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DRAMA
DUBHUB PARTNERS WITH OGM UNIVERSE FOR AI-BASED LOCALISATION OF SIX OF US
The series will be dubbed in French using Dubhub’s new technology, Evocion, an AI-based system for emotion transfer, which combines advanced technology with management by human editors and translators.
Stockholm- and Istanbul-based localisation company Dubhub is partnering with OGM Universe to localise the Turkish drama series ‘6 of Us’ (original title ‘Sahipsizler’) for French audiences.
The series launched in Turkey in 2024 and aired its final episode last month on Star TV. On YouTube, the first episode of the series in Turkish has been viewed 23 million times, making it one of the top Turkish series of all time.
Dubhub will localise the series in French using Dubhub’s new technology, Evocion, an AI-based system for emotion transfer that combines advanced technology with management by human editors and translators.
Dubhub has recently launched version 2.0 of its in-house developed production app for AI dubbing, including new modules for
emotion transfer under the name Evocion.
The new technology is a game changer for audio dubbing and adds a high level of character performance, as well as line-by-line direction of voices.
“Top Turkish dramas are incredibly strong both for licensing and for direct-to-consumer channels such as YouTube. With language versions, revenues from the original language on YouTube can normally be multiplied 3–4 times,” says Fredrik af Malmborg, CEO of Dubhub.
OGM Universe is the distribution arm of OGM Pictures, one of Turkey’s leading production companies, with numerous global hits including ‘Golden Boy’, ‘The Fall of the King’ and ‘Reborn’. Some OGM Pictures series are among the world’s most powerful drama productions of recent years, reaching more than 100 million viewers.
Triskelion Productions
A PHASE OF BOLD GROWTH
With multiple docuseries underway across the US and Japan, a new animated feature in development, and the continued growth of its kids’ platform Cycle Kids, Triskelion Productions is powering through 2026 with an ambitious, multi-pronged strategy that underscores its creative and commercial momentum.
By Carolina Mussio cmussio@todotv.tv @carolinamussio
Ric Acevedo, Executive producer at Triskelion Productions
“The launch of Cycle Kids is going great. User reviews are good so far and our role is well defined”
Ambitious as ever, back in January of this year, Triskelion Productions shared the news about the start of development on three docuseries, two of them set to be shot in Los Angeles and one that would see them traveling to Japan. And as we close out the first quarter of the year, it the projects seem to be going strong.
“We have put together a great teaser for the docuseries we will be shooting in Japan,” began Ric Acevedo, executive producer at Triskelion Productions, in conversation with ttv. “Luckily for us many of the interviews we can do stateside.”
“We’ve brought an excellent animator/designer onboard to put together some of the visual aspects and branding of that docuseries, so we are really excited about what the final product will look like,” he added.
In addition, the group is also currently working on a new animated project, which they hope to be able to finance this year. “It’s an animated feature and it’s one that I’ve been working on the story for since the early days of Covid,” he explained. “My partner Alessandra Corrao and I thought it up when she was stuck in the United States because of all travel being suspended. It’s a beautiful story and there is some throwback to family animated films of the early 90s. Some of the early visual concepts have come together and they look crisp.”
These original production projects are just one side of Triskelion’s many business endeavors, and join the launch of their kids’ content platform, Cycle Kids.
“The launch is going great,” the executive summarized. “We are thankful for alliances with everyone from DeAPlaneta to the Jim Henson Company and Kaito Entertainment.
We feel the content we are providing is exceptional quality. There is much more to come,” he added.
The platform stands as “a centralized, easy to manage” platform, with “something for every member of the family”, making it a coveted option for the international industry. “Our partners are very happy,” Acevedo explained.
“We are detailed in how we approach everything regarding our relationships with our partners. User reviews are good so far and our role is well defined. Our platform is easy to manage and in addition to that we are actively seeking, and featuring, quality content that won’t get lost or have to complete with thousands of others to be seen.”
“We are looking forward to continuing our expansion as a production company and with Cycle Kids. We hope to continue building as the year progresses,” he concluded.
Dogtanian and the Three Muskehounds Animation
By Luis Cabrera lcabrera@todotv.tv @luis_cabreram
Seriella has worked to maintain the positive momentum of 2025 during a year marked by big new productions -’Ben Hur,’ ‘Las Siete Marías,’ ‘La Ira del Heredero,’ and ‘Amor en Ruinas’- which further enrich a catalog of compelling stories with universal themes.
SERIELLA PRODUCTIONS
A YEAR OF MAJOR EXPANSION
With major international deals and more premium drama productions in development, Seriella Productions is having another great year, following an excellent 2025 built on the success of titles such as ‘Paul: The Apostle’’, ‘The Life of Job’, and ‘The Master and the Maid’, among others.
“2025 was an extremely successful year for Seriella, marked by major productions and strategic commercial agreements with leading companies such as Disney, Samsung
Brazil, TCL, and Netflix,” said Natan Oletto, Commercial Projects and Acquisitions Coordinator at the Brazilian production and distribution company.
“The start of 2026 maintains this positive momentum, and we are approaching it with great enthusiasm for the new projects in development,” the executive added.
One of the latest deals announced by Seriella was the one struck with Disney+, under which a package of seven titles -including several yet to be released- will arrive on the streaming platform. The titles acquired by Disney+ include ’Ben-Hur’ and ’Amor en rui-
The Queen of Persia Series
“‘Ben-Hur’ solidifies the idea that truth is the only light that never goes out”
nas’, both set to premiere in the second half of the year, as well as other 2026 content such as ’La Ira del Heredero’ and ’Las Siete Marías’, plus the acclaimed biblical series ’Jesus’.
MAJOR PREMIERES. One of the biggest new releases this year is ‘Las Siete Marías’, a biblical production that tells the story of Mary Magdalene, described by Alan Santos, Project Director at Seriella, as a “complex and nuanced woman: kind-hearted, an only child deeply loved by her father, raised in the
Jewish tradition, but marked by injustices that lead her to question her faith.”
