SEÑAL NEWS 241 | MIPCOM 2025

THE NEW GLOBAL BOOM

Executives from COL Group, Kedoo Entertainment, VIP 2000 TV, SDO Entertainment, TelevisaUnivision, and Udea Media explain why

they entered the industry's latest trend while discussing the rapid expansion of microdramas and the promising future of short-form content.

Rodolphe Buet, Chief Distribution Officer at STUDIO TF1, describes the strengths and business strategy of the newly revamped distribution unit.

Tom Miyauchi, VP and Head of Nippon TV LA Business Office, details the strategy behind the launch of Gyokuro Studio, scaled for global opportunities.

50 Julie Dansker, Co-Head of Sales, Distribution & Strategy and Executive VP of Global Licensing, shares the company's vision after the merger of FilmRise and Shout! Studios.

Source: Ampere Commissioning

K-POWER

-43%

AMPERE’S DATA REVEALED THAT WHILE GLOBAL AUDIENCES ARE WATCHING MORE SOUTH KOREAN CONTENT THAN EVER, COMMISSIONING HAS SLOWED SHARPLY.

-20%

BETWEEN H1 2023 AND H1 2025, LOCAL KOREAN PRODUCTIONS FELL BY 20%.

-39%

SCRIPTED CONTENT WAS PARTICULARLY AFFECTED BY THE PRODUCTION SLOWDOWN.

As other global SVOD have cut Korean commissions, Netflix has maintained commissioning volume. The streaming giant accounts for 88% of South Korea’s H1 2025 global SVOD launches, but has reduced its proportion of scripted content as it shifts its focus to unscripted.

FREMANTLE ITALY CONFIRMED ITS NEW MANAGEMENT STRUCTURE

Since October, Valerio Fiorespino and Alessandro Saba are the newly-appointed Co-CEOs of Fremantle Italy Group. The CEOs of the Italian companies within the group (Fremantle Italia, Lux Vide, The Apartment, Wildside, Picomedia, and Stand By Me) will have dual reporting lines to both, while group functions will be divided by area of expertise. Fiorespino and Saba will both report to Andrea Scrosati, Group COO and CEO Continental Europe. •

ALTER EGO MEDIA SETS UP GLOBAL DISTRIBUTION UNIT

Alter Ego Media launched a new international distribution division as part of a broader push to expand its global footprint. The initiative is aimed at promoting Greek-produced drama content abroad, with a focus on high-quality titles from MEGA TV’s growing slate. Cagla Menderes has been appointed Head of International Content Sales to lead the newly created unit. •

INSIGHT TV AND OFF THE FENCE CONSOLIDATE ITS BUSINESS UNDER WORLD STORYTELLING MEDIA GROUP

World Storytelling Media Group (WSMG) was launched last month by Insight TV’s CEO, Viktoriia Tkachenko, as a vehicle to consolidate the growing group following the recent acquisition of Off The Fence’s distribution assets. The two companies will now sit under the new WSMG banner, with the content investment and exploitation teams at Insight TV and Off The Fence to be consolidated into a single unit to position the group for accelerated growth. •

ALL3MEDIA PROMOTED JENNIFER ASKIN TO EVP, AMERICAS

All3Media International promoted Jennifer Askin to Executive Vice President, Americas, as Sally Habbershaw departs to relocate to the UK. As EVP, Americas, Askin

will be responsible for managing the New Yorkbased Americas team of All3Media International, maximising exploitation of the UK distributor’s multi-genre portfolio across the region. All3Media International also announced that Cristina Smith is being promoted to Manager, Sales and Commercial Strategy, North America, having joined the Americas team in 2022. •

MEDIAWAN’S PLAN B ENTERTAINMENT TO CREATE AN EUROPEAN SUBSIDIARY

Plan B, the production company co-led by Brad Pitt, Dede Gardner, and Jeremy Kleiner, part of the Mediawan group since 2022, announced the creation of its subsidiary Plan B Europe, based in London. This new European base will foster ongoing growth for Plan B, particularly increased production of premium series in the UK and across Europe. To lead Plan B Europe, the Plan B partners have appointed acclaimed British producer and executive Ed Macdonald. Under the supervision of Plan B’s leadership and Mediawan, Ed Macdonald will focus on developing television content in the UK and Europe and building further bridges and synergies across markets. •

BBC APPOINTED NICK LEE AS HEAD OF ACQUISITIONS

BBC tapped Nick Lee as Head of Acquisitions, where he will lead the team responsible for acquiring TV series and feature films for publication on BBC iPlayer and for transmission on the BBC TV channel portfolio. Lee will start in his new role in November. Lee will be the strategic lead for programme acquisition at the BBC, ensuring that BBC iPlayer and channels have something for everyone and the greatest possible range of quality programming that will deliver value to audiences of all ages. •

ITV STUDIOS TO LAUNCH A NEW ENTERTAINMENT LABEL IN 2026

ITV Studios is set to launch a new entertainment label in January 2026, focused on scalable and competitive formats, as Tim Carter, Managing Director of Unscripted, UK at ITV Studios, appoints Lily Wilson as Managing Director and Tom Williams as Creative Director. The name of the new label will be revealed at its formal launch in January, when both executives take up their roles. The label will specialize in ambitious, primetime formats designed to be brand-defining and returning. It will aim to deliver highimpact, scalable IP for both domestic and international markets. •

THE TV FORMAT SURVIVED. THE ECONOMICS DIDN’T.

Television used to be a device. Now it's a question. Ask ten people in the media today, and you'll get at least four different answers and dozens of hot takes. Is it a linear broadcast? Netflix on a tablet? Can TikTok be on a smart TV? For many, the answer is simple: TV is whatever is on the TV. If it holds attention on the biggest screen in the room, it counts. Viewers aren't debating formats, they're just watching. However, our industry continues to argue about the definition, rather than the consequences. What if we've been asking the wrong question?

The honest debate isn't whether YouTube is television; it's whether television can survive on YouTube's economic model. Because if we define "TV" only by what shows up on the screen, whether broadcast, on Netflix, or in a MrBeast video, then, sure, YouTube is today's most-watched "TV channel." However, if we genuinely care about sustainability, cultural investment, and creative ambition, that comparison falls apart. You can win the screen, but not the equation. YouTube loves calling itself the "new TV." They highlight creators, empowerment, and accessibility, but the platform is built to serve one thing: Google's ad machine. Yes, some creators make millions. But most don't.

Consider the case of Jimmy Kimmel. When censorship, network deals, or editorial restrictions

limit him in the traditional system, moving to YouTube might seem appealing. In fact, many argue that he should go full-time on YouTube. How many resources would YouTube offer to a "light" version of Kimmel? No band, no big production, just a monologue? A Kimmel podcast? Sure. There would be some dollars there, but nothing close to a multimilliondollar network contract. That kind of migration may sound liberating on the surface, but the limits of the digital economic model still constrain it.

TV is not just about format; it's about viability. Scripted dramas, sports leagues, investigative journalism, or even late-night comedy —they are all not algorithm-native. They rely on structured financing, long development cycles, and returns beyond the next click. We can say it clearly: CPM ≠ Impact. YouTube monetizes at approximately $2–$6 CPM. FAST channels promise $10–$25, depending on fill rate and demand. Cable or prime-time TV? Still capable of $20–$50+ CPM in premium slots. Yet, most new projects are chasing volume instead of value. They measure attention in seconds, not substance.

The industry still argues about what qualifies as "TV." Linear vs. streaming. Short-form vs. longform. UGC vs. professional. The audience? They don't care. They watch what they want, when they

want, where they want. So yes, TV is whatever is on TV, but let's not pretend that's the end of the discussion.

Behind this apparent freedom lies a troubling trend: algorithms now determine what is seen, promoted, and paid for. Editorial curation, once a strength of networks and broadcasters, has been outsourced to opaque systems optimized for retention rather than depth. YouTube presents itself as a friendly platform, claiming to "empower creators," "democratize access," and "be TV for everyone." We must be honest here; for too many, it appears more like a Trojan Horse, a global ad-tech engine masquerading as a public square, absorbing cultural attention while centralizing monetization and control. It is not just about content distribution. It's about data dominance, editorial power, and value extraction. So the question is no longer "What is TV?" The real question is "Who controls it?".

Some players are trying. FAST channels, niche streamers, public broadcasters, and independent producers are all seeking hybrid models that balance audience reach with creative freedom and financial viability. There's hope in ad-funded storytelling that respects both art and cost.

The future isn't linear vs. digital. It's about making television that justifies its cost, respects its craftwork, and reaches its audience, without losing its soul. The format survived, but if we want the economics to survive too, we need to stop chasing views and start building value.

IS YOUTUBE

TV? DOES IT MATTER? YES TO BOTH.

Recently, I have gotten into and/or started a raging debate in the comments sections of several social media platforms on the topic of whether, or not, YouTube, is in fact, television.

My position is clear: those who work in television don’t get a vote on this issue. The only opinions that truly matter are those of our audiences. If a viewer sits down and watches something that they believe is TV, then whatever they are watching is TV.

The arguments against this position range from “if a consumer is watching a video loop of a choo-choo train, then that is not television,” to “the industrial standards of television demand certain level of quality and production value that YouTube channels do not offer,” to “the CPMs and/or revenues from YouTube cannot sustain the operational needs of a true television publisher, therefore YOU’RE WRONG!” to “We can’t really tell if anyone is actually watching something, or if the video is just playing as background noise, so how can we even tell if it’s television?”

What’s missing from most, if not all, of these arguments? Data. Specifically, what these very strong opinions omit and ignore, is the usage data, from across the globe, which represents the behaviors, opinions, and voices of the audience itself.

For most of this year, YouTube has been the most watched channel in the United States – ON TV. However, it’s not just the most consumed television channel in America; YouTube, by itself (without YouTube TV) is 40% bigger than all of Disney (Disney+, Hulu, ABC, ESPN) combined. YouTube’s television audience is bigger than all of FOX (FOX TV and Fox News) PLUS all of Warner Bros. Discovery (HBO, TNT, TBS, CNN) – combined. This is without YouTube viewing on phones, laptops, or tablets.

Those who counter with “but what are they watching, cat videos?” are not just using outdated references, they ignore (often willfully) the available data of what is being watched. More than 70% of all YouTube consumption (hours of viewing) is for content thirty minutes or longer. One billion people on earth now watch Podcasts on television (mostly on YouTube). If someone watches three hours of Joe Rogan or ninety minutes of Alex Cooper, on TV, then that, my friends, is called a talk show - perhaps the oldest of television formats.

Beyond emerging Creator formats, however, regular old-school TV shows are also being consumed in huge numbers, often by many more viewers on YouTube than on the original TV channel where they aired. Perhaps

the best, and most important example I can offer is PBS’ historic series Frontline. This Oscar-winning series streams all their original, feature documentaries on YouTube on the same day their air on Broadcast TV via PBS. Based on data I have seen, Frontline films (usually 90 minutes or more) are viewed by three times more people on YouTube (predominantly on TV) than on PBS. The YouTube audience is typically one-to-two generations younger than the

OPINION

TV or PBS app viewership and the average view-time (30 minutes plus) is identical on both platforms.

When someone chooses to watch the entire Academy Award Winning Documentary 20 Days in Mariupol on their TV set, on YouTube (which nearly four million people have done to date), are they NOT watching television? If not, what are they watching?

I can offer numerous other examples: Saturday Night Live is watched by far more people on YouTube than on NBC. When CBC posted hundreds of their premium long-form TV episodes on their YouTube channels, they more than doubled viewing on those channels, increased their YouTube revenues by 70%, and found entirely new audiences, two generations younger than their Broadcast viewership and a generation younger than the CBC streaming app. Channel 4 executed a very similar strategy, with very similar results.

These case studies all demonstrate something very crucial to survival in this new User-Centric era: There are two distinctly different ecosystems of Media consumption on the planet – one for Gen X and older, the other for Millennials and younger. 70% of the world’s population are now Millennials, Gen Z, or Gen Alpha. The only way to serve both populations (the olds AND the youngs) is to distribute – to Broadcast – your content to both of them, on the platforms where they choose to watch TV.

But, why does this even matter? Why do I take the time to engage in these debates? Why should we even care? Well, firstly, social media algorithms LOVE arguments in the comments section, so the debates are very helpful for my traffic and follower count!

More urgently, the more that the professional television elite ignore and dismiss YouTube as “not television,” the less they will use it to broadcast their signals. The longer they do that, the further they will lose the three youngest generations on earth, who now control the majority of our workforces, our

consumerism, and our voting populations.

Just as importantly: YouTube is just the first social video platform to come to television sets, it most certainly will NOT be the last. TikTok is likely months, not years, away from going horizontal and marching toward our TVs. The looming deal to give the US operation to Larry Ellison, who also now owns Paramount and CBS, makes this all-but inevitable. Watching all the ad money stampeding towards big screen YouTube, Zuckerberg or some other Big Tech genius won’t be far behind. If you reject YouTube today, then you fail to build the necessary infrastructure to succeed on the next YouTube. For anyone and everyone in the television business, that is a fatal mistake.

For commercial entities, this risks their business models, and therefore their employees. For public broadcasters such willful ignorance jeopardizes democracy itself. Most people on the planet now get their news from social media. By refusing to fully embrace the only social media platform (so far) to come to the television, the news organizations of the world’s public broadcasters, exacerbate our global misinformation epidemic by ignoring the television and news preferences of 70% of the world’s population.

Someone engaged with me in this ongoing debate recently commented that “no one who watches YouTube on TV calls it television.” That’s absolutely correct. And no one ever says “let’s TV and chill” either. But whether a viewer turns on their TV for their kids to watch Ms. Rachel on Netflix or on YouTube – either way, for that family, that is TV.

The broadcasters, publishers, advertisers, media executives, producers, performers, and public service media who ignore these facts are ignoring their audiences. History and data repeatedly prove that when you disregard your audience, you do so at your own peril. For the sake of our television business, our professional community, and our democracy, I hope those who read this start to listen.

By Evan Shapiro

GLOBAL SVOD: JAPANESE CONTENT LEADS NON-ENGLISH

OFFERING

ACCORDING TO OMDIA'S STATS, JAPANESE, SPANISH, AND KOREAN ARE THE LANGUAGES MOST WIDELY REPRESENTED IN ON-DEMAND CATALOGS. HOWEVER, THERE ARE SOME VARIATIONS FROM COUNTRY TO COUNTRY.

Omdia's "On-Demand TV & Movie Catalog Tracker" provides an overview of the catalogs of major streaming services. In May 2025, Amazon Prime Video in the UK and US had the most extensive catalog in terms of titles and runtime, although Netflix offered the largest catalog in some markets, and Tubi had the most comprehensive offering in Mexico. In addition to English, Japanese, Spanish, and Korean are the languages most widely represented in on-demand catalogs. However, there are some variations from country to country. Korean was the most common nonlocal language in Japan and the UK, and it was equal to Japanese in Germany. Netflix remains the world market leader in terms of subscriber numbers, and the platform offers a fairly consistent catalog size across the 11 countries, ranging from 9,179 titles in Spain to 7,637 titles in Mexico. Unlike Amazon, the US offering

is relatively small, comprising 7,457 titles and 62,000 hours of content available. South Korea is a significant source of content for Netflix, which announced it would invest $2.5 billion in Korean content from 2023 to 2026. The Netflix catalog of 7,900 is significantly larger than the 1,800 hours offered by Amazon.

Netflix's catalog size has increased slightly. In the US, for example, the runtime went from 57,000 in June 2024 to 62,000 in May this year. "There is a heavy emphasis on series, with 87% of runtime in May in the US," stated Tim Westcott, Digital Content & Channels at Omdia.

Amazon Prime Video has a significantly larger catalog in the UK and the US than its main competitors, with more than 25,000 titles. Its offering is heavily weighted toward movies, which made up 84% of titles in the US. However, there are significant differences in the size of the offer in other countries, ranging from fewer than 2,000 titles in South Korea to just under 14,000 in Canada and 12,000 in Japan, where all content was available on an AVOD basis, unlike in other countries.

Disney+'s catalog is less than half the size of Netflix in terms of titles. As with Netflix, the US was the smallest of these markets, with 2,113 titles and 15,000 hours of content available. The UK and Australia were the largest markets, although Disney's offering of 25,000 hours in the UK is compared to Netflix's 63,000 hours.

Apple TV+ has the smallest catalog among AVOD and SVOD services, with a consistent total of around 300 titles across the 11 countries. That is primarily driven by the heavy emphasis on original production in the on-demand offering. The availability of some local sports-related content skews the US and Canada offering to 1,800 hours. "Apple has generally focused on quality rather than quantity," said Westcott. "The catalog could be boosted by more acquisitions of movie rights, though so far this has been a question of rumor rather than actual strategy," he added.

Finally, Paramount was among the first US studios to adopt a two-pronged approach to on-demand services, operating AVOD service Pluto TV, as well as

SVOD service Paramount+. Paramount+'s offer in the US had, by a significant distance, the largest offer of content, with 1,400 titles and 49,000 hours available. Englishspeaking Australia and the UK had the most extensive catalogs. Across all countries, the Paramount+ catalog skews toward movies in terms of runtime, with films accounting for 60% in the UK and US, and as much as 72% in France.

By Omdia

SHORT-VERTICAL CONTENT: THE NEW LANGUAGE OF YOUNG (AND NOT-SO-YOUNG) GENERATIONS

EXECUTIVES FROM COL GROUP, KEDOO ENTERTAINMENT, VIP 2000 TV, SDO ENTERTAINMENT, TELEVISAUNIVISION, AND UDEA MEDIA EXPLAIN WHY THEY ENTERED THE INDUSTRY'S LATEST TREND WHILE DISCUSSING THE RAPID EXPANSION OF MICRODRAMAS AND THE PROMISING FUTURE OF SHORT-FORM CONTENT.

Younger generations have led a shift in TV consumption habits, placing the smartphone at the center of how content is watched. Social media platforms have consolidated this trend, creating the perfect environment for the current boom in microdramas, microfictions, and vertical content. This short-form, vertical content phenomenon originated in China but has now become highly popular in the United States, Southeast Asia, India, and Latin America.

According to the China Netcasting Services Association, microdramas generated approximately CNY 50.5 billion (~US$6.95 billion) in 2024, surpassing domestic box office sales for the first time. Data from Sensor Tower shows that since the start of 2024, inapp revenue from short drama apps has grown rapidly, increasing from USD $178 million in Q1 2024 to nearly USD $700 million in Q1 2025, almost quadrupling the market. As of March 2025, global cumulative in-app revenue from short drama apps reached approximately USD $2.3 billion.

