Ampere’s data shows relative stability in the top 10 scripted commissioning markets between 2022 and 2024 (excluding China), but with notable shifts. Japan has expanded its share, driven by the continued rise of anime. The U.S. market, excluding global streamers, has seen a decline in scripted production volume, reflecting a contraction in original commissions. Meanwhile, global platforms have also scaled back their investments, creating openings for regional and national players, particularly in Europe.

European production groups—including Banijay, Mediawan, and Fédération Entertainment—are increasingly becoming key partners for global streamers. Some platforms are also relying more on in-house production, consolidating creative control while managing costs.

In this uncertain landscape, intellectual property (IP) remains a strong investment. In Western Europe, the percentage of new series based on existing IP has increased by four points, with public broadcasters seeing a five-point rise. Literary adaptations dominate, but video game-based content and remakes are also gaining traction. In contrast, North America has seen a decline in IP-based projects, as streamers shift focus toward renewals and audience retention.

Genre trends indicate that crime remains dominant among European public broadcasters, accounting for a third of all renewals and over a quarter of new series. Children’s content is making a comeback as public broadcasters step in to fill the gap left by commercial players and U.S. streaming platforms. Comedy has become more renewal-driven, with returning series maintaining strong audience loyalty. Romantic content, however, is in decline across most formats, except for a slight rise in romantic comedies.

Ampere also identified thematic shifts. Narratives centered on armed conflict, religion, and mental health are increasing, while social media-focused stories, after a decline post-2022, are regaining momentum. Representation trends show a drop in LGBTQ+ lead content across multiple markets, but gender parity is improving, with near-equal representation of male and female protagonists compared to the male-dominated landscape of 2022.

As global platforms reassess their strategies and U.S. studios reduce scripted output, European producers are in a strong position to fill the content gap. The data suggests several opportunities: prioritizing crime and drama, leveraging adaptable IP, exploring comedy as a secondary genre, and aligning with relevant social themes. For European creatives, strategic partnerships with both streamers and broadcasters will be key to navigating the current market.

La entrada Ampere at Series Mania: European players seize opportunities in a shifting market se publicó primero en Prensario Zone.

One notable trend is the growing prominence of female-led narratives, particularly those placing women in roles historically dominated by men. Rambert pointed to Queen of Fing Everything (Finland) as an example of this shift, with female protagonists navigating complex and often morally ambiguous settings.

Period dramas are also gaining momentum, offering both historical reflection and contemporary relevance. Productions such as M – The Son of the Century, set to air on Sky Italy in 2025, and Whiskey on the Rocks illustrate the increasing demand for stories that use the past to engage with present-day themes.

Dramas set in business and elite circles continue to serve as strong narrative drivers. Examples include Los Casablanca (Chile), a family revenge drama set in the world of winemaking, and The Colour of Love (Portugal/Angola/Brazil), where romance and hidden truths shape the storyline. Africa also enters the spotlight with Love, Law, and Betrayal (South Africa), following a woman navigating the complexities of high-level legal battles. Meanwhile, Live (Kuwait) explores the consequences of social media influence, trapping a group of influencers in a gamified reality.

Rambert concluded by identifying key strategies for European producers navigating an evolving market: prioritizing crime and drama for stability, leveraging literary IP to minimize risk, incorporating comedic elements across genres, and investing in female-driven stories, particularly those challenging traditional power structures.

La entrada Glance at Series Mania: balancing risk and creativity in scripted TV se publicó primero en Prensario Zone.

At Séries Mania, Beatriz Cea Okan, VP and Head of Sales and Acquisitions at Inter Medya, shared insights with Prensario Internacional about the company’s latest drama, Eshref Ruya. Produced by Tims&B Productions, the series is set to be a key highlight for Inter Medya at its upcoming market in Los Angeles.

Cea Okan expressed enthusiasm for Eshref Ruya, which she believes has the potential to become a global success, following in the footsteps of Tierra Amarga. To gauge audience interest, the first episode was released on YouTube, where it quickly surpassed 8 million views within just three days.

‘We are very happy and proud to say that the first episode was released on YouTube to test audience response on social media, and in just three days, it reached over 8 million views’, she said.

Beyond the launch of Eshref Ruya, Inter Medya is also focused on expanding its content strategy. While Turkey remains its core market, the company continues to strengthen ties with international partners. Cea Okan highlighted collaborations with Latin American players such as Caracol, Telemundo, and Mega Global Entertainment. Additionally, the company is currently in talks with a Spanish company for a potential new project.

‘For us, Séries Mania is interesting because, in addition to distribution, we are also producers. We are very interested in scouting formats, ideas, and partners for co-production’, she said.

La entrada Inter Medya Unveils «Eshref Ruya» at Séries Mania, Eyes Global Expansion se publicó primero en Prensario Zone.

The presentation took place in the Next From Spain showcase organized by ICEX to highlight the most relevant upcoming titles of Spanish fiction, with the presence of Esther Agraso, Head of the International Area at Plano a Plano and Dan March, Managing Partner at Dynamic Television, alongside Miguel García, Sales Director at Atresmedia and Silvia Cotino, Head of Sales at Mediaset España. The event was moderated by Irene Jiménez (co-founder of the digital medium Audiovisual 451).

During the panel, INNATO representatives announced that an important pre-sale has been closed for the US territory, to be disclosed soon.

INNATE is a series of Plano a Plano Bilbao, created by Fran Carballal (Scar, Una vida menos en Canarias) and Enrique Lojo (En fin, Una vida menos en Canarias) and produced by Innato La serie AIE in association with Dynamic Television, international distributor of the series. INNATE is the company’s first foray into Spanish-language content, expanding its catalogue of premium international dramas.

Dan March, Managing Partner at Dynamic Television, noted that ‘the decision to participate in the INNATE project was based on the great writing of a compelling and original thriller, an all-star cast, and a worldclass production company as Plano a Plano’.

In the words of Esther Agraso, ‘the business model built for this project with financing obtained through pre-sales, tax incentives, equity investors and a distribution Mg is very attractive to us, producers, because it allows us to retain full ownership of the series and obtain future revenues from international sales’.

The thriller (8×45′) features Elena Anaya (The Skin I Live in, Wonder Woman, Rifkin’s Festival) and Imanol Arias (Cuéntame cómo pasó) leading the cast.

César Benítez, Emilio Amaré, Álvaro Benítez, Fran Carballal, Dan March and Carrie Stein are the executive producers of the series, directed by Lino Escalera (Hamburgo, No sé decir adiós, Australia, Élite) and Inma Torrente (Valeria, The envoys).

The writer’s room, coordinated by Fran Carballal, is formed by Enrique Lojo, Pablo Roa, Verónica Marzá, Fernando Sancristóbal and Pablo Manchado.

Synopsis

25 years after Sara discovered that her father was a murderer, a new death seems to be connected to his crimes from the past. The psychologist’s calm life comes crashing down when she suspects that her father’s not the one behind the crime this time, but rather her own teenage son.

La entrada Series Mania 2025: Plano a Plano and Dynamic Television unveil first images of «INNATE» se publicó primero en Prensario Zone.

Industry panel and Co-Pro pitching sessions

On March 25, Brendan Fitzgerald, CEO of Secuoya Studios, will take part in the roundtable Creating an Original IP: A Sustainable Model for Producers. Alongside industry professionals from France, Germany, Sweden, and the UK, the panel will explore the challenges and strategies involved in developing original intellectual property. The session will be moderated by Stéphanie Bro, President of L’Agence Inédite.

The same day, Secuoya Studios will present The Lottery Ticket at the Co-Pro Pitching Sessions. The six-episode dramedy, written by Carlos Vila and presented by María García Castrillón, is the only Ibero-American project among 15 finalists selected from over 400 submissions worldwide. The series follows Julia, a woman diagnosed with terminal cancer who gathers friends and family for her 50th birthday, only for the discovery of a winning lottery ticket to set off a series of unexpected conflicts.

Expanding international presence

Beyond its scheduled events, Secuoya Studios will host meetings at its dedicated space in the Grand Palais. The company’s participation in Series Mania follows its presence at Content Americas and Berlinale Series Market, reinforcing its strategy of expanding within international markets.

La entrada Secuoya Studios to present new projects at Series Mania 2025 se publicó primero en Prensario Zone.

