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Shortform and movies both matter to A+E
Rai’s Maria Pia Ammirati calls for bold stories
Filmin originals zoom in on young viewers
ITVS | C21 COVER | INVISIBLE | FINAL PRINT SIZE: 246 X 251MM Drama Everything about content
Fall 2026
PLUS: Growing interest in faith-and-values content | New attempts to elevate the microdrama’s reputation
Stand R7. N1
CONTENT STRATEGIES: Rai Fiction
Channel21 International | Fall 2026
Global ambitions
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talian public broadcaster Rai is focusing on expanding the global footprint of its scripted output and is looking for bold, original new stories reflecting contemporary society and projects based on existing IP. The state-owned media giant, which operates three general and 10 thematic TV channels in Italy, has long dominated the domestic drama market, producing series such as Mina Settembre, Imma Tataranni: Deputy Prosecutor and One Step from Heaven, as well as a slate of feature films. However, the Rome-based company is stepping up its efforts to export more scripted content, with fiction director Maria Pia Ammirati stressing the importance of Rai’s strengthened international outlook. “We will push to produce experimental and innovative content for a new international market,” says Ammirati. “We are doing this because it’s important for Rai to connect our Italian culture with the rest of the world.” The Italian broadcaster has previously tasted international success with shows such as 2024 miniseries The Count of Monte Cristo (8x60’), an Italian-led production based on a French story but filmed in English. It was coproduced by Rai Fiction and France Télévisions in alliance with France’s Mediawan and Italy’s Palomar. Action-adventure Sandokan, coproduced by Rai Fiction and Lux Vide, meanwhile, featured an
New windowing opportunities with major streamers, international coproductions and a hunt for original contemporary scripted series are all on the cards for Italy’s Rai Fiction. By Neil Batey international cast led by Turkish star Can Yaman and premiered on Rai last year before being streamed by Disney+ and Netflix. An adaptation of the classic Italian pirate novel by Emilio Salgari, the show updated the 1970s series of the same name and could lay the template for future collaboration with global streamers. Ammirati believes more partnerships with SVoD services will help Rai’s fiction content find new audiences abroad. “For this reason, Rai is now preparing more associations with streamers,” she says. “We have a deal for [young-adult series] Mare Fuori [aka The Sea Beyond], where we have the first window for our Rai 2 channel and then Netflix takes the second window. Then, for our new special series The Panini Family: The Adventure of the Stickers [6x60’], we are currently finalising an agreement with a major OTT platform.” Germany’s Beta Film recently acquired international distribution rights to the Indigo Film-produced drama about the true story of the family behind Italy’s famous Panini sticker empire. It is directed by Letizia Lamartire (The Law According to Lidia Poët Poët) and tells a story across three decades, starting in Italy in 1940 as a humble family from the countryside decide to invest in collectible stickers, which become a worldwide phenomenon during the 1970 World Cup. A report issued last October by
Above: Rai Fiction and Lux Vide’s Sandokan. Below left: Teen drama series Mental. Below: The Panini Family: The Adventure of the Stickers is the subject of a deal with a streamer
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CONTENT STRATEGIES: Rai Fiction
Channel21 International | Fall 2026
Left: Thriller Estranei is set in the Sikh community of Correggio. Below: International period Drama The Count of Monte Cristo. Bottom: 177 Days: The Kidnapping of Farouk centres on a real-life abduction.
Italy’s Association of Audiovisual Producers (APA) showed scripted production remains the engine of growth for Italy’s audiovisual sector. The seventh annual APA study revealed revenues rose to €16.3bn (US$19bn) in 2024, up from €12bn recorded in 2023. The sector also reached 0.73% of GDP, recording an annual growth rate of 4.6% since 2018, growing at more than twice that of Italy’s GDP. Linear TV grew by 7% – a statistic in stark contrast to many other European markets – while online services across SVoD, TVoD and AVoD rose by 15%. Traditional linear broadcasters remain central investors, accounting for a 52% share of the value of the audiovisual market. Rai, in particular, stands out as the country’s single largest commissioner, contributing around 25% of all Italian originals produced across all areas of content, despite not receiving any increase in funding for the past decade. “We are a leader and we spend a lot to improve the energy of the company – around €108m per year on fiction programming,” says Ammirati. “Rai produces a lot of different kinds of stories across many genres for a very fragmented audience over linear and non-linear. “We produce more or less 100 titles a year, including around four original titles for our streaming platform, RaiPlay. In producing for a teen/young-adult audience, it’ very important for us to have innovative, experimental content.” By way of example, Ammirati points to teen drama series Mental,, produced by Rai Fiction and Fremantle-owned Stand By Me. Based on the Finnish scripted format Sekasin from YLE, it tells the story of a 16-year-old girl living with schizophrenia who is admitted to a psychiatric clinic, where she meets fellow troubled adolescents. Ammirati says: “It was a great success, connecting the adult and young-adult worlds under the theme of mental health and mental illnesses.” Over the summer, Rai unveiled its latest fiction content slate, which the broadcaster says draws on central themes of crime, justice, entrepreneurship, family and society. Topping the roster is 177
Days: The Kidnapping of Farouk, a six-part primetime series that depicts events surrounding the reallife abduction of seven-year-old Farouk Kassam from his home on the Costa Smeralda in 1992. Thriller Estranei, meanwhile, is set in the Sikh community of Correggio, where the disappearance of two young lovers brings to light social tensions. Another highlight is A Window with a Lake View, a four-part mystery comedy series for Rai 1 inspired by the novels of Andrea Vitali. Set in the 1930s, it tells the story of a carabinieri marshal (played by Antonio Folletto) who moves from Calabria with his wife (Giulia D’Aloia) to a small village in the north of Italy overlooking a lake. Like many broadcasters, Rai understands the importance of de-risking its scripted bets by investing in projects based on known IP. In recent years, that has mostly entailed adapting series from literary works, as was the case with The Count of Monte Cristo, Sandokan and war miniseries La Storia. However, Ammirati says Rai Fiction is open to hearing pitches for projects that don’t already have built-in audiences. “Rai has many stories based on historical events, novels, adaptations, biopics and period dramas,” she says. “OK, I like it, but my dream and great challenge is to have original
2018 alongside France Télévisions and Germany’s ZDF. It has also worked with Finnish broadcaster YLE on fish-out-of-water drama Torna a Surriento, made by Finland’s Whatevergroup and Italy’s Viola Films, together with Rein Film in Norway and Glassriver in Iceland as coproducers, and with Icelandic streamer Simmin also on board. The drama followed three Italians from the Bay of Naples area who end up in Lapland due to an unexpected inheritance, but find things don’t go as expected. “Coproductions are very important; we put a lot of money in and control ideas all the way from pitch and development to production, post-production and launch,” says Ammirati.