In Q1 2025, short drama app downloads in Latin America increased by 69% quarter-over-quarter, reaching nearly 100 million downloads, with DramaWave experiencing a 27-fold increase. This market is also driving strong growth for other emerging apps such as RapidTV, MeloShort, FlickReels, and Swift Drama. Southeast Asia experienced similar momentum, with short drama app downloads rising 61% quarter-onquarter to nearly 87 million. Apps like DramaWave, FreeReels, and Melolo experienced explosive growth, while ReelShort and DramaBox recorded in-app revenue increases of 31% and 29%, respectively, reaching USD $130 million and USD $120 million. As of March 2025, ReelShort and DramaBox have generated

cumulative global in-app revenue of USD $490 million and USD $450 million, respectively.

In China, COL Group has launched its newest microdrama platform, FlareFlow, which has quickly emerged as a global contender in the digital entertainment space. "We launched in late April 2025, entered the United States Top 5 Entertainment apps on Google Play and Top 8 on Apple's iOS Entertainment chart within weeks, crossed 10 million downloads in three months across 177 countries and regions, and saw monthly user spend grow more than 500%. When you see that level of adoption, you build the distribution rails to match it," said Timothy Oh, General Manager at COL Group.

Furthermore, Kedoo Entertainment unveiled Love Drama, its brand-new streaming app dedicated to short-form romantic content, built for the next generation of mobile-first viewers. Nick Okorokov, CEO & Co-Founder of Kedoo Entertainment, explained that

NICK OKOROKOV CEO & Co-Founder of Kedoo Entertainment

one of the most exciting shifts they have observed is the rapid growth of short-form, serialized vertical dramas, fueled by TikTok, Instagram Reels, and YouTube Shorts, as mobile becomes the primary screen for audiences of all ages. "While this style of storytelling is thriving in Asia, it is still underrepresented in the Americas and other regions. The gap inspired us to launch Love Drama, a go-to destination for bitesized, emotionally charged, and easily bingeable romantic series for today's mobile-first viewers," he added. Turkey, a global leader in content production, now faces the challenge of adapting its expertise to emerging formats, delivering measurable results, and showcasing them to the world. "Telling a story with cliffhangers in episodes of up to 90 seconds is the new challenge we are working on," said Umay Ayaz, CEO of Udea Media. "Unlike traditional formats, vertical drama directly engages technology companies: they provide infrastructure, while storytelling gives the format its soul. For decades, Turkish dramas and formats have captivated global audiences, proving that emotional narratives transcend borders. The current challenge is applying that expertise to new screen dimensions and rhythms," she anticipated.

UMAY AYAZ CEO of Udea Media

Following the success of the microdramas, VIP 2000 has launched a slate of vertical-format digital series. "The rise of short-form vertical content opened a new creative and business opportunity for us. It's not just a trend, but a new language of storytelling," said Roxana Rotundo and Rosalind Rotundo from VIP 2000 TV. "Our motivation came from seeing how younger audiences engage with fast-paced, visually dynamic narratives

ROSALIND ROTUNDO AND ROXANA ROTUNDO

VIP 2000 TV

MICRODRAMA MARKET SIZE BY REGION

on their phones, and realizing we could bring our expertise in scripted series to that space. We were pleasantly surprised to discover that viewers of all ages were also enjoying the content," they explained. Another company that entered into this trend is SDO Entertainment, which recently announced its first vertical microfiction, "Bon Vivant." "I got really excited to realize there were other opportunities to make fiction, just by changing the format and the business model. That was really encouraging, so I kicked off the research process that eventually led to the production of 'Bon Vivant'. Now we're working on new projects, getting more experienced with the vertical format," stated Loli Miraglia, SDO Entertainment Founder.

LOLI MIRAGLIA

SDO

Entertainment Founder

TelevisaUnivision's streaming platform ViX has produced more than 20 microdramas and is on track to launch 40 original titles by the end of the year. "The launch of our microcontent marks an exciting evolution in Spanish-language storytelling. We saw

OVERVIEW

an opportunity to connect with a young, mobile-first audience that craves fast, bold, and emotionally resonant content," stated Rafael Urbina, President of Streaming and Digital at TelevisaUnivision, who agrees with Rotundo and Miraglia that this new format and approach allows companies to meet audiences where they are: on their phones and social media feeds. "We are building a bridge between social-first storytelling and long-form entertainment," Urbina added.

TIMOTHY OH

General Manager at COL Group

PRODUCING MICRODRAMAS

COL Group's Timothy Oh has described microdramas as the storytelling language of the mobile generation. "It starts with attention on a phone. We write to hook first. Episodes live in the 60 to 150-second window, emotions are immediate, stakes are crystal clear, and every chapter ends on a cliffhanger that earns the next tap," he described. "The rhythm is simple and powerful. Empathy, conflict, release, and then repeat. It borrows the rhythm of social video but applies series discipline across dozens of episodes. That is why binge curves for microdramas look closer to mobile games than to traditional television," he added.

For Kedoo's Nick Okorokov, short-form romantic dramas, also known as micro-dramas, are the evolution of traditional series, reimagined for mobile-first audiences in today's attention economy. "The stories are fast-paced, emotionally charged, and built for impact. Told in vertical format and under two minutes, each episode ends with a dramatic hook, echoing the classic cliffhanger, perfectly adapted to the scrolland-binge rhythms of on-the-go viewing. This form of storytelling makes micro-dramas irresistible. They

USER PREFERENCE BY MONETIZATION MODEL

capture attention instantly, keep audiences coming back for more, and provide a quick escape from their everyday lives," he said.

For producers like VIP 2000 and SDO Entertainment, the biggest challenge of producing vertical short-form content is the storytelling economy. "We have to hook the audience within the first few seconds and deliver a satisfying beat in under two minutes," said Rosalind and Roxana Rotundo, who also explained that there's no room for stuffing: every frame and line of dialogue must drive the plot or deepen the character. "The vertical frame demands a different approach to blocking, composition, and editing, so we adapt our production style to keep it visually engaging," they said. "We also have to work with a solid script with more dynamic and aggressive cliffhangers. People often underestimate how a story is told, thinking that just because it's on mobile, it must be simpler, but it's actually the opposite," Miraglia added. "The narrative has to be built in a completely different way, with shorter arcs not only for the season, but also within the story itself and for the characters. On the directing side, it was also a big challenge to think about everything in 9:16. Scouting locations forced us to explore spaces with different heights and dimensions than when you're thinking in 16:9. The cast rehearsals were also a huge learning experience, because it meant working with them in a process where everything happens very quickly. Every gesture matters, and movements must fit naturally within the shot," she described.

"Vertical storytelling, with shorter attention spans, faster pacing, and unique visual priorities, introduces new rules for production and consumption, demanding

a recalibration without changing the fundamental essence of narrative," added Udea Media's Ayaz.

TelevisaUnivision's Urbina added that telling a compelling story in under two minutes, in vertical video, requires an entirely new approach. "It's about grabbing attention instantly, structuring stories for engagement, and adapting for mobile screens. Every element, from script to camera framing, is designed with this audience and format in mind. We've built a nimble, in-house model to support this, with full production coming out of our Televisa San Ángel studios in Mexico," he explained.

OVERVIEW

While any new format presents challenges, microcontent has opened the door to innovative storytelling. "The global industry is increasingly shifting toward shorter, digital-first, and vertical formats, yet the essence of storytelling remains unchanged. Turkey, already recognized for its proven success in scripted and unscripted content, is now demonstrating its adaptability to new consumption models," Ayaz argued.

MONETIZATION MODEL

Kedoo's Love Drama offers several monetization models, including subscriptions and token-based access for batches of episodes. "We design the monetization model to be flexible, giving audiences multiple ways to enjoy Love Drama: free, level up with tokens, or paid subscription," Okorokov commented. Users can access content for free via a freemium model, unlocking episodes after sampling the series by watching ads and completing daily missions. For those who prefer quicker access, users can obtain token bundles via optional in-app purchases to unlock content instantly, starting at around US$1.99 for 20 episodes. "Additionally, we offer subscription plans providing premium features, including full ad-free viewing, early access to exclusive content, and offline downloads, which will be available soon. Rather than tailoring the models for specific markets or user segments, our goal is to provide options that meet individual preferences. As our audience grows, we can gain deeper insights into which model resonates best in different regions and user groups," he said.

For VIP 2000 executives, vertical short-form content represents a new way to monetize their brand. "We have developed a new business model around this format, one that we're not quite ready to share publicly yet, but that we believe will redefine how we approach content production and distribution," Rotundo said.

TelevisaUnivision's Urbina mentioned that microcontent has allowed them to unlock a new level of creative opportunity for brand integration. "Because the format is short-form, native, and highly engaging, brands can show up in ways that feel organic, from custom-branded storylines to in-content placements. The content is sponsorship-ready," he described. "It's an ideal environment for brands looking to connect with digitally native, Spanish-speaking audiences in a meaningful way. Additionally, a micro-transaction

DOWNLOADS AND REVENUE OF LEADING MICRODRAMA APPS, OUTSIDE CHINA

Source: AppMagic

RAFAEL URBINA

President of Streaming and Digital at TelevisaUnivision

model is emerging where consumers pay for access to content, which we are also exploring," they added. Reflecting on the future of mobile-first storytelling, Col Group's Oh stated that AI is increasing both speed and specificity. "Creatively, we can prototype multiple openings, alternate twists, and poster lines, then publish the version that wins in testing. Operationally, AI assists with scripting, editing, and multilingual localization, which enhances quality without increasing the cost curve. That is how we sustain hundreds of experiments a month while keeping a consistent creative voice," he described. Looking ahead, expect more dynamic personalization: market-specific cuts, viewer-selectable branches, and release schedules measured in days rather than months. As the ecosystem formalizes and licensing becomes clearer in major markets, we will see higher quality pipelines, more cross-border co-production, and a premium layer that still respects the grammar of mobile storytelling," he anticipated.

Looking ahead, Kedoo aims to explore potential expansion beyond romance into a broader range of genres, such as anime and reality, to demonstrate that microdramas are just testing grounds for innovation and that other content types can also be created and optimized for mobile viewing.

By Romina Rodriguez

RODOLPHE BUET, CHIEF DISTRIBUTION OFFICER AT STUDIO TF1, DESCRIBES THE STRENGTHS AND BUSINESS STRATEGY OF THE NEWLY REVAMPED DISTRIBUTION UNIT, WHICH WILL FOCUS ON RAPID GLOBAL GROWTH.

Earlier this year, STUDIO

TF1, formerly Newen Studios, unveiled its new brand, aiming to leverage the strength of the TF1 brand to gain greater visibility in Europe and around the world through its core areas of expertise: production and distribution. Señal News spoke with Rodolphe Buet, Chief Distribution Officer, who outlined the company's distribution strategy, market positioning, and expansion plans.

STUDIO TF1 was created with a focus on expanding into intellectual property. What is the business distribution strategy behind the new identity of this unit?

"The IP business is strategic to support the distribution growth. Some of our key successes in 2024 and 2025 relied on existing IPs such as 'Cat's Eyes,' 'Erica,' 'Mlle Holmes,' or 'La Comtesse de Montecristo.' In the meantime, Studio TF1 has been extremely active in securing format rights, partnering with ABC in the US for the remake of 'Call My

“STUDIO TF1 DNA RELIES ON PASSION, AGILITY, AND A WINNING MINDSET"

Agent,' which has multiple formats in Europe (Amazon UK, Disney+ Germany). Our format business has doubled in 2025, illustrating the quality of the projects developed in France. STUDIO TF1 DNA relies on passion, agility, and a winning mindset."

What are the company's international positioning and expansion goals?

“STUDIO TF1 is one of the Top 10 distribution companies. On nonEnglish speaking projects, we are the leading distributor, and we are extremely pleased to partner with producers such as UGC, Quad, Banijay, Big Bang, or Gaumont, in addition to the Studio TF1 series. We've been developing solid skills in international coproduction and financing engineering for ambitious projects, such as 'We Come in Peace' ($2+ million per episode) and 'La Comtesse de Montecristo' ($3 million), which were co-financed with TF1, Netflix, and Mediaset. Our next chapter is to bring this know-how to Englishspeaking shows, supporting fantastic producers such as Claperboard or Riff Raff."

How do you identify and approach the current global market demands?

"The market has been drastically shifting from an abundance approach to a curation one. Our partners are looking for fewer shows but with higher production value, featuring recognized names (writers, directors, cast). In the ocean of content available, the only way for linear channels or streamers to make a difference

and attract audiences is to support event shows such as 'Montmartre' (TF1 & Disney+), 'Surface,' (France TV), or 'Etty'".

What is the strategy to expand the company's distribution expertise?

"At STUDIO TF1, we rely first on our connection with our partners to better anticipate the market evolutions. Our shareholder, TF1, is one of the most innovative broadcasters in the world, with recent developments including a Netflix distribution agreement, micro-payments, and more integrated cross-platform offers for advertisers. We have a significant advantage in understanding what's going on.

The other challenge is to develop the best talents internally who will bring about a 10% uplift and make a difference in supporting and financing their shows. We've been nurturing those talents, not only in sales, but also in marketing and business foundation and growth teams, which are always looking for excellence in skills, integrated tools to support the business.

At Mipcom, we will ensure that every single show matches with a broadcaster and entertains audiences around the world."

By Alan Levy

TURKISH DRAMA REMAINS ONE OF THE MOST POPULAR CONTENT CATEGORIES GLOBALLY. AFTER ESTABLISHING MATURE MARKET POSITIONS IN OTHER TERRITORIES, IT HAS NOW ADDED A NEW LOYAL CLIENT BASE AND FANDOM IN WESTERN EUROPE. EXECUTIVES FROM TOP TURKISH DISTRIBUTORS EXPLAIN THIS NEW TREND.

Besides new competition from other countries and emerging content genres, Turkish drama remains one of the most popular content categories in the world. With mature markets established in the Middle East, Latin America, US Hispanic, and Central and Eastern Europe, Turkish drama has conquered a new territory in recent years: Western Europe.

“The growing demand in Western Europe highlights both the maturity of Turkish drama and the evolving preferences of audiences in this region. Viewers are increasingly drawn to high-quality productions that not only deliver strong emotional storytelling but also reflect universal themes. Turkish dramas stand out because they combine cinematic production quality with long-form narratives that allow characters and relationships to develop in depth, something that Western European audiences have embraced enthusiastically,” described Muge Akar, ATV’s Head of Sales. “At the same time, the boom demonstrates how Turkish series have moved beyond being a niche. They are now part of the mainstream entertainment landscape, competing directly with global productions and gaining prime slots on television and streaming platforms. This shift also signals a wider openness in Western Europe toward diverse content from outside

WESTERN EUROPE, THE LATEST CONQUEST OF TURKISH DRAMA

the region, and Turkish dramas have positioned themselves at the center of this trend by consistently delivering engaging, high-volume, and relatable stories,” she added.

“Western Europe has recently become a vibrant hub for Turkish drama. What started with strong demand in Spain quickly spread to many other countries. Today, Turkish series rank among the most-watched content in the region. The variety of audience preferences across different territories, combined with their appetite for diverse genres, creates significant opportunities to license a wide range of our titles. The habits formed by audiences through free TV, coupled with the rapid growth of both local and

genuine affection for Turkish storytelling here. We’ve made tremendous progress, but we’re also aware that there’s still a long, promising road ahead,” Can Okan, Founder and CEO of Inter Medya, stated.

Elif Tatoğlu, Distribution Strategy and Sales Director at Kanal D International, agrees that the appetite for Turkish drama in Western Europe is global streaming platforms, have enabled our content to reach even broader audiences. We believe there are still many untapped opportunities to explore in this market. There is a deep trust, strong interest, and

genuine. “Audiences there have become more open to international storytelling, and Turkish series offer high production values, relatable family and relationship themes, and a fresh alternative to local content. Streaming platforms have also accelerated exposure, making it easier for viewers to discover and bingewatch our titles,” she said.

“Turkish drama has built a unique position in Western Europe by offering high-quality storytelling that blends universal themes with strong emotional appeal. Viewers in countries like Italy, Spain, and Portugal are drawn to the richness of the narratives, the production values, and the cultural proximity that still feels fresh and different from local content,” added

Goryana Vasileva, Sales Manager for Europe, Latam, Nordic at Calinos Entertainment.

The growing success of Turkish dramas in Western Europe stems from their ability to combine universal themes with authentic cultural storytelling.

“The emotional depth and high production quality appeal strongly to European audiences, while digital platforms accelerate their accessibility and visibility. This boom highlights the growing global significance of Turkish content,” Aysegul Tuzun, Managing Director at Mistco, said.

Ekin Koyuncu, Director of Distribution and Alliances

"Western Europe has recently become a vibrant hub for Turkish drama. What started with strong demand in Spain quickly spread to many other countries. Today, Turkish series rank among the most-watched content in the region"

Ekin Koyuncu 

at OGM Universe, agrees that the rise of global platforms has been a game-changer, allowing these stories to reach new audiences seamlessly and in parallel with local content. “Over the past few years, Turkish drama has gained remarkable traction in Western Europe. We see a convergence of factors: the high production value of Turkish series, the richness of storytelling, and the universal themes of family, resilience, and love. These elements resonate with European audiences who are increasingly seeking fresh, emotionally charged narratives beyond Hollywood or local productions,” she said.

WESTERN NEEDS

What were the key factors to open and conquer this competitive market? What content types and distribution strategies do clients in Western Europe need? There are several answers to those questions, but certainly, the success of Turkish drama in Western Europe comes from a combination of high production values, powerful storytelling, and strong talent. Turkish distributors’ catalogs consistently deliver series that meet international standards while preserving the emotional depth that makes Turkish drama unique.

“ATV’s long-running story arcs and emotionally layered

narratives give broadcasters a unique advantage: the ability to build loyal and sustained viewership. While many international shows are designed for shorter runs, ATV delivers extended storylines that keep audiences engaged week after week. That balance, premium quality, star-driven productions, and enduring storytelling have been essential in opening doors and conquering highly competitive Western European markets,” ATV’s Muge Akar stated.

“A key part of our strategy was adopting a data-driven approach to windowing, carefully analyzing where long-running dramas perform best versus limited series and strategically sequencing our distribution across free-to-air, AVOD/FAST, and SVOD platforms to maximize business potential. Building strong, lasting relationships in the market helped us better understand the market and connect with the right partners. Above all, trust and reliability have been crucial: delivering quickly, responding to partner needs efficiently, and maintaining high operational standards are just as important as the content itself,” said Inter Medya’s Can Okan. “We implemented a hybrid distribution strategy, offering content tailored to both free-to-air channels and digital platforms to meet diverse demands. While viewing habits vary from country to country, classic Turkish dramas consistently remain at the center of audience interest, which significantly supports our marketing and sales efforts. Additionally, we’re seeing growing demand for format sales and remake rights,” Okan added.