Gómez joined Onza Distribution in 2022, carrying sales in Asia, the Nordic countries, Benelux, MEA, IFE, and Educational. After three years within the company, Gómez will now lead the distribution department and continue strengthening Onza Distribution’s international presence in key audiovisual markets. With an academic background in film, she has a solid track record in former audiovisual distribution companies, such as Grupo Focus and Wild Stories Distribution.

‘I am deeply grateful to Onza’s team for their support and trust. I face this challenge with great excitement and a commitment to give my best’, said Gómez after assuming her new role. ‘I feel fortunate to start this new chapter, an opportunity to continue learning and growing alongside my colleagues’.

‘Erika has demonstrated, over the years at Onza, a strong commercial drive and a remarkable personal commitment to the company’, said Sagardía, CEO of the production company. ‘For this reason, we are confident that she will do an excellent job in this new role, where she will be responsible for establishing Onza Distribution‘s commercial and product strategy’.

The first international event where the executivewill participate as Head of Sales is Series Mania, which will be held in France this week. There, Onza Distribution will showcase a wide range of premium content at this prestigious market. Some of their remarkable titles include Portuguese telenovela The Color of Love, the blue chip wildlife documentary Iberia & Savannah: One Wild Life, and the comedy series Traffic Jam, whose highly anticipated second season will soon be available on Prime Video Spain.

This promotion reinforces Onza’s commitment to promote internal talent and its growth strategy in international markets, solidifying its position as one of the most important independent distributors in the Spanish audiovisual sector.

La entrada Onza names Erika Gómez head of sales ahead of Series Mania se publicó primero en Prensario Zone.

At the Series Mania Forum, which opens on March 25, the Taiwan Pavilion will feature several series, including Undertaker, a dark comedy supported by the Taipei Golden Horse Film Project Promotion in 2021; GG Precinct, a crime drama nominated at the 2024 Asia Contents Awards & Global OTT Awards; and Breeze by the Sea, starring Chen Bo-lin and Puff Kuo. Also highlighted is Fragrance of the First Flower (Season 2), following the success of its first season, which was previously nominated in the festival’s Short Forms Competition.

In addition to showcasing completed productions, five projects have been selected for the TAIWAN SPOTLIGHT Pitching Session on March 25. These include Fly, a crime drama from Taiwanese author Chang Kuo-Li, which is set to be produced in collaboration with France’s Cinéfrance Studios and Taiwan’s Yoosonn Entertainment; H.A.H.A.H.A, a new project from Three Tears in Borneo director Sun Chieh-heng; Fanteasia, a comedy highlighting Taiwan’s role in LGBTQ+ representation in Asia; Cold War Hot Wax, exploring Taiwan’s music scene in the 1960s; and When the Tigers Come Out, a drama about two mothers uncovering secrets behind an educational group. The pitching session will allow creators to present their work directly to industry professionals in an effort to secure partnerships and financing.

Beyond content promotion, Taiwan is also investing in talent development through the Serial Bridges Asia program, co-organized by TAICCA and the Series Mania Institute. The initiative provides an eight-month mentorship process covering script development, financing, production, and distribution. Six projects have been selected to participate in the Series Mania Institute Creative Bazaar, with the goal of strengthening Asian filmmakers’ understanding of the international market.

According to TAICCA Chairperson Homme Tsai, Taiwan’s continued presence at Series Mania reflects both its strong creative output and its interest in international collaboration. While Taiwanese series still face challenges in reaching global audiences, efforts like these seek to strengthen ties between local creators and the wider industry, potentially opening new doors for co-productions and distribution beyond Asia.

La entrada TAICCA: Taiwanese series seek international visibility at Series Mania se publicó primero en Prensario Zone.

France tv distribution has announced the international launch of the fourth season of Parliament, produced by Cinétévé and Studio Hamburg Serienwerft. The new season will officially debut at the Series Mania Forum, taking place from March 25 to 27, 2025, in Lille.

As part of its premiere at the festival, the first four episodes have been selected for a special screening on March 26 at 7:30 PM at UGC Ciné-Cité in Lille. The event will be attended by members of the cast and production team.

In this new season, Parliament follows its protagonist, Samy, as he navigates the European Council, the heart of political power in the EU. It is there that heads of state negotiate the conclusions that will shape policies for half a billion Europeans. The high-stakes, 36-hour decision-making process unfolds like an endurance challenge, with 27 national teams working across different zones to reach agreements. At the center of it all, Samy must fight his final battle—one that is as personal as it is political. That is, if he gets the right badge.

The international distribution of this new season strengthens Parliament’s global presence, further establishing the series as a sharp political satire that explores the inner workings of the European Union.

La entrada France tv distribution launches the international distribution of «Parliament Season 4» se publicó primero en Prensario Zone.

‘I’m very happy that the series is already reaping some rewards even before its premiere in Brazil. It’s the first time that a Brazilian series has been selected for this festival, so I think it gives an even greater pleasure to premiere at this festival, to premiere with Raul and to take Raul Seixas’ story to France and the world. I believe he is a Brazilian icon, an illustrious person, a unique and unparalleled artist, the father of rock. Taking Raul abroad, showing who this guy from Bahia was, a true rock ‘n’ roll pioneer, a philosopher of life — makes me very happy. Having a series nominated, and on top of that, about Raul Seixas, is something that makes me twice as happy’, said Ravel Andrade.

The Globoplay Original series Raul Seixas: Let Me Sing explores the cultural, political, and spiritual influences of the singer and songwriter, reflecting the artist’s complexity and brilliance, his internal struggles, and his constant search for authenticity and freedom of expression. His personal relationships are explored in depth, revealing the complexity of his character and the mutual influences between his life and his work.

‘Having a Globoplay Original series selected for one of the most respected festivals in the world, right after winning an Oscar, shows the strength of our Originals, which travel and carry our  brazilianness  around the world. Raul is a powerful series that tells the story of a musical icon, with the incredible performance of Ravel Andrade. Another great project in partnership with O2 Filmes, a benchmark of artistic quality in the market for over 30 years’, highlighted Alex Medeiros, Head of Drama, Documentaries, and Films at Globoplay Originals.

‘It’s an incredible moment for Brazilian audiovisual, which is opening many doors around the world. The film ‘I’m Still Here’ winning Best International Feature at the Oscars shows just how powerful our audiovisual industry is — that we are great storytellers, sharing stories that teach us and move us. I am very happy with this moment. And I am very happy that Raul Seixas is going global. As an actor, this work is a very special moment for me. May our work be increasingly recognized in the world, and may we always reach the highest places’, concluded Ravel Andrade.

The series is created by Morelli, who also the co-director along with Paulo, and produced by O2 Filmes. The cast includes names such as João Pedro Zappa, Amanda Grimaldi, Carol Abras, Julia Stockler, Chandelly Braz, Cyria Coentro and a special appearance by Julio Andrade.

La entrada Globoplay’s «Raul Seixas: Let Me Sing» premieres at Series Mania se publicó primero en Prensario Zone.

French production company Elephant International and distributor Keshet International (KI) have excitedly announced the premiere of their new series, the espionage thriller State of Alert (Menace Imminente). The series will be previewed at the Series Mania festival on 27 March 2025, one of the most important events in the television industry. It will then come to TF1 later this year.

This project stars Patrick Bruel (Villa Caprice, Holy Land), who plays a legendary Israeli intelligence agent. In just 72 hours, he must solve investigations related to the theft of high-level software and a mysterious disappearance. He will be assisted by an experienced French anti-terrorist agent, played by Natacha Lindinger (Sam, Coco Chanel & Igor Stravinsky).

The cast also includes Gaïa Weiss (Mary Queen of Scots, Vikings), Cyril Guei (Hitman, How I Became a Superhero) and Tsahi Halevi (Line in the Sand, Fauda), adding further depth to the series.

Comprising six one-hour episodes, State of Alert is based on the novel A Long Night in Paris (Unité 8200) by Dov Alfon. The series began in 2018, when Atar Dekel, KI‘s global head of drama, presented the project at Series Mania. There, Elephant International joined as co-producer, cementing the collaboration.

Sandra Ouaiss, CEO of Elephant International, noted: ‘This is the first time Patrick Bruel and Natacha Lindinger have worked together. We can’t wait to see them bring these vibrant characters to life’.

Rodolphe Buet, CEO of Newen Connect, said: ‘’State of Alert is a fast-paced thriller, backed by an exceptional team and a top-notch showrunner. TF1 is proud to include it in its catalogue’.

