BBC Studios and Movistar Plus+ have worked collaboratively to bring powerful, entertaining, and inspiring stories to Spanish audiences for the past decade. Together they have successfully grown the BBC Earth brand in the region premiering award-winning natural history content from Planet Earth III to Mammals and have brought a raft of premium drama series to local audiences, such as Time 2 and the award-winning Blue Lights.

Last month saw the introduction of four FAST channels to the Movistar Plus+ channel portfolio drawing on BBC Studios extensive and high-quality catalogue across all genres. BBC Top Gear and BBC Drama sit alongside BBC Food and BBC History which were specifically curated for Movistar Plus + subscribers. Under the expanded multi-year agreement, Movistar Plus+ will introduce two further FAST channels later this year.

Alongside the expansion of the BBC Studios FAST channels in Spain, Movistar Plus + will be the launch partners for BBC Player in the region later this year. The multi-genre BBC branded VOD product will feature up to 1000 hours of curated content from the BBC Studios catalogue, home of the most powerful, entertaining and inspiring stories. Curated specifically for the Spanish audience, BBC Player will feature a mixture of scripted and unscripted titles including The Louis Theroux Interviews, Simon Reeve’s South America and Amanda & Alan’s Italian Job and upon launch will premiere future commissions of Father Brown and Paradise brand titles, Death in Paradise, Beyond Paradise and Return to Paradise. The service will be available to all subscribers to Paquete Movistar+.

Movistar Plus+ will also act as BBC Studios’ advertising sales partner exclusively for the FAST channels inventory on Movistar Plus+ as well as for Player’s VOD advertising when the service launches.

BBC Studios and Movistar Plus+ have also renewed their commitment to a partnership around natural history and factual programming. The extended agreement will see a continuation of a dedicated BBC Earth branded block premiering the much-anticipated reimagining of one of the BBC’s best loved factual shows, Kingdom and Blue Planet III which will take the wonder, immersion, and discovery of the Blue Planet brand to extraordinary new depths.

Arran Tindall, Chief Commercial Officer, EVP – EMEA Key Markets, BBC Studios, said: “This expansion of our decade-long relationship demonstrates how BBC Studios is able to respond and adapt to our key partners’ needs and benefit their customers. The growth of BBC Player and FAST channels in EMEA is a core part of our strategy, offering complementary products that utilise our broad and high-quality content catalogue and provide opportunities to find new audiences in new markets. I’m thrilled that Movistar Plus+ have come on board as a launch partner for BBC Player in Spain alongside their long-established content relationship with us.” 

Janet Brown, President, Global Content Sales, BBC Studios, said: “Our partnership with Movistar Plus+ continues to thrive because we share a commitment to delivering entertaining stories that spark conversations. Our homegrown content, including crime dramas, natural history, science, and high-end documentaries, resonates strongly with Spanish audiences. This expanded agreement offers even more ways to connect and entertain audiences in the region with the content they love and deserve.”

Ismael Calleja, Partnerships Director at Movistar Plus+ said:“The expansion of our partnership with BBC Studios demonstrates Movistar Plus+’s commitment to quality content that is valuable to our customers. In addition to premium content from the likes of BBC Earth and new series such as Blue Lights, we are incorporating up to six new BBC channels and launching the BBC Player service with its on-demand catalogue in Spain for the first time, which all our customers will be able to enjoy. In a market saturated with audiovisual offerings, Movistar Plus+ continues to be committed to excellence as a differentiating factor and in this sense we are very satisfied to have BBC Studios as a strategic partner’.

La entrada MIP London: BBC Studios expands FAST channels and launches BBC Player in Spain se publicó primero en Prensario Zone.

Win Win! is the brand-new primetime entertainment format where every prize won in the studio will also be won by someone playing at home: it’s a ‘Win Win’!  

Contestants battle it out by answering questions based on a unique nationwide survey. Every episode features multiple winners and huge life-changing decisions. The format builds to a dramatic final episode where one contestant is guaranteed to win a jackpot of at least £1,000,000. This dynamic mix of strategy, trivia, and high-stakes decision-making promises thrilling gameplay both in the studio and at home.

Created by Hello Dolly, the format sees 40 contestants playing live in a studio, with viewers at home able to play along live via an app. The format gives viewers the chance to win some epic prizes from the comfort of their sofa… and the opportunity to compete for the million-pound jackpot at the end of the series.

Hannah Mabruk, VP Format Sales, NBCUniversal Formats, said: «Win Win! is the kind of game show that will keep you on the edge of your seat, shouting at the screen one moment and holding your breath the next. It’s fresh, interactive and unique to the market, which fits right into our sweet spot. We look forward to partnering with the best broadcasters and producers around the world to bring this original primetime format to audiences.»

Victoria Ashbourne, CEO of Hello Dolly, said: «We’re super excited and proud of this innovative new game show and thrilled to partner with the powerhouse that is NBCUniversal, to bring the format to audiences around the world.”

Win Win! joins NBCUniversal Formats’ diverse catalogue; a collection that features global superbrand titles such as The Real Housewives, which recently celebrated its 30th international adaptation, Saturday Night Live (SNL), Top Chef, That’s My Jam, Superstore, and Suits. The growing roster reflects a commitment to expanding the slate with major third-party IP for worldwide licensing.

La entrada MIP London 2025: NBCUniversal secures global rights to interactive game show «Win Win!» se publicó primero en Prensario Zone.

Set to premiere this year on HOT (Israel), Soul Sucker is created, written, and starring Bat Hen Sabag, the creative force behind the award-winning series Dumb—which was adapted in Germany as Rampensau, with more international versions on the way. The series is co-created and directed by Daphna Levin, known for her work as the creator, director, and producer of Euphoria and co-writer of In Treatment.

On Tuesday, February 25, Dori Media will host an exclusive screening for the global launch of Soul Sucker (eight episodes) at MIP London. Sabag and Levin will take part in a Q&A session, followed by a meet-and-greet.

Blending family drama, horror-comedy, and mystery, Soul Sucker unfolds over eight episodes with a touch of Romani folklore. Inspired by Sabag’s own life, this modern fairy tale of witches and spells delves into the complex relationships between mothers and daughters across three generations of an oppressive matriarchal family. The series explores the emotional wounds passed down by mothers while maintaining a unique sense of humor and an unconventional tone.

«Soul Sucker is unlike anything we have ever launched in the international market,» says Nadav Palti. «It’s a comedy, a mystery, a family drama, and a horror series—all packed into one gripping show you can’t take your eyes off. Created and starring Bat Hen Sabag, who turned Dumb into a global hit, and co-created by Daphna Levin, the creative mind behind Euphoria, we are confident that this exceptionally unique and original series will resonate with audiences worldwide.»

Recently, Dori Media announced that its flagship format Power Couple has been sold and renewed in multiple territories, including Brazil, Germany, and India.

Created by Abot Hameiri, Power Couple continues its global success with numerous adaptations—spanning over 20 countries, more than 60 seasons, and over 900 episodes produced.

At the latest MIPCOM, Dori Media also presented several entertainment formats, including Spy Date and Love at Third Sight, which redefine romance by exploring relationships in later stages of life. The company also showcased its popular street game Smart Face, the talent show Da Next, the game show Intuition, the reality stand-up competition Stand-Up Warrior, the shiny floor game show The Best of All, and more.

La entrada Dori Media presents «Soul Sucker» at MIP London for global launch se publicó primero en Prensario Zone.

Spearheaded by acclaimed international film distributor Joy Efe Odiete, AVAZ is set to become a go-to destination for African storytelling, showcasing top Nollywood films and TV series to audiences worldwide. The service is currently available on Hisense TV VIDAA Channels and VIDAA TV in South Africa and AfrolandTV, with upcoming launches across Connected TV platforms in South Africa.