“She is an intense protagonist with many facets: rebellious, sweet, shy, ambitious, passionate, and a dreamer,” he added.
According to the Seriella executive, production wrapped up filming in January 2026 and is currently in the editing and post-production phase. Part of the filming took place on the renowned beaches of Búzios and Arraial do Cabo, in Rio de Janeiro, while other
“We see great potential in Asia and Europe for our drama content”
Moises and the Ten Commandments Series
Paul: The Apostle Series
The Life of Job Series
Seriella Productions
scenes were shot in the scenic cities and studios of the Seriella complex.
Another major 2026 project from the production company is the “ambitious” adaptation of the novel ‘Ben-Hur’, written by Lee Wallace in 1880 under the original title ‘BenHur: Una Historia de Cristo’.
The story, which was very successfully adapted in 1959 with Charlton Heston in the lead role, follows a Jewish prince falsely accused of treason, who swears revenge and
eventually finds redemption by converting to Christianity after witnessing the crucifixion of Jesus.
Seriella’s version will feature 50 episodes “set in Jerusalem, Rome, and Antioch.”“The series stands out for its grand scale, with intense action scenes, including the iconic chariot races, as well as conflict, romance, resilience, and faith,” Santos shared.
“‘Ben-Hur’ arrives to reaffirm that truth is the only light that never goes out,” he emphasized.
According to the executive, filming for the series began in January of this year and will continue through August. “We’ve already filmed more than ten episodes and are in the midst of preparing complex scenes, such as the chariot races, working with the same VFX team from the series ‘Senna,’” revealed the project director at the Brazilian production company. “Between late March and April, part of the team will travel to the Brazilian states of Rio Grande do Sul and Minas Gerais, where key scenes related to Jesus’s life will be filmed.”
“In April, we also began filming in virtual production environments using Unreal technology, an innovative solution for recreating visually striking settings and scenes,” explained Santos.
“In addition to ‘Ben-Hur’ and ‘Las Siete Marías,’ we have other productions such as ‘Amor en Ruinas’ and ‘La Ira del Heredero,’ which will also premiere this year, consolidating a very active schedule for the company,” noted Oletto. “This set of projects reinforces Seriella’s positioning and points to a year of significant expansion and international reach.”
ASIA AND EUROPE AS KEY REGIONS
With a robust catalog of high-quality content, Seriella Productions plans to expand its presence in Asia and Europe in 2026. “Seriella’s strategy for this year is focused on expansion and consolidation in key markets such as Asia and Europe,” said Oletto. “This year, we will participate in person at least two markets in Asia and between three and four in Europe,
strengthening business relationships and expanding the distribution of our catalog. We see great potential in these regions for our drama content, especially given the growing interest in stories with universal values, high production quality, and compelling narratives; elements that define Seriella’s DNA,” the executive noted.
“The start of 2026 continues our positive momentum, and we’re approaching it with great enthusiasm as we look ahead to new projects in development”
The Lord and the Handmaid Series
A.B.I. IS READY TO TAKE ITS LOCAL SUCCESS ABROAD
By Luis Cabrera lcabrera@todotv.tv
@luis_cabreram
Built around a powerful cast, multi-dimensional characters, evolving arcs and high-end cinematography, ‘A.B.I.’ (‘A Broken Inheritance’) has established itself as a top-performing title in Turkey and a highly competitive asset for the international market.
Since its debut at the top of all rating categories on January 13th, ‘A.B.I. (A Broken Inheritance’) has been the kind of undisputed success that is not common in the ultra-competitive prime-time of Turkish TV. But for ATV Distribution it wasn’t a surprise: the distributor knew what it had from the get-go. “We always believed in the strength of the series, and its performance has fully validated that vision,” shares Müge Akar, Head of Sales at ATV Distribution.
There is a powerful combination of elements that have been carefully put together to create such a successful show, as Akar explains:
“The series is led by standout performances from Kenan İmirzalioglu and Afra Saraçoglu, and brings together a multi-layered narrative, compelling character arcs, and premium production values.”
“With its cinematic execution, strong directorial approach, and ability to continuously elevate tension and emotional stakes, ‘A.B.I.’ has established itself as a top-performing title in Turkey and a highly competitive asset for the international market,” adds the executive.
People have praised the pace of the drama. What do you think are the stronger elements of the narrative? The narrative strength of ‘A.B.I.’ lies in its ability to combine emotional depth with a dynamic, forward-moving storyline. Each episode reveals new layers while maintaining strong character development. At its core, the series explores universal themes; family legacy, power struggles, betrayal, and redemption. The writing continuously raises the stakes, keeping viewers engaged and making the format highly adaptable for international audiences.
Kenan Imirzalıoğlu’s performance, on his return to TV, has been acclaimed by critics and audiences. How strong is this cast and the characters they get to play? The successful cast is one of the show’s key pillars. Kenan Imirzalıoglu brings a commanding presence to the lead role, delivering a performance
Müge Akar, Head of Sales at ATV Distribution
“The narrative strength of
‘A.B.I.’
lies in its ability to combine emotional depth with a dynamic, forward-moving storyline”
that is both powerful and nuanced. His return to television has undoubtedly elevated the series’ profile.
Equally important is the strength of the ensemble. Each character is multi-dimensional, with clearly defined motivations and evolving arcs. This depth allows for layered storytelling and creates strong emotional investment, an essential factor for both local and international audiences.
“Led by standout performances from İmirzalioglu and Saraçoglu, the series brings together a multi-layered narrative, compelling character arcs, and premium production values”
A RATINGS-LEADING PERFORMANCE SINCE ITS PREMIERE
Produced by OGM Pictures and broadcast by ATV, ‘A.B.I. (A Broken Inheritance)’, follows Doğan returns to Istanbul, years after a shocking incident with his father led him to break away from his family. Now, at his sister Melek’s insistence, he comes to attend another sibling’s wedding. But his return brings back longburied traumas and hidden crimes within
The production has also been highlighted as one of the strongest points of the show. Where was it shot and what makes it so ambitious? The series was primarily filmed in Istanbul, which provides a visually compelling and diverse backdrop that enhances the narrative. The city’s unique contrast between tradition and modernity mirrors the story itself.