The series is created by Leora Kamenetzky (False Flag, Fauda), David Dusa (Flowers of Evil, Amin) and Negar Djavadi (Jacqueline Sauvage, Mon Ange). Directed by Dan Sachar (Line in the Sand), it is backed by Keshet Media Group‘s Avi Nir and Karni Ziv.

The world premiere of State of Alert will take place on 27 March at 20:45 at the UGC cinema in Lille, with Patrick Bruel and the production team in attendance. Tickets sold out quickly on the festival’s website.

Following Series Mania, the series will be broadcast on TF1 and distributed internationally by Newen Connect, ensuring it reaches a global audience.

La entrada Spy thriller ‘State of Alert’ premieres on Series Mania se publicó primero en Prensario Zone.

Way Back Love explores the idea of rediscovering life through an unusual reunion. Hee-wan, a reclusive young woman with no will to continue, meets her childhood friend and first love, Ram-woo, who returns as a grim reaper. Given only a week to live, Hee-wan is forced to confront the meaning of life alongside the person she once cherished.

Study Group follows Youn Ga-min, a student with a talent for fighting rather than studying, as he navigates life at Yusung Technical High School. Determined to improve his academic standing, he forms a study group to pursue a place in college. The series examines personal growth and the struggle to break away from predetermined paths.

My Dearest Nemesis brings together past and present through an online gaming connection. Su-jeong, who once played alongside «Black Dragon» in an early-2000s game, meets her new boss years later, only to suspect he is the same person she left behind in the virtual world. The series follows their dynamic as colleagues and former rivals.

Tunnel follows Detective Gwang-ho, who, while pursuing a serial killer in 1986, wakes up in 2016 after being struck inside a tunnel. Adjusting to modern investigative technology, he attempts to track the murderer across decades.

Signal explores a connection between past and present through a mysterious walkie-talkie. A profiler in the present and a detective from the 1990s work together to solve cold cases, facing obstacles from those who seek to suppress the truth.

Voice centers on the Golden Time team, an emergency response unit that solves crimes in real time based on urgent calls to the emergency service line. The latest season is set in Jeju, a well-known tourist destination in Korea, adding a new dimension to the high-stakes investigations.

CJ ENM’s lineup at Series Mania 2025 brings together a variety of narratives that blend suspense, drama, and unconventional relationships.

La entrada CJ ENM showcases diverse slate at Series Mania 2025 se publicó primero en Prensario Zone.

Produced by Hera Pictures (Mary & George, Temple, Hamnet) for BBC iPlayer and BBC Three, in association with ITV Studios, the eight-part series stars Ellis Howard (Catherine the Great, Red Rose) as Byron, with Hannah Walters (A Thousand Blows, Boiling Point, Time, This is England), Laura Haddock (The Recruit, The Capture) and Michael Socha (Showtrial, This is England). Also joining the cast are Laquarn Lewis (Jamie Johnson), Hannah Jones, Adam Ali (Waterloo Road), Alex Thomas-Smith (Too Much), Calam Lynch (Sweetpea, Miss Austen, Bridgerton), Jake Dunn (Renegade Nell), and Dickie Beau (Bohemian Rhapsody). What It Feels Like For A Girl was filmed in South Wales and Nottingham.

What It Feels Like For A Girl is a raw, heartbreaking, and hilarious drama that explores escape, self-discovery and self-destruction. It’s a new millennium and there’s a whole world to explore. But teenager Byron (Ellis Howard) is stuck in a small working-class town that hasn’t been the same since the coal mine shut down in the 80s. Byron needs to get away and doesn’t care how. 

Life explodes in a rush when Byron escapes to Nottingham’s vibrant underworld, discovering a realm of drink, drugs, and a chaotic family of troublemakers – “The Fallen Divas”. Byron finds a gang of kindred spirits in the mesmerising Lady Die (Laquarn Lewis), Sticky Nikki (Alex Thomas-Smith), Dirty Damian (Adam Ali), while an intense rivalry brews between Byron and the beautiful, acid-tongued Sasha (Hannah Jones). Between them, they beg, steal and skank their way on a rollercoaster ride of hedonism at the heart of the UK’s early 2000s club scene. The party can’t last forever though, and when Byron is seduced by bad-boy Liam, a shocking encounter occurs that will change life forever. Calam Lynch is Max, Jake Dunn is Liam and Dickie Beau is Peter.

Further cast includes Emma Shipp (Rivals), Sekou Diaby (Boarders), Laura Checkley (Screw), Oliver Huntingdon (Sherwood), Lorn Macdonald (Bridgerton), and Rhys Connah (Happy Valley), with guest appearances from Fay Ripley (Cold Feet) and Selina Mosinski (aka Charity Shop Sue).

Paris Lees, series’ creator said: “This is a proudly working-class story, and it needed a cast who could bring it to life authentically. We’ve struck gold with these highly talented actors, some of whom are already familiar faces – and some who are about to be. The biggest challenge was always the lead role – we’re following someone who’s going from, in the eyes of the outside world, a schoolboy, right up to a trans woman starting university, and all that’s in between. The moment I saw Ellis, I recognised something in him – a cheekiness, a delicateness, a complexity – and knew he was the one. And he rose to the challenge, again and again. The chemistry between El, Hannah, Laquarn and the rest of the Fallen Divas is something you can only dream of in drama’.

Liza Marshall, Hera Pictures MD and Executive Producer said: ‘We couldn’t be prouder of the phenomenal cast leading What It Feels Like for a Girl, who join a team of brilliant creatives in bringing Paris’s daringly distinctive vision to the screen. Ellis and the rest of the ensemble – an exciting mix of new and established talent – deliver incredible performances, bringing these anarchic, sharp-witted characters to life’.

Lindsay Salt, Director of BBC Drama, said: ‘We can’t wait to take viewers back to the early noughties to see our magnificent cast shine in this big-hearted and brave new series. Paris and the Hera Pictures team have created a phenomenal eight episodes of genre-defining television, packed with swagger, humour, and humanity’.

Lees is the creator and lead writer of What It Feels Like For A Girl, and Brian Welsh (Beats, Black Mirror) is the lead director. Ng Choon Ping (Femme) and Marie Kristiansen (Delete Me) also direct. Executive producers are Lees and Welsh, Liza Marshall and Ron O’Berst for Hera Pictures, and Nawfal Faizullah for the BBC. Frances du Pille (The Sixth Commandment, The Outlaws) is producer. Lees is lead writer on the series, joined by Georgia Christou, Paul Williams, Sarah Simmonds and Mika Onyx Johnson. What It Feels Like For A Girl will arrive on BBC iPlayer and BBC Three later this year. ITV Studios will handle international distribution.

La entrada BBC and ITV unveil cast and first look at «What It Feels Like For A Girl» se publicó primero en Prensario Zone.

Produced by the acclaimed Duplass Brothers Productions (Somebody Somewhere, Room 104, Cyrus, Jeff, Who Lives at Home) and created by Mark Duplass (The Morning Show) and Mel Eslyn (Biosphere, Room 104), the 8 x 30’ series follows Penelope, played by Megan Stott (Little Fires Everywhere, Yes Day, Aftermath), a 16-year-old who feels out of place in modern society and is drawn into the unknown wilderness, where she begins to form a new life for herself.

Like most teenagers today, Penelopeis caught up in the modern world’s technology, pacing and pressure. But something is missing, and things feel off, she can’t quite put it into words. On the surface, her life seems pretty great, while inside, there’s a fierceness that’s been brewing, a calling towards a new way of being. After a chance encounter with a wolf and a rabbit on a school camping trip, the call becomes too loud for Penelope to ignore. When no one is looking, she runs away. Without a plan, she navigates her way through a series of encounters, traveling a long distance and eventually sneaking into a National Forest. But this is only the beginning of what will become a long journey through the unknown wilderness and Penelope’s quest to find her place in it.

Alongside Megan Stott, the cast also includes Austin Abrams (Euphoria, Dash & Lily, Do Revenge), Krisha Fairchild (Krisha, Channel Zero, Freeland) and Rhenzy Feliz (The Penguin, All Together Now, Encanto).

Penelope premiered in the US on Netflix in September 2024, landing in the top 10 of TV shows on Netflix in its first week.The New York Times praised the series as a masterful blend of humor and heart’, The LA Times described it as ‘engaging as it thought-provoking, offering viewers a fresh perspective on modern relationships, and The Globe and Mail labelled it one of the year’s best productions.’