‘We are thrilled to collaborate with Blue Pictures Entertainment and Joy Efe Odiete to bring AVAZ to a global audience’, said Stephen L. Hodge, CEO of OTTera. ‘This partnership represents our continued commitment to expanding access to premium African content through innovative FAST channel distribution’.

Joy Efe Odiete, the visionary behind AVAZ, expressed enthusiasm for the channel’s launch, stating, «Nollywood is a powerhouse of storytelling, and AVAZ will serve as a premium platform for audiences to experience the best of our industry. With OTTera’s expertise in global distribution, we are ensuring that Nollywood’s finest content reaches the global audience.»

‘At OTTera South Africa, we are committed to expanding access to high-quality African storytelling, and AVAZ provides an exciting new platform for audiences to engage with premium Nollywood films and series’, said Wendy Parkies, Business Development for OTTera South Africa. ‘This partnership with Blue Pictures reaffirms our dedication to driving the evolution of African entertainment across digital platforms. As FAST continues to grow as a preferred viewing option, AVAZ is set to elevate the reach of Nollywood, bringing captivating films, series, and diverse content to African and international audiences’.

La entrada OTTera and Blue Pictures introduce AVAZ, a dedicated FAST Channel in South Africa se publicó primero en Prensario Zone.

Created by Objekt and originally premiering on Channel 4’s digital-first platform, Channel 4.0, Clone Heads blends high-energy physical competition with outrageous comedy. Each episode sees two popular content creators lead a team of oversized, balloon-headed clones into three rounds of wild, unpredictable challenges. The format combines classic playground games with strategic twists, offering a fresh, engaging take on competitive entertainment.

Helen Greatorex,Head of Acquisitionsat Banijay Entertainment, commented: ’Clone Heads is pure, unfiltered fun — a visually striking, endlessly-entertaining format, and a perfect showcase for creator talent. Buyers looking for strong digital-first audience engagement and multiplatform adaptability will love this show, and it’s fantastic to spotlight Objekt’s format among our London TV Screenings line-up’.

Bart Frank, Creative Director at Objekt said: ’Clone Heads not only celebrates the vibrancy and creativity of digital talent but also stands as a significant recognition of digital formats. It highlights the unique capabilities of digital content producers to innovate and adapt in an ever-evolving media landscape. With Banijay Entertainment, we’re excited to push the boundaries of traditional and digital media, bringing our distinct, playful competitive spirit to viewers worldwide’.

Cat White, Digital Commissioning Executive, Channel 4 said:‘I’m delighted to see Clone Heads become part of Banijay Entertainment’s portfolio. Originally developed for YouTube with its mischievous 4.0 twist on a traditional gameshow, the world of Clone Heads was built on the idea of silliness done at scale. I can’t wait to see how that world will be adapted across Banijay Entertainment’s global network – and for new audiences to be delighted by the big headed brilliance’.

Clone Heads joins Banijay Entertainment’s diverse slate of standout third-party formats presented at London TV Screenings. This includes My Name is Gabriel from Korea’s TEO Corp, originally produced by JTBC for Disney+; Genius Game, another hit from Korea, developed by CJ ENM  as a travelling format currently being adapted for ITV by Banijay UK label Remarkable;  ATypical Critics from French-Canadian MasterChef Quebec producers Pixcom and Game of Wool, a unique competition format from Scotland-based Hello Halo (part of STV Studios). 

The deal was negotiated by Luci Sanan at 53 Degrees North Media. 

La entrada «Clone Heads» joins Banijay’s line-Up for London TV Screenings se publicó primero en Prensario Zone.

Newly released figures for 2024 highlight Channel 4’s success in outperforming competitors on YouTube. The broadcaster recorded higher average views per video than BBC, ITV, and Channel 5, and secured more total views than ITV, Sky, and Channel 5. Additionally, Channel 4 News achieved a stronger performance on YouTube than both ITV News and Sky News, reflecting the growing appeal of its digital-first content strategy.

Digital expansion drives audience growth

As part of its Fast Forward strategy, which aims to accelerate social media reach, Channel 4 registered 2.3 billion views across its social platforms in 2024—a 5.5% year-on-year increase. The network has focused on building a global audience for British-made original content, ensuring that its entertainment and factual programming remains accessible across multiple platforms.

Sacha Khari, Channel 4’s Head of Digital Commissioning, emphasized the impact of this shift: ‘In just two years, we’ve built a huge global fan base for British-made original content across YouTube and social platforms. This expansion has opened new doors for collaborations with UK producers, creators, and brands—bringing Channel 4’s values and award-winning content to younger audiences’.

Broadcaster’s efforts to engage younger audiences have been particularly successful on YouTube. Views of full episodes surged 169% year-on-year, exceeding 110 million organic views in the UK. Several hit shows contributed significantly to this growth:

• Gogglebox – 4.3 million views
• First Dates – 2.9 million views
• Murder Case: Digital Detectives – 4.2 million views
• 60 Days On The Estates – 2.7 million views
• To Catch A Copper – 2.5 million views

Beyond YouTube, Channel 4 has also seen a surge in engagement on TikTok. The broadcaster now operates seven genre-specific TikTok channels, which collectively experienced an 81% audience growth from 2023. One of the standout successes was Married At First Sight UK, which generated millions of views, including a series teaser that amassed 14.5 million UK views.

La entrada Channel 4: more views and more engagement on YouTube se publicó primero en Prensario Zone.

In which picture MIPLondon is taking place? The last figures we’ve received before the deadline are good: organizer RX France speaks about 1600 registered delegates from over 70 countries, including almost 800 buyers. The last MIPTV had 3500 people from 84 countries and 1100 buyers, so the intention is to make focus on less people more important, with 50% of buyer density from total. There are no booths, sponsors have from tables to suites, with chances extra as meeting and screening spaces. The event is developed in two hotels at the same street block —Savoy Hotel and IET London— with all the London Screenings locations around, 10 minutes walking at the most.

The event reproduces the schedule of MIPTV: Sunday for pre events —MIPDoc, MIPformats, that last till Tuesday— and the main market days from Monday to Thursday inclusive, that promises movement till midday. The pre events assure the focus on unscripted —MIPTV was called the unscripted week in the past— while London Screenings climax gives priority mainly to fiction. There are also developments about emergent Asian entertainment formats —Japan and Korea, leaders— ‘Digital First’, with YouTube and Tiktok on the spot, Branded Entertainment with the advertisement connection and lastly a Kids summit, for the mature UK kids commissioners.

How the market has reacted to MIPLondon? Mainly with caution, with many players that usually invested at MIPTV, reducing deployments. The opinions against say that the event and the city are expensive. But well, the MIPTV traditional movement needs a market and it continues at MIPLondon. If the synergies with London Screenings add high-end industry members, with the buyer density we stressed, we’ll have a new fresh market. Let’s see soon…

About SeriesMania, the Lille event finished its las edition with very good numbers: 4300 visitors, 18 delegations from different countries, 50 pitches and keynotes, conferences from real industry leaders: TF1, M6 and France Televisions CEOs, etc. ‘We’ve had a very fluid show’, said Francesco Capurro, head of the organization. ‘It has been our biggest event so far’, completed.  The event meets its Festival tradition to the content market need of finding new people, fresh buyers.

Also, the North of France is a good place for Northern countries members, 2^nd tier but strong players, not common to see in Cannes. SeriesMania was always before MIPTV, but the MIPLondon February location doesn’t seem to affect it, as they have mainly different audiences. French entities in particular, support events in France and don’t others, made outside France.

Main market trends to take in mind? Worldwide, the challenge is the same: traditional businesses are flat or down, while new digital segments are still hard to monetize. Most of the new platforms appeared recently are below the AVOD & FAST models, not paying for the content, they offer revenue sharing models and so on. So, a sort of cross-roads is held above industry members. Should I continue with traditional? Must I invest more in digital? The decision of most of the industry is to move forward over the new times, and to find solutions on the road.