Kanal D’s Elif Tatoğlu remarked that consistency and quality were essential in the Western Europe expansion. “We’ve invested in premium, character-driven stories

with universal themes while maintaining high production standards. At the same time, we built long-term relationships with key broadcasters and platforms, offering flexible licensing models and marketing support.

This combination of strong content and strategic partnerships allowed us to stand out,” she indicated. “Clients are increasingly looking for adaptable contentstories they can localize or reimagine for their own markets-alongside ready-to-air dramas with a proven track record. They also want multi-platform rights, fast delivery, and strong promotional assets to maximize reach. We’ve responded by expanding our format sales,

creating marketing toolkits, and offering packages that suit linear, digital, and on-demand platforms. At the same time, viewing preferences vary widely across Western Europe. Some buyers are looking for more traditional, long-form storytelling, while others prefer shorter, episodic series that cater to different scheduling needs. Localization is another key factor: certain countries are willing to invest in dubbing themselves, while others require pre-dubbed content, which can make reach and entry more challenging. By balancing these different expectations and offering flexibility, we can serve a broad range of clients across the region,” she added.

Calino’s Goryana Vasileva also noted that several factors contributed to the outcome. First, the consistency of Turkish dramas in delivering longrunning, high-performing series provided broadcasters with reliable content that yielded a strong return

Goryana

on investment. Second, dubbing and localization efforts have been critical, making the series feel native to each market while preserving its unique identity. “Of course, momentum matters. Early successes in key markets, such as Italy, help create awareness and open doors in other countries. Clients are seeking content that can be effective across multiple platforms. Strong daily or primetime dramas remain essential, but flexibility in distribution is increasingly important,” he said.

“Entering such a competitive market required a mix of cultural connection and strategic positioning. At the same time, close collaboration with European

broadcasters, careful localization, and strong promotional strategies ensured that our series reached the right audiences and built lasting engagement,” Mistco’s Aysegul Tuzun added.

OGM Universe’s Ekin Koyuncu also noted the central role that content authenticity and consistency, strategic partnerships, and localization played in the path to growth in Western Europe. “We work closely with leading broadcasters and streamers to ensure optimal placement and promotion. By delivering a slate of premium series, we built trust with buyers who now recognize us as a reliable partner,” she said. “Clients in Western Europe are seeking strategies that make content accessible and visible, whether through thoughtful release planning or targeted launch initiatives. For us, it is always about finding the right approach for each partner and each market. We focus on being flexible and collaborative,” she added.

MARKET OPENERS

All major Turkish distributors had struck deals in Western Europe, which opened a new major market for drama distribution. “Recent deals in Spain and Italy highlight the strong demand for ATV’s dramas in Western Europe. These achievements represent an important step in the company’s long-term international growth strategy. Looking ahead, it is clear that our content will

continue to expand rapidly across Western Europe.

Strengthening existing partnerships while introducing new titles to the market will remain a key priority as ATV builds on this momentum,” Akar estimated.

“Turkish dramas are breaking viewership records in Spain and Italy. We’ve licensed many titles to these countries, and they consistently outperform even local competitors, often becoming the most-watched shows in their time slots. They’ve also generated major buzz on social media, and local press shows great interest in the stars of these series. Many Turkish actors have even become the faces of Italian and Spanish brands, highlighting just how strong the cultural impact has been,” Okan explained. “Beyond selling ready-made content, we are actively developing co-productions and remake deals with partners in the region. Spain and Italy have

become indispensable destinations for Turkish content, and we’re confident that Western Europe will continue to be one of the major growth engines for Inter Medya in the coming years,” he added.

Kanal D also looks forward to building on its momentum in France, Spain, and Italy to further expand across Western Europe, particularly in Germany and the Benelux countries. “We’re also committed to strengthening our format partnerships and coproductions to blend Turkish storytelling with local creative input. Our titles are already proving their appeal in the region: ‘Fatmagül’ is currently airing in Switzerland, ‘Hekimoglu’ in Italy, and we’ve also sold ‘Kuzey Güney,’ ‘Price of Passion,’ ‘Matter of Respect’ and ‘Fatmagül’ into other Western European markets,” Tatoğlu stated.

“France and Belgium are next on our radar. At the same time, we are looking at opportunities to reach younger audiences through streaming platforms. Our Turkish series are delivering strong results in the region: ‘Forbidden Fruit,’ ‘Woman,’ and ‘Cherry Season’ are performing exceptionally well in Italy; while in Portugal, ‘Woman,’ ‘Our Story,’ and ‘In Spite of Love’ are achieving impressive ratings,” Calinos Vasileva remarked.

Since Latin America is one of the largest markets for Turkish dramas, Spain has naturally become a significant milestone in Western Europe. “The market has a strong tradition of embracing high-quality drama, and the fact that our titles are finding a place there demonstrates both the appetite for Turkish storytelling and the confidence in our brand,” OGM’s Koyuncu said.

“We have been working in Spain for a long time and have sealed many deals, including ‘Bahar.’

In recent years, interest in Turkish content has been increasing in Portugal. As a result, titles like ‘Secrets of an Angel,’ ‘The Town Dr,’ ‘Melek,’ and ‘Hold My Hand’ were licensed there. We are glad to see that the same trend is growing in Italy,” Mistco’s Tuzun affirmed.

By Diego Alfagemez

 Linette Zaulich

LINETTE ZAULICH, HEAD OF B2C AND DIRECTOR OF UNSCRIPTED AT ZDF STUDIOS, DISCUSSES THE CHALLENGES AND OPPORTUNITIES IN THE B2C ARENA AND

HOW THE COMPANY ADAPTS ITS STRATEGY TO A CONSTANTLY EVOLVING CONTEXT.

“OUR B2C EFFORTS HAVE MATURED CONSIDERABLY”

Linette Zaulich took on the role of Head of B2C, in addition to her role as Director Unscripted at ZDF Studios. She oversees the development and management of direct offers to end consumers through licensing to platforms such as streaming services, FAST channels, or digital marketplaces. Señal News spoke with Zaulich to detail the challenges of her new position.

How would you define ZDF Studios’ B2C strategy?

"Historically, our B2C activities played a secondary role to our core B2B operations. However, this has significantly evolved. We now define B2C as any activity where we determine both the brand and the content, whether it's distributed via FAST, SVOD, or AVOD platforms. Through direct licensing partnerships with third-party platforms and trusted collaborators, we gain valuable consumer feedback. In today's dynamic media landscape, this kind of insight is crucial, as it enables us to continuously adapt, ensure relevance, and develop

sustainable, high-performing channel offerings. Our B2C efforts have matured considerably and are now being approached in a more strategic and centralized way across the organization. Globally, our primary goal is to strengthen and expand our brands among diverse audiences. We recognize that each market has its own digital maturity and local players, which must be factored into our strategies. That requires a deep understanding of regional trends, something we're fortunate to possess within our dedicated team and genre-specific expertise."

What are the challenges and opportunities in the B2C arena? "We need to focus equally on both B2B and B2C strategies. Building new brands in unfamiliar markets requires patience, investment in localization, and marketing resources. One of the biggest challenges, and also a key opportunity, is the shift from creating content for known programming slots to producing for discoverability on algorithmdriven platforms. That demands a new mindset, where success is often defined by how content performs in an unpredictable, user-led environment. That said, our longstanding relationships with global and local platforms allow us to spot emerging trends early and adjust our content strategy accordingly. We see a clear advantage in combining the expertise and storytelling tradition of linear TV with innovative approaches for digital-first audiences, especially the younger half of the population. It all starts with being open to learning and adapting."

How do you work with your catalogue to reach the right B2C platform with the right content?

"It starts with understanding the platforms. I spend time on both streaming and social platforms to experience how content is surfaced and consumed. Each platform has its own algorithmic language and logic for discovery. Once we understand the context, we return to our catalog to identify IPs and brands that meet specific needs. That could mean revisiting longstanding titles or finding hidden gems that align with current trends or audience preferences. We also implement tailored windowing strategies within our own distribution ecosystem, ensuring content is launched in the right place at the right time. That helps us maintain the value of our premium programming while adapting flexibly to platform-specific requirements."

How do you adapt your strategy to a constantly evolving context?

"Learn, adapt, apply. We monitor new platforms and emerging trends, and when appropriate, we integrate those insights into our broader windowing and content strategies. We often have content that can be distributed non-exclusively, which makes us a supportive and flexible partner, especially for newer platforms. I don't see B2C distribution as a zero-sum game. There's only so much time and attention a viewer can give, and no one's watching two services at the same time. As long as the content is strong and strategically placed, there's space for multiple players to coexist."

By Diego Alfagemez

TOM MIYAUCHI, VP AND HEAD OF NIPPON TV LA BUSINESS OFFICE,

DETAILS THE STRATEGY BEHIND THE LAUNCH OF GYOKURO STUDIO AND HOW THE COMPANY AIMS TO ENSURE JAPANESE CREATIVITY IS DEVELOPED AND SCALED IN STEP WITH GLOBAL OPPORTUNITIES.

Earlier this year, Japan's Nippon TV launched Gyokuro Studio, a production studio dedicated to developing content for the global market, and introduced the Nippon TV LA Business Office, a new business hub in Los Angeles. To understand the strategy behind that move, Señal News spoke with Tom Miyauchi, VP and Head of Nippon TV LA Business Office.

What are the motivations and strategies behind the creation of the new office in the United States?

"Nippon TV LA Business Office was founded with a clear mission: creating global entertainment. Establishing a base in California allows us to deliver on that promise from the epicenter of the entertainment industry. The strategy is straightforward: be closer to key partners, move at the speed of the market, and ensure Japanese creativity is developed and scaled in step with global opportunities. Strategically, the LA office serves as a hub to accelerate the international rollout of Nippon TV and Gyokuro Studio formats in North America and Latin America, spearhead format development to meet market demands, and expand into emerging

“JAPANESE CONTENT IS EXPERIENCING UNPRECEDENTED GLOBAL MOMENTUM”

areas of the entertainment business through collaborations."

How will the LA office work alongside the rest of the business areas of Nippon TV?

"Nippon TV LA Business Office connects Nippon TV's global strategy with the global market through creativity. Positioned between the global strategy headquarters and Gyokuro Studio in Tokyo, it ensures that international ambitions are channeled directly into the development of new content, and that the originality of Japanese ideas is brought to market in step with global demand. In doing so, the office acts as both a pipeline and a catalyst, turning strategy and creativity into entertainment with global appeal. We all work closely as one team to gear up and go global."

Why will the LA office focus on unscripted content? What business potential do you observe for this genre?

"Unscripted content has universal appeal and is one of Nippon TV's strongest areas of expertise, with formats like 'Dragons' Den/ Shark Tank,' 'Silent Library' and 'Old Enough!' demonstrating a proven track record of international success. In today's fragmented media landscape, unscripted shows offer scalability, adaptability, and

immediate engagement across territories. Nippon TV LA focuses on this genre because the U.S. remains the biggest market for unscripted formats, and success here generates global momentum for Japanese formats worldwide."

Gyokuro Studio aims to develop 10 unscripted titles each year. What types of shows are you looking for?

"We aim to develop unscripted titles that combine originality with international adaptability, reflecting Nippon TV's long track record of successful global formats. That includes studiobased game shows, competition series, bold social experiments, touching lifestyle and relationship shows, and family-friendly entertainment. Each title must carry a distinct Japanese creative spark while being built to travel globally, embodying our mission of creating global entertainment and ensuring Japanese ideas reach the broadest possible audience."

How would you describe the current positioning of Japanese content in the international industry?

"Japanese content is experiencing unprecedented global momentum. From the mainstreaming of anime to the enduring popularity of unscripted and scripted content, there is a strong appetite for Japanese originality and creativity. The industry now recognizes Japan as a source of innovative storytelling, and this momentum aligns perfectly with our mission: to harness Japan's creativity and amplify it on the global stage."

By Diego Alfagemez

SCRIPTED VS UNSCRIPTED, A NEW FIGHT OR AN HARMONIC BALANCE?

WHILE THE NUMBER OF SCRIPTED SHOWS ORDERED FOR PRODUCTION IN 2025 FELL DRASTICALLY, IT IS UNCLEAR WHETHER THIS REPRESENTS AN OPPORTUNITY FOR UNSCRIPTED, LEGACY SHOWS, OR ANY OTHER CONTENT STRATEGY. EXECUTIVES FROM DIFFERENT PARTS OF THE WORLD ANALYZED THIS TREND.

Has the demand for scripted declined? Is there a new boom for unscripted titles? Is that a new opportunity to enhance legacy titles and licensing? How to balance the scripted and unscripted pipeline? All those questions might have different answers, and executives from various parts of the world analyzed one of the most discussed issues in the global content industry this year: the balance between scripted and unscripted content, and the future of each business.

LISA PERRIN , MANAGING DIRECTOR, INTERNATIONAL PRODUCTION, ITV STUDIOS

"It's clear that some linear broadcasters are making less scripted projects due to the rising costs of making drama. However, streamers are still demanding highquality drama, and we're pleased to have producers all over the world who can create those types of shows. Viewers still love watching unscripted shows, so I'm not sure I would call it a boom but a continued love. Broadcasters know that unscripted shows are still very popular, but they are looking at titles that can work on lots of their platforms - not just one."

"We are still seeing broadcasters wanting our longrunning, bankable brand titles. However, there is also a genuine desire for new content, and we're pleased to be launching a substantial slate of original new formats at Mipcom this year. We are already getting lots of interest from them."

"By having producers all over the world who have excellent relationships with their local broadcasters and streamers, we have an intimate knowledge of what our clients need. We rely on those producers of unscripted and scripted shows to have their finger on the pulse of the trends in their markets. It's definitely not one size fits all. In unscripted, we are always

looking for a good idea from any of our producers and creators through our Creative Network, and Mike Beale's team does a brilliant job of identifying undiscovered jewels and getting them traveling around the ITV Studios group."

VANDA RAPTI, EVP VIAPLAY SELECT & CONTENT DISTRIBUTION

"Internationally, the content that travels best across borders is scripted drama. The demand for such content by international content buyers has not declined, but what has declined is the commissioning of scripted content. We continuously monitor audience behavior and market dynamics across our footprint. Scripted commissioning has notably slowed down, primarily due to limited returns vs significant (and rising) production costs. In contrast, unscripted and reality formats have gained momentum, both for local and global streamers,

VOLUME OF SCRIPTED COMMISSIONS ORDERED BY GLOBAL STREAMERS

as such shows provide a more certain return on investment and are of lower cost to produce. Therefore, our streaming platform and free TV channels in the Nordics have continued to commission strong reality and non-scripted shows, and reduced our scripted output. Internationally, however, we continue to expand our inventory with the best of Nordic and other European storytelling, to fulfil the acquisition needs of our clients globally, as well as our specialized SVOD and Viaplay Select offering that focuses on the genre."

"We approach the scripted and unscripted balance with a dual lens. On the commissioning side, we prioritize unscripted formats that resonate with local audiences and deliver a good return on investment. These titles enable us to remain agile and relevant in a rapidly evolving landscape. Internationally, we represent the region's best scripted content, including distinctive and premium dramas and crime series that buyers continue to seek out. This balance allows us to deliver what works best in each context: relevant, costeffective unscripted for local markets, and high-quality scripted for international buyers."

SEBASTIAN KIM, VP OF INTERNATIONAL CONTENT BUSINESS DEPARTMENT, CJ ENM

"For ready-made content, the demand for Korean scripted shows has remained consistently strong rather than declining. Buyers continue to prioritize highconcept dramas with clear export potential: characterdriven thrillers, elevated rom-coms, and IP-based titles that leverage built-in awareness. The bar for story architecture keeps rising, so what's changed is not the appetite but the selectivity. In parallel, unscripted is enjoying a renewed tailwind, especially formats that

STREAMERS' ORIGINAL VS.

can localize cleanly while preserving a signature game mechanic or reveal. Titles like 'I Can See Your Voice' and 'The Genius Game' demonstrate two durable vectors of demand: first, co-viewing entertainment built on simple, repeatable rules and secondly, premium mindgame competition that feels fresh in every market."

"Our internal read suggests that the total number of titles on-air in 2025 is down approximately 30% versus 2023, reflecting domestic ad-market softness and a broader recalibration of commissioning risk. That contraction pressures both scripted and unscripted."

KELLY WRGHT, MD OF DISTRIBUTION, KESHET INTERNATIONAL

"From our experience, there's still a major appetite for scripted and unscripted formats and tape. In terms of our Keshet dramas, we recently sold three dramas to Netflix and licensed comedy formats in France for TFI and Germany for ProSieben.Sat1's JOYN, respectively. On the unscripted side, we are seeing renewed interest in format adaptations, particularly game shows. It's actually an opportunity for formats. Proven IP and legacy titles aren't going to stop being in vogue."

"We are lucky to have a continuous stream of scripted IP coming to us from our commercial broadcaster, Keshet 12. While these are local stories developed for local viewers, the themes are always universal. Simultaneously, we've always been known for our creativity in unscripted. We're now collaborating with various players to develop new IP from Latin America, and it's a fascinating venture for us. We love the creativity and the boldness of the TV leadership in this market; it's been an enjoyable and productive place to begin rebooting our unscripted creativity."

OVERVIEW

BRAD HORVATH , VP, CONTENT SALES & DISTRIBUTION, BOAT ROCKER STUDIOS

"The industry is in a moment of recalibration. While scripted premieres in the U.S. have come down from the peak in 2022, they are generally in line with other recent years, and 2025 is on pace with 2024. We're seeing that buyers are more cautious with spend and risk, and that could create room for more unscripted, but it doesn't mean scripted has lost its value."

"When scripted commission volume softens, it is an opportunity to lean into unscripted, but scripted remains essential, especially on projects with strong creative voices that resonate internationally. Yes, it's also a moment to maximize the value of legacy titles and licensing."

"For Boat Rocker Studios, adaptation is built into our DNA. We've always been a multi-genre, multi-platform studio, so we're set up to adapt with shifts in demand. We don't see scripted and unscripted as competing. Our goal is to have a diversified slate with the flexibility to lean into whichever side the market rewards at any given moment. That's how we build resilience through cycles, by being able to move where the audience and the buyers are headed."