Mel Eslyn and Mark Duplass, Duplass Brothers Productions said: ‘We’re in great company on Sky. Penelope has had such an overwhelmingly positive response and sparked conversation all over the world. We can’t wait to take her story to audiences in the UK and Ireland’.

Jamie Lynn, EVP Co-Production & Distribution, EMEA, International, Fremantle said: ‘Sky is renowned for bringing bold and distinctive storytelling to audiences, making Penelope a perfect fit for their lineup. The Duplass Brothers Productions has a unique ability to craft deeply human, character-driven, and timely stories. In an age where social media plays such a huge role in young people’s lives, it’s refreshing to see a lead like Penelope—one who defies expectations and forges her own path. We’re excited for viewers in the UK and Ireland to connect with her story and her quest of self-discovery’.

Penelope is written and created by Mark Duplass and Mel Eslyn, and at the same time are the executive producers alongside Jay Duplass (Industry, The Chair) and Shuli Harel of Duplass Brothers Productions. Eslyn also directs and serves as showrunner. Fremantle handles global distribution.

La entrada Fremantle secures UK and Ireland launch for indie drama Penelope on Sky and NOW se publicó primero en Prensario Zone.

Through breathtaking cinematography, the documentary follows the inhabitants of various islands, from Easter Island to Hawaii, showcasing their deep connection with the ocean and the innovative, community-led efforts to preserve marine ecosystems. Blending ancestral knowledge with cutting-edge solutions, OCEANIA – THE OCEAN’S PROTECTORS is a powerful exploration of resilience, hope, and conservation, offering a rare and optimistic perspective on the fight to save the planet’s most vital ecosystem.

Joséphine Létang, Head of Sales at ARTE Distribution, expressed her enthusiasm for the project:
‘We are so proud to work with KM Production and Patrice Gellé on such an ambitious, uplifting documentary! Especially one that puts the issue of climate change back in the spotlight. It’s an honor to contribute to this cause by helping spread the message of those who work so hard to protect the ocean’.

Catherine Alvaresse, CEO of KM Production, echoed this sentiment, emphasizing the documentary’s potential global impact:
‘We are very enthusiastic about collaborating with ARTE Distribution to bring this prime-time documentary to the international market. Documentaries can truly cross borders and serve as powerful tools for change by raising awareness of critical issues such as the environment and conservation. With our film, we share the voices of the Oceanian people who are on the frontlines of protecting our blue planet’.

With its hopeful and inspiring approach, OCEANIA – THE OCEAN’S PROTECTORS is set to captivate international audiences, shedding light on the crucial role of indigenous knowledge, scientific innovation, and collective action in safeguarding the ocean for future generations.

La entrada ARTE Distribution acquires inspiring environmental documentary «Oceania – The Ocean’s Protectors» se publicó primero en Prensario Zone.

According to Maria Rua Aguete  Head of M&E at Omdia, online consumer spending is set to reach $4.4 trillion in 2025, with the U.S. contributing $1.4 trillion. By 2029, this figure will surge to $6.6 trillion, with the U.S. accounting for $2 trillion of total online expenditure.

The projected growth in online consumer spending outpaces even the expansion of the media and entertainment sector, which is expected to grow from $1.07 trillion in 2025 to $1.3 trillion by 2029. Video content continues to lead this charge, driving 70% of global revenues, with online video (up 13%), cinema (12%), and gaming (7%) seeing the most significant growth in 2025.

While media and entertainment remain a key growth area, the acceleration of online consumer spending presents the most significant opportunity. Retail media and shoppable TV are driving a transformation in how content, commerce, and advertising intersect, creating new avenues for businesses to capitalize on.

With digital commerce continuing to expand rapidly, leading retailers are pivoting to adapt. Amazon has surpassed Walmart as the world’s largest retailer, highlighting the e-commerce shift. In response, Walmart has positioned itself as a digital-first powerhouse, making strategic moves like its recent acquisition of Vizio to enhance its digital advertising capabilities and integrate shoppable TV into its offerings. Currently, 20% of Walmart’s revenue comes from digital channels, and this figure is expected to grow significantly as the company invests more in retail media and connected TV (CTV).

As CTV adoption accelerates, TV operating systems (TV OS) are becoming essential in shaping the future of advertising and commerce. The integration of CTV, TV OS, and retail media is creating seamless pathways from content consumption to purchase, unlocking new revenue streams for broadcasters, advertisers, and retailers alike.

“Shoppable TV presents a massive opportunity for retailers, advertisers, and content creators. However, challenges remain such as seamless checkout, consumer trust, and platform integration which must be addressed before its full potential is realized,” said Omdia Senior Research Director, Maria Rua Aguete speaking at Connected TV Summit in London.

As shoppable TV and retail media continue to mature, the industry will see new partnerships and innovations emerge. The convergence of entertainment and commerce is reshaping the digital media landscape. Companies that successfully integrate CTV, TV OS, and retail media into their strategies will be well-positioned to capture significant market share and drive growth in the next era of digital commerce.

La entrada Omdia: online consumer expenditure to hit $6.6 trillion by 2029 with $2 trillion coming from the US se publicó primero en Prensario Zone.

The “Woman in Series Award” was introduced in 2021 to highlight influential women in the industry. Previous recipients include Christina Sulebakk (HBO Max EMEA), Mo Abudu (The EbonyLife Group), Nicola Shindler (Quay Street Productions), and Francesca Orsi (HBO Drama Series and Films).

Laurence Herszberg, Founder and General Director of Series Mania, emphasized Degeorges’ role in bringing French series to a global audience. She cited Lupin and Becoming Karl Lagerfeld as examples of productions that have extended the reach of French storytelling. Francesco Capurro, Director of Series Mania Forum, described Degeorges as a leader whose approach and career make her a fitting recipient of the award.

Degeorges expressed gratitude for the recognition, calling it a tribute to her 25 years in the industry. She has produced several series for major platforms, including Lupin (Netflix), Signal (Paramount+), Pax Massilia (Netflix), and In the Shadow of the Forests (Apple TV+).

A graduate of Sorbonne University, Degeorges started her career at Images et Compagnie (Lagardère Group) before joining Gaumont in 2011. Since 2013, she has led the company’s French television division. She is also Vice President of USPA, France’s leading guild for audiovisual producers.

La entrada Isabelle Degeorges to receive Series Mania’s “Woman in Series Award” se publicó primero en Prensario Zone.

UK industry’s flagship, free-to-attend independent event welcomed 850 key international buyers from across the world. Diverse line-up of new premium content revealed from founders All3Media International, Banijay Entertainment, Fremantle and ITV Studios.

The London TV Screenings, the UK’s flagship annual distribution event, which is free-to-attend for invited decision makers, returned last week, attracting a record 850 key buyers from across all genres.  Following another successful instalment, the event’s founders – All3Media International, Banijay Entertainment, Fremantle and ITV Studios – confirmed plans are already under way for the 2026 edition, which will take place during the final week of February.

The fifth edition of this unmissable collaborative showcase saw buyers from across the world gathering for exclusive insights into some of the most hotly anticipated new content and formats. Taking place at venues across central London, the event featured numerous first-look screenings, expertly curated sessions, and opportunities to connect with world-class on- and off-screen talent.

A London TV Screenings spokesperson said: ‘The London TV Screenings has rapidly become a stand-out, must-attend annual event for invited buyers, and we’re thrilled to see the 2025 edition welcoming even more decision makers from around the world. The showcase is now a go-to destination for unparalleled insights into the latest premium shows and formats. We look forward to planning an exceptional event for 2026 – which will be tailored to the feedback we’ve heard from buyers and their experiences across the week’

Highlights from the 2025 event include: On the drama front, ITV Studios welcomed Andrew Lincoln – making his British TV comeback after 15 years – to the stage for the debut of twisted thriller Cold Water. Fremantle introduced the epic adventure drama Sandokan from Luxe Vide and welcomed on stage Creator Luca Bernabei and Director Jan Michelini, who were joined by the leading cast including Can Yaman, Alanah Bloor, Ed Westwick and John Hannah. All3Media International launched Two Brothers Pictures’ action thriller The Assassin, starring Keeley Hawes and Freddie Highmore, and Banijay Entertainment showcased Maigret, the first contemporary TV adaptation of the iconic detective novels.