Certainties: Tiktok and YouTube are taking most of the advertisement pies, so people move to these kinds of media at the new times. And the incomes road is always through advertisement, because the other models are not consistent on time. Good challenges are to move into digital advertisement twists —ad package processes of ad agencies can define more than content sometimes— and to explore the monetization options that the market is already providing: branded content, screen sharing, more co-productions at every step, production hubs for entertainment, etc.

In this so taught content moment, there are also many companies having a good present: the international studios that produce the same with lower costs, broadcasters that develop 360 business, digital platforms with solid niches, etc. A good present, not only future, is possible, when someone takes good decisions kept on time.

Nicolás Smirnoff

La entrada MIPLondon & SeriesMania 2025: the changes are here se publicó primero en Prensario Zone.

What began as a platform for anonymous, user-generated content has evolved into a sophisticated ecosystem where creators operate like mini-studios, complete with production teams, advertisers, and agents. According to a report by Oxford Economics, the service now supports 150,000 jobs worldwide, reflecting its transformation into a major industry player.  

Pedro Pina, Head of YouTube EMEA, emphasized the platform’s pioneering role in sharing revenue with creators. ‘YouTube has been the pioneer of a new creative economy. It’s the first and only platform that shares its revenue with creators, he said recently on a interview. This model has not only empowered individual creators but also spurred the growth of a new media landscape, where content production has become increasingly professionalized.  

Spain: A YouTube powerhouse 

Spain stands out as a key player in the global YouTube ecosystem. Creators like AuronPlay and El Rubius have dominated the Spanish-speaking world for over a decade, helping to export Spanish content to Latin America and beyond. Pina highlighted that over 80% of the viewing time for Spanish-produced channels comes from outside the country, a testament to the international appeal of Spanish creators.  

‘Spanish creators quickly grasped YouTube’s potential to reach audiences beyond their borders. This has turned Spain into a content factory with immense international potential’, Pina noted. With the global Spanish-speaking population on the rise, this trend is expected to grow further.  

Adapting to new formats and trends  

YouTube has continually adapted to changing viewer preferences, from live streaming to short-form videos. The introduction of “Shorts” in 2021, inspired by the success of TikTok and Instagram Reels, has been a game-changer. With 70 billion daily views and a 50% yoy increase in channels uploading Shorts, the format has become a core part of the platform’s offering.  

Monetization of Shorts, however, remains a point of contention among creators. While Pina acknowledged some dissatisfaction, he insists that the format’s revenue growth is on track. Additionally, YouTube’s membership model, which allows fans to support creators through subscriptions, saw a 50% increase in 2023, benefiting both creators and the platform.  

The TV comeback  

One of platform’s less-discussed successes is its integration into television. ‘A new generation that was used to watching videos on their phones is now returning to the big screen at home’, executive explained. The service aimed to replicate the mobile experience on TV, focusing on simplicity and ease of use while exploring ways to enhance interactivity.  

The AI: a new path?

The rise of generative AI poses both opportunities and challenges for YouTube. While AI-generated content raises concerns about misinformation and the devaluation of human creativity, Pina remained optimistic. ‘YouTube continues to grow. Last year, more content was uploaded than ever before, and we’ve reduced views on content that violates our policies’, he said.  

The delegate remarked that company is already using AI to improve content moderation, but the unauthorized use of its vast video library to train AI models has sparked controversy. Also emphasized that scraping content without permission violates YouTube’s terms of service and undermines creators’ rights. ‘We’re taking measures to block such practices and exploring ways to give creators more control over how their content is used’, he added.  

At the same time, has also introduced labels to identify AI-generated content, particularly for sensitive topics, ensuring viewers are aware of what they’re watching. Additionally, has launched features like “YouTube Health” to combat misinformation and teen accounts that allow parents to monitor their children’s activity.  

La entrada YouTube EMEA: redefining the digital economy 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.

The service began as a TVOD service, providing users with the latest movie releases to rent or purchase. However, in 2019, the platform expanded its offerings to include AVOD and FAST services, responding to the growing demand for free, ad-supported content. Today, OTT boasts 10,000 AVOD titles and over 500 FAST channels, including 100 owned and operated (O&O) channels tailored to key markets like Western Europe, the Nordics, the Netherlands, and Poland.  

‘FAST has become a cornerstone of our business’, Milanez explained. ‘It complements our TVOD and AVOD offerings, giving users the freedom to choose how they want to consume content—whether they prefer to buy, rent, or watch for free with ads’.  In fact, the executive attributes Rakuten TV’s success in the FAST space to three key pillars: scale, ad monetization, and content expertise.  

Regarding scale pillar, the service’s decade-long partnerships with TV manufacturers and device providers have enabled the platform to reach millions of households. Its branded remote-control button and pre-installed app on smart TVs have been instrumental in driving user adoption.  As for Ad monetization, leverages its in-house ad sales team, supported by Rakuten Advertising, to maximize revenue from its FAST channels. Local sales teams in key markets ensure strong connections with agencies and brands.  

And for content expertise, due its years of experience in content licensing and production, has built a robust library of Hollywood and European films, documentaries, and series. Its ability to curate and schedule content has been critical to its FAST success.  

‘Our existing relationships with major Hollywood studios and content distributors have made the transition from TVOD to AVOD and FAST smoother’, Milanez noted. ‘We understand the local content expectations in each market, which helps us deliver relevant programming’.  

Challenges: content discoverability and user segmentation

Despite its successes, Rakuten TV faces challenges common to many streaming platforms. One of the most pressing is content discoverability. With thousands of titles and hundreds of channels, ensuring users can easily find what they want to watch remains a priority.  

‘There’s still a lot to do in terms of user segmentation and customization’, Milanez admited. ‘These tools will be key to improving content discoverability and guiding users to their preferred form of access’.  

In fact, Milanez believes that the growth of the European FAST market hinges on two factors: the availability of top-tier content IPs and the continued shift of advertising budgets to connected TV (CTV).  

‘We need to see more premium content transition to FAST to attract mainstream audiences’, he said. ‘At the same time, the advertising market must continue to allocate more budget to CTV. The entry of SVOD services into AVOD, and new players into the European market, will help educate and incentivize this transition’.  

Balancing innovation and UX  

As Rakuten TV continues to expand its FAST offerings, the platform is focused on balancing innovation with user experience. While the FAST model has proven successful, Milanez emphasizes the importance of maintaining high-quality content and seamless ad integration to keep users engaged.  

‘Our goal is to provide a diverse and accessible entertainment experience’, remarked. ‘Whether users want to rent the latest blockbuster, binge-watch a series, or tune into a free channel, we aim to make it easy and enjoyable’.  

La entrada Rakuten TV: from TVOD pioneer to a multi-model streaming giant 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.

Offers and indentify content within the German market differs significantly from international sales, explained Zaulich during an interview. ‘We’re lucky enough to have the ZDF brands, which are well-known and sought-after for FAST channels’. However, aligning with the broadcaster’s strategy remains crucial in the domestic market. ‘We have to ensure that our approach complements the public broadcaster’s interests’.

Internationally, the company has more flexibility. ‘I have the freedom to monetize across different platforms—AVOD, FAST, SVOD—without limitations’, she said. However, global markets present a different challenge: ‘We don’t have a vast pool of established brands outside of Germany, so we focus on building them from scratch’.

The role of technology in content monetization

One of the major shifts in content distribution is the increasing role of operating systems and device platforms. ‘FAST is a symptom of a movement towards the device’, Zaulich noted. Traditional broadcaster-driven content acquisition is giving way to a more platform-centric approach. ‘We’re no longer just selling content to TV networks. Now, platforms embedded within operating systems—whether on smart TVs or mobile devices—play a huge role in content discovery.”

Understanding these algorithms and how content surfaces on different devices is now a critical part of distribution strategy. ‘With so many platforms available, discoverability is everything’, she added.

