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Trek session 77 drop outs

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Hi Just wondering, since the rear drop outs on the session 77 are adjustable and made as one piece, it begs the question whether or not people have made custom dropouts for them? I'm curious if there are aftermarket parts or even different dropouts from trek? I was looking at mine yesterday and am contemplating getting a machine shop to make one that moves the rear axel back and up wards, lengthening the stays slightly, dropping the BB lower and slackening out the HA more as DH geometry. Thoughts?  

I have a session 77 as well and have thought the same thing. What I'd really like is a Maxle option, although I'd definitely have to have it custom fabricated. I've never seen any aftermarket ones sadly. I've also pondered the idea of how i could alter the geometry with custom dropouts and I don't know how feasible it is, especially moving it upwards since I know that would have an effect on tire clearance. I don't know if that helps at all, but I'd also like to know if anyone has had custom dropouts made and how $$ they are.  

The wheel clearance on the "trek" logo thing in front (behind?) of the rocker may pose an issue, which is why I was thinking say 1/2 back, 1/2 up sort of thing. The concerns I have/had would be the increased leverage on the bolts, so I would use all three mounting holes in the frame and it would pretty much be a DH specific drop out I would put in for shuttle/race days... Thinking about it now, I think the brake mount is on the drop out too, which may make fabrication a little more tricky... Its something I want to give a little more thought before I dismiss it as hair brained scheme # 473.  

Yeah, its that little part of the rocker with the trek logo. I bought a 2.5 nevegal tire a while back and was mistakenly sent a 2.7 which i went ahead and put on. Horrible clearance I have to say, especially in mud and I'm pretty sure it rubs sometimes. But with a smaller tire, your idea would probably work. I like the concept of the DH specific dropout, since being able to switch them around would be really awesome since I also do some all-around or all-mountain riding on the session.  

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Trek Session 88 FR review

Trek’s new slam sled

Russell Burton

Guy Kesteven

The original Trek Sessions never got better than ‘pretty good’, but the new generation of their big-hit family is right on the money when the mayhem starts.

The tight and relatively light frameset, consistently supple suspension and sweet handling create a bike we can really rave about, although the single ring-only compatibility means you’ll be gagging for an uplift.

Ride & handling: matched and on the money

As the Full Floater rear suspension squeezes the long stroke shock between the tips of the rocker link and the extended chainstays, the resulting spring action goes from increasingly progressive to a final digressive section. This kills any hint of bounce from an overloaded rebound, so the rear end feels smooth at the start and bottomless at the finish.

Once the Totem fork has settled into its stride, and you’ve got the Mission Control damping dialed, both ends are sucked onto the trail with astonishing power.

The ABP pivot concentric to the rear axle means the Session doesn’t seem to care whether you’re slamming square edge blocks, G-ing out compressions or braking either. We pushed this bike hard into every situation without a single stutter, spike or step out of line.

The long, low stance drops you into a pinned position on the bike. The long wheelbase and 65 degree head angle also mean you can go super fast without becoming unstable.

Unlike a lot of long travel bikes, the Session 88 is so controlled through the mid-stroke that it feels like you’re biting into bedrock rather than loose dirt, letting you eject from corners with blistering speed and accuracy. Considering it feels so smooth, it pedals remarkably well too. The sub-40lb (18kg) weight means it’s got real pop and agility for a bike with this much travel.

But performance is always a balance between objectives and there are situations where the Session struggles. The long wheelbase and slack head angle mean you’ll have to really heave and lever it through tight technical trails. And the 36-tooth single ring set-up means a relaxed attitude to pushing is essential if you want to get lots of runs in.

Frame: makes good use of the latest hydroforming techniques

Its name might have been used before, but this Session series is a totally new build. Every piece of the frame was made with the latest hydroforming techniques – and it’s noticeable.

The two halves of the deeply sculpted Evo rocker link are welded onto a box-section centre, the bottom bracket is 83mm wide and the 150mm-wide co-axial ABP axles are nailed together with a bolted 12mm axle. Add the 40mm stanchions of the Totem fork and you’ve got maximum stiffness across the bike’s chassis.