BRYAN GABOURIE, SVP, INTERNATIONAL SALES & PARTNERSHIPS, BLUE ANT STUDIOS

"We do have strong scripted programming at Blue Ant, primarily in the Kids & Family, Y/A, and animated spaces, for which we have established strong broadcast partnerships in key territories around the world. Our scale and position in the market enable us to continue producing premium content across all genres through a range of flexible deal models, leveraging co-production partnerships, strategic windowing, and various production finance models and incentives. We are also uniquely positioned to include participation from our O&O Channels and Services as part of these collaborative models, bringing fresh content to market, a key component of the advantages the broader Blue Ant Media brings to the table. Our slate is an example of very strong creative that we are putting the full weight of Blue Ant Media behind, to commence production and deliver premium content in proven genres ahead of securing platform partners. Our clients have had a tremendous response to this model thus far, and it's a key component of our international content strategy going forward."

PAULA TERUKO, DIRECTOR, CONTENT SALES, LATIN AMERICA & U.S. HISPANIC, BBC STUDIOS

"In Latin America, scripted remains a cornerstone, particularly local drama and telenovelas, which continue to drive audiences and subscriptions. Even with budgets under pressure, buyers in the region continue to seek high-quality scripted content with broad appeal consistently. Alongside this, we're seeing sustained and growing interest in BBC Studios' Natural History Unit and factual programming. Natural history resonates strongly, offering both global prestige and family-friendly appeal. My role is to help clients identify the right mix, whether that's premium scripted titles with international potential or standout factual programming that delivers scale and distinction."

"It's not about scripted being replaced but rather complemented in smarter ways. Local drama and telenovelas remain the backbone of viewing, but with fewer originals being commissioned globally, catalog titles and factual content are playing a bigger role. Buyers are turning to natural history and other factual genres to refresh their offerings, appeal to family audiences, and stand out in an increasingly competitive landscape."

"Because we offer both premium scripted and world-class factual programming, we can adapt quickly depending on what partners are prioritizing. That agility is key, sometimes the immediate demand is for a scripted title with international recognition, and other times it's for standout factual content, such as natural history, that delivers global prestige and broad family appeal."

REBECCA TAVARES, MANAGER, FORMATS SALES, LATIN AMERICA, BBC STUDIOS

"In Latin America, clients have become more selective when approving projects, as the region grapples with significant global shifts, such as M&A activity with the merger of Warner Bros. Discovery and the sale of Paramount, among other corporate restructurings. That said, BBC Studios' portfolio of scripted IP remains strong, high-quality, and well-known, and we are confident in its long-term potential in the market. On the unscripted front, I wouldn't describe the current moment as a "boom." What we are seeing is a stable and consistent flow of unscripted production and renewals, which has remained relatively unchanged. In contrast with the slowdown in scripted, that steady activity can

NUMBER OF ORIGINAL SHOWS RELEASED ON MAJOR STREAMERS IN UCAN, LATAM, APAC AND EUROPE

Netflix, Disney+, Max, Prime Video in UCAN, LATAM, APAC and Europe, 2022 - 2024

look like a surge, but in reality, it is more a continuation of the usual cycle for unscripted formats."

"In most cases, it's an opportunity to enhance legacy titles and licensing. When there is a decrease in the commissioning of scripted originals, the natural tendency is not necessarily to replace that demand with unscripted, but rather with other forms of scripted content, such as licensed formats or well-established legacy titles. Commissioners still prioritize content that aligns with the same consumption habits and audience expectations and scripted remains a core viewing choice. We are also seeing an increased willingness for our partners to invest in strong scripted IP at the start of a scripted format's international journey."

JEROMINE ADER DE LA VILLARDIERE , INTERNATIONAL SALES MANAGER, FEDERATION STUDIOS

"While the market has become more cautious, scripted content remains central to global programming strategies. What we're seeing is a shift toward selectivity and strategic investment: buyers are looking for strong IPs, distinctive editorial voices, and stories that resonate across cultures. At Federation, scripted is our core strength. We continue to see solid demand for premium drama. Rather than a decline, we see a refocusing of scripted commissioning, toward projects that are editorially sharp, internationally scalable, and creatively ambitious."

"It's

clear that some linear broadcasters are making less scripted projects due to the rising costs of making drama. However, streamers are still demanding high-quality drama. Viewers still love watching unscripted shows, so I'm not sure I would call it a boom but a continued love."

"The slowdown in scripted commissioning is a chance to reinvest in existing IPs and formats. At Federation, we've created IP360, a dedicated entity focused on identifying, acquiring, and adapting scripted formats with strong international potential. We also see continued interest in licensing and reboots of legacy titles. In a more cautious market, scripted formats that are already tested and editorially distinctive offer a compelling path forward."

"We've built our model around editorial ambition and international reach. Scripted is at the heart of our identity, and we continue to invest in premium drama series that combine strong storytelling with global resonance. While we do explore unscripted opportunities, our focus remains on developing scripted series with strong IP, international coproduction potential, and long-term value. We adapt by staying close to our partners, listening to market signals, and building a pipeline that balances creative ambition with strategic pragmatism."

By Diego Alfagemez

"RADIAL

ENTERTAINMENT IS THE LARGEST INDEPENDENT DISTRIBUTION STUDIO"

JULIE DANSKER , CO-HEAD OF SALES, DISTRIBUTION & STRATEGY AND EXECUTIVE VICE PRESIDENT OF GLOBAL LICENSING, TVOD, AND

INTERNATIONAL DISTRIBUTION, SHARES THE COMPANY’S VISION FOLLOWING THE MERGER OF FILMRISE AND SHOUT! STUDIOS.

Earlier this year, FilmRise and Shout! Studios merged to form Radial Entertainment, bringing together two companies with overlapping businesses and complementary strengths, Julie Dansker, Co-Head of Sales, Distribution & Strategy and Executive Vice President of Global Licensing, TVOD, and International Distribution explains Radial’s unique market positioning, the synergies driving its growth, and how the company is preparing to meet audience demand across streaming, FAST, and traditional broadcast markets.

What was the strategic vision behind the merger of FilmRise and Shout! Studios to create Radial Entertainment?

"The goal was to combine two really great companies with overlapping businesses and complementary content. By leveraging the strengths and capabilities of each company, we can offer an end-to-end solution for production, distribution, and streaming. Shout! is one of the longest-standing independent distributors in the business, with deep expertise across streaming, transactional, theatrical, and physical channels, and has a diverse library of premier titles across cultclassic, animation, action, award-winning, western, and horror. FilmRise brings one of the largest independent catalogs of television and non-scripted content, with particular strength in true crime, reality, classics, medical, food, and UK genres. By combining libraries, capabilities, and best-in-class leadership teams from Shout! and FilmRise, we believe Radial Entertainment is primed to become the independent distributor of choice, better serving content owners and platforms."

How does Radial differentiate from its competitors in the global content distribution landscape?

"Radial Entertainment is the largest independent distribution studio with over 70,000 movies and episodes, making it the largest independent distributor and biggest FAST channel provider. It became a leading player in a multi-platform entertainment industry, and

we offer best-in-class capability in all the distribution channels across streaming and FAST channels, broadcast sales, paid rentals, and downloads."

What benchmarks guide your content acquisition and curation strategy?

"Radial's strategy is rooted in identifying titles with outsized audience demand, across a wide spectrum of genres, formats, and vintages. Rather than focusing narrowly on a single category or era, we take a wideangle, data-informed approach to building a culturally and commercially resonant library. Our strategy prioritizes content that audiences consistently love and return to, whether scripted or unscripted, classic or contemporary. With a catalog of 70,000 titles and a robust pipeline of ongoing acquisitions, we're able to continually package, refresh, and distribute content in ways that align with evolving viewer behaviors across all media types. This dual emphasis on scale and relevance enables us to serve both niche and mass audiences across all major content verticals."

How will Radial leverage the distinct genres from both companies?

"Radial's strategy is to double down on what is already working while expanding into new sources of content to stay ahead of audience demand. We will continue to leverage the distinct strengths of each library, scripted from Shout and unscripted from FilmRise, while also exploring creator-driven content, short-form formats, and selective original productions, particularly in true crime, where audience engagement remains consistently strong. By combining reliable genre depth with fresh storytelling approaches, Radial will position itself as both a trusted provider of proven content and an innovator driving growth across emerging platforms."

How would you define Radial Entertainment's mission in the global distribution ecosystem?

"International expansion is a huge priority for us as the merger gives us the scale to beef up our rights. We see the FAST/AVOD business growing significantly, and we'll be there when it happens. We've already got a strong foothold in major territories. Our international content has rapidly grown in the last few years. We're trying to source and acquire local content from major markets."

By Romina Rodriguez

“PARTNERING WITH THIRD-PARTY PRODUCERS ENABLES US TO EXPAND OUR OFFERINGS”

SILVIA COTINO, DEPUTY DIRECTOR OF SALES AND BUSINESS DEVELOPMENT AT MEDITERRÁNEO, DETAILS

WHY MEDIASET SPAIN'S SALES AND PRODUCTION DIVISION BEGAN DISTRIBUTING THIRD-PARTY CATALOG TITLES, WITH MAJOR LAUNCHES SET TO DEBUT AT MIPCOM.

After launching the international distribution of Prime Video and RTP series "Punto Nemo" last April, Mediterráneo, the content sales and production division of Mediaset Spain, expands its third-party catalog by adding new titles for global expansion. The first titles will be "Desaparecido", a Zebra Producciones (Grupo iZen) and Pausoka Entertainment production for Netflix and Primeran (EITB), and "Olivia", a Studio60 and Womack production. To understand the whole expansion strategy, Señal

and

Why did you decide to start distributing titles from third-party production companies?

"Our catalogue has always been rooted in the strength of Mediaset España's productions, with high-quality and diverse titles. Partnering with third-party producers enables us to expand our offerings, respond to market trends, and build a more diverse portfolio that resonates with different audiences worldwide. The opportunity lies in complementing our strong in-house slate with premium projects that carry distinctive voices and fresh narratives. In many cases, these projects come from very powerful first windows with platforms of the caliber of Netflix or Prime Video, which have already invested in the local territory with outstanding success in Spain. That gives us enormous solidity when we try to distribute them beyond our borders. At the same time, our role is to maximize their visibility internationally, ensuring that stories that captivated Spanish audiences can also have a successful path globally."

How would you blend that strategy with the traditional Mediaset and Mediterráneo catalog?

"We see it as a natural integration. Our in-house catalog gives us

brand recognition, while thirdparty acquisitions bring variety. The goal is not to dilute but to enhance: combining flagship Mediaset titles, which already have a proven track record with audiences, with innovative productions from external partners creates a more compelling catalogue. The aim is to revamp our catalog and make it even more attractive to international buyers. The titles we distribute share common qualities: warmth, powerful production values, and the ability to connect with audiences. That coherence enables us to position Mediterráneo as a distributor, thereby strengthening our value proposition in global markets like Mipcom."

How would you describe the global appeal of Prime and RTP's "Punto Nemo"?

"'Punto Nemo' has all the ingredients of a premium drama

INTERVIEW

with global reach: a powerful premise, cinematic production values, and a top-tier cast led by Oscar Jaenada, Alba Flores, and Maxi Iglesias. It's clearly conceived as a streaming series, featuring high-impact cliffhangers that capture the audience's attention and encourage binge-watching. It has excellent potential for platforms or TV channels seeking stories with an intense rhythm and high production values. Besides, the series is quite global: the plot is set in the most distant place on earth, the Pacific Ocean, so it's not a local story; it's an adventure narrative with universal stakes, layered characters, and high tension that can engage audiences from the Americas to Europe and Asia. The fact that the series has already succeeded in Spain, becoming a breakout hit on Prime Video, topping the most-watched charts for weeks, only reinforces its international potential. The second season is currently in production, and it boasts a strong creative team behind it, with Alex Rodrigo (Money Heist) as director."

What did you observe in Netflix and ETB's "Desaparecido" that led to its selection for global distribution? "'Desaparecido' (Vanished) is a young adult series with a universal scope that combines the intensity

of a thriller with the intimacy of friend and family relationships, creating a hybrid that feels both gripping and relatable. Produced by Zebra Producciones and Pausoka Entertainment exclusively for Netflix and Primeran (ETB), the series has top global production values. From a business perspective, it's a project with the potential to travel, because it resonates with international audiences while staying true to its local roots. Additionally, it is backed by the first window in Spain, where it achieved overwhelming success, both on Netflix, staying in the Top 10 ranking for nine weeks, and on ETB's VOD Service Primeran, breaking records as the most-watched series in ETB's history. That endorsement is a guarantee of quality and provides a solid foundation for taking the project abroad, knowing it already has a proven capacity to engage large audiences."

What are the main features of Telecinco's latest premiere, "La Agencia"?

"It is the Spanish adaptation of the globally acclaimed French format 'Call My Agent!'. The series, produced by Good Mood (Mediawan) for Mediaset España and recently launched on Telecinco, perfectly encapsulates

the kind of entertainment Mediaset is known for. With a fresh tone, the series follows a prestigious talent agency, portraying the daily life, relationships, and personal conflicts of those who move within this unique and dazzling professional environment. It features a first-class cast led by Javier Gutiérrez, Marta Hazas, Manuela Velasco, Carlos Bardem, and Fiorella Faltoyano, along with guest appearances from stars such as Belén Rueda, Jaime Lorente, Rubén Cortada, Hiba Abouk, Jose Coronado, and Luis Zahera, each playing themselves in self-contained storylines. Its combination of the glamorous world of talent representation with sharp character conflicts makes it a compelling and addictive series".

What are expectations around the launch of "Ella Maldita Alma" at Mipcom?

"'Ella Maldita Alma' (She, Damned Soul) is a daring project that pushes boundaries in both form and content. It represents the type of bold, risk-taking storytelling that differentiates from other stories, adding complex dilemmas and a distinctive artistic signature with Maxi Iglesias, Martiño Rivas, and Karina Kolokolchykova. Mediaset España produces this new drama in collaboration with Plano a Plano, producers of some of our bestsellers, which is a solid base for us. It tells the story of an impossible love between two people who fight with all their might to resist succumbing to overwhelming feelings. Fermín, a charismatic priest, and Ana, the wife of his cousin Isaac, who has been like a brother to him since childhood. The series was recently awarded the Audience Award for Best Fiction Series at the South International Series Festival, making Mipcom the perfect stage to introduce it to the international market."

By Diego Alfagemez

PREMIUM CONTENT, WITH EMOTIONAL DEPTH AND GLOBAL RESONANCE

INGO VANDRÉ , MANAGING DIRECTOR, AND MALGORZATA OBES, SENIOR INTERNATIONAL SALES & ACQUISITION MANAGER AT ARD PLUS, DISCUSS THE COMPANY'S CONSOLIDATION STRATEGY AND THE OPPORTUNITIES FOR GERMAN STORYTELLING IN THE GLOBAL MARKET.

This year, at Mipcom, ARD Plus is highlighting a lineup of premium titles that combine emotional depth with strong cultural relevance. Señal News spoke with Ingo Vandré, Managing Director, and Malgorzata Obes, Senior International Sales & Acquisition Manager, about the company's recent consolidation of its sales activities, the challenges of standing out in an increasingly competitive streaming landscape, and the trends driving international buyers.

What are the key strategic business areas for ARD Plus?

IV: "Our parent company, the WDR Mediagroup, is consolidating its sales activities in the video sector and has just transferred the Sales & Direct Publishing department, including program distribution and the sales portfolio to ARD Plus, which has been operating successfully on the market for five years and has established itself with the development and distribution of ARD Plus OTT and channel offerings. New additions

include program purchasing and the national and international distribution of content via free TV, pay TV, and VoD. With the expansion of its business areas, ARD Plus is strengthening its role as a content provider and taking a significant strategic step for the future by consolidating its commercial content distribution activities. The new structure will enable our business partners to collaborate even more comprehensively. At the same time, our team will remain available as before."

What are the main challenges for the company today?

MO: "The streaming market is highly competitive. One of the primary challenges is maintaining visibility in an increasingly competitive global market. International buyers are often overwhelmed by the sheer volume of content available, and non-English-language titles have to stand out even more to gain attention. We address this by curating a portfolio that showcases the diversity and creativity of German storytelling, making our titles instantly recognizable and relevant worldwide."

What new trends and needs do you recognize among your clients?

MO: "We see a strong demand for high-end drama series. At the same time, light crime series remain extremely popular, particularly those with strong characters and a warm tone. Buyers are looking for content that can quickly engage audiences emotionally while still offering something fresh and culturally unique."

What new titles will you showcase at Mipcom?

MO: "Our lineup puts socially relevant storytelling front and center. 'Naked' tells the story of toxic love and emotional dependence, exploring the dynamics of power and vulnerability in modern relationships. 'David and Goliath' sheds light on mental health in everyday clinical practice, addressing a topic that is becoming increasingly important worldwide. Moreover, 'Helix' combines cuttingedge genetic research with gripping thriller suspense, raising urgent questions about ethics and science. This powerful trio is complemented by a wide range of popular crime series that deliver both suspense and charm. Premium storytelling, emotional depth, and global resonance make them ideal for global partners."

What are your main business goals for 2026?

MO: "Our goal is to continue expanding our catalog with highquality titles while strengthening our position in the market. We aim to establish a trustworthy and creative partnership for delivering distinctive German storytelling. Building long-term relationships with international clients will be at the heart of our strategy. Our ambition is to leave a lasting footprint with premium content that has a strong emotional and cultural impact. Our recent consolidation of our video activities will help us achieve even greater market penetration in the future."

By Romina Rodriguez

UNIFRANCE RENDEZVOUS: A SHOWCASE FOR THE BEST OF FRENCH TV

GLOBAL BUYERS FROM 40 COUNTRIES GATHERED IN LE HAVRE TO DISCOVER THE LATEST FRENCH CONTENT, INCLUDING THE FICTION SERIES “VENDETTA”, THE DOCUMENTARY “NATURE: THE CALL FOR RECONCILIATION”, THE SCRIPTED DRAMA SERIES “AFTER US”, AND “ESCORT BOYS.”

For the second time, the French city of Le Havre hosted the traditional Unifrance RendezVous, which took place from September 1 to 5, gathering nearly 150 global buyers, who had the chance to discover more than 500 French shows covering all genres. Buyers also had the opportunity to attend daily screenings such as the fiction series "Vendetta," created by Ange Basterga, written by Basterga, PierreMarie Mosconi, and Emmanuelle Michaux, produced by CPB Films, and distributed by France TV Distribution. Thierry Neuvic and Vahina Giocante play the main characters in this Corsican family saga, which spans

from the 1990s to the present day. "I'm pleased to host the premiere of 'Vendetta', our prime-time series for France 2 with six episodes playing in the most beautiful island in the world, Corsica. The audience will discover another side of this special place with very special people," said Julia Schulte, SVP of International Sales

at France TV Distribution.