Distributors shared deep dives into non-scripted launches such as landmark docuseries 7/7: The London Bombings (Banijay Entertainment); original feature documentary Whatever It Takes: Inside the eBay Scandal (Fremantle); and major new natural history series Parenthood (All3Media International). The event also saw farmer and conservationist Jimmy Doherty joining ITV Studios to share more on Jimmy Doherty’s Big Bear Rescue.

Formats taking centre stage included Chess Masters, All3Media International’s new knockout competition from Curve Media, and Banijay Entertainment’s reality dating challenge 30 Dates and 30 Nights. ITV Studios showcased Celebrity Sabotage, a prime-time hidden camera prank show which sees famous faces ‘unleashing acts of sabotage’ on members of the public, and Fremantle introduced its on-screen reimagining of beloved word game Scrabble.

Founded by All3Media International, Banijay Entertainment, Fremantle and ITV Studios, the London TV Screenings saw over 35 distributors and studios running independent events.

Alongside the four founding organisers, the 2025 line-up included About Premium Content, Amazon MGM Studios Distribution, Autentic GmbH, Beta Film, Blue Ant Media, BossaNova Media, Cineflix Rights, DCD Rights, Disney, Dogwoof, Eccho Rights, Federation Studios, Fifth Season, Fox Entertainment Global, Hat Trick International, Keshet International, Lionsgate, Mediawan Rights, NBCUniversal Global TV Distribution, Newen Connect, Off the Fence, Paramount Global Content Distribution, Passion Distribution, PBS International, Seven.One Studios International, Sony Pictures Television, Sphere Abacus, STUDIOCANAL, TGC Global Entertainment, TVF International, Viaplay Content Distribution and Warner Bros. International Television Production.

La entrada The London TV Screenings confirms sixth edition following record breaking attendance se publicó primero en Prensario Zone.

Founded in 2008 by Emile Sherman and Iain Canning, See-Saw has produced a range of television series and feature films, working with major streaming platforms and studios. Its recent productions include Heartstopper season 3 for Netflix, Slow Horses season 4 for Apple TV+, and Sky’s drama Sweetpea. The company has also been behind films such as The King’s Speech, The Power of the Dog, and Lion.

With nearly 100 hours of high-end drama and multiple seasons of returning series for platforms including Apple TV+, Netflix, AMC, BBC, and Sky, See-Saw has built a track record in both scripted television and feature films. It has received numerous industry awards, including 13 Emmys, 5 Oscars, and 15 BAFTAs.

Mediawan, which already operates in the UK through Drama Republic, Misfits Entertainment, and Wildseed Studios, sees this acquisition as part of its strategy to expand internationally and invest in premium content. The partnership is expected to provide See-Saw with increased financial resources and access to co-production opportunities within Mediawan’s network of production companies.

Sherman and Canning will continue to lead See-Saw alongside Joint Managing Directors Helen Gregory and Simon Gillis, and Liz Watts, Head of TV and Film in Australia.

Pierre-Antoine Capton, CEO of Mediawan Group, and Elisabeth d’Arvieu, CEO of Mediawan Pictures, described See-Saw as a company that has built a strong reputation under its leadership. Canning and Sherman stated that the partnership aligns with See-Saw’s goals for growth while maintaining its creative direction and independence.

The transaction was advised by ACF Investment Bank, a media-focused financial advisory firm.

La entrada Mediawan acquires majority stake in See-Saw Films se publicó primero en Prensario Zone.

With the “Series Mania Buyers Upfront”, a new initiative and a prelude to the Series Mania Forum designed to provide the industry’s top buyers with exclusive access to highly anticipated series, having launched last September, Laurence Herszberg, Founder and General Director of Series Mania, announced the ten titles selected to be showcased during this invitation-only event set for March 24 at the Chamber of Commerce (CCI), in Lille’s historic city center, marking a new chapter in the Forum’s evolution.

The event will kick-off with the exclusive invitation-only BETA Brunch, the well-known industry staple in the international marketplace, followed by the series presentation.

‘The Series Mania Buyers Upfront is an exclusive event for top-tier buyers, showcasing exclusive 12-minute first look screenings from ten eagerly awaited series that have strong global appeal. From the outset, our goal with this new event has been to give unparalleled access to our buyers as well as help facilitate networking opportunities with the leading distributors behind these series. We are delighted to be unveiling these titles here today’, commented Herszberg.

‘While serving as the leading European event for distributors and scripted content development these past few years, we have created a tailor-made experience just for our buyers’, added Francesco Capurro, Director of Series Mania Forum. ‘This new event marks the beginning of a truly new chapter in the history of Series Mania Forum. From creation to international distribution, we are further solidifying our position as the must-attend event of the spring for the scripted community’.

Curated by the Series Mania Festival’s artistic team, the ten selected titles, based on both artistic merit and broad audience appeal, include:

DANGEROUS TRUTH

Original Title: Das zweite Attentat

Country: Germany

International Sales: OneGate Media GmbH

Production Company: EIKON Media GmbH, DEAL PRODUCTIONS

Format: 6 episodes x 45 minutes

Genre: Thriller

Year of production: 2024

Synopsis: Alex Jaromin has been living with his mother under a false name in the BKA witness protection program in Athens for 20 years. When she dies, he finds out that the deaths of his father and his sister in 2003 were not, as he had assumed, the work of Serbian nationalists. In his search for the truth, he comes across evidence that his father was commissioned by the German government to bring a witness out of Baghdad.

ESCAPING BOLIVIA

Original Title: Flukten fra Bolivia

Country: Norway

International Sales: REinvent International Sales

Production Company: Fenomen TV, 4 1/2 FILM

Format: 6 episodes x 44 minutes

Genre: Drama, Thriller

Year of production: 2025

Synopsis: Ida, her girlfriend and sister-in-law are brutally arrested at the airport in Bolivia, accused of smuggling cocaine. The three women are sentenced to 13 years in one of the world’s poorest prisons. Ida quickly realizes that she is surrounded by lies and betrayal and that no one can be trusted. While waiting for help from Norwegian authorities, an unexpected source gives her a chance and a daring escape plan is set into action.

FUSION

Original Title: Reykjavik Fusion

Country: Iceland

International Sales: The Mediapro Studio Distribution, Wild Sheep Content

Production Company: Act4

Format: 6 episodes x 52 minutes

Genre: Thriller

Year of production: 2024

Synopsis: Talented chef Jónas, falsely imprisoned, tries to regain his family’s trust. Shunned by society, he accepts illicit funds to open a restaurant, leading him to money laundering. This jeopardizes his parole, life, and loved ones.

PUZZLE LADY

Original Title: Puzzle Lady

Country: UK

International Sales: ZDF Studios

Production Company: December FilmsFormat: 6 episodes x 60 minutes

Genre: Comedy, Thriller

Year of production: 2025

Synopsis: When a strange murder takes place in the sleepy market town of Bakerbury, the local police are baffled by a crossword puzzle clue left on the body. Fortunately, the famous cruciverbalist Cora Felton, known as The Puzzle Lady, has just moved to town with her long-suffering niece, Sherry Carter.

RIOT WOMEN

Original Title: Riot Women

Country: UK

International Sales: Mediawan Rights

Production Company: Drama Republic Limited

Format: 6 episodes x 60 minutes

Genre: Drama

Year of production: 2025

Synopsis: Five women who come together to create a makeshift punk-rock band in order to enter a local talent contest but soon discover that they have a lot to say – and this is their way to say it. As they juggle demanding jobs, grown-up children, complicated parents, husbands who’ve buggered off, and disastrous dates and relationships, the band becomes a catalyst for change in their lives.

S LINE

Original Title: 에스라인

Country: South Korea

International Sales: Sidus

Production Company: Sidus

Format: 6 episodes x 60 minutes

Genre: Thriller, Science fiction

Year of production: 2024

Synopsis: Hyun-heup sees the «S Line», a red thread linking intimate partners, which she calls a curse. She isolates herself to avoid bringing misfortune. A murder rocks her neighborhood. sinister glasses revealing S-Lines are to blame. Her friend falls into a coma after using them, so she teams up with Detective Han Ji-wook. Despite their efforts, loved ones suffer, prompting them to realize the glasses’ creator is luring them into peril.

