film and TV projects

Nicely and SCJ are developing a minimum of six new TV projects including both dramas and YA series. The partnership will also work on two to three new movies per year with the next one to start production in Fall 2022.

Los Angeles based Nicely Entertainment and Australian production house The Steve Jaggi Company (SJc) are cementing their relationship with a slate of new high-concept television series’ and movies for the global market. Past projects from the two companies have already been enthusiastically received by audiences across the globe, including the Netflix Original young adult series Dive Club (Netflix TV top 10 in 25+ territories; Netflix Kids top 10 in 27 territories) and romantic feature This Little Love of Mine (Netflix’s top 10 in over 50 territories and the first Australian film into production during the global pandemic).


With Nicely’s distinctive approach to delivering quality content to global audiences, and SJc’s demonstrated experience developing and producing quality audience focused I.P., this successful partnership is well-placed to meet the ever-increasing global appetite for content.


A Royal in Paradise – the third movie collaboration between the two partners and the first under the new deal – commenced production this week in Australia’s beautiful South East Queensland. Actor Rhiannon Fish (The 100, Home and Away) steps into the lead role alongside Mitchell Bourke (The Family Law) as her royal love interest. A Royal in Paradise is directed by Adrian Powers (Forbidden Ground), and written by Adrian Powers (Dive Club) and Caera Bradshaw (Dive Club). A Royal in Paradise follows New York writer Olivia Perkins (Fish), a successful author on deadline for her next romantic adventure novel. On the other side of the world, Prince Alexander (Bourke) needing some distance, decides to attend a marine conservation fundraiser on Haven Isles. On arriving at the island, the Prince and Olivia meet and form a friendship, but Alexander keeps his identity a secret. Experiencing all the Island has to offer, Olivia and Alexander grow closer, until the Prince’s true identity is exposed by a royal spy.


Nicely Entertainment CEO Vanessa Shapiro comments, ‘It has been incredible to see Dive Club, This Little Love of Mine and Love in Bloom be so well-received by audiences around the world. SJc are wonderful creative collaborators, and I’m excited about the slate of strong projects in the pipeline’.

Steve Jaggi adds, ‘SJc has found its sweet spot working across both the young adult and romance genres, and it has been rewarding to see our projects reach Netflix’s top 10 in so many territories around the world. We are spoilt for choice here in Australia when it comes to talent and locations, and we’re looking forward to continuing our successful working relationship with the team at Nicely’.

Nicely Entertainment will also be handling global sales and distribution of the Giant Screen 8k HDR family friendly documentary Beyond the Reef, which showcases the stunning Great Barrier Reef and its amazing biodiversity in a fun and pacy presentation aimed at tween audiences. Hosted and narrated by actor and social media influencer Shuang Hu, Beyond the Reef will be released to the international market this fall. Beyond the Reef is produced by SJc with In Three Production.

Canela Media: ‘Latin content is central to our strategy’

Isabel Rafferty, CEO of Canela Media, highlighted the growth, diversification and expansion of the company in recent years and confirmed the launch of its new OTT Canela Kids, which will be available as a TV channel and as AVOD, on August 16.

In February 2019, the executive observed how the new streamers did not consider the tastes of the Spanish-speaking audience in the USA within their offer. And that’s why she decided to launch Canela Media in May 2020 with more than 10,000 hours of content.

‘We bet on AVOD first because our Latino audience in the US has little access to credit cards (60% do not have access); and second, the high cost: they cannot purchase more than 1-2 services. Latin content is at the core of our strategy, but our success is not only explained by acquiring and programming it, but mainly by the content we choose. Beyond the fact that Mexicans represent 60% of the Latino community in the US, there are others in clear expansion: Venezuelans, Brazilians and Puerto Ricans.

‘During the pandemic, the advertising market was reduced, but the audience grew. We launched Canela Noticias, which was our first channel. Later another 14 came. Today we have 25 between our own and third parties, but we hope to reach 50 by the end of this year. There is a lot of demand to reach the Latino audience and we are a good option’, Rafferty remarked.