Avoiding market cannibalization

As streaming options expand, there is concern about whether multiple platforms could cannibalize each other. Zaulich believes that while it’s a factor to consider, the impact is often overstated. ‘We need to ensure that our FAST channels don’t interfere with the linear service of the broadcaster. But what we’re seeing is that FAST often reaches new audiences who wouldn’t necessarily use the broadcaster’s catch-up service’.

Moreover, audiences tend to remain within the ecosystem they are accustomed to. ‘People invest in additional channels within their preferred platform rather than constantly switching between services’, she observed.

While FAST has seen immense growth in the U.S., Zaulich doesn’t expect the same level of expansion in Europe. ‘In the U.S., FAST has reached its peak because of the fragmented nature of the broadcasting system’, she assured. ‘In Europe, public broadcasters are much more established, so FAST will complement existing services rather than replace them’.

That said, the format is growing in Germany, France, Latin America, and even MENA. ‘Every market requires a different approach’, she noted. ‘What works in one territory may not work in another, so we have to adapt our strategies accordingly’.

The importance of localization

Localization plays a significant role in ZDF Studios’ international strategy. ‘The German-speaking market requires localized content’, Zaulich emphasized. ‘And with so many languages in Europe, adapting content is essential’.

Some regions, like the Netherlands and MENA, are more accustomed to subtitles, but others demand full dubbing. ‘We assess whether it makes sense to localize a full package or start with a smaller test’, she said. The company is also exploring AI dubbing to make localization more cost-effective.

In fact, ZDF Studios takes a calculated approach to entering new markets. ‘We prefer to launch with non-exclusive packages and smaller partners’, mentioned, citing that company’s early collaboration with Pluto TV in Germany in 2019 as an example. ‘Back then, my finance team thought it wasn’t worth it. Now, no one questions it anymore’.

Beyond viewership numbers, the company evaluates audience behavior on different platforms. “Content that works on one channel may not work on another. It’s all about experimenting and learning what resonates.”

Social media as a conversion tool

Social media platforms, particularly TikTok and YouTube, have become essential in driving audience engagement. ‘We’ve seen a direct correlation between viral TikTok clips and increased YouTube views’.

She also highlighted a viral TikTok post about the Freemasons, which generated thousands of comments and significantly boosted views of a related documentary on YouTube. pIt’s not just about repurposing content—we produce specifically for TikTok to maximize engagement’.

Community management plays a vital role in this strategy. ‘When we had a viral TikTok on North Korea, our documentary hit one million views in a month. That wouldn’t have happened without active engagement from our social media team’.

La entrada ZDF Studios: adapting to FAST segment, AI dubbing and social media 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.

‘Given the challenges that lie ahead and the giants that surround us, M6+ embodies our ambition to become the obvious choice for online entertainment for the French’, said Nicolas de Tavernost, Chairman of the Groupe M6 Executive Board. ‘We have invested in technology, exclusive content, and a quality user experience. Our ambition is big, but it is rooted in our history and fueled by our passion for TV’.

Doubling content, expanding reach

M6+ is designed as an AVOD platform that is significantly expanding the group’s digital content offering. The company aims to double the amount of free programming available to 30,000 hours within a year, including 10,000 hours of exclusive content. The service boasts an extensive catalog, featuring 300 films per year, 11,000 hours of series from major studios such as Disney, CBS, Sony, and Paramount, as well as a substantial offering of reality shows, youth programming, and original productions.

To attract and retain younger audiences, the streamer introduces several innovations, including an AI-supported search engine and an interactive player. Additionally, the “M6+ Stories” format that provides short-form content across social media, strategically funneling viewers toward the platform’s full-length programming and podcasts.

With an investment of up to €100 million, M6+ is a cornerstone of the company’s strategy to accelerate its streaming revenues and solidify its position in the evolving media landscape. The platform offers features such as HD streaming across all devices, cast-to-TV functionality, multi-profile support, and more than 20 free ad-financed streaming TV channels (FAST).

The move comes at a critical moment, as traditional broadcasters worldwide face growing competition from global streaming giants. The OTT is also expected to play a key role in broadcasting major events, including the UEFA European Football Championship, reinforcing its appeal to French viewers.

As for financial, Groupe M6 is betting big on streaming, with a goal of tripling its digital revenues to over €200 million by 2028. The company has already seen strong early momentum, reporting a 34% increase in streaming revenue in 2024, reaching €100 million. «We are seeing an increasing shift in content consumption, and M6+ is positioned to capture this growth,» noted an M6 spokesperson.

A new advertising model

Beyond content expansion, M6+ represents a transformation in Groupe M6’s advertising strategy. The platform amplifies the offerings of M6 Publicité, the company’s advertising sales unit, by providing advanced data-driven targeting and enhanced ad exposure optimization.

Executives at the launch event emphasized the advantages of integrating streaming with traditional linear TV, creating a more robust advertising proposition. The company’s video advertising revenue reached €912 million in 2024, with digital formats playing an increasingly important role.

La entrada M6+: the ambitious digital strategy of Groupe M6 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.

In 2024, DAZN streamed over 90,000 live events across more than 200 markets, reaching an audience of over 300 million regular viewers. The company credits its success to its ability to introduce viewers to new sports, experiences, and brands. ‘The scale that an audience of over 300 million regular viewers affords enables DAZN to successfully introduce its customers to new sports, experiences, and brands’, the company stated.  

Financially, the platform has seen substantial growth. Between 2021 and 2024, the company more than doubled its revenues to $3.4 billion, with projections to reach $6 billion by 2025. This growth has been driven by strategic investments, unbundling sports content, and introducing tiered subscription models. DAZN also reported a 50% increase in underlying profitability in 2024.  

Alliances and investments as key strategies

A significant milestone for DAZN was securing global and exclusive rights to FIFA’s Club World Cup, which will be broadcast FTA this summer. This move aligns with DAZN’s broader strategy to expand its reach and solidify its position as a leading sports streaming platform.  

Shay Segev, DAZN’s CEO, emphasized the company’s ambitious vision. ‘2024 was a landmark year for DAZN, but we are only getting started. As we step into 2025, our ambitions are bigger than ever. Our aim to reach one billion global users reflects the scale of our vision’, said. He added, ‘Our mission is clear: to build the biggest sports entertainment company by connecting fans everywhere to the sports they love; and this creates an incredible network effect, which is unique to DAZN’.  

OTT’s strategy includes bold investments and acquisitions, such as the recent agreement to acquire Australia’s Foxtel Group. Segev described this as a ‘statement of intent’ and a demonstration of DAZN’s commitment to becoming the global home of sport. ‘It’s about leveraging our first-mover advantage – scaling faster, delivering better experiences, and cementing DAZN’s reputation as the partner of choice for leagues and rights holders’, he explained.  

The company has also secured several high-profile broadcasting deals. These include a multi-year agreement with the UIM E1 World Championship, an all-electric raceboat series backed by celebrities like Didier Drogba and Rafael Nadal. DAZN will broadcast the series for free in key markets, including Canada, France, and Japan.  

Additionally, has renewed its partnership with Hexagone MMA, bringing mixed martial arts to millions of households worldwide.

Another significant deal is the eight-year partnership with the European League of Football (ELF), which will see DAZN broadcast all 101 games of the 2025 season. This agreement includes the launch of an exclusive “ELF Game Pass” product, further expanding DAZN’s content portfolio.  

DAZN’s founder, Sir Len Blavatnik, has also shown strong support for the platform, investing an additional $827 million in 2024, bringing his total investment to $6.7 billion. This financial backing underscores the company’s confidence in its growth trajectory.  

While service’s achievements are notable, the company faces challenges in maintaining its momentum and achieving its ambitious goals. As the sports streaming market becomes increasingly competitive, DAZN will need to continue innovating and delivering value to both viewers and rights holders.  

La entrada DAZN doubles revenue, secures key rights and sets billion-user goal se publicó primero en Prensario Zone.

