CONECTA Magaluf-Mallorca cerró este jueves sus puertas con aforo completo de 400 profesionales acreditados procedentes de 30 países, consolidando un modelo de networking intensivo que se ha convertido en su principal seña de identidad.

Celebrado entre el 25 y el 28 de mayo en Magaluf (Calvià), el encuentro reunió durante cuatro intensas jornadas de trabajo a ejecutivos, productores, plataformas, broadcasters, creativos y responsables de desarrollo de contenidos de Europa y América en un formato boutique diseñado para favorecer conexiones estratégicas y oportunidades reales de negocio.

Las delegaciones de profesionales mayoritarias, además de España, han estado encabezadas por Francia, Estados Unidos, Portugal, Alemania, México, Reino Unido y Colombia, además de Italia y Argentina. Entre las compañías presentes figuraron algunos de los principales actores del ecosistema audiovisual global, incluyendo HBO Max, Prime Video, YouTube, France TV, RAI, RTVE, SkyShowtime, TVI, Atresmedia, Telemundo Studios, Mediaset Italia, Movistar Plus+, 3Cat e IB3.

La programación ha superado las 40 actividades reuniendo a más de 100 ponentes a través de novedosos formatos de paneles y debates, talleres prácticos de formación y encuentros de networking. Entre los principales temas abordados en estas jornadas, destacaron el impacto de la inteligencia artificial y el copyright, el auge de los microdramas y los contenidos verticales, las nuevas fórmulas de financiación internacional, los incentivos fiscales europeos y el relevo generacional dentro de la industria audiovisual.

Uno de los espacios de mayor perfil fue el Conecta SUMMIT, encuentro celebrado a puerta cerrada y reservado a 20 altos ejecutivos y decision makers del sector, centrado en el análisis estratégico de los principales desafíos que afronta actualmente la industria internacional de contenidos y en el fomento de las colaboración empresarial.

Las sesiones de pitch volvieron a situarse entre los principales ejes de CONECTA: dedicadas en esta edición a Drama Series, Comedy Series, Direct to Streaming Movies y Vertical Series, se presentaron ante commissioners, inversores y productores internacionales un total de 26 proyectos finalistas. Al cierre del evento se entregaron un total de 11 premios, que en esta edición fueron ofrecidos por RTVE Play, Spain Film Commission, Triodos Bank, Warner Music, Acorde, New Art, y los eventos colaboradores SANFIC (Chile), Bogotá Audiovisual Market – BAM (Colombia)y TV Beats Forum (Estonia), todos ellos destinados a impulsar el desarrollo y la internacionalización de los proyectos ganadores.

En paralelo, la sección Conecta VIBES reforzó la apuesta del evento por vincular industria y territorio a través de actividades orientadas a posicionar Baleares como hub internacional de rodajes. Cerca de 80 participantes y prensa internacional tomaron parte en dos tours de localizaciones que recorrieron algunos de los enclaves más representativos de Calvià y Mallorca respectivamente, entre ellos la Playa del Mago, conocida por su entorno mediterráneo y su paisaje único, donde se explicó el proyecto ‘Calvià, Plató de Cine’. Otros lugares visitados fueron Portals Vells, Puig de Sa Morisca y Port de Sóller entre otros.

El componente cultural a la vez que más festivo del encuentro, llegó de la mano de Conecta FICTION FEST, que organizó dos proyecciones abiertas al público en el auditorioCasal de Peguera. La programación incluyó la première del largometraje ‘Mallorca Confidencial’, presentada con alfombra roja y presencia de parte del reparto, así como un pase especial de la serie original Movistar Plus+ ‘Se tiene que morir mucha gente’. En esta velada y antes del pase, se entregó igualmente el Premio Conecta de Honor 2026, que ha rendido homenaje al prolífico y veterano periodista británico John Hopewell, editor de reportajes internacionales de Variety.

Géraldine Gonard, directora de CONECTA Magaluf-Mallorca señaló durante la jornada de clausura: “CONECTA nació con la vocación de ser un espacio donde la industria se mirase a sí misma, debatiera su futuro y generase los proyectos que veríamos en los meses y años siguientes. Este año ha quedado patente que Mallorca y Magaluf son un escenario perfecto para ello. Celebrar aquí nuestro 10º aniversario tiene además un valor profundamente emocional: el de un camino construido con confianza, alianzas y sentimiento de comunidad que no queremos perder.  Nuestro nuevo formato, más compacto y all-in-one está enfocado en facilitar el contacto y el valor del tiempo compartido que consideramos mucho más eficiente para todos”.

Desde su lanzamiento en 2017 y a lo largo de diez ediciones, CONECTA ha reunido a más de 6.000 profesionales de 50 países y ha contribuido al desarrollo de más de 34 series de ficción gracias al impulso recibido en sus sesiones de pitch. El evento mantiene desde su origen una clara vocación descentralizadora dentro de la industria audiovisual española e internacional, apostando por trasladar la conversación y la actividad profesional a territorios fuera de los circuitos tradicionales y apoyando a la industria y talento de diversos territorios como lo ha hecho este año con Baleares.

Brazil and Mexico have emerged as Latin America’s leading microdrama markets, reaching a combined 44 million monthly active users (MAUs) in 2025, according to new analysis presented by Maria Rua Aguete, Head of Media and Entertainment at Omdia, at the Conecta event in Mallorca.

Microdramas are rapidly expanding beyond China and becoming one of the fastest-growing segments of the global media and entertainment industry.

According to Omdia, Brazil reached 24 million monthly active users in 2025, making it the largest microdrama market in Latin America, while Mexico followed with 20 million MAUs. Both markets significantly outperform European countries and are among the largest international audiences globally, highlighting the strong appeal of short-form mobile storytelling across the region.

“Latin America is emerging as one of the most dynamic growth regions for microdramas,” said Maria Rua Aguete. “Brazil and Mexico are already demonstrating the scale that this format can achieve outside China. What we are seeing is not simply the growth of a new content category but a fundamental shift in how audiences consume entertainment on mobile devices.”

Omdia estimates that global microdrama revenues reached $11 billion in 2025 and will surpass $14 billion in 2026. By 2030, the market is forecast to exceed $22 billion, with international markets accounting for nearly one-third of total revenues.

During her presentation at Conecta Mallorca, Rua Aguete highlighted the significant opportunity for Latin American producers, broadcasters, and streaming platforms to capitalize on growing demand for local-language microdrama content.

“Latin America has all the ingredients needed to become a major microdrama production hub,” said Rua Aguete. “The region has a rich storytelling tradition, strong creative talent, and audiences that are highly engaged with mobile video. We expect demand for Portuguese- and Spanish-language microdramas to accelerate significantly over the coming years.”

The growing interest from producers comes despite criticism from some parts of the industry regarding the quality and themes of early microdrama productions.

“Microdramas are a format, not a genre,” added Rua Aguete. “If producers want different stories, they can create them. The format’s early success was driven by billionaire romances and highly addictive storytelling, but the market is evolving rapidly. We are already seeing new genres emerge, including thrillers, crime dramas, reality formats, comedy, fantasy, and family entertainment. Almost any genre can work in a short-form format.”

Broadcasters, producers, and digital platforms across Latin America are increasingly exploring microdramas as a way to reach younger mobile-first audiences and create new monetization opportunities through short-form premium content.

Key Omdia Findings

• The global microdrama market generated $11 billion in revenues in 2025.

• Global revenues are expected to exceed $22 billion by 2030.

• Brazil is Latin America’s largest microdrama market with 24 million monthly active users.

• Mexico follows with 20 million monthly active users.

• Brazil and Mexico together account for 44 million monthly active users, making Latin America one of the largest international microdrama regions.

• International markets are expected to account for almost one-third of global microdrama revenues by 2030.

• Demand for local-language microdramas is accelerating across Latin America.

• New genres are emerging beyond romance, including thrillers, crime, reality, comedy, fantasy, and family 

French animation production and distribution company MIAM! Distribution has seen a robust expansion of its international catalog in recent months. Its most recent milestones include the launch of The Tinies DIYs (a sustainable arts and crafts series) and the acquisition of global rights for the animated comedy Olga.

Regarding The Tinies DIYs (2026), the company launched this live-action and stop-motion hybrid series that teaches children aged 5 to 8 how to upcycle and create crafts. International distribution is already underway, securing early broadcast sales to networks such as Télé-Québec and RTS.

For the new animated comedy Olga, MIAM! Distribution has acquired worldwide rights for this 2D animated comedy series centered on a 10-year-old girl who prefers the company of animals and searches for ways to connect with the world around her.

Another major addition is Trash!, a highly original hybrid series combining live-action and stop-motion. Backed by France Télévisions and Arte France, the show tells stories from the distinct perspective of discarded, everyday objects.

