SEÑAL NEWS 242 | DICM 2025

Source: Omdia

$1.5

THE MENA STREAMING VIDEO MARKET IS PROJECTED TO REACH $1.5 BILLION BY THE END OF 2025, WITH SVOD SUBSCRIPTIONS CROSSING 27 MILLION, ACCORDING TO NEW INSIGHTS FROM OMDIA.

GROWTH

4.4

SHAHID LEADS THE SVOD MARKET WITH 4.4 MILLION SUBSCRIBERS, FOLLOWED BY YOUTUBE PREMIUM.

3

NETFLIX REACHED 3 MILLION SUBSCRIBERS IN MENA FOLLOWED BY STARZPLAY, WITH 2.3 MILLION.

Omdia projects that the online video market in the MENA region will grow more than fivefold, reaching $8.4 billion by 2029. Key growth drivers include expanding digital infrastructure, high mobile penetration, and a young, highly engaged population.

GOQUEST IS JIOSTAR’S NEW DISTRIBUTOR IN AFRICA

Jiostar appointed GoQuest Media as its exclusive distribution partner for the African continent. This association builds on GoQuest’s proven track record in the region. Previously, Disney’s Star entrusted GoQuest as its exclusive distributor in Africa, a collaboration that set the benchmark for bringing leading entertainment from India to audiences in the continent. With JioStar now extending the same confidence, GoQuest has reinforced its reputation as the trusted partner. •

NARATIV MEDIA & COPYRIGHT CAPITAL TAPPED TIMUR ALTOP

Narativ Media & Copyright Capital appointed Timur Altop as Strategic Advisor, reinforcing its mission to bridge traditional content distribution with the fast-growing creator economy. Altop was Cuntry Manager, Head of Content Partnerships of YouTube Turkey. “Timur’s global experience at the intersection of traditional and digital media is invaluable,” said Manjyot Sandhu, CEO & CoFounder of Narativ Media. •

KANAL D INTERNATIONAL PARTNERED WITH FAST CHANNELS NETWORK

Kanal D International and Fast Channels Network, an innovative company specializing in the creation and management of FAST channels at an international level, closed a new strategic partnership. The collaboration includes the distribution of a selection of flagship titles such as “Matter of Respect,” “Sweet Revenge,” “Love of My Life,” and “L.O.V.E” in key markets including Italy, Canada, the United Kingdom, and France. The deal represents an important step for both companies, strengthening the international presence of Turkish content as a new frontier of entertainment. •

NIPPON TV AND MEDYAPIM ADAPTED “SALMA” FOR MBC AND SHAHID

Nippon TV confirmed that Medyapim has finalized production of the Arabic language version of Nippon TV’s drama series “Woman, My Life for My Children.” Following the immediate success of the Arabic version of “Mother,” the new Arabic series titled “Salma,” premiered on MBC on August 17 th , and is available on its streaming platform Shahid. Medyapim has previously produced three drama series for MBC, including the Arabic adaptations of BBC Studios’ “Doctor Foster,” Turkish drama “War of the Roses,” and Nippon TV’s “Mother.” •

MBC GROUP AND NETFLIX LAUNCHED STREAMING BUNDLE ACROSS MENA

MBC Group partnered with Netflix to launch the first regional streaming bundle of its kind through MBCNOW. This strategic alliance merges Netflix’s global catalog with MBC’s Arabic streaming service Shahid and the group’s 17 linear channels under a single subscription model, now available to users in Saudi Arabia with expansion planned across the MENA region. The bundle includes global originals from Netflix, premium Arabic dramas and series from Shahid, as well as live events, documentaries, kids’ programming, and general entertainment from MBC’s linear channels. Netflix gains significant reach through this localized partnership. •

CJ ENM ESTABLISHED A NEW SUBSIDIARY IN SAUDI ARABIA

Korea’s CJ ENM established its wholly-owned subsidiary, CJ ENM Middle East, in Riyadh, Saudi Arabia. The company now becomes the first Korean entertainment company to establish a subsidiary in that country. Positioning the MENA region as a strategic growth engine, CJ ENM will integrate its expertise in content creation, production, and distribution with the region’s rapidly expanding entertainment infrastructure and cultural demand. Through this subsidiary, the company plans to pursue wide-ranging business collaborations across music, television, film, live entertainment, and both scripted and unscripted content. •

