SEÑAL NEWS 251 | CONTENT EUROPE 2026

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142

THE EUROPEAN AUDIOVISUAL INDUSTRY GENERATED AROUND €142 BILLION IN REVENUES IN 2024, ACCORDING TO RECENT STATS FROM THE EUROPEAN AUDIOVISUAL OBSERVATORY.

2.523

PRODUCTION REACHED A NEW HIGH IN 2024: 2,523 FILMS PRODUCED ACROSS 36 MARKETS.

78%

OF VIEWING TIME ON SUBSCRIPTION VIDEO-ON-DEMAND PLATFORMS IS SPENT ON TV SERIES.

From the €142 billion generated by the audiovisual industry, consumer spending, including streaming subscriptions, pay-TV, cinema tickets, and home video, accounted for over half of the market (€72 billion), making it the primary engine of growth.

DR SALES LAUNCHES PS FORMATS TO SCALE IP STRATEGY

DR Sales launched PS Formats, a new dedicated label bringing together its scripted and unscripted format activities under one strategic unit, as the company accelerates its focus on IP and international adaptation. The move formalises a strategic shift that began in 2019, when DR Sales identified the growing global demand for scripted formats and the increasing value of IP-driven business models. Andrea Oslev, Format Sales Executive, now oversees the unscripted slate globally, where the US is the key market for scripted adaptations. ∙

MOVISTAR INTEGRATES ITS ACQUISITIONS MANAGEMENT

Movistar Plus+ is integrating the rights acquisition area (Film, Series, Sports, etc.) together with the management of Global Partners within the Business and Sports

Management Division, led by Enric Rojas, aligning the organizational model with market realities. To this end, the Partnerships Division, led by Ismael Calleja, will become part of Business Management, reporting directly to Rojas, who will also continue to oversee the Sports Division. ∙

MEDIAPRO AND CHARLES WACHTER TO LAUNCH STOPWATCH MEDIA

Th e Mediapro Studio will launch a new production partnership, Stopwatch Media, in conjunction with Charles Wachter, Emmy Award-winning showrunner and producer. Stopwatch Media will be headquartered in Toronto, establishing The Mediapro Studio production footprint in Canada and further expanding its global infrastructure. Under Wachter’s leadership, the new studio will tap into The Mediapro Studio’s international reach, resources, and partnerships to develop premium, scalable formats for both the U.S. and international audiences. ∙

FREMANTLE PROMOTED JIMMY FOX TO PRESIDENT, CONTENT AND STRATEGY

Fremantle promoted Jimmy Fox to President, Content and Strategy. In this expanded role, Fox will oversee both traditional development and strategic business initiatives, with a broadened creative mandate designed to accelerate evolution across new forms of content, innovative partnerships, and emerging growth opportunities. Fox will play a key role in shaping Fremantle’s portfoli by identifying high-impact business opportunities, strengthening cross-department collaboration around valuable legacy IP, and supporting the incubation of new international formats. ∙

BRUNICO CANCELED REALSCREEN, KIDSCREEN, AND NATPE GLOBAL EVENTS

Brunico Communications has decided to discontinue its US events portfolio in 2027, including Realscreen Summit, Kidscreen Summit, and NATPE Global. Moving forward, the company will focus on its full complement of publications, including Realscreen, Kidscreen, Playback, and Strategy, as well as the Banff World Media Festival. “This decision was deeply considered and stemmed from the market consolidation that continues to progress and have structural impacts on the content production business,” says Russell Goldstein, President & CEO of Brunico Communications. ∙

BOSSANOVA STRENGTHENS ITS ACQUISITIONS TEAM

BossaNova Media appointed Francesca Johnson as Head of Acquisitions and Iona Hopper as Acquisitions Manager, a newly created role reporting to Johnson. The hires come as Claire Runham steps down from her position as Head of Acquisitions to spend more time with her family. Lyra Semsedini has been promoted to Acquisitions and Materials Coordinator to support the expanding department. Johnson brings more than a decade of experience from National Geographic, where she worked for 11 years overseeing development and collaborating with the London-based commissioning team on projects for the broadcaster’s linear channels and Disney+. ∙

DISNEY+ CLOSED MAJOR CONTENT DEALS WITH RTVE AND RAI

Disney+ sealed two strategic content partnership in Europe. First, with Spanish public broadcaster Radiotelevisión Española (RTVE), in which some of RTVE’s most popular new shows will be available on Disney+ after their linear premieres on TVE’s La 1. The deal began with the 14th season of “MasterChef,” alongside its celebrity spinoff season. Moreover, Disney+ has struck a deal with Italian public broadcaster Rai, where selected Rai shows will become available on Disney+ just one day after their broadcast on Rai 2. Among the titles are “Belve” and “The Floor – Ne rimarrà solo uno.” ∙

OPINION

WHY AUDIENCES DON’T JUST WATCH — THEY RETURN

There is a moment every buyer recognizes: when a show doesn’t just launch, it holds. The reason is rarely a high-concept hook. It is something more durable: the series has become a brand.

Like any strong brand, a successful series carries a recognizable identity: a world, a tone, a set of characters that audiences associate with a specific kind of experience. This consistency is what drives returnability, one of the most reliable indicators of longterm performance in an increasingly fragmented market. Audiences don’t come back for plot alone. They return for characters, for setting, and for the familiarity that builds over time. This is where German drama continues to travel well.

Across markets such as Spain, Portugal, and Italy, series like “Murder in the North,” “Baltic Crimes,” and “Vet Jacobs” deliver consistent results. Their strength lies in a clear narrative structure combined with characters and worlds that evolve gradually, making them both easy to schedule and sustainable over time.

“Vet Jacobs” illustrates this particularly well. What starts as a crime format develops into a story about a community. Viewers don’t just follow cases; they return to a place they recognize. This dynamic has translated into strong linear performance in Germany and a move into primetime scheduling in Italy, a sign of its longterm audience value.

Location plays a similar role in “Bolzano Crimes,” produced by ARD Degeto Film in collaboration with

Albolina Film. Set in South Tyrol, the series uses its Alpine setting and cultural duality as a core storytelling element. The result is a format that combines a proven procedural engine with a clearly defined identity. With audiences of up to seven million on ARD, it offers buyers a reliable anchor for primetime slots while remaining distinctive enough to stand out.