Federation International screened the first part of the documentary "Nature: The Call for Reconciliation," written and directed by Yann Arthus-Bertrand, which traces the history of life, from its cosmic origins to its contemporary challenges, and calls for collective transformation to reconcile humanity with nature. Moreover, Mediawan Rights featured the scripted drama series "After Us," created by Louis Aubert and Matthieu Bernard, co-written with Clément Marchand, and directed by Franck Brett. Starring Natacha Lindinger, François Berléand, Marie Colomb, and Léo Legrand, it follows the Alpha Group. This clandestine organization decides to fight climate inaction by kidnapping the

children of business leaders to force them to keep their commitments, on the eve of a European forum.

Wild Bunch TV presented the second season of the scripted drama series "Escort Boys," written by Marc Syrigas, Ruben Alves, and Yael Lebrati Attuil, directed by Ruben Alves. After a successful first season, the series reunites its four protagonists, played by Guillaume Labbé, Thibaut Evrard, Corentin Fila, and Simon Ehrlacher, who are forced to return to escorting just as they were about to save their family estate. "The first season came out in France, and it was a stunning success. It resonated across generations, even though it actually tackled quite complex issues about couples, relationships, and gender dynamics in the Me Too era," said Diana Bartha, Head of TV Sales & Acquisitions at Wild Bunch TV. "The second season came out just recently and takes the audience to the south of France, Camargue, inviting them into a tender, sexy, and very visually strong, cinematic atmosphere, almost like a western movie," she added.

€200+ MILLION IN EXPORT SALES

In a context where the market has become considerably more challenging, with buyers facing economic difficulties, public and private broadcasters reducing acquisition budgets, the whole industry undergoes restructurings, and program orders are declining, particularly in North America.

French content has successfully navigated these challenges and exceeded €200 million in export sales. The CNC and Unifrance asserted that in 2024, sales of French audiovisual shows reached €209.6 million, a

French content exceeded $200 million in export sales. The CNC and Unifrance stated that in 2024, sales reached $209.6 million, a slight increase of 3.0% over one year.

slight increase of 3.0% over one year. The success of French fiction exports continued in 2024 with €75.2 million in sales, making it the second-best year after 2022, with a 0.9% growth compared to 2023. In 2024, French fiction was primarily driven by light-hearted procedural dramas such as "Deadly Tropics" or "Bright Minds", as well as event series such as "Cat's Eyes" or "The Trigger."

Documentaries performed well in terms of exports, with sales of €44.3 million in 2024, a 6.2% decline from 2023 but above the decade average (€40.5 million). The diversity and quality of French documentaries remained internationally recognized, particularly in the fields of history, science ("Supernature"), exploration, sports, and society ("Broken Kids", "The Untold Story of Young Athletes"), and other programs on current affairs. Finally, animation sales were down again, achieving €46.1 million in 2024, a 9.9% decrease compared to 2023. Highly popular French animation shows, such as "Miraculous: Tales of Ladybug & Cat Noir," "Mystery Lane," "Grizzy and the Lemmings," and "Molang," continued to spread around the world.

By Romina Rodriguez

DEAN

"OUR SHOWS HAVE A REAL FUNCTION IN THE LIVES OF OUR FANS"

DEVLIN, CEO OF ELECTRIC ENTERTAINMENT, HIGHLIGHTS THE COMPANY'S 25-YEAR JOURNEY MARKED BY ADAPTABILITY, A LOYAL FAN COMMUNITY, AND A COMMITMENT TO PRODUCING OPTIMISTIC ESCAPIST CONTENT WHILE EXPANDING GLOBALLY THROUGH ELECTRICNOW AND INTERNATIONAL FRANCHISES.

As Electric Entertainment celebrates its 25th anniversary, Dean Devlin, CEO of Electric Entertainment, reflects on the milestones that shaped the independent studio, from “The Librarian” franchise to the rapid growth of its AVOD/FAST service, ElectricNOW.

What have been the defining moments and core values that have shaped the company since its origin?

"I think making the first 'The Librarian' movie for TNT was a defining moment for Electric Entertainment, as it was our first production. That set the course for our company to build its library of entertainment. However, I believe our core values have been reflected in upbeat and optimistic escapist entertainment. While genre entertainment is often looked down upon as a 'lesser' art form, in times of great difficulty, such as worldwide pandemic, political division, and economic uncertainty, the need to 'escape' has never been greater. Our shows have a real function in the lives of our fans."

How would you define Electric Entertainment's role in the evolving media landscape?

"As an independent mini-studio, we've always had to fight and scrape by to get things made. I believe it's our ability to adapt to

an ever-changing entertainment environment that has defined us as a type of speed boat that can swiftly alter course when the larger cruise liner ships have difficulty."

Since launching ElectricNOW in 2001, and expanding its catalog to over 3,000 hours, what have been the most significant challenges and achievements in building your AVOD/FAST platform?

"Without a major studio behind us, we didn't have the machinery to promote us and create awareness. So our audience was built almost entirely organically. We didn't know if our fans would find us. It's been one of the greatest gifts to have such an incredibly loyal and supportive fan community who embraced ElectricNOW and helped us grow so quickly."

How do your ElectricNOW Originals reflect your strategy for growth and audience engagement?

"Our first two original shows, the 3D animated sci-fi comedy 'Sloane and The Cosmic Schlep' and the half-hour comedy series 'The Poly Couple', both came to us organically. We saw something that we loved, something truly unique, and we thought our fans would really enjoy it. I'm eager to see if these shows are wellreceived by our audience. We're optimistic."

What distinguishes your approach to international partnerships?

"Our shows tend to have incredible support communities that grow around them. It's unique to the kind of shows we make. The fans have a genuine sense of ownership, and they put in a significant amount of effort to promote the shows online and do considerable legwork to get the word out. That trend is observed in countries worldwide. It becomes a valuable asset for our foreign buyers. Our shows tend to be franchises. So when, for instance, the new version of 'The Librarians' debuts, all the episodes of the old series increase in viewership and in value. That's why our projects distinguish themselves beyond just another piece of content."

ElectricCon marks your first official fan convention. What motivated this initiative?

"It was actually the idea of Creation Entertainment, who have a long history of throwing fan conventions. However, it's mostly either for an entire genre or for a specific show. It was the first time a convention was held for the body of work of a production company. It was a remarkable event. The most surprising thing about it was that more than half of the people who showed up had flown in from overseas. We had fans from Spain, the UK, Singapore, all over the planet. It was surprisingly emotional, and the fans really bonded with each other. I don't think the convention creates engagement, I think it is the result of an incredibly engaged community of fans."

By Romina Rodriguez

LISA PERRIN,

"WITH PLANO A PLANO, WE HAVE ONE OF THE BEST DRAMA COMPANIES IN SPAIN"

MANAGING DIRECTOR

OF INTERNATIONAL PRODUCTION AT ITV STUDIOS, EXPLAINS THE BUSINESS STRATEGY BEHIND THE COMPANY'S STAKE ACQUISITION OF SPAIN'S PLANO A PLANO PRODUCTION LABEL.

Last July, ITV Studios acquired a majority stake in Spain's production company Plano a Plano, which has gained national and international recognition for titles such as Netflix's "Valeria," Mediaset's "El Príncipe," and TVE's "Servir y Proteger". Founder César Benítez, along with CEO Emilio Amaré and Executive Producer Álvaro Benítez, will continue to lead the company, which operates from Madrid and Bilbao. That management team will report to Lisa Perrin, Managing Director of International Production at ITV Studios. Señal News spoke with Perrin to gain an understanding of the strategy behind the acquisition.

What is ITV Studios' business strategy behind Plano a Plano's stake acquisition?

"We're always looking for great talent to invest in, and César and his team are fantastically talented producers and storytellers. Our strategy at ITV Studios is to work with the best, and with Plano a Plano, I think we have one of the best drama companies in Spain.

That was the strategy. We had been discussing with Emilio and César for a very long time the possibility of Plano a Plano joining the Group, and we were thrilled when they decided to come on board."

What specific features and milestones did you observe in Plano a Plano and its production pipeline?

"Plano a Plano has some huge successes under its belt, including four series of 'Valeria' for Netflix and more recently, 'Ladrones: La Tiara de Santa Águeda' for Disney+. 'El Principe', produced for Mediaset, has been sold to more than 60 international markets, and the team creates the high-volume daily telenovela 'Servir y Proteger' for TVE. There is a diverse body of work, and they collaborate with all the streamers and broadcasters in Spain, which is incredibly important to us. They also have incredible relationships with writers and actors. Naturally, there are several upcoming projects we are all very excited about too, but we can't talk about them yet!"

César Benítez, Emilio Amaré, and Álvaro Benítez will continue to lead the label. What do they add to ITV Studios' scripted strategy?

"They are all super talented individuals, César alone is the producer of more than 50 films

“Plano a Plano has some huge successes under its belt, including four series of 'Valeria'"

& TV series, Emilio is brilliant commercially, and Alvaro is another fantastic producer. One of the great benefits of joining ITV Studios is that you become part of this club of other brilliant producers who are at the top of their game and are open to collaboration. Some of the ITV Studios UK producers have already been in touch with them to explore potential collaboration opportunities, and I'm sure Plano a Plano would also like to discuss their projects with some of our producers in other territories."

How will you blend Plano a Plano with all ITV Studios' production labels?

"Plano a Plano will continue to operate in the same way it always has. Clearly, they are now plugged into the larger ITV Studios infrastructure, but we want them to continue doing what they have always done: making great shows that people want to watch. So for the foreseeable future, they will be exactly as they are today."

By Diego Alfagemez

"EVERY PROJECT WE ARE LAUNCHING AT MIPCOM APPEALS GLOBALLY"

NATALIE LAWLEY, MANAGING DIRECTOR AT ESCAPADE MEDIA, HIGHLIGHTS THE COMPANY'S GLOBAL-FIRST APPROACH TO CONTENT, ITS INNOVATIVE FINANCING MODELS, AND THE NEW TITLES SET TO DEBUT AT MIPCOM.

As Escapade Media heads into Mipcom, the company remains focused on projects that balance strong local resonance with broad international appeal. Under the leadership of Managing Director Natalie Lawley, the company is leveraging pre-sales, co-commissions, and creative financing methods to bring premium scripted and non-scripted content to market. From intimate documentaries to feel-good factual entertainment, the slate reflects the distributor's commitment to fresh stories and adaptable formats for audiences worldwide.

You previously emphasized finding content that resonates locally yet appeals globally. How are you incorporating that philosophy into your Mipcom strategy?

"This is a philosophy embedded in all our projects, and I feel the importance of this growing each year. Every project we are launching at Mipcom this year appeals globally, as we have seen much success with pre-sales and co-commissions recently, enabling

us to close finance plans and get projects into production."

Your financing model includes securing pre-sales, commissions, and innovative funding methods. Will you launch new partnerships or co-production models at Mipcom to support premium scripted and non-scripted content?

"Very much so. We aim to offer our clients affordable finance plans where a number of the line items are already cashflowed outside the standard tax incentives. By implementing innovative finance models, you can also simultaneously impact the project's marketing potential and added value across the different rights. So far, this modelling has leaned itself more towards scripted projects, but we are now looking at our non-scripted projects."

What are your main goals for Mipcom? Do you have any shows or tech innovations you're most excited to highlight at the market?

"Our key objectives at Mipcom are to close the finance on three

projects and secure sales for our newly completed content. Each is equally important. We have previously worked with producers from the UK, USA, Australia, and India on non-scripted projects and continue to build on these existing and new relationships. We are excited to bring some of our new titles to Mipcom. 'A Season with Isabella Rossellini' is an intimate documentary film about Isabella's incredible life on her farm, with insights that have never been shared. We also have a wonderful factual entertainment series, 'Wedding Dancers,' the ultimate feel-good series, where we learn as much about ourselves as we do about the couples, their friends, and families. It is a returnable format that can work in any territory and language. Moreover, 'Food Diary' is a beautiful journey of food, travel, and adventure with Colin Fassnidge, from the sweeping steppe of Mongolia, through the raw vibrancy of Cambodia, and ending in the soulful rhythms of Okinawa."

By Romina Rodriguez

 Armin Luttenberger

"WE EXTEND OUR LINE-UP, AIMING YOUNG AUDIENCES"

ARMIN LUTTENBERGER , HEAD OF DEPARTMENT CONTENT

SALES INTERNATIONAL AT ORF-ENTERPRISE, DISCUSSES

THE YOUTH-FOCUSED COMPANY'S STRATEGY,

UNVEILING SCRIPTED TITLES LIKE "THE GEIER FILES."

As ORF-Enterprise heads to Mipcom, Armin Luttenberger, Head of Department Content Sales International, highlights the company's commitment to both tradition and innovation. With a line-up that blends fresh scripted series targeted to young audiences, brand-new crime, and acclaimed documentaries ORF-Enterprise continues to position as a trusted partner for global broadcasters.

How will ORF represent Austrian storytelling at Mipcom?

"We are proud to be partnering up, once again, with Film Austria and ABA (FISA+), offering a onestop shop as a touchpoint to the Austrian creative industry. With these two partners, we represent the entire ecosystem from funding, over production, leading to distribution."

How will ORF's catalog approach young audiences?

"We are excited to extend our lineup, aiming toward young audiences craving great stories and relatable characters. ORF has proven in recent years that it is a reliable supplier of high-quality drama

that resonates with audiences worldwide. Experiencing a gentle shift from 'traditional' linear audiences to their younger family members is incredibly exciting. But there is more: the movie series 'In the Shadow of Fear' continues in part three, 'Lights Out', and 'Days That Never Were' second season has been announced, 'Soko Linz' continues with fresh episodes, and 'Tatort Vienna' is approaching its grand finale. ORF-Enterprise has taken over world sales for the brand-new movie series 'The Geier Files', with the upcoming titles 'The Woman with Two Lives' and 'Friend or Foe' already lined up."

What new factual or scripted titles will you showcase at Mipcom?

"We will be presenting a strong mix of factual and scripted highlights. Within the Universum Nature highlights, titles include 'The Red Sea – Evolution's Magic Garden', 'Mission Sea Otter – Saving California's Kelp Forests,' and 'Austria's Greatest Mountain – The Grossglockner.' From Universum History, we highlight 'Archduchess Sophie – The Power Behind the Habsburg Throne', alongside 'The Forgotten – Women of the Peasants' War.' On the scripted side, ORF Originals bring compelling new

seasons and films: 'The Geier Files,' a new series of crime movies centered on mysterious murder cases with personal stakes; the latest season of 'School of Champions,' where young athletes chase their skiing dreams, and the return of many other popular formats such as 'Days That Never Were,' 'Soko Linz' and 'Glambitious'".

With a mix of fresh content and well-known legacy titles, how are you balancing tradition and innovation?

"Naturally, we are using Mipcom mainly as a stage for fresh content as well as established audience favorites. But ORF is more than just another logo at the event. We are committed to quality and reliability, and we are proud to be celebrating the year-long collaboration with our partners all over the globe, particularly in times when the importance of cooperation and togetherness seems to be losing its relevance worldwide. This also means that we are accustomed to listening closely to our partners, learning from their experiences, sharing our perspectives, and facilitating international co-production, ensuring that we remain relevant in such a competitive market. Clearly, our offering is closely linked to ORF's output, so we are not free to cater to every single market requirement in the content industry, but we are committed to boldly representing the award-winning portfolio in the respective market segments, shining through excellence in storytelling."

By Romina Rodriguez

“SUPERBRANDS

ARE A GREAT NEUTRAL TERRITORY FOR SOCIAL INTERACTION”

LUCAS GREEN, CHIEF CONTENT OFFICER, OPERATIONS AT BANIJAY, HIGHLIGHTS WHAT A SHOW MUST HAVE TO BECOME A SUPERBRAND WITH GLOBAL RECOGNITION, EMPHASIZING THE IMPORTANCE OF AUTHENTICITY IN THE PRODUCTION PROCESS.

Lucas Green is Banijay's Chief Content Officer, Operations, and also co-leads Creative Networks. He is responsible for overseeing the group's superbrands and existing formats. By promoting best practices in production formats and reboots, he defines the global strategy for world-class content and priority titles, driving rollouts, reinventions, and spin-offs. In a conversation with Señal News, he reflected on the characteristics of superbrands, their consumption by different generations, and their impact on everyday life.

What are the main features a show needs to have to be called a superbrand?

"It needs to have universal appeal, and for that, I think it needs to be able to find a broad audience and work in many territories. I think we have some key themes in our superbrands: adventure, human interpersonal relationships, reality dating relationships, aspiration, and life-changing competition. You can change your life if you win "MasterChef," but you can also change your life if you win "Deal or No Deal". Given those universal themes, it makes all of those shows popular in many

territories, whether you speak Spanish, English, Portuguese, French, German, or Chinese. The universal themes allow them to travel. For us, the superbrand is a big local show, and it could be a big brand in your own territory, but it does not have an international appeal."

That definition agrees with the "Think local to be global" concept. Or vice versa?

"Whether it's unscripted or scripted, content has to be authentic, and the viewers need to be able to relate to it. Even Netflix uses this phrase, which is "mirror moments". So, do you see a scripted show or an unscripted show, and can you envision yourself, your life, or your friends' lives in those shows? Whether it's local for local or local for global, it has to feel real. Often, local drama is very successful when you see locations, people, and stories that you can relate to. However, for unscripted content, the location and setting are probably less relevant, as you're likely to be in a studio, on a beach, or in a jungle. So, it already feels like a very international setting."

Why is it essential for a superbrand to be part of its audience's everyday conversations?

"It needs to resonate on social media because we know now that those platforms are a crucial part of the marketing of these brands. It needs to be something that we can all discuss with each other. TV and content continue to play a significant role in our lives, serving as a social glue that unites people. People often prefer not to discuss their jobs, war, or financial problems. There are a lot of difficult subjects for us to talk about, so if you can talk about a reality show or a sports show, it's neutral territory that we can have fun and we can tease each other, and it's not offensive, and we can talk

about it, and it's the same. If you're talking about reality shows, it's not going to hurt you that much. We can have a debate, an argument, and even get emotional about it. We love human interaction, and we can engage with our friends and family. Those reality shows are very bold in how they cast, allowing you, as an audience, to recognize yourself on screen."

Can you explain the key differences across generations in the way they engage with these superbrands?

"No matter how old you are, what country you live in, you relate to those big things like love, loss, grief, and laughter. That's why Banijay produces "LOL" in eleven territories: everybody likes to laugh, and everybody likes to cry. The way content is consumed now is definitely different, and shows on streaming platforms are powerful. The way we produce and structure them to be consumed in much longer chunks highlights the bingeability of these shows. In straightforward terms, how you edit a show and the structure of its narrative have to be different because you don't have catch-ups, and you don't have cliffhangers at the end of each part. You don't need a big cliffhanger at the end of the episode to make people come back a week later. We scripted more like a ten-hour movie that has peaks and troughs and three or four different phases of the drama, rather than structuring it in one or two-hour repeatable episodes."

