ESPAÑOL Una policía española, pero mujer, es la heredera de Harry El Sucio. Para hacer bien y vencir a gillipoyas criminales en España, hay a veces que modificar o ignorar las reglas. Con esta tía, no se juega ni si embarque. ENGLISH Una policía española, mujer, es la heredera de Harry El Sucio. Para hacer bien y vencir a gillipoyas criminales en España, hay a veces que modificar o ignorar las reglas. Con esta tia, no se juega ni si embarque. To do go as a cop, espeically a woman cop, sometmes you gotta break the rules, or just ignore them. Dirty Harry is alive and well. But she´s a woman, and in Spain.

Una policía española, pero mujer, es la heredera de Harry El Sucio. Para hacer bien y vencir a gillipoyas criminales en España, hay a veces que modificar o ignorar las reglas. Con esta tia, no se juega ni si embarque. To do go as a cop, espeically a woman cop, sometmes you gotta break the rules, or just ignore them. Dirty Harry is alive and well. But she´s a woman, and in Spain.

Avina´s vision is of an entertainment company comprised of a content development and production group, and a supporting technology group. The tech group would manage online, on-mobile and in person consumer-focused campaigns focused on de-risking entertainment projects – scripted or unscripted series, features, even realities or docs – by building a community early on in the entertainment process, soon after a project is greenlit, and gathering dynamic, hi-touch data on this community who would be made to feel they are part of the entertainment process of that particular content project. This project may have been created by Avina and commissioned by a funding entity such as a broadcaster, studio, production company, private investment group or OTT platform, but over time a project could have been produced by a third party. Avina´s techno-tainment group, deploying Avina´s data-gathering mobile-online platforms, would be the engines of community building, along with a carefully crafted, multi-tiered campaign of virtual and in-person events and promotions, consistently aimed at engaging consumers and making them feel part of the entertainment process, as mentioned. After the initial “proof of concept” projects in year one (a series developed and supplied by Avina Media´s content creation group), Avina´s techno-tainment group and the Avina´s mobile and online platforms could be deployed to de-risk, community build and create data reporting on entertainment projects from any company, studio, or broadcaster in the world. As such, the back end of Avina´s mobile and digital platforms would be built to scale globally within 2-4 years. In contrast to current practices in the entertainment industry around the world, Avina´s marketing methodology is without doubt disruptive. Avina´s techno-tainment methodology is rooted in the concept of commencing marketing and community building during the front end of the entertainment process - soon after a project has been greenlit and major roles cast. Avina´s techno-tainment group would then launch its activities, building a community of national and potentially international viewers aware of, attracted to, and over time hopefully loyal to the project at the center of the campaign. During this process, Avina could gather valuable insights about consumer´s reactions not only to the project that attracted them to Avina´s events and platforms, but their feelings about other content out in the market, including from Avina´s broadcast or other commissioner partners. All these findings could be passed on to Avina´s partners. The techno-tainment process would continue into principal photography – where selected viewers might be invited to even participate in the filming of the project – and engagement would continue int post-production, involving not only the project´s cast and director, but its writers, producers, and key crew members (editors, cinematographers, production managers, sound designers, foley artists, etc. Once the film or series is finished, Avina´s techno-tainment crew and platforms could be re-deployed to service other Avina projects or the projects of other clients. The overall mission of the "techno-tainment" process would be to: 1) reduce marketing and sales budgets by front ending that process and taking advantage of resources already found inhouse at broadcast partners; 2) to create more efficient entertainment marketing campaigns by only engaging with viewers interested in an individual project and its cast; and 3) to enhance viewer satisfaction with an entertainment project by engaging them more personally in that project over a fixed period of time. Both during and at the conclusion of the techno-tainment process, “partner commissioners” would receive exclusive data reporting on not just the community assembled for a particular project, but a wider data set revealing what those consumers wanted to see from one or more Avina partner-commissioners, as well as any other commissioner or platform offering free or subscription content to consumers. In the end, data collected and reported by Avina during the front and middle ends of the entertainment process should be data not currently available. Such data should feel dynamic (created recently or in real time), diverse in its outreach (i.e. age range, geographic location, occupation, gender, ethnic background, etc.), and overall, hi-touch in nature.