Finally, the company continues to push Mare the Mermaid, a young adult/adult-targeted animation series which follows Princess Pelagie as she escapes her royal obligations to attend college.

Peyo Company, formerly known as IMPS, continues to expand The Smurfs franchise globally through a broader strategy focused on content development, brand extensions and cross-platform collaborations. The company is currently working on new animated productions, revivals of classic comic properties, educational experiences and gaming partnerships.

Among the latest projects are two standalone 22-minute animated Smurfs specials, produced together with European studios Blue Spirit and Dreamwall. The productions are designed to reinforce the franchise’s presence across international broadcasters and streaming platforms.

At the same time, Peyo Company is extending its focus beyond the Smurfs universe by developing animated adaptations based on Peyo’s original comic properties Johan & Peewit and Benny Breakiron, bringing the classic Belgian characters to new audiences through modern storytelling formats.

The company is also continuing to position The Smurfs within the edutainment space. This summer, the franchise is part of an interactive collaboration with the British Museum, where children can join the Smurfs and the museum’s guardian cat Bastet in a location-based educational quest centered around ancient history and mythology.

Digital expansion remains another central pillar of the strategy. Peyo Company has partnered with platforms such as SKIDOS for Smurfs-branded educational games, while also extending the franchise into gaming collaborations including Sonic Rumble. In parallel, the company is making the classic Smurfs music catalog available across streaming services, further leveraging the brand’s legacy content across new digital touchpoints.

The latest updates from Mediawan Kids & Family highlight its rapid expansion in the production and distribution of animated content worldwide.

Regarding the adaptation of Claynosaurz, the company has partnered with Claynosaurz Inc. to co-produce a new animated comedy series for children aged 6 to 12, based on the popular digital brand Claynosaurz.

In an alliance with El Reino Infantil, they are co-producing the new preschool series WadooWadoo alongside the highly successful children’s YouTube network.

Furthermore, they have formed a strategic partnership with Toon2Tango to boost the international distribution of their combined catalogs.

The latest updates from Mediatoon Distribution include the international expansion of new animated series, notable recognition within the European industry, and recent changes in its executive leadership.

Regarding its projects and distribution, Mediatoon has taken over international sales for Montclair & The Mechanical Mysteries, a fantasy-adventure series (26 x 22′) targeting children aged 6 to 9, produced by Ankama, Pictanovo, and Belvision. The production was commissioned by France Télévisions and has an estimated delivery date. Additionally, the company has closed pre-sale agreements for the original children’s production Belfort & Lupin with prominent European broadcasters, including SWR (Germany), VRT (Belgium), RTS (Switzerland), and MTVA (Hungary).

In terms of industry recognition, Mediatoon Distribution was awarded Investor/Distributor of the Year at the 36th edition of the Cartoon Forum in Toulouse, celebrating its achievements and solid position in the animation market.

On a corporate note, long-time General Director Jérôme Alby has left the company to join the distributor Newen Connect. The company continues to operate as one of the key entertainment subsidiaries of Média-Participations.

Según explicó Pellegrino, la transición hacia la TV 3.0 supone un cambio estructural en la radiodifusión que fusionará la televisión abierta con la experiencia de usuario propia de las redes sociales. En este marco, la EBC es la entidad responsable de desarrollar la plataforma común de esta nueva tecnología, la cual consistirá en una aplicación nativa instalada de forma predeterminada en la pantalla de inicio de los televisores. Esta interfaz funcionará como puerta de entrada para los ciudadanos, concentrando canales públicos y servicios ministeriales como el SUS digital.

En dicho contexto arquitectónico se proyecta la integración de Tela Brasil, la nueva plataforma estatal de streaming cuyo lanzamiento oficial está previsto para este sábado 30 dentro de la programación de Rio2C. El servicio, desarrollado en asociación con el Núcleo de Tecnologías Sociales de la Universidad Federal de Alagoas, debutará con un catálogo de 555 obras, de las cuales 139 pertenecen al Estado a través de entidades como Funarte, la Fundación Palmares, la Cinemateca Brasileña y el CTAv. Fernandes destacó que el objetivo central del proyecto es la formación de audiencias sin intención de competir con el mercado comercial, y aclaró que el código de la plataforma pertenece a la universidad, lo que permitirá compartir su infraestructura tecnológica para el desarrollo del ecosistema de la TV 3.0.

A la par de los desarrollos digitales, el gobierno detalló sus recientes inyecciones de capital en el sector. La EBC gestionó cerca de 270 millones de reales para producir y adquirir contenido local para TV Brasil, revirtiendo la antigua lógica de licenciamiento que priorizaba el material extranjero. Esta estrategia ha llevado a la emisora a ocupar el cuarto lugar de audiencia en la televisión abierta nacional. De este presupuesto, el mayor volumen de repases del programa Seleção TV Brasil, equivalente a 32 millones de reales, se destinó específicamente a contenidos infantiles y juveniles para abastecer la franja matutina diaria.

El debate sobre el acceso a la producción nacional también abordó las políticas de infraestructura física a través del Instituto Cine+, iniciativa que construye y adapta salas públicas de cine en municipios de hasta 200 mil habitantes. Feitosa indicó que la red ya opera 12 salas alimentadas con energía fotovoltaica en localidades como Itapipoca (Ceará) y Areal (Río de Janeiro), ofreciendo exhibiciones gratuitas orientadas a estudiantes de la red pública y jóvenes. El proyecto contempla construir un total de 30 salas con capacidad para entre 80 y 120 personas hasta el año 2030. Estos espacios son gestionados por el instituto durante sus primeros dos años de operación, tiempo en el que se forma a la mano de obra local, para luego ser donados a las respectivas alcaldías.

En paralelo, la Secretaría del Audiovisual trabaja en el fomento presencial mediante la reactivación de redes de cineclubes, registrando actualmente 1.120 puntos de exhibición comunitaria en conjunto con los ministerios de Derechos Humanos y Medio Ambiente. Para centralizar toda la información del sector, las autoridades anunciaron además la reformulación del portal Filme Cultura, que funcionará como un agregador de datos para redirigir a los usuarios hacia archivos institucionales, a 14 plataformas de streaming nacionales independientes y a los sistemas de compra de entradas del cine comercial. El gobierno federal estima que la transición completa al entorno integrado de la TV 3.0 tomará un período de diez años, proyectando las primeras experiencias prácticas de transmisión durante la Copa del Mundo, mientras que el debut de Tela Brasil este fin de semana marcará la primera etapa hacia la unificación integral del acervo público.

Esta última producción, realizada en asociación con la productora O2 Filmes, reconstruye la campaña de la selección brasileña de fútbol rumbo al tricampeonato mundial de 1970. El proyecto recrea jugadas clásicas y situaciones de los bastidores para exponer los desafíos, emociones y temores del equipo durante su preparación y competencia. La dirección general de Brasil 70 está a cargo de Paulo Morelli y Pedro Morelli, con episodios dirigidos también por Quico Meirelles, partiendo de una idea original creada por Naná Xavier y Rafael Dornellas.

Durante la presentación, las ejecutivas de la plataforma explicaron los criterios internos para aprobar estos proyectos. Haná Vaisman, líder de Series de Ficción de Netflix Brasil, indicó que el factor determinante no recae simplemente en la popularidad del evento o del personaje, sino en la interpretación narrativa de la historia y el mensaje emocional que transmite. Vaisman señaló que el proyecto de O2 Filmes destacó por combinar el entretenimiento y el desarrollo de personajes con el contexto histórico que atravesaba Brasil bajo la dictadura. La ejecutiva precisó que la propuesta apostó por captar a la audiencia mediante el espíritu futbolístico del país, un enfoque diseñado estratégicamente para coincidir con la cercanía de un nuevo mundial.

Por su parte, Elisa Chalfon, líder de No Ficción de Netflix Brasil, enfatizó la importancia del punto de vista narrativo en el género documental. Al referirse a la serie sobre Ronaldinho Gaúcho, Chalfon reveló que las negociaciones se extendieron por más de un año y que, a pesar de haber evaluado múltiples propuestas sobre el jugador, la compañía optó por un proyecto impulsado por una relación de confianza íntima construida con el atleta. Según la ejecutiva, este tipo de acceso permite mostrar una faceta humana que logra conectar con el espectador desde el plano emocional, llevando la narrativa más allá del registro puramente deportivo.

During the last years, June has turned into a strategic month for European content market, due to many events that have taken place, especially NEM Dubrovnik for Central & Eastern Europe (CEE) but also for kids (MIFA in Annecy) and Sunnyside of the Doc (in docs & factual). Also, we have Rendez Vous from Unifrance, in early September. Other CEE events are not done this year: Content Warsaw, Natpe Budapest. With the whole, it is important to notice and take advantage of market trends that are defining success or failure in the industry. Which are they?