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We will push to produce experimental and innovative content for a new international market. We are doing this because it’s important for Rai to connect our Italian culture with the rest of the world. Maria Pia Ammirati Rai Fiction
stories from the present day that refresh my mind and intellectual energy. Original stories present us with a way to look at the realities of the contemporary world and our society.” Rai is active in the coproduction market and is a cofounding member of collaborative network The European Alliance, launched in
While Rai is in a state of comparatively good health, considering the plight of some other European pubcasters, it has not been immune to the global downturn in linear broadcasting. As a result, while content investments remain high, Rai fiction is also seeking cost-effective projects. “The cost of production is increasing every year and we understand that independent production companies are going through a difficult time,” says Ammirati. “At Rai we have the same energy as ever but less money. It is a difficult moment here because we have a problem with the tax credit in Italy not being as attractive as the rates offered in other countries.”
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AHEAD OF THE CURVE: Microdrama
Channel21 International | Fall 2026
GammaTime’s catalogue
A change of scene for microdrama As the much-hyped vertical video format spreads around the globe, new platforms are attempting to redefine what a microdrama is and elevate it from its low-budget, salacious roots. By Ed Waller
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TV started in the 1940s with soap operas in the US but evolved into what we see as TV today. We believe that this is just the beginning of a much bigger evolution. Guy Hameiri
RoseBerry Media
any people want to redefine the microdrama genre. But where they diverge sharply is on what that redefinition should look like, revealing a sector that has outgrown its own name almost as quickly as it emerged. For Ana Prieto, founder of Spanish platform Dramyx, the fix lies in decoupling microdrama from melodrama. “We believe that microdrama is a format, not a genre,” she tells C21’s Spanish-language sister publication Cveintiuno, arguing that mystery, thriller, romantic comedy, action and drama can all coexist within the format “provided they retain the elements that make microdrama so appealing: a very fast pace, short episodes, constant twists, cliffhangers and characters capable of forging an immediate connection with the viewer.” Prieto’s ambition is explicitly European. “Europe has a great opportunity to develop its own microdrama model, with a creative identity, high production standards and a narrative capable of connecting with international audiences,” she says. Her production company Anafilms wants “to be part of that evolution from the outset and help consolidate a microdrama industry with a European stamp and premium quality, because telling stories in a vertical format does not have to mean low technical or artistic quality.” Dramyx launched with mystery drama Los Secretos de Montesierra, which drew a crowd of 500 to a screening at Madrid’s Capitol Cinema before moving to the app. Two further originals, the romantic thriller Cruise of Betrayal and the mystery drama Cryogenics: The Rich Die Too,, followed. Prieto Guy Hameiri positions the platform less as a
distribution app than a “narrative lab” bridging traditional television and digital consumption, explicitly citing China’s microdrama boom as a reference point. Monetisation, however, remains a work in progress; Dramyx is currently free worldwide while the company assesses its options. “Our aim is to build a sustainable platform that combines different monetisation channels, always putting the viewer at the centre. We are analysing different models,” Prieto says, adding that Dramyx is open to collaboration with other platforms and third-party producers, “provided it fits with Dramyx’s editorial line.” RoseBerry Media goes further, dropping the word microdrama altogether. When its Epis app launched in July with more than 100 titles, the term was, in the New Yorkbased company’s words, “conspicuously absent” from the announcement. Co-founder and CEO Guy Hameiri frames the company’s ambitions in terms of television history rather than the current vertical boom. “TV started in the 1940s with soap operas in the US but evolved into what we see as TV today,” he says. “We believe that this is just the beginning of a much bigger evolution.” RoseBerry, he insists, is “in a different field. We’re playing a different game,” describing the business as “not just an app” but “a full start-to-end studio for vertical television.” Co-founder Lior Friedman, who previously worked in free, ad-supported streaming TV (FAST) channel distribution through Amagi, says the studio’s aim is to “create IP, and our job is to monetise that IP across what we see as a growing landscape of users that want to consume content on their mobile devices.” Epis’s launch slate spans premium scripted, true crime and dating reality, including titles licensed from A+E Global Media, All3Media International, Banijay Rights, Cineflix Rights and Fremantle. Sexy Beasts, a repurposed BBC Three dating format, is currently the platform’s best performer,
AHEAD OF THE CURVE: Microdrama
Channel21 International | Fall 2026
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Top: VeYou acquired Elon Musk biopic Elon. Centre: Dramyx romantic thriller Cruise of Betrayal. Above: mystery drama Los Secretos de Montesierra
with Friedman noting the team has taken the UK version and “adapted it by adding different elements that are making it more palatable to a vertical US audience.” Early engagement is strong, he says, with some subscribers “spending more than 60 minutes per session” and “more than 50% of users converting on the paywall” for top titles. That distinction matters commercially too. Friedman says RoseBerry is deliberately avoiding the “onenight stand” of aggressive user acquisition common elsewhere in the sector, in favour of building “a long-standing relationship” with subscribers through what Hameiri calls less “aggressive” pricing than the weekly and monthly rates typical of microdrama apps. At another new US platform, GammaTime chief business officer Alex Montalvo is redefining microdrama from the inside, by pulling Hollywood’s legacy IP into the format rather than distancing his platform from the microdrama label. GammaTime is fresh off a Series A round backed by Versant Media Group, the media company spun off from Comcast. Montalvo says GammaTime is “pushing forward aggressively” and wants to become “the most trusted, most viewed and most visited habitual platform in the microdrama space.” Central to that is persuading studios that microdrama is a legitimate new window for their catalogues. He cites GammaTime’s version of Forensic Files, achieved through a partnership with AI reformatting specialist Spikes Studio, and its gossip show National Enquirer Uncovered as evidence of a “breakthrough in how you can take your legacy IP and adapt it to our format.” He sees “a big future with legacy studios and studio IP in migrating them over to the microdrama format.” GammaTime’s content is otherwise split between romance titles aimed at women aged 30 to 60, including The Summer I Turned My Sexiest and Hot Priest, and true crime originals such as Death of an Art Dealer and Hot Tub Murder.
