MIAMI — One of the Miami Hilton Downtown’s standout features is its breathtaking views over Biscayne Bay and facing the city’s famous skyline of towering buildings. Attendees at Content Americas, kicking off for its third year on Monday, are hoping that the industry will provide a similarly expansive perspective on the global television market.
It’s essential to note that during the pandemic, Latin America saw an unprecedented reliance on global investment platforms. Contrary to global patterns, the number of series season orders in Spain increased remarkably over 2024. Data from Ampere Analysis indicates that this figure surged significantly, from 43 a year prior, to reach 75.
Christian Gabela from Gaumont USA states that Content Americas marks the beginning of the annual TV calendar and serves as a chance to validate theories on upcoming market trends by engaging with people,
By this past Sunday, the number of participants had reached nearly 2,000 delegates, with approximately 175 exhibitors, marking a slight increase compared to the same period in 2024.
That minor rise signifies that nearly every participant in this context has come from recent events, as Content Americas serves as a platform for both market and production connections, linking key figures from Latin America, U.S. Hispanics, and Spain.
There are some pressing, detailed questions that require answers. For example, following the widespread departure of top executives, effective from December, what is the plan for ViX, the streaming service owned by Televisa-Univision, regarding acquisition matters?
Will Content Americas potentially provide answers to a pressing global concern that resonates worldwide? Specifically, can we anticipate a resurgence of global TV streaming services, playing a significant role in revitalizing growth in Latin America following a substantial correction in 2023?
Don’t Expect Easy Answers
As a movie critic, I can confidently say that viewers in the Americas shouldn’t anticipate quick solutions to the complexities of the streaming industry. Erik Barmack, from Wild Sheep Content based in L.A., articulates this well, stating that streaming platforms are currently in various stages – some consolidating, others aiming for profitability, and still others maintaining the status quo. Predicting what the next year will bring is a daunting task given these diverse trajectories, which presents a tough environment for content creators.
The launch of original productions across the region, from Netflix’s “Club of Crows” in 2015 to the debuts of Paramount+ and HBO Max in 2021, has significantly slowed down sales cycles. This shift in the streaming landscape makes it a challenging time for those involved in producing content.
2024: As Bad As It Gets?
There’s a significant concern about decreasing visibility, as some shocking statistics will be presented at Content Americas. In 2022, significant global streaming platforms such as Netflix, Amazon, Apple, WBD, Disney, Comcast, and Paramount made 69 season orders in Brazil. However, by 2024, this number had dropped to just 28. Mexico’s 49 commissions in 2022 fell by 27% to 36 in 2024. Since these global streamers have been the primary engine of the industry over recent years and a crucial lifeline during 2020, their pullback is affecting the entire sector.
The findings from one year can sometimes be misleading, especially in countries like Brazil where broadcasters such as Globo still hold significant influence. However, it is expected that over-the-top (OTT) video streaming services, boosted by various ad tiers, will expand their subscriber bases significantly across Latin America. For instance, Netflix is projected to grow from 51 million subscribers in 2024 to 69.5 million in 2029, according to Omdia’s predictions. Established players like NBCUniversal Telemundo Enterprises are optimistic about production growth as well. In fact, the chairman of the company, Luis Fernández, is set to deliver one of the most anticipated keynotes at this year’s Content Americas event. Fernández expressed that with Telemundo being the most-watched network in prime time, they aim to intensify their scripted content production under the strong brand name: Telemundo Studios.
A Stabler Market
In summary, according to industry experts, there will likely be significantly fewer original productions in Latin America moving forward compared to the high volume of orders we’ve seen recently. Producers can only cross their fingers and hope for market stabilization. As Gabela notes, “2024 saw a significant increase in pressure on streamers’ budgets for ‘originals’. Our hope is that there will be more stability in this area by 2025.
Ringing the Changes
The term ‘stabler’ implies that financial constraints are likely to persist across the industry in 2025. Consequently, the narrative for Content Americas could revolve around how content creators and disseminators navigate these challenges.
According to Barmack, independent entities should think outside the box when it comes to financial strategies that span across various regions. They also need to be shrewd in deciphering public funding sources and the overall market landscapes of specific areas.
As we move forward in 2025, I believe that collaborative efforts such as co-production and windowing will become increasingly common in the movie industry. This is due to a shift I noticed last year when streaming platforms reduced their original content production. Co-productions offer an opportunity for creativity and financial flexibility, which I think many studios will seize upon as they adapt to this new landscape. EO Media’s Eze Olzanski also agrees that the reduction in original productions necessitates more collaborative projects like co-productions.
Movies: A TV Industry Future
In the English-speaking community, there’s been a trend of successful films from production companies like A24, Blumhouse, Neon, and others, such as “Longlegs” and “Terrifier.” These are auteur genre films that feature talent in unexpected roles. As Manuel Martí from Fremantle states, creative talent can significantly impact a film’s success and even become a crucial factor in the business equation, potentially leading to substantial returns. Gaumont USA, with Pasajero, has created “The Biggest Fan” on Netflix, which features Kate del Castillo and is setting up remakes of its classic film library across various platforms. The Mediapro Studio achieved one of its biggest hits in 2024 with “El 47,” which was a strong contender at the Spanish Academy Goya Awards that month.
In a conversation with EbMaster, Olzanski expresses his belief that the sector might be returning to its past state in certain aspects. He highlights that as global streaming production increases, it’s becoming more tailored to specific regions, where ‘local’ could refer to a single territory rather than multiple regions. This means fewer projects will target all of Latin America or aspire for a global audience.