How important is it to work with a balance of traditional, senior producers and the younger generation?

"Whether you're a producer or a network, you want a mixed ecosystem of content. You want the big IPs and the new IPs, and you want shows that appeal to both young and old audiences. Similarly, you want a variety of producers. You want people who know how to produce the biggest realities on television like 'Big Brother' and 'MasterChef', but you also need the imaginative visionaries who were the producers of tomorrow, saying, 'let's try these different camera methods' or 'let's shoot it differently, let's mix up the narrative'. So, you're constantly challenging everyone in the industry to be more innovative, particularly in post-production, scheduling, and utilizing AI to streamline the process beneficially. It's through learning from each other that

"Temptation

Island"

“Whether you're a producer or a network, you want a mixed ecosystem of content. You want the big IPs and the new IPs, and you want shows that appeal to both young and old audiences”.

the users of the big IPs can gain valuable experiences from the younger generations. AI can't train you to learn about responsibility and the legal framework behind shows, and not having a shoot where something goes wrong and somebody hurts themselves. It is in this way that new producers and traditional producers can learn from each other."

How will superbrands be represented at Mipcom?

"We're heading into Mipcom with a diverse range of bold formats designed to entice global buyers and captivate audiences. Adventure reality continues to thrive, with our original Danish format 'Shaolin Heroes' expanding into three new territories this year, launched in the Netherlands and Belgium, with France next, and further announcements on the horizon. Across the Atlantic, Endemol Shine North America is producing an exciting new reboot, 'Fear Factor: House of Fear' for FOX, fronted by Johnny Knoxville, which is already generating lots of buzz and renewed interest in the format from other markets. Our superbrands remain a hot commodity, with "MasterChef" leading the charge as the world's largest food format, bolstered by successful iterations such as 'Dessert Masters' and 'MasterChef Creators.' Meanwhile, long-running formats such as 'Temptation Island' and 'Big Brother' maintain global appeal, with their longevity and continued recommissions speaking volumes. From a market perspective, we're seeing a significant shift towards the creator economy and a digitalfirst mindset. Many broadcasters and platforms are increasingly pivoting in this direction, and Banijay Entertainment is at the forefront, actively developing formats in this space with the likes of 'Mission Unknown: Atlantic' with Knossi, as well as leveraging platforms like YouTube, where one of our key Mipcom highlights, 'Let's Play Ball,' first gained traction."

By Alan Levy

CATALAN CONTENT, A GROWING HOTSPOT

WITH PRODUCTION LABELS, DISTRIBUTION COMPANIES, BROADCASTERS, PLATFORMS, AND SALES AGENTS, THE PARTICIPATION OF CATALAN COMPANIES AT MIPCOM WILL BE SUBSTANTIAL, AIMING TO EXPAND THEIR GLOBAL FOOTPRINT.

Catalan Films aims to increase the participation of the Catalan audiovisual industry in the global arena, encouraging co-production and distribution of Catalan projects. At Mipcom, the presence of Catalan companies will embrace

3CAT PAULA PEDEMONTE, HEAD OF INTERNATIONAL SALES

“We approach the market with the ambition of generating new synergies and finding common interests with buyers and industry professionals. With a broad catalog and the wide range of distribution models that the market now offers, we are exploring new forms of collaboration to promote our new releases and ensure they travel as widely as possible.”

KEY LAUNCHES:

“TIME OUT” • DOCUMENTARY

 “NO FILTERS” • SERIES

production labels, distribution companies, broadcasters, platforms, and sales agents. These companies will have different launches and business objectives, but a common ground: to expand their global reach.

A CONTRACORRIENTE FILMS

ADOLFO

"In today's shifting film and TV landscape, A Contracorriente Films stands out with a multi-platform model that redefines distribution. Unlike traditional players, it controls the full lifecycle of each title, from theatrical release to digital platforms, tailoring strategies for both Spanish and international hits. Its ecosystem includes pay TV, SVOD giants, free TV, its own service acontra+, and FAST channels Cines Verdi TV. This integrated vision ensures every film reaches its audience, positioning A Contracorriente as a true content platform."

BLANCO, FOUNDER & PRESIDENT AGUACATE CALABAZA FILMS

NÚRIA VELASCO ESTUDILLO, PRODUCER

"At Aguacate & Calabaza Films, we aim to boost the international reach of our projects. Our goal is to find an international distributor

interested in bringing our content to new markets, while exploring strategic alliances that enable us to internationalize our most successful TV formats and license them worldwide. We seek to connect with partners who share our innovative vision."

KEY LAUNCHES:

“LA JUGADA DE MAQUIAVEL” • REALITY  “THE TRAIL” • ADVENTURE

"We're thrilled to share the first images of 'Not For Sale,' directed ARCADIA MOTION PICTURES

SANDRA TAPIA, EXECUTIVE PRODUCER

by Goya Award-winning filmmakers Pol Rodríguez and Isaki Lacuesta. With sales by Filmax, this HBO original is a co-production between Arcadia, 3CAT, and Umedia, with the support of the European Media TV Content program and Catalonia's ICEC. After our experience producing several fully financed series for Netflix, this project marks a significant shift as we retain the IP. We are looking for co-production partners to replicate this model and join us on our new development slate: 'Silencio En La Sala' by Román Parrado and 'Mandanga' by Almudena Monzú and Andrea H. Catalá."

KEY LAUNCHES:

 "NOT FOR SALE” • SERIES

CESCA FILMS FRANCESCA

IBAÑEZ, PRESIDENT

"Mipcom is a unique window to the world. Our main goal is to connect with international buyers and showcase a strong slate of TV movies from acclaimed American and European producers. This year also marks a milestone: the unveiling of Cesca's first coproduction, 'Pet Chef,' a cooking show for pets, to gauge market

DEAPLANETA CARLOS BIERN, CONTENT AND MEDIA SALES DIRECTOR OF THE KIDS & FAMILY DIVISION

"This is a very special year for us as it marks our 25th anniversary, and we are delighted to be able to celebrate it in Cannes with all our colleagues from the international industry. In addition to producing family content, our European team has become highly specialized in creating global digital ecosystems for brands before their release. While we continue to be storytellers, our new mission is to engage the audience with our characters even before the first content is available. Our goal is always to identify new brands and libraries where we can contribute, working closely with the creators to explore the options that new business models in our sector require. We are proud to see that our ability to generate success is expanding to new territories outside Europe and Latin America, including exciting targets such as anime, K-pop, and Kiddults."

KEY LAUNCHES:

“KARTERS” • SERIES

“UNDERDOG” • SERIES

 “MILO” • SERIES

appetite in this innovative and entertaining format."

KEY LAUNCHES: “PET CHEF” • REALITY

projects and connect with potential partners and collaborators. With our latest project, the series 'Pubertat,' our objective is to strengthen its global presence further in collaboration with our international sales agent, Beta Film. The series was created by Cannes Series winner Leticia Dolera and premiered in September on HBO Max Spain."

KEY LAUNCHES:

 “PUBERTAT”

"We are heading to Mipcom with a strong lineup. We expect both to spark strong interest, with sales to broadcasters and platforms as our top goal. We're also advancing talks on series with strong remake potential, including 'The Red Band Society,' 'I Know Who You Are,' a Netflix Spain hit years after its premiere, and 'Welcome To The Family,' recently adapted in Mexico. Beyond that, we'll present our growing film library and connect with producers seeking international sales agents for series in advanced stages of financing."

KEY LAUNCHES:

"NOT FOR SALE" • THRILLER

 “MOUTHS OF SKY” • DRAMA

DISTINTO FILMS MIRIAM PORTÉ, PRODUCER

"We are currently seeking to expand the international reach of our

GOLDBEE CHRISTOPHE

GOLDBERGER, MANAGING DIRECTOR

“Our goal is to strengthen GoldBee’s position in the kids’ and family market by showcasing over 3,000 half-hours of premium content, expanding our global reach, and building new partnerships with programming that combines strong commercial appeal and meaningful storytelling.”

KEY LAUNCHES:

 “GOOD VIBES – STRONGER TOGETHER” • SERIES

JAMBIKA DOCS

JUAN SOLERA, HEAD OF SALES & ACQUISITIONS

"Our main goal at Mipcom is to connect with broadcasters, streamers, educational platforms, digital partners, and inflight distributors to place our boutique catalogue of factual series and one-offs. We are meeting with international clients from all continents to expand our network, reinforce existing relationships, and strike new partnerships. On a smaller scale, we will also meet high-profile production companies that create high-quality factual content, blending education and entertainment, with the potential to reach commercial avenues while maintaining their educational mandate.”

KEY LAUNCHES:

“SELLING SUPERMAN” / “LEFT WRITE HOOK” / “LOOT” / “WOUNDS” /  “DIARY OF AN ORPHAN ELEPHANT”

LAVINIA AUDIOVISUAL

RUBÉN MAYORAL, CONTENT GENERAL DIRECTOR

"Our main business goals for this edition are to identify formats with strong potential for local adaptation and to explore emerging trends across entertainment and other genres. We also want to reinforce ties with existing partners and build new ones, securing long-term collaborations that foster creativity and growth."

KEY LAUNCHES:

“ZENIT” • FORMAT

“SORT YOUR LIFE OUT” • FORMAT

“JOKER” • FORMAT

LIMONERO FILMS

PAMELA MARTÍNEZ, CEO | DEVELOPMENT, SALES & ACQUISITIONS

“As every year, we aim to meet with buyers to present our new lineup, with producers, to establish new relationships, and we also like to learn about new industry trends. The cocktails and networking are wonderful too.”

KEY LAUNCHES:

“THE COST OF WAR” • DOCUMENTARY

“A FIGHTER´S DIARY” • DOCUMENTARY

 “THE SAVANNAH: WILD HAPPINESS” • WILDLIFE SERIES

TERESA

LÓPEZ, CO-FOUNDER & CEO

"We are a start-up based in Barcelona that produces thematic TV channels by selecting premium, localized content to engage niche local audiences with high value for advertisers. We aim to discover new content for our TV channels, while also strengthening relationships with industry partners and exploring new opportunities to support our growth. Our primary focus this year will be on discovering new content for our TV channels and showcasing the launch of new channels during the fourth quarter. We will also participate in the Innovation Lab at the Creative Europe Media stand."

MAGO PRODUCTION

PETER KEYDEL, PRODUCER

"We will launch 'Limbo Ville,' our new 2D animated series for children aged 6–9. The project is in pre-production and about to enter

production. Mipcom is a strategic venue to strengthen the project further and present this story to an international audience. With a significant part of the financing already secured, we are seeking co-producers, broadcasters, distributors, and sales agents who share our vision and commitment to bringing this story to life."

KEY LAUNCHES:

“SAN MISTERIO” • 2D ANIMATED SERIES

 “LIMBO VILLE” • 2D ANIMATED SERIES

MEGA TV EÑAUT ZUAZO, ENTERTAINMENT CONTENT DEVELOPMENT

"We aim to license finished formats (Make Up Stars, El Mejor), launch Royals TV, seek partners for co-productions, and explore international formats to adapt for Spain. Our focus is licensing and building partnerships in Europe, Latin America, and Asia."

KEY LAUNCHES:

“ROYALS TV” • LIFESTYLE SERIES

"MAKE UP STARS” • FORMAT

“EL MEJOR” • FORMAT

MOTION PICTURES ENTERTAINMENT

TONI ALBERT, CEO

"Our main goal is to continue consolidating the company's international presence. We aim to strengthen relationships with strategic partners and explore new opportunities in both coproduction and distribution. Mipcom represents a unique platform for us to identify global trends, explore innovative partnerships, and close deals that allow our content to reach more territories and a more diverse audience. Additionally, we are keen to understand firsthand the needs of different markets to tailor our offerings better and continue delivering stories that are relevant, fresh, and with international potential."

KEY LAUNCHES:

“YAIBA” • ANIME SERIES

 “THE BLACK DIAMOND RACE” • ANIMATED SERIES

the other hand, we are looking for partners (broadcasters, coproducers, distributors) to close the financing of those projects we have in development or preproduction stages."

KEY LAUNCHES:

"THE TRIPLETS" • ANIMATION

"LISTEN TO YOUR BODY" • EDUTAINMENT FORMAT

TV

PEKKABOO ANIMATION

IVAN AGENJO, CEO & EXECUTIVE PRODUCER

"We have two main goals. On the one hand, promoting the international sales of our catalog, which is mostly comprised of animation series for kids. On

"As content buyers, we remain focused on acquiring the best and most relevant content for our viewers across our 43 markets in Europe, ranging from TVOD, AVOD, and FAST channels rights. We're particularly keen on localised FAST channels that drive high engagement viewing, as proven by previous track record statistics with such IP being broadcast/distributed previously across TV networks or streaming platforms. Whilst content acquisition is a key focus for us at Mipcom, it also presents an opportunity to reinforce our Rakuten TV Enterprise services to our content partners, such as building FAST channels or CTV apps, and providing ad monetization solutions. We will soon announce new Enterprise content partners, reinforcing our position of a onestop shop for content partners to build channels, distribute, and monetise their content offering."

DISTRIBUTION

SATISFACTION

IBERIA DAVID GALLART, CHIEF CONTENT OFFICER

"Our main goal is to identify new and innovative formats for adaptation in Spain and Portugal, while consolidating Satisfaction Iberia as a leading partner for both national and international coproductions. We will also showcase our original developments and formats from the Satisfaction Group, with a strong focus on projects with international potential that can be produced across multiple territories, particularly in Latin America and the US Hispanic market. Like the development format 'The Loser Takes it All' in collaboration with El Clan, a game show in reverse, where the worst contestant wins."

SIDEWAYS FILM

KAZZ BASMA, ACQUISITIONS / SALES

"Our main goal is to connect with broadcasters and platforms seeking high-quality, distinctive documentaries, whether narrativedriven or investigative. We're looking to expand our network of buyers, explore new slots and platforms, and discover compelling new projects to represent. As always, we aim to form long-term,

transparent relationships with both filmmakers and clients, ensuring that our carefully curated slate continues to reach engaged audiences worldwide."

KEY LAUNCHES:

“WHITE GOLD: ELON MUSK AND THE RACE FOR ARGENTINAS LITHIUM”

“THE VETO”

“THE ENCAMPMENTS”

 “RUSSIANS AT WAR”

SIESTA ENTERTAINMENT

ANNA SHCHUR, CEO, EXECUTIVE PRODUCER

"Our main business goal is to strengthen international partnerships and explore new ways to collaborate with broadcasters, streamers, and licensing partners. We focus on distributing our projects and advancing discussions during these challenging times for the industry. The highlight of this market is 'Black Moth,' our eco-fantasy series for kids 9–12, launching this fall in CIS and MENA. With its mix of music, superheroes, and eco-positive storytelling, we see it as a strong fit for current demand and are coming to finalize key deals and start new conversations."

TOMAVISION

MERCEDES MARRO, DIRECTOR

"Our participation aims to strengthen the company's presence in the international entertainment landscape, with a particular focus on animation. During the event, we aim to continue ongoing conversations with industry colleagues and establish new connections with producers and content creators from around the world. We will also take the opportunity to stay current with the latest trends, innovations, and developments shaping the industry. A key focus will be exploring potential strategic partnerships that could lead to new projects or future synergies."

ZOOMSPORT FILMS

MARC GUILLÉN, SENIOR PRODUCER

"Our main goal is to present our current slate of titles available for international distribution and to engage in conversations around our new documentary projects in development. We're here to connect with global partners who share our passion for bold, compelling storytelling. Additionally, we're developing three new documentary projects in collaboration with prominent figures from the football world. Our focus is to find partners and coproducers who are drawn to emotionally powerful narratives and who want to support ambitious, globally relevant content."

KEY LAUNCHES:

“YOU HAVE NO F***** IDEA*” • DOCUMENTARY

By Diego Alfagemez

PREPARING THE LOCALIZATION INDUSTRY FOR THE AI ERA

NICK

IVANOV,

CEO OF GRAFFITI STUDIO,

LAUNCHED LOCALIZATION BUSINESS SCHOOL, AN INITIATIVE THAT AIMS TO PROVIDE STRUCTURED GUIDANCE FOR MOVING FORWARD, GROUNDED IN BUSINESS KNOWLEDGE.

The rapid rise of artificial intelligence is reshaping the localization industry, creating both opportunities and uncertainties for companies and professionals worldwide. While new tools promise efficiency and scale, they also challenge traditional roles and business models. Addressing this transformation, Localization Business School, an initiative launched by Nick Ivanov, CEO of premium content localization production studio Graffiti Studio, aims to provide the industry with structured guidance for moving forward, which is grounded in business knowledge.

Hosted on a dedicated YouTube channel, Localization Business School presents a series of video lectures where Ivanov examines the complex environment in which localization players operate today. Each episode combines analysis of current trends with frameworks drawn from business theory, offering organizations and

professionals a roadmap to adapt, evolve, and remain competitive in the AI-driven landscape.

"The industry has always been shaped by technology, but AI marks a turning point," says Ivanov. "It's not only about integrating new tools, it's about rethinking the very foundations of how we create, promote, and deliver value to clients, how we structure our organizations, and how professionals identify their new roles in this environment," he added.

The School emphasizes that success in the AI era requires more than technical adaptation. "AI is not the end of human contribution. It's a catalyst that pushes us to combine creativity, cultural understanding, and strategic thinking in ways we haven't done before. Human-in-the-loop is here to stay, but with a new added value," Ivanov noted.

The content is designed to be accessible to a broad audience, ranging from vendors seeking to remain competitive to buyers navigating new efficiency standards, and to individual language professionals planning their career paths. By focusing

on both business strategy and technology, Localization Business School positions itself as a resource for anyone seeking to navigate the localization industry's disruption with clarity and confidence. The initiative arrives at a time when demand for thought leadership in localization is on the rise. Many industry participants are still seeking answers about the long-term implications of AI, and Localization Business School provides structured perspectives that bridge theory and practice. By connecting the educational mission of Localization Business School with its production expertise, Graffiti Studio reinforces its position as a trusted partner for global entertainment media organizations. At the same time, while there are many expert voices from the technology or linguistic sides of the industry, Localization Business School fills the gap in business perspective, underscoring the growing importance of business knowledge in guiding localization through a period of unprecedented change.

By Romina Rodríguez

“THE

ONLY WAY TO SUCCEED IS BY STAYING FLEXIBLE AND ALWAYS CREATING”

NADAV PALTI, CEO AT DORI MEDIA, DESCRIBES HOW THE COMPANY IS KEEPING ITS PIPELINE FULL OF PRODUCTION PROJECTS THAT AIM TO REINFORCE ITS GLOBAL DISTRIBUTION CATALOG, WITH A DELICATE BALANCE BETWEEN SCRIPTED AND UNSCRIPTED.