Montalvo says the company is focused less on genres and more on underserved audiences, including African American, Latin American and faith-based viewers. The company is using Vault AI for what Montalvo calls “predictive greenlighting,” identifying “audience segments that are overlapping with our real-time data right now.” As to whether the industry should treat GammaTime as a traditional content buyer, Montalvo is cautious: “You can think about us as a producing partner. But the great thing about verticals is it’s like the Wild West in terms of dealmaking and partnership arrangements. So as we grow, we’ll explore other arrangements that we haven’t looked at thus far.” Tommy Harper, the Hollywood producer behind another US platform, VeYou, wants to redefine microdrama upward, positioning his platform as the HBO of vertical video in reaction to what he sees as a flood of low-quality, AI-generated content elsewhere. “We want it to be different to all the other platforms out there. You look at the tiles and they all look the same,” he says. That ambition extends to content standards as much as production values: “We are not going to make anything that is abusing women or drugging women. We want to make things that your 16-year-old can watch and a 60-year-old can watch.” Harper, whose credits include Top Gun: Maverick and Star Wars: The Force Awakens, says VeYou will target the staple genres of romance, action and thriller but “of a higher quality than most current output,” pointing to screenwriter Garry Marshall as a stylistic reference for romcoms and Scream rather than Saw for “light” horror. VeYou’s flagship title Love Under Fire and its acquisition of Bitz Films’ Elon Musk biopic Elon reflect a strategy built on curation rather than volume. Budgets range from US$100,000 to US$250,000 per series, using “AIpowered” visual effects for elements such as explosions to deliver what Harper calls a “cinematic feel,” though he is careful to draw a line under how far that goes. “We’re not going to double the budgets, because then the business model just doesn’t work. We have to be savvy with how we do these to survive.” VeYou lets viewers buy an entire series outright, at US$4.99 for licensed titles and US$10.99 for originals, rather than relying solely on micropayments. Harper also frames microdrama as an opportunity for young talent shut out of a struggling traditional industry. User acquisition and churn, driven by so-called bingeand-exit behaviour, remain the sector’s costliest and most persistent problem, a challenge India’s Pocket FM cited in June when it closed its Pocket TV app, saying the business model “doesn’t work.” Media analyst Evan Shapiro has been blunter still, describing microdrama as “a Ponzi scheme.” Clearly, the jury remains out on microdrama. But Dramyx, RoseBerry, GammaTime and VeYou are each hoping their attempts to redefine the format will mean they are still streaming when the hype dies down.
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CONTENT STRATEGIES: Filmin
Channel21 International | Fall 2026
Developing Filmin Spanish streamer Filmin is after originals that appeal to younger movie and series lovers as well as international acquisitions for their detective- and period-drama-loving parents. By Nico Franks
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espite what its name might suggest, Spanish subscription streamer Filmin is just as interested in series as it is films, says cofounder and editorial director Jaume Ripoll. The streamer has been around a long time. It was founded by Ripoll alongside Juan Carlos Tous and José Antonio De Luna, going live in 2008 – putting it among the earliest players in streaming. It has since been dwarfed by the likes of global behemoths Netflix and Amazon’s Prime Video, while also feeling the squeeze from local players like Movistar Plus+. However, the streamer, which is also available in Portugal, is eyeing international expansion and growth, having acquired the distribution business of Spain’s Elastica Films in a landmark deal in June, giving it local rights to sought-after titles such as Backrooms by Kane Parsons and De Noche by Todd Haynes. Filmin offers subscribers more than 11,000 films and 500 series, including original productions. It released the first of these, Doctor Portuondo, about a peculiar Cuban psychoanalyst who shouts at his patients, in 2021. Produced by Barcelona’s La Chica de la Curva, it has since been followed by the original documentary film The Forger, directed by Kike Maíllo, about a multinational art forgery ring. So if arthouse-focused Mubi is on one end of the niche spectrum and Netflix, which has made no secret of its desire for big mainstream hits, is on the other, where does Barcelona-based Filmin sit?
Millennial Mal follows an ex-librarian in her 40s posing as a Gen Zer. Inset: Comedy-drama Autodefensa (left) and Channel 4’s Big Boys
“I like to say we’re like Mubi, plus HBO, plus PBS in Spain. In terms of original content, we’re focusing more on a younger audience: the Letterboxd generation,” says Ripoll, referencing the social media and discovery platform for film lovers. This tracks with Filmin’s original series so far, which include Autodefensa and Selftape, both of which are comedy dramas that blend reallife autobiographical experiences with fictional storytelling. The former, made by Barcelona-based Boogaloo Films, is about two wild, 20-something best friends living in Barcelona. It follows Berta and Belén, played by creators Berta Prieto and Belén Barenys, as they party, break rules and cross emotional boundaries in the chaotic, carefree pursuit of selfdiscovery. Selftape, meanwhile, was created by and stars real-life sisters and former child stars Joana