Avina´s vision is of an entertainment company comprised of a content development and production group, and a supporting technology group. The tech group would manage online, on-mobile and in person consumer-focused campaigns focused on de-risking entertainment projects – scripted or unscripted series, features, even realities or docs – by building a community early on in the entertainment process, soon after a project is greenlit, and gathering dynamic, hi-touch data on this community who would be made to feel they are part of the entertainment process of that particular content project. This project may have been created by Avina and commissioned by a funding entity such as a broadcaster, studio, production company, private investment group or OTT platform, but over time a project could have been produced by a third party. Avina´s techno-tainment group, deploying Avina´s data-gathering mobile-online platforms, would be the engines of community building, along with a carefully crafted, multi-tiered campaign of virtual and in-person events and promotions, consistently aimed at engaging consumers and making them feel part of the entertainment process, as mentioned. After the initial “proof of concept” projects in year one (a series developed and supplied by Avina Media´s content creation group), Avina´s techno-tainment group and the Avina´s mobile and online platforms could be deployed to de-risk, community build and create data reporting on entertainment projects from any company, studio, or broadcaster in the world. As such, the back end of Avina´s mobile and digital platforms would be built to scale globally within 2-4 years. In contrast to current practices in the entertainment industry around the world, Avina´s marketing methodology is without doubt disruptive. Avina´s techno-tainment methodology is rooted in the concept of commencing marketing and community building during the front end of the entertainment process - soon after a project has been greenlit and major roles cast. Avina´s techno-tainment group would then launch its activities, building a community of national and potentially international viewers aware of, attracted to, and over time hopefully loyal to the project at the center of the campaign. During this process, Avina could gather valuable insights about consumer´s reactions not only to the project that attracted them to Avina´s events and platforms, but their feelings about other content out in the market, including from Avina´s broadcast or other commissioner partners. All these findings could be passed on to Avina´s partners. The techno-tainment process would continue into principal photography – where selected viewers might be invited to even participate in the filming of the project – and engagement would continue int post-production, involving not only the project´s cast and director, but its writers, producers, and principle crew (editors, cinematographers, production managers, sound designers, foley artists, etc. Once the film or series is finished, Avina´s techno-tainment crew and platforms could be re-deployed to service other Avina projects or the projects of other clients. The overall mission of the "techno-tainment" process would be to: 1) reduce marketing and sales budgets by front ending that process and taking advantage of resources already found inhouse at broadcast partners; 2) to create more efficient entertainment marketing campaigns by only engaging with viewers interested in an individual project and its cast; and 3) to enhance viewer satisfaction with an entertainment project by engaging them more personally in that project over a fixed period of time. Both during and at the conclusion of the techno-tainment process, “partner commissioners” would receive exclusive data reporting on not just the community assembled for a particular project, but a wider data set revealing what those consumers wanted to see from one or more Avina partner-commissioners, as well as any other commissioner or platform offering free or subscription content to consumers. In the end, data collected and reported by Avina during the front and middle ends of the entertainment process should be data not currently available. Such data should feel dynamic (created recently or in real time), diverse in its outreach (i.e. age range, geographic location, occupation, gender, ethnic background, etc.), and overall, hi-touch in nature.

Avina´s vision is of an entertainment company with a content development and production group, and a technology group. The tech group manages online, on-mobile and in person consumer-focused campaigns focused on a particular entertainment project - a series or feature film. The project may have been created by Avina´s content group and commissioned by a funding entity, such as a broadcaster, studio, investor group, or OTT platform, but over time the project could come from anywhere. Avina´s techno-tainment group and its mobile-online platforms would simply be white labeled and applied to that third-party project. Avina´s methodology is to begin marketing and community building at the front end of the entertainment process: when a project has been greenlit and partially cast. Avina´s Techno-tainment Group then commences its activities, building a community of viewers and continuing this process into production and post-production of that series or film. Engagement would be accomplished through a series of online and in-person events and promotions. During the front and middle end of the entertainment process, Avina would be collecting, analyzing and organizing into a variety of data reports information on the community built around the targeted series or film. This data would be shared with the project´s commissioners and possibly the project´s performing talent. Once this process is complete, the techno-tainment platforms can be re-used or re-allocated to service other clients. In time, Avina´s mobile and online platforms scaled to potentially service scores or hundreds of projects at the same time. The goal of the "techno-tainment" process is to revamp or disrupt the traditional process of marketing entertainment beginning at the back end of the process (i.e. after a project has been finalized). Under Avina´s methodology, marketing would occur during the front and middle end of the process. Avina believes techno-tainment will dramatically reduce, if not eliminate, back end entertainment marketing. Content commissioners would likely receive from Avina data not just about the community built around the project they commissioned, but more generalized data on what a community of consumer would like to see from that commissioner or other commissioners. As a result, the data collected by Avina is dynamic, fresh, and hi-touch in nature.

3 contestants of any age or social background are given the length of the show, say 30 minutes (minus the final five “premio time”) to walk a pre-determined route in the city of the show. Viewers at home are encouraged by the host to bet live via the show app on any of the 3 contestants they think will win, or want to win because they know one of the contestants. But they have to vote up to the last third of the show, after which voting is cut off. One viewer at home will win a cool prize put up by a show sponsor (a cool pricey watch, a designer coat, a washing machine), but viewers know that all proceeds from the show, after show costs are covered, go to the funding of the public TV broadcaster’s programming - and other cultural programs and educational entities for young artists (so bet as a “social good.”) Show specifics: during each episode, the show tosses unexpected and amusing obstacles in the path of the contestants in an attempt to distract them and slow them their progress on their route. We never know what these obstacles will be or when they’ll come - like a comic who poses as a tourist and insistently asks the contestant where various monuments are, or a lady (actor) who pretends to fall and needs someone to call an ambulance or a taxi for her — all these things are meant, of course, to amuse the audience). Contestants are also allowed 2 lifelines during this live show from friends and family if they´re getting lost, or over-distracted by obstacles, or blocked in their route by unexpected obstacles (a car crash, a street blocked off by police). So we can cut to a camera crew in the living room of the contestant´s “fan base” going bananas as they use mobile apps and the internet and try to reach their contestant with alternative route data. Whether they connect or not to the contestant – or whether the contestant can hear them with the street noise around them, or actually take the right alternative route proposed by their friends and family – is half the fun. Cash Walk is meant to be somewhat like “Cash Cab” in the US and UK, or in Spain La Sexta´s 2013 “Taxi” which was previously on Andalusia´s Canal Sur with the same title.