What sets ‘A.B.I.’ apart is its cinematic approach. From high-end cinematography to detailed art direction and large-scale set design, every element has been crafted to meet premium production standards. This ambition positions the series as a high-quality offering.
What can you share about current international buyers’ interest in the series? Buyers are particularly attracted to the show’s combination of a high-profile lead, fast-paced storytelling, and premium production values. Discussions with several broadcasters and platforms are already underway, with very positive feedback. The series has clear prime-time potential, and we are confident it will translate its domestic success into strong international performance.
“What sets ‘A.B.I.’ apart is its cinematic approach; every element has been crafted to meet premium production standards”
the family, while Doğan meets Çağla, a young lawyer with a strong sense of justice.
Directed by Cem Karci and with Eylem Canpolat as the screenwriter, ‘A.B.I. (A Broken Inheritance)’ broke all kind of records durings its premiere, leading all rating categories and achieving the highest-rated series premiere of the last seven years in
Total Individuals. Even more spectacular, the show soared to new heights the following week with its second episode. Last week, during the airing of its 13th episode, ‘A.B.I.’ kepts its place as the most-watched series on Tuesday nights, with a share of 22,29% in Total Individuals, more than doubling the numbers of its closest competitor.
Prayan Animation
A STEADY SHIP IN ROUGH SEAS
As the global animation market enters a phase marked by tighter budgets, faster timelines, and shifting expectations, reliability is more sought-after than ever. In the following interview, CEO & Co-Founder Vinayan V, and MD & Co-Founder Remesh Ram, explain how Prayan Animation is positioning itself as a steady, scalable partner for international producers, combining disciplined execution with creative versatility.
By Carolina Mussio cmussio@todotv.tv @carolinamussio
In an industry in constant evolution, where trends change rapidly, budgets fluctuate and flexibility is the name of the game; it is mandatory to find partners who provide a solid ground to stand on to create and produce audiovisual content. Through 14 years of experience, creative animation studio Prayan Animation prides itself on being a trusted producer, known for delivering high-quality, innovative content for the international market.
“Studios that will stand out are not the ones that promise the most, but the ones that deliver consistently under pressure”, summarized Vinayan V, CEO & Co-Founder of Prayan Animation. “The industry is entering a phase of correction, with tighter budgets and faster timelines redefining expectations. In this environment, consistency and reliability are no longer differentiators. They are essential. We believe our record of accomplishment of disciplined execution, timely delivery, and longterm partnerships is the foundation of both our credibility today and our growth ahead. The trust we have built over the years continues to be central to how we move forward.”
“The core benefit of working with Prayan is predictability. In animation, uncertainty is expensive, missed deadlines, inconsistent
quality, and communication gaps can quickly derail projects. What we offer is stability: a production-friendly, deadline-driven, and transparent approach,” he explained.
“At the same time, there is strong market timing working in our favour”, added Remesh Ram, MD & Co-Founder. “India’s AVGC (Animation, VFX, Gaming, and Comics) sector is undergoing a significant transformation, moving beyond a service-led outsourcing model into IP creation, co-productions, gaming, comics, and original storytelling. This shift aligns closely with where we already have experience and credibility. The broader industry narrative in 2026 is increasingly favouring studios that can own stories, not just execute production. That places us at a meaningful intersection: right place, right model, and the right time.”
In this scenario, Prayan Animation is poised for further growth in 2026, something they seek to accomplish across three core strengths: “First, we focus on 2D animation, especially OTT and TV series and high-volume content such as rhymes, where consistency and pipeline efficiency are critical,” said Remesh Ram. “Second, educational content: we have already delivered a significant volume of educational videos for institutions in the US market, and we see a strong opportunity to extend this into the European market, where structured, curriculum-aligned content is gaining momentum.”
“And third, comic book and children’s book illustrations. We have illustrated over 400 books for authors and publishers in the US, and our focus now is to replicate and expand that scale of collaboration with authors and publishers across Europe.”
“Overall, the direction is clear: build on what we do best, deepen our presence in existing markets, and expand strategically into regions where our strengths align with growing demand,” he summarized.
“Our focus this year is not just growth, but dependable scale”, added Vinayan V. “In animation, scaling by adding resources is relatively straightforward; maintaining quality, timelines, and communication at scale is the challenge. That is where we are placing our emphasis.”
To this end, Prayan is looking for partners and relationships that can foster this expansion. “We are looking for aligned, long-term, production-oriented partnerships rather
Vinayan V, CEO & Co-Founder
“Consistency builds trust, and trust is what sustains long-term partnerships”
Remesh Ram, MD & Co-Founder
“The future belongs to studios that can own stories and still deliver with consistency, and that is exactly where we are positioned”
than transactional engagements. Our ideal partners include studios with recurring content needs, IP owners seeking dependable execution, and producers looking for co-development support,” he explained.
“For investors and partners, this translates into scalability, cost efficiency, and a team well versed in international production standards,” added Ramesh Ram. “We do not operate as a vendor, but as an extension of our partner’s studio, integrating seamlessly into their workflows and maintaining consistency across projects.”
“Our services have expanded to include 3D animation, children’s book illustration, comic production, explainer videos, game animation, IP development support, and feature film production assistance. We have also built solid experience in preschool content and international co-productions. What this really means for our partners is flexibility. They do not have to look at us as a single-service vendor. We can plug into different stages of the pipeline and support projects in a more integrated way. Backed by a core team with over 25 years of experience, we bring both creative strength and production discipline to the table”, he concluded.
Q&A Pink Parrot Media
CONTENT WITH A PURPOSE
By Carolina Mussio cmussio@todotv.tv
Relatable characters, real-life experiences, emotionally grounded storytelling, and meaningful lessons, make up Pink Parrot’s catalog of kids’ content, designed to connect with children of different ages and cultures, across multiple platforms.