Vilapuig and Mireia Vilapuig. Made by Barcelonabased Filmax, it mirrors their lives, as one sister returns to Barcelona from Oslo and tensions rise after she lands a role at an audition the other sister wanted. More recently, Millennial Mal follows a broke exlibrarian in her 40s who gets mistakenly approved for a student grant. To claim it, she poses as a Gen Z student with help from two young friends. It was produced by Spain’s Tornasol Media and Alcaraván Films with Ukbar Filmes in Lisbon and Portuguese broadcaster RTP. Coming up is the eagerly anticipated Segunda Temporada (Second Season, 7x30’), due for release on October 27. It stars Autodefensa’s Prieto as a young literary sensation who suffers a major creative block and becomes a ghostwriter for fading influencers. Co-created and directed by Miguel Ángel Blanca alongside Prieto and Víctor Diago, it also stars Spanish rapper Adan Domínguez (aka Oktoba). Ripoll has high hopes for the show, calling it unique and weird. “It’s probably our most important bet in terms of original content. It’s not a spin-off, but it’s somehow a spiritual follow-up to Autodefensa, which has been our most successful original series. It has the same creative team and the same lead actress and I think it’ll be a big success in Spain,” he says. Produced by Boogaloo Films and Barcelona- and LA-based prodco Canada, it was financed with the help of Spanish tax credits and Paris-based production/ distribution outfit Oble, which says the show “captures the absurdities of post-fame existence while maintaining the authenticity and irreverence audiences loved in Autodefensa.” The backing of boutique companies like Oble is crucial to Filmin’s originals strategy, given it prefers its projects to be highly distinctive and devoid of cliché, which can make pairing with other broadcasters tricky. Some were “a bit sceptical or afraid of [Segunda Temporada’s] tone and language,” Ripoll says. Meanwhile, Filmin, which is priced at €7.99 (US$9.16) a month, is also an active acquirer of finished programming and is constantly on the lookout for standout titles on the global market. The company has long offered Spanish audiences a place to watch cult and classic British comedy and drama, stretching back to the early 2010s, when it did a deal with BBC Studios (then known as BBC
CONTENT STRATEGIES: Filmin
Channel21 International | Fall 2026
The forthcoming ‘unique and weird’ Segunda Temporada
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I like to say we’re like Mubi, plus HBO, plus PBS in Spain. In terms of original content, we’re focusing more on a younger audience: the Letterboxd generation. Jaume Ripoll Filmin
Worldwide) for titles such as Sherlock, Luther, Misfits, The Young Ones, Blackadder and House of Cards (“the good one,” Ripoll quips). If its originals target the huge wave of Gen Z and younger film fans using the app Letterboxd to log, rate and review movies, then most of its acquisitions target their parents and grandparents, Ripoll says. “We release one series a week, so that’s 52 a year. Probably 85–90% of them are European, British or EU productions, or coproductions. Over the past few years we’ve met with pretty much all the big sales companies: BBC Studios, Banijay, ITV Studios, All3Media and Fremantle,” says Ripoll. These talks have led to Filmin streaming period and detective dramas such as All Creatures Great & Small (5), Endeavour (ITV), Shetland (BBC) and Baptiste (BBC). It’s also gearing up to launch recent BBC sitcom Ann Droid, about a grieving widow
whose son gives her a second-hand, discontinued assistance robot, later this year. “We’re always looking out for new comedies,” Ripoll says. Filmin, which also has agreements with local players like Catalan public broadcaster TV3, also acquires some younger-skewing shows, such as comedy Big Boys and Somewhere Boy, both of which were commissioned by Channel 4 in the UK. It has a first-run streaming agreement covering Spain and Portugal with US indie distributor A24, which has brought over series such as Such Brave Girls (BBC/Hulu) and Dreaming Whilst Black (BBC). However, its need for exclusive rights ahead of any other streamer or broadcaster present in Iberia means it has plenty of competition, particularly in Spain, with Movistar Plus+, HBO Max, Prime Video, Disney+, Netflix and Apple TV all sniffing around for any hotly tipped series. A case in point is Apple TV’s recent worldwide deal for Mackenzie Crook’s acclaimed BBC comedy series Small Prophets, distributed internationally by UK-based Sphere Abacus. The show follows a man who sets out to create homunculi – magical spirits that can predict the future – in the hope of once again seeing his missing girlfriend. “Maybe five years ago we could have signed something like that, because it’s very good, very European and has all the Filmin DNA,” laments Ripoll, who would have also loved to have got his hands on another Sphere Abacus-sold show: steamy hockey drama Heated Rivalry, which was bought by Movistar Plus+. “We’ve still managed to secure exclusive releases like The Gold [BBC], which has been a real success for us in Spain, and Babies [BBC], which also did well on the platform.
“I’m confident we’ll keep working with all the international sales companies, who are really happy with us because we’re not just a platform but a partner for their series. They know we do a great job on marketing. We have more than a million followers on social media. “Sometimes they use Filmin as a platform to introduce a series to the Spanish market and later on they can sell it to broadcasters. We help these kinds of series grow and find an audience in Spain. We’re one of the strongest partners for distributors. We’re not the typical platform that just puts a series up and leaves it there.” Fierce competition from more well-heeled global streamers has discouraged Filmin from focusing on well-worn genres such as true crime or sports docs. “Right now, it makes no sense for us to spend money on true crime, because Netflix, Prime Video and others spend so much on it. It’s smarter for us to put money into series that put us in a singular position, rather than copying other companies,” says Ripoll. “It’s the same with sport. I’m a huge football fan myself, but it’s still not worth it for us to put money into football or sports documentaries, or even sports fiction – although I’m a huge fan of Heated Rivalry and it’s a pain in the ass we couldn’t sign it.” With so much UK content in its library, is there anything Ripoll wishes he could see more of when he attends events such as Mipcom? “I’d like to see more risk-taking. Sometimes I find that a lot of these thrillers or detective dramas end up looking quite similar, like a ChatGPT version of the same clichéd British drama. Yet sometimes you find something like Sherwood [BBC], which I think is a masterwork. But it can be hard to find series with their own personality.”