With a growing portfolio of original dramas and game shows, Dori Media continues to scale its global production and distribution model. CEO Nadav Palti explains how the company turns unique personal stories into internationally viable content, why flexibility is essential, and what's next for its scripted and non-scripted pipeline.

How important is it for Dori Media to balance scripted and non-scripted?

"It's essential. Free-to-air broadcasters today are focusing more on entertainment, game shows, reality, and news. Drama is increasingly moving to digital platforms. To serve both, we must produce both. Whether it's a preprime access game show like 'The Auction' or a primetime drama like 'You Call Me Esther', we aim to cover the full spectrum."

Given the fast-changing context, how critical is flexibility today?

"It's absolutely critical. You need to adapt constantly. What worked last year may not work today. Drama takes time; sometimes it's four to seven years from concept to air. So, you commit to long-term projects knowing the market might shift. Regarding non-scripted, you have to keep innovating, with new games, formats, and angles. The only way to succeed is by staying flexible and always creating."

What was the origin of the "Young Suchard" series?

"We're constantly developing new ideas, but our strength lies in development. We're active in both Latin America and Israel, working in Spanish and Hebrew, and creators always approach us with concepts. The key is finding stories that can travel. In this case, we collaborated with Lior Suchard, the world-famous mentalist. Our relationship with him started over a decade ago when he performed at the International Emmy Academy Days we hosted in Israel in 2014. A couple of years ago, Israel's public broadcaster, Kan 11, put out a call for youth-oriented series. Lior came to us with an idea based on his own teenage experiences. We built a team of writers to develop it into a 20-episode drama. We started shooting in Israel and we believe it has strong international potential."

What was the creative process for translating real-life experiences into a drama?

"We take real stories and turn them into compelling fiction. We did it before with 'Normal.' The real person provides the concept, but

then we step in with writers and producers to build a drama with narrative structure and emotional arcs. Drama helps audiences connect emotionally, and through that connection, they absorb the underlying message. In the case of 'Young Suchard,' it's especially relatable for young viewers. It shows a teenager who doesn't fit in, who is constantly misunderstood, but who eventually discovers what makes him different is also what gives him power. That's something teens everywhere can identify with."

What other projects are you currently developing?

"We announced a new game show called 'The Auction,' which premiered on America TV in Peru. It's a strong format, and we believe it can travel well globally. Moreover, 'Power Couple' is another major success. It's currently in its seventh season on Record TV in Brazil, with 74 episodes per season. It's a massive primetime reality format, and its performance keeps getting stronger. We see global potential for this title. Finally, we're also producing four new dramas in Israel. When we conclude filming 'Young Suchard,' we'll begin shooting "Dabushka", followed by "You Call Me Esther," an eightepisode high-end drama. We're keeping our pipeline full."

Por Diego Alfagemez

ON ITS 30TH ANNIVERSARY, ZED ATTRIBUTES ITS SUCCESSFUL JOURNEY TO ITS ABILITY TO REINVENT ITSELF. CLÉMENT COMBES, DIGITAL DIRECTOR, DETAILS THIS STRATEGY AND HIGHLIGHTS THE DIVERSITY OF ITS CATALOG.

French production and distribution company Zed celebrates its 30 th anniversary, and the key to its longevity lies in its ability to reinvent itself constantly.

Señal News spoke with Clément Combes, Digital Director, who discusses how the company combines linear and non-linear models in a complementary way.

What are the key pillars of ZED's new digital strategy?

"We stand at a turning point, where we need a new balance between linear and non-linear rights. In this regard, one of our key pillars, in both digital strategy and distribution, lies in ensuring the complementarity of these two modes of exploitation, which must work hand in hand. I am fortunate to collaborate closely with Charlotte Tachet, our Head of Distribution, and together we tailor our TV and VOD strategies to each film, so that every work can reach its full potential."

"OUR AMBITION IS TO ENRICH OUR DIGITAL PRODUCTION BY MOVING INTO LONGER FORMATS"

Are you planning new collaborations with global streaming platforms?

"We decided to concentrate primarily

on YouTube, thanks to its vast audience and significant revenues, while giving us complete autonomy over programming. Our Slice brand is established and recognized, with 16 channels across three languages. We are considering how to extend this success to other platforms, in particular, to the FAST ecosystem."

How does Zed adapt its factual catalog to engage younger or digital-native audiences?

"Zed's catalog is already wellbalanced across audience age groups. Our documentaries on YouTube are watched by viewers ranging from 18 to 65+. Since our model is ad-funded, reaching a much younger audience is not our priority. What truly broadens our reach is the diversity of our channels, which span every factual genre. This variety allows us to attract and engage a wide spectrum of audiences. Equally important is the origin of the catalog we operate digitally: it is entrusted to us directly, or through third parties, by some of the most prestigious broadcasters in Europe and the United States, including Arte, France Télévisions, RMC, ZDF, RTVE, Rai, National Geographic, and CuriosityStream."

Are you exploring new formats to expand Zed's storytelling in the digital space?

"That is an excellent question, and precisely what we are working on right now. For several years, we have been experimenting with different types of short-form content on YouTube, but our ambition is to enrich our digital production by moving into longer formats, written and produced directly by our digital team. We already rely on a wide range of AI tools, and the progress in AI-driven video creation will undoubtedly act as a catalyst for this next stage. At the same time, Zed is expanding its catalog into immersive storytelling, with projects such as the film/ dome/VR experience 'Destination Moon'. We are closely monitoring how platforms will open access to such works in the near future."

What milestones should we expect from Zed in the short term?

"First, after consolidating our presence on YouTube over the past five years by building the Slice brand around premium documentaries in English and Spanish across 16 channels, we reached 3 million subscribers, doubled our watch time and our revenues for two consecutive years, and we are developing other brands. We also launched a second Spanishlanguage documentary channel, and we are thrilled by the very positive feedback this investment has received. To continue growing Slice's offer, we will launch Slice Dokus, a German-language Slice channel."

By Romina Rodriguez



Arzu Zeynep Demirtas

"WE AIM TO CREATE DRAMAS THAT FEEL AUTHENTIC AND TRANSCEND BORDERS"

ELIZ ARKAYIN-UNGAN, DIRECTOR OF DRAMA AT GLOBALSPHERE, AND ARZU ZEYNEP DEMIRTAS, MARKETING AND OPERATIONS MANAGER AT MEDIAHUB, EXPLAIN

THE COMPANY'S STRATEGY TO EXPAND ITS ORIGINAL CONTENT SLATE.

Mediahub and Globalsphere Studio have a clear strategy that highlights the expansion into new originals, aiming to forge new IPs for their respective libraries. Señal News spoke with Eliz ArkayınUngan, Director of Drama at Globalsphere, and Arzu Zeynep Demirtas, Marketing and Operations Manager at Mediahub, to gain an understanding of the strategies employed by both companies.

How would you describe Mediahub and Globalsphere Studio's strategy to produce new original content?

ZD: "From Mediahub's side, our focus is to build originals that have clear potential in the international market. We plan from the market backward. Turkish series now reach well over 170 countries, with export revenues measured in the hundreds of millions of dollars each year, and demand has been on a steady climb. That tells us there is room for new IP if we design it for multiple regions from the outset. Our team examines slot patterns, versioning requirements, dubbing pathways, and windowing across broadcast, AVOD, and FAST, then briefs Globalsphere with a clear view of where a show can travel and how it should be packaged. We also connect with different buyer profiles with our unscripted catalog."

EAU: "At Globalsphere, the emphasis is on storytelling and creative execution. We aim to create dramas that feel authentic while also possessing the structure to transcend borders. We are building creative teams who can consistently generate stories with distinct voices. Ultimately, we view original content not as one-off projects, but as the building blocks of a long-term brand that audiences can trust for high-quality storytelling."

What type of content and stories would you like to transform into new IPs?

EAU: "We are drawn to dramas with strong emotional

 Eliz Arkayın-Ungan

engines: family ties, loyalty, betrayal, and justice, because those resonate everywhere. Latin America, the Middle East, Europe, and Asia have demonstrated a connection to these themes in Turkish storytelling, and the recent growth in sales supports this focus. We are also exploring contemporary stories with social stakes and strong female leads, as these narratives offer both emotional resonance and a modern texture. We seek out character-driven stories with unique perspectives that can play off stereotypes and bring something fresh to global audiences. We aim to explore untold aspects of modern Turkish life that can enrich the global conversation about drama."

How would you describe the global potential of "Bitter Justice"?

ZD: "From a distribution perspective, it's a title with clear potential. Often, domestic interest in titles reflects global potential, and since its launch in Türkiye in August, 'Bitter Justice' has generated significant buzz. Layered and emotionally intense, with characters facing real moral dilemmas, it is precisely the type of story Globalsphere wants to tell, and Mediahub intends to deliver. Fast-evolving story arcs create natural cliffhangers over 81 episodes, making it highly bingeable and attractive for serial viewing internationally. With first international sales already secured, we're excited to see all the places 'Bitter Justice' will undoubtedly travel."

How would you analyse the international impact that "Alaca" made as the company's first original drama?

ZD: "'Alaca' was a milestone for Mediahub. It secured deals across CEE, Latam, and CIS soon after its release, and more recently entered APAC with Amazon. For a first original, it validated our strategy. It demonstrated that Mediahub can guide a title from development into real travel, adding our own unique fingerprint to a global market that has seen hundreds of productions exported and revenues reaching the billion-dollar mark in recent years. Its success gave us the confidence to take bigger creative risks with our upcoming slate, and it provided valuable insights into what truly connects with audiences abroad, helping us refine our approach for future projects."

By Diego Alfagemez

PRODUCTION

US ENGLISH: THE BACKBONE TO ALL DUBBING PROJECTS

NEUTRAL US ENGLISH HAS BECOME THE REFERENCE POINT FOR ALL GLOBAL LOCALIZATION. BRAD STRICKLAND, DIRECTOR OF PRODUCTION AT THE KITCHEN, SHARES HOW THE COMPANY'S MIAMI INFRASTRUCTURE AND GROWING TALENT BASE MAKE IT A COST-EFFICIENT ALTERNATIVE TO TRADITIONAL DUBBING HUBS.

Language services studio

The Kitchen considers that neutral American English is the backbone of nearly all international language localization projects. "Even for markets that provide original-language content for us to localize, we've found that clients often look to us, as native US English speakers, to create an international version that works for global markets," asserted Brad Strickland, Director of Production for The Kitchen. The executive explained that's not as easy as it sounds. A joke in one language can't be directly translated into another. Song lyrics rarely translate directly. Specific cultural references or relationships may be standard and accepted in American media, but aren't always universally accepted. "Our job is to know the answers and help clients make the right choices, so their content connects in every global market," he added.

For more than 24 years, The Kitchen, a Miami-based language localization studio, has taken pride in its English dubbing team, which continues to grow in size, technology, and reputation. The studio features 11 dubbing suites at its headquarters, backed by a dedicated team of Englishlanguage directors and a vast,

diverse network of award-winning voice talent. "What works for an American audience may not land the same way in other regions, so our role is to adjust or suggest alternatives that make sense for each audience. That cultural adaptability is key to our success as a global language provider," Strickland stated. "In my opinion, US English cannot be replaced as the nucleus for global translation, simply because it provides the most neutral reference point for international adaptation. It's the version most clients and audiences expect as a baseline," he added.

It's also important to point out that recording in Miami is significantly more cost-effective than recording the same project in Los Angeles or New York. "We have seasoned actors in Miami with years of experience across every genre and

“Our job is to know the answers and help clients make the right choices, so their content connects in every global market”

format of production. At the same time, we continuously audition and train new talent of all ages," Strickland said. "If you compare Miami to Los Angeles, there's little difference in the quality of the voice acting, but the overall cost savings are very attractive. Florida itself is a right-to-work state, so unless a client requests union talent, we're able to record with experienced and diverse non-union actors, an important factor when considering budgets," he added. But it's not just the cost of talent that makes Miami competitive. Everything, from studio rates to engineering time, mixing, and QC, is more affordable in Miami. "Clients can expect the same quality they'd get in New York or Los Angeles, but at a cost that lets their budgets go much further," he concluded.

By Romina Rodriguez

PORTUGAL: CREATIVE DIVERSITY AND PRODUCTION EFFICIENCY

IN RECENT YEARS, THE COUNTRY HAS BECOME ONE OF EUROPE'S MOST ATTRACTIVE LOCATIONS FOR PRODUCTION, NOT ONLY DUE TO ITS SCENERY BUT ALSO ITS COMPETITIVE INCENTIVES, SKILLED CREWS, AND SUPPORTIVE INFRASTRUCTURE.

Portugal has long been celebrated for its sun-kissed coastline, historic cities, and vibrant culture. In recent years, it has become one of Europe's most attractive locations for film and audiovisual production. From major international productions to streaming hits, producers are choosing Portugal not only for its scenery but also for its competitive incentives, skilled crews, and supportive infrastructure.

At the center of this shift is Pic Portugal, the country's flagship incentive program. Its two schemes, Cash Refund and Cash Rebate, are redefining Portugal's position on the global production map. Cash Refund Incentive, launched in 2024, targets largescale projects spending at least €2.5 million in Portugal. It offers a 30% refund on the first €2 million and up to 25% on additional expenses, reaching a maximum of €6 million for feature films and €3 million per series episode. Applications are processed on a first-come, first-served basis, with a single payment made after project completion. This efficient system appeals to major studios. Meanwhile, Cash Rebate Incentive supports smaller and mid-sized productions. Managed by the Tourism and Cinema Support Fund, it provides 25–30% rebates on eligible expenses, rising to

40% in Madeira, the Azores, and low-density regions. The minimum spending is €500,000 for fiction and animation, and €200,000 for documentaries or post-production. With a cap of €1.5 million per project and two funding rounds per year, the scheme is flexible and practical. It is complemented by a Scouting Program, which covers up to two location-scouting trips per project.

The results are already visible. Netflix's "Turn of the Tide", filmed mainly in the Azores, became a breakout success, reaching the platform's top 10 in 15 countries and recording over 31 million viewing hours in its first month. Renewed for two additional seasons with support from Portugal's incentives, its second season premieres on October 17. Moreover, Disney+ selected Madeira for "Star Wars: The Acolyte," while U.S. productions such as "Arachnid" and "FBI: International" have also filmed in Portugal. Earlier Netflix titles, "Heart of Stone" and "Damsel," confirmed the country's capacity to host large-scale shoots.

Driving this momentum is the Portugal Film Commission, the

national gateway for international producers. Beyond guiding projects through incentives and permits, it connects filmmakers with regional film offices, local authorities, and professional associations, ensuring a smooth and collaborative process.

Portugal's ambitions extend abroad. With a presence at major industry events, including Cannes, Berlin, Ventana Sur, and São Paulo, the Portugal Film Commission has positioned the country as a credible co-production partner. Since the launch of Pic Portugal, international interest has grown, bringing a mix of global series, independent films, and co-productions.

The next phase focuses on sustainability and regional collaboration. In November, Lisbon will host the Green Film Lab, a Torino Film Lab workshop on sustainable filmmaking. Later that month, the Luso-Galician Forum in Porto will gather professionals from Portugal and Spain to share expertise and explore joint projects.

For producers considering their next location, Portugal offers a unique blend of creative diversity and production efficiency. Its landscapes range from volcanic islands to medieval towns and contemporary cityscapes. With year-round sunshine, diverse settings, skilled crews, modern facilities, and one of Europe's most competitive Cash Rebate schemes, Portugal is a safe, accessible, and production-friendly destination, making it the perfect location for major international productions.

By Romina Rodríguez

"BARTOLITO: THE SERIES' TAKES KIDS ON A MAGICAL JOURNEY OF GROWTH AND FRIENDSHIP"

EZEQUIEL INZAGHI, CHIEF CONTENT OFFICER IN CONTENT CREATION, AND YLKA TAPIA , CONTENT ACQUISITION AND PARTNERSHIP MANAGER AT EL REINO INFANTIL, DISCUSS THE LAUNCH OF THE NEW SHOW, A SPIN-OFF OF "ZENON'S FARM," CENTERED AROUND ONE OF THE MOST BELOVED CHARACTERS AMONG CHILDREN.

El Reino Infantil, one of the most influential children's content brands, is expanding the "Zenon Farm" universe with the launch of "Bartolito: The Series."

Ezequiel Inzaghi, Chief Content Officer in Content Creation, and Ylka Tapia, Content Acquisition and Partnership Manager, talked about the creative process behind the series, its balance of fun and values, and El Reino Infantil's broader content strategy, which includes new productions and international acquisitions.

other iconic characters, such as La Vaca Lola and Percherón, as well as new, endearing friends who will enrich the stories and expand the series' universe. In this new stage, Bartolito leaves behind the comfort of the farm to face a world full of discoveries: new emotions, relationships, and challenges that help him grow and mature. From a narrative standpoint, we've incorporated gamification elements to convey meaningful values playfully and engagingly, aligned with the language and experiences today's children relate to."

El Reino Infantil's new project, "Bartolito: The Series," is set in a school environment, exploring themes of growth, friendship, and magical powers. What inspired you to take Bartolito and his friends into this new stage of their journey?

EI: "We want to follow families as their children grow, reflecting the adventures and challenges that arise in their early years. We felt the best way to do that was through our most beloved and recognizable character: Bartolito. School, as a central space for learning, is also where children discover essential values, form friendships, and create bonds that last a lifetime. Alongside Bartolito, audiences will also enjoy the presence of

How does the series strike a balance between entertainment and themes such as emotional development, socialization, and empathy?

EI: "The essence of the series lies in striking a perfect balance between entertainment and meaningful development. On one hand, we deliver fun through humor, music, and adventures that capture children's attention. On the other hand, we naturally integrate topics such as emotional growth, socialization, and empathy, ensuring that each story not only entertains but also helps kids experience real-life situations. This balance is achieved by presenting learning moments with

 Ylka Tapia

the same freshness and dynamism as the adventures themselves. In the school setting, characters encounter various Power-Ups —playful narrative elements that drive the story forward while also offering opportunities to learn about emotions and behaviors, such as patience, kindness, or resilience, in a natural and engaging way. That allows kids to enjoy the story while also reflecting on values organically, and families can rely on the content as both entertaining and meaningful. For our partners, this dual approach represents high-impact content; it keeps children engaged, supports families, and builds long-term bonds with audiences through both fun and values."

How would you define the creative process behind integrating "Power-Ups" as a metaphor for learning and self-discovery in early childhood?