The principle extends beyond crime. “Simply Nora,” produced by Real Film Berlin for ARD, shows how the same mechanics work in a lighter, character-driven space. Set on the island of Rügen, the 90-minute films follow a charismatic doctor balancing medical cases with an evolving personal life. Across more than 25 films, with six new episodes launching, the series builds on emotional continuity: recurring relationships, unresolved tensions, and a setting that draws audiences back. Its format lends itself naturally to event-style scheduling while maintaining strong repeat value.

For buyers, this kind of content offers a clear advantage: it doesn’t rely on constant reinvention. It builds audience loyalty over time and performs across both linear and on-demand environments. In a market defined by choice, familiarity is not a weakness; it is what keeps audiences coming back.

By Esther Henze

PORTUGAL , A RISING CREATIVE POWERHOUSE IN THE HEART OF EUROPE

PAS CONTENT EUROPE LANDS IN LISBON, THE PORTUGUESE AUDIOVISUAL INDUSTRY IS REDEFINING ITS GLOBAL FOOTPRINT THROUGH HIGH-END CO-PRODUCTIONS, BACKED BY APIT AND LED BY LOCAL GIANTS LIKE SP TELEVISÃO AND CORAL EUROPA, ALONGSIDE BOUTIQUE POWERHOUSES LIKE CAOS CALMO FILMES AND SARDINHA EM LATA.

ortugal has evolved from a hidden gem into one of the world's most competitive production hubs, offering a landscape where historical heritage meets cutting-edge industry support. With more than 300 days of sunshine a year, the country provides a world of opportunities within short distances: from medieval castles and palaces to avant-garde architecture, and from the rugged Atlantic shores to the calmness of unique, historical villages. This natural versatility is now backed by a decisive institutional push. Reaffirming a strong commitment to the sector’s sustainability, the Portuguese Government recently announced SCRI.PT, a new Audiovisual and Film Industry Funding Program operating with a budget of €350 million over the next four years. Combined with highly skilled crews and co-production agreements with more than 60 countries, including a vast network of Portuguese-speaking territories representing over 250 million speakers, Portugal has solidified its role as a premier global partner.

At the center of this transformation is the Association of Independent TV Producers (APIT), the essential architect ensuring that the local creative capacities translate into international success. The association has become the vital catalyst for the "Portuguese Brand," focusing on the professionalization and visibility of its members. Under the leadership of Susana Gato, APIT’s Executive President, the organization has pivoted to an aggressive internationalization strategy. "APIT is the voice of independent TV producers in Portugal. We work to ensure they have the rights,

SUSANA GATO

AP IT’s Executive President

conditions, and incentives they need to grow and compete fairly. Our goal is to give the producers the visibility they need to play at the highest level. At the same time, we bring together the country's main production companies and help them take their projects abroad. Portugal has talent, creativity, and solid production capacity, and APIT wants to show the international market that our members are ready to collaborate," said Susana Gato.

Beyond advocacy, APIT is actively opening doors in global markets. "We genuinely believe the sector can grow, and that we can build a stronger audiovisual industry with companies ready to take the next step," Gato added. "That’s why we developed an internationalization area within the Association that helps our members access global markets and gives them the tools and skills they need to work outside Portugal. We’ve been building new connections, opening doors for our members, and raising the profile of the Portuguese audiovisual sector in a more visible and consistent way."

SP TELEVISÃO: A FICTION PIONEER

JOÃO

PEDRO LOPES

CEO of SP Televisão

Operating since 2007, SP Televisão stands as Portugal’s leading independent fiction producer. With a portfolio of 58 formats and content sold to over 140 countries, the International Emmy-winning company has become a symbol of Portuguese storytelling excellence. "One of our key differentiators lies in our production capacity and creative versatility," explained João Pedro Lopes, CEO of SP Televisão. "The company is widely recognized for crafting emotionally engaging narratives and iconic characters that build deep and lasting connections with audiences," he added. Innovation is also a pillar of their identity, as evidenced by their SPi division, which produced “Glória,” the first Portuguese Netflix Original. "SP Televisão combines creative and strategic flexibility with a leading position in the national market, reinforcing its role as a key player in the audiovisual landscape," Lopes stated.

CORAL EUROPA: VERSATILITY AND SCALE

BRUNO SANTOS

Managing Director

Coral Europa

Coral Europa is one of the most competitive players in the region, standing out for its immense production volume and its unique advantage of owning private studio facilities. "Coral Europa stands out for its competitiveness and versatility. Even in a context competing with major international groups like Banijay and Fremantle, Coral remains one of the companies producing the highest volume of content annually. As one of the few production companies in Portugal with its own studio facilities, we are also able to stand out through a strong output of original productions," Bruno Santos, Managing Director, explained. The company has forged key partnerships with Warner Bros. and Talpa Studios to maintain its dominance in both fiction and entertainment.

FLAGSHIP PROJECTS:

“Chapters of Life”

A poignant drama about a young mother who dies after childbirth, leaving her family to navigate a complex emotional aftermath.

“Vitória”

A gripping story of a woman fighting to regain custody of her children from a criminal fatherin-law after being wrongfully imprisoned.

“The Last Will”

A classic inheritance drama where a "bastard" daughter inherits a millionaire’s estate, forcing the legitimate heirs to live by her rules.

FLAGSHIP PROJECTS:

 “The Floor”

The highly successful global format is currently in its third and fourth seasons for RTP1.

“Sequía & Lume”

High-end fiction series distributed by ZDF and showcased on HBO, proving the company’s reach in the international drama market.

“Funtástico”

A massive live talent show that leads Sunday prime time on TVI.

“Chefs da Nossa Terra”

CAOS CALMO FILMES: BOUTIQUE SENSIBILITY, GLOBAL REACH

SERGIO GRACIANO

Caos Calmo Filmes

Led by producer Sergio Graciano, Caos Calmo Filmes represents the boutique side of the industry, where local identity meets highend cinematic ambition. "Our main strength lies in our ability to combine a strong local identity with an international ambition. We develop projects rooted in Portuguese culture but conceived from the outset to travel beyond borders. We have been building a consistent track record in international co-productions, particularly between Portugal, Spain, and Portuguese-speaking territories such as Angola and Brazil," said Sergio Graciano.

FLAGSHIP PROJECTS:

“Playback”

A musical biopic about the iconic Portuguese figure Carlos Paião.