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Channel21 International | Fall 2026
CONTENT STRATEGIES: A+E Global Media
Angie Harmon stars in the Buried in Barstow franchise Picture: Kent Smith
Elaine Frontain Bryant is putting the call out for both longform and shortform TV, from thrilling movies to ‘misogyny-free’ microdramas, for A+E Global Media’s Lifetime, A&E and LMN. By Louise Bateman
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laine Frontain Bryant is emphatic about the continued importance of movies to A+E Global Media and the network content she oversees. “A+E Global Media is one of the world’s biggest distributors of movies,” says the executive VP of programming for US networks Lifetime, A&E and LMN. Across Lifetime and LMN combined, the networks screen 130 to 140 films a year, most of them originals commissioned by the network rather than acquisitions. Among these is the Buried in Barstow franchise, which sees Angie Harmon, best known for starring roles in Law & Order and Rizzoli & Isles, play a former assassin as she tries to build a quiet life for herself and her daughter. Harmon will be at Mipcom in October to promote the sequels to the 2022 film, Buried in Barstow: Blood for Blood (working title) and Buried in Barstow: The Reckoning (wt), ahead of their premiere on Lifetime in early 2027. Frontain Bryant says Harmon’s character is so big her story cannot be told with a single title. Harmon is executive producing both sequels and is also directing a new thriller, Murder in Cold Country (wt). “What you’re going to see more from us is that we’re moving into returnables,” Frontain Bryant says, pointing to the Buried in Barstow franchise. A move into series may not be on the cards, but she is looking at TV movie franchises as a way to keep audiences coming back. The holiday season and romance are two other big drivers for Lifetime and LMN, with the next instalment in Grammy-winning singer Brandy Norwood’s Christmas Everyday franchise, Christmas Everyday Again (wt), of Temptation, a mobile-first companion launched in partnership with Diggs’ vertical platform, Microhouse coming later this year. Produced by Fox Entertainment Studios, Relevé Films, though it will not feature the actor. It is significant Entertainment and Motion Entertainment, Norwood not only as Lifetime’s first foray into microdrama, but as a executive produces as well as stars in the sequel to last precursor to the launch of Lifetime’s own vertical, mobilefirst microdrama player, timed to coincide with year’s Lifetime holiday hit. Mipcom, says Frontain Bryant. Premiering this autumn on Lifetime’s Love of The exec describes the microdrama initiative a Lifetime block, meanwhile, is Terry McMillan as a natural extension of the Lifetime brand’s Presents: Paradise with You, starring Taye identity. “If Lifetime is not ripe for a twisty-turny Diggs. The film follows a retiring NFL star who microdrama soap opera, nobody is,” she says. retreats to a Caribbean island to reconnect with The platform will carry original content, as himself, where he meets a woman recovering well as the existing Lifetime back catalogue of from a personal betrayal. thriller movies, reformatted for vertical viewing, Along with One Last Shot and Love on the though union guidelines mean not all titles with Vineyard, it is one of a trio of November titles large casts can be repurposed. in that block targeting an African American Nevertheless, hundreds of films are being audience, which has long been a core part of Elaine Frontain Bryant processed, with editorial oversight applied Lifetime’s viewership. throughout. “We have somebody watching “These are aspirational romances that Lifetime does better than anybody,” says Frontain Bryant. them, and as they’re being edited, to make sure that it is a “They’re also global-interest stories that are about good experience that people expect,” she explains. Frontain Bryant argues the Lifetime offering will stand reconnection at a certain age, which matters to people at apart from what is already out there, which has not overly different stages in their lives.” Terry McMillan Presents: Paradise with You has also impressed her. “As I got into watching this space, there wasn’t much spawned Lifetime’s first microdrama offshoot, Tides
From movies to microdramas
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diversity. There’s a lot of misogyny, and you’re not going to find that in a Lifetime microdrama,” she says, adding that Lifetime’s offering is “going to feel more premium, and it’s going to feel more diverse, and it’s going to speak to our audience wherever they want to be.” The platform’s name, and where it will sit, remain under wraps at the time of publication, but Frontain Bryant confirms it will not follow the token or paywall structure common elsewhere in microdrama. “It won’t be a token gaming-type situation. It’s going to be advertiser-based.” On whether the platform will extend into factual and true crime content, as some vertical platforms have, Frontain Bryant says the company is taking a tentative approach given the sensitivity of those stories. “We are not going to quickly gamify or swipeify somebody’s story,” she explains. A&E’s position in true crime – one of the most stable commissioning genres in the business – is formidable, forming a significant part of its library of over 70,000 assets, distributed in more than 200 markets. It has heavy-hitting, multi-season franchises such as The First 48, one of the longest-running true crime series on air. Recent true crime commissions include this year’s Crime in Progress. The twoseason order, made in-house at the US cablenet by A+E Factual Studios, began airing on January 1. It follows investigations in real time and is constructed entirely from found footage: dash cams, body cams, ring cameras and footage captured by neighbours. “It almost feels like a 24 kind of moment as we’re moving. There are no sit-down interviews,” Frontain Bryant explains, describing the experience as “visceral.” True crime is also bleeding into the movie format on the Lifetime side. A recent example is Angel in the Rubble: The Genelle Guzman Story, produced by Rock’n Robin Productions and Lighthouse Pictures in association with Motion Entertainment, which tells the true tale of the last survivor pulled from the wreckage of the World Trade Center’s twin towers in September 2001. The film, which premiered on the 25th anniversary of the attacks this year, was made in close collaboration with Guzman herself. This is an example of the ethical editorial discipline Lifetime employs when handling sensitive true stories in scripted format, says Frontain Bryant. “We try our utmost to do that, because we think our audience expects that from us, and it also feels like the right thing to do when you’re telling a story about the worst moment in someone’s life.” Other stories of survival inspired by true events will be featured in the Strength of a Lifetime block in November, including Sole Survivor of Flight 119, about a plane crash survivor who walks out of a jungle in Mexico, and The Ocean Between Them, about a mother, played by Rebecca Gayheart, whose daughter survives two days lost at sea.
CONTENT STRATEGIES: A+E Global Media
Frontain Bryant also reveals a new ‘ripped from the headlines’ movie, She Married Her Murderer: The Susan Cox Powell Story, executive produced and directed by Elisabeth Röhm and starring Ricki Lake. It tells the harrowing true story of a woman’s unsolved disappearance and suspected murder, and how, two years later, her husband killed their two young sons and himself. “Her body was never found. It’s very distressing,” says Frontain Bryant, who argues the justification for telling such a bleak story is the change in domestic violence law that Cox Powell’s parents achieved after years of campaigning. “It’s told in complete participation with the parents,” she says. With 71 channel feeds in around 195 countries worldwide, A+E Global Media runs a distribution business spanning joint ventures, licensee partnerships and wholly owned subsidiaries. Its international brand portfolio includes A&E, History, Lifetime, History2, Crime+Investigation and FYI. Frontain Bryant won’t be pinned down on where A+E Global’s movies perform best internationally, but she is clear that partnerships, sometimes with competitors, are certainly helping. “We have our linear premieres and they do very well, and then we have this second life with our movies, and they often end up on the streamers and are in the top 10 for Netflix, for example. It’s a positive to be able to distribute our programming across multiple platforms,” she says. Looking ahead, one potential disruptor to Frontain Bryant’s content strategy is US media giant Hearst’s buyout of Disney’s 50% stake in A+E Global Media in August. However, the exec dismisses any negative impact. “They believe in our brands. They believe in premium IP. They have only been deeply supportive,” she says. The shift is still fresh, but Frontain Bryant is already eyeing opportunities in the expanded Hearst universe. “They have magazines that speak to hundreds of thousands of women. There could be great Lifetime content there, or crime content. So we’re having more synergistic conversations,” she says. “I am very excited by what this full ownership will mean for us.”