‘After the success in the USA, we decided to launch in Latin America, first in Mexico and then Colombia. We want to be present in the entire region before 1Q 2023, including Brazil, where we will launch with content in Portuguese,’ she completed.

The other big announcement is Canela Kids, with children’s content that is curated and safe for children of all ages. It launches on August 16 as an AVOD and as a channel. ‘We are developing originals for Canela Media and Canela Kids. For the latter, Yo Soy, an 8-episode series about pioneering Hispanic women whose life stories are told through motion graphic animation: Frida Kahlo, Sonia Sotomayor, Rita Moreno, Katya Echazarret, Isabel Allende, Selena and Rigoberta Menchú’, Rafferty said.

‘We are also developing puppet shows and a cooking contest for children. We want to build on our growth with more original content, more target diversity, and reach new territories in Latin America’, she concluded.

Sony and Claro Video released trailer for Reputación Dudosa

Claro video and Sony Pictures Television (SPT) Latin America released the trailer for the first season of their coproduction Reputación Dudosa, a dark comedy series to be launched on June 30 in Claro Video platform.

Reputación Dudosa tells the story of Luis Arturo “Luisar” López Alcalá. Luisar dies of an apparent heart attack. In addition to being his last love, Julia is the detective in charge of handling the case. Luisar’s spirit still has things to resolve. Accompanied by Luisar’s spirit, Julia will start an investigation that will show a Luisar she never knew; that we all have secrets; that best friends can come from unexpected places and that you may be sleeping with your murderer.

Directed by Álvaro Curiel (Somos), based on an original idea by Luis Fernandez and executive produced by Ana Bond, Nestor Hernández, Luisa Perzabal, Annel Ramo and Alejandro García, Reputación Dudosa stars Marcus Ornellas (Falsa Identidad), Marcela Guirado (Como Sobrevivir Soltero), Sara Corrales (El Señor de los Cielos), Verónica Langer (La Casa de las Flores), Grettell Valdez (Medicos), Claudia Alvarez (Vencer el Desamor), Luz Ramos (Ringo) and Itahisa Machado (Cita a Ciegas).

Roku strengthens in Latin America with new partners

Alex Dalessio, sales director, Latin America, and Benjamín Garnica, International business development Rest of LatAm of Roku are carrying out a business trip within key Latin America territories, where they are announcing new partnerships to enhance the brand’s presence in Latin America.

During their visit to Peru and Argentina, Prensario interviewed Dalessio and Garnica, who highlighted that the commitment to international business is total: ‘With the growth of the Internet access and the new streaming services, we are the right partner to reach the “last mile”. Both in terms of our devices and our free app, which is very well accepted throughout the subcontinent’.

The focus on Latin America is strategical, since Roku was launched in Mexico back in 2015 and, two years later, in Brazil. ‘Today, with the app we have a presence throughout the region. However, our growth also depends on having customer services and infrastructure in each country, and that is the task we are undertaking on this journey’. 

The executives referred to the designation of Solutions 2 Go as a partner for Argentina, Peru and Brazil. ‘We are very happy to extend our partnership: to our operation in Brazil, we are now adding Argentina and Peru. The product will be present in its three versions in all our retail channels in Argentina, which includes stores such as Frávega, Musimundo, Jumbo, Cetrogar, Naldo Lombardi, among others’, explained Juan Pablo Bidart, General Manager of Solutions 2 GO for Argentina, Paraguay and Uruguay.

Roku currently has 61.3 million global users, the vast majority in the US, but its size outside of that strategic territory is growing every month. ‘The only constant is the growth in content consumption, and there we have impressive numbers: 20.9 billion hours, that is, a growth of 28% compared to the same period in 2021’, Dalessio and Garnica concluded.

The executives, who participated in a press round in Argentina, indicated that the three types of devices are being launched this week in this market at $11,999, $14,999 (Express 4K) and $17,999 (Streaming Stick 4K) Argentinean pesos, respectively.

VS Next Day 8: Adapt formats in MENA

Focusing on format adaptation at MENA, Heba Koraye, content market specialist at H.Consult, moderated one of the keynotes at LA Virtual Screenings 2022, where she had as guests Tarek El Ganainy, CEO at Tvision; Khuloud Abohomos, CEO at Art Format Lab and Nahi Sannan, CCO at Eagle Films Middle East.