“The Bishop”

An ambitious co-production between Portugal, Belgium, and Luxembourg, entering preproduction later this year.

“O Homem Que Mordeu O Cão”

A cross-media project adapting a legendary radio format into a feature film and series.

SARDINHA EM LATA: ANIMATION EXCELLENCE AND TURNKEY SOLUTIONS

NUNO BEATO

Producer and CEO

Sardinha em Lata

With an active 400-square-meter studio and a team of over 20 full-time professionals, Sardinha em Lata has established itself as a powerhouse for animated content and production services. "We have several national and international partnerships and co-productions, and we produce feature-length and short series in addition to providing production services," explained Nuno Beato, Producer and CEO. The company is a prime example of Portugal's high-quality production capacity at competitive European prices. "Sardinha em Lata has done extensive work over the past few years to promote our work around the world," Beato added, highlighting their ability to deliver complex, turnkey projects to the global market.

By Romina Rodriguez

CARLOTA VIEIRA , CONTENT

SALES DEPUTY

DIRECTOR AT SIC INTERNATIONAL DISTRIBUTION, HIGHLIGHTS THE SIGNIFICANCE OF HAVING AN INTERNATIONAL MARKET IN LISBON FOR THE FIRST TIME, UNDERSCORING PORTUGAL’S POSITION AS A CONTENT EXPORT HUB.

For this first edition of Content Europe, local key player SIC International Distribution will focus on three recent titles, two SIC telenovelas and an Opto exclusive series: “Chapters of Life,” “Vitória,” and “Azul.” To describe the potential of these titles and the value of the first global market to be hosted in Lisbon, Señal News spoke with Carlota Vieira, Content Sales Deputy Director at SIC.

What does it mean for SIC to have an international market in Lisbon for the first time?

“Having an international market in Lisbon is a reason to make us all proud and a clear sign of Portugal’s positioning as a content export hub and of Lisbon as an industry meeting point for buyers and distributors. Our catalog already shows its ambitions in international distribution, and a first market appearance in Lisbon naturally reinforces our visibility. Lisbon is a remarkable city, and I truly believe Portugal has everything it takes to become a new hotspot for the content industry.”

“PORTUGAL HAS EVERYTHING TO BECOME A NEW HOTSPOT FOR THE CONTENT INDUSTRY”

How do you analyze the present of the Portuguese content industry?

“Portugal detains a stronger and more visible position in the international market today than it did even a few years ago. Portuguese telenovelas are gaining more attention. Our recent sales, both of ready-made titles and of scripted formats, are also reaching more diverse, non Lusophone territories, which clearly demonstrates their global appeal. I find that Portuguese audiovisual content today really stands apart from other markets, mainly because of a distinctive blend of influences. The combination of a strong creative identity with our high production quality and competitive cost benefit demonstrates that we are ready to take on new challenges and deliver compelling content to global audiences. Recently, MFE – Media for Europe Group, the group that owns Mediaset, acquired a stake in SIC’s owner, Impresa. Although we’re still in the early stages of this new chapter, we’re excited to be a part of it, and we believe that it will enhance our international visibility.”

What does it mean for SIC to have a new adaptation in México?

“TelevisaUnivision's ‘Corazón de Oro’ premiered last month on Las Estrellas. Our original novela, ‘Coração d’Ouro,’ was a major success on Portuguese television and earned strong international recognition, winning the gold medal in the Telenovela Category at the 2026 New York Festivals International TV & Film Awards.

The adaptation strengthens SIC’s international brand and expands our presence and pipeline throughout Latin America Televisa had already previously adapted other titles of ours, such as ‘Wild Land,’ ‘Salty Sea,’ and ‘Blood Ties.’ It’s proof of the strong global demand for Portuguese fiction and showcases our storytelling on one of the world’s largest telenovela markets, significantly amplifying the reach of our content and reinforcing our position as an exporter of premium drama.”

How would you describe the impact of “Páginas da Vida” on the local TV market?

“The show has quickly become one of SIC’s strongest recent audience successes. It had a record-breaking TV premiere, reaching over 1.2 million people in its first episode, which, given the scale of the Portuguese market, is a remarkable performance. Since then, it has also maintained continuous primetime leadership. It’s also been performing really well on Opto and Prime Video, becoming the most-watched title on both platforms during its launch week and asserting its position on the Top 10 most-watched every week. These strong results and presence across broadcast and SVOD highlight the power and potential of our high-quality productions and well-crafted adaptations, demonstrating that they can resonate with diverse audiences across multiple platforms.”

By Diego Alfagemez

THE COUNTRY HAS DEVELOPED ITS OWN PRODUCTION INCENTIVES, SUPPORTING PORTUGUESE PROJECTS ON A GLOBAL SCALE AND ATTRACTING INTERNATIONAL PRODUCTIONS THAT REACH AUDIENCES WORLDWIDE.

With Portuguese spoken by over 240 million people worldwide, it should come as no surprise that Portugal connects continents, people, and cultures. It plays a unique role, bringing together diverse stakeholders and providing conditions for co-production with more than 60 countries in Europe, Asia, Africa, and the Americas.

That path has led to Portugal’s role within the Ibero-American Film Commission Network (IBEROFIC), with Ana Marques, Executive Director of the Portugal Film Commission, serving on the organization’s leadership.

“Joining the Board of Directors represents a strategic opportunity to strengthen partnerships, stimulate the audiovisual industry, and position the country as a bridge between Europe and Latin America,” highlighted Ana Marques, reaffirming Portugal’s role within the Ibero-American context.

That mission is also reflected in the Portugal Film Commission’s scope of action, with investments in key industry events, such as

PRODUCTION

PORTUGAL, A GATEWAY THAT CONNECTS EUROPE AND LATIN AMERICA

Conecta Fiction & Entertainment, Iberseries Platino Industria, and the Guadalajara International Film Festival, where Portugal was the Guest of Honor at the 2025 edition. The program included an extended retrospective of the Portuguese filmography and a wide range of talks, masterclasses, and exhibitions that resonated with Mexican audiences. It is also worth noting that Portugal is a member of the Ibermedia Program, a supranational fund that fosters coproductions among its members from Latin America, Spain, Portugal, and Italy.

