seriella.com
SVOD
0,4%
FORECASTS FROM AMPERE
ANALYSIS PREDICT THAT GLOBAL CONTENT SPENDING WILL INCREASE BY JUST 0.4% YEAR-ONYEAR TO REACH $248BN IN 2025.
6%
IN 2025, SPENDING BY VOD SERVICES IS SET TO INCREASE BY 6% TO $95BN.
39%
AD-FUNDED AND SUBSCRIPTIONBASED SERVICES WILL ACCOUNT FOR 39% OF TOTAL SPENDING.
Spending by SVOD services is set to increase to $95bn, making these companies the leading contributors to the global content landscape and surpassing commercial broadcasters for the first time. Streamers’ successful subscriber growth in 2024 has positioned them to invest heavily in content this year.
SECUOYA AND BLACKBOX SIGNED FIRST-LOOK DEAL
Secuoya Studios and BlackBox Multimedia have agreed to join forces and coproduce premium series for UK and Spanish streamers and broadcasters from the studio´s Madrid facilities within Madrid Content City. This first step into the UK market provides a significant boost to Secuoya’s plan to produce 30% of the studio´s content catalog in languages other than Spanish, creating new opportunities to reach global audiences and continue with the studio´s commitment to broaden its global reach.
BBC STUDIOS APPOINTED ROSE HUGHES
BBC Studios has appointed Rose Hughes as its new Senior Vice President of Global Format Sales. Hughes will be responsible for the sales strategy of unscripted and scripted formats. She will lead the Global Format Sales team and report to Jacob de Boer, EVP of Global Entertainment, as she returns to BBC Studios. She previously held the role of Senior Sales Executive, Formats Licensing, Nordics, and Benelux. Hughes takes up her new role in February 2025.
GLOBO AND GAUMONT SIGNED A NEW CO-PRODUCTION AGREEMENT
Globo and Gaumont announced their first partnership during the last Content Americas. In celebration of the Year of Brazil in France and France in Brazil, the two companies will co-produce a series set in the world of haute couture. The project will also involve Conspiração and Ventre Studios in its development. Manuel Belmar, Head of Digital Products and CFO of Globo, celebrated the deal: “We are very happy with this partnership, which will bring premium content not only to Brazilians, but also to audiences in other countries.”
BANIJAY ENTERTAINMENT SETS NEW GLOBAL SCRIPTED STRUCTURE
WARNER BROS. INT. TV PRODUCTION OPENS A NEW OFFICE IN ITALY
Banijay Entertainment confirmed a combined leadership structure for its central scripted division, appointing Steve Matthews as Head of Scripted Creative and Johannes Jensen as Head of Scripted Business. The pair will work to effectively support and partner with the group’s thriving portfolio of over 60 dedicated labels. Collaboratively steering the division, Matthews and Jensen will leverage their complementary expertise to evolve their current roles and ambitiously grow the group’s offering and position in the global scripted market.
Warner Bros. International Television Production opened a new production business in Italy, helmed by Managing Director Stefano Torrisi, an Italian native who will also maintain his status as MD of WBITVP Spain. Torrisi will report to WBITVP President Ronald Goes. Additional senior creative and production staff are currently being recruited. Located in Milan, WBITVP Italy marks the 15th territory for WBITVP’s production activities, with the new office becoming the 22nd production company in total, joining WBITVP businesses across EMEA, Australia and New Zealand.
MEDIAWAN APPOINTED ITS FIRST HEAD OF ARTIFICIAL INTELLIGENCE
Mediawan Group appointed Max Wiedemann as its new Head of Artificial Intelligence. This shift creates a growing demand for innovative and forwardthinking formats and new opportunities to produce content more efficiently. To tackle these new opportunities, Wiedemann will continue to perform as Leonine Studios’ Chief Production and Chief Business Development Officer, while leading AI activities as Head of Artificial Intelligence for the Mediawan Group. In his expanded role, Wiedemann will spearhead efforts to integrate cutting-edge AI technologies across the group’s diverse business activities.
AMUZ DISTRIBUTION REBRANDS AS JUST FOR ENTERTAINMENT DISTRIBUTION
Amuz Distribution has been renamed as Just For Entertainment Distribution, after the distribution division has been integrated into the recently rebranded Just For Entertainment parent company following the company’s major June 2024 acquisition of the Just For Laughs. Just For Entertainment Distribution will continue its evolution from Amuz Distribution to include a wider range of scripted and unscripted feel-good entertainment. Just For Entertainment Distribution takes a 360-degree approach to monetizing its assets.