Korayem started the talk by offering a brief insight into the region where there are 22 Arabic-speaking countries, 8 popular spoken dialects, 2.5$ trillion collective GDP: ‘This makes the region have a large media balance, +700 satellite TV channels, +15 regional OTT platforms, +20 telcos IPTV networks, +100 production companies, and +50 popular Arabic dubbing houses’. In addition, the executive mentioned that these territories are currently one of those with the highest internet penetration, and that is why so many niche OTTs have emerged.

Eagle Films’ Sannan spoke about the two stages he envisions in his search for formats: ‘One of the first things we determine is the feasibility for adaptation in the region and for it to be complemented by Arabic culture. the format has to be related to us regarding characters, motif, plots, costumes, and settings, all these have to be related to us. After having determined this, we evaluated its adaptability in each country, since each country in MENA has its own dynamics, both legal and cultural’.

For his part, Abohomos from Art Format Lab, explained that he follows a 3-point triangular strategy: ‘The first is to observe the format and its proven success in other territories, at this point we follow a format for a year and see how its performance is. and its impact; the second point is the feasibility of its adaptation in our market, such as its production values, that here we have to take into account what can and cannot be adapted in this region, taking into account that due to cultural differences, there are themes that cannot be broadcast on TV; and the final point is to see the trend of this content in the country and evaluate how to differentiate it from the other content available in the market, here we calculate the costs of acquiring it, producing it and keeping it on the air’.

As for Tvision, Ganainy spoke of the successful adaptation of Suits in this market: ‘Suits was an unprecedented success, because it was very different from the formats that are in the MENA. But we let ourselves be carried away by the fact that the American version was one of the most viewed contents here, and although many agreed that it would not surpass the American version, it was quite the opposite, becoming one of the 5 most viewed content on the OSN platform. in the United Arab Emirates.

The content needs and business strategies: An established buyer and new ones

With focus on the content needs of new players in APAC, Victoria de Kerdrel, APAC consultant at K7 Media, in conversation with Ryan Lee, Snior Content Development & Acquisition Exec at Sarawak Media Group (Malaysia), Krishi Dutt, director of VROTT (India), with Yesim Sezdirmez, Deputy General Manager at Kanal 7 (Turkey), who offered their impressions of the market.

Lee from Sarawak Media Group, a brand new TV station in Malaysia which are based at East Malaysia Park, the Borneo Island, where started back in 2018, expressed the company’s mission in the Asian market: ‘We want to establish ourselves as a media hub in the region and accelerate the growth of the creative media industry here. In 2020, we launched our terrestrial TV broadcast formulations to watch and we capture about eight million unique views and we do our own content production work’. The executive explained that they sell airtime slots billboards and commission local production houses to pitch their ideas to create original content on TV platforms: ‘So i would target audience varies depending on the platform we use for terrestrial TV. There are people of age 20 and above, basically youngs’. The signal seeks to capture international views, and has deployed a whole media strategy that includes Social Networks and YouTube.

Kanal 7’s Sezdirmez commented on the channel’s position in Turkey: ‘We are one of the leading commercial channels and we are based in Istanbul. We are an entertainment TV channel, and we position ourselves as the family channel of Turkey appeal to the general audience’. The company makes various genres available, such as local series, non scripted, travel shows, and in the future, films and turkish dramas programs. ‘The content market is very dynamic: you have to be very relevant and innovative in order to stand out. Our main pillar of content is to present high quality long running daily series on prime time. In this aspect, we have content with a strong female presence and with relevance to family values. The other pillar is our daytime content block, which is very important in Turkey, because there are many reality shows in this block competing with weekly drama series, and to make a difference from other channels, we are acquiring drama series’. The executive said that they are looking for content from different markets, from innovative proposals and have decided to include content from regional countries, especially India.