A STRATEGIC PRIORITY

Over the years, Portugal has developed its own production incentives, supporting Portuguese projects on a global scale and attracting international

productions that reach audiences worldwide. Some clear examples include the TV series “FBI: International,” which filmed an episode of its fourth season in Portugal, and the recently released Disney+ original “If It's Tuesday, It's Murder,” a Spanish series entirely shot in Lisbon and premiered at the Festival de Málaga 2026.

Reaffirming its strong commitment to the content industry, the Portuguese Government announced a new funding program in 2026 to respond to its needs while fostering its sustainability. It includes a four-year budget for both Cash Rebate and Cash Refund, as well as a mutual guarantee scheme to support production financing. SCRI. PT is the new Audiovisual and Film Industry Funding Program, which will operate with a €350 million budget over the next four years. Targeting big productions, the Cash Refund will amount to €35 million annually, while the Cash Rebate will be €15 million for medium-budget projects. Projects supported by these incentives will be eligible to access the mutual guarantee scheme, with an allocation of €150 million for the period 2026-2029. The procedures and regulations of the new incentives are expected to be announced in the near future.

By Romina Rodríguez

Portugal’s independent production company SPi, part of SP Televisão, continues to consolidate its position as a key player in the global audiovisual market. With its presence at the recent Series Mania, the company focused on strengthening ties with international partners and showcasing a diverse catalog ranging from high-budget coproductions to innovative digital formats. "We are here looking for partners interested in working with us to get our projects off the ground, while also showing what we have achieved," explained João Maia Abreu, Executive Director of Business and Co-productions at SPi. "We are very proud of the Rockie Awards nomination for 'Cold Haven' (Avoada) as Best NonEnglish Language Series. It is a co-production between Portugal and Iceland that premiered on RTP in January, and having this global recognition is a testament to the quality of our work," he added.

A fundamental part of SPi's current strategy is the exploration of new narrative frontiers. The company recently launched five micro-series on RTP Play, marking a milestone in the Portuguese market. "We were the first in Portugal to bet on micro-dramas, following a challenge we proposed to RTP. These five series of 20 episodes demonstrate how fiction can be made in a 9x16 vertical format with high production quality. It was a creative challenge that forced us to rewrite the

PRODUCTION

SPI, FROM PORTUGAL TO THE GLOBAL MARKET

JOÃO MAIA ABREU, SPI’S EXECUTIVE DIRECTOR OF BUSINESS AND CO-PRODUCTIONS, HIGHLIGHTS THE VALUE OF THE ROCKIE AWARDS NOMINATION FOR "COLD HAVEN," THE COMPANY’S STRATEGY FOR MICRO-DRAMAS ON RTP PLAY, AND ITS PORTFOLIO OF INTERNATIONAL CO-PRODUCTIONS.

narrative differently, almost like a chimera, but the result is a product that has made a mark on the market," Abreu stated.

In addition to digital innovation, SPi premiered "Algodão a Frio" on RTP Play on March 23rd , a sixepisode thriller series set in a public laundry. "It is a format that we are already developing and selling to other territories. We have the advantage of having the physical set in the SP backlot, which makes it a very efficient and high-quality product," Abreu said.

GLOBAL VISION FOR CO-PRODUCTION

João Maia Abreu highlighted that SPi actively seeks "organic" projects where the union between countries feels natural. Currently, the company is developing content for Germany, Spain, Brazil, Finland, Ireland, and Canada. "Our goal is to find specific and organic projects for those territories that are beneficial for both parties. For example, our collaboration with Iceland on 'Cold Haven' showed that even connections that don't seem obvious can work wonderfully if the story is right. We want to do more with the Nordics; we are already in development with Finnish partners. It’s not about being forced; it always starts with the strength of the story," he defined. When defining the content of the

global industry, Maia Abreu noted that while production remains steady, external factors, such as rising energy and travel costs, will inevitably affect budgets. Additionally, he mentioned that geopolitical tensions in the Middle East have slowed the pace of specific projects in Dubai and Israel.

Furthermore, Maia Abreu emphasized the vital importance of RTP for the survival of Portuguese fiction and advocated for modernizing local incentive systems. "For us, it is essential that RTP survives and continues to be a major investor in the national market. They have embraced international co-production very well, which is a great challenge. However, I believe it is time to review the Cash Rebate system in Portugal. We should develop it further so as not to be so tied to restrictive qualifications. There is a will for change to help producers so that Portuguese fiction continues to reach the world with global standards," he stated.

" Flavours of Love"

Moving forward, SPi continues its success streak in festivals with the short film "Passport," which has already won at the Denver Film Festival and received an honorable mention at the Hollywood ShortsFest. Although Abreu teased "surprises" for the second half of the year, the focus remains clear: promoting their current portfolio and exploring new frontiers, including the Brazilian market.

By Romina Rodriguez

Armin Luttenberger

As ORF-Enterprise heads to Content Europe, the company is doubling down on its commitment to international growth. Señal News spoke with Armin Luttenberger, Head of Content Sales International, who breaks down the strategic value of their first Portuguese co-production, and how they are navigating the shift toward hybrid streaming and broadcast windows.

What were the key elements that drove ORF to get involved in the "Jones" project?

"A combination of creative strength and strategic relevance drove our involvement. The project offers a distinctive narrative hook within a proven genre, which gives it strong international appeal while still feeling fresh. That balance is essential in today's market, where buyers are looking for recognizable formats with a unique edge. 'Jones' aligns perfectly with our approach of engaging early in high-quality European productions that have clear cross-border potential. Equally important is the partnership aspect. Collaborating with strong local players like Caracol Studios allows us to act as a connector between regional creativity and global demand, a core pillar of ORF's strategy."

"'JONES' ALIGNS WITH OUR APPROACH OF ENGAGING EARLY IN HIGH-QUALITY EUROPEAN PRODUCTIONS"

ARMIN LUTTENBERGER, HEAD OF CONTENT SALES INTERNATIONAL AT ORF-ENTERPRISE, DISCUSSES THE COMPANY'S STRATEGIC ENTRY INTO THE PORTUGUESE MARKET AND ITS FOCUS ON PAN-EUROPEAN ALLIANCES.

Will ORF-Enterprise explore other co-productions within the Portuguese market?

"With 'Jones,' we have deliberately entered a market that is still relatively underexplored internationally but offers significant creative and visual potential. Portugal has developed into a highly interesting production landscape, combining strong storytelling traditions with increasingly competitive production values. For us, this represents an opportunity to identify authentic local stories that can travel internationally. While we are always selective, we are indeed exploring further collaborations in the region. Our broader goal is to strengthen a network of panEuropean alliances, particularly in markets that are not yet saturated but show clear growth dynamics."