Mud clearance is as good as you’ll need on our vile isle and the bike comes in a full range of sizes to fit all comers. You’ll need to take a saw to the seatpost to drop it low in the interrupted seattube though and you might miss the potential to fit a front mech.

Equipment: burly single crown fork, Saint groupset and Big Earl finishing kit

RockShox’s monster coil-sprung Totem is our favourite single crown freeride fork and a perfect choice for the Session but, considering its weight, the overall mass of the bike is impressive.

While the frame takes the credit for most of the weight saving, some of it is down to the new, lighter Saint equipment that dominates the spec. Meanwhile, the short cage rear mech, MRP chainguide and bashguard keep everything in place no matter how chaotic the terrain gets.

Bontrager’s Big Earl equipment is equally control-friendly, with wide bars and a short stem perfectly suited to handling the most hideous tasks. 2.6in DH tyres on broad rims provide consistent suction and stiffness, while the specced rubber is the wet version of the Big Earl Gumbi dual compound – a bonus for British riders.

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2023 Trek Session 9 X01 Bike

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Specifications

Sizes and geometry.

• High main pivot rear suspension design
• ABP (Active Braking Pivot)
• Geometry adjustable via Mino Link flip chip in rear rocker link pivot
• Suspension progressivity adjustable (20% or 25%) via flip chip at lower shock mount
• Compatible with mixed ("Mullet") setups: 29" front wheel, 27.5" rear wheel
• Internal or external cable routing
• Includes Bontrager TLR tubeless rim strips
• Weight given for size R2 set up tubeless

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Elden Ring Shadow of the Erdtree

I love Elden Ring. I played it for more than 150 hours. It was also my 2022 game of the year by a nautical mile. I loved it so much that I wrote a whole piece on having what I dubbed “ post-Elden Ring depression .” That’s why its upcoming expansion, Shadow of the Erdtree, has been among my most anticipated games of 2024 and why I couldn’t wait to fly out to Los Angeles to play the first hands-on demo. Taking place in a special venue in the heart of the famous Hollywood Forever Cemetery (you read that right), I spent three hours freely roaming a portion of the new map, The Land of Shadow, faced a slew of unsettling new foes, battled two major bosses, wielded new weapons, and caught hints of the grander story at large. Those three hours flew by; Shadow of the Erdtree is a blast, and I can’t wait to explore more. 

Beginning Shadow of the Erdtree requires players to defeat Starscourge Radahn and Mohg, Lord of Blood. My first order of business is to choose a pre-made, late-game character occupying one of three classes: Warrior and the new Knight and Sorcerer roles. I choose the Warrior as it best fits my dexterity-focused playstyle, and my demo begins in Mohgwyn Palace, standing before the cracked cocoon of Miquella the Kind, brother of Malenia. Greeting me is a new face named Furled Finger Needle Knight Leda, who instructs me to touch Miquella’s shriveled, blood-soaked arm hanging lifelessly from the cracked opening. I comply and am transported to The Land of Shadow to begin my new journey. 

A New Open World

The Land of Shadow is immediately eye-catching. I enter an expansive grassy field dotted with ghostly tombstones and ancient stone arches; this portion of the map appears like a giant cemetery, explaining the event’s venue. The massive Erdtree stands prominently at the center, and its canopy is draped in an ethereal blanket, with cloth-like folds flowing across the orange-tinted sky. I immediately spot one of the imposing, lumbering fire basket giants seen in the trailers and make a mental note to try my luck against it.

My main objectives are heading towards the Beirut Castle Settlement in the west or tackling Castle Ensis in the east. I take a few steps before being assaulted by new enemy types, such as a masked agile warrior dual-wielding a pair of ring blades and large, masked birds atop perches that spew a barrage of black fireballs. I take them down with my warrior’s arsenal of a one-handed axe, which I often lobbed at enemies to deal satisfying damage, and, my favorite, the Red Bear Hunt melee glove. This furry weapon resembles a bear’s claw and unleashes a frenzied flurry of attacks that makes me feel like a one-armed Wolverine. I use its speed to overwhelm and stagger foes before they can retaliate. This is a sliver of the arsenal Shadow of the Erdtree offers; Bandai Namco confirms the expansion introduces 100 new weapons, and you can use these weapons in the base game’s content, too. 