Above: Angel in the Rubble: The Genelle Guzman Story from Rock’n Robin Productions. Left: Tides of Temptation is Lifetime’s first microdrama
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We have our linear premieres and they do very well, and then we have this second life with our movies, and they often end up on the streamers.
Elaine Frontain Bryant A+E Global Media
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PARTNER CONTENT: Spain
Channel21 International | Fall 2026
Spain serves up a content tapas The Spanish Pavilion at Mipcom this year is home to 30 companies, each with fresh content to showcase and its own view on how the market for Spanish content is evolving.
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From top: Carlos Sevillano, Andrés Zamora, Emir Duzel and Erika Gómez
s Spanish producers and distributors head to Cannes, executives across the delegation describe an international market that has become tighter and more selective, even as new pockets of demand emerge across factual, kids, scripted and format sales. Buyers, several agree, have less appetite for volume and more for titles with a clear identity, proven appeal and the flexibility to travel across platforms. For Carlos Sevillano, CEO of factual distributor Artico Distribution, that shift is now the defining feature of the market. “The international market is more selective than it was a few years ago. Buyers are working with tighter budgets and are looking for content that has a clear hook, strong storytelling and proven international appeal,” he says. Sevillano points to sustained demand for wildlife, nature, travel, history and specialist factual, “particularly when the subject has a strong visual component or a clear reason to be relevant now,” alongside continued room for one-off documentaries and the added lift of FAST and AVoD platforms hungry for evergreen factual content. He also links the pressure at home directly to Artico’s international push: “It is increasingly difficult to finance factual content relying solely on the Spanish market, as broadcasters and platforms face tighter budgets and growing competition.” At Mipcom, Artico will present a slate combining wildlife, travel, history, biography and arts and culture titles shot in 4K, including
African Chronicles, A Walk Through... Spain, The Manila Galleon and The Last Traces of the Neanderthal, alongside Leo XIV: The Man Behind the Pope, which Sevillano describes as offering “a timely and human perspective on the new Pope.” Kids specialist El Reino Infantil frames the same market shift in terms of brand-building rather than content sales. “Buyers are no
for territories; we compete for global attention.” Tapia also points to growing buyer interest in IP built for 360-degree exploitation across licensing, merchandising, live shows, apps and games. El Reino Infantil’s Mipcom presentation centres on Bartolito, a new school-set animated series that blends music and video games. Format and telenovela specialist Onza Distribution is seeing a more territory-specific picture. “It very much depends on the territory, but there is one clear trend we are seeing: telenovelas continue to perform exceptionally well,” says Erika Gómez, the company’s head of sales, noting particularly strong demand in Central and Eastern Europe. Onza is also finding traction for entertainment formats with proven track records, including The Anthill and The Celeb Challenge, both produced by 7yacción and currently being adapted internationally. At Mipcom, the company will bring a catalogue spanning scripted drama Atasco, now in its fourth season; truecrime documentary UCO: The Key Hours, one of the most Onza Distribution’s watched titles on Prime Video in The Celeb Challenge Spain; and a run of telenovelas from international partners longer looking solely for content; that Gómez sums up as offering they are looking for brands capable “compelling love stories, family of building a community,” says Ylka conflicts, strong female characters Tapia, the company’s head of growth and plenty of twists and turns.” Emir Duzel, head of international partnerships and producer. She credits the group’s digital footprint sales at Deep Com Roots, says buyers – more than 240 million subscribers are increasingly picky. “International across 67 channels in 11 languages buyers are much more selective – with giving it a direct read on how nowadays,” he says. “It is not enough families’ viewing habits are evolving, simply to have good content: buyers adding: “We no longer compete solely need to quickly understand what sets
PARTNER CONTENT: Spain
Channel21 International | Fall 2026
Above: El Reino Infantil’s toon Bartolito. Right: Deep Com Roots’ drama Auri follows a woman’s search for independence
it apart, which audience it is aimed at and how they can position it.” Duzel sees particular growth potential for Spanish content through European coproduction and the international profile Spanish productions and talent have built on the festival and awards circuit. Deep Com Roots arrives at Mipcom with a catalogue of features, documentaries, docuseries and shorts, including Sons of the Apocalypse, a documentary series following a woman who leaves the Jehovah’s Witnesses, and the drama Auri, about a woman pursuing independence later in life. At kids and family specialist Krakatoa, the emphasis is on properties conceived for fragmented, multiplatform consumption from day one. “We’re seeing buyers who are much more selective and very focused on the digital world,” says CEO Víctor M López. “Children discover characters and songs in digital environments, come across them again on TV or streaming platforms, listen to their music, and then want to engage with them through a book, a toy or a live experience.”
That thinking underpins Bumpy, a preschool property about a bear, coproduced with Spiritum Entertainment and Spanish pubcaster RTVE. Krakatoa is launching it with 52 music videos and 52 short episodes in Spanish, English and Portuguese, backed by a roadmap covering television, licensing, publishing, toys and live experiences. Secuoya Studios, meanwhile, is banking on international casting to open doors. Andrés Zamora, the company’s director of global sales and distribution, points to buyers looking for “content with its own distinct identity.” He cites three titles whose casts carry international recognition: The Butterfly Labyrinth, a thriller starring Turkish actor Can Yaman and shot entirely in Spain; The Tribute, starring Elsa Pataky; and Terra Alta, featuring Miguel Bernardeau. Like many in the industry, Zamora also notes a shift in the balance of power over rights: “We cannot take it for granted that the distribution rights will remain with them,” he says of broadcaster negotiations.
