The international distributor has found new platforms and channels for its entertainment and factual slate in Africa, Australia, Belgium, Brazil, CEE, CIS, France, the Netherlands, New Zealand, the Nordics, Portugal, the UK, and the US.
Keshet International has completed multiple finished tape deals for its entertainment and factual slate.
For starters, KI has sold Flicker Productions’ Reggie Yates Meets World (4×60’), which takes an immersive look at issues affecting young people today, to YLE in Finland as well as to BBC Studios for BBC BRIT in Africa.
In Belgium, KI has completed a raft of deals with DPG Media for reality and factual content for its Vitaya and VTM channels, including Singletown (15×60’), Keshet Productions’ new relationship show which sees five couples press pause on their partnerships; and three series from Crackit Productions: The Lesbian Guide to Straight Sex (3×60’), The Good Girls’ Guide to Kinky Sex (6×60’), and When Luxury Holidays Go Wrong (3×60’). In addition, the deal also includes a number of Crackit Productions’ hard-hitting documentaries.
Elsewhere in Belgium, VRT has bought Crackit Productions’ Animal Ambulance (8×30’) for its Flemish audiences. While in the Netherlands, RTL has picked-up two Crackit Productions’ titles: Made in Britain and Made in Yorkshire (6×60’), in which John Prescott takes a comprehensive look at the entire food production process of British staples like sausages, chocolate, and cheese; alongside When… Goes Horribly Wrong (3×60’), a jaw-dropping series exploring how luxuries like cosmetic surgery can go painfully, dramatically and sometimes tragically wrong when we least expect it.
Meanwhile, The Great Gardening Challenge (6×60’) has been acquired by Sky for New Zealand and Husbands from Hell (1×60’) has been picked up by MTV in Finland. Both series are produced by Crackit Productions.
KI has also completed deals for a number of returning series, ahead of officially taking them to market, with new broadcast partners coming on board alongside those who’ve already committed to earlier series.
In France, Canal Plus has picked up both series of Prison Girls: Life Inside (S1 4×60’, S2 6×60’), Flicker Productions’ raw and in-depth look into the lives of women incarcerated in an American jail for its Planete+ Crime Investigation channel, while BNNVara has also committed to the second series for the Netherlands.
Australia’s SBS has also picked up the rights for the second series of Rumpus Media and Motion Content Group’s Around the World by Train (S2 6×60’), which sees Sir Tony Robinson take a whirlwind journey around the globe in the opposite direction to the first series.
Sweden’s public broadcaster SVT has acquired the second series Owl Power’s Mortimer & Whitehouse: Gone Fishing (S2 6×30’).
Series two of Crackit Productions’ Trucking Hell (S2 20×60′), which follows the drivers of heavy rescue company Crouch Recovery as they keep Britain’s roads moving, has been ordered by international media company Viasat World for the Viasat Explore channel in the Nordics, CIS and CEE regions, following the successful premiere of the first 10×60’ series in those territories.
TLC Netherlands and TLC Flanders picked up both series of Crackit Productions’ Casualty 24/7 (S1 4×60′, S2 12×60’) for the Netherlands and Belgium.
SIC has acquired both series of Greatest Celebrity Wind-ups Ever (S1 6×30, S2 3×30’) for Portugal, Angola, Mozambique and Cape Verde, while Globosat has also picked up the second series for Brazil.
Finally, the fourth series of Woodcut Media’s World’s Most Evil Killers (20×60) has been acquired by Foxtel in Australia, EMEA’s CBS Reality and US cabler REELZ.
Keren Shahar, KI’s COO and President of Distribution, said: “This raft of deals shows that even though we and our clients may not be travelling, our shows still are all over the world. Our growing slate of cross-genre English language titles is ready to go now and we are primed to accelerate and cater to clients’ needs in response to growing demand. Nurturing relationships with our buyers remains an all-year-round priority for us and while we’ll miss seeing many of them in Cannes, we’ll be speaking to most over the coming days and weeks.”