I head southeast and find a path guarded by soldiers, including heavier units brandishing large maces and a door-sized shield. Fighting through them takes me to the Church of Consolidation, a small ruin where I find one of Shadow the Erdtree’s new upgrade items, the Scadutree Fragment. Visiting a Site of Grace introduces a new option to upgrade your Scadutree Blessing, making you hit harder and more resistant to damage. I upgrade this stat once, and the next upgrade now requires two Scadutree items. Another equivalent item I find soon after does the same for your Spirit Ashes. Bandai encourages us to hunt for these upgrades to improve our odds should we find ourselves stuck against a formidable foe. Unlike the new weapons, the beneficial effect of Scadutree Blessing only applies to areas within Shadow of the Erdtree; it does not carry over to the main game. Of course, you can still upgrade your character in the traditional manner. 

I approach a cliff and gaze at a large, distant land mass far below. It’s much too steep a drop to survive a jump, and I don’t see any obvious path down to it. However, this area has another fire giant stomping around, confirming it’s explorable. This zone’s most notable landmark is a dead dragon sporting a sizable, hollowed-out chest cavity. I have no idea if this landmass is reachable or not in this demo build, but it’s a tantalizing reminder that Shadow of the Erdtree likely has more to it than meets the eye. 

Hopping atop Torrent, I head back towards where I started through a charred complex appropriately named the Scorched Ruins. Charcoal-black lethargic spirits stumble all around this spot, but don’t be fooled; several of them brandish daggers and lunge towards me if I approach too closely. They’re extremely weak, though, and are dispelled with one or two swings from my bear claw. After exiting and finding a new Site of Grace, I spot the fiery basket colossus I saw earlier. It’s enormous, but that doesn’t dampen my enthusiasm to test my mettle against it. I beckon Torrent and charge towards one of its redwood-sized legs and take a big swipe with my axe – it does, at best, maybe five points of damage. “I’ve f***** up,” I think to myself. Sensing my mosquito-bite caliber attack, the giant goes berserk, kicking massive, flaming boulders from the earth, which I narrowly avoid. I’m not so lucky when it slams the ground to unleash a wide-reaching flame burst that incinerates Torrent, leaving me stranded on foot and falling victim to another hail of magma rocks that does me in. Note to self: steer clear of these things for the foreseeable future.

I reach a fork in the road called Three Path Cross, highlighted by a tall column of light with a circular symbol at the tip – a symbol of Miquella. Touching this “cross” only displays a message: “I abandon here the first of the flesh of my own body.”

Two characters stand beside the cross. One is a warrior named Freja, who tells me she once fought alongside Radahn. She informs me the crosses are Miquella the Kind’s footprints and that there are several of them across The Land of Shadow. To find the others, I’d need to talk to the surly character standing nearby to receive a map of their locations. I do just that, and the masked man isn’t a big fan of Tarnished but is compelled by duty to help, providing the map while urging me to continue following Miquella’s trail by finding the other crosses.

I head towards Beirut Castle Settlement, situated atop an elevated plateau. I see another cross and two more characters surrounding it. Touching this cross displays the same message (I later learn that they all do), and I speak to an old, grizzled former servant of Mohg who offers what I assume to be a sidequest: if I find other footprints of Miqella, please inform him. However, I’m unsure how to fulfill this as I’m never given the option to tell him of the first cross I found. The other character sitting nearby is a friendly knight and merchant. I stock up on a few supplies and climb towards Beirut Castle Settlement to take on my first boss.

Beirut Castle Settlement

I climb the steps towards the entrance of this large, abandoned castle complex. The vestiges of its beauty shine through its crumbling exterior thanks to its terracotta-tiled roofs and ornate cloths blanketing most buildings. It also boasts aquatic features such as decorative fountains and even a natural waterfall the city appears to be built around. 