SHADOW LEAKS

Original Title: Schattenseite

Country: Germany

International Sales: Beta Film

Production Company: Dreamtool Entertainment for ARD Degeto Film, funk, and Hessischer

Rundfunk, with funding from Medienboard Berlin-Brandenburg.

Format: 6 episodes x 45 minutes

Genre: YA Thriller

Year of production: 2024/2025

Synopsis: It’s Nola’s first day at a new high school, her last year before graduation, and things already seem off. Linus, a student, recently passed. And during his memorial, everyone’s phones go off: A mysterious website, the “Shadow Page”, upends all their lives by exposing their most intimate secrets. The more traffic the site receives, the more sensitive content is leaked: chats, screenshots, explicit pictures, and videos. Even the most popular couple, jock Simon and the beautiful Patricia, are to be exposed! Nola isn’t exempt either – whoever is behind the page knows a dark secret she’s keeping and is blackmailing her… Together with Linus’ best friend Corvin, she tries to prevent the leak. But does Nola have to betray him to save herself? Who is behind the Shadow Page? And what does it all have to do with Linus’ death?

THE DANISH WOMAN

Original Title: Danska Konan

Country: Iceland

International Sales: The Party Film Sales

Production Company: SLOT MACHINE

Format: 6 episodes x 47 minutes

Genre: Drama, Comedy

Year of production: 2025

Synopsis: When Ditte Jensen retires from the Danish Secret Service she moves into an apartment block in Reykjavik seeking a quiet life tending her garden. But Ditte cannot stop being a warrior. And soon the apartment building becomes a battlefield for a better world. With her deep-rooted sense of justice she sees her neighbor’s problems and is compelled to help, whether they want her help or not. And in her world, the end justifies the means. Always.

THE DEAL

Original Title: THE DEAL

Country: Switzerland, France, Luxembourg, Belgium

International Sales: Gaumont

Production Company: Bande à Part Films, LES FILMS PELLEAS, Gaumont Télévision, Bidibul

Productions, VERSUS PRODUCTION

Format: 6 episodes x 46 minutes

Genre: Drama, Thriller

Year of production: 2024

Synopsis: 2015 – Switzerland hosts last-chance nuclear talks between the US and Iran, with Europe, Russia and China. Swiss diplomat Alexandra Weiss leads the mission, where rising tensions and delegates’ hidden agendas threaten fragile diplomacy. But when her former love Payam—a threatened Iranian engineer—appears, Alexandra finds herself crossing lines to protect him. The world’s peace is at risk, how far will she go?

WAR OF THE KINGDOMS

Original Title: War of the Kingdoms

Country: Germany

International Sales: Fremantle

Production Company: Constantin Television

Format: 6 episodes x 60 minutes

Genre: Drama

Year of production: 2024

Synopsis: An epic medieval fantasy based on the original heroic legend The Song of the Nibelungs, the inspiration behind Lord of the Rings and Game of Thrones. Bound by duty and loyalty to the kingdom, Hagen is a soldier and Lord Commander ready to serve and stand by his King. But he has a secret, he is deeply in love with Princess Kriemhild. A love that will never be permitted.

The six-person jury of key buyers previously announced last September, includes:

• Ghislain Barrois, Director Cinema, Fiction, Sales, Rights’ Acquisition and Distribution, Mediaset Spain Communication Audiovisual Group (Spain)
• Marina Chiaravelle, Head of TV Rights Acquisition, RAI Cinema, (Italy)
• Rubén Fernández Loa, Head of Series Acquisitions, Movistar Plus+ (Spain)
• Julia Fidel, Head of International Fiction – Acquisitions, ZDF (Germany)
• Katie Keenan, Group Director of Acquisitions, UK/ROI & Europe, Sky
• Virginie Padilla, Commissioning Editor, Arte (France/Germany)

La entrada Ten upcoming series selected for Series Mania Buyers Upfront se publicó primero en Prensario Zone.

The sole aim of the market has been to deliver more people, business and opportunities to London across a key week in the global TV industry calendar. The IET London and the Savoy, which provided a central hub for the conference programme, meeting spaces and networking events across the week are confirmed for 2026.  

‘MIP London’s debut exceeded expectations. This is year one of a long-term commitment and we will be back in London next year’, said Lucy Smith, Director MIP LONDON and MIPCOM CANNES. ‘This was new, a new format, bringing in new people, and it really feels that MIP LONDON has found its place in this busy week’.

‘Our plan has always been to complement existing events, and I thank everyone who came and engaged with the market. We will listen intently to every bit of feedback to evolve MIP London for 2026 and beyond, and to deliver what the international industry says it needs’.  

A comprehensive multi-genre programme at MIP London saw a host of international screenings and showcases alongside a series of insight presentations, matchmaking events, and packed sessions from platforms including YouTube, and the headline fireside conversation between Netflix’s Chief Content Officer Bela Bajaria and David Beckham.  

The largest proportion of delegates at the market’s debut hailed from Europe, followed by North America, with significant delegations also from Asia, LatAm, MENA and Türkiye. Over 70 companies took meeting spaces including Country Pavilions from Belgium, China, France, Korea and Spain. In addition to sales executives and buyers, attendees represented from a broad spectrum of industry sectors including producers, digital first companies, content creators, FAST, AVOD and CTV players.   

The 41st edition of MIPCOM CANNES will take place from October 13-16 2025 with MIPJUNIOR set for October 11-12. 

La entrada MIP London exceeded expectations in its inaugural year se publicó primero en Prensario Zone.

PBS Distribution held a screening event on Wednesday, February 26, from 3:00 to 4:30 pm at the Curzon Soho as part of the London TV Screenings 2025. The event attracted approximately 50 buyers from prominent companies, including NHK, BBC, ZDF, and SKY UK, among others. The showcase featured an exclusive preview of The American Revolution: A Film by Ken Burns, Sarah Botstein, and David Schmidt, one of the highlights of PBS’s upcoming content slate.

In the screening, PBS presented a diverse range of documentaries and series aimed at both domestic and international audiences. Among the titles showcased were What Are UFOs?, an exploration of unidentified aerial phenomena; Revolutionary War Weapons, a detailed look at the arms and tactics of the American Revolutionary War; and World’s Greatest: Myths and Mysteries, which delves into historical enigmas.

Other notable titles included Hiding in Plain Sight, a documentary addressing social issues; Plunderer: The Life and Times of a Nazi Art Thief, which examines the legacy of art theft during World War II; and Women of World War II: The Untold Stories, a series highlighting the often-overlooked contributions of women during the war.

The event underscored PBS’s ongoing efforts to expand its global reach and collaborate with international broadcasters. The exclusive preview of The American Revolution, a highly anticipated project from acclaimed filmmaker Ken Burns and his collaborators, was a key focus of the screening. The film is expected to offer a comprehensive look at the events and figures that shaped the American Revolutionary War.

La entrada PBS showcased a robust slate at London TV Screenings 2025 se publicó primero en Prensario Zone.

With an accomplished track record in creating high-end non-scripted TV shows, Zhejiang Media Group is known for its partnerships with established and emerging talent, best-in-class producers and directors. With 60 production labels globally and a 90,000+ hour distribution business, ITV Studios is the content powerhouse behind globally renowned format brands such as The Voice, Come Dine With Me, Hell’s Kitchen, dramas like Bodyguard, Snowpiercer and One Piece, as well asthe landmark natural history show A Year on Planet Earth.

Further details about the first co-developed project the companies are working on, Go! Fishing! are to be announced in the coming months. 

Mr. Shen Jian, Editor-in-Chief, Zhejiang Satellite TV, Zhejiang Media Group, said «We are delighted to partner with ITV Studios to co-develop new IP for Chinese viewers. We are definitely seeing an appetite globally for new formats that explore universal themes through different cultures. I am personally very much looking forward to the collaboration which we expect to produce  a new co-developed concept to launch in China and internationally in 2025.»

Ruth Berry, President Global Partnerships & Zoo 55, ITV Studios said, «Zhejiang Media Group is a valued, longterm commercial partner to ITV Studios and I am pleased that with this deal we will unite our creative forces to develop original IP for Greater China and the international market».

The deal was brokered on behalf of ITV Studios by Augustus Dulgaro EVP Sales Asia Pacific and Zoe Tsui, Head of Content & Format Sales Great China.

La entrada ITV Studios expands in China with Zhejiang Media Group partnership se publicó primero en Prensario Zone.

During the event, All3Media International announced a series of licensing deals across multiple territories for two of its major properties: Boarders and The Traitors.