As for VROTT, Dutt expressed ‘we are an India-based company based out of Mumbai and we are more than 20 years old in the market’. The company operates with three business verticals, explained the director, the first is dedicated to acquiring and distributing international films from major studios in Hollywood and films from the Far East and from the UK: ‘usually we acquire all the rights and exploit such content on theatrical, on tv, or VOD and other digital platforms.

As a second business vertical they have dubbing and localization services: ‘We have a dubbing studio in India, where we are dedicated to subtitling and localizing in Indian languages, like Hindi, and other international languages. While the third vertical follows is our newly launched OTT platform VROTT, whose catalog is made up of global content subtitled and dubbed for the Indian market.’

Cyber Group an Nippon Animation to co-produce Nanami and the Quest for Atlantis

Cyber Group Studios (France) has teamed up with Nippon Animation (Japan) to produce a feature-length animated fantasy adventure film based on the Japanese classic TV series, Tico and Friends. The new feature-length film, called Nanami and the Quest for Atlantis, marks the beginning of what is expected to be a long-term collaboration between the new co-production partners, which will include several of Nippon Animation’s classic series as well as new properties and initiatives.

Pierre Sissmann, Chairman of Cyber Group Studios, commented: ‘We are honored to partner with Nippon Animation, an historic studio with a rich catalog of superb iconic properties. We are looking forward to starting this exciting adventure and embarking on a future filled with great projects’. 

‘We are so excited to work on this project with Cyber Group Studios, which has been producing and distributing a lot of wonderful programs on a global scale. We look forward to giving dreams and excitement to children around the world through this collaboration’, added Kazuko Ishikawa, President and CEO, Nippon Animation.

Nanami and the Quest for Atlantis is a 90-minute 3D x 2D animation hybrid geared to viewers ages 7-14, co-produced by Nippon Animation and Cyber Group Studios, which should be followed by a brand-new animation series. It will be based on the successful TV series, Tico and Friends, originally produced in 1994 and broadcast globally and on TF1 in France plus other global territories, including Germany, Italy, Spain, Japan, Korea.  

It is set in the gold rush era, around 1850, and explores the relationship between humans and nature. The story follows 14-year-old Nanami, her lifelong orca companion, Tico, and her traveling partner, 17-year-old Seira, as they travel the ocean in search of a hidden treasure and discover what is truly important to humankind. During their adventure they will come to understand the answer to the question Nanami’s father, Professor Scott, posed before they left home, “What is more important than material fortune?”

Tico and Friends was directed by Jun Takagi (Penelope, CHIBI MARUKO-CHAN). Nanami and the Quest for Atlantis is directed by Hitoshi Takekiyo (After-School Midnighters). 


Company’s First-ever Owned and Operated Production Unit in Mexico to Operate as Telemundo Global Studios Mexico

Kicks Off with the Production of the Upcoming Eighth Season of its Original Series “El Senor de los Cielos”

MIAMI and MEXICO — June 14, 2022 — NBCUniversal Telemundo Enterprises announced today the expansion of its production footprint with the opening of a new production unit in Mexico City operating as Telemundo Global Studios Mexico. Under the umbrella of Miami-based Telemundo Global Studios, the new production arm will increase the company’s on-the-ground production capabilities of scripted and unscripted content to meet the growing demand for Spanish-language programming in the U.S. and around the world. 

“Our new Mexico team solidifies Telemundo’s presence across the Americas, building on our stature as the largest producer of Spanish-language scripted content in the U.S.,” said Karen Barroeta, Executive Vice President, Production and Development for Telemundo Global Studios. “This new production arm will leverage our extensive production experience in Mexico together with the unparalleled know-how and robust infrastructure only NBCUniversal and Telemundo Global Studios can provide. Telemundo Global Studios Mexico will be a game changer for our industry as we continue to raise the bar with the best and most relevant Spanish-language stories delivered with the highest production quality.”

The new Mexico-based production unit is currently in pre-production of its first project for the network, the eighth season of the international ratings success “El Senor de los Cielos.” The company’s Mexico production arm will significantly expand Telemundo Global Studios production capabilities and provide a home for top creative talent to produce high quality content for Spanish-speaking audiences in the U.S., Latin America and the rest of the world. 