Despite this zone’s beauty, I’m unexpectedly assaulted by a terrifying sight: a gigantic, scorpion-esque arachnid sporting way too many eyes, crushing pincers, and a stinger tail that fires a poisonous goo. Most bugs don’t creep me out, but this thing scared the crap out of me; it’s a new example of From Software’s trademark unsettling enemy design.

Taking it down isn’t too difficult, however; this creature is especially susceptible to my axe throw, which lets me keep my distance. Unfortunately, it won’t be the last time I encounter these things. Entering and exploring the city proper gives me the fun, interconnected level design From Software excels at. There are numerous paths, including taking to the rooftops, locked gates in need of keys, such as a door to a hidden sewer route. More blackened spirits occupy the area, including a much larger, more powerful variant sporting a giant blade. Taking these down is much harder, especially against more than one. They reduce sizable portions of my lengthy health bar with just a couple of swings. 

The toughest enemy I encounter is a towering, twin-sword-wielding knight clad in beautiful gold armor. Despite its size, it’s extremely fast and unleashes a whirlwind of sword slashes that eviscerate me several times as I attempt to defeat him. Admittedly, I take advantage of the geometry by luring him down a staircase in a narrow room and trapping him in a corner, where I slowly shave off his health by firing arrows from a safe distance above. But a win is a win. 

Advancing through the castle is a challenging but deeply engrossing exercise in trial and error. I push past one threat only to enter a room filled with more giant scorpion bugs, including smaller baby versions. Several of the masked birds I fought in the overworld sit atop perches, daring me to get close enough to draw their wrath. At one point, I enter a small, intimate plaza only to be invaded by a blond-haired fire knight sporting a flaming great sword. If that’s not enough, he can shoot fireballs and execute a fatal flaming rising sword attack. This guy is basically a medieval Ken of Street Fighter fame. I spend a good chunk of time trying to take him down, and after several attempts, I’m victorious. My reward: the fire knight's sword, a heavy weapon that not only dishes out great damage with sizable reach but also ignites foes upon impact. It becomes my primary weapon for the remainder of my session and is an effective answer to many of the threats here.

Another element of Beirut is poisoned rivers streaming through certain parts of the area. Wading through these zones invites attacks from poison-spewing winged insects that look like a hybrid between a cricket and a crone. Whatever they are, they’re disgusting, and I’m more than happy to exterminate them with my flame sword.

After nearly an hour of exploration (where I definitely didn’t find everything Beirut has to offer), I fight my way up to the top of the complex and to the doorstep of the area’s boss. I take advantage of a summoning glyph before the door for extra help and initiate the battle against my first big test, Divine Beast Dancing Lion. This lion looks and moves less like a living creature and more like a parade float or elaborate theater costume. Its bulky proportions, long cloth draping over its body, and segmented body movements give the impression of being controlled by several humans hiding underneath its folds. It leaps and spins in a chaotic flurry, first by digging into the earth to unleash wide-reaching blasts of rocks and dirt.  

As I chip away at its health, the sky darkens, and the lion transitions to summoning lightning bolts from the heavens. Later, it shifts again to conjuring blizzard-like frost-based offense. This constant shift in elemental attacks and its relentless, erratic movements make the Lion a tough target to track. Combined with the dazzling and disorienting visual effects of its elemental attacks, visually parsing this battle is a challenge in and of itself. I begin to find my bearing after several attempts, getting closer and closer to victory before falling short. Unfortunately, I’ll have to wait to avenge my many defeats. I only have an hour left in my session and still have another castle to explore. 

Castle Ensis

I fast-travel back to the Three Path Cross and head in the opposite direction toward Castle Ensis. The only entry point (that I find, at least) is a long, towering bridge guarded by soldiers. I make quick work of them without even getting off my steed. 