Rather than a way to engage kids and keep them busy, parents are leaning on TV as a tool to help teach their children about the world and aid in their growth. But to do so, content must veer away from being simply entertaining and provide a deeper lever of connection, through stories and characters that audiences can relate to, and who teach valuable lessons through edutainment.
“I believe emotionally driven and socially meaningful storytelling has become increasingly important. Audiences are looking for content that not only entertains, but also connects on a deeper level and reflects real-life experiences in an authentic way”, summarized Begoña Esteban, Head of International Sales and Acquisitions at Pink Parrot Media.
Whether it’s ‘Lotte & Totte’, which explores relatable themes as loneliness and change; ‘My Brother the Monster’, where topics like anxiety and emotional regulation are addressed; or ‘Momonsters’, focused on early emotional development; Pink Parrot’s catalog is aimed at “providing content with a purpose”.
In the following interview with ttv, Esteban takes a deep dive into this varied catalog and
Begoña Esteban, Head of International Sales and Acquisitions at Pink Parrot
Media
“Emotionally driven and socially meaningful storytelling has become increasingly important, especially in the kids and family space”
how each product is especially designed for a specific demographic, her outlook on the current kids’ contnent market, and the distributor’s offer and goals for the upcoming Content Europe.
What can you share about the international appeal of the series ‘Lotte & Totte’ (‘Emma & Thomas’) after its recent premiere in Denmark? ‘Lotte & Totte’ has a very strong international profile because
it is built on something truly universal: early-childhood emotions, first friendships and everyday discoveries. That is exactly where the series stands out. It comes from a classic Scandinavian literary property by Gunilla Wolde, whose books have sold millions of copies and been translated into more than 15 languages, which already gives the IP a strong global foundation.
One of the key strengths of the project is its dual format: it exists both as a feature film and as a TV series, which gives buyers great flexibility in terms of programming and windowing strategies. Creatively, what really drives the international appeal is the storytelling approach: each episode focuses on a “first-time” experience -whether it’s making a new friend, going to the dentist, or feeling jealous of a sibling- told from the child’s perspective with emotional authenticity, warmth and humor.
For us, the combination of a proven literary IP, a flexible dual format, and emotionally grounded storytelling confirms that there is a strong global demand for preschool content that feels authentic, gentle and deeply relatable.
Series like ‘Momonsters’ and ‘Joy Eternal’ target slightly different tones and age groups. How do you present each of these series to the right buyers in an increasingly segmented market? ‘Momonsters’ is a preschool property (3–6) with a strong comedy-driven, educational core, built around short-form episodes (7’) and a high-volume library across multiple seasons. It is also a very well-positioned IP, coproduced with TVE, with proven performance and strong international track record. The series has been broadcast across key territories on channels such as RTP, RAI, TG4, MTVA, HBO Max, TVN Chile… among many others, as reflected in its wide international sales footprint.
On the other hand, ‘Joy Eternal’ sits at the opposite end of the spectrum: a 13 x 11’ 2D animated series targeting teens (13–16) with a darker tone, serialized storytelling and strong narrative arcs around identity, loss and justice. This makes it a much better fit for streamers and platforms that are investing in premium YA animation and are looking for distinctive, auteur-driven content that can cut through with older audiences.
When taking a series to market, what elements are proving most decisive in buyer decisions today? I believe it’s less about a single factor and more about how different elements come together, although clearly some priorities have shifted. What buyers consistently emphasize is the strength of the IP and its ability to travel across platforms and touchpoints. In a highly competitive environment, I think they are increasingly looking for concepts and characters that can engage audiences wherever they are -linear, VOD, social or gaming ecosystemsand ultimately build a broader brand. From what we’re seeing in the market, maximizing reach across platforms has become essential to drive both visibility and long-term value.
I think buyers are looking for a combination of creative excellence and clear audience relevance, with some very defined priorities. Strong characters and storytelling remain at the core. There is also a clear demand for content with purpose. Themes such as diversity, inclusion and emotional development are increasingly important, especially when
they are integrated in an authentic and age-appropriate way. Co-viewing is another key factor. Content that works for both kids and parents is becoming more valuable, as platforms prioritize engagement across the whole household. At the same time, originality and differentiation are more important than ever. Buyers are looking for fresh, visually distinctive ideas rather than repeats of existing formulas.
Ultimately, the focus is on IP with brand potential: projects that can extend beyond the series itself across platforms, consumer products and other touchpoints.
In a related note, what can you share about your titles with a more emotional and socially meaningful storytelling? I believe emotionally driven and socially meaningful storytelling has become increasingly important, especially in the kids and family space. Audiences -and buyers- are looking for content that not only entertains, but also connects on a deeper level and reflects real-life experiences in an authentic way.
“In a highly competitive environment, I think buyers are increasingly looking for concepts and characters that can engage audiences wherever they are
In our catalogue, this is something we actively prioritize across different age targets and tones. For example, ‘Lotte & Totte’ explores very relatable themes such as loneliness, change and the challenge of building your first true friendship. Similarly, ‘My Brother the Monster’ approaches topics like anxiety, belonging and emotional regulation through a very engaging and accessible concept, where the main character’s physical transformation reflects his emotional state, something kids can immediately understand. With ‘Momonsters’, the focus is on early emotional development and social skills, using play and everyday situations to teach empathy, friendship and how to relate to others in a natural and entertaining way.
Heading into Content Europe, what other titles from your current slate are you prioritizing? Heading into Content Europe, we are focusing on a slate that combines strong commercial appeal with clear brand and storytelling potential across different audiences. On the series side, we are continuing to push titles like ‘Butterfly Academy’, ‘Momonsters’, ‘Lotte & Tott’e, and ‘My Brother the Monster’. In features, ‘Unstable’ and ‘The Botanix’ are key priorities for us. Overall, our focus going into Content Europe is on projects that not only stand out creatively, but also have clear potential to grow as scalable IPs across platforms and territories.