INTER MEDYA’S “ESHREF RUYA” HAD A GLAMOROUS LAUNCH IN CANNES

“Eshref Ruya” continues to cement its position as one of Turkey’s leading premium dramas. Produced by TIMS&B Productions and distributed by Inter Medya, the series made a strong impact at Mipcom, where Its leading stars, Çağatay Ulusoy and Demet Özdemir, drew significant attention from the opening day of the market, generating strong buzz among international buyers, executives, and members of the press. Since its premiere, “Eshref Ruya” has consistently ranked among the highest-rated dramas in Turkey and has attracted major interest from broadcasters worldwide, with deals already secured across key territories. •

THE MIDDLE EAST: CONTENT CONSUMPTION REACHED NEW RECORDS, BUT AUDIENCES ARE CHANGING

RAMADAN 2025 EXEMPLIFIED A BROADER TRANSFORMATION IN HOW AUDIENCES IN THE REGION ENGAGE WITH CONTENT, WHILE, ON A GLOBAL SCALE, FAITH-BASED CONTENT IS UNDERGOING A NOTABLE RESURGENCE, MARKING A SHIFT IN COMMISSIONING TRENDS AND STRATEGIC PRIORITIES.

Ramadan 2025 has reaffirmed its position not only as a spiritual and cultural cornerstone across the MENA, APAC, and African regions, but also as a decisive commercial content moment for the global media and advertising industries. According to the DICM 2025 Ramadan Report, media consumption during the holy month reached historic highs, with a combined 13.3 million unduplicated TV viewers and an average of 9.1 million viewers tuning in daily. Each viewer spent an average of 4 hours and 35 minutes per day watching content, contributing to a staggering 72.7 billion total TRPs across all platforms.

For the first time, digital platforms accounted for 44% of all TV viewing during Ramadan, compared to 56% on satellite TV, underscoring a significant shift in consumption habits as streaming cements its role in Ramadan storytelling. VOD services such as Shahid, StarzPlay, OSN+, and Netflix invested heavily in original Ramadan programming, while social platforms like YouTube and TikTok saw sharp increases in engagement, particularly in North Africa, which recorded a 50% spike in Ramadan-specific content.

Among genres, drama continues to lead, with Egyptian, Turkish, and Gulf series dominating viewership.

MBC's "Yawmyyyat Rajol Anis" topped the drama charts with an 8.93% rating, followed by "Jak Al Elm" and "Share' Al A'sha."

Entertainment shows also maintained strong performance, led by "Ramez Elon Masr" at 5.43%, and supported by a mix of comedy, cooking, and spiritual content. In total, 201 new series were released across the five main Arab regions: Egypt (42), Gulf (60), Levantine (26), Maghreb (52), and Iraq (19).

Prime time post-Iftar remains dominant, especially for family dramas and live programs, but streaming activity spikes later in the evening, particularly among younger audiences. In APAC countries such as Indonesia and Malaysia, viewers

SERIES RELEASED IN 5 MAIN ARAB REGIONS DURING RAMADAN 2025

Egypt: 42 series

Gulf: 60 series

Levantine: 26 series

Maghreb: 52 series

Iraq: 19 series

Source: elcinema.com

TOP 10 OF SHOWS BY GENRE, DURING RAMADAN 2025

SERIES

Layali Al Shumaisi 1.13

ENTERTAINMENT

Ramez Elon Masr · 5.43

Hekayat Wa'd 2.86

Seen · 2.35

Tahaddi Al Manatia · 1.92

Malek Bel Taweela · 1.42

Iftarona Ghayr · 0.90

Nakhwah · 0.87

Darayesh 0.64

Shokran Million · 0.57

Dawreena Ghair 0.40

Source: Media Rating Company - MRC

preferred short-form, digital-first formats on TikTok and YouTube. Similarly, African nations like Nigeria and Morocco led in faith-based, digital-first storytelling formats that blend tradition with modern narrative structures.

