Blauer Panther 2023: “Double Moderation Is The Great Art”

Ms. Müller-Hohenstein, Mr. Krell, when you look back on the Blue Panther 2022: Which moments from the award show do you particularly remember?

Katrin Müller-Hohenstein: I actually think first of my magical colleague Tobi Krell. We didn't know each other beforehand - I knew who he was, but it's often the case that what you imagine doesn't match up 100 percent with what you actually see. And I have to say, it was so much fun working with him from the very first second. Double moderation really is a great art: you have to coordinate, you shouldn't interrupt each other. You have to be able to take a step back from time to time. There are also colleagues who don't allow anyone next to them. That was totally different with him, and I really liked that.

Tobias Krell: Of course I have to return the compliment. It was my first time presenting a show of this kind, so it was a really big deal. I was glad that we got on so well right from the start and that there was such a relaxed atmosphere from the first meetings to the rehearsals. Katrin took away a lot of my nervousness, which I really appreciated. I simply really enjoyed leading this event together. I also have very fond memories of the variety of awards. Whoever wins the Blue Panther is always a surprise, and I really like that. I thought it was great that the people responsible for each film and each program were there in person. The Blue Panther is a wonderful way to celebrate great film, television and media productions, and these are things I love.

Tobias Krell: “Something unforeseen happens live every time”

What do you find special about live events like the Blue Panther - are there moments that you still dread even with your experience, or that you particularly enjoy?

Müller-Hohenstein: I'm afraid I have to disappoint you (laughs): It's actually the case that I've been doing this for so many years now that I've actually experienced every situation before. Nothing can shock me live anymore. What is supposed to happen? With the necessary experience, you always have a mental drawer that you can pull open to find a solution. I almost prefer live, because I know: then it's valid. I believe that I immediately have a completely different presence live than when it's pre-recorded.

Krell: I usually have this live situation without cameras. I do a lot on stage and something unforeseen happens every time, but that's exactly what I love about it. In that case, I just try to deal with the situation and somehow turn it into something positive. The whole apparatus involved in a live television production is rather new to me. As a reporter, I can conduct interviews two or three times and break them up with the camera. Of course, that doesn't happen in a live situation and I particularly enjoy that.

Müller-Hohenstein: We are of course aware of what is at stake. It's a huge event that so many people are involved in, and if we were to drive it into the ground, it wouldn't be so nice for everyone involved. The responsibility is huge and I'm aware of that, but it doesn't blow me away anymore.

There are often positive moments of surprise and these are something special and emotional, especially at an awards ceremony. How do you prepare for such a presentation?

Krell: In preparation, I am most looking forward to viewing all the nominated and award-winning productions. I already know a lot of them, and I'm already a fan of many of them anyway, without wanting to say too much. But I'm looking forward to seeing how wide the range is. Of course, we'll do that on our own for now, unless you're planning public viewings, Katrin? (laughs). Then we'll start talking about the event itself. There are a lot of agreements involving a lot of other people, and from then on it's a joint preparation.

Müller-Hohenstein: Of course you need this basis. You want to know: What are you talking about? That's why you look at it, there are some incredible pearls in there. Last year, I sat there with my mouth hanging open because there were treasures on that had previously passed me by. I would say that it's very, very much a team effort. I'm generally a team player, I really enjoy working in larger groups. It's just great fun.

Krell: Especially at the point where we really talk about moderation and get involved ourselves. How do you split up? Does anyone else have a personal story that is suitable? That's the part where it gets really nice.

Müller-Hohenstein: And then there's the moment when everything is finished and we see: Oh, that's now about three quarters of an hour too long. That was really dramatic last year. We had so many great ideas and then it's “Kill your darlings”. You then have to take a radical approach and say goodbye to ideas, which is very painful. On the other hand, the audience doesn't know what we had planned and doesn't miss it. But it's a shame for us.

Linear or via stream: reception habits are changing

The program “Checker Tobi” celebrates its tenth TV anniversary in September 2023 - but the content is not only available in linear format, but also in the ARD media library and on YouTube. The Sunday breakfast that Ms. Müller-Hohenstein presents on Antenne Bayern can also be accessed online as a podcast afterwards: How important is it these days to prepare content for different channels?

Krell: I think it's important to have content and programs where people want to watch them. I also don't think that one excludes the other, but that it's a wonderful extension. Of course, linear television must and will continue to exist, including live moments that simply work on television. But with the Checker program, for example, it would be a total waste not to pick up the children with the content where they are anyway - namely on YouTube, in the ARD media library or via the KiKa Player app. Some of our videos on YouTube have 15 million views. Children in particular watch some things over and over again. It is therefore a logical consequence that we also produce things explicitly for online only that are not offered in linear format in the first place. Reception habits are changing and we are better advised to think and help shape them.

Müller-Hohenstein: Of course, this also has something to do with the changing realities of life. Sometimes I'm at home a lot, then I'm on the road a lot. I really enjoy being able to listen to podcasts and not just the radio - which is now also responding to the fact that more podcasts are being listened to. I have strange working hours, so I stream a lot and am on the go in the media libraries. I hardly ever watch anything live anymore, unless it's something where the live character actually plays a decisive role. I would never watch a recorded soccer match, for example. It starts at 8:45 pm and that's when I'm sitting there. But most things can also be watched with a time delay.

Katrin Müller-Hohenstein: “Today, Munich is excellently positioned as a media location”

Mr. Krell, Bavaria is your adopted home and Ms. Müller-Hohenstein, you are rooted here: What advantages does the location offer for media professionals? Can Munich as a media location be a springboard into the industry?

Müller-Hohenstein: When I started at Antenne Bayern, we were one of the first stations in Germany to broadcast nationwide. We were very early on. Today, Munich is an excellent media location and I have to laugh every time I leave Antenne Bayern and see DAZN and Sky opposite and I always have to drive all the way to Mainz to work at ZDF. During the World Cup, they also broadcast directly opposite, but it wasn't my show. For big productions I have to travel to either Cologne, Hamburg or Berlin. That's a sign that a bit more could happen again in Munich in terms of shows. But as far as radio and TV productions are concerned, we are well positioned here.

Krell: I would confirm that. We have BR and the public broadcaster ZDF here. And in terms of young up-and-coming media professionals: with BR's PULS and funk, there are a lot of exciting young formats coming out of Munich. The FilmFernsehFonds Bayern is also one of the most important film funding organizations in Germany. Bavaria is also a great location for cinema and film, a lot is happening here and there are many great cinema production companies. With FILMFEST MÜNCHEN, Munich also has one of the most exciting film festivals in Germany. Of course, the Berlinale remains the biggest audience festival, but in summer there's no getting around FILMFEST MÜNCHEN for German productions.

As media professionals, do you have any current favorites or recommendations for us to tide us over until the Blue Panther?

Müller-Hohenstein: There is currently an outstanding production in the ZDF media library: “The Shadow” - the book by Melanie Raabe has been made into a fabulous movie. I watched it in one sitting.

Krell: I spend a lot of time in the ARD and ZDF media libraries, there's always something to discover. At the moment, for example, you can watch the wonderful pilot satire “Curveball” in the ARD media library. I think “Doppelhaushälfte” on ZDF is fantastic!