How are you tailoring your distribution strategy in Europe?

"Our European strategy for 2026 is focused on precision rather than scale. Firstly, we are deepening our relationships with streaming platforms and hybrid distribution models, ensuring that our content is positioned across multiple windows. Secondly, we are placing stronger emphasis on a curated, highquality slate. Instead of maximizing volume, we are prioritizing content that is clearly positioned and internationally competitive, particularly in genres such as crime, drama, and premium factual."

What are your primary commercial objectives for 2026?

"Our primary objective is to expand ORF-Enterprise's international footprint sustainably. That includes increasing our presence beyond the German-speaking markets, strengthening our position across Europe, and selectively growing in global territories where European content is in demand. A successful year is not defined by volume, but by the quality of the partnerships we build, the international visibility of our brand, and the long-term value we create across our content ecosystem."

By Romina Rodríguez

 Iñaki Vicente

IÑAKI VICENTE , AY YAPIM’S NEW CHIEF CONTENT & STRATEGY OFFICER FOR THE SPANISH AND PORTUGUESE MARKETS, EXPLAINS THE GOALS AND CHALLENGES OF HIS NEW ROLE AND HIGHLIGHTS THE NEXT ERA FOR TURKISH CONTENT IN THESE TERRITORIES.

Earlier this year, Ay Yapim appointed Iñaki Vicente as Chief Content & Strategy Officer for the Spanish and Portuguese markets, marking a significant step in the Turkish studio’s international expansion.

Señal News spoke with Vicente, who will drive the company's content strategy, development, and production initiatives.

What goals and challenges do you identify for your new role at Ay Yapim?

“The main goal is to consolidate Ay Yapim's presence in Spanish and Portuguese-speaking markets through developing original local productions with the capacity to travel internationally and leveraging the company's content library to drive adaptations. The challenge lies in moving toward a production and co-production model in territories with very distinct dynamics. Establishing the right partnerships in each market, identifying the right local talent, and building the creative pipelines

“THE CHALLENGE LIES IN MOVING TOWARD A PRODUCTION AND CO-PRODUCTION MODEL”

from scratch is a complex task that requires both strategic patience and speed of execution.”

How will your experience help you to find new business opportunities for the company?

“Almost 30 years in this industry have accumulated something that can't be replicated quickly: relationships, pattern recognition, and a deep understanding of what audiences actually respond to. I started from the bottom and have spent most of my career on the executive decision-maker and buyer side, which means I understand what broadcasters and streamers are looking for, their constraints, and where the real opportunities lie. That perspective is valuable when you're on the production and development side. I understand the local creative cultures. I believe that shortens the path, and I’m extremely honored to work with this amazing team.”

How would you describe Ay Yapim's expansion strategy?

“It's a flexible, market-sensitive strategy. Spain obviously is a priority and already has a local subsidiary, which signals a long-term commitment. For the rest of the region, the approach will be case-by-case, working with established platforms, broadcasters, and local production companies. The strategy is built around three pillars: original content developed specifically for these markets with global ambitions, co-productions with local partners, and format adaptations from Ay Yapim's library.

The company is open to all business models, including direct investment in productions.”

What are the main distinctive characteristics of these territories?

“Spain and Latin America share a language but are different markets in terms of audience, production, regulatory environments, and distribution ecosystems. Brazil adds another layer entirely with Portuguese and its own creative identity. Mexico, Colombia, and Brazil are the largest production hubs in the region, each with sophisticated ecosystems and local talent. Spain is attractive because of its role as a gateway to European co-production financing and its growing streaming sector. The key in all these markets is that audiences respond to emotionally driven and charactercentered narratives, which is precisely where Ay Yapim excels.”

What specific business models do you want to develop and reinforce?

“Flexibility is a strength. We'll coproduce with local partners where that's the smartest path. We will develop and produce originals by identifying the right creative and commercial conditions. Ay Yapim also brings significant creative talent that we intend to deploy in these markets; it's not just the IP and the brand, it's the production know-how behind decades of premium drama. The goal is to build a content pipeline that can serve both linear broadcasters and streaming platforms.”

By Diego Alfagemez

SERIES MANIA 2026: A LANDMARK YEAR FOR EUROPEAN CO-PRODUCTION

The city of Lille once again became the epicenter of the audiovisual industry, hosting an edition of Series Mania that set new benchmarks. With approximately 112,000 attendees (up 4,000 from last year) and a Forum that gathered 5,200 professionals from 75 countries, the event proved that, despite global economic shifts, the appetite for high-end scripted content is more robust than ever.

This year’s Forum, featuring a

WITH RECORD-BREAKING ATTENDANCE, THE HISTORIC SIGNING OF A NEW EUROPEAN LEGAL FRAMEWORK, AND A MARKET BUSTLING WITH HIGH-CONCEPT DRAMA, THE LAST EDITION OF SERIES MANIA IN LILLE HAS SOLIDIFIED ITS ROLE AS THE PRIMARY ENGINE FOR THE INTERNATIONAL SCRIPTED INDUSTRY.

record 97 exhibitors, served as a definitive "one-stop shop" where the industry’s future was both debated and signed into existence. Attendees had the opportunity to discover creations from around the world: among the 375 series viewed by the programming team, 51 were selected, representing 16 countries. To support, judge, and discuss the shows, Series Mania welcomed 800 international talents.

The highlight of the 2026 edition was the historic signing of the “Council of Europe Convention on the Coproduction of Audiovisual Works in the Form of Series,” which brought together nine ministerial delegations

at Lille Grand Palais. France, Georgia, Greece, Italy, Luxembourg, Malta, Montenegro, Poland, and Portugal signed this first international legal framework dedicated to series. The treaty is a game-changer, designed to harmonize rules and facilitate ambitious cross-border collaborations, providing producers with a clear legal path to compete globally. "Collaboration for co-productions is more crucial than ever before. In an era of rising production costs and a more fragmented market, we are seeing a shift in which even the

biggest players are seeking organic partnerships. This year, we have seen that the industry is not just looking for funding, but for creative synergies that allow stories to travel naturally across borders,” Francesco Capurro, Director of Series Mania Forum, said.