The commercial implications are equally notable. Regional advertising spend during Ramadan 2025 reached $1.1 billion, with influencer marketing accounting for up to 40% of total marketing budgets. E-commerce advertising surged by 35% across MENA and Africa. However, 71% of surveyed consumers expressed frustration with excessive ad volumes during the holy month, signaling a risk of over-commercialization and viewer fatigue.

Brand discovery remains digital mainly, with 28% of MENA audiences engaging with brands through social media during Ramadan and 55% relying on online sources for brand information. This trend reinforces the growing dominance of digital platforms in shaping consumer behavior and highlights the need for refined digital strategies.

Ramadan 2025 exemplifies a broader transformation in how audiences engage with content. For broadcasters, advertisers, and content creators, the holy month now represents a critical window not just for viewership, but for meaningful cultural connection and commercial growth. The convergence of tradition, faith, and entertainment continues to define Ramadan's evolving media landscape—one where digital-first storytelling, platform-specific programming, and culturally resonant narratives are essential to success.

A GLOBAL GENRE

Faith-based content is undergoing a notable resurgence in the global media industry, marking a shift in commissioning trends and strategic priorities across both traditional broadcasters and streaming platforms. Recent statistics from Ampere Analysis indicate that platforms and networks are

FAITH-BASED CONTENT CHANGE, VS GENERAL CHANGE

Top 5 USA streamers, number of TV seasons and movies

Source: Ampere Analysis

significantly increasing their investments in religious and spiritual programming in response to growing global demand for content exploring themes of faith, morality, and community.

Amazon Prime Video stands out among the major streamers, having increased its faith-based content by 204% in 2024 alone, more than double its overall content growth rate of 100%. This surge includes a strong performance by titles such as "The Chosen" and "The Baxters.". The growth underscores Amazon's clear strategic emphasis on tapping into faith-driven audience segments. Other streaming services are following suit. Netflix, Hulu, and Max have each grown their faithbased libraries at a rate four times greater than their general content expansion, pointing to a deliberate pivot toward serving an audience that has long been underserved by mainstream entertainment. These platforms are not only acquiring more faith-oriented titles but also investing in original productions tailored to this demographic.

The commissioning of faithbased titles has steadily increased year over year since 2021. Public broadcasters account for a significant share of this growth, responsible for 40% of all faithbased titles commissioned during

this period. Commercial free-to-air broadcasters are also stepping up their investment, commissioning 29% more faith-based titles in the second half of 2024 compared to the same timeframe in 2023. These numbers reflect a broader trend of diversification in content strategies, as networks respond to audience data indicating an appetite for more values-based storytelling.

Within the faith-based category, unscripted content dominates, particularly documentaries and entertainment programs. Documentaries alone represent 42% of the total, with entertainment formats close behind at 41%. A significant portion of these unscripted projects—17%— are focused on Christian cults, aligning with the global popularity of true crime and investigative storytelling. This thematic overlap is helping faith-based content reach broader audiences beyond traditional religious viewers.

Geographically, Western Europe leads global production in the faithbased space, accounting for 53% of all such commissions between 2021 and 2024. Within this region, the trend toward unscripted content is especially pronounced, with 86% of Western Europe's faith-based output falling into that category. That includes a growing number of lifestyle and history programs that incorporate religious themes or explore the cultural impact of spirituality.

The revival of faith-based content indicates a significant recalibration within the entertainment industry, as both streaming services and traditional broadcasters seek to capitalize on shifting viewer values. While much of the global content conversation has been dominated by genre fare like fantasy, sci-fi, and reality TV, the renewed focus on spiritual narratives signals an expanding definition of mainstream appeal. As 2025 unfolds, faithbased storytelling is poised to play a more prominent role in content strategies across markets, formats, and platforms.

By Diego Alfagemez

OGM UNIVERSE LAUNCHED A STAR-STUDDED DRAMA SLATE

THE TURKISH DISTRIBUTOR MADE AN IMPACT AT MIPCOM, LAUNCHING TITLES LIKE "REBORN," "THE FALL OF THE KING," AND "6 OF US," WITH TOP LOCAL TALENT. OGM'S ONUR GÜVENATAM AND EKIN KOYUNCU KARAMAN EXPLAIN THE POTENTIAL OF THIS NEW SLATE.