Prensario repasa los datos recientes que dan fe sobre las enormes transformaciones que está experimentando el segmento en el continente, y cuáles son las oportunidades que pueden aprovechar los jugadores nuevos para monetizar su negocio.

The U.S. market: vMVPDs gain ground, traditional Pay-TV adjusts

The U.S. television market has seen a notable shift in recent years, with vMVPDs emerging as key players. By the second quarter of 2024, services like YouTube TV and Hulu + Live collectively reached 17.1 million subscribers, accounting for 13% of U.S. households. Despite a slight decline from their peak of 17.8 million in 2023, vMVPDs remain a significant force in live linear television.

YouTube TV leads the segment with 7.9 million subscribers, bolstered by its 2023 acquisition of the NFL Sunday Ticket, which attracted a surge of sports viewers. Hulu + Live and Sling TV follow, with 4.4 million and 2 million subscribers, respectively. The growing prominence of these platforms is evident in their ranking among live TV providers: YouTube TV now holds the fourth position overall, behind Charter, Comcast, and DirecTV, underscoring the increasing acceptance of internet-based live television as an alternative to traditional cable and satellite.

Traditional pay-TV providers, though still serving millions of households, are in a period of strategic adjustment. Charter remains the largest conventional operator with 13.3 million subscribers, slightly ahead of Comcast at 13.2 million. Despite continued subscriber losses, these companies have sought to integrate streaming services into their offerings to retain value. Charter, for example, now includes Disney+ Basic for Spectrum TV customers, demonstrating a move toward hybrid models that blend traditional and digital content.

However, the broader market faces ongoing challenges. Traditional pay-TV providers lost 1.7 million subscribers in Q2 2024, marking a 3% decline and continuing the sector’s downward trajectory. Pay-TV penetration dropped to 40.8% of U.S. households, compared to 46.8% in Q2 2023. Even vMVPDs, which had previously been in growth mode, saw their first subscriber decline in 2024, losing 0.7 million users in the first half of the year. Analysts attribute this partly to churn among viewers who subscribed to YouTube TV solely for the NFL Sunday Ticket.

Looking ahead, live linear television—both traditional and virtual—could fall below 50% of U.S. households by mid-2025, reflecting shifting consumer preferences and competitive pressures from on-demand streaming platforms. To remain competitive, providers will need to continue innovating and diversifying their offerings, ensuring they align with changing viewing habits.

Latin America: a market at a crossroads

Latin America’s television market is also undergoing a transformation, driven by the decline of traditional pay-TV and the rise of streaming services. While global streaming giants have expanded their footprint in the region, local platforms have also gained traction, creating a highly competitive environment.

Major pay-TV operators in Latin America are responding to these shifts by focusing on connected TV (CTV) and content aggregation. This strategy has helped revitalize the sector, forcing competitors to adapt to new consumption patterns. According to Dataxis, the Latin American pay-TV market contracted by 3.5% in 2023, the largest decline in the past five years. Brazil, the region’s largest market, lost more than 2 million pay-TV subscribers over the past two years, largely due to migration from cable and satellite services to OTT pay-TV options.

Despite this downturn, certain segments remain resilient. IPTV added 1.5 million subscribers across Latin America in 2023, while the OTT pay-TV sector is projected to grow by 10 million subscribers by 2028, demonstrating the continued demand for alternative viewing models. Mexico has emerged as an exception to the overall trend, solidifying its position as the largest traditional pay-TV market in Latin America, with an estimated value of $3.2 billion USD in 2023 and an average of 18.16 million subscribers in the final quarter of the year.

One of the most notable recent developments in the region is the launch of VTR’s OTT pay-TV offering in Chile, which integrates eight streaming platforms—including MAX, Prime Video, Universal+, and Atresplayer—into its set-top boxes. This move reflects the growing role of super-aggregators, as traditional operators seek to bundle streaming services within their ecosystems to retain customers and provide a seamless viewing experience.

The pay-TV landscape in Latin America remains dominated by six major players, which together control nearly 60% of the market. América Móvil leads the segment, operating in 15 countries, while Televisa has seen a decline in market share from 17% to 13.7% over the past five years. Vrio Corp (DirecTV) has faced a 1.5% drop in subscribers, though it has adapted by shifting focus toward OTT services. Other key players include Megacable (5.76%), Millicom (5.75%), and Telefónica (4.66%). In the OTT pay-TV segment, the dominant players are Vrio, América Móvil, Grupo Globo, Telefónica, MVS, Zapping TV, and Watch Brasil.

In addition, the Connected TV (CTV) segment has emerged as a major growth area in Latin America, closely linked to the evolution of pay-TV. The return to a lean-back viewing experience, combined with the familiarity of live content, has contributed to its widespread adoption. According to Comscore, Mexico leads the region in CTV adoption, reaching 67% of viewers, followed by Argentina and Chile at 61%.

The dominance of smart TVs—preferred by 94 out of every 100 viewers—has further solidified the role of CTV, aligning with the rise of AVOD services. Pluto TV, ViX, Tubi, Canela, The Roku Channel, and Crunchyroll have all expanded their AVOD offerings in Latin America, capitalizing on the growing audience preference for free, ad-supported content.

According to consultancy firm, 95% of CTV households in Latin America used at least one AVOD service in the past month, while 50% of viewers expressed a willingness to accept ads in exchange for lower costs. This shift presents a significant opportunity for advertisers and further underscores the convergence of digital and traditional viewing habits.

La entrada Americas: the changes of the TV landscape se publicó primero en Prensario Zone.

This subscriber boost contributed to streamer’s overall growth, bringing its total global subscribers to 282.7 million and driving a 15% year-over-year revenue increase to $9.8 billion. Co-CEO Gregory K. Peters credited the company’s ‘decade-plus investment in creative communities’ across APAC as a key factor in this success. ‘We are increasingly seeing a steady drumbeat of hit titles from countries around the world,’ said in an earnings call.

Strong local content push

The platform strategy for the region revolves around expanding local-language content, particularly in Japan, Korea, Thailand, and India. This approach has yielded tangible results: Officer Black Belt (South Korea) amassed 32.8 million views, Maharaja (India) reached 22.6 million, and Culinary Class Wars (South Korea) attracted 11 million views. The demand for locally-produced content is evident—Netflix estimates that 80% of premium video-on-demand viewership in Asia is driven by local content.

Minyoung Kim, Netflix’s VP of content for APAC (excluding India), emphasized the importance of ‘locally authentic’ storytelling. ‘The goal is to make sure that these stories find audiences not only within their home country but also beyond domestic markets’, she said.

As for company’s commitment to Southeast Asia is also particularly notable, given that competitors like Disney+ and Prime Video, which have scaled back their investments in original content from the region. This shift has left Netflix with fewer direct rivals, aside from Hong Kong-based Viu and Indonesia’s Vidio.

The Ad gamble

Beyond content, Netflix is aggressively expanding its ad-supported tier, which is now available in APAC markets including Australia, Japan, and Korea. The company reported that ad-supported plans accounted for over 55% of new signups in Q4 2024, a notable jump from 45% in July. Peters acknowledged that while the platform has seen steady growth in ad revenue—doubling year-over-year in 2024—there is still ‘considerable work’ to do.

Industry analysts remain cautious. Ian Whittaker noted that Netflix has not disclosed specific advertising revenue figures, arguing that the company’s use of words like ‘solid’ to describe growth suggests it is not accelerating. ‘If the absolute number was significant, Netflix would be reporting it’, he observed.

Despite these concerns, Netflix continues to refine its advertising infrastructure. The company plans to expand programmatic guaranteed buying in APAC later this year, a move Peters says will offer «more flexibility, more ways of buying for advertisers, and fewer activation hurdles.»

A long-term bet

Netflix is taking a long-term approach to nurturing creative talent in APAC. The company hosted a film camp in Thailand this year and plans to expand similar initiatives across the region. For local filmmakers, the service offers a platform to reach global audiences.

