The UK broadcaster has paid US$30 million for a 65% stake in Thinkfactory with an option to acquire the remainder in a two-year window that opens three years after the initial deal closes. The final payment will be linked to Thinkfactory’s performance over the period in question.

ITV has already bought into the US production sector with Gurney Productions and High Noon Entertainment sitting alongside the core ITV Studios America division.

Thinkfactory was formed in 1992 by veteran producer Leslie Greif (pictured). As well as Hatfields & McCoys its other new scripted series include Whitey, for A&E and Hit Men for Spike. It also makes reality shows including R&B Divas, Preachers’ Daughters and Marriage Bootcamp: Bridezillas.

International TV companies are increasingly keen to establish a presence in the US production sector as the growth of cable continues and the number of channels commissioning original content increases.

Adam Crozier, chief executive of ITV plc, said: “We’re gathering real momentum in building a substantial US presence, which is central to our strategy of creating a strong international content business. The acquisition of Thinkfactory Media is clearly a further significant step forward in achieving that goal.

Paul Buccieri, managing director of ITV Studios International and president and CEO of ITV Studios America, added: ” Leslie can effortlessly flow between producing scripted and reality shows – a skill increasingly admired by cable TV buyers.”

Speaking to TBI last year about the success of Hatfields Greif said: “Honestly, it’s hard to process the numbers. I always believed people wanted to watch epic stories; networks around the world shouldn’t be afraid to make epic programming.”

Greif, who co-created CBS’ long running series Walker, Texas Ranger, is now working on a new Texas Ranger series for History.

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Netflix said that, like elsewhere, Netherlands subscribers will be able to access Hollywood, local and global TV series and films, including Netflix Original Series including House of Cards and Arrested Development on tablets, phones, TVs, game consoles and computers.

Users in the Netherlands can sign up now to get an email alert when the VOD service goes live. Netflix said that further details on pricing, content and supported devices will be available later in the year.

The launch follows Netflix’s rollout in the Nordic countries of Sweden, Denmark, Norway, and Finland in October. In Europe, it is also currently available in the UK and Ireland.

Netflix said during its Q1 earnings announcement in April that it plans to launch in an additional European market in the second half of 2013.

Local reports from last month claimed that Netflix waslooking at the Netherlands, France and Belgium as new European launch markets.

In a posting on the firm’s job site earlier this year, Netflix also said it was looking to hire language experts “to providelocalisation for the Netflix experience in the following languages: Turkish, Dutch, Hindi, French, and Korean.”

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The new-look TCNE will be run by vice president Alan Fenwick. Several internal appointments have been made with Maria Rosaria Milone, senior commercial director, leading a new sales team and responsible for developing licensing strategies in-line tailored to local and regional markets.

Leila Loumi has joined from The Beanstalk Group as head of category for Apparel, Accessories & Footwear.

Existing staff fill the other head of category positions. Jason Rice covers Toys and Sports, Annabel Rochfort Themed Entertainment, Victoria Saint Publishing, Videogames and Music, Sandra Selva-Abril Stationery and Home.

David Berry will continue in a consulting role for Turner and be head of category for Food and Promotions while Turner recruits a full-time staff member. Graham Saltmarsh has been appointed to head of retail for the UK, Italy, France and Nordics, Kathrin Schenk head of retail for CEE, Russia and Benelux and Mar Romera for Spain and Portugal.

All of the execs report to Fenwick.

The previous structure saw the division organised around territory and regional bosses.

“This structure was hugely effective and central to Turner delivering award winning campaigns including the billion dollar licensed property Ben 10 however we’re an ambitious business and we recognise the need to evolve and continually strive to improve our offering,” Fenwick told TBI.

Turner would not clarify staff numbers before and after the reorganisation, but Fenwick noted: “As is common across the industry, efficiencies have been made. We’ve streamlined the number of departments within the EMEA CP team and the business will now largely operate as a three tier structure – category managers supported by retail experts directed by senior executives.

The changes come as Zeiler continues to implement changes at Turner and reduce headcount across divisions.

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Brooke-Hunt has been at ABC for six years and notable programming hits during his tenure include historical drama My Place, talent show Dance Academy, and preschool shows Giggle and Hoot and Bananas in Pyjamas (pictured).

He also established a copro relationship with China’s CCTV and pushed the availability of ABC’s content on different mobile and digital services and devices.

The broadcaster said that Brooke-Hunt had resigned and wants to “pursue new opportunities in children’s entertainment”.

Brooke-Hunt said “I leave ABC TV with renewed respect for public broadcasting, with gratitude to the talented producers of our programs, and with great pride to have worked with an exceptional team.”

Richard Finlayson, director of ABC Television, said: “There is no doubt that the dominance of ABC TV in the children’s area has been one of the great success stories for the ABC and this has been achieved under Tim’s leadership.”