Elsewhere, Brands & Rights 360 founder and president Iñaki Orive highlights how the buyer landscape itself has widened, with free-to-air and pay TV channels now sitting alongside non-linear SVoD and AVoD platforms, whereas a few years ago most countries had only a handful of linear channels to sell into. As well as the companies in this article, the Spanish Pavilion includes Amuse, Anafilms Productions, Asymmetric Studios, B-Water Animation Studios, Canarias ZEC, Echo Post House, EGEDA, Event Conecta, Filmax, Hark Media, Honestree Studios, Huri TV, IMACO89, Lilicar Films, Modfie, Morgana Studios, Plano a Plano, RCAudio, Squirrel Media, Vértigo Films, Video Mercury Films and Wild Stories Distribution. The Spanish Pavilion is at Riviera 7, J11. In addition, Audiovisual from Spain has a second stand at the Mip Creative Hub. The delegation is also promoting Spain as a production destination. Natacha Mora, director of Canary Islands Film, points to the region’s
growing pull for international shoots, backed by a tax deduction of up to 54% on the first €1m (US$1.14m) of qualifying spend and 45% thereafter. Recent productions filmed there include the series Pluribus and features starring Samuel L Jackson, John Travolta, Johnny Depp and Penélope Cruz, alongside Spanish films by Rodrigo Sorogoyen and Pedro Almodóvar. “Canary Islands Film does not merely offer a tax incentive; it acts as a gateway to the Canary Islands’ media ecosystem,” Mora says. Taken together, the delegation’s message for Mipcom is one of adaptation rather than retreat. A domestic market under financial strain is pushing Spanish producers and distributors further into coproduction, brand-building and multiplatform strategy, as they bet that a more selective international buyer base still has room for content with a clearly defined identity.
Iñaki Orive
Natacha Mora
Víctor M López
Ylka Tapia
This article was produced in collaboration with Audiovisual From Spain.
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Where stories, stand up
Believing in faith
AHEAD OF THE CURVE: Faith programming
Channel21 International | Fall 2026
Wonder Project’s historical epic House of David
From Prime Video and Wonder Project to the BBC and ITV Studios, new and established players are betting on faith-and-values content to reach underserved audiences and unlock fresh commercial opportunities. By Jordan Pinto and Neil Batey
Cecilie Olsen
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aith-based programming is enjoying a resurgence in 2026 as streamers and networks, in addition to a growing fleet of AVoD and free, ad-supported streaming television channels, look for ways to entice co-viewing audiences and the advertising dollars that follow. There has been a resurrection of sorts underway for the past few years, with UK research firm Ampere Analysis last year publishing data showing that US streamers Prime Video, Netflix, Hulu and HBO Max all meaningfully increased their faithbased offerings from 2024. Amazon-owned Prime Video in particular has turned its eyes to the genre, signing a wide-ranging deal last year with Dallas Jenkins, creator of hit crowdfunded religious drama The Chosen, and his 5&2 Studios. The runaway popularity of The Chosen, the first multi-season series about the life of Jesus, alerted others to an untapped audience historically overlooked by the film and TV industry. But what exactly does the catchall phrase ‘faith-based’ mean to the executives specialising in religiousskewing content? According to Michael Scott, co-founder of fledgling US faithand-family streamer EKKL Entertainment, it originated from
studios attempting to avoid the ‘C’ word: Christianity. “Faith-based was a term coined in the early 2000s because some of the studios didn’t want to call it Christian content. They were looking for a more friendly name,” says the veteran media executive, who rolled out EKKL in the US this summer. “Most of the time when you hear the phrase faith-based, it’s synonymous with Christian, Catholic and Protestant. I like to say that we’re
to encompass themes such as patriotism, family, dreams and ambition. That was certainly the vision pitched to her by Jon Erwin, Wonder Project’s founder and chief creative officer, who launched the company in 2021. “Jon felt there was an opportunity to see faith and values differently,” says Merryman Hoogstraten. “Hollywood had sort of painted faith as a genre, but Jon saw it as an
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We don’t want stories to be so sanitised that they’re boring. It’s a very fine line. We want to have things that feel real and authentic but that aren’t over the top. Michael Scott
EKKL Entertainment
not just faith, we’re also family and inspiration. Not everything has to have a message in it. It can just be great entertainment that inspires you.” Similarly, Kelly Merryman Hoogstraten, CEO of US-based independent studio and streaming service Wonder Project, says the breadth of faith-based content can stretch beyond religious beliefs
audience. He said that, as part of a faithful family, he was looking for courageous stories that do restore faith but also recognise that we all have darkness and lightness inside us. “This idea of the restoration of faith is so important to me because it means hope in the unseen, which we all kind of need. In entertainment, we’re not called on to be a church or drive people back to some specific
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AHEAD OF THE CURVE: Faith programming
religion; we want our programming to crack open the viewers’ hearts.” Since joining Wonder Project in 2023, Merryman Hoogstraten has helped to raise over US$100m in seed funding from investors including Lionsgate, United Talent Agency and Blumhouse founder Jason Blum. The company has experienced rapid growth in recent years, with its studio division producing family drama series It’s Not Like That and breakout title House of David, a sweeping historical drama about King David, both for Prime Video. The latter show’s first season drew 44 million viewers, with a third season in pre-production. Much of Wonder Project’s early momentum has been fuelled by a strong relationship with Amazon MGM Studios. In 2024 it signed a first-look deal to produce a slate of faith-based series and films for Prime Video. The following year, Wonder Project launched its subscription streaming service on the platform and says it brought in more than 500,000 subscribers within three weeks. “As we were selling our vision across Hollywood, we just found [former Prime Video head of global TV] Vernon Sanders and [head of Amazon MGM Studios and Prime Video] Mike Hopkins to be both partners and kindred spirits,” says Merryman Hoogstraten. “They said, ‘We want to serve the heartland, and we love the way Wonder Project thinks about this. It feels very inclusive, broad and highquality. Wouldn’t it be amazing to do this together?’ Both Wonder Project and Amazon see the underserved need of this audience, value it and offer solutions in the same way.” EKKL Entertainment’s Scott is a long-standing player in faith-based content, having co-founded Christian production and distribution studio Pure Flix more than 20 years ago. He sold the business to Affirm Entertainment, a subsidiary of Sony Pictures Entertainment, in 2020, but he remained on board for three more years until Pure Flix was merged with Great American Media.