Let’s see what we’ve collected during the European first half events —MIPLondon, London Screenings, SeriesMania, Content Libon— and even during Los Angeles Screening, USA, in May, very well attended by European buyers. Above all, content members must evolve, include new ways of monetization, to have a more promising market.

Four new-age axles, three European titan pillars

• The content industry has now 4 new-age axles: one, YouTube and the creators economy, that bring new rules, ideas, people to content industry. TV needs to be profitable in YouTube and social media contents are an opportunity to refresh TV screens. Two, Micro-dramas, which had the most crowded conferences at spring events, everybody wants to hear about. Many players need more than producing original content, how to adapt traditional programming to vertical. The Chinese apps are leading the global market, the challenge is to extend the life cycle of the users. 

Three, AI, which is like the cloud, it doesn’t provide own products, it is everywhere to improve and change most of the traditional distribution and production pillars. And four, but the most important for many, Branded Content, which is the most direct and ‘easiest’ way to surpass the current funding cross-roads. This year Publicis, one of the US ad agencies focused on contents that connect big brands with projects, got USD 1.5 million per episode in branding, for an Amazon Prime project. 

• The European format titans, at the same time, have three big pillars to push business: just premium content, to have real success chances in the market; fresh creativity, based on the Digital First people and contents, plus new origins (more exotic, better) to change the current perspectives; and collaborations, with co-productions, co-developments, co-marketing, as a main key factor to move forward globally in contents. Nobody, from Hollywood Studios to Google, can alone at these times. 

Varied first half trends

• Unscripted genres up? At the London Screenings, we saw many Survivor alike formats, always on top recently; dating shows, growing again; cooking shows keep their good moment; and physical competences more than quiz shows… prime time audiences prefer not to think so much nowadays. Big broadcasters of main European countries, like shiny floor show options.

• The recent big hit? ‘Traitors’, the All3Media’s mystery reality format hit, continues having twisted versions. In fictions, the ’just premium content’ trend is visible, with Fox’s ‘The Faithfull: women of the Bible’, as a good example. In London we’ve seen mainly dramas and thrillers, far more than comedies. To launch spin-offs, sequels, prequels, reduces risks. Both in unscripted and scripted, all genres, to generate celebrity contents pays very well these days.

• Other first half tips: podcasts are a segment not so usually mentioned, but it is taken in mind more and more as another option to refresh media. During MIPLondon also appeared the concept of ‘Hyper distribution’, which is the new way that public broadcasters, medium producers and players in general, have to surpass traditional limitations in distribution: social media, online communities… global niche consumers come progressively.

• At the surveys Prensario made at recent shows with buyers, the broadcasters required mainly two issues: to continue receiving traditional products for their channels —procedurals, big entertainment shows, etc.— and to make them easier the digital transition: formats that have specific social media or product placement developments, thought branded content options. Beyond digital, monetization, fundings, are always the top issues.

Six newest trends

During May, Prensario was interacting with many European buyers. What are newest trends seen by them? Many can generate surprise… one, the program developers are back to the job stories as in the 70’s (doctors, lawyers, policemen, etc) but now the jobs are expanded (plumbers, mechanics, etc) and these make easier Branded Content and Product Placement options, with the suppliers of products, solutions involved. Second, there is no more hard discussions about windows, now platforms and broadcasters agree easier each other the order or simultaneous releases. The top thing is to have the product, not the first window.

Three, the hooks to push up a content are more and more on the screen: famous actors especially. No main promotional value to directors, writers, etc, except if they are celebrities. Four, in genres, the platforms point out more to gain young audiences, with comedies, horror contents, apart from thrillers. Five, the European fictions are now more sporadic in Free TV screens, that are now gained by entertainment formats and live programming.

And six, as a main tip about developments, the main production players are requesting paper formats. There is no money for main hits, so it is better to develop from zero and then to sell abroad. This is the model of John de Mol and Talpa, where even without success, the projects are profitable (House of the Seek, etc.). ITV from England, TF1 from France, RAI from Italy, are all in the same direction. 

So? Evolution… to digital, to branded content, to collaborations, to paper formats, but always to move from traditional business to new formulas. Who moves faster and gains new spaces first, will enjoy a good time of emergent segments with flashing opportunities.

Nicolás Smirnoff

Sunny Side of the Doc (SSD), the international documentary and factual marketplace held annually in La Rochelle, France, prepares an event this year that marks a significant rebound for the market, which had previously announced the cancellation before being reactivated through a strategic restructuring and industry mobilization.

The 37th edition of the marketplace, scheduled to run from June 22 to 24, 2026, will be presented in partnership with Documentary Campus. The condensed three-day event is designed to directly address the economic and structural pressures currently facing independent producers, offering high-level pitch sessions, panels on industry trends, and a dedicated exhibition hall.

Leading the 2026 keynote lineup is newly minted Oscar winner Helle Faber, producer of Mr. Nobody Against Putin. Faber’s session will address the shifting dynamics of international co-productions at a time when traditional financing windows are narrowing. ‘Today the model is under pressure, but collaboration is more important than ever’, Faber commented regarding her upcoming address, which aims to provide practical insight on building cross-border partnerships.

Also headlining the conference program is Ben Zand, founder and CEO of Zandland, who will discuss his company’s in-house model for creating, funding, and distributing documentaries. Zand’s keynote will focus on audience engagement strategies within a highly fragmented digital ecosystem. Additionally, speaker Jen Topping is confirmed to deliver a strategic assessment of YouTube’s operational value for documentary producers.

A core component of the 2026 market will feature direct insight from major international broadcasters and platform executives. Representatives from France Télévisions, NHK, China Media Group, ARTE, Canal+ Group, and the Global Doc public broadcasters alliance are scheduled to share transparent data regarding their budgets, co-production priorities, and programming expectations for the next 12 to 24 months. Additional sessions and debates will explore the narrative role of artificial intelligence, the utilization of archives as content engines, and emerging distribution strategies for digital-first markets.

‘The documentary and factual landscape is shifting faster than the professionals can absorb. The right collective move is to be part of a marketplace built to make international co-productions and global sales happen’, noted Aurélie Reman, Managing Director of Sunny Side of the Doc. Reman emphasized that the La Rochelle event will provide a space where industry voices can speak plainly about what it takes to get projects across the finish line on television, streaming, and digital platforms.

Donata von Perfall, Managing Director of Documentary Campus, added that the 2026 program is specifically designed for solution-driven, in-person exchange. According to von Perfall, the unique partnership between Documentary Campus and Sunny Side of the Doc has shaped every element of this edition to create an essential environment where the global industry can align and move active projects forward.

Unifrance is preparing the 32nd edition of the Rendez-vous d’Unifrance in Le Havre, widely recognized as one of the world’s dedicated commercial market entirely focused to French audiovisual programs. Organized by Unifrance—the national agency responsible for promoting French cinema and TV content worldwide—the flagship event will return to the Normandy coast for the third consecutive year, opening on the evening of Monday, September 7, and running until Thursday, September 10, 2026.

A key development for this upcoming edition is the optimization of the event’s timeline. The market will be condensed into a four-day framework, transitioning away from the five-day format implemented in previous iterations. Within this window, the physical market area will operate for three full days—Tuesday, Wednesday, and Thursday—maximizing scheduling efficiency for international buyers and French distribution companies looking to negotiate rights across drama, animation, documentary, and entertainment formats.

The strategic tightening of the schedule follows the operational blueprint of the 31st edition held in 2025. That event, which served as a crucial pre-fall market gathering, welcomed nearly 150 audiovisual buyers representing 40 countries, alongside a delegation of 51 French distribution companies. The 2025 edition featured a dedicated digital Screening Room loaded with over 500 programs, giving global executives immediate access to recent local productions. Alongside content screenings, the organization maintained its B2B networking agenda via industry conferences, strategic panels co-hosted with the CNC (Centre National du Cinéma et de l’Image Animée), and official cocktail receptions.

Through this consolidated structure for 2026, Unifrance aims to further streamline business interactions between local rightsholders and international television networks, SVOD services, and AVOD platforms, reinforcing the global footprint of French content.

Under the slogan “TV with a market view,” NEM Dubrovnik is preparing its most ambitious edition to date for 2026 and is cementing its position as one of the most important events in the audiovisual industry in Central and Eastern Europe (CEE). From June 8th to 11th, Dubrovnik will once again become the meeting point for broadcasters, platforms, studios, distributors, telecommunications operators, and content executives from around the world. 

In just three editions, the event has grown exponentially. What began as a regional market focused on the Eastern European television ecosystem is now positioned as a strategic platform for global discussion on distribution, streaming, monetization, and the transformation of the audiovisual business.