EI: "The idea of introducing PowerUps came from observing how today's children are naturally drawn to game-based learning and interactive experiences. In the school setting of 'Bartolito: The Series', Power-Ups act as a playful engine for the story and as a metaphor for the learning and selfdiscovery that occur in childhood. From a creative perspective, we designed them to be exciting and fun, like unlocking a new level in a game, while also creating opportunities to explore emotions and behaviors. This way, children enjoy the story while naturally reflecting on important values and skills that are part of their daily lives. The creative process was highly collaborative, involving our writers, child development specialists, and design team. Together, we ensured that each Power-Up was visually engaging, narratively meaningful, and relevant to children's growth."

“We want to follow families as their children grow, reflecting the adventures and challenges that arise in their early years”

Besides "Bartolito: The Series", what other projects are you currently developing or acquiring that you believe have international potential?

YT: "In addition to this ambitious project, which we're putting a lot of energy and effort into, and which represents a great opportunity for potential partners to join us with the assurance of our solid audience, we're also working on a redesign of 'La Granja de Zenón'. Moreover, we've recently begun co-producing another IP in development called 'Wadoo', and we'll be sharing more details about it very soon."

What is your perspective on the current landscape of kids' content?

YT: "From an acquisition standpoint, we continue to strengthen our strategy. We work in 11 languages and are continually seeking content that resonates with audiences in those markets. Currently, we're particularly focused on English-language titles with a clear global reach, as well as Portuguese content, since Brazil is one of our strongest markets and we're eager to continue expanding our offerings there. We're also paying special attention to Italy, which is growing organically and exponentially for us and is becoming another key territory where we're actively seeking new titles to complement our channel's programming."

By Romina Rodriguez

"WE'VE

PUT A STRONG FOCUS THIS YEAR ON NON-LINEAR"

JOSÉPHINE LETANG, ARTE DISTRIBUTION'S HEAD OF SALES, SHARES HOW THE COMPANY KEEPS EVOLVING ITS OFFER TO MATCH BUYERS' DEMAND, STRENGTHEN ITS PRESENCE ON DIGITAL PLATFORMS, AND BRING NEW STANDOUT TITLES TO THE INTERNATIONAL MARKET.

Listening to buyers and partners has long been at the heart of Arte Distribution's strategy, and today that commitment is more crucial than ever. "The decision-making process is longer, so we try to provide our clients with as much information as possible at every stage, from synopsis and extracts during production to rough cuts later on. We are always listening to the market's needs," said Joséphine Letang, Head of Sales. That approach is paying off with major sales, including the recent success of "The Mystery of the Desert Kites," directed by Nathalie Laville and produced by Ma Drogue À Moi for France Télévisions. PBS Science Series, NOVA, BBC, and ZDF are on board as international partners. "We are very proud of the amazing work done by the producers and the trust of such high-quality broadcasters. It's just the beginning of the life of the show, and it will continue," Letang explained.

The premium archaeology documentary, filmed across

dramatic landscapes of Saudi Arabia and Jordan, follows two international teams of archaeologists as they investigate thousands of ancient geoglyphs, massive stone structures shaped like kites, dating back to around 7000 BC.

Arte is also preparing to launch "Polychromia, Archaeology of Colors - Ancient Greece," a visually striking documentary on colors in Ancient Greece, already prebought by NHK in Japan and OTE in Greece. Using cutting-edge technologies such as 3D animations and advanced scientific methods, "Polychromia" reveals the vibrant polychromy that once adorned temples, sculptures, and everyday objects in classical antiquity.

Arte's line-up also includes "The Yamnaya: Our Forgotten Ancestors," bringing to light a major archaeological discovery that reshapes the understanding of the continent's origins.

An international team of archaeologists, geneticists, linguists, and other specialists is using modern science, especially archaeogenetics, to understand what happened at the dawn of European civilization.

Beyond history, World War II, and archaeology, the pillars of Arte's catalog, the distributor has been expanding into new genres. "If we

need to develop a new part of the catalog, we will do it. Recently, we extended our offer to live concerts, with classical, jazz, and even pop culture, with the latest Iggy Pop concert, building a whole new collection," Letang stated.

THE DIGITAL SPACE

Another strong focus for Arte has been the growth of digital opportunities. "We've put a strong focus this year on non-linear, enlarging our partnerships in AVOD and YouTube. It's been a priority, and we expect to see results very soon," Letang emphasized. FAST channels, however, remain limited in Europe compared to the United States. "Here we are more used to free TV, so the need is not the same," she added.

As another keystone of its strategy, Arte continues to strengthen its relationships with public broadcasters worldwide, while constantly building new partnerships in every territory. "It's a step-by-step process, but we are always analyzing how to position our catalog best internationally," Letang expressed.

Looking ahead to Mipcom, Arte Distribution will showcase new films and documentaries with a strong editorial focus on science (including a special spotlight on space), current affairs (true to Arte's DNA of staying close to the news with in-depth analysis), and environmental issues.

By Romina Rodriguez

DISTRIBUTION

NEW DISTRIBUTION MODELS AND THE VALUE OF HIGH-QUALITY DRAMA

WHILE SIC WILL LAUNCH "VITÓRIA" AT MIPCOM, THE ADAPTATION OF TURKEY'S "GÜLPERI," CARLOTA VIEIRA, CONTENT SALES DEPUTY DIRECTOR, HIGHLIGHTS THE PARTNERSHIPS AND STRATEGIES THAT ARE EXPANDING THE REACH OF ITS CONTENT CATALOG.

SIC will have a massive launch for Mipcom this year, "Vitória," the adaptation of the Turkish format "Gülperi," a powerful story about resilience and maternal love, in an innovative multiplatform partnership between SIC, Opto, and Disney+. This collaboration represents a significant milestone for SIC's strategy to innovate content distribution models and reinforces the company's reputation for highquality fiction. "2025 has been a very challenging, dynamic, and strategic year for SIC, marked by significant progress in business, international expansion, and innovation in content distribution models," Carlota Vieira, Content Sales Deputy Director at SIC, stated. "Simultaneously, we have consolidated our presence on Prime Video, making iconic productions and new titles available on the platform, such as the seventh season of 'The Good Girls Club,' which joins the other seasons already available

on the platform, 'Rebelde Way,' 'Magic Minutes,' and the release of the highly anticipated superproduction 'Red Moon: New Generation.' That is an exclusive partnership between OPTO SIC and Prime Video, which will bring a fresh approach to one of the most remarkable series in Portuguese television, with the potential to cross borders and launch new talent on the international market," Vieira added.

Another strategic highlight for SIC is the renewal of its long-standing partnership with Globo. "In the coming years, we will produce remakes of classic Globo telenovelas, as we did with 'Dancin' Days' in 2012. This project reinforces our commitment to quality fiction, as well as to promoting content that has marked generations. This partnership between SIC and Globo highlights the mutual trust and shared vision for the future," Vieira said. Furthermore, SIC has new fiction projects in progress, with

premieres scheduled for later this year and over the next year. That strategy includes telenovelas, series, and documentaries with global narratives and potential for internationalization. "Our strategy aims to expand our content catalog, investing in original and adapted stories. Strengthen our presence on major players and explore new markets and international partnerships are our primary goals, while promoting relevant, innovative stories with a global identity that can win over audiences both in Portugal and abroad."

TRIBECA FESTIVAL LISBOA IS BACK

SIC is also actively promoting the second edition of the Tribeca Festival Lisboa in Portugal. Following the success of the first edition, SIC is bringing back to Lisbon the Portuguese edition of the prestigious festival, conceived by Robert De Niro. From October 30th to November 1st, the city will be a hub for celebrating cinema, TV, and entertainment, reinforcing SIC's role as an active cultural player and driving force in the audiovisual industry. "The event will once again feature internationally renowned figures such as Meg Ryan, Kim Cattrall, and Giancarlo Esposito, among others. The festival will also feature the premieres of some of the most anticipated films of the season, including "Bugonia," by Yorgos Lanthimos, starring Emma Stone.

By Diego Alfagemez

"BUILDING STRONG IPS HAS BECOME CRUCIAL TO GUARANTEE LONGLASTING SUCCESS"

GFANNY

GILABERT, VP OF INTERNATIONAL SALES AT GAUMONT, EMPHASIZES THAT IN TODAY’S COMPETITIVE LANDSCAPE, THE KEY TO SUCCESS LIES IN STRENGTHENING INTELLECTUAL PROPERTIES THAT CAN TRAVEL, ADAPT, AND ENDURE.

aumont continues to reinforce its global slate with series and films designed to resonate across territories. The company offers a wide range of content, and among its current highlights are the new gripping diplomatic thriller "The Deal" and the new season of the light crime series "The Art of Crime". At the same time, it is strengthening its animation catalog with ambitious projects that combine strong creative talent with recognizable brands.

Directed by Jean-Stéphane Bron and co-written by Alice Winocour, "The Deal" was commissioned by RTS Radio Télévision Suisse in Switzerland and ARTE in France. The series portrays the tense diplomatic discussions that took place in Switzerland in 2015 between Iran and the United States, with the participation of the European Union, China, and Russia, regarding the Iranian nuclear program. "What makes this series very different is that it lifts the veil on diplomacy's hidden dynamics, based on real events, but the action and the characters arey fictional," explained Fanny Gilabert, Vice President of International Sales at Gaumont. "It has strong, charismatic characters who are diplomats, trained like athletes to negotiate for their countries, but they are human after all, with their own personal stakes mingling with

geopolitical ones. The series is dealing with today's politics, but the great writing and acting allow the audience to connect with the characters on a personal level," she added.

Starring international actors Veerle Baetens, Juliet Stevenson, Fenella Woolgar, Arash Marandi & Anthony Azizi, "The Deal" has already gained global recognition, being selected at prestigious events such as the Locarno Festival and BFI London Film Festival. In March, it also won two prizes at Series Mania. The title will be officially launched at Mipcom.

Alongside "The Deal", Gaumont is preparing the launch of "The Art of Crime" new season, scheduled for early 2026 on France Télévisions. The procedural continues to be one of the studio's strongest assets. "It's an evergreen IP, very appealing to the market. It is what broadcasters are looking for at the moment, because the show is entertaining and easy to schedule," Gilabert stated.

STRENGTHENING IN ANIMATION

Gaumont's animation slate also includes eco-friendly and familydriven stories such as "Do, Re & Mi," a colorful preschool musical

series that has been performing strongly worldwide thanks to its engaging visuals and original songs performed by Kristen Bell. Another highlight is "Belle and Sebastian," which portrays a touching friendship between a boy and his dog. At the same time, the company is celebrating two significant anniversaries: "Narcos", one of its most iconic drama IPs, which celebrates its 10 th anniversary, and the animated hit "Galactik Football," which reached two decades of success. "It's one of our most successful IPs in the catalog," Gilabert said.

BUILDING STRONG IPS

Analyzing the current context of the content industry, Gilabert acknowledged that the market is experiencing a moment of uncertainty, particularly in animation, where commissioners are more cautious and less inclined to take risks. In this scenario, she underlined, strong brands make the difference. "Building strong IPs has become really key to guarantee long-lasting success," she emphasized. According to Gilabert, Gaumont's strategy is not only about producing high-quality stories but also about maximizing their potential across platforms. "It's about the possible adaptations around the content. It can be publishing, audio adaptations, or merchandising. At Gaumont, we can offer a large range of content to our clients, from animation, preschool to young adults, and all genres of TV series, covering comedies, drama, horror, and, of course, crime," she concluded.

By Romina Rodriguez

UMAY AYAZ, FOUNDER OF UDEA MEDIA AND THE FORMAT TV, DESCRIBES HOW SHE RUNS HER OWN COMPANY AFTER 15 YEARS OF EXPERIENCE IN THE ACQUISITIONS FIELD, WHILE HIGHLIGHTING TURKEY’S CENTRAL SPOT IN THE GLOBAL CONTENT INDUSTRY.

A“SCREENS

HAVE A RESPONSIBILITY TO INFORM, INSPIRE, AND ENTERTAIN”

fter collecting valuable experiences in different acquisition roles, Umay Ayaz, Founder of Udea Media and The Format TV, launched her own company, where she is focused on expanding globally, balancing exports and imports, and leveraging her extensive local and international network to meet the specific needs of global clients.

What experiences shaped your journey in the media industry?

“My career began over 15 years ago in acquisitions, collaborating closely with global distributors, creators, and broadcasters. That experience sharpened my ability to understand what buyers truly want: clarity, value, and a connection with the audience. Today, through my brands The Format TV and Udea Media, I apply that expertise in a boutique, project-based way, carefully selecting the deals I truly believe in and dedicating my full energy to their success. For the past three years, I have been running my own company with this tailored approach, balancing both exports and imports while

leveraging my extensive local and international network to meet the specific needs of channels, platforms,

producers, and creators. This work is highly hands-on: fulfilling a single request often involves screening hundreds of titles and engaging with dozens of people, a process I enjoy deeply, as it combines precision, creativity, and problem-solving.”

How has your career evolved during the past 15 years?

“I have worked at the intersection of storytelling and strategy, evaluating, acquiring, and localizing formats for the evolving Turkish market. Listening carefully to what channels or producers need and connecting them with the right content has been central to my work. While distribution has become increasingly competitive and specialized, it continues to thrive, relying on senior-level expertise and a robust network built on years of experience and trust. The industry is founded on trust and long-term relationships, which remain my primary focus. My company is based in Istanbul, the heart of Turkey’s media industry. The city’s dynamic local and international ecosystem allows us to stay up-to-date with industry trends, though keeping pace can be both exhilarating and demanding. With the emergence of new national channels, each with distinct themes and needs, I provide tailored services that match their content needs with the titles I represent internationally.”

How do you balance your different work roles?

"In a media landscape that evolves fast with new trends constantly emerging, we must always stay informed, adapt, and align our work with the latest developments. My job is to build bridges between local and global, tradition and innovation, technology and storytelling. That's where the real future lies. I'm currently developing three original formats in Turkey, focusing on psychology, arts & culture, and quiz entertainment, all of which are in sponsorship negotiations, with plans to air them in the upcoming season. Each project aims not only to entertain but also to provide cultural and social value, reflecting my belief that screens have a responsibility to inform, inspire, and entertain. On the production side, we have supported projects in Cappadocia, and we are currently working on new shoots in Göbeklitepe and along Turkey's southern coast, locations that are increasingly in demand for international productions. One extreme sports project we facilitated in Cappadocia is now airing in the U.S., highlighting Turkey not only as a content exporter but also as a reliable production hub offering world-class talent and costeffective services."

By Diego Alfagemez

DUBAI INTERNATIONAL CONTENT MARKET, SHAPING THE FUTURE OF ENTERTAINMENT IN THE MENA REGION

WITH MORE THAN 250 BUYERS AND OVER 90 GLOBAL EXHIBITORS FROM MORE THAN 50 COUNTRIES, THE EVENT WILL OFFER A PLATFORM FOR COLLABORATION AND INSIGHTS.

IRINA DEACONU, MARKETING & COMMUNICATION MANAGER, REMARKS

ON THE HIGHLIGHTS

OF THIS YEAR’S EVENT.

Next November, Dubai

International Content Market will become the region’s most dynamic meeting point for content business. With 250+ buyers from MENA’s leading broadcasters, OTTs, and platforms, alongside 90+ global exhibitors from 50+ countries, DICM is where regional demand meets international supply. “This year’s edition of DICM promises to be our most dynamic yet. Two of the most anticipated features will be the Producers Connect Hub, where co-production opportunities take center stage, and DICM Talks, which will explore cutting-edge topics, from Ramadan content, docuseries, sports media rights, to streaming trends and new storytelling formats like microdramas. Another highlight is the launch of Spotlight Stories: The DICM Pitching Challenge, giving creators from the MENA region a platform to pitch their ideas to top decision-makers,”

said Irina Deaconu, Marketing & Communication Manager for International Buyers at DICM.

Beyond the market floor, DICM offers a platform for collaboration and insights: DICM Talks brings together thought leaders to discuss trends shaping the industry, while the Producers Connect Hub fosters curated matchmaking for coproduction deals and cross-border partnerships. “The feedback from 2024 was overwhelmingly positive. Exhibitors told us they appreciated the quality of meetings, with many highlighting that Dubai has become a strategic stop on the global content calendar. For 2025, we have further improved the Content Business Hub to deliver even more tailored meetings and a smoother networking flow. Just as importantly, we worked to ensure a stronger exhibitor lineup, with more than 50 companies already rebooking from last year and new participants bringing the

genres and content buyers are actively seeking. Our goal has always been not only to host meetings but to create the perfect environment for longterm partnerships to flourish,” Deaconu stated.

A BOOMING REGION

MENA’s content appetite is soaring: Arabic content demand has grown 16x in recent years, and Ramadan alone now generates nearly $500 million in value. Global distributors and producers can’t afford to miss this marketplace.

“The Middle East is experiencing a content revolution. There is surging demand for authentic Arabic stories with global appeal, especially dramas, docuseries, and Ramadan specials. At the same time, platforms are investing in diverse genres such as kids’ content, factual entertainment, lifestyle shows, and even emerging categories like true crime, thrillers, and sports documentaries, which are resonating strongly with younger audiences,” Deaconu described. “Importantly, we’re also seeing an unprecedented appetite for co-productions that bridge MENA creativity with international expertise. Buyers and platforms are not only acquiring but also actively seeking partners to collaborate with, ensuring cultural resonance while reaching global audiences. At the same time, international content remains a cornerstone of demand in the region. Hollywood blockbusters, Korean dramas, and Turkish series continue to perform exceptionally well, with audiences embracing both dubbed and subtitled formats. This blend of global imports and local originals is shaping a truly hybrid viewing culture,” she added.

By Diego Alfagemez

PHOTOGALLERY

NEM 2025

NATPE BUDAPEST 2025

INSIGHTS TO UNDERSTAND CURRENT AND FUTURE TRENDS

GLOBAL SPENDING ON EUROPEAN CONTENT

GLOBAL SPENDING ON EUROPEAN CONTENT

GROWTH RATE OF GLOBAL STREAMERS' INVESTMENT IN CONTENT, AND EUROPE'S SHARE

TOP 10 COUNTRIES AND SHARE OF TOTAL SPENDING ON EUROPEAN ORIGINAL CONTENT

Excludes news and sports, 2024

SPENDING ON EUROPEAN CONTENT BY TYPE OF PLAYER

SPENDING ON EUROPEAN ORIGINAL CONTENT BREAKDOWN

AVERAGE ANNUAL SPENDING GROWTH RATE FOR THE TOP 10 COUNTRIES

Excludes news and sports

CONNECTING LATAM & US HISPANIC CONTENT WITH THE WORLD

18th-21st November

Moon Palace, Cancun, Mexico