“How to Turn YouTube into an Asset for Your Series?” session

Moreover, highly anticipated keynotes from HBO Max, Prime Video, and Disney+ offered exclusive announcements, giving industry professionals an insider’s look at the platforms’ major strategic directions. Meanwhile, the masterclasses led by Hugo Blick, Russell T Davies, and Nicola Shindler placed creators back at the center of the discussion by exploring the artistic and narrative challenges of series. The showcases by Arte, France Télévisions, and TF1 were particularly well received for their editorial richness and exclusive presentations for industry decision-makers.

MARKET SPOTLIGHTS

Series Mania Forum named South Korea as its firstever Country of Honor. That recognition marked a milestone for the festival, highlighting the creative

and commercial synergy between East and West. The Korean delegation, led by major players and backed by government agencies, showcased a sophisticated slate of thrillers, sci-fi, and high-concept dramas.

The Taiwan Creative Content Agency (TAICCA) made a significant impact with a delegation representing 31 companies. Showcasing Taiwan's unique storytelling and high production values, the agency focused on fostering co-development deals with European partners, demonstrating that Asian content remains a top priority for international buyers.

Moreover, Portugal also emerged as a standout protagonist. Beyond its participation in the historic Council of Europe signing, the Portuguese delegation leveraged three days of intense networking to promote its new funding programs and modernized cash rebate system. With a focus on sustainable production, Portugal is positioning itself as a premier destination for international shoots and a key partner for Mediterranean and Atlantic co-productions.

MAJOR SLATES AND GLOBAL SALES

Several major announcements and screenings highlighted the diverse strategies of the world’s leading distributors: Banijay Entertainment showcased a broad range of high-end dramas, focusing on psychological thrillers and characterdriven narratives that offer both local depth and universal appeal. ZDF Studios presented a premium drama slate, leaning heavily into their expertise in "Nordic-Noir" aesthetics and complex procedurals that remain a staple for European broadcasters. Atresmedia confirmed the sale of the hit series "Entre Tierras" to Italy’s Mediaset. Simultaneously, Mediaset (MFE) showcased its own scripted slate through Medset Film, reinforcing its strategy to dominate the Mediterranean scripted corridor. Sphere Abacus put a special spotlight on French-language dramas, tapping into the growing global demand for non-English language "prestige" content that can perform on both linear TV and SVOD platforms. KO Distribution unveiled an expanded slate and announced major global sales. Globo arrived in Lille betting on a diverse portfolio of series and formats.

SHIFTS IN CONSUMER BEHAVIOR

At Series Mania 2026, Omdia presented new data showcasing how global platforms are reshaping video consumption across Europe. In conversation with Justine Ryst, Managing Director of YouTube France and Southern Europe, Maria Rua Aguete, Head of Media & Entertainment, highlighted that, in France, Netflix and YouTube are the top first-choice video services, with Netflix leading (18%) and YouTube following (12%), ahead of traditional broadcasters and pay TV. The session, “How to Turn YouTube into an Asset for Your Series?”, highlighted YouTube's evolving role in the content ecosystem. While there is significant audience overlap between YouTube and major French broadcasters such as France TV, TF1+, and M6+, the data also shows that a substantial portion of YouTube’s audience sits outside these services, making it a critical platform for incremental reach.

By Romina Rodríguez

 Patrick Roberts

PATRICK ROBERTS, SVP, GLOBAL SALES AT BOAT ROCKER STUDIOS, DETAILS THE COMPANY’S GLOBAL EXPANSION STRATEGY AND POINTS OUT THE POTENTIAL OF “BLOOD & SWEAT,” AN INTERNATIONAL COPRODUCTION THAT OFFERS A COMPLETELY ORIGINAL TAKE ON THE NORDIC NOIR GENRE.

Boat Rocker Studios has partnered with Japan’s Nippon TV / AX-ON Inc and Finland’s ICS Nordic to co-produce “Blood & Sweat”, a premium scripted crime thriller series for Wowow in Japan and Nelonen Media in Finland. As Boat Rocker will distribute the series globally, Señal News spoke with Patrick Roberts, SVP, Global Sales, to understand the show’s global potential.

“GREAT STORYTELLING CAN COME FROM ANYWHERE IN THE WORLD”

How would you define Boat Rocker's global sales strategy?

“We pride ourselves on working with outstanding talent to craft compelling and exciting stories. We always start there, looking for original, resonant, and propulsive projects. Then, of course, we must ensure our catalog meets our buyers’ needs. We have a team of well-connected, talented sales executives in offices around the world who really understand the appetites of their local partners. We're in constant conversation with global buyers about their content needs, and we evaluate our slate in response.”

What is the distribution potential for the Japanese/Finnish coproduction "Blood & Sweat"?

“’Blood & Sweat’ is a crime thriller following two detectives from different cultures who are pulled into a joint investigation of a serial murder case that spans decades and stretches from Finland to Japan. The series offers a completely original take on the ‘Nordic Noir’ genre, which continues to sell well around the world. ‘Blood & Sweat’s unique settings will be a selling feature, as we know audiences today are eager

to watch shows about cultures that are different from their own. The series also stars Jasper Paakkonen and Anne Watanabe, who are well-known stars in their home territories, adding name recognition for local buyers.”

What makes this show distinctive in the overcrowded drama distribution segment?

“We know great storytelling can come from anywhere in the world. And while ‘Blood & Sweat’ will appeal to audiences looking for compelling crime and mystery, it offers a unique perspective by blending storytelling from two culturally distinct countries. Buyers feel like they are privy to a world which has rarely been seen before and are really engaging with the authenticity of the production.”

What is the current global appetite for high-end drama and international storytelling?

“It’s no secret that buyers are being more conservative with their budgets, but quality will always win out. The old model of relying on a single commissioner to greenlight a series doesn’t work in today’s market. To get high-quality shows off the ground, we are increasingly looking to collaborate with global partners and explore creative financing models. At the end of the day, a great story always finds its audience; we just need to be more creative in the ways that we deliver it.”

By Diego Alfagemez

 SIMON COX , EVP CONTENT & ACQUISITIONS AT BANIJAY RIGHTS, OUTLINES HOW THE COMPANY IS PRIORITIZING SCALABLE SERIES, GLOBAL FORMATS, AND COMMERCIALLY VIABLE STORYTELLING IN AN EVOLVING GLOBAL MARKET.