Global expansion for Boarders

The coming-of-age drama Boarders, produced by Studio Lambert, has now been licensed across five continents. Following its UK debut on the BBC, the series has been picked up by Stan in Australia and Discovery in New Zealand. In Africa, Amazon Prime Video has acquired the show for a pan-regional release. European deals include EITB in Spain, RTP in Portugal, RTL Hrvatska in Croatia, YLE in Finland, and VRT in Belgium.

The series continues its partnership with Tubi, which holds exclusive rights in North and Latin America, as well as ZDFneo in Germany.

Further adaptations for The Traitors

IDTV’s reality competition format The Traitors continues its international rollout. In Ukraine, streaming platform Sweet TV has commissioned a local adaptation. In Mongolia, Hulegu Distribution has acquired rights for production and broadcast across EduTV, Univision, and LookTV. This marks the format’s second expansion into Asia, following an upcoming Indian adaptation set to launch on Prime Video.

All3Media’s extensive screenings and high-profile acquisitions reinforce its strategic push into global markets, solidifying its reach in scripted and unscripted content.

La entrada All3Media showcased its seasonal slate at London TV Screenings se publicó primero en Prensario Zone.

Amie Parker-Williams stressed the importance of connecting with audiences on their own terms: “We have to go where our viewers are. It’s no longer about attracting them to a specific platform, but about building lasting connections in a global ecosystem.” She explained how digital commissioning should focus on curating and creating original content, often developed with digital talent, ensuring a balance between production quality and authentic connection with viewers.

Matt Campion stressed the value of meaningful content: “We want to create content with a purpose, that makes people think differently”. Spirit Studios has worked on a wide range of productions, from documentaries to dramas and factual content, emphasizing the need to adapt to new digital models. Hee also highlighted the IP360 initiative, a strategy that allows transforming short-form content into expanded formats, such as podcasts or TV series, maximizing their reach and monetization.

Anouk van Dijk shared the evolution of Quintus Studios, which started as a distributor and became a key player on YouTube, operating more than 14 channels specializing in documentaries. “The biggest change between the linear and digital model is that in digital the revenue comes over the long term, which requires a different mindset about financing and content success.” She also emphasized the importance of collaboration to optimize distribution and generate sustainable revenue over time.

The panel agreed that the key to success in the digital age lies in adaptability and strategy. Amie Parker-Williams remarked that being “platform fluid” is essential to reach diverse audiences, while Anouk Van Dijk highlighted the importance of non-exclusivity as a strategy to maximize the impact of content.

For his part, Matt Campion concluded with an inspiring thought: “You must think like a creator and be persistent. Consistency is key. He compared the industry to the example of MrBeast, the world’s most successful YouTuber, who created hundreds of videos before achieving virality. “Learn from the data, listen to the audience and keep going.”

La entrada Keys to success in the digital era: production, distribution and commissioning se publicó primero en Prensario Zone.

The panel ‘What’s hot in media: the creator economy’, presented by OMDIA and Webedia at MIP London 2025, brought together experts to discuss how the creator economy is redefining the media landscape. Moderated by Maria Rua Aguete, Head of Media and Entertainment at OMDIA, the panel featured Julian Allard, Senior Producer at Webedia, and Anha Benessalah, Director of Content and Non-Scripted Strategy at Webedia.

The session began with Omdia‘s analysis of the competition between Netflix and YouTube. According to the data presented, by 2025 Netflix will surpass YouTube in video revenue for the first time, reaching $46.2 billion, compared to YouTube’s $45.6 billion. While Netflix relies on subscriptions, YouTube continues to dominate with its advertising model.

María Rúa Aguete pointed out that both giants tend more towards collaboration than competition. One example of this is the use of YouTube influencers to promote series such as Squid Game, a strategy that demonstrates the power of creator-based marketing.

One of the key issues discussed was the change in the way audiences consume content. The rise of connected TVs is making YouTube look more and more like traditional TV, with an increasing demand for long-form content.

According to Rua Aguete, ‘YouTube’s growth on connected TVs is redefining monetization strategies. More and more studios see the platform as a primary distribution channel, not just a marketing tool.’

During the panel, Anha Benessalah highlighted how the profile of content creators has evolved: ‘Unlike YouTube pioneers, who focused on content volume, new creators prioritize quality and diversified monetization strategies. They are producers in their own right.

Julian Allard, meanwhile, highlighted the case of Kaizen, a documentary by youtuber Inoxtag (Inès Benazzouz), produced by Webedia with a budget of $1.5 million. ‘It shows that the production of high-quality content is no longer exclusive to the big studios.

The panel also explored the relationship between YouTube and the film industry. According to Rua Aguete, ‘YouTubers are helping to bring audiences back to the cinema. Warner Bros. has already released more than 37 free films on YouTube, recognizing its potential as a distribution platform’.

The case of Kaizen was an example of an innovative release strategy. Although the documentary was available for free on YouTube, it was first released in theatres with paid tickets, selling out in a matter of minutes. ‘The audience was not looking for exclusivity, but for the community experience,’ explained Allard.

The session concluded with a discussion on the role of brands in funding maker projects. Benessalah stressed that brands understand the value of an engaged community: ‘Nike and Orange funded Kaizen without seeing prior footage, relying on the connection of the creator with their audience’. The actual sponsors of the film were: Nike, Air Up, Deezer, Orange, Les Produits Laitiers, Fitness Park, Erborian and Therm-ic. The North Face provided clothing and equipment, and successfully leveraged its visibility in the documentary, especially in the Everest ascent scenes.

The key message from the panel was that collaboration, not competition, will define the future of the maker economy. ‘The growth of platforms and creators is not exclusive. A strategic approach allows everyone to benefit,’ concluded Rúa Aguete.

La entrada Creator economy: the future of media se publicó primero en Prensario Zone.

ABS-CBN Studios from the Philippines secured the top spot at the MIPFORMATS Pitch 2025 with its physical challenge game show Save Your Cash. The competition, organized in partnership with FOX Entertainment Global, took place at the inaugural edition of MIP London (February 23-27, 2025).

The final selection was made by a jury that included Nathalie Wogue, Senior Vice President of Global Formats at FOX Entertainment Global; Davy Parmentier, Channel Director at Belgium’s VTM; and Burkhardt Weiss, Vice President of Content Development at Seven.One Entertainment Group in Germany.

Christian Gamboa presented Save Your Cash, which won a $5,000 prize, surpassing four other finalists: Easy100, a quiz show from Turkey’s Gülenay Şahin; The Getaway, a guessing game from the UK’s DLT Entertainment; Minus Life, a factual entertainment concept from South Korea’s Studio CR Inc.; and Musical Attraction, a singing competition from Indonesia’s Gamaliel Paulus S. Setianugraha.

The pitch event was held at IET London’s main theater, where jury chair Nathalie Wogue noted the range of global entries and the impact of the winning format.

La entrada ABS-CBN Studios Wins MIPFORMATS Pitch 2025 with «Save Your Cash» se publicó primero en Prensario Zone.

Digital TV Group (DTG) has presented an analysis of latency in live sports broadcasting in the UK, conducted during three key 2024 events: Wimbledon, the Olympic Games and the Paralympic Games. The study compared the performance, latency and accessibility of devices compared to the 2023 events, providing insight into the current state of sports content streaming over IP. While progress can be seen, challenges remain for some devices, particularly well-known brands that continue to experience significant delays.

The analysis highlights progress in reducing latency in live sports broadcasting, bringing the experience closer to the level of traditional broadcasts. However, challenges remain in achieving consistent performance across devices. As demand for real-time access to live events grows, the industry must continue to focus on reducing latency and improving accessibility to provide a smoother and more satisfying experience for all users.

Improvements in latency and device performance: One of the most relevant findings is the improvement in latency. BBC iPlayer achieved a significant reduction in latency from 55.9 seconds for the 2023 Coronation coverage to 40 seconds for the 2024 Olympics, an improvement of 15.9 seconds. Sky Glass, meanwhile, had the lowest latency among IP broadcast platforms, leading in all three events. However, some premium brand smart TVs showed the longest delays, with some devices exceeding one minute of latency, highlighting the need for improved consistency in device performance.

Challenges on Android devices and consoles: Android devices showed the highest latencies, with delays reaching up to one minute in some cases. In contrast, gaming consoles showed the greatest improvement, with a reduction of more than 34 seconds compared to 2023. This reflects progress on specialised platforms, although the disparity in performance between devices still remains significant.