The 2026 edition will set a new record: more than 300 companies, over 200 buyers, and around 150 exhibitors will participate in the market, which has also expanded its capacity by 50% compared to the previous year. 

Growth was so significant that this year the organization added a new exhibition area called the “Adriatic Area,” after the traditional spaces—the Sunset Area and the Mare Area—reached capacity. The new hub will be located within the Dubrovnik Palace Hotel and will be specifically designed for business meetings and networking with a view of the Adriatic Sea.

One of the factors driving NEM Dubrovnik’s expansion is the profile of the executives who attend. The market has attracted an increasing number of decision-makers: heads of acquisitions, chief content officers, and programming directors from companies such as The Walt Disney Company, Warner Bros. Discovery, CME, Canal+, AMC Networks, Paramount, TVN, Antenna Group, and Hearst Networks, among many others. 

The 2026 program also reflects this evolution. The event no longer revolves solely around the buying and selling of content but has transformed into a forum for discussing the future of the industry. Key topics include partnerships between broadcasters and streamers, artificial intelligence applied to content, the micro-drama phenomenon, digital monetization, piracy, and the hybrid future of OTT, IP, and satellite. 

In addition, NEM offers a unique advantage that many executives highlight compared to other international markets: a more intimate and relaxed experience. The meetings, cocktail receptions, and social events held throughout Dubrovnik serve as a natural extension of the market and foster networking among companies and buyers. 

With an increasingly globalized and competitive audiovisual industry, NEM Dubrovnik seems to have found its own identity: combining business, trends, and strategic partnerships in one of the most attractive settings on the international circuit. And 2026 promises to be the definitive confirmation of that growth

As major streaming platforms look to establish or deepen their footprint in competitive international territories, their strategic focus is increasingly shifting eastward toward CEE. With Western markets reaching saturation, global platforms recognize that capturing region audiences requires navigating a high degree of complexity regarding local infrastructure, language barriers, and distinct market dynamics. To succeed in this environment, the strategy has become clear: partnering with established pay-TV operators to offer combined subscription packages has shifted from an occasional marketing tactic into a core expansion framework.

The CEE region presents a unique landscape where global digital trends blend with regional specifics, resulting in a strong «frienemy» relationship between international streamers and local pay-TV operators. While traditional television viewing time has decreased by 12% to 14% over the past five years in Poland, the Czech Republic, and Romania, full-scale cord-cutting has not materialized as it has in Western markets. While younger demographics—specifically 15-to-24-year-olds—have seen their traditional viewing time drop by 50% over the past decade in Poland and Hungary, overall pay-TV penetration remains exceptionally high. Currently, pay-TV penetration reaches 90% in Romania and Hungary, and 75% in Poland.

Paradoxically, streaming is actively supporting this traditional broadcast segment. In Romania, 37% of SVOD customers purchase their streaming access directly through their television operators. This centralized purchasing model is particularly popular among the over-55 ‘silver viewer’ demographic, for whom legacy pay-TV serves as a trusted gateway into the broader streaming ecosystem. Telecom operators play an equally important role in reselling subscriptions across all markets in the region.

This regional evolution aligns closely with changing consumer sentiment regarding the economic sustainability of fragmented digital subscriptions. According to the 2026 “Best Bundle” report by Hub Entertainment Research, financial constraints are now the primary determinant in media consumption. With streamers continuously raising prices globally, 50% of surveyed consumers strongly agree that their available budget is the defining metric when selecting entertainment services. In the CEE market, platforms like SkyShowtime are capitalizing on this by betting heavily on cost-conscious bundling and pan-regional licensing to capture budget-sensitive audiences. The structural simplicity of maintaining a single monthly invoice for multiple distinct subscriptions is identified as a primary value driver by 44% of consumers.

The region also demonstrates the ‘televisioning’ of the streaming experience, with consumers overwhelmingly preferring to watch VOD services on traditional TV screens. Active Smart TV usage among regional online viewers ranges from 52% in the Czech Republic up to 61% in Romania. Online viewing is a mass activity across the region, with ‘e-viewers’ comprising 78% of internet users in Romania and 87% in Poland.

However, consumer behaviors and payment habits vary drastically across borders. Poland represents the strongest paid streaming market, with 70% of e-viewers actively paying for content. Alongside Hungary, Poland boasts the highest concentration of loyal, long-term subscribers to platforms like Netflix, HBO Max, and Disney+. Conversely, the Czech Republic harbors the highest number of streaming ‘hoppers’ who rapidly cycle through subscriptions, and digital piracy remains a significant factor, with one in three Czech internet viewers still utilizing torrents to download long-form content.

For media companies, the operational incentives to participate in consolidated pay-TV ecosystems are deeply tied to subscriber retention. Jason Platt Zolov, Senior Consultant at Hub Entertainment Research, noted that studios are highly aware that bundles deliver stronger retention and reduce churn, creating huge incentives to push consumers toward these ‘stickier’ subscription deals. In CEE, this battle over infrastructure isn’t just among global giants; local players like VOYO and Canal+ Polska are fiercely leveraging national content quotas and viewer loyalty to hold their ground. Ultimately, as international platforms recalibrate their localization strategies, telecom operators and pay-TV providers will remain the critical gatekeepers, proving that in Eastern Europe, aggregation and bundling are the definitive routes to streaming success.

The latest iteration of the Nostradamus Report shifted away from predictive warnings to focus heavily on systemic recalibration during its unveiling at the recent Cannes Next program, past month. Authored by media analyst Johanna Koljonen, the document, titled “Challenging Projections,” presented a major overhaul of the frameworks used to evaluate, quantify, and navigate the modern audiovisual landscape. Sponsored annually by the Göteborg Film Festival for over a decade, the study compiles insights from cross-sector interviews to correct what it identifies as a widespread bias toward interpreting market evolution through anxiety or nostalgia rather than empirical data.

At the core of the findings is the reality that cinema, traditional broadcasting, streaming services, and online creator media have merged into a singular, highly fluid environment. Within this integrated structure, television drama volumes are flattening out at approximately three-quarters of their historical peak, while independent feature film output remains robust. Simultaneously, microdramas and short-form scripted narratives are proliferating on alternative platforms. Koljonen noted that the traditional screen industries previously viewed the creator ecosystem and non-traditional video formats as abstract concepts, but recent theatrical features led by online creators and the massive surge in micro-content have forced a realization that the map of the media ecosystem has fundamentally changed.

The research highlights the consolidation of a decentralized economy driven by direct consumer engagement, multi-channel monetization, and cross-platform intellectual property expansion. The document directly challenges institutional biases regarding online creators, noting that internet-native scripted content has served as a parallel training arena for industry professionals for more than ten years. The study argues that failing to integrate these non-linear career trajectories into traditional funding, recruitment, and organizational frameworks is increasingly unsustainable. Furthermore, it suggests that regional film sectors, particularly in Europe, have historically misjudged audience demands by falsely equating broad commercial popularity with a lack of artistic merit, whereas accessible storytelling is actually vital for maintaining cultural presence and fiscal health.

Consequently, the study advocates for a complete redefinition of market success. Instead of evaluating performance solely through traditional box office results or isolated broadcast windows, it suggests measuring the aggregate vitality of creators, production firms, and audience communities. This change in perspective requires recognizing that significant economic and cultural value now accumulates in digital spaces where current measurement tools remain inadequate. Industry professionals contributing to the research—including executives from Warp Films, WEBTOON Productions, and European Film Promotion—pointed out that professional entry points are no longer linear, and that highly active fan communities are now structural components of intellectual property development rather than mere marketing tools.

The analysis concludes that the primary obstacle facing the global entertainment sector is not rapid technological change, but an inability to interpret the current landscape objectively. The overarching priority for media firms is to understand the system as it operates today rather than attempting to resurrect past structures. To support this ongoing analysis, the initiative is expanding its reach beyond its annual festival presentation through the launch of a dedicated newsletter and an upcoming podcast series.

The European Audiovisual Observatory has published its Key Trends 2026 report, providing a comprehensive, data-driven analysis of the European audiovisual sector. The findings track crucial structural shifts across the creative economy, from record-setting film production metrics to deep transformations in consumer streaming preferences, regional financing, and global market positioning.

According to the whitepaper, the European audiovisual ecosystem generated approximately €142 billion in total revenues in 2024. Direct consumer spending—a category encompassing SVoD renewals, traditional pay-TV, theatrical box office receipts, and home video purchases—served as the primary economic engine, contributing over half of the market’s total value at €72 billion.