2025 NEW YEAR, NEW CHALLENGES, NEW PRIORITIES?
THE CONTENT INDUSTRY REMAINS CHALLENGED BY THE NEED TO ACHIEVE PROFITABILITY, IMPROVE EFFICIENCY, AND ACHIEVE A BETTER MISSION FOCUS. ONE OF THE MAIN CHALLENGES IS THE TRANSITION FROM LEGACY PAY TV TO THE STREAMING ERA.
The year 2025 is shaping up to be the first on the books when streaming generates more revenue than pay TV on a global scale. As always, this shift is driven by large, mature markets such as the United States, which generally drives trends across a maturing world, but elsewhere, the picture looks quite different. However, as impressions from CES 2025 support, one of the most important early-year priorities for the industry is to find answers to the persistent challenges that the TV & video sector is facing so that it will be better placed to thrive in the years to come. The industry remains challenged by the need to achieve profitability, improve efficiency, and achieve a better mission focus. Key challenges are found in the transition from legacy pay TV to streaming. These are not solely how to replicate the revenue once guaranteed by pay TV in the current age of streaming but also how to best provide customers with high-quality user experience in an atomized market. Tied to this is the arrival of new business models, new bundles, and small but fundamental shifts in how the industry sees the market’s needs, illustrated by Disney’s surprise move to acquire majority ownership of Fubo TV and the subsequent closure of the joint venture Venu Sports. The year begins with renewed energy around creating new sports-streaming services, and developing stories are likely to dominate much of the news in 2025.
Telco and pay-TV operators have done a great job of driving bundling and aggregation of streaming, but Omdia analysis shows that for all the growth in the last three to five years, the operator bundling sector has also reached early maturity: about one-fifth to one-quarter of all streaming subscriptions come from such bundles. New standalone streaming-only bundles
are currently being tested in the United States, and Omdia believes it’s highly likely that those bundles will be launched internationally in 2025. Meanwhile, almost all key streaming services have already reached early maturity in 2024, and churn is now a real threat to a once-guaranteed online video subscription model. Omdia’s latest forecasts indicate that there is much real-term growth expected from online video streaming, but 2025 starts a new phase of streaming evolution in which growth is not necessarily based on double-digit annual growth nor standalone or ad-free D2C business models.
GLOBAL TV AND STREAMING VIDEO REVENUES, 2016–29
WHERE IS THE GROWTH COMING FROM?
Omdia has often heard from clients that global streaming services experienced slower growth in 2024. However, the numbers do not support the view that SVOD has reached a standstill. This perception comes from the fact that some markets may show signs of saturation, although many key territories tell a contrasting story, with notable growth still expected
in the coming years. A key driver for many streaming services for 2024 is the introduction and expansion of ad-tier subscriptions, which are increasingly becoming a major contributor to subscription growth. In markets like the United States, services such as Netflix, Disney+, Max, and Paramount+ have increased ad-tier subscriptions, allowing them to grow their subscription base at a lower price. These ad-supported plans have been particularly effective in competitive regions such as the US, UK, and Latin America, where they are helping to attract new subscribers. In Brazil and Mexico, ad-tier offerings have been particularly well-received, driving further growth.
USA & LATIN AMERICA MEDIA AND ENTERTAINMENT REVENUES BY SECTOR
LATAM to grow by 9.4% in 2025 to reach $55bn
2025
content helped it outdo Amazon Prime in Italy in 2024. Similarly, services such as Amazon Prime and DAZN have targeted local content tailored to specific markets (such as Italian films and sports), increasing their appeal and boosting their subscription base. This localized content strategy has already helped and will continue to help platforms expand their reach, especially in international markets where global content alone may not be enough to capture the audience.
LATIN AMERICA IS ONE OF THE STRONGEST REGIONS FOR FAST GROWTH
Bundling proved to be a crucial strategy for boosting subscription numbers in 2024, and many leading streaming services are already partnering with major telcos and pay-TV providers in key markets. Netflix, in particular, continues to excel globally thanks to its strategic bundling with pay-TV and telco services, which help it maintain a competitive edge. This bundling approach is especially impactful in markets such as the UK, Brazil, and Germany, where package deals that include Amazon Prime, Disney+, Max, and others have significantly driven subscription growth. Even more established services, such as Hulu, benefit from being part of larger bundles, which can ensure steady customer retention and modest growth. Bundling makes streaming more accessible to a broader audience, supporting continued subscription increases even as organic growth begins to slow. The shift in 2025, however, will be toward less reliance on bundles carried out in partnership with telcos and pay-TV operators and more focus on standalone SVOD bundles, where online video services themselves team up to create their own bundles.