Telemundo Global Studios produces over 800 hours of original content a year, including highly rated series and international successes such as La Reina del Sur, Betty en NY, and El Señor de los Cielos, among many others.

Spain: Europe’s audiovisual hub, from inside

Felisa García Grande, Executive Director of ICEX-Invest in Spain


2022 is a pivotal year for the Spanish audiovisual industry: in addition to the maturation achieved by the sector at a national and international levels, there is a reinforcement of local/regional incentives and the launch of the ‘Spain, Audiovisual Hub of Europe’ plan with more than € 1,600 million public investment until 2025. The objective is to increase audiovisual activity by 30%, and make the Iberian country the leader of the global sector in the digital age.


Prensario interviewed Felisa García Grande, executive director of ICEX-Invest in Spain, to better understand how these funds will be applied and how they will be executed in the coming years. ‘For the Spanish Government, the audiovisual sector has become a strategic sector due to its great potential and its ability to favor the economic and cultural development of our country,’ she began.

And she exemplified: ‘On the one hand, we are attending the main international trade events, among which is Conecta FICTION & ENTERTEINMENT this month, which brings together the main international television actors. There, we report on the competitive advantages of shooting in Spain. On the same dates, we participated in Cannes LIONS where we have organized a day to attract filming and services in Spain in collaboration with the Association of Advertising Producers of Spain (APCP) and the Audiovisual Industry Alliance (ALIA) in front of advertisers, agencies, production companies and service companies in the sector’.

To carry out the task of offering the most accurate information at a global level, ICEX has its network of economic and commercial offices of the Secretary of State for Foreign Trade that provide local support, organizing activities adapted to each market to take advantage of the opportunities of business that may arise.

García Grande continued: ‘We have approved a media plan to promote Spain as a filming destination and our new tool, “Spain Audiovisual Bureau”: it is a centralized point of support and advice with information related to the internationalization of the audiovisual industry, both for the attraction of investments and filming to Spain, as well as to help Spanish companies and productions to develop their projects abroad. We collaborate with entities such as the Secretaries of State for Telecommunications, Migration, ICAA or the Spain Film Commission, among others.

Spain has a wide and rich cultural, historical and artistic heritage and a very favorable geographical and climatic situation with 10 types of climates, which have made it the scene of foreign blockbusters over the years. In addition, it is among the first European positions in terms of deployment of broadband and 5G networks, with a great preparation of Spanish audiovisual companies to incorporate digital technological improvements to production, production and post-production.

“Numerous series, video games and other productions chose this destination due to the ecosystem of talents, professionals and companies of different sizes of great quality and competitiveness. On the other hand, the Spanish language is a great asset to lead in one of the most important and growing markets worldwide. Spanish-language content has the potential to access the Latin American continent, a market with more than 400 million inhabitants’, García Grande summarized.

The cost of production is another key element, since it is lower compared to other countries, which makes it a reference country for international agents. ‘One of the greatest advances is the simplification of visa procedures for foreign workers (cast, crew, family members) from the audiovisual industry who come to Spain. Thus, artists and professionals are enabled to stay with their direct relatives, and minors are allowed to carry out their activity accompanied by their parents. These fewer administrative difficulties promote the sector as a whole,’ he added.

Lastly, the deployment of a “favorable” fiscal framework that generates employment with high added value for the country. ‘We offer tax incentives for international movies and TV series of 30% at the national level and more advantageous in other regions of the country, such as Navarra (35%) or the Canary Islands (50%)’, added García Grande.

Among the latest global productions developed are DC/Warner Bros. Discovery‘s Wonder Woman 1984 in Almería, Fuerteventura and Tenerife (Isla Baja, Anaga); The Crown S3-S5 from Left Bank Pictures, Sony and Netflix in Sevilla, Almería, Málaga, Cádiz and Mallorca; The Eternals from Marvel Studios in Fuerteventura, Lanzarote, Las Palmas, La Coruña; Killing Eve S3-S4 from Endeavor and BBC America in Barcelona, ​​Cádiz, Granada. And others like Westworld S3, The Witcher S1-S2, The Midnight Sky, Uncharted, Hustle and House Of The Dragon S1, among many others.

