Weekly: Eight on the Slate - What commissioners want

Eight on the Slate is a new strand of monthly articles brought to you in partnership with Broadcast Intelligence that explore what commissioners from around the world are looking for and how producers can work with them.

From rights and windowing to key genres and programming priorities, we explore the must-haves for those holding the purse strings and how they are shifting their wishlists in a fast-moving landscape.

In this first profile, Blue Ant Media’s Sam Linton, vice president of production and development of global media, reveals the importance of returning series, the range of unscripted genres in demand and how producers should pitch.  

What makes a show uniquely suitable for your broadcaster?

Across the board we want to build long-running franchises in the factual space. We want series that connect viewers’ sense of wonder and curiosity about the world. From ghosts and pets to history and science, teach me something about the way the world works in a very entertaining way.

What genres do you commission?

Blue Ant commissions factual content across genres that caters to niche audiences including history and military, paranormal and true crime, lifestyle and pets, space, science and engineering and natural history. The company’s Canadian linear cable channels include Cottage Life, Makeful, T+E, Smithsonian Channel Canada, Love Nature, BBC Earth, BBC First.

Along with its linear channels Blue Ant Media’s original content has a life on its other global streaming channels, which are similarly themed to its linear channels. These include HauntTV, Homeful and Love Pets to name a few, and additionally, Blue Ant Media’s newly acquired US-based SVOD service, MagellanTV.

Producers are encouraged to pitch based on genres and the commissioning teams to figure out how to best route it through our channel platforms. Blue Ant’s flexible windowing strategy allows us to tailor our offering across territories to maximise reach and monetisation across multiple platforms including SVOD, FAST, AVOD, VOD and pay TV.

What are your top priorities for your upcoming slate?

In every category, we look for long-running, returnable series. We want to build audiences through series that can repeat. So, when you are developing a concept, ask yourself whether it has the engine to go into a fifth or sixth season. Also, the shows that do best for us aren’t character-based storytelling. Our shows are seen all around the world and creative approaches that reversion well are our priority.

For Cottage Life we’re looking for mysteries of the planet, survival, extreme weather, engineering and pets and vets; the thrill of leaving a city behind and getting out into nature. Examples include Cosmic Vistas: (8 x 60 minutes) and Engineering From Above: (8 x 60 minutes). The latter was commissioned by Blue Ant channels and sold to History Channel in the US following the successful partnership with Mysteries From Above. These shows are fresh, fast paced, have a recurring stable of entertaining pundits and explain science in a very digestible way.

We want to build audiences through series that can repeat, so ask yourself whether your project has the engine to go into a fifth or sixth season

Makeful focuses more on inspiration, rather than instructional creative programming. Content should evoke creative spirit. In addition to content for Makeful, we’re looking for lifestyle series that will work across the streaming channels, Homeful, which focuses on home renovations, and Love Pets. Examples include Holmes on Homes: Building a Legacy (two series) and Pets Search and Rescue: (1 x 60 minutes).

T+E is dedicated to programming around the supernatural, mystery and crime. Audiences come to T+E because they love to be scared, they are believers and they watch these shows to help reinforce that belief. Content should look to give audiences a genuine scare and an adrenaline rush. Examples include My Haunted Hometown (two series), which was commissioned for T+E; with a second window on the FAST channel, HauntTV, and Destination Haunted: Leaps Castle (1 x 60 minutes).

Smithsonian Channel Canada is the Canadian counterpart to the American channel. It is a pay TV channel that broadcasts factual programming, largely on history and science. The channel has a strong relationship with its US counterpart and is all about super-serving the audience what they love. Here documentary series that provide a fresh twist on history, military, ancient civilization and archeology are sought. Examples include: Mysteries From Above (six series), which was commissioned for Blue Ant Channels and sold to History Channel US and Hitler’s Last Stand (six series) which was commissioned by Blue Ant Channels and National Geographic.

Are there any trends you’re keen to capitalise on? 

This is not something we look to do.

What do you NOT want to be pitched?

We are not looking for one-off specials, scripted dramas or comedies.

What would surprise people about your slate?

It would surprise people to know that my slate is very international facing. We want stories and concepts that are universal and can connect with audiences all over the world. We have a track record of focusing on Canadian content, but for us that means executing them here at home but the subject matter is truly universal. For example, losing a pet or being haunted by a ghost – how do we make those human experiences connect to anyone on the planet?

What are the key components you consider for international co-productions?

Across the board Blue Ant Media is open to co-productions and we are open to working globally. Canada has co-production treaties worldwide, which allow international producers to partner with Canadian ones in order to create content. All productions must be made in partnership with a Canadian production company.

I am also able to matchmake international production companies looking to work with Canadian producers. Together Blue Ant’s channels and studios groups create commissioning power in the factual space, allowing us to partner on original IP and leverage creative financing to fund financing gaps.

Original commissioned series premiere on Blue Ant’s owned and operated channels. They may also premiere on broadcasters and platforms around the world that have co-commissioned a series. Originals can be licensed by Blue Ant Studios’ rights division to external broadcasters in non-commissioning territories

How, and at what point in the development process, should producers pitch to you?

I look to work with producers who specialise in the programming areas of each channel are of interest. Producers can email me to set up a preliminary call or formal pitches can be submitted to me via email along with a submissions form here.

For pitches the general expectation is a one to two-page proposal that covers several main areas. The document should make clear the show’s hook and uniqueness, as well as episode outlines, the talent attached and why they are suitable. As long-running series are sought so the proposal should make clear in the proposal how the series has the potential to run for several series.

Technical details to include are the shooting and editing style, the production team and a finance plan. Along with this demo tapes that can demonstrate the vibe and the world of the idea are preferred if possible.

For contact details and more information visit Linton’s profile on Broadcast Intelligence.