BUYERS – CONCEPTS & TRENDS
‘We are looking for crime dramas, and we love that we see more product alike at the studios, than previous years. The ‘True crime’ move is on top’.
‘We are open to everything but we are very selective about what we get. We prefer fresh, cute-appealed series above all’.
‘We develop an audience-centric approach. We realize young people are not on traditional platforms, but they're not spending more time on Netflix or other global SVODs, eitehr. They're actually on social media, not even YouTube, but even TikTok, Instagram and X (Twitter)’.
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‘We are not just an SVOD, we are an entertainment hub. Because of this, today we include content, channels, services that improve the user experience. We must think of the next level’.
‘We look for True Crime, from 10 to 20 episodes, episodic format, with a simple but good plot, very free TV alike. Though every big broadcaster is a digital platform as well nowadays, free TV product keeps healthy’.
‘We look for mainstream product for digital, to gain relevance from others. Brands and audiences lead the new digital environments’.
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‘We need procedural dramas, and the good news are that we see more options than in the past, both in the US and international offering. The genre is reloaded’.
‘We are looking for Japanese and Korean drama series. We also want to find investors for a drama series we are producing in Taiwan. We can include investors from different nations, as Singapore or Hong Kong’.
‘Our day by day has changed. In the past we bought just for our broadcaster, now we buy also for third parties, as we are doing very well with the studios. Now we look for big entertainment formats, both aims’.
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‘This year we’ve seen more U.S. product than expected due to the strike, and we like very much U.S. big studios international touch, because we could find with them good series for instance from Brazil and other countries’.
‘We need longer series than streamer ones, with many episodes or many seasons. We program the series daily in free or Pay TV, so if not, they finish too soon’.
‘I feel the industry is shifting towards an advertising model, even top SVODs as Netflix or Disney. We have to exist where the audience is, with a good storytelling. It doesn't matter where it comes from. This is what MENA and Asia think now, very different from 3-4 years ago’.
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