“Strong characters and storytelling remain at the core, and there is also a clear demand for content with purpose”
Momonsters Animation
Emma & Thomas Animation
Go Fish+ Animation Butterfly Academy Animation
SINS & ROSES THE RETURN OF EMOTION
Launched on October of 2025 and already licensed to nearly 100 countries, ‘Sins & Roses’ has become one of the biggest hits of the season in Turkey thanks to an intimate approach that places relationships at the centre of the narrative.
For over a decade, Turkish drama has built a global reputation on emotionally driven storytelling, strong characters, and compelling family dynamics.
Series such as ‘Fatmagül’, ‘Aşk-ı Memnu’, and ‘Kuzey Güney’ didn’t just succeed internationally; they set a standard for narratives that combine depth with broad audience appeal. That foundation still matters today.
Across many markets, there is a clear and recurring demand for stories that prioritise emotion and character over pace and spectacle. In a content landscape increasingly shaped by high-concept ideas and fast-moving plots, more grounded, character-led narratives continue to stand out. ‘Sins and Roses’ responds directly to this demand.
“‘Sins & Roses’ brings together the key elements that have traditionally defined the strength of Turkish drama within a contemporary setting”
Sins & Roses Drama
The series brings together the key elements that have traditionally defined the strength of Turkish drama -family, relationships, and generational conflict- within a contemporary setting. Its storytelling is focused and character-driven, with conflicts emerging from personal choices and long-standing tensions rather than external action.
Importantly, ‘Sins and Roses’ differentiates itself through its tone. Instead of relying on violence or action-led storytelling, it takes a more intimate approach, placing relationships at the centre of the narrative. This creates a viewing experience that feels both accessible and emotionally engaging, while maintaining a clear narrative structure.
“The script is very strong,” shared Murat Yıldırım, who stars as Serhat. “It tells the story of a man who is tested, and ultimately betrayed, by the person closest to him. Portraying such a character was very compelling for me.”
Serhat’s world shatters when he learns of his wife’s long-hidden secret, leading him on a new path toward the beautiful and bold Zeynep.
PORTUGAL FELL FOR THE LOVE TRAP
Earlier this month, KDI announced the sale of three compelling dramas to Pakistan: ’Azize’, ‘Daylight’, and ’Recipe of Love’. ‘Azize’ is a gripping story of love, revenge, and identity, with intense emotional arcs and powerful performances. Its universal themes and high production quality make it a strong addition to the Pakistani market. Joining the lineup is ’Daylight’, a heartfelt drama that portrays resilience and hope in the face of life’s hardships, offering audiences an inspiring and emotionally rich journey. Completing the trio is ’Recipe of Love’, a vibrant romantic drama blending gastronomy and romance, bringing warmth, charm, and feelgood storytelling to screens. This announcement came on the heels of more sale and premiere news from KDI titles, including the premiere of ‘Love Trap’ in Portugal, on SIC Caras, under the title ‘Armadilha do Amor’. The series is a romantic comedy built around a fake and forced marriage, full of lies and misunderstandings, that develops into a real love story.
“I always pay close attention to the script— the development of events and the overall narrative are very important to me. I read the first three episodes and found them extremely engaging,” he added.
This positioning is also reflected in its international performance, with ‘Sins and Roses’ already licensed in nearly 100 countries, confirming its strong cross-cultural appeal and broad market relevance.
The series also reflects a broader trend. Recent titles such as ‘Three Sisters’, ‘Farewell Letter’, ‘Secret of Pearls’ and ‘The Family Burden ’ have demonstrated the continued relevance of this type of storytelling. While each has its own identity, they collectively confirm that audiences remain strongly connected to character-driven drama.
In this context, ‘Sins and Roses’ positions itself as both familiar and current, drawing on
the established strengths of Turkish drama while presenting them in a way that aligns with today’s viewing expectations.
Ultimately, its strength lies in its simplicity: a clear narrative, relatable characters, and emotional stakes that resonate across different markets.
“‘Sins and Roses’ is already licensed in nearly 100 countries, confirming its strong cross-cultural appeal and broad market relevance”
Love Trap Drama
RIDING THE NEXT WAVE OF TURKISH DRAMA
Blending long-running hits with short-form premium dramas, Eccho Rights is staying on top of current trends, leading the charge in the evolution of Turkish drama and finding new ways to deliver the signature, high-quality storytelling that continues to captivate audiences worldwide.
By Carolina Mussio cmussio@todotv.tv @carolinamussio
Undeniably, Turkish content continues to be one of the very few genres that has sustained the test of time and has only grown bigger over the past few years. “Turkish drama has proven its longevity because it combines universal themes with high production quality and a very distinct storytelling style. It is emotional, character-driven, and highly engaging, which makes it adaptable across cultures,”
explained said Handan Özkubat, Director of Turkish Drama at Eccho Rights.
“Eccho Rights has played a key role in this evolution by not only distributing content, but also helping to position it strategically in international markets,” she added.
Proof of this have been the slew of deals the distributor has signed over the past few months, especially in Latin America, including one with Albavision for ‘Behind the Veil’, one with several broadcasters for ‘I Am Mother’ and, more recently, ‘Beneath the Surface’ arriving in Argentina, Uruguay and Paraguay, just to name a few.
“Latin America continues to respond incredibly well to strong, emotionally driven storytelling, and that has always been at the heart of Turkish drama. What we are seeing now is a deeper alignment between what audiences expect and the variety of content we are able to offer,” she said.
“We are no longer bringing just one type of series into the market. Alongside long-running daily dramas, we are also introducing premium short-form series like ‘Beneath the Surface’, which has proven that there is appetite for more compact, high-end storytelling on both linear and digital platforms,” she added. “At the same time, long-standing relationships with partners allow us to build momentum, title by title.”
Handan Özkubat, Director of Turkish Drama at Eccho Rights
“We are no longer bringing just one type of series into the market. Alongside long-running daily dramas, we are also introducing premium shortform series like ‘Beneath the Surface’”
Bolstered by this momentum, Eccho Rights’ has set ambitious goals for the rest of the year, when they intend to “continue broadening the perception of Turkish drama internationally.”