Concurrently, the financing matrix for local content is undergoing rapid evolution, heavily influenced by global streaming platforms. Driven by a combination of strict regulatory incentives and an accelerating international demand for localized narratives, global SVoD services have significantly scaled their investments. The platforms’ share of total spending on original European content surged from a modest 8% in 2020 to 24% in 2024, cementing their role as critical financial stakeholders in the region’s production pipeline.

Record production output vs. episodic streaming dominance

On the supply side, European film production achieved an unprecedented milestone. In 2024, the sector reached a historic peak of 2,523 feature films produced across 36 distinct regional markets. This volume confirms a robust post-pandemic recovery and sustained expansion, with growth evenly distributed across both fiction features and documentary formats. Furthermore, average production budgets continued an upward trajectory across the majority of European territories.

However, a stark contrast emerges when analyzing how content is consumed in the digital space. The report highlights a profound imbalance in consumer engagement on streaming networks:

• TV Series Consumption: Accounts for a dominant 78% of total viewing time on SVoD platforms.
• Feature Film Consumption: Attracts just 22% of viewer engagement.

This breakdown underscores the degree to which episodic, multi-part storytelling has become the definitive format driving the modern streaming economy, presenting unique monetization and distribution challenges for traditional feature-length cinema.

The scale gap in global competition

Despite a vibrant production infrastructure and substantial internal revenues, European media companies continue to face a significant scale gap on the international stage. Europe represents a mere 12% of the aggregate revenues generated by the world’s leading entertainment conglomerates.

The global market remains heavily dominated by US-based players. This landscape is mirrored within Europe itself, where major global tech and entertainment platforms—most notably Netflix, YouTube, and Meta—have successfully positioned themselves among the top audiovisual operators inside the European market, shifting the competitive dynamics for native broadcasters and media groups.

Documentaries are no longer just a niche programming option; they are actively dominating the global media landscape. As traditional linear television viewing faces a steady decline, the public’s appetite for authentic, thought-provoking content has intensified. Documentaries have consequently emerged as a primary driver of global media consumption, capturing diverse audiences across streaming platforms, theatrical releases, digital campaigns, and educational institutions alike.

Driving Factors and Market Growth

According to market research from Business Research Insights, the global documentary film and television market holds an estimated valuation of USD 12.96 billion. Propelled by shifting viewer habits, the sector is projected to reach USD 20.7 billion by 2033, maintaining a compound annual growth rate (CAGR) of 5.3%.

Industry analysts attribute this rapid expansion to three primary market drivers:

• Viewer Fatigue: Audiences are increasingly fatigued by superficial, fast-entertainment formats, seeking deeper engagement instead.
• Demand for Fact-Based Narrative: There is a growing premium placed on truthful, thoroughly researched, and fact-based storytelling.
• SVoD Investment: Major subscription streaming platforms continue to invest heavily in original non-fiction content as a core retention tool.

The prestige and commercial viability of the genre have been further validated by recent accolades. For instance, Netflix secured six Peabody Awards for its documentary portfolio, while investigative outlets like Business Insider took home two News and Documentary Emmy Awards. In terms of platform performance, non-fiction features are routinely outperforming scripted counterparts in emotional engagement, rewatch value, and long-tail library performance. A prime example is the Netflix docuseries Attack on London: Hunting the 7/7 Bombers, which has drawn massive global viewership and spurred widespread social dialogue.

Streaming, Theatrical Success, and Core Themes

While scripted series struggle to maintain consistent audience numbers, documentaries are expanding their footprint in both streaming and theatrical spaces. In the United Kingdom and Ireland, recent box office statistics indicate that non-fiction titles are performing significantly better in cinemas than projected, driven heavily by investigative, biographical, and nature-focused themes. Even as global platforms diversify into reality television and celebrity-driven filler programming, premium documentary strategy remains a cornerstone for retaining informed, high-value demographics.

The most prominent narrative trends driving consumer demand span several key areas:

• Social Justice & Geopolitics: In-depth explorations of political events and systemic issues.
• Environmental & Climate Impact: High-production films focusing on ecological changes and conservation.
• Biographical & Cultural Heritage: Profiles of prominent figures, such as Barbara Walters: Tell Me Everything, alongside features celebrating traditional crafts and human history.
• Wellness & Psychology: Investigative looks into global health, mental wellness, and psychological behavioral patterns.

The AI-Resistance of Human-Centric Media

While artificial intelligence continues to disrupt workflows and automate processes across various creative sectors, the documentary format remains uniquely resilient to automation. Industry experts emphasize that the fundamental pillars of documentary filmmaking rely on elements that algorithms cannot replicate:

• Ethical Journalism and Trust: Real human stories require cultural context, deep empathy, and the establishment of trust during face-to-face interviews.
• Unscripted Reality: On-the-ground field filming captures raw, spontaneous human moments that cannot be manufactured or modeled by generative software.
• Nuanced Editorial Tone: Compelling emotional arcs demand complex, subtle editing choices and tonal balances that require human lived experience.
• Audience Transparency: The value of a documentary rests on its journalistic integrity and transparency—qualities that AI-generated content inherently lacks.

Strategic Value for Institutional and Brand Commissioners

The shifting media landscape has also changed how corporate brands, government institutions, and non-profit foundations approach media communication. Organizations are increasingly turning away from traditional, short-form advertising in favor of commissioning long-form documentary films.

By utilizing premium non-fiction storytelling, these entities are able to build long-term audience trust, communicate complex organizational missions more effectively than traditional commercial spots, and position themselves as socially responsible leaders while leaving a lasting, measurable emotional impact on viewers.

Premium video advertising volumes recorded steady growth in the final half of 2025, driven by sustained CTV usage and increased programmatic adoption across European markets. According to the latest Video Marketplace Report (VMR) from FreeWheel, total premium video ad views rose by 11% YoY globally. In Europe, the data highlights a region rapidly shifting toward automated workflows to manage and monetize content inventory, frequently outpacing the U.S. in digital acceleration metrics.

While Connected TV maintained its position as a dominant device for ad consumption, the European market demonstrated the fastest expansion, posting a rapid 33% year-over-year increase in CTV ad views. This outpaced the 11% growth seen in the U.S. and brought Europe’s share to exactly half (50%) of its total ad views. This regional acceleration has been supported by the deployment of automated CTV buying platforms designed to simplify publisher-advertiser connections, alongside live programming, which secured a steady 25% share of European CTV ad views.

Programmatic transactions grew significantly in the region, with European programmatic ad views climbing 38% YoY, compared to a 28% increase in the U.S. This automated ecosystem saw a 21% global influx of unique programmatic advertisers, indicating that automated delivery is successfully lowering the barrier to entry for a more diverse pool of buyers. Programmatic channels now represent 22% of total advertising traffic in Europe, growing by 3% year-over-year. Emmanuel Josserand, Senior Director of Brand, Agency, and Industry Relations at Comcast Advertising, noted that automation tools are shifting the supply chain toward predictive systems for VOD and real-time autonomous interoperability between buyers and sellers.

The report also highlighted the role of metadata signaling in driving programmatic marketplace transparency across European borders. Content owners are increasingly enriching the bidstream to prove inventory value to buyers. On the site dimension, ‘AppBundle’—a unique application store identifier—served as the most common field, appearing in 53% of metadata-enriched endpoints. For video content characteristics, ‘Genre’ remained the dominant field at 56%. Despite these figures, the relatively low adoption of other metadata fields suggests that European publishers have a remaining opportunity to better define and clear the value proposition of their premium inventory.

Targeting strategies showed a distinct geographic split, with European campaign execution heavily favoring behavioral targeting, which led demographic data by a 60% to 40% margin. Conversely, U.S. programmatic delivery showed the inverse trend, with a slight 54% to 46% preference for demographic targeting over behavioral methods.

The factual television sector is exhibiting notable resilience compared to the broader scripted landscape, acting as a key area of opportunity for the global entertainment industry. According to data compiled by Ampere Analysis and presented at last edition of Mip London, past February, the volume of unscripted and documentary commissions has contracted by only 15% from its historical peak, contrasting with the 25% decline observed in scripted programming since the industry’s «Peak TV» high point in 2022.

The analysis, titled “10 Factual Facts to Flourish in the Future” and presented by Executive Director Guy Bisson, highlights Western Europe as a primary hub for documentary activity. While other global territories have registered slight drops, commission volumes in the region have stabilized, specifically across cultural, crime, biographical, and historical subgenres. Following a minor dip in early 2025, commissioning volumes in both North America and Western Europe are currently returning to steady 2024 baselines.

A significant factor stabilizing unscripted television metrics is the steady rise in sports-related content. As global streaming platforms increasingly acquire live sports rights, they are concurrently greenlighting adjacent documentary formats—such as behind-the-scenes profiles and serial narratives—to maximize their sports portfolios. This demand is further accelerated by major international events, including the upcoming Winter Olympics and the FIFA World Cup. While original sports docuseries orders by the top six global streaming services saw a slight correction in 2025, volumes are projected to peak in alignment with these tournament cycles.