Now he has returned to the space with EKKL, whose founding team includes reality stars Willie and Korie Robertson (Duck Dynasty), and Zach Dasher, a leading figure in faith-based podcasting and digital media. Scott is eager to see the platform’s content offering, which includes series, films, podcasts and daily devotionals, shake off the reputation faith programming has in some quarters as being dull or heavily censored. “One of the hard things when you make content like this is you don’t want it to end up being milquetoast,” he says. “Conflict is what makes good content, right? That rollercoaster ride between the highs and the lows, and the deeper those lows and the higher those highs, the better. “We don’t want stories to be so sanitised that they’re boring. It’s a very fine line. We want to have things that feel real and authentic but that aren’t over the top. What’s the redemptive story, or is it just violence for violence’s sake?” Although epic scripted series such as religious historical dramas The Chosen and House of David have led the surge in popularity of Christianskewing content, distributors are increasingly seeing interest from buyers in the factual field too. UK-based ITV Studios (ITVS), for example, is handling international sales for an ambitious documentary series about the life and world of the Christian messiah, titled Jesus Christ: The Man, The Mystery (working title). The four-parter is produced by London-based Wonderhood Studios for UK pubcaster the BBC. Drawing on historical research, archaeological discoveries and technological innovation, the series uses testimony recorded in the Gospel accounts and elsewhere to explore the world Jesus inhabited and the foundation of the movement he inspired. Cecilie Olsen, VP of global content unscripted at ITVS, believes the project has wide appeal to both Christians and secular audiences. “Faith is clearly important to this
Channel21 International | Fall 2026
subject, but I don’t think you have to approach this series believing in Jesus, or from a religious perspective, to be fascinated by it,” she says. “Jesus is like a superhero – he’s known everywhere, so it has very broad appeal. “Because it is underpinned by new findings from an archaeological investigation, viewers can be drawn to it for that reason alone. Factual titles based on the findings of digs at archaeological sites are often a new entry point into what may have previously been considered familiar stories.” US-based A+E Global Media has been in the faith-based space, in one form or another, for over 30 years. Its executive VP of international programming, Liz Soriano, is sceptical of the notion that interest is suddenly surging. “We’ve always seen that there has been a demand for faith-based programming,” she says, adding that “people are constantly looking for some form of inspiration.” A+E Global Media’s catalogue features projects such as Mysteries of the Bible, which ran for five seasons on cablenet A&E from 1994 to 1998, as well as Banned from the Bible (2003), seven-part docuseries Seven Deadly Sins (2008), scripted miniseries The Bible (2013), docudrama
Top left: Wonder Project’s family drama It’s Not Like That. Above: Historical series The Chosen from Dallas Jenkins and 5&2 Studios
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This idea of the restoration of faith is so important to me because it means hope in the unseen, which we all kind of need. Kelly Merryman Hoogstraten Wonder Project
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AHEAD OF THE CURVE: Faith programming
Jesus: His Life (2019) and, more recently, Holy Marvels with Dennis Quaid (2024), the latter five for History in the US. Themes of spirituality and faith are also prevalent in its slate of movies, among them Lifetime’s Angel in the Rubble: The Genelle Guzman Story. The biographical drama tells the story of Genelle Guzman, who spent 27 hours buried in the World Trade Center rubble after the September 11 attacks. According to Guzman, a man named Paul stayed by her side but disappeared after she was rescued, leading her to believe he was an angel. Next up for A+E Global Media is docuseries The Bible Revealed, which Soriano says uses AI to “visualise the ancient world at a scale that previously was impossible.” Daisy Scalchi, head of religion and ethics at the BBC, commissions singles, formats and series designed to grab the attention of viewers, whether they’re true believers, atheists, agnostics or the faithcurious. “We know from various pieces of research that a religiously literate society tends to be a more cohesive one,” she says. “The media has a hugely important role to play in inviting people to understand more about different faith and belief traditions. The BBC does 99% of the UK’s religious TV content, so that’s a responsibility that we really feel and take seriously.” While the executive acknowledges the existential weight surrounding theological matters, she also believes that faith-skewing content need not always be so earnest. “There is a misconception around the word ‘religion’ that it tends to be worthy, serious, difficult, knotty and gnarly,” Scalchi says. “It can be all those things, but it can also be light, funny, irreverent, celebratory and joyous. There’s a number of different ways we can approach religious commissioning – sometimes the subjects of faith and belief can be a layer accessed through another entry point.” Examples of this religion-underthe-radar content strategy can be found throughout the BBC’s recently announced slate of faith-themed programming. Guz Does… MMA (1x60’, Ricochet) sees comedian Guz Khan explore the brutal world of mixed martial arts through the lens of his own Muslim faith. Young, British & Trad Wife (1x60’, Firecrest Films)
Channel21 International | Fall 2026
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There is a misconception around the word ‘religion’ that it tends to be worthy, serious, difficult, knotty and gnarly. It can be all those things, but it can also be light, funny, irreverent, celebratory and joyous. Daisy Scalchi BBC
is presented by documentarian Poppy Jay, who meets the women embracing a return to patriarchal gender roles and traditional values. More directly religious, meanwhile, are programmes marking the 65th anniversary of musical worship series Songs of Praise, a new season of vocal talent contest Young Chorister of the Year and unscripted format Pilgrimage, in which celebrities from different faiths and beliefs journey together on historic and spiritual walking routes. “The two key drivers of religious content are building communities and tackling significant questions about what it means to live a meaningful life,” says Scalchi. “It definitely feels like there is a head of steam building behind people seeking out faith-based content. Certainly, with the BBC’s output we’re seeing some of the best audience figures we’ve had in the past few years, and within a declining linear market, that’s quite significant. Something is really happening and I’m interested to see how it continues.” That momentum is drawing new players to the space, including some unlikely ones. New Metric Media, the Canadian prodco behind foulmouthed comedies Letterkenny and Shoresy, teamed up with Wonder Project on six stand-up specials featuring the likes of Letterkenny’s K Trevor Wilson and Sabrina the Teenage Witch’s Caroline Rhea. The partnership gave it a frontrow seat to some of the editorial decision-making required to ensure the content was suitable for a faith audience, says New Metric founder and CEO Mark Montefiore. “It was a challenge trying to find comics who could play ‘clean’ and not feel like their jokes were being sacrificed or compromised, but it worked,” he says. Montefiore points to US comedian and actor Nate Bargatze as a prime example of how values-based content
is finding its way into mainstream culture without being overtly labelled as Christian or faith-based. Bargatze set a Guinness World Record this summer when his Big Dumb Eyes tour became the highestselling comedy tour ever. The Tennessee-born comedian is a devout Christian whose material does not include swearing or jokes of a crude or sexual nature. “While he doesn’t brand himself as a faith-based comic, he’s Christian and it really inspires a lot of his material. He’s a clean, family-friendly comic who’s sold two million tickets on his latest record-breaking tour. So is there growth in this area? Absolutely,” says Montefiore. With additional reporting by Nico Franks.
Below: Guz Does… MMA looks at mixed martial arts through comedian Guz Khan’s own faith. Bottom: BBC unscripted format Pilgrimage
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