In a move to diversify its programming and bolster its presence in the region’s entertainment space, beIN, last week, entered into a strategic partnership with Turner, a division of Time Warner, to exclusively air Turner-owned channels in the Middle East and North Africa region.
 Nearly forty six years after it was founded, Turner Broadcasting is still in the forefront of shaping the entertainment landscape, as attested by its portfolio featuring more than 100 of the most recognisable brands in over 200 countries. Some of the current assets of the American media conglomerate include CNN, HLN, TBS, TNT, Cartoon Network, Boomerang, TruTV, Adult Swim and Turner Classic Movies.
Giorgio Stock, President of Turner EMEA (Europe, Middle East and Africa), who was in town for signing the deal with beIN, settled for a long chat with Community to share his precious behind-the-scenes insight into the entertainment business:
 
As we enter the New Year, what do you think are the key elements that the entertainment industry must focus on?
In an industry where things evolve at an ever-increasing pace, two things remain remarkably consistent – the value of content and brands. And the simple fact that those who continue to be exceptional in these areas, and maximise opportunities within the increasingly connected ecosystem, will prosper. The industry should take heart from the enduring resilience of linear TV, and of traditional advertising, despite a host of new offers, that has been a welcome surprise in 2015 and looks set to continue into 2016. At the same time, there’s no question that digitisation continues to transform the landscape and ensuring you have a non-linear presence is key to long-term success.
 So what are the changes the entertainment business must adapt to?
Well, your linear TV offering will need to be integrated into a digital ecosystem where fans will surf, watch, play, share and create. For instance, our current plans for our reboot of The Powerpuff Girls will include original content ranging from channels and YouTube to game apps, web and social media. The proliferation of next-generation platforms is, in my view, a positive on all fronts: it gives the consumer easier access to content, content providers more outlets to market, and broadcasters — like Turner — options to go direct to consumers or team up with providers with space for us to curate our content. Keeping an ever-closer eye on audience consumption habits will be key at a time when they have more choice and quality than ever.
 
What is peculiar about the appetite for entertainment in the Middle East?
The specific aspect to the Middle East entertainment industry is that the average TV viewing hours are very high, and the consumers seek high quality content. So, a premium offering like Turner’s channels is highly appreciated.


How challenging is it to present fresh and innovative content amidst such competition?
Whether we are entering a new market or cementing our leadership position, the desire to innovate is always there at Turner. The creative impetus is something we nurture and promote as part of our DNA, not just as a competitive tool. From 450 half hours of new content for Boomerang in the coming years, to a pop-up channel, Hoolee, in South Africa, which could well prove an exciting model for future ventures, from the multitude of “digital first” creative concepts being seeded online, to the ongoing creative force that is The Amazing World of Gumball, we are structured to encourage new programming ideas for all our branded destinations. Being part of the local fabric of the Middle East is important for us, and indeed we have a sizeable news operation in the region, as well as a dedicated animation studio both of which produce content which fuels our brands. Catering to local tastes remains a priority of ours, and specific to the Middle East, we are delighted to have delivered Season 2 of Mansour and have started working on Season 3 already. This show is something that its audiences can learn from as well as enjoy as great entertainment. Perhaps, the challenge is to make sure our audiences know that they can rely on us for fresh and innovative content.
 
How has unlimited access to online streaming and downloading of content affected TV broadcasting business?
More than ever we see the importance — and benefits — of having strong brands that have a clear identity. At the same time, it’s an opportunity to marry the new technology to our own content in exciting new ways providing audiences with the experience they crave, and have now come to expect, and one can do that with a range of platforms from Spotify to YouTube. Our role as entertainment creators and media owners is to curate our brands through the many and varied paths to our audiences — delivering experiences that essentially look to new technologies and platform partners. The best model for delivering quality content is one where technology enhances and facilitates the consumer experience. This supports loyalty and repeat use with powerful brand experiences and storytelling at its core.


Since you also head kids networks, what sort of trends do you see in the new generation’s consumption of entertainment?
Driven and resourceful, Generation Z youth have an entrepreneurial spirit, wanting to create things, collaborate with others and inspire. They are curious and like feeling empowered by having control of the content they engage with. And of course, they are not just watching TV — they are everywhere — online, on mobile and tablets, playing games and collecting merchandise, watching on demand and interacting through social media. This generation often takes in content on more than five screens. As a creator-driven channel, this has been an incredible development for us to be part of. We lead the charge in enabling a different kind of storytelling through our new generation of artists, for a new generation of kids. Across both our flagship kids channels — Boomerang and Cartoon Network — we produce content for this generation’s preferred platforms — much of which is quickly accessible and shareable within seconds. We have fully optimised YouTube channels across EMEA. We have seen more than 420 million game plays across the region last year. We acquire the rights to leverage our brands online and on demand — and will continue to develop shows within these areas.
 
From all your experiences in the industry, what is a good source for the interesting revelations on audience patterns or market dynamics?
I am blessed with having children at home who open my eyes to the ongoing evolution of the user experience and behaviour in our market place. Not one day goes by without them sharing new ways of using devices and optimising the user experience available to them. At the same time, I see with relief that brands and trusted destinations remain their signpost now more than ever.
 
In what way will Turner’s partnership with beIN Media Group change the existing industry scenario?
Turner is always looking for partners that share a vision of delivering quality experiences while expanding reach and growing audience engagement. Teaming up with beIN is therefore, a logical choice, and we expect this to be a long and fruitful collaboration in the region and beyond. We believe this will be a fantastic opportunity for audiences in the region, who will now be able to access beIN’s compelling programming bundles.
 
How has Turner used licencing and merchandising to build franchises, and also, how does one identify quality content?
Licencing and merchandising is a significant part of our ambition to grow franchises — aligned with our strategy to keep re-invigorating brands that resonate globally. Ben10 was probably the first Turner property to benefit from a powerful Licensing & Merchandising strategy. We now have several key franchise properties including Adventure Time, The Amazing World of Gumball and the soon to be launched re-boot of the ’90s cult hit The Powerpuff Girls. Developing our much loved shows and characters as key franchises is a great way to establish the enduring appeal of our brands — and reach our audiences wherever and whenever — allowing them to experiment, create and play in multiple ways and deepening their connection to our characters. It’s also further commitment to being where our audiences are, a vital component of our global kids business. Adventure Time, for example, has benefitted from fashion partnerships including Dr Martens, Moschino, H&M, and Desigual — driving the brand’s ‘cool’ credentials, and connecting with kids and young adults in that space. Perhaps the most immersive licensing experience will be our upcoming Cartoon Network destination featured within the world’s biggest indoor theme park soon to launch in the region.