OGM Universe had a busy Mipcom, where it launched its new global strategy with a remarkable lineup of its top talent and creators. During a special press session, the Turkish distributor, headlined by Ekin Koyuncu Karaman, Global Distribution and Partnership Director, provided a first-hand look at the company's latest slate of new and returning dramas.

"Powerful storytelling travels further when matched with worldclass talent, and our mission at OGM Universe is to unite both. This event highlights our commitment to collaborating with Türkiye's finest artists in delivering compelling, emotionally engaging stories to our international partners. With content that is authentic and universal, we are proud to be setting new standards for global distribution and building an inspiring universe that truly resonates everywhere," said Ekin Koyuncu Karaman.

launched the highly anticipated new drama, "Reborn," which premiered in Türkiye earlier this fall. Lead stars Kerem Bürsin and Lizge Cömert joined OGM Pictures' Founder and Executive Producer Onur Güvenatam on stage to discuss the powerful story of second chances, their roles, and the creative vision behind one of the season's most ambitious projects. "We always try to tell stories about real emotions because we believe that emotions are a global concept. Emotions are human and have the power of identification, helping people to understand the story quickly. The identification we observed in this story in Turkey will happen in every country in the world. We always try to focus on the characters in all our series. But in this series, there's also something more bold in the first episode, a heart transplant," Onur Güvenatam explained.

"Honestly, one of the main factors to take this role was working with a company like OGM. I've been following them, their clear vision, and the stories they

tell. 'Reborn' was a fascinating project for me: the story, the character, everything. When you're working with a very creative team like Ogm's, you're always looking to collaborate, and that's what happened," Kerem Bürsin said.

The second session spotlighted the phenomenon, "The Fall of the King," based on Dr. Gülseren Budayıcıoğlu's bestselling novel. The panel brought together the series' acclaimed cast, Halit Ergenç, Aslıhan Gürbüz, and Merve Dizdar, alongside the celebrated author herself. The discussion offered rare insight into the psychological depth of the characters and the journey of adapting a bestselling novel for the screen, while also reflecting on the success of the first season and shared anecdotes from the second season.

The final session focused on "6 of Us," uniting its stars, Hazal Subaşı and Burak Berkay Akgül, with its acclaimed director, Cem Karcı. The panel explored the resilient family bond at the story's core and the directorial vision that captured the slow-burning chemistry that has created iconic, fan-favorite moments.

By Fernando Calviño

“WE PRODUCED THE FIRST TURKISH VERTICAL DRAMA”



UMAY AYAZ , FOUNDER OF UDEA MEDIA AND THE FORMAT TV, DELVES INTO THE VERTICAL STORYTELLING TREND, EXPLORING ITS POTENTIAL AND THE ROLE TURKEY COULD PLAY IN THIS NEW GLOBAL PRODUCTION AND CONSUMPTION TREND.

Vertical storytelling, characterized by shorter attention spans, faster pacing, and unique visual priorities, introduces new rules for production, demanding a crossindustry recalibration without altering the fundamental essence of narrative. Umay Ayaz, Founder of Udea Media and The Format TV, is already working with several projects and explains the key features of this business.

How has vertical storytelling evolved?

"In a world filled with uncertainty, chaos, and sad news, people watch content either to escape, to learn, or to experience catharsis. Creating tension, conflict, and curiosity in every episode isn't easy, especially when each one lasts less than three minutes, and you're producing dozens of them. We've been spending most of our time looking at vertical and narrow screens, and it was about time storytelling evolved accordingly. Production costs worldwide skyrocketed and audiences shifted their focus to mobile devices, changing their positioning from 'second screen' to 'main screen.' In that landscape, reaching viewers with strong, meaningful storytelling on mobile platforms is essential. I'm pleased to be involved in this evolution, on both the creative and the commercial sides. Something remarkable about this space is that exclusive deals are scarce. Since vertical content is intended for rapid, large-scale

consumption, non-exclusive deals are the norm. That allows the same content, producers, and distributors to appear across multiple markets simultaneously, presenting both a challenge and an opportunity, and emphasizing the need for adaptability and strategic positioning."