Indonesian director Yosep Anggi Noen, whose film 24 Hours with Gaspar was released on Netflix, believes the company provides opportunities for unconventional storytelling. ‘They are willing to choose stories that cater to an audience that can appreciate a more complex plot and characters’, he said.

La entrada Asia drives Netflix’s growth as other regions stall se publicó primero en Prensario Zone.

Over the years, Discovery has built a loyal audience around long-standing franchises such as Deadliest Catch, which has been on air for over 20 years, and Gold Rush, a staple for 15 seasons. These shows continue to perform exceptionally well, largely due to the authenticity of their cast members. However, McEvoy acknowledged that keeping formats fresh is crucial.

‘You can’t just keep having the same people over and over again’,  she explained during the panel in Croatia. ‘Some characters might even pass away during filming, but this allows us to bring in new personalities and reflect the diversity and authenticity that viewers love about Discovery’.

A prime example of longevity in factual entertainment is Wheeler Dealers, which has been on air for two decades and remains one of the most successful automotive shows after Top Gear. ‘People feel like they personally know Mike Brewer’, she said. ‘He’s been a constant presence, guiding them through the process every week, and that connection is invaluable’.

Technology as a storytelling tool

One of the key factors in keeping these shows relevant is embracing new production technologies. The evolution from 4:3 aspect ratio to 16:9, and now 4K, has been a testament to how Discovery adapts its content.

‘For the anniversary of Wheeler Dealers, we aired a special that showed the very first episode in its original format. It was fascinating to see Mike Brewer 20 years younger, in 4:3 format, and realize just how much technology has changed’. pointed. ‘These advancements make a real difference in how stories are told’.

Social media has also become an integral part of content production. ‘Take In the Eye of the Storm, our biggest new hit this year. It taps into people’s curiosity about extreme weather, blending social media footage with expert testimonials. A decade ago, we had Storm Chasers, but now, with platforms like Instagram and TikTok, we can incorporate real-time content that resonates even more with audiences’.

McEvoy also highlighted that some legacy shows, even those that were ‘rested’ years ago, are making a comeback due to renewed interest. ‘Trends are cyclical’,  noted. ‘True crime, for example, continues to captivate audiences. People want to understand what’s happening in the world, and revisiting older formats with a fresh perspective allows us to do that’.

One such example is the revival of Storm Chasers, which originally aired 14 years ago. ‘With climate change making extreme weather more frequent, there’s an even greater appetite for this kind of content. People want to understand why we’re seeing massive floods and hurricanes, and we can now enhance these stories with modern storytelling techniques’.

Local productions with global potential

As part of Warner Bros. Discovery, the network has also expanded its focus on local productions in Europe and other regions. ‘Working for a company of this scale means we have the ability to create localized versions of successful formats’, McEvoy explained.

For instance, Naked and Afraid, a popular survival show, has been adapted for Latin America, with Brazilian and Spanish versions currently in development. ‘These formats travel surprisingly well’, added. ‘They often feel more relatable than our American content for local audiences’.

Another example is the success of “blue-light” programming—content focused on emergency services. Shows like Helicopter ER and Cornwall Air have resonated with viewers across different regions, while Border Control, which originally started in Spain, now has multiple spin-offs in the Nordic countries, Poland, and Latin America.

‘The beauty of these formats is that they are easily adaptable’, stressed the exec. ‘We can either hire a local narrator or dub the show depending on the region, making it feel truly localized while retaining its universal appeal’.

A future built on adaptability

As the international roll-out brand celebrates its 40th anniversary, it continues to balance legacy with innovation. Long-running series remain a cornerstone of the network, but evolving formats, new technology, and strategic local adaptations are driving its future success.‘Our audiences love familiarity, but they also expect freshness’, concluded. ‘Whether it’s reviving classic shows, leveraging cutting-edge storytelling techniques, or expanding our local production slate, Discovery is committed to delivering content that remains relevant and engaging across generations’.

La entrada Discovery Networks in CEE reinvents factual content strategy se publicó primero en Prensario Zone.

At the 2024 MENA Monetization Summit in Dubai, industry leaders explored key drivers of growth in the region and the strategies that have propelled streaming services to success.

Opportunities and challenges in the market

MENA’s young, tech-savvy population is fueling rapid expansion in digital entertainment, but reaching this audience requires a localized approach and a diverse content strategy. According to Omdia, key trends shaping the region include:

• The rise of online video advertising – Expected to grow 67% by 2028, outpacing traditional TV advertising.
• A shift towards hybrid monetization models – Many platforms are blending subscription-based and ad-supported content.
• A growing Free Ad-Supported TV (FAST) market – With revenues projected to quadruple in five years, FAST channels are emerging as a key alternative to pay-TV.
• Strong demand for sports content – Sports such as cricket, rugby, and mixed martial arts present major opportunities for streaming services, as they remain underserved by major players.

Local strategies: what’s driving success?

Leading platforms like STARZPLAY Arabia and Shahid have carved out significant market share by focusing on audience preferences and content localization. Together, they control 40% of the MENA streaming market, according to Q4 2023 data from Omdia.

• STARZPLAY has grown its user base to over 3.5 million subscribers by securing rights to high-demand sports like the UFC, Cricket World Cup, and ICC tournaments. Enhancing the user interface for sports fans has also been a key factor in engagement.
• Shahid, owned by MBC Group, has leveraged its extensive Arabic-language library to drive both ad-supported and subscription-based growth, with a particular focus on premium Arabic content.

Emerging trends and innovations

Media companies expanding into MENA are embracing new technologies and content strategies to enhance engagement. Some of the most promising trends include:

• AI-powered personalization – Streaming platforms are increasingly using artificial intelligence to analyze user behavior, improve content recommendations, and optimize advertising strategies. AI-driven automation, such as real-time language subtitling, is also helping to make content more accessible.
• Esports and niche sports expansion – As esports gain popularity in the region, streaming platforms are exploring partnerships to tap into younger, highly engaged audiences.
• Cloud-based infrastructure – With millions of users streaming simultaneously, investment in scalable cloud solutions is crucial for maintaining a seamless experience.

Key takeaways for market expansion

For businesses looking to establish a strong foothold in MENA’s streaming market, industry leaders recommend the following approaches:

• Capitalize on underserved content categories – Niche sports and locally relevant entertainment formats offer an opportunity to stand out in a competitive market.
• Build partnerships with regional telecom providers – Collaborating with telecom operators can expand reach and accessibility across mobile-first audiences.
• Invest in hybrid revenue models – A mix of subscriptions, advertising, and sponsorships will be essential for long-term monetization.
• Leverage AI and data analytics – Personalization is key to improving user retention and engagement, particularly for platforms offering both local and international content.

La entrada MENA: streaming supports growth se publicó primero en Prensario Zone.

The shift was outlined during past edition of Content Americas in Miami by Arelys Carballo, VP of Programming at ViX, during a panel. She emphasized the importance of operating as a true multi-platform entity, ensuring that content can serve both the streaming service and the company’s linear channels.

Restructuring and strategic realignment

In December, ViX underwent major structural changes, where the company announced widespread layoffs. Despite these cuts, the service remains focused on refining its programming approach. 

Carballo noted that the platform aims to strike a balance between shared content across platforms and original productions tailored to specific distribution channels. One example of this model in action is El Extraño Retorno de Diana Salazar. While its first season is airing on Univision, the second season premiered exclusively on ViX, with cross-promotional efforts driving viewers from linear TV to the streaming service.

The results of initial tests last year were promising, leading the company to deepen its commitment to this strategy. ‘We will see much more of this type of windowing content, which makes a lot of sense’, stated the executive in Miami.

Following the leadership changes, Rafael Urbina has taken on a supervisory role over ViX, while José Luis Fabila is now heading a newly structured Global Content Organization. Within this framework, Ignacio Meyer is in charge of local programming, and Olek Loewenstein oversees sports content.