Concurrently, traditional subscription-based and commercially-driven players are pulling back from unscripted commissions across most genres, a structural shift that may be linked to consumer behavior on digital platforms. Bisson noted a potential parallel to children’s media programming, suggesting that adult audiences are increasingly migrating to YouTube for unscripted and documentary content. In response to this audience shift, traditional broadcasters are re-evaluating distribution windows; approximately 70% of broadcast documentary titles are now being published to networks’ official YouTube channels within 30 days or less of their linear television premieres.

As commercial networks, legacy pay-TV operators, and SVOD services scale down unscripted investments, public service broadcasters are solidifying their roles as the primary commissioners of documentary programming. Public broadcasters have demonstrated an ability to move quickly on topical issues, increasing their output in news-adjacent subgenres such as military/war, culture, and social health—including investigative pieces on children’s mental health and social media. These networks are leveraging their structural advantage to adapt and repurpose existing catalog materials rapidly to address current events, a flexibility that global streamers are generally less equipped to replicate.

The data reveals a clear divergence in what commissioners are seeking, despite certain areas of overlap. True crime remains highly stable, representing 40% of all streaming unscripted commissioning activity. However, streamers are specifically prioritizing projects that offer a completely fresh or untold perspective, expose institutional secrets, or highlight the personal cost and sacrifice within sports or music landscapes. Conversely, when traditional broadcasters approach true crime or historical topics, they are actively looking for concepts framed around a distinct social angle, collective trauma, or stories that explicitly connect historical legacies to modern societal challenges.

Croatian Radio and Television (HRT) marked a dual historical milestone past Friday, May 15, commemorating a century of radio broadcasting operations and seven decades of television service. The public media organization anchored the observances around an ongoing corporate campaign titled «Forever First», which encompassed a schedule of specialized broadcasts, archival showcases, and public gatherings designed to underline the institution’s historical continuity as a public service provider. The date chosen for the central observances corresponded with the inaugural transmission originating from Zagreb in 1926, which was initiated by writer and announcer Božena Begović. On the day of the centenary, the network integrated its television and radio grids with live dispatches from various urban locations, culminating in a formal ceremony at the Vatroslav Lisinski Concert Hall. During the proceedings, management distributed the broadcaster’s annual accolades, including the Ivan Šibl Lifetime Achievement Award, and conducted a memorial segment dedicated to network personnel who lost their lives during the Homeland War.

A primary component of the anniversary programming strategy was the deployment of an archival initiative named «100 Moments to Remember». Executed across the network’s digital and traditional distribution channels, the project resurfaced historical broadcasts, prominent cultural events, and heritage entertainment formats that aired throughout the decades. Network representatives stated that this retrospective programming aimed to contextualize the media outlet’s historical influence on domestic society rather than merely repeating old material. The archival rollout generated measurable audience engagement, particularly with retrospective clips such as the 1989 Prljavo kazalište concert, the reception of the national football squad in 2018, and heritage drama series like Smogovci and Gruntovčani. According to internal metrics, a specific 1983 audio excerpt featuring sports commentator Mladen Delić accumulated over one million cross-platform impressions leading up to the anniversary.

Speaking during the central news program, Dnevnik, HRT CEO Robert Šveb outlined the core philosophy of the public broadcaster, drawing a clear line between the institution and commercial networks or global streaming platforms. He emphasized that the network’s mission focused entirely on qualitative, credible information, cultural preservation, and universal education, rather than profit maximization or algorithmic user retention on social networks. Šveb noted that while the tools and media environment changed drastically over the past century, the foundational idea of providing a stable platform for democratic dialogue and fostering the domestic creative scene remained unchanged.

The director general also addressed the long-term management of the network’s extensive audiovisual catalog, describing it as a national treasure that reflected the comprehensive history of the country. He noted that the ongoing task for the executive team involved the systematic digitalization of these historical assets to ensure they became fully accessible to younger generations. Šveb identified the transition from traditional linear channels to non-linear, on-demand digital platforms as the most significant challenge facing the broadcaster, asserting that establishing a strong presence on portable devices was vital to ensuring the long-term relevance, credibility, and future of public media services.

Despite the extensive archival programming, the network’s strategy faced distinct scrutiny from internal oversight bodies. Members of the Programming Council criticized the executive management for relying heavily on catalog reruns instead of commissioning and internally producing new, large-scale dramatic or cinematic works to mark the milestone. Critics pointed to the absence of modern equivalents to historical, big-budget successes like Glembajevi or Prosjaci i sinovi. Addressing the administrative feedback, Šveb stated that while praise was appreciated, constructive criticism was far more useful for analyzing audience habits and refining their public interest mandate. ‘A high-quality public media service would be even more necessary in the changing modern media landscape than it was during the previous century’, he concluded.

Warner Bros. Discovery’ HBO Max made an important expansion on its European operations, where the streamer did a rollout in the UK and Ireland following recent market entries in Italy and Germany. Operating across 112 territories with a base of 130 million subscribers, the company’s head of original programming, Sarah Aubrey, detailed its regional development strategy recently. A presentation, during Series Mania Forum, outlined an approach that prioritizes extended development timelines, allowing for extensive script refinement and the production of pilot episodes before full commissioning. Rather than engineering shows specifically for global export, the strategy relies on regional executives to source narratives suited for their specific domestic markets.

The platform’s recent localized slate includes titles such as France’s The Seduction, Poland’s The Eastern Gate, Italy’s Portobello – The Fall of Enzo Tortora, Brazil’s Scars of Beauty, and Mexico’s Chespirito: Sin querer queriendo. Alongside the April return of the US drama Euphoria, Aubrey announced several new European partnerships and projects. In Spain, the streamer has signed a first-look agreement with Domingo Corral, the former fiction executive at Movistar Plus+. The Spanish development pipeline also included a new drama from Alberto Rodríguez and Rafael Cobos. Set during Spain’s 1980s democratic transition, the narrative focuses on a specialized police unit composed of former Francoist officers and the subsequent disappearance of a wrongfully detained petty criminal.

For the German market, the company is collaborating with Dark Ways, the production banner led by Jantje Friese and Baran bo Odar. They are currently filming a thriller created by Matija Dragojević, featuring Lisa Vicari and Norbert Troschitz. Attendees were shown preliminary footage of the series, which tracks a police investigation into ritualistic murders connected to the 1844 children’s book Struwwelpeter. The presentation also confirmed the development of 4 Blocks Zero, serving as a prequel to the established German crime franchise.

The industry showcase concluded with visual updates on various upcoming productions, including early footage from the Harry Potter television adaptation currently shooting. Additional previews featured the Polish drama Proud, which centers on a gay man assuming custody of an infant following a family tragedy, and the second season of the Spanish title Rage, featuring Carmen Maura. Finally, the company scheduled the premiere of the French drama Privilèges for March 27. The six-part series, created by Marie Monge and Vladimir de Fontenay and starring Manon Bresch and Melvil Poupaud, is set within the operations of a Parisian hotel.

La ejecutiva también aprovechó la instancia para hablar de la fusión con Paramount y cómo incidirá esto en el camino creativo del servicio: ‘aunque HBO Max y Paramount se vayan a unir, la estrategia de originales en Europa permanece estable. Doy fe que seguimos abiertos a estrategias de coproducción con players de primera línea, con creadores, con directores, y con todo aquel cuya idea resuene con nuestro ADN y con nuestra audiencia’.

Amazon‘s streaming platform is increasing its investment in the young adult segment, a strategic line that originated in the Spanish market and is currently being replicated internationally. During the market sessions at Series Mania Forum, company executives detailed how the audiovisual adaptation of the Culpables franchise, authored by Mercedes Ron, served as the primary catalyst to establish a steady flow of productions aimed at this audience across multiple territories.

The reach of this literary saga, adapted by Pokeepsie Films, surpassed 100 million viewers globally, capturing a demographic that includes both teenagers and adult women. Nicole Morganti, Head of Originals for Southern Europe, explained that this viewership performance drove the development of a structured local catalog. Upcoming projects in Spain include further on-screen translations of Ron’s works, specifically the feature Dímelo bajito and the two installments of the Enfrentados saga, titled Marfil and Ébano.

This business model, heavily reliant on literary intellectual property and social media consumption trends, is being exported to other European markets. The company has projects underway such as Love Me, Love Me in Italy, Campus Drivers in France, and a British version of Culpa Mía. Furthermore, the German production Maxton Hall: The World Between Us quickly positioned itself among the platform’s most-watched content worldwide in 2024.