How is Turkey positioned in the global landscape regarding vertical formats?

"Global attention is once again turning to Turkey, a leading hub of content production. The focus is not only on past achievements but also on embracing innovative storytelling and renewed creative energy. With a legacy of narrative mastery and internationally acclaimed formats, Turkey 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. Unlike traditional formats, vertical drama directly engages technology companies: they provide infrastructure, while storytelling gives the format its soul. Decades of 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."

What milestones have shaped your expertise in vertical content?

"I started focusing on vertical content in 2024. As a consultant, I took every opportunity to advise tech and production companies to invest in vertical content. One of the technology companies I advised at that time now runs a global vertical platform, while several scriptwriters and producers I encouraged have since become actively involved in vertical storytelling. Recently, we finalized a strategic collaboration with ReelPix platform and produced the first Turskish vertical drama: a 60-episode series called 'New Boss.' It was our first production, but it was also an essential step in mastering the unique dynamics of vertical storytelling. We also initiated an exciting project with Argentina that involves both production and distribution. These projects demonstrate how Turkish expertise can adapt to diverse markets while complementing local partners' strengths. Today, I'm actively reaching out to vertical content producers and distributors worldwide. Of course, not every collaboration works perfectly, as mismatches sometimes come not from the content itself but from company DNA or differences in communication and commitments. That said, over time, I believe companies will naturally find their ideal partners, and these collaborations will grow into sustainable series orders."

By Diego Alfagemez

IRMAK ATABEK , COFOUNDER AND CEO OF KIDSAI, OPERATES THE CHILD-FIRST TECHNOLOGY AND MEDIA COMPANY THAT DEVELOPS ETHICAL

AND SAFE ARTIFICIAL INTELLIGENCE ASSISTANCE AND MEDIA CONTENT.

With the goal to help children understand, navigate, and thrive in an AI-powered world, Irmak Atabek founded the technology and media company KidsAI. She moved to Dubai after being selected for the AI Campus in the city’s International Finance Centre. Señal News spoke with Atabek to understand how she works to personalize and localize children’s experience and interaction with AI.

How does KidsAI work to develop ethical and safe AI for kids?

"AI is already part of children's lives, in the games they play, the videos they watch, and the answers they search for. Yet many parents are unaware of the risks these technologies pose, especially regarding data privacy, algorithmic bias, and the emotional cues children may misinterpret. At KidsAI, we believe AI should not pretend to be human. One of our core principles is to avoid anthropomorphising AI, because children deserve to know what they're interacting with. We're designing age-appropriate AI behaviour that fosters learning and emotional well-being, without blurring the line between machine

“WE’RE LIVING IN A MOMENT OF EXTREME HYPE AND FEAR AROUND AI”

and human. Through our Innovation Hub, we collaborate with global experts in AI ethics, developmental psychology, and education to define what the healthiest relationship between children and machines should look like. Our assistant, Olii, is built to encourage questions, spark curiosity, and help children learn how AI works - while always maintaining transparency and respect for their cognitive development."

What specific context and particularities do you observe in the Middle East regarding AI?

"The Gulf region is undergoing a rapid technological shift, with the Gulf Cooperation Council countries leading with bold initiatives. In the UAE, AI literacy is now a mandatory part of the school curriculum, a significant step that signals how governments are thinking long-term about education and ethics. We see a high level of interest, innovation, and early adoption in this region, but also a need for accessible, culturally resonant tools that help parents and educators keep up with the changes. That's where KidsAI steps in to fill that gap with safe, localized, and values-aligned learning experiences."

How has being based and working from the UAE changed your perspective on the global industry?

"Being in the UAE has made us think more globally while staying deeply connected to local culture and identity. The country is shaping itself as a bridge between East and West, offering fertile ground for innovation with structure,

which is especially important when developing products for children. We've found it to be a place where bold ideas can be tested, scaled, and regulated. That combination has given us new confidence in how to build AI technologies that are inclusive, responsible, and future-proof for a globally diverse generation of children."