The road ahead is a literal uphill climb across a few barracks, where I’m greeted by other guards, their ferocious hounds, and the teleporting wizards taking magical potshots from afar. I even encounter a few bobblehead-esque Raya Lucaria masked sorcerers who seem to have taken up residence within Castle Ensis. Due to time constraints, I more or less beeline my way through this area, so I’m unable to poke around searching for hidden paths and secrets.

I hit a roadblock in the form of a particularly powerful knight who imbues his large sword with magical energy while conjuring spectral blades to attack from afar. Despite a few attempts, he bests me each time. I’m forced to swallow my pride and sneak past him in order to reach Castle Ensis’ boss.

Unfortunately, that knight is a mild appetizer for what awaits players. I reach the door housing the boss and am surprised to see not one, but two NPC summons. “That’s generous,” I think to myself. Combined with my own spirit ashes, I can roll up on this boss with a posse of four fighters, myself included. Surely, this will be a relative cakewalk. I couldn’t be more wrong. Standing on the other side of the door is an imposing, armored warrior named Rellana, Twin Moon Knight. Spoiler: she wipes the floor with us. Despite basically having a full RPG party, our combined efforts deal modest damage to her sizable health bar. In retaliation, she unleashes a devastating yet graceful flurry of magic-imbued offense courtesy of her twin blades. She also moves across the arena with astonishing speed, quickly closing the gap on me no matter how much distance I try to put between us. Each battle ends quickly, and I can only last by standing back and letting my companions serve as distractions while I take the occasional cheap shot. 

The one time I manage to get Rellana to almost half her health, she raises the stakes by powering up her swords; one blade glows with the blue of magic, the other in fiery red flames. It’s academic at this point; she ends me so swiftly that I barely get to study her new form. I’m forced to tap out yet again. Rellana is a new example of the dreaded FromSoftware DLC boss; that is, a foe more challenging than perhaps any adversary in the base game. 

Back in the Wild

I depart Castle Ensis and spend my remaining few minutes exploring. I head towards a small lake, encountering a new, seemingly undead dragon roaming the area. Since I failed to take down the two major bosses, I decide to make this black and tattered-looking beast my trophy for the day. The fight is largely identical to the other dragon battles in the main game, and I slay it on the first attempt. At least I have something to brag about.

I don’t do much else of note before my session expires. As much fun as I had, it was even more exciting talking to other journalists about their experiences. Besides learning who could slay the two primary bosses and how, each person I talked to tells me of a discovery they made, whether it’s a location, character, or enemy I didn’t find. I won’t spoil anything I heard, but all of it was deeply exciting and also deeply strange. From Software has billed Shadow of the Erdtree as the biggest expansion it has ever created, and given that I rarely heard repeat discoveries from the people I talk to, I’m inclined to believe it.

My biggest takeaway from Shadow of the Erdtree is that – surprise – it’s more Elden Ring. It’s the most unexciting take imaginable, but outside of the intriguing yet not immediately noticeable wrinkle added by the Scadutree upgrades, it’s a new excuse to revisit a world I love. It’s tough to get a sense of the expansion’s narrative implications and to be honest, that’s the last thing I care about in this game, as interesting as its lore is on the surface. All I want is to experience a new gauntlet of trials and surprises, and Shadow of the Erdtree seems poised to deliver that and then some.

Elden Ring: Shadow of the Erdtree launches for all platforms on June 20.

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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Series Mania, Beta Group Open Up Seriesmakers to Directors of Box Office Hits, Lesser Known Filmmakers (EXCLUSIVE) 

By John Hopewell

John Hopewell

Chief International Correspondent

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Seriesmakers , twinning Series Mania , Europe’s biggest TV fest, and European film-TV powerhouse Beta Group , is opening up its selection criteria to embrace directors of box office smashes or hits at festivals beyond “A” list events.

Launching 2022 as a project-based mentorship program for film directors aiming to become TV series creators, Seriesmakers has fast consolidated as one of Europe’s top-notch training facilities.

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Now, as it prepares its third edition whose call for applications closes June 20 , Seriesmakers is aiming for a larger inclusivity.