Among the top priority markets of Invest in Spain are clearly Latin America ‘due to the asset that the common language represents’, but also South Korea, India, and Turkey, in addition to the UK and the USA due to the volume and quality of their industry: ‘The first training mission for foreign producers in Spain that we have organized was with executives from key US companies, in coordination with the Secretary of State for Telecommunications and Digital Infrastructures and the Spain Film Commission, thanks to which we showed the strengths of the Spanish audiovisual sector to close to forty professionals belonging to member companies of the Motion Picture Association (MPA) and other platforms and top-level American audiovisual companies’.

The program combined technical sessions, institutional meetings, visits to locations and meetings with the Spanish sector, as well as visits to locations in Seville and Gran Canaria and Tenerife. And it had key presences such as the First Vice President of the Government and Minister of Economic Affairs and Digital Transformation, Nadia Calviño; the Minister of Industry, Commerce and Tourism, Reyes Maroto, and the Minister of Culture and Sports, Miquel Iceta. And, also, her Majesty Letizia her queen wanted to accompany them and know their interests.

The Spain AVS Hub plan is the main focus for the coming years. ‘The objective is to increase the audiovisual production carried out in Spain by 30% at the end of the period. To this end, the Spanish Administration is already collaborating actively with the private sector through associations such as the Association of Spanish International Audiovisual Producers (PROFILM), the Audiovisual Industrial Alliance (ALIA), the Association of Advertising Producers of Spain (APCP), the Spanish Federation of Associations of Animation Producers (DIBOOS) and the Association of Post-Production Companies (AEPP)’, concluded García Grande.

Series Mania: Seriesmakers open for submissions

Series Mania Forum has opened submissions for this new creative initiative supported by European content house Beta Group, targeted at feature film directors who venture into the world of series. Deadline for submission is September 15, 2022.

A new award of €20,000 for emerging talent introduced by the Kirch Foundation will be established in addition to the Beta award for two selected projects of €50,000 each. As a result, this unique program offers a total amount of €120,000 in grants. For further information on the initiative and registration, click here.

Seriesmakers’ objective is to support talents working on a new scripted series to develop a complete pitch deck, guided by A-list directors, showrunners, writers, and producers. Confirmed speakers for the first online edition (2022/23) include, among others: Marti Noxon (Unreal), Agnieszka Holland (Hourse of Cards), Michael Hirst (Vikings), Frank Doelger (Game of Thrones), Hagai Levi (The Affairs), Stefan Arndt (Run Lola Run), Cyril Tysz (Skam France), Ossi Nishri (Scenes from a Marriage), and Michael Polle (Furia). 

Each team will be closely mentored by experienced creatives, such as award-winning German producer Janine Jackowski (TONI ERDMANN, SKYLINES), Israeli writer and script doctor Ronit Weiss-Berkowitz (THE GIRL FROM OSLO), international Development Producer Isabelle Lindberg Pechou (TROM) and Brazilian producer, director and showrunner Felipe Braga (SINTONIA, LOV3).

Eligible for this initiative are directors, who had at least one feature film screened in the official selection of an A-list film festival in the past five years (2017-2022). The eligible directors can submit in teams of either director-producer or director-writer. Ten teams with an idea for a TV series will be selected to participate in this tailor-made training program.  A jury will award two teams with a € 50,000 grant each to develop a pilot script and a full package with additional support by Beta’s Content Division, led by CCO Koby Gal Raday. The two winning teams will furthermore be invited to Series Mania’s prestigious Forum to present their projects to the industry’s most influential decision makers, broadcasters, platforms, co-producers, and financiers. In addition, a third award, courtesy of the Kirch Foundation, will be given to an emerging talent.

The initiative is headed by Laurence Herszberg, General Director of Series Mania, and Koby Gal Raday, Chief Content Officer of Beta Group: ‘The exceptional quality of the speakers and mentors that will be sharing their insights with our participants, as well as the three awards in a total of €120,000 promises a great first edition. We are very excited to discover the series projects from filmmakers from all over the world’, remarked Herszberg.