How does KidsAI personalize and localize children’s experience of interacting with AI?

"We're living in a moment of extreme hype and fear around AI. The most important step is understanding. AI is not magic, and children should know that. At KidsAI, we break down AI into concepts kids can relate to: What is bias? What is a dataset? How does a machine 'learn'? If children can understand how fairness works in the playground, they can begin to grasp what fairness means in an algorithm. We personalize learning by designing for multiple languages, cultural references, and local symbols. Our AI doesn't just speak a child's language; it reflects their world and their developmental needs. Every interaction is an opportunity to teach them how AI actually works. That way, they grow up not mystifying the technology but engaging with it thoughtfully."

By Diego Alfagemez

FROM CANNES TO VENICE: GLOBAL AGENCY SHOWCASED TWO NEW DRAMAS TO THE WORLD

"A MOTHER'S OATH" AND "DYNASTY OF LOVE" HAD TWO SEPARATE MASSIVE LAUNCHES AT MIPCOM, WITH EVENTS THAT BROUGHT TOGETHER LEADING NAMES FROM THE GLOBAL INDUSTRY ALONGSIDE EACH SHOW'S STARS.

Turkish drama "A Mother's Oath" had its spectacular world premiere in Venice, organized by Global Agency, one day before Mipcom kicked off, with private jets flying the stars Özge Özpirinçci and Salih Bademci to Teatro La Fenice. The event welcomed Özpirinçci and Bademci, Gold Film owner Faruk Turgut, and executives from NOW, as well as 50 distinguished buyers from 32 countries. Arriving in Venice from Cannes by private jets, the exclusive guests were transported by speedboats across the lagoon's enchanting views before reaching the launch venue. Guests enjoyed a gondola tour through Venice's iconic canals and a day filled with curated experiences. The program included cocktails, private screenings, and a prestigious lunch at some of the city's most iconic landmarks.

"We are thrilled to have organized such a special launch for a powerful project like 'A Mother's Oath.' At Global Agency, we love creating unforgettable events that match the prestige of our projects and set them apart in the international market. We take great pride in having achieved a first for Turkish dramas with this premiere," stated Izzet Pinto, CEO at Global Agency.

"A Mother's Oath" tells the gripping story of Süreyya, who discovers that her husband's criminal empire was the cause of her son's death, leading her to recruit a group of women to fight for justice in a drama filled with tension, passion, and romance. Ahead of the premiere, the lead actors participated in photo shoots and video recordings across Venice's canals, San Marco Square, and aboard private gondolas, marking an essential step in the drama's global promotion.

A NEW DYNASTY

Global Agency also launched "Dynasty of Love" at Mipcom, the series that captured audiences' hearts in Turkey since its premiere last month. The event welcomed leading names from the global industry alongside the show's stars Akın Akınözü and Serra Arıtürk, producers Mehmet

Eryılmaz from Faro Film, Faruk Turgut, Owner of Gold Film, and senior executives from Show TV. The event brought together over 700 distinguished guests at Palm Beach, one of Cannes' most iconic venues, and turned into an unforgettable night filled with live music, DJ performances, dance shows, and a vibrant party atmosphere. "We attach great importance to promoting Turkish dramas with prestige on the global stage. For a powerful project like 'Dynasty of Love,' with its strong story, international production standards, and exceptional cast, we chose Palm Beach, one of the most prestigious locations in Cannes. Turkish actors have massive global fan bases, and the remarkable attention we witnessed tonight reinforces our belief that this series will soon reach millions of viewers across continents," Izzet Pinto said.

'"Dynasty of Love' holds a very special place for us as it marks the first television series produced by our company, Faro. We have worked meticulously on this project for two years, and seeing it embraced so warmly by viewers makes us incredibly happy. The international audience is of great importance to us, and we truly hope that the series will reach a wide global viewership. We are very pleased with the strong interest the series received at Mipcom," expressed Yamaç Okur and Mehmet Eryılmaz, producers of the series.

By Fernando Calviño