Traditional transmission performance vs. IP: The report also showed that traditional transmission methods, such as DVB-T2 and DVB-S2, had the lowest delays, consistently outperforming IP transmission services. This difference highlights the current limitations of IP broadcasting in terms of latency.

Broadcast accessibility and functionality: In terms of accessibility, inconsistencies were found. While captioning was generally accurate on streaming platforms, some devices experienced problems enabling captioning during live broadcasts. In addition, the Channel 4 app showed notable flaws on the devices tested, with some having no options for live TV, highlighting the need for improved consistency in accessibility features.

User experience improvements: User experience improvements were identified, such as the implementation of proactive prompts to switch to higher quality UHD transmissions, which improves satisfaction and engagement. However, the report notes that further improvements still need to be made to applications to ensure consistent accessibility features across all devices.

Power consumption and the future of IP broadcasting: Preliminary tests on power consumption indicated differences between IP broadcasting and DVB-T2 mode, suggesting that further analysis is required as the industry moves towards IP content delivery. This assessment will be crucial to improve energy efficiency in the future.

La entrada Latency and performance improvements in live sports broadcasting se publicó primero en Prensario Zone.

Amazon Prime Video’s ad tier reached 11.6 million UK households in Q4, representing 39.4% of homes, a slight increase from 11.5 million in Q3. However, overall Prime Video subscriptions dipped marginally from 13.4 million to 13.3 million. Doug Whelpdale, Head of Insight at Barb, commented: ‘Set against a modest decline in overall Amazon Prime Video access, this would suggest newcomers to the service are taking the ad tier’.

Meanwhile, Netflix and Disney+ trailed behind Amazon in ad-tier subscribers but demonstrated stronger growth rates. Netflix’s ad tier reached 4.7 million households, up 24% from 3.8 million in Q3, while Disney+ saw its ad-tier subscriptions grow by 26%, reaching 1.5 million homes. Despite this growth, both platforms still have significant room for expansion, as the majority of their users remain on ad-free plans.  

‘The Netflix ad tier is now in almost 1 million more homes than in Q3, while the Disney+ ad tier is now in 26% more homes than the last quarter’, Whelpdale noted. ‘The majority of homes on these two services are still using the service without ads, so there is plenty of room for their ad tiers to grow’. 

Broader SVOD market trends  

Across the entire SVOD market, including both ad-free and ad-supported tiers, 20 million UK households had access to at least one streaming service in Q4, a slight decline from 20.1 million in Q3. Netflix remained the dominant player, with 17.1 million households subscribed, though this marked a small drop from 17.3 million in the previous quarter.  

Other major players included Disney+ with 7.6 million households, Discovery+ with 3.1 million, and Paramount+ with 2.7 million. Apple TV+ and NOW also reported modest figures, with 2.6 million and 2 million households, respectively.  

Shift toward Ad-supported models  

The country is following the cunrrent trend into the streaming landscape. According to Kantar’s Entertainment on Demand report, one-third of new paid subscribers to TV streaming services opted for ad-supported tiers in Q4, a significant increase from one in 10 a year ago. Notably, more than two-thirds of new Netflix subscribers chose the ad tier.  

Barb’s data highlights the evolving preferences of UK viewers, with ad-supported models gaining traction as a cost-effective alternative to traditional ad-free subscriptions. However, the overall market remains stable, with only minor fluctuations in household penetration rates.  

La entrada UK: AVOD tiers gain traction  se publicó primero en Prensario Zone.

One of the report’s standout findings is that European works accounted for 51% of all content broadcast in the EU in 2023, surpassing the share of U.S. productions (40%). This statistic is a result os the huge efforts of European audiovisual sector despite the dominance of Hollywood in global markets. ‘In absolute terms, over 138,000 distinct works aired on European television, including more than 88,000 European-origin productions’, said an spokenperson from the observatory.

Among these European works, content originating from EU27 countries represented 75% of the total, while the remaining 25% came from non-EU European countries, predominantly the United Kingdom. However, the dominance of region content was not uniform across all formats: unitary documentaries had the highest share of all works, while films had the lowest. Fiction series also demonstrated a strong European presence, particularly in contrast to single-production films.

National and non-national content: A balancing act

In fact, a closer examination of content distribution patterns revealed that the presence of European works varies significantly by country. High-production nations such as France, Germany, Poland, and Italy demonstrated a higher-than-average share of both European and nationally produced works. However, Spain was an exception, with a lower proportion of national content within its European share.

For smaller markets, such as Austria, Finland, and Sweden, European content also played a significant role, often exceeding the average share across the EU. In many countries, non-national European works were crucial in maintaining the visibility of European productions, particularly in markets with lower local production capacity.

Pub-broadcasters emerged as the most significant contributors to the diffusion of European content. Channels with an audience share of at least 1% also showed a stronger inclination toward European works compared to smaller networks. This suggests that larger and publicly funded networks play a crucial role in preserving European audiovisual diversity on television.

Additionally, European co-productions demonstrated a substantial advantage in cross-border circulation. On average, a European co-production was aired in 2.8 countries, compared to just 1.4 countries for purely national productions. This underscores the importance of collaborative efforts in ensuring European content reaches wider audiences beyond its country of origin.

The leading exporters of European audiovisual content

The report identifies the United Kingdom, France, and Germany as the top three exporters of European audiovisual works within the EU. The UK remains the dominant force in the export of documentaries and fiction series, while France leads in film exports, and Germany excels in distributing unitary documentaries.

Examining the most widely exported productions, the top 20 list is heavily dominated by theatrical films, highlighting the continued appeal of European cinema across borders. A notable trend is the influence of Luc Besson’s EuropaCorp, with nine of the 20 most exported films linked to the French production company.

In the realm of TV fiction, children’s animated series stand out as a dominant category, with 12 of the 20 most exported EU27 series falling into this genre. Of these, 11 were primarily produced in France, emphasizing the country’s stronghold in animation. Historical documentaries also showed strong exportability, with 15 of the 20 most exported European documentaries focusing on history.

Alberto Buitron

La entrada Europe: regional content surpasses US productions in TV broadcast figures se publicó primero en Prensario Zone.

This is a very special context where both Europe and the US market are complicated. Most of European titans suffer OTT project reductions, production costs and macro-economic situations, facing staff cuts and other alike moves. UK, France, Germany for the first time, are on the same. The US domestic market, on the other hand, is still down because of the writers strike and the lack of product. The recovery is coming but very slow. So, both regions need the Asian progressive growth as a main source of good partners for production, expansion and investments in general. 

But Asia has also advantages on its own. The Korean dramas are now a strong asset accepted everywhere, with series as ‘Squid game’ which are current global successes, among many others. At Netflix, beside English, Spanish and Korean are the two languages with more content in the platform worldwide, and growing. About entertainment, Japan has been an icon of ‘out of the box’ formats for the last 10 years, and every year their product have more acceptance. And they exchange… Korea in entertainment, Japan in fictions, are now very steady too. 

We have also India, China, Taiwan and Honk Kong as the other four Asian pillars, more open and prepared for business from and towards Asia. Indian traditional Bollywood engine is adding also high-end international productions. Singapore and Malaysia, the main actors at ATF every December, are strong production hubs with important support from their governments. And dramas from The Philippines in particular, Indonesia, Thailand… there are many Asian medium countries producing and gaining international sales.

There is a myth that Asian companies are slow and difficult to move forward, that you need to live in Asia to understand the different culture… all of this stuff, as soon as Internet makes the world global, is more and more relative. Business with most of Asian people can be done the same as with Europeans, MENA players, Americans, and the differences are usually in favor: Asian executives see business simple and direct, with focus on the important tips, thinking of the long term more than other regions. 

Especially, they are tech leaders, so the digital era and the new media are more natural for them, taking advantage of Youtube, Tiktok (from Singapore) and other platforms that now rule the world. Also, main Connected TV referents are from the region: Samsung, LG, etc. This is a very good moment to get involved with Asian issues. Both MIPLondon, with a special segment dedicated to Asian entertainment formats, and SeriesMania, with the key Asian players present, can be good first steps for who are not with solid Asian relationships so far. 

Nicolás Smirnoff

La entrada Asia, the answer for content business? se publicó primero en Prensario Zone.