A multi-platform future

ViX’s evolving approach was further reinforced at TelevisaUnivision México’s recent upfront, where presented its content slate for this year. Under the theme Incontenible, the event underscored the company’s multi-platform reach, which, according to Comscore, connects with 57 million unique users per month and reaches seven out of ten Mexicans weekly.

During the presentation, Emilio Azcárraga Jean, Chairman of Grupo Televisa, introduced Daniel Alegre as the company’s new CEO. Alegre emphasized that adaptability is key to the company’s strategy, stating, ‘The world has changed, and so have we. Audiences continue to seek unique content, and our offering is the most engaging in the market’.

Among TelevisaUnivision’s 2024 highlights in Mexico, the company pointed to the success of La Casa de los Famosos, which broke records with 213 million votes and a 73% increase in viewing hours on ViX. The platform’s news division, N+, was also recognized for its comprehensive election coverage, while exclusive Olympic broadcasts from Paris 2024 reached 47 million viewers across television and streaming.

Looking ahead to 2025

TelevisaUnivision is setting ambitious goals for this year, reinforcing its content strategy with new productions and exclusive events:

• Expanded telenovela offerings across multiple time slots.
• The return of classic titles like El Chavo del 8 and El Chapulín Colorado on Las Estrellas and ViX.
• A third edition of La Casa de los Famosos México.
• Broader sports coverage, including Liga MX, Liga MX Femenil, and the FIFA Club World Cup, along with Mexico’s national team matches leading up to the 2026 World Cup.
• Additional NFL content, featuring regular-season games, playoffs, and exclusive coverage of Super Bowl LIX.
• Continued expansion of N+ as a leading Spanish-language news provider across digital and traditional platforms.

La entrada TelevisaUnivision: following restructuring, ViX aligns streaming and broadcast strategies se publicó primero en Prensario Zone.

Justin Kenna, CEO of GameSquare, said: ‘This growth reflects the expanding economics of creators and their ability to attract new audiences on emerging platforms. This trend is expected to continue into 2025, cementing live streaming as a key sector in the digital entertainment industry’.

Despite its dominance, Twitch faces increasing competition. In 2024, Twitch held 61% market share, but YouTube Gaming (22.9%) and Kick (5.7%) continue to gain ground. In addition, the demise of Twitch in South Korea gave way to the emergence of new regional platforms such as SOOP Korea and Chzzk, demonstrating the resilience of local markets.

The United States also experienced significant changes with the debate around TikTok and the regulation of digital platforms. These transformations are expected to drive the emergence of more streaming services by 2025, increasing market fragmentation and diversification.

The loyalty-based monetization model has gained traction in 2024. Subscription purchases on Twitch reached 16 million per month, reflecting viewers continued support for their favorite creators. Events such as sub-a-thons have shown that audiences are willing to invest in exclusive content and tiered benefits, which could redefine monetization strategies in 2025.

Traditional media are also observing this phenomenon, with the possibility of integrating similar models to strengthen their relationship with audiences.

The year 2024 marked a milestone for eSports, with the Esports World Cup achieving 103 million hours watched and a peak of 2.8 million concurrent viewers. This event cemented the growth of eSports and its influence on the streaming industry.

With increased advertising investment and global interest, eSports is expected to continue to expand in the coming years, attracting new audiences and consolidating its position in the digital entertainment ecosystem.

Stream Hatchet 2024 confirms in its report, that live game streaming continues to rise, driven by the diversification of platforms, the growth of the creator economy and the rise of eSports. With the evolving digital landscape and increasing audience loyalty, 2025 is shaping up to be a pivotal year for the streaming industry, with new opportunities and challenges for creators, platforms and advertisers.

La entrada Gaming on stream: a key sector in the digital entertainment industry se publicó primero en Prensario Zone.

As a public broadcaster, RTVE is legally required to allocate 6% of its revenue to European productions, with 45% of that amount dedicated specifically to film. This includes acquiring broadcast rights for a minimum of 10 years. Within this framework, 15% must go to films produced in Spain’s co-official languages, while 12% is reserved for animation and documentaries, commented the executive during the past edition of Seville European Film Festival.

Pastor’s department manages an annual budget of €20-22 million, which has allowed RTVE to acquire around 60 films in the past year. This marks a decrease from previous years, such as 2022, when the broadcaster acquired 80 films, and 2023, when it secured 70 titles. Pastor acknowledges this downward trend but emphasizes that the ideal range lies between 40 and 80 films annually. He cautions against reducing acquisitions too drastically, as it could mean missing out on groundbreaking projects.  

‘If we had only acquired 50 films in the year of O Corno, we might not have supported it, even though it went on to win the Golden Shell. The same happened with Tardes de Soledad, which also won the Golden Shell this year and is expected to have a strong commercial run’, Pastor noted.  

Streamlining the selection process  

Initially, Pastor advocated for three annual evaluation committees to select films for acquisition. However, he has since revised this approach, recognizing that two committees, aligned with the ICAA’s production aid calls, are more efficient. ‘Holding three committees with the same budget only led to an overwhelming number of submissions, making it harder to manage. Two committees allow for a more focused and fair selection process’, he explained.  

RTVE currently receives around 300 film projects and 100 series proposals annually. The evaluation process involves external script analysts hired by the ICAA, who review anonymized scripts to ensure impartiality. Meanwhile, Pastor and his team focus on the accompanying dossiers, which must include a concise synopsis, a realistic financing plan, and a proposed cast, among other details.  

‘A good short synopsis should consist of two powerful and clear sentences. It needs to define the film concisely and realistically’, Pastor emphasized. He also highlighted the importance of pitching, where filmmakers present their projects in brief, engaging presentations. ‘The goal is to spark key questions and provide clarity without revealing the entire story’, he added.  

While family comedies have dominated the Spanish box office in recent years, Pastor observes a growing sense of fatigue among audiences, as some of these films have underperformed. He also revealed that broadcaster has stopped supporting horror films, citing their poor performance on television despite potential theatrical success.  

‘Horror is an exclusive genre that doesn’t translate well to TV. Even successful horror films often achieve ridiculously low ratings when broadcast’, Pastor stated. As an alternative, he suggested producing low-budget horror films directly for RTVE Play, bypassing traditional TV channels.  

On the other hand, Pastor sees potential in action thrillers, which have proven to perform well on television and attract repeat viewers. He expressed a desire to see more of these projects in RTVE’s pipeline, as they align with audience preferences and programming needs.  

La entrada RTVE: mix of mistery, drama and investigantion at MIPLondon se publicó primero en Prensario Zone.

From Telco to Techco  

eVision, established in 1999 as a cable TV company, initially focused on aggregating pay-TV services in a region transitioning from free-to-air to paid television. Over the years, the company has evolved significantly, expanding its role from a traditional content aggregator to a multifaceted media player. Today serves approximately 6 million users globally and operates a diverse portfolio of services, including TV by e& (IPTV), Switch (OTT), and region-specific platforms like Mobiley TV in Saudi Arabia, SHOQ TV in Pakistan, and Twist in Egypt.  

Joy highlighted eVision’s shift from a passive aggregator to an active player in the media landscape. ‘Initially, the intent was to be an aggregator. Today, our vision is to be the largest media player in the entire region, and hopefully, take it up to a global scale as well’, he explained. This transformation has been driven by strategic investments in technology, data analytics, and content curation, enabling eVision to offer end-to-end white-label solutions for other telcos and streaming platforms.  

The rise of Starz ON 

One of eVision’s most notable recent achievements is the launch of Starz ON, an AVOD and FAST service, in November 2023. The platform, integrated into the existing Starz Play app that offers 10,000 hours of AVOD content and 50 FAST channels. Joy also emphasized the decision to combine Starz ON with Starzplay, leveraging the latter’s established brand recognition and user base. ‘We debated whether to create a separate app, but research showed that hybrid models work best. So, we decided to integrate it into one single app’, he said.  