“That means not only expanding geographically, but also expanding the types of projects we bring to market. We want to reinforce the idea that Turkish content is not limited to one format or duration. There is equal potential in daily dramas, weekly primetime series, and shorter premium productions,” she explained.
Leading the charge are the group’s aforementioned hit dramas, ‘I Am Mother’ and ‘Behind the Veil’. “’I Am Mother ’ continues to secure new deals across multiple regions, which reflects its strong, universal premise and its ability to connect with a broad audience base. It is a title that travels very naturally, and we are still seeing significant potential for further expansion, particularly in Latin America and parts of Central and Eastern Europe,” the executive detailed.
“At the same time, ‘Behind the Veil’ has consistently broken new ground for us. It has opened doors in territories where Turkish daily drama has traditionally been less established, and its performance continues to demonstrate the strength of long-running, character-driven storytelling. We see ongoing opportunities for this title not only in Latin America, but also increasingly in Europe and Asia,” she added.
The next destination for Eccho Rights is Content Europe, where they will be presenting “a mix of titles that reflects the breadth” of its catalog. In addition to ‘I Am Mother’ and ‘Behind the Veil’, they will present new feature films from Karamel Yapim, the producers of a string of hit TV series. “These romantic drama movies highlight the diversity of Turkish storytelling today, across romance, family drama and more contemporary, high-concept narratives.”
“What we are seeing now is a moment of expansion rather than change. Turkish drama is not moving away from what made it successful, but it is growing into new formats, new territories, and new types of partnerships,” she said. “For us, the priority is to continue supporting that growth while maintaining the quality and storytelling that audiences around the world have come to expect,” she concluded.
IN THE BUSINESS OF TRUST
By Luis Cabrera lcabrera@todotv.tv
@luis_cabreram
In less than ten years, SPi has build a reputation as a high-quality content producer, with a fantastic track-record that has positioned it as a key partner for international co-productions.
One of the production companies that pioneered the international co-production business model, SP Internacional (SPi) has kept leading the charge with high-quality content, nurturing talent and building trust-based relationships.
“In Portugal, as a peripheral country, we’ve had the great privilege of recognizing the importance of co-producing much earlier than other markets, and that has increased our ability to develop projects that are organic from the very beginning,” explains Pedro Lopes, Chief Content Officer at SPi and SP Televisão. “We have the capacity to work with multilingual teams and different world views, which we know isn’t easy for dominant markets that never had to engage in dialogue and reach consensus in the same way, and that has given us the advantage of
Pedro Lopes, Chief Content Officer at SPi and SP Televisão
always being able to focus on what’s best for the project.”
What is your current view of the world of co-productions? Are the opportunities and challenges facing this type of partnership changing? We would like to say that our production solely depends on having a strong script on our hands, but we all know that the entertainment business is far more complex than that. In Portuguese productions, the main challenges are the limited budgets that FTA channels have for production and the low investment of many international streaming platforms. On top of this, there is the need for us, as a country, to remain competitive in our support programs for production in Portugal, such as cash rebate and cash refund, and in the funding programs offered by the Institute of Cinema and Audiovisual, which are still very disproportional in how investment is distributed between film and television.
However, these are challenges shared by many producers across Europe and around the world. That is why my role as Chief Content Officer has been built around the ability to bring things together, building trust among financiers, networks, producers, and writers, so that everyone pulls in the same direction.
What are the main elements behind establishing this identity as a key partner for premium productions? At SPi, we often refer to two core mantras. The first is that we are a company whose role is to nurture creativity. Our main focus is to build close relationships with creators, so that we are always the first choice for both established and successful authors, as well as
“Our main focus is to build close relationships with creators, so that we are always the first choice for both established and successful authors, as well as for new talents”
for new talents. The second is that success is achieved with the right people, and that goes far beyond the moment of creation, by building trust and proximity-based relationships with actors, directors, technical teams, because our approach is always that of a present producer, with a strong opinion, but who values collective creation, who aims for everyone to bring out the best in themselves, who fosters enthusiasm, honest reflection and a safe work environment. And everything I’ve said also applies to the relationship with other producers with whom we establish co-production partnerships, as well as broadcasters and streamers.
I often say that I’m not in the audiovisual business, I’m in the business of trust, because at the beginning what we have is a sheet of pa-
per in hand and we are asking other people to try to imagine the the vision we have for the series, to believe in our ability to deliver it, and to invest millions. And this conversation happens around a mere sheet of paper. That’s why our ability to deliver will establish our reputation. And beyond that capacity to execute, to produce premium content, there is the ability to build bridges with others. I don’t know of any producer that hasn’t faced challenges during some phase of the process, in development or during shooting, or during editing. That’s why it’s important to find the right partners.
In the end, it’s all about our ability to stay aligned. Aligned in objectives, but also in values. Especially when working internationally across different countries, cultures, and production systems.
Is there any particular market or region, yet unexplored, that SPi is closely monitoring? For geographic and linguistic reasons, there are two markets that will always be natural for us, which are Spain and Brazil. Yet, what really excites me is the discovery of new realities, of new combinations. I believe that the next wave of originality will come from unlikely combinations, hence why we continue to expand the countries we are co-developing with.
What details can you share with us regarding the successful debut of ‘Cold Haven’ on Siminn Premium in late 2025? This series is a good example of how a story can work equally well in both markets. And that
was due to the collaborative work we established from the beginning with Glassdriver, which continued throughout the entire process up to the delivery of the episodes. Regardless of what each party contributed financially, there was a creative partnership that operated on equal footing. That was the success of co-production.
‘Cold Haven’ is a crime thriller series that follows an Icelandic female detective as she investigates the murder of a Portuguese woman in a small community in Vestmann islands, and, at the same time, it is a series about how a daughter survives the trauma of domestic violence and the pain of a loss she doesn’t know whether or not she is also guilty of. From a story perspective, we have relevant characters from both countries, but more importantly, the audience recogniz-
es the different points of view. Those who watch the series cannot tell whether it is an Icelandic series with Portuguese characters or a Portuguese series set in Iceland.