For its first and second editions, being chosen in official selections of a “A” list festival was required for a director to even be considered for Seriesmakers, Koby Gal Raday, Beta Group chief content officer, told  Variety . 

“Series Mania and the Beta Group has had near daily discussions about how Seriesmakers could better support the industry, opening up and expanding without losing its very high-level program,” he added.

“More and more filmmakers are interested in making TV shows. Creativity is not defined totally by “A” list festival selection which focuses often on up-and-coming talents and highly established “A-list” icons. That leaves out a whole middle section of directors and we have a lot of talented people who apply to other festivals, not “A” list events,”  said Laurence Herszberg, Series Mania general director. 

Local box office hits may not even go to festivals, Gal Raday observed. “Their creators, however, are still cinema directors who don’t understand – or as yet don’t know how to play by – the rules of TV,” he continued.

“We believe very much in the intimate, very human process between two mentors and creative duos. Anything larger and it becomes a group session, which has a differ dynamic,” said Gal Raday.

Second edition mentors were German producer Janine Jackowski (“Toni Erdmann,” “Spencer”); Israeli writer-script doctor Ronit Weiss-Berkowitz (“The Girl From Oslo”); Isabelle Lindberg Pechou (“Trom”); and Brazilian producer-writer Felipe Braga (“Sintonia”). 

“I’m very honoured, surprised and humbled that most of them are quite happy to join again,” said Gal Raday. 

Seriesmakers’ third edition will run four months from November 2024 through February 2025. For the third edition, there will be one main award of €50,000 ($54,500) entitled the Beta| Kirch Foundation Award.  The winning team will be announced during the 2025 Series Mania Forum in Lille, France and will develop a pilot script and a bible for the awarded project with further creative support from Beta’s Content Division.

Seriesmakers is a TV series development program initiated and conducted jointly by Series Mania Forum, Beta Group and University of Television and Film Munich (HFF).

Variety  chatted to Herszberg and Gal Raday as they looked forward to a 3rd Seriesmakers: 

One hallmark of Series Mania and Seriesmakers is the high artistic ambition of its titles. Would you be looking for that from more commercial directors?

Herszberg:  Yes, that’s something we really pay attention to. That the project has something which is of value. It’s not that we ask a filmmaker to write a thesis about that, but we have to see the potential. The training sessions will help directors tease out that potential.

Looking at this year’s Series Mania, there were social-issue series such as All3Media Intl’s “Boarders” and Beta Film’s “Soviet Jeans” which had an agenda – equitable access to elitist education and freedom-pushing counter culture in 1979 Soviet Latvia – which were at the same time broadly upscale, fast-paced entertainment. Would you want that?

Herszberg:  The best way to have a success, something popular, is to layer something that will make people think. Yes, of course we want that.    

Gal Raday:  I was amazed to see that at Seriesmakers’ first two editions most filmmakers coming from extreme arthouse cinema were very keen to have an audience. Commercial arthouse is not an obscene phrase. The winners at Cannes in many sections were commercial arthouse, not pure arthouse.

So you’d welcome series which are kind of hybrids?

Gal Raday:  Yes, we can find and identify singular voices, original stories, that answer the criteria of an artistic vision. But they still use some tools of mainstream television, obeying genres and then redefining them. We just get better television.   

Gal Raday:  The “A” list festival is a very determined list. We have got a lot of interest from MENA, Asia and Latin America where there are not so many qualifying festivals. We’re responding to the industry and markets from those regions.

You’ve said you’ll maintain the system of tutors and members…

Herszberg:  We made a survey, asked participants about the mentors, and they all said they were really top notch. Their support is really appreciated because it’s not that easy when you’re trying to create another redo and you don’t ever know if you’re going the right way. It’s better to have someone supporting you and telling, yes, that’s a good direction, or not.

Any other changes?

Gal Raday:  We are looking a bit at the structure of the workshops: How many hours a day, how to structure so that they’re more operational. The fact creators are based in very different time zones around the world makes it challenging to use the same timeline. A very good project manager can handle that.

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