Selectivity
In essence, the philosophy of creating content just for the sake of it is becoming less popular. As independent studios should be more selective about the projects they undertake, Barmack comments. Olzanski concurs, stating that the industry is discovering its optimal size, learning how much it can produce and sell, and working towards maintaining that level. He further explains that while cutting down on the number of productions and releases might appear detrimental, it actually provides more prominence and worth to launches.
What Will Buyers Be Buying?
In recent years, there’s been a shift in television production, particularly since the start of this decade. Previously, TV creators experimented widely with various genres at pay-TV operators and early Netflix. However, from around 2020 onwards, a change occurred – creators began to work within established genres but then innovate them by layering one genre onto another. For instance, the series “Yosi, The Regretful Spy” combines political exposé with an espionage thriller, while “Midnight Family,” produced by Fremantle and Fabula, is a blend of a reality-based medical thriller and family drama. These shows remain plot-driven to keep audiences engaged throughout the season, but also character-driven to entice viewers to return for subsequent seasons. Character-driven dramas have been growing in popularity; as Manuel Marti notes, both “Shogun” and “The Bear,” which were honored at the Emmys, are examples of this trend, catering to what viewers crave most.
More Buyer Interests
As a dedicated movie enthusiast, I wholeheartedly concur with Fred Black’s assertion that content which is consistent, rewatchable, and part of an established franchise will hold the greatest allure. Crime dramas, in particular, stand out as they resonate globally and are frequently produced across various countries.
Regarding distribution trends, Olzanski notes that buyers are increasingly opting for non-exclusive deals, rather than focusing solely on new launches. On the local front, he mentions a return to traditional television programming slots such as action, natural disasters, family, kids’ shows, and co-viewing content. Olzanski also points out that a decrease in original production does not necessarily mean an increase in acquisitions, but rather part of finding the right balance.
Brazil
Martí mentions that due to the worldwide reach of streaming platforms, content created by Brazilian producers has been appreciated beyond their borders, which has been beneficial for them. However, they are now aiming for even more success in this large market. Having a taste of success abroad is a relatively new aspiration, not a necessity, he adds. Moreover, global streamers may soon be required to allocate a portion of their gross earnings towards Brazilian content. The event Content Americas 2025 takes place amidst the recognition of Brazil as a significant production hub. Luis Toledo, a former active Spcine executive, who is starting Filomena Productions to bridge connections between Brazil, Latin America, and global southern markets with established international markets, also expresses this view. Notably, “I’m Still Here” won the best actress award for Fernanda Torres, and “Senna,” praised for its production values, has made it into Netflix’s global Top 10 non-English TV charts. This is a significant milestone for the international industry to recognize Brazil as a key production center.
The intention behind developing Filomena is clear: to demonstrate to advanced film markets that the global South can offer the same high-quality productions at reduced costs, while also providing fresh, unique stories. It’s time for a change from the endless ‘Fast and Furious’ series.
Deals to Date
Study Media, collaborating with Los Angeles-based Happy Accidents, has procured the rights for adapting “Here Come the Habibs,” an Australian fish-out-of-water comedy focusing on a Lebanese family. This adaptation will transpose the story to Mexico City.
Pablo Larraín and Juan de Dios Larraín’s production company, Fabula, along with Brutal Media (supported by BBC Studios), are joining forces to co-produce a thriller series titled “Los crímenes del Glaciar.” This series is based on Cristian Perfumo’s novel and will be set in Patagonia. The rights for this adaptation were acquired from Scenic Rights.
Luiz Toledo, who was once an energetic leader in investments and strategic partnerships at Spcine, the São Paulo Film Commission, has now founded Filomena Productions – a private consultancy firm. Its goal is to bridge the gaps between rapidly growing audiovisual centers in Brazil, Latin America, and the global South with well-established international markets.
In this rephrased version:
Murilo Benício and Kevin Vechiatto, both renowned in Brazilian television with their roles in popular soap operas like “The Clone,” “América,” “Brazil Avenue” (for Murilo), and the children’s franchise “Turma da Mônica” (for Kevin), are set to star in “Nico,” a witty comedy produced by LB Entertainment, the team behind the globally successful non-English TV series “Sintonia,” which ranked as Netflix’s number one series.
The goal is to maintain the clarity and readability of the original text while making it more natural and easy for a wider audience to understand.
The collection of content for Banijay Rights’ Content Americas division is spearheaded by the documentary series “Bosé Renacido,” which holds the record as the most-watched non-fiction program on Spain’s Movistar Plus+ platform, a title produced by Shine Iberia, a subsidiary of Banijay Iberia.
Here’s another way:
The lineup for Banijay Rights’ Content Americas is led by the documentary series “Bosé Renacido,” which has set a new standard as the most-watched non-fiction show on Spain’s Movistar Plus+, a production of Shine Iberia, a division of Banijay Iberia.
Starting January 27, the television series “Sumergidos,” which was previously acquired by EO Media, will have its premiere in Latin America on A&E. This 13-episode crime thriller initially aired locally on Brazil’s Paramount Channel and Argentina’s TV Publica last year (2022).
It’s been revealed that the production of ‘Nails,’ SkyShowtime’s third original Spanish series, has begun. This hilarious show follows four women as they strive to break free from societal constraints. ‘Nails’ is being produced by Federation Spain in partnership with Telemundo Studios and SkyShowtime.
More news to be published Tuesday and throughout Content Americas.
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2025-01-20 19:48