What drama projects do you have in the pipeline? It’s always a difficult question to answer, because we have two or three projects that we cannot disclose yet. What I can say is that we are developing partnerships with several countries in Europe, Middle East, South America and North America. Our pipeline is always quite large, be it in original projects, be it in projects adapted from literary novels for which we hold the rights. At the moment, the only one I can mention is ‘Vambora’, a partnership with Kromaki, for TV Brasil, for which we won the public call and will produce a series with 30 episodes filmed between Portugal and Brazil.
MICRO-DRAMAS: MEETING AUDIENCES WHERE THEY ARE
As a company that is always innovating, SPi hasn’t been a stranger to the new micro-dramas trend, producing five series that have been broadcast on RTP’s social media and the public broadcaster’s platform, RTP Play. “We know that nowadays there is intense competition to retain audiences’ attention, so the challenges for traditional broadcasters are not just cable or streaming platforms, but social media,” shares Lopes. “In my opinion, rather than trying to win back the audience that has been slipping away, what makes sense is to meet them where they are, especially the younger generations.” With that vision, thinking about “complimentary strategies” the
company produced quality content, with socially relevant themes, in the “universe of snack culture.” “Our approach was to treat
microdramas as a format rather than a genre,” says the executive. “What we want to do is keep producing relevant, high-quality fiction, even if from a narrative standpoint it has its own particular characteristics, because the episodes have one minute and a half, plus they posed new technical challenges, in terms of how to tell a story visually, since they are meant to be consumed vertically. At the moment, we already have some numbers and we can say that these series are a success, with four of them in the platform’s top 10, with two in first and second place, and to these numbers we still need to add the views on Instagram and Tiktok,” he shared.
“I believe that the next wave of originality will come from unlikely combinations, hence why we continue to expand the countries we are co-developing with”
Cold Haven Series
Algodao A Frio Mini-series
Content Europe
+90
A.B.I.
TOP EXECUTIVE
Muge Akar, Head of Sales
(Drama, 45’ in production)
Doğan is a handsome and successful surgeon living in Izmir. When he was young, a shocking incident involving his father, Tahir Hancıoğlu, led him to break ties with his family and leave Istanbul. Now, wholly devoted to saving lives as a surgeon, Doğan has almost no relationship with his family. His return to Istanbul brings with it long-buried traumas and hidden crimes within the Hancıoğlu family.
THE OTTOMAN: ORHAN
(Drama, 45’)
Osman Bey, the great leader of the Kayı tribe, is now old, and the struggle for succession lies between his sons, Orhan and Alaeddin. Though brave and capable, Orhan has yet to earn the full support of the leaders, and after a defeat at Bursa, he is stripped of command. While Alaeddin begins to claim his right to the throne under political pressures, Orhan must face the chaos fueled by the Mongols and rival Anatolian principalities. With only his family and a few loyal warriors by his side, he embarks on a relentless fight to fulfill his father’s dream of conquering Bursa and founding the last great Turkish state.
WAVES OF LOVE
(Drama, 45’)
A principled sea captain, Azil, returns home from a long voyage-only to be pulled into a deadly web of power, betrayal, and buried bloodlines when he unknowingly disrupts his half-brother Mehmet’s criminal operations and comes face-to-face with the powerful father, Osman, who once abandoned him-and Gunes, the woman he has fallen for, who now belongs to the very family he never knew he was part of.
The series returns with Yeimy and Charly at the helm of Soul&Bass, now established as both a family and a production company—until a new threat from the past puts everything they’ve built in jeopardy. Amid betrayals, revenge, and a disappearance that shakes the world, a new figure emerges to change the course of history and renew the flow.
DEFYING DESTINY
This is the story of María, a leader whose face would become the symbol of the social class struggle to grant legal status to domestic workers who, for years, had worked without labor protections in her country.
Elif Tatoğlu, Distribution Strategy & Sales Director TOP EXECUTIVE
Betrayed by his past, Serhat built an empire on family and honor. But when the woman he loves hides a devastating secret, fate collides him with Zeynep — fearless, passionate, and unlike anyone he’s ever known. A story of shattered trust, forbidden desire, and a love powerful enough to defy destiny.
THE FAMILY BURDEN (Drama, 44’ x 95)
Melike, wrongfully imprisoned for twenty years, dreams of reuniting with her daughter, Hazal. Upon release, she faces a new prison of lies and betrayal. As she uncovers the truth and searches for her husband’s real killer, Melike must confront the complexities of her daughter’s life, who has known another woman as her mother.
SECRET OF PEARLS (Drama, 44’)
Azem’s life shatters when he takes the blame for his wife’s death to protect his daughter. After prison, he seeks his adopted children, navigating complex relationships, but time has taken its toll.
DAYLIGHT
(Drama, 44’ x 45)
Gece’s summer dreams of university and music in Istanbul are disrupted when her family moves to Foça for her sister Gülce’s special needs. A tale of love, maturity, and unexpected challenges unfolds.
Ateş Ince, Managing Director
FAR AWAY (Drama)
The story of Alya Albora, who arrives in the border town of Albora, a small village on the Syrian border of Mardin. She has come from Canada with her son, Deniz, to bury her husband, and it is then that she meets his family for the first time. She soon realises that it will not be so easy to leave. The Albora family, who gave the village its name, is surrounded by several enemies driven by revenge and ambition. Alya’s brother-in-law, Cihan Albora, is dedicated to protecting his family.
LOVERS & LIARS
(Drama)
Ertan Aydin is one of Istanbul’s top lawyers, self-assured, calculating and trained by his father to win at any cost. When his father dies suddenly, Ertan discovers that he was hiding a secret that could change everything he thought he knew about himself. To protect that secret, Ertan turns to Asya, a street con artist struggling to keep her family afloat. Together, they hatch a dangerous deception within one of the country’s most powerful families.