As global demand for premium content continues to evolve, Banijay Rights remains at the forefront of this shift, leveraging its extensive catalog across scripted and nonscripted. In conversation with Señal News, Simon Cox, EVP Content & Acquisitions, discusses the company’s acquisition benchmarks, the growing value of franchises, and how changing buyer dynamics are shaping content strategies.

What criteria guide your content acquisition strategy?

“In scripted, we focus on contemporary, returnable drama series. We’re looking for strong ideas, scripts, and projects with clear international potential. We’re open across genres, including some period dramas, but the key is whether the story is compelling and can travel. In non-scripted, we’re very strong in entertainment formats, so we look at formats from any market that could be adapted globally. For finished tape, we

“WE’RE LOOKING FOR STRONG IDEAS AND PROJECTS WITH CLEAR INTERNATIONAL POTENTIAL”

focus on broad-audience series, entertainment, game shows, lifestyle, health, and crime, anything with wide appeal. We’re less focused on single documentaries and more on series.”

From a storytelling perspective, which genres are most in demand?

“Crime remains strong, but I tend to talk more about thrillers because it’s a broader category that often includes crime. That’s still the biggest demand area. We also look at relationship-driven dramas and selective genre pieces like sci-fi or horror, but they need to feel grounded and relatable. A good example is ‘Humans.’ Period drama is something we approach more selectively. We have strong titles like ‘Marie Antoinette,’ ‘SAS Rogue Heroes,’ and ‘The Hardacres,’ so we’re not actively looking for a lot more, although we remain open if something really stands out.”

What global trends are shaping your acquisition strategy today?

“The biggest shift is the focus on returning series. Both streamers and broadcasters want franchises, shows that can bring audiences back repeatedly. Discovery has changed as well. It’s no longer about billboards; it’s about thumbnails and social media presence. That’s why recognizable, repeatable content is so important. There’s less emphasis on one-off projects and more on long-running series. Buyers are very selective and are looking for gripping titles that appeal to as wide an audience as possible. At the same time, there is still room for

standout, distinctive projects with strong talent and press appeal.”

How do you balance premium event programming with long-running series?

“It’s about having the right mix. There is still a market for everything, but right now the emphasis is on returning series. Having fewer premium, event-style projects alongside scalable series is probably the right approach in the current market.”

What makes a project commercially viable?

“It starts with understanding the international market and what travels. We work closely with producers to ensure budgets are realistic and aligned with market expectations. Budgets have come down and stabilized, so now it’s about making sure projects are viable for everyone, producers and distributors alike.”

How do you approach the balance between local authenticity and global appeal?

“Authenticity is essential. If a show is designed purely to be international, it’s less likely to succeed. At the same time, it must be relatable. Audiences want to see stories from different cultures, but they need to connect with them. Genres like true crime, don’t always travel well because audiences tend to prefer local stories. Fictional thrillers, on the other hand, travel much more easily.”

By Roxana Alcalá

A POWERHOUSE FOR HIGH-CONCEPT CONTENT

WMIA DESROCHES, VICE-PRESIDENT

OF GLOBAL SALES & PARTNERSHIPS AT KO DISTRIBUTION, BREAKS DOWN THE COMPANY’S SUCCESS AT SERIES MANIA, THE STRATEGIC EXPANSION OF ITS CATALOG INTO THE ENGLISHSPEAKING MARKET, AND ITS UPCOMING PUSH INTO ASIA AND LATIN AMERICA.

ith a historic International Emmy win with "The Mediator" and the recent "Best Series" award in the Short Forms competition at Series Mania with "Ayer’s Cliff", KO Distribution is cementing its reputation as a powerhouse for high-concept content. The Quebec-based mother company, KOTV, is currently navigating a dual strategy: maintaining its strong French-Canadian DNA while aggressively developing English-language projects and international co-productions to meet the evolving demands of the global market.

The success of KO Distribution this year is driven heavily by its expertise in short-form content and "cozy" genres. "Ayer’s Cliff", a dark LGBTQ+ dramedy, has become a flagship title following its victory at Series Mania. "There was a lot happening around short form at that market. We just released the FrenchCanadian version of 'My 90-Year-Old Roommate', which is extremely popular. We are even having discussions about switching it to a half-hour format due to the interest from European countries for remakes," said Mia Desroches, Vice-President of Global Sales & Partnerships at KO Distribution, in an exclusive interview with Señal News.

Beyond new titles, the company relies on a robust slate of returning series to maintain a healthy business balance. That includes the second season of "FEM," already sold to Netflix Canada and RTBF, and the upcoming seasons of "Spoiled Rotten", "Playing Both Sides", and "Squall". "One of our strategies is to have a bunch of returning series; that’s just a really good balance for us to make sure that there’s always something on the go," Desroches explained.

A NEW FOCUS

In a market increasingly leaning toward Englishlanguage assets, KOTV is adapting without losing its identity. The company recently hired a new production

team member dedicated to developing Englishlanguage content. "We absolutely want to continue to produce in French because it's part of our DNA, but we find that it's important, in order to be open to the world, to have a little bit of English as well," Desroches noted. This shift goes hand in hand with a heightened focus on co-productions. "We are developing a lot of co-productions. It’s a big focus because I think that’s also the worldwide vibe at the moment: more partnership, better business models, and efficiencies," she added.

Looking ahead to the rest of 2026, KO Distribution has set its sights on new territories. "We’re very excited about doing new markets: going to Content Europe for the first time, but also Asia via ATF," Desroches revealed. Perhaps the most ambitious move is a localized push into Latin America. "We are going to dub episodes from seven series into Spanish. We want to go to MIP Cancun with Spanish content and really try to make our way there. It’s an exciting project and something I’ve never done before," Desroches concluded.

By Romina Rodríguez

HIGH ROAD ENTERTAINMENT: A DYNAMIC APPROACH TO FINANCING AND COMMISSIONING

IDISCUSS THE LAUNCH OF THEIR NEW HYBRID PRODUCTION AND DISTRIBUTION BUSINESS, THEIR FLEXIBLE MODEL FOR GREENLIGHTING PROJECTS, AND A DIVERSE SLATE THAT INCLUDES THE CRIME SERIES "ANTIPAROS" AND THE COMEDY-DRAMA "SHINJUKU SUGAR FOX".

n an era when the global scripted industry faces unprecedented financing hurdles, industry veterans

Richard Tulk-Hart (former Buccaneer CEO) and James Durie (former Cineflix’s Head of Scripted) have joined forces to launch High Road Entertainment. The company arrives as a hybrid entity, part co-production consultancy and part original content developer, designed to bridge the "final mile" between a great idea and a greenlit production.