The launch of the service reflects eVision’s commitment to agility and innovation. ‘From the time we decided to build this product to going live, it took just three months. That’s something we take pride in’, the exec noted. The platform aims to redefine streaming in the MENA region by offering a mix of free and premium content, catering to diverse audience preferences.

Content strategy and synergies  

Joy also discussed eVision’s content acquisition strategy, which focuses on maximizing synergies across its platforms. By securing rights for multiple regions and platforms, eVision can monetize content more effectively. ‘When we pick up something for the UAE that also works well in Saudi Arabia, it makes sense because we can combine the deal and drive more synergies’, he explained. This approach allows eVision to exploit content across pay-TV, SVOD, and AVOD services, creating multiple revenue streams.  

Despite its successes, the company faces challenges in a rapidly evolving media landscape due the mount of platforms in the market. eVision must navigate complex licensing agreements, adapt to shifting consumer behaviors, and compete with global streaming giants. However, Joy remains optimistic about the future. ‘Our ambition is to become the largest media player in the region and expand globally. We’re leveraging our first-mover advantage, scaling faster, and delivering better experiences’. he said.  

La entrada eVision’s Starz ON: redefining streaming in the MENA region se publicó primero en Prensario Zone.

Stefano Torrisi has been appointed as Managing Director of WBITVP Italy, while continuing his role as MD of WBITVP Spain. Reporting directly to WBITVP President Ronald Goes, Torrisi brings extensive industry experience from previous leadership positions at Europroduzione TV, Endemol Italy, and Banijay. The company is currently in the process of recruiting senior creative and production staff, with further announcements expected in the coming months.

The new operation has already secured its first commission with the tenth season of First Dates (Primo Appuntamento) for Discovery Real Time. Previously produced by Stand By Me, the dating format has been a long-running success in Italy and aligns with WBITVP’s strategy of building on established formats in key markets.

Goes emphasized the significance of this expansion, highlighting Italy’s dynamic television industry and the strong track record of WBITVP formats in the region. He expressed confidence in Torrisi’s leadership and the company’s potential to grow its presence in the Italian market.

Torrisi noted that WBITVP Italy aims to strengthen relationships with existing clients while also developing original intellectual property that can be distributed globally. With a focus on high-quality production, the new venture positions Warner Bros. as an active player in Italy’s competitive content landscape.

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Law Women, another major production in RTVE’s lineup, portrays the lives of four trailblazing female lawyers—Lola González, Cristina Almeida, Paca Sauquillo, and Manuela Carmena—during the final years of Franco’s dictatorship. The series, co-produced with Mod Producciones, explores their efforts to navigate a turbulent political era, from 1969 to the notorious Atocha massacre in 1977.

In the crime thriller genre, Internal Affairs presents the story of Clara, one of Spain’s first female police officers. Set in 1970s Madrid, the series explores her involvement in uncovering a heroin trafficking network. The series is co-produced by RTVE and Mediacrest.

RTVE also brings a documentary thriller to the table with Columbus’ DNA: His True Origin, a 90-minute feature that delves into the study of Christopher Columbus’s DNA. Produced in collaboration with Story Producciones and the University of Granada, this investigation seeks to reveal the true origins of the famed explorer.

For ongoing popular series, RTVE presents new seasons of The Promise and La Moderna, two well-received period dramas. The Promise follows a woman’s journey of revenge and love set in 1913, while La Moderna portrays the lives of employees in a luxurious Madrid tea room during the political turmoil of the 1930s.

La entrada RTVE brings a mix of history, drama, and investigation to MIP London se publicó primero en Prensario Zone.

Alexander Marín, head of RCN Studios, talked with Prensario about the company’s ongoing transformation: ‘This is just the beginning of what comes next. After four years of investment and dedicated work, we are now in an enhanced market position, not just as a broadcaster but as a powerhouse of successful multiplatform content. Seeing the presence of SVOD executives and the remarkable talent we brought from Colombia, the U.S., and other countries confirms our evolution. It has been a long time since RCN organized an event of this scale… we are at a pivotal moment in the company’s history’.

Juan Pablo Posada, VP of Content Production, highlighted the company’s increasing output: ‘We are currently producing eight projects annually in our studios. In 2024, we delivered two fiction series and two reality shows for RCN, as well as Manes, Betty: 20 Years Later, and Top Chef for Amazon Prime, along with a project for Netflix. In 2025, we will continue with new seasons of Betty, Manes, and Top Chef for Amazon. We have the capacity to maintain and even expand this volume, ensuring our growth through successful projects’.

Andrés Posada, Production Manager, added: ‘We specialize in producing more with less, delivering top-tier projects at a fraction of the standard cost in developed markets. Additionally, our productions are becoming increasingly sustainable—for example, replacing traditional power generators with solar panels. We are also leveraging tax incentives, such as the Colombian government’s 25% reimbursement program. This strategy will continue to drive our efficiency and growth’.

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The company has been actively participating in markets, continuously expanding its portfolio by adding new clients and partners.

Specifically, OTTera has been deeply involved in streaming solutions for broadcasters, who are increasingly taking steps to develop their own platforms.One of the company’s recent partnerships is with Webedia, where OTTera is assisting in the monetization of its portfolio of FAST channels.

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Produced by OGM Pictures, 6 of Us was aired on Star TV and has solidified its position as a prime-time leader. By its sixth episode, it achieved a 7.16 rating in the Total category, securing the top spot in this measurement and third place in the 20+ABC category. Its storyline and performances have resonated strongly with audiences, trending on social media and reinforcing its growing popularity.Meanwhile, Dilemma (Düğüm) blends drama and thriller elements to explore the ethical and personal dilemmas of Neslihan Turhan, a television host specializing in justice-related issues. Her professional life collides with her role as a mother when her son becomes implicated in a homicide case. Directed by Can Ulkay and starring Bergüzar Korel and Caner Cindoruk, the series has drawn interest from multiple territories. Amazon has acquired rights for regions such as the Middle East, Italy, Spain, France, and Germany, while OGM Universe oversees distribution in additional markets.

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The Good & The Bad (Deha), produced by Ay Yapım and airing on Show TV, follows a brilliant mathematician who escapes his troubled past, only to be drawn back by his estranged father, a notorious conman. The series stars Aras Bulut İynemli, Uğur Polat, Taner Ölmez, Melis Sezen, Ahsen Eroğlu, Onur Saylak, and Seda Akman. It has been acquired for Russia and the CIS.

Another highly anticipated title is Leyla, also from Ay Yapım, an adaptation of the Brazilian hit Avenida Brasil. This revenge-driven drama has already secured distribution in Croatia, Hungary, Israel, Kazakhstan, MENA, Mexico, Montenegro, Panama, Romania, Russia, the CIS, and Spain. The cast features Gonca Vuslateri, Cemre Baysel, Alperen Duymaz, Halil İbrahim Ceyhan, Cengiz Bozkurt, and Zeyno Eracar.

Far Away, currently one of Turkey’s highest-rated series, tells the story of a woman from Canada who becomes trapped in a remote village in eastern Turkey. Inspired by Al Hayba, the series is written by Gülizar Irmak and stars Sinem Ünsal, Ozan Akbaba, Müfit Kayacan, Gonca Cilasun, Alper Çankaya, and Mine Kılıç. It has been sold to Israel, MENA, Romania, Russia, the CIS, and Spain.

Finally, Portrait of a Scandalous Family, produced by Medyapım, is a historical drama set in the final days of the Ottoman Empire. With only three episodes aired, it has already been picked up by buyers in Israel and MENA. The series stars Vahide Gördüm, Meryem Uzerli, Fırat Tanış, and Devrim Yakut and is written by Hande Altaylı.

La entrada Madd Entertainment reached new sales in multiple global markets se publicó primero en Prensario Zone.