Queen of Flow 3
Content Europe
(+90) 216 695 1300
Barbaros Mah. Fikret Mualla Sok. No:13 Fidem
Prestij Blokları B Blok D:21 34664 Uskudar, Istambul, Turkey www.mistco.tv
RUMI
TOP EXECUTIVE
Aysegul Tuzun, Managing Director
People in 13th-century Anatolia live in fear. With the grim memories of the Crusades still fresh, the Mongol threat now looms large. A spiritual figure who could claim the fears of the people came to the fore: Hz. Mevlana. This wise character, whose words trascend the ages, would invite society to rationality and heartfelt wisdom with his stance, knowledge and works.
COME WHAT MAY (Romantic drama, 89 x 45’)
The day Alize was born, her mother died. Although her father, Nurettin, tries to make her happy, Alize has become aggressive, selfish and confrontational. When Alize crashes into a mechanic’s car and flees the scene of the accident, Nurettin decides to teach his daughter the things he couldn’t teach her when she was younger, before it’s too late.
SECRETS OF AN ANGEL (Drama, 90 x 45’)
Starring Alp Navruz and İrem Helvacıoğlu, the drama follows a family whose lives change abruptly due to a tragedy. Cennet, who has suffered domestic violence for years at the hands of her husband, Yılmaz, falls ill and is hospitalised. While receiving treatment, she sees lawyer Zeynep’s number in the hospital window and calls her for help.
6630 Hutchison, suite #300, Montreal (Qc) H2V 4E1, Canada / Calle Joaquin Zurita 7, 3A Boadilla del Monte, Madrid 28660, Spain www.pinkparrotmedia.ca
TOP EXECUTIVE
Begoña Esteban, Head of International TV Sales & Acquisitions
BUTTERFLY ACADEMY
(Animation, 26 x 11’ – in production)
After the great migration, Patrick, Jennifer, and Marty are rookie teachers. Now they must guide young butterflies without losing their way!
Five friendly monsters turn everyday preschool situations into playful adventures, discovering emotions, routines, and social skills through humor and imagination.
EMMA & THOMAS
(Animation, 16 x 7’)
From the hit Scandinavian ‘Lotte & Totte’ book series by Gunilla Wolde, this heart-warming animated show follows curious Lotte and her playful friend Totte as they turn everyday moments into joyful discoveries about friendship, emotions, and imagination.
GOFISH+
(Animation, 26 x 11’)
Alex, the parrotfish, leads an underwater city, tackling challenges with courage and friendship. Adventures under the sea never end.
Dumontina, 70, Vargem Grande, Rio de Janeiro, Brasil CP: 22783-220 www.seriella.com
TOP EXECUTIVE
Natan Oletto, Commercial Projects and Acquisitions Coordinator
PAUL: THE APOSTLE
(Serie, 50 x 45’)
‘Paul: The Apostle’ narrates the fascinating and profound journey of Saul of Tarsus, a fervent young Pharisee who, after an unexpected encounter, has his life transformed forever. More than a narrative of faith and transformation. It is a grand saga of redemption, full of intrigue, spiritual battles and unforgettable characters, where human dilemmas intertwine with the divine, weaving a plot of genuine love, betrayal and sacrifice.
THE QUEEN OF PERSIA
(Serie, 30 x 60’)
The series takes us back to the ancient Biblical era, where the life of a young Jewish girl named Hadassah is intricately linked to the fate of her nation. Orphaned and raised by her cousin Mordecai, a devout follower of the God of Israel, she leads a humble life in Susa, adopting the name Esther to conceal her Jewish identity. When Esther finally meets King Xerxes, her life changes forever.
THE LIFE OF JOB
(Serie, 20 x 55’)
In the series, we learn about the journey of a man of integrity and God-fearing, marked by faith, trials, and profound spiritual battles. Son of Issachar and grandson of Jacob, Job grows up surrounded by sacred traditions and family challenges. Settled in Uz, Job prospers, but his faith is tested when the Devil, with divine permission, subjects him to devastating losses. Inspired by the Biblical Book of Job, the series expands the narrative with romance, action, and family drama, culminating in God’s powerful revelation to his faithful servant. An epic story of suffering, faith, and redemption.
50,000 average monthly reach in Instagram and Facebook
Edifício SP Televisão, Caminho da Ponte, São Marcos, 2735-519 Cacém, Portugal +351 21 426 14 64 info@sp-i.pt www.sp-i.pt
EXECUTIVES
João Pedro Lopes, CEO of the SPTV Group
João Maia Abreu, Director of Co-productions and New Business
BEYOND SILENCE
TOP
Covered in blood, Isabel calls 911 as her husband lies on the floor. She loved him, and Miguel said he loved her too. At first, everything felt like a dream—the honeymoon, the smiles, the promises—but over time came the shouting, the shoving, and the threats. Now Isabel is in court to face justice when, in truth, she was only defending herself from the fate Miguel wanted for her… death.
SEXTORTION
Catarina dreamed of becoming a ballerina, but at her parents’insistence, she ended up studying International Relations. Her only refuge was her boyfriend, Raul, but when the relationship ended, she began to be blackmailed by someone anonymous who demanded money in exchange for intimate photos. With Raul’s help—after he returns and supports her—she discovers who is responsible and publicly exposes the situation to warn other young people about this kind of extortion. It is then that Catarina realizes she can fight for her dreams.
FATAL LEGACY
When Joana loses her mother, her father marries another woman, Mónica, and she gains a half-sister, Sofia. What could have been a fresh start turns into a nightmare for Joana, as she suffers abuse at the hands of her stepmother. Tensions rise when she meets Simão—but Sofia wants him too. Joana eventually discovers that her stepmother is planning to kill her father and inherit everything he owns, but no one believes her. With Simão’s help, she ultimately exposes Mónica.
Paul: The Apostle SERIELLA PRODUCTIONS
Rumi MISTCO
Butterfly Academy
PINK PARROT MEDIA
SP INTERNATIONAL
Beyond Silence
EXECUTIVE
Pedro Lopes, Chief Content Officer (SPi and SP Televisão)