3 contestants of any age or social background are given the length of the show, say 30 minutes (minus the final five “premio time”) to walk a pre-determined route in the city of the show. Viewers at home are encouraged by the host to bet live via the show app on any of the 3 contestants they think will win, or want to win because they know one of the contestants. But they have to vote up to the last third of the show, after which voting is cut off. One viewer at home will win a cool prize put up by a show sponsor (a cool pricey watch, a designer coat, a washing machine), but viewers know that all proceeds from the show, after show costs are covered, go to the funding of the public TV broadcaster’s programming - and other cultural programs and educational entities for young artists (so bet as a “social good.”) Show specifics: during each episode, the show tosses unexpected and amusing obstacles in the path of the contestants in an attempt to distract them and slow them their progress on their route. We never know what these obstacles will be or when they’ll come - like a comic who poses as a tourist and insistently asks the contestant where various monuments are, or a lady (actor) who pretends to fall and needs someone to call an ambulance or a taxi for her — all these things are meant, of course, to amuse the audience). Cash Walk is meant to be somewhat like “Cash Cab” in the US and UK, or in Spain La Sexta´s 2013 “Taxi” which was previously on Andalusia´s Canal Sur with the same title.

Finally, a landmark scripted series about pivotal historical events in the one place that defines Basques and their culture: Guernica

Reality TV series format in which a reality show turns to the public for incredible dishes or deserts or sandwich like food products they make that are easy and fast and could be a great item to get at a takeaway or "gourmet" fast food truck or joint. In this competition format, viewers from around a region or country compete to have their food item on the menu of the food truck or joint, whose menu reflects "the best" takeaway inventions from the people. A chef host helps select candidates, along with the voting public, in each episode, which presents 2 food item candidates from amateur cooks and/or their families. Only one is chosen by the voting public of "fifty locals" who are gathered in one location to try both items in a blind tasting. The item with the most votes win´s that week's competition. The "winner" of each episode then goes on to compete in the final 13th episode, where the voting public again votes, but in a bigger way: 100 people from all over the region or the country the show has sourced food items from come to the final episode set and vote in a final blind tasting on live broadcast. The winners and their families are in the audience and come on stage to receive a winner´s certificate, and an invitation to be at the opening of the first takeaway location. All items submitted to the show will also be in a cookbook anyone can buy.

Reality TV series format in which a reality show turns to the public for incredible dishes or deserts or sandwich like food products they make that are easy and fast and could be a great item to get at a takeaway or "gourmet" fast food truck or joint. In this competition format, viewers from around a region or country compete to have their food item on the menu of the food truck or joint, whose menu reflects "the best" takeaway inventions from the people. A chef host helps select candidates, along with the voting public, in each episode, which presents 2 food item candidates from amateur cooks and/or their families. Only one is chosen by the voting public of "fifty locals" who are gathered in one location to try both items in a blind tasting. The item with the most votes win´s that week's competition. The "winner" of each episode then goes on to compete in the final 13th episode, where the voting public again votes, but in a bigger way: 100 people from all over the region or the country the show has sourced food items from come to the final episode set and vote in a final blind tasting on live broadcast. The winners and their families are in the audience and come on stage to receive a winner´s certificate, and an invitation to be at the opening of the first takeaway location. All items submitted to the show will also be in a cookbook anyone can buy.

Viewers across Euskadi submit their neighbors, their friends, their family – well, anyone they believe is the funniest vasco they´ve ever come across. And their prize? Their own one-hour comedy special on EITB. But… to win each bona fide joker has to convince a panel of comedians from around Euskadi (and the viewing public) that they deserve to advance to the final round. So, in each episode our panel of judges tries to see how good the candidates are at being funny on their feet by issuing spontaneous comic sketch challenges, and through the judges’ subsequent critiques teaching our EITB viewers about their own, secret tried-and-true, professional comedy techniques. But ultimately it is not the judges who choose the funniest person in the province, but viewers across Euskadi from their living rooms. The audience votes from home in a final star-studded live event broadcast live from Guernika. So, who is the funniest person in Euskadi?

An original character for my epic fantasy series Copyright © James E Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry

An original character for my epic fantasy series Copyright © James E Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry

Copyright © James E. Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry

Copyright © James E Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry

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Inked version of Habiru Warriors Copyright © James E. Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry

Updated version of Habiru Warriors Copyright © James E. Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry

Updated version of Habiru Warriors Copyright © James E. Debro. All Rights Reserved. Protected By SafeCreative Copyright Registry