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The US$40 million facility with JP Morgan and others has been renewed for three more years. It was initially agreed in 2004, since when it has been renewed four times.

The Company operates three divisions: Content Film, Content Television and Content Digital. Its TV division has a library of 3,800 hours.

John Schmidt (pictured), CEO of Content said: “These are exciting times for Content as we build out our worldwide business with revenues having grown from around $30m to $70m over the last two years. We are looking forward to further growth over the coming years supported by our partners in the loan facility.”

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ZenithOptimedia tracks advertising spend around the world and had previously forecast a recovery in Europe this year. However, in its latest update it noted the expected economic recovery will not now happen until 2014. It widened its forecast decline in revenue from 1.6% to 3.9%. Portugal, Italy, Ireland, Greece and Spain will suffer the sharpest declines and ad spend will fall 10.3% across these markets next year alone.

The wider eurozone numbers would still mark a recovery of sorts after last year’s 5.2% decline and the forecast is for growth next year.

Zenith noted: “Assuming that the eurozone economy begins to recover at the end of 2013, we expect ad expenditure to stabilise in 2014 – growing by 0.8% – followed by slow recovery in 2015, with 1.8% growth that year.”

Globally, the US will remain the largest advertising market and will also deliver the most new ad revenues to the cumulative total in the 2012-2015 period. However, the other major contributors to growth underline the changing face of global media with China delivering the second most new ad dollars ahead of Argentina, Indonesia and Russia.

In terms of total spend, the top ten ad territories will remain the same between 2012-2015 with the exception of France, which will slip out of the top ten and be replaced by Russia (see picture).

Globally, cumulative ad revenues will increase 3.5% this year, 5.1% next year and 5.8% in 2015, according to Zenith. Internet advertising will be by far the fastest growing category and mobile internet the fastest growing sub category.

TV will remain the largest medium, losing only a fractional share of the overall pie. Its share in 2012 was 40.1 and will be 39.5% in 2015.

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Super RTL has officially announced it output deal with DreamWorks, giving it a raft of the animation studio’s titles. News of the agreement leaked at the recent LA Screenings and the German kids broadcaster confirmed it this morning.

Super RTL is currently a joint venture between broadcaster RTL and Disney, but the latter is launching a standalone Disney Channel , which will take its premium content leaving Super RTL without a chunk of programming.

The output deal with DreamWorks, which has been increasingly active in TV in the past year, runs for five years, starting this September. It covers over 500 hours of content and titles include The Penguins of Madagascar, Kung Fu Panda: Legends of Awesomeness, George of the Jungle, Lassie and Rocky and Bullwinkle.

Super RTL will also get the new titles DreamWorks is developing for Netflix, which will be TV series spun off from its movie titles.

Claude Schmit, Super RTL managing director said: “For us this strategic partnership constitutes a milestone in the station’s history. Our relationship with DreamWorks Animation, one of the most globally recognized entertainment brands, will be able to elevate our profile as the go-to station for young viewers. With access to this incredible library of content, we are now excellently equipped to compete in a crowded marketplace.”

Ahead of the Disney Channel launch Super RTL CEO Claude Schmit recently told TBI that the new competition would “help us defend our position as Germany’s favourite children’s channel” and added: “Of course, we wish our Disney colleagues all the best for the launch and good luck in the race for second position.”

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Nassef has joined forces with Tamer Rashad, former head of Merrill Lynch Middle East & Africa to launch the new business, which will offer affordable social TV solutions to broadcasters, advertisers and media companies , primarily in the Middle East and Africa.

“Today the Middle East and Africa region represents an inflection point for television viewership, sky rocketing growth in the penetration of smartphones and connected devices, and heavy social engagement,” said Nassef. “When you combine all of this with the continued growth in both TV and digital advertising budgets, the opportunity is very exciting.”

He added: “Broadcasters and advertisers need a way to connect those experiences for their viewers and consumers, and that’s what Telfez will be all about.”

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The show, based on the eponymous movie, follows young couples who fall in love online despite never having met in person.

ABC’s public broadcast counterpart, SBS, has also acquired several MTV shows. It has picked up Dudesons in America, MTV Unplugged and Aziz Ansari sketch show Human Giant.

In New Zealand public broadcaster TVNZ has acquired a package of MTV shows including reality series Moving In, Bedroom Diaries, Tiara Girls and Savage U.

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The films on offer to the CEE broadcasters in town for NATPE include Danny Glover drama Donovan’s Echo (pictured) and Jonathan Rhys Meyers love story Belle Du Seigneur.

The features will sit alongside the lifestyle and factual content on Peace Point’s NATPE slate, which include ob-doc Frontier Vets, about student veterinarians in the Kruger national Park, Sean Bean-narrated soldiers of fortune doc series Mercenaries and Sando, a six-part series about the titular ancient Japanese martial art.

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