In an industrial landscape characterized by a general contraction in fiction demand, Thomas Dubois, Head of Originals for France and Japan, conveyed a message of corporate expansion, indicating that the platform is actively seeking to increase its volume of series. While coming-of-age dramas and exclusive boarding school settings set the current trend, Dubois clarified that the company’s operational goal is to innovate within the format and avoid saturating its schedule with traditional high school tropes. The executive also noted that reliance on literary franchises is not a strict rule, citing the French original film Tempête—a teenage survival story without prior source material—as an example.

This entire strategy of strengthening local-language content is unfolding under the recent direction of Nicole Clemens, who assumed the role of VP of International Originals following her tenure at Paramount Television Studios. This management phase is oriented toward prioritizing the serialized format, providing an executive vision that, according to the European leadership, focuses on direct collaboration with production companies, analytical script evaluation, and creative talent management.

On its financial results for the first quarter of 2026, RTL Group has revealed a key milestone in its digital transformation strategy: the streaming business has reached profitability for the first time. Between January and March, the group’s total revenue remained stable at €1,295 million, achieving an organic growth of 2.5% driven by the rise of on-demand content and the strong performance of its global production company, Fremantle.

The streaming segment experienced a 27.0% jump in revenue, reaching €141 million. This success is underpinned by an 18.8% year-on-year increase in the paying subscriber base, which now stands at 8.4 million consolidated users across platforms such as RTL+ (in Germany and Hungary) and M6+ (in France).

Clément Schwebig, CEO of RTL Group, highlighted this achievement: ‘The first three months of 2026 marked the first profitable quarter of our streaming business. With all streaming performance indicators growing – from revenue to paying subscribers and viewing time – we are confident that our streaming services will generate an operating profit of €25 million to €50 million for the full year’.

This performance was bolstered by key strategic partnerships closed early in the year, such as the integration of the HBO Max catalog in Germany and Austria through RTL+, the inclusion of M6+ on Amazon Prime Video for the French market, and distribution alliances with telecommunications platforms.

Transition in the advertising market

While the digital ecosystem advances steadily, linear television advertising continues to face the challenges of transitioning consumption habits. Traditional TV advertising revenue fell by 6.5%, reflecting the ongoing migration of audiences.

However, this contraction was mitigated by a robust 14.6% growth in the corporation’s digital advertising revenue, which totaled €118 million. Furthermore, despite the overall advertising decline, the group’s main broadcasting divisions—RTL Deutschland and Groupe M6—managed to increase their audience shares in key commercial demographic groups against their competitors.

On the corporate front, RTL Group confirmed it has received unconditional approval from the European Commission for the acquisition of Sky Deutschland (DACH). The transaction, previously agreed upon with Comcast, is expected to officially close on June 1, 2026.

This strategic operation will create an entertainment giant in the German-speaking region with approximately 12.3 million paying subscribers. With the incorporation of Sky, the group’s pro-forma annual revenue would scale over €8 billion, balancing and diversifying its business model for the future: approximately 40% of its revenue will come from advertising, 27% from subscriptions, and 24% from content.

Sustained outlook for 2026

Despite the volatility of the macroeconomic and geopolitical environment, RTL Group reaffirmed its full-year projections. Excluding the imminent consolidation of Sky Deutschland, the company expects to reach annual revenues between €6.1 billion and €6.2 billion, leveraged by an estimated 25% growth in streaming and 3% organic growth from Fremantle.

Following a significant internal restructuring that merged its production and sales divisions, BBC Studios is rapidly expanding its scripted footprint across the Europe, Middle East, and Africa (EMEA) region. Moving beyond its established reputation as a distributor of major non-scripted formats, the London-based studio is now positioning itself as a localized production engine. During a recent presentation, the company detailed a strategy focused on operating decentralized production bases capable of developing both adaptations of UK intellectual property and entirely original, homegrown narratives.

The overarching goal, as articulated by Matt Forde, President of BBC Studios Global Productions, is to function as a full-service creative partner in individual markets rather than merely a licensing entity. The company now operates ten production bases globally, effectively functioning as independent mini-studios embedded within their respective territories. This localized approach allows the studio to foster authentic stories that resonate domestically while maintaining the potential for international distribution.

The strategy’s execution is evident in the studio’s recent activities in Spain, a market that has become highly attractive due to its diverse landscapes and robust tax incentive structures. Following the acquisition of the Spanish production company Brutal Media, BBC Studios has gained a significant foothold in the region. Alonso Laporta, Head of Scripted at Brutal Media, highlighted that the integration provides the Spanish team with access to a vast portfolio of successful titles, enabling a dual approach of developing both original projects and catalog-driven adaptations. Furthermore, the association with the recognized BBC brand has facilitated stronger relationships with local creative talent and opened new avenues for collaboration.

A similar strategic shift is occurring in Germany, where the studio has had a long-standing presence but is now aggressively pursuing scripted projects. Eva Holtmann, Head of Scripted at BBC Studios Germany, pointed to recent successes such as the local adaptation of Ghosts, which has already secured a second season, and Chabos, a comedy loosely inspired by the UK series Ladhood. Demonstrating the flexibility of this model, a female-centric spin-off of Chabos, titled Babes, is currently in development. Holtmann emphasized that while adaptations provide a solid foundation, the German hub is actively pursuing original concepts tailored to local tastes.

In France, the approach is similarly anchored in building enduring relationships within the creative community. Lea Gimonneau-Sorrel, a scripted series producer for BBC Studios France, explained that the territory’s strategy is fundamentally talent-based. The focus remains on identifying and collaborating with both emerging and established voices, cultivating partnerships that extend to local broadcasters and streaming platforms. Across these European hubs, BBC Studios is leveraging its global infrastructure to empower local teams, resulting in a diversified and growing slate of localized scripted content.

Spanish streaming platform Movistar Plus has embarked on a significant strategic transformation under the leadership of CEO Alfonso Gómez Palacio. The company announced that it is realigning its organizational structure to accelerate growth, enhance its editorial capabilities, and cement its position as the business vertical at Telefónica’s B2C commercial strategy.

To drive this new phase, the platform’s editorial structure has been divided into two primary entertainment pillars: Content and Sports. Juan Andrés García Ropero, widely known in the industry as «Bropi», takes the helm of the Content division. Since joining the service in 2018, the exec has been instrumental in shaping the platform’s sports offering and will now oversee the overarching strategy and development of films, series, documentaries, and new original formats.

With the goal of maximizing original production and strengthening editorial capabilities, the Content division will operate through four specialized units. Bruna Hernando will lead Originals Movistar Plus, focusing on fiction and non-fiction series, while Guillermo Farré will be in charge of Spanish Cinema. Additionally, Iñigo Trojaola will direct Editorial Development and Acquisitions, and Hugo Tomás will head the Entertainment area. Simultaneously, Enric Rojas will continue to spearhead Business Management and Sports, a division that remains one of the platform’s most crucial differentiators and an essential part of the user experience.

This strategic pivot coincides with strong operational momentum. In the first quarter of 2026, Movistar Plus accelerated its year-on-year growth to 8.3 percent, adding 86,000 net customers to reach a total of 3.9 million paying subscribers. To sustain this upward trajectory in a highly competitive market, the platform is adapting its commercial approach with more flexible offerings. It recently rolled out a free plan that allows users to sample a curated selection of its catalog, acting as a gateway for future premium subscriptions. Furthermore, the company launched a new «Movies and Series» tier priced at 4.99 euros, specifically tailored for audiences seeking premium fiction without being tied to higher-priced sports broadcasts.

Despite this push to reach broader audiences through accessible entry points, management insists that the recognized Movistar Plus seal of quality remains intact. The ambition of this new organization is not to choose between quality and growth, but to demonstrate that volume expansion and creative ambition can reinforce each other. This commitment to high-end storytelling is currently reflected on the global stage at the Cannes Film Festival, where the platform boasts a strong presence in the Official Selection with three associated titles: the originals The Beloved by Rodrigo Sorogoyen and The Black Ball by Javier Ambrossi and Javier Calvo, alongside Pedro Almodóvar’s Bitter Christmas, a project featuring significant participation from the platform.

All3Media International has a robust new portfolio of dramas, documentaries, and entertainment formats designed to connect with global audiences this season. The distributor’s latest slate ranges from impactful real-life stories to high-end fiction, reflecting the British company’s distinctive stamp on the international market.

Leading the factual lineup is Michael Jackson: The Trial, a new series produced by the award-winning team at Wonderhood. Across four one-hour episodes, the production re-examines the media frenzy surrounding the music icon’s 2005 trial, offering a deep and contemporary look at the artist’s complicated legacy.

Another standout factual title is The Moonies: Married to the Cult, a 90-minute feature documentary. This production opens a window into one of the world’s most controversial and enigmatic religious movements, exploring how its influence continues to resonate today. Through testimonials and a compelling narrative, the documentary delves into the mechanisms of power, faith, and manipulation surrounding the so-called «Moonies.»

