The first sessions of the second day of Series Mania Forum, yesterday confirmed a clear shift in the industry conversation toward more digital-driven models that go beyond content itself. The focus is moving toward format, data, distribution, and evolving consumption habits.

Vertical microdrama has now firmly entered the industry’s strategic radar. Its international rise - from what was once seen as a marginal format - is positioning it as a potential evolution of audiovisual storytelling, increasingly attracting the attention of major global players. Rodrigo Nascimento, Head of International Business – EMEA at Globo, also announced during his 2026 showcase the company’s first productions in this format.

The discussion made it clear that microdrama should be understood as a format-driven response to mobile, fragmented, short-duration consumption. The key is no longer just what stories to tell, but which stories can be effectively adapted to the user’s consumption context.

The session led by María Rue Aguete of Omdia highlighted YouTube’s real weight within the global audiovisual ecosystem. According to the data presented, the platform reaches more than 2.7 billion monthly active users, significantly surpassing traditional streaming services in scale. Aguete also emphasized that consumption is consistent across age groups and devices, consolidating YouTube as one of the primary entry points for audiovisual content. In this context, she underlined the growing convergence between broadcasters and the platform, driven by the need to expand reach and visibility.

In conversation with Justine Ryst, Managing Director of YouTube France, the discussion reinforced the idea that YouTube is positioned to complement television. ‘YouTube is the best ally to the television industry’, she stated, noting that shifts in consumption habits have been driven primarily by users themselves. Ryst explained that the platform’s model is based on open distribution and audience-driven monetization, returning more than 50% of revenues to creators. She also highlighted YouTube’s potential as a tool to extend content lifecycles, build communities, and generate new revenue streams for producers and broadcasters.

BBC Studios placed international collaboration at the center of its production strategy. Matt Forde, Managing Director of Global Entertainment at BBC Studios, outlined the company’s model, which integrates distribution within the studio and operates as a global network with ten production bases. ‘We are effectively local production companies in every market’, he noted, emphasizing that the scripted business is gaining increasing importance, combining adaptations of established IP such as The Office and Doctor Foster with original content development. He stressed that the goal is to work with the best talent on a global scale.

Meanwhile, Léa Gimonneau-Sorrel, Producer at BBC Studios France, Eva Holtmann, Head of Fiction at BBC Studios Germany, and Alonso Laporta, Head of Scripted at Brutal Media (Spain), agreed on the importance of developing local stories with international potential. They highlighted an approach driven by talent and close collaboration with writers and broadcasters, as well as the role of adaptations as a gateway into the market, with examples such as Ghosts, which already has multiple versions. Laporta also underlined Spain’s current position as an international production hub, supported by tax incentives and the growing export of content.

The Disney+ keynote, led by Angela Jain, Head of Content for Europe, delivered a clear message to the market: the platform is increasing its commitment to local production. Jain stated that ‘we are definitely ramping up local production’ and confirmed that this expansion will be backed by investment. During the session, she explained that the focus is on developing content that audiences want to watch, combining distinctive storytelling with a stronger connection to local viewers. She also highlighted the key role of local teams in identifying projects and talent, as the platform looks to expand its presence across European markets.

Beyond its new push into vertical microdramas, Globo’s presentation underscored the company’s evolution from a traditional telenovela powerhouse into a diversified global content player. Marking 50 years of international distribution, the Brazilian group highlighted its scale - with over 90,000 hours of content produced annually and presence in more than 190 territories. Rodrigo Nascimento and Isadora Filpi (Content Distribution and Partnerships, EMEA) also emphasized Globo’s core approach: developing emotionally driven stories with universal appeal, designed to travel seamlessly across cultures and platforms.

To close the day, KOCCA hosted its official happy hour, reinforcing South Korea’s presence as the Country of Honor at Series Mania 2026, a distinction that also coincides with the 140th anniversary of diplomatic relations between South Korea and France. The event served as a networking space and a clear statement of Korea’s growing strategic role within the global audiovisual ecosystem.

The session also underlined the increasing collaboration between Korean and European players, supported by initiatives such as joint agreements, industry exchanges and co-production opportunities.

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