The launch timing is no coincidence. As James Durie explains, the current landscape requires a more surgical approach to project development. "The market feels quite fractured at the moment, and it's increasingly difficult to get shows over the line. A lot of producers are doing everything right, with great scripts, talent, and even domestic commissions, but they still aren't getting their shows fully financed. We felt that we could really help producers with that final mile of getting shows financed and greenlit,” Durie noted.

High Road Entertainment does not believe in a "one size fits all" formula. Whether advising third-party producers on project financing or developing their own original slate, the approach remains bespoke. "Every project takes on its own life. In the same way we speak to third-party producers, we speak to ourselves about the best way to get the show made," Richard Tulk-Hart said.

The company is already hitting the ground running with high-profile projects. Among them is "Antiparos,” in partnership with Tanweer Productions, a crime series centered on a female English detective and a local policeman on a Greek island. "In season one, the thread continues through the islands, and in season two, we move to Mykonos, and in season three to Corfu. The crime just escalates bigger and bigger into

a really major crime boss,"Tulk-Hart revealed about the project’s ambitious scope.

Another standout in the company’s pipeline is “Shinjuku Sugar Fox,” a partnership with Just John Films that reunites the creative core behind the hit series "Sex Education", including lead actor Connor Swindells. Additionally, the duo teased three more greenlit projects currently under wraps that will be announced by broadcasters in the coming weeks.

AROUND THE GLOBE

At the recent Series Mania, High Road's focus has been on introducing its flexible model to the wider industry. "Because of our background, we can plug in at any stage into a show. Mainly at the moment, we're dealing with shows that have a commission, but we’re also looking after slates from inception through to production," TulkHart explained.

Looking ahead to the rest of the year, the CEOs plan to attend major markets from the LA Screenings to Mipcom, but with a highly curated growth strategy. "We pick shows that we know can get greenlit and also can make their investors and the producers a little bit of money on the back end," Durie emphasized.

While English-language content is a natural strong suit given their backgrounds at Miramax and Cineflix, High Road is leaning into a truly global perspective. "We are absolutely agnostic in terms of where shows come from. Whether they come from Greece, the Nordics, or Latin America, if there is an international perspective to it, we are very interested in listening," Durie concluded.

By Romina Rodríguez

GLOBAL EXPANSION THROUGH HIGH-END QUEBEC FICTION

 CHRYSTINE GIRARD, HEAD OF INTERNATIONAL DISTRIBUTION AT ENCORE GROUP, DISCUSSES THE GLOBAL POTENTIAL OF THE COMPANY’S NEW SLATE, FEATURING THE FAMILY SAGA "WILD HORSES", THE CRIME THRILLER "WELCOME TO KINGSTON-FALLS", AND THE 90S PERIOD DRAMA "THE GLASS HOUSE".

Encore Group is promoting its latest productions to the global market, after an outstanding performance at Series Mania, where the company presented two global premieres. The Montreal-based powerhouse is leveraging a diverse portfolio that blends universal themes such as family legacy and criminal investigation, conveyed through the unique "signature style" of Quebec’s top creators. By focusing on high-concept narratives and flexible distribution models, Encore is bridging the gap between local storytelling and international demand.

A key pillar of this international push is the family saga "Wild Horses" ("Indomptables"), an Encore

Télévision, Productions Déferlantes, and Quebecor Content production for TVA. Chrystine Girard, Head of International Distribution at Encore Group, describes the show as a compelling mix, where “Dallas” meets “Yellowstone." The 26-episode series, set against the backdrop of country music and rugged ranch life, follows a traditional family dynamic where romance and rivalry collide. The series features the love story of a beauty from a village about to get married who falls for a man from a rival family. "’Wild Horses’ is a country-influenced annual series, perfect for the international market," Girard told Señal News, noting that the presence of real musical talent adds a layer of authenticity. To mitigate risks for international buyers, the series was strategically built with a narrative hook at the end of the 13th episode. "It alone makes the series travelable and appealing to international buyers. It will mitigate the risk," she added, pointing to the massive global popularity of the country aesthetic.

The quality of Encore’s scripted slate was further validated by the critical reception of "Welcome to Kingston-Falls" (“Bienvenue à Kingston-Falls”). This co-production between Encore Television and Lynx Films for Radio-Canada was highlighted at Series Mania’s International Panorama competition. Created, written, and directed by visionary Robin Aubert, the series is a dark, atmospheric crime thriller starring Maxime Le Flaguais as Inspector Gabriel Serpent. The plot centers on a frozen, unidentified body found in a grotesque position, a setup that Girard compares to the

narrative complexity of a Quentin Tarantino film. "The signature of this series is really unique, which is crucial for its international appeal. People will buy it. This series is actually expected on the market; it's a no-brainer," she said, referring to Aubert’s use of specific camera lenses that evoke a 90s aesthetic without pinning the story to a specific time. The cast, which includes Marie-Ève Milot and Marc Messier, navigates a script that balances gruesome murders with moments of unexpected humor. Finally, another Encore highlight is "The Glass House" (“Vitrerie Joyal”), which served as the prestigious closing-night screening at Series Mania. A co-production with Matte TV for Amazon MGM Studios, the series is a deeply personal project co-written by François Avard and starring Martin Matte, who plays a fictionalized version of his own father, André Joyal. Set in the mid-90s, a pivotal era before mobile phones and during the rise of women’s independence, it tells the story of an entrepreneur who plans to pass his business to two sons who have very different plans: one aspiring to be a stand-up comedian and the other dealing with life-altering brain trauma. "It is a masterpiece. For series lovers, this is exactly what they want to watch. With Amazon behind it, it only adds value to the series’ potential on the international market. The story itself is simply fabulous," said Girard. Given that Matte’s previous hit, “Les Beaux Malaises”, has been successfully adapted in territories like France, Serbia, and Belgium, the international potential for this Prime Video exclusive is substantial.

By Romina Rodríguez

MIP LONDON 2026 PHOTOGALLERY

SERIES MANIA 2026 PHOTOGALLERY

THE GROWTH OF AD-SUPPORTED STREAMING