On the fiction front, All3Media International presents Secret Service, an international espionage thriller produced by Potboiler. With a cast led by Gemma Arterton and Rafe Spall, the series combines intrigue, action, and drama, traversing locations including London, Malta, and Finland.

The slate also features Babies, a love story created by two-time BAFTA winner Stefan Golaszewski. Produced by Snowed-In Productions and The Money Men, the series follows Lisa and Stephen—played by Siobhán Cullen and Paapa Essiedu. The drama focuses on a couple in their thirties navigating the pain of miscarriages while sustaining their relationship through humor, warmth, and a deep emotional connection.

In the unscripted format space, the company is pushing The Circle, the hit entertainment format from Studio Lambert. The show poses questions about identity and life in the digital age, as a group of strangers compete for a cash prize by interacting solely through a specially designed social media platform.

RCN Studios is presenting at the 2026 edition of the NEM market with a catalog of Colombian productions ranging from psychological thrillers to musical melodramas and biopics, aiming to position its titles within the international circuit. The company’s offering is primarily structured around long-running formats, with series spanning from 50 to 90 episodes, designed for programmers seeking volume and stability in their broadcast schedules.

Within the musical melodrama segment, the distributor is bringing La Hija del Mariachi, an 80-episode, 45-minute fiction that intertwines cultural elements from Mexico and Colombia by following the relationship between a local singer and a fugitive businessman. In a similar thematic vein, but based on true events, the company presents Darío Gómez, el rey del despecho. This 90-episode series dramatizes the life of the well-known Colombian singer, focusing on how personal tragedies and loneliness shaped his path to commercial success in the city of Medellín.

The focus on biographical narratives continues with Rigo, a 90-episode drama inspired by the career of cyclist Rigoberto Urán. The story functions as a tale of athletic perseverance that does not shy away from the country’s context of violence, addressing the murder of his father while chronicling his rise to become a global cycling figure, driven by his family environment and his relationship with his partner.

Alongside these productions, RCN Studios diversifies its slate with projects geared toward suspense and dramatic comedy. La Sustituta is a 51-episode, one-hour drama that delves into the psychological thriller genre. The plot follows Eva, played by Majida Issa, a domestic worker who infiltrates the home of a tormented woman to orchestrate a plot and usurp her life, in a narrative that eventually collides with an independent investigation by a psychiatrist. And to round out the catalog, the production company offers Las de Siempre, a 91-episode dramedy centered on four forty-something women who must rebuild their lives following various crises. This proposal steps away from traditional melodrama to focus on breaking stereotypes and exploring the dynamics and pressures of contemporary adult female life.

During the 2026 LA Screenings, Jordan Warkol outlined how Ottera is assisting broadcasters and platforms globally in their digital transformation, adapting its technological solutions to current audiovisual market trends. The executive emphasized that the company currently operates across all digital business models, spanning SVOD, AVOD, FAST, and transactional frameworks.

Warkol noted a particular surge in transactional models, driven by the global rise of vertical micro-series and micro-dramas. According to the executive, this specific framework allows for better monetization of short-form formats and opens new revenue streams for audiovisual players. In parallel, he highlighted that the FAST business continues to experience steady growth, functioning as a natural and direct entry point for traditional broadcasters looking to transition into the digital ecosystem without requiring massive technological overhauls.

Another central pillar for the company is application development. The exec stressed that a successful digital business relies heavily on a solid and efficient user experience, particularly within CTV and streaming environments. Looking ahead to the upcoming Rio2C market, where the company will maintain a strong focus on Brazil, Ottera aims to expand its solutions across the local market, targeting both large media conglomerates and small-to-medium enterprises.

The company is also heavily investing in managed services, a business line that now accounts for 15% of Ottera‘s total billing. This division responds to a growing demand among media companies for comprehensive management of their digital operations, a need that has intensified amidst the rapid evolution of technology and the increasing integration of artificial intelligence in the sector.

Audiovisual from Spain is bringing a delegation of six major distributors to NEM Dubrovnik 2026, scheduled for June 8-11. Backed by ICEX, the umbrella brand aims to boost the export of Spanish audiovisual content and facilitate networking in the European market. 

The factual segment is represented by Artico Distribution, a global sales company specializing in high-quality documentaries. The company is presenting Live is Life (7 x 60′), a wildlife series exploring how living beings adapt and survive across challenging environments. Additionally, it introduces the science feature film The Last Traces of the Neanderthal (1 x 60′). 

Atresmedia Sales attends with a diverse catalog of fiction. Its lineup features the thriller 33 Days (6 x 50′), which follows an unprecedented police manhunt after a real-life prison escape in 2001. The broadcaster is also pushing the high-volume daily drama Dreams of Freedom, set in 1958 and centered on the heir to a major beauty products company. 

Mediterráneo, the company overseeing global distribution for Mediaset España , showcases Pure Bred (8 x 65′), a family drama set in the elite world of purebred horse breeding. It also highlights the sci-fi thriller Point Nemo, directed by Alex Rodrigo, which follows an oceanographic expedition stranded on a desolate island. 

RTVE, the Spanish public broadcaster, brings the dramedy Sin Glúten (8 x 55′), centered on a Michelin-starred chef who returns to teach at his old cooking school after losing his job due to alcohol abuse. RTVE also presents La Frontera (5 x 60′), a drama set in 1987 involving an imminent ETA attack in Paris and a rogue Guardia Civil captain. 

Movistar Plus+ International is handling rights for the original high-end content produced by the platform. Its slate includes I Always Sometimes (6 x 30′), a bold drama selected for the Cannes Series Festival that offers an unfiltered portrait of young adulthood and unexpected motherhood. The platform also distributes A 100 Million Reward (3 x 50′), a true-crime comedy based on the 1981 kidnapping of FC Barcelona player Enrique «Quini» Castro by three unemployed mechanics. 

Secuoya Studios completes the Spanish delegation. Its slate is headlined by the romantic thriller The Butterfly Labyrinth (8 x 45′), about a secret agent who suddenly becomes the most wanted man in Spain. The studio is also presenting Terra Alta (6 x 45′), a police thriller based on the Planeta Prize-winning novel by Javier Cercas. 

Dori Media will be attending NEM Dubrovnik with a revamped catalog that combines large-scale reality shows, entertainment formats, and premium drama series tailored for the international market. The company will be represented by its President and CEO, Nadav Palti, alongside Camila, Central Sales Manager for Central and Eastern Europe, the United Kingdom, the Middle East, Asia, and Africa.

Following its recent presentation at LA Screenings, one of the highlights will be the new evolution of Power Couple, the hit reality show created by Abot Hameiri/Fremantle Israel. The format has just completed its first 24/7 season in the United States and Mexico in partnership with TelevisaUnivision and Fremantle Mexico, with multiplatform broadcasts on Univision, Unimás, Canal de las Estrellas, and VIX. The series, which brings together 12 couples living together in the same house, continues to expand internationally and has already secured sales in more than 25 territories.

In the entertainment sector, Dori Media will also launch The Auction, a game show developed in partnership with América Televisión, Kapow, and Open Kimono, which made a successful debut in Peru and is now preparing to launch in Italy. Added to this is Golden Egg,  a new low-cost format with a prime-time aesthetic, and the sustained growth of Smart Face, recently sold in Bulgaria and nearing 400 episodes in Spain.

In fiction, the company will bring classic titles such as Ciega a Citas, Sos Mi Vida, and La Lola, as well as the political drama AMIA and the dramedy Soul Sucker.

“Our slate for NEM reflects the breadth of our catalog,” said Nadav Palti.

Viaplay Content Distribution has solidified its growth in Central and Eastern Europe after finalizing 60 distribution deals in recent months, ahead of NEM Dubrovnik. The strategy strengthens both its Viaplay Film & Series offering and its Viaplay Select package in a region with an ever-increasing demand for European content.

Among the most significant moves, CME secured exclusive premieres of dramas such as A Life’s Worth, Mafia, and Golden Boys for RTL and VOYO in Croatia, Serbia, and Bosnia, alongside Nordic titles like Beforeigners. Meanwhile, Viasat World opted for series such as Beartown and new seasons of Veronika.

Other agreements include Prima Group, STVR, and Warner Bros. Discovery Baltics, which added titles such as The Sleepers, Hilma, and Who Shot Otto Mueller? Demand for documentary and lifestyle content is also growing, with acquisitions in Poland and Slovenia.

“It’s a dynamic market, with growing interest in alternatives to U.S. content,” noted Vanda Rapti, highlighting the strong performance of drama and the rise of factual and lifestyle formats in the region.