CONTENT INVESTMENT
Investment in local and original content has also played an important role in driving growth. For instance, Netflix’s heavy investment in Italian original
Moreover, price sensitivity remains a major factor in subscription growth, particularly in regions with varying economic conditions. Ad-supported tiers have helped attract more budget-conscious subscribers in markets such as Brazil, Mexico, and the UK, where consumers are looking for more affordable options. These lowercost options ensure that services continue to grow even when economic conditions may limit consumer spending.
Despite slower growth in certain regions, the global SVOD market is still ready for significant expansion. For example, in the UK, the market is projected to grow from 56 million subscriptions in 2024 to 72 million by 2029. Similarly, OTT subscriptions are on the rise in Brazil and Mexico, driven by ad-tier options and bundles. Even in more mature markets, services continue to experience gradual growth because of factors such as bundling, regional content, and ad-supported models.
By Omdia
UK: MORE CONSUMPTION, LOWER GLOBAL EXPORTS, AND NEW CHALLENGES
THE CONTENT INDUSTRY IN THE UK IS FACING A DISRUPTION ERA, MARKED BY MORE PRODUCTION SPENDING ON HIGH-END TV PROJECTS, AND A MORE COMPETITIVE GLOBAL DISTRIBUTION ARENA.
While the UK faces growing consumption rates in digital and increasing production spending, it also confronts a dec lin e in global content exports. Like other regions of the world, the scenario presents a complex outlook with multiple challenges and several growth opportunities.
The latest official figures published by the BFI’s Research and Statistics Unit show that film and highend TV production (HETV) spending in the UK was £5.6 billion in 2024, a 31% increase in 2023, as parts of the sector regained momentum, generating billions for the UK economy. UK’s share of the total £5.6 billion production spend was contributed by HETV shows with £3.4 billion, or 62% of the total spend, with feature film production contributing £2.1 billion, or 38% of the total spend.
UK SPEND OF AND HETV PROJECTS, 2015-2024
Inward investment and co-production of films and HETV shows delivered £4.8 billion, or 86% of the combined production spend. That demonstrates the UK’s global reputation as the world’s leading international film and TV production center. Of the total £3.4 billion spent on 181 HETV productions in 2024, inward investment shows contributed £2.8 billion (82% of total HETV spend), a 36% increase on 2023; domestic UK shows accounted for £598 million (17% of total HETV spend), a 22% decrease on 2023; and co-production spend was £19.6 million (less than 1% of total spend), a 50% decrease on 2023.
UK SPEND ON CONTENT BY YEAR
Of the total £2.1 billion spent on 191 film productions in 2024, inward investment films contributed £1.85 billion (87% of total film spend), a 78% increase on 2023; domestic UK films accounted for £185.8 million (9% of total film spend), a 24% increase on 2023; and co-production spend accounted for £79.8 million (4% of total film spend), a 51% decrease on 2023. The production statistics also reveal a varying level of investment streamer platforms make in single longform ‘film’ productions (not episodic or series). In 2024, 25 single feature-length productions contributed £511 million to the HETV spend of £3.4 billion. However, the methodology to collate the data requires complicated analysis; whilst most productions for streamers are captured as HETV production because they use the HETV cultural test to access tax relief, some are captured within film data because they use the film cultural test.
MATURE LOCAL MARKET
In that context, UK’s BARB, the industry standard for understanding what people watch, has released data from its Establishment Survey showing that 20 million UK homes (68.3%) had access to an SVOD service in Q4 2024. That is a slight dip from 20.1 million UK homes (68.8%) in Q2. BARB has again shared an advertising tier
£1,818 million
2023/24 UK TV International exports
estimate for Netflix, Disney+, and Amazon. The number of UK homes on the Netflix ad tier continues to build, reaching 4.7m (16% of UK homes), up more than a fifth from 3.8m (13.1%) in Q3. The Disney+ ad tier reached 1.5m (5.2% of UK homes), up more than a quarter from 1.2m (4.1%) in Q3. A different approach to moving homes to its ad tier means 87% of homes with Amazon Prime Video access in Q4 are on the ad tier – 11.6m homes (39.4% of UK homes), slightly up from 11.5m in Q3. According to BARB, Netflix has 17.1m UK homes (58.2%) had access to Netflix in Q4, slightly down from 17.3m UK homes (59%) that had access to Netflix in Q3, while Amazon Prime Video had 13.3m UK homes (45.5%) had access to Amazon Prime Video in Q4, slightly down from 13.4m (45.9%) in Q3. Disney+ has 7.6 UK homes (26%) had access to Disney+ in Q4, up from 7.5m UK homes (25.7%) in Q3. Apple TV+ counts 2.6m UK homes (8.9%) had access to Apple TV+ in Q4, up from 2.5m UK homes (8.6%) in Q3, and Paramount+ 2.7m UK homes (9.1%) had access to Paramount+ in Q4, slightly down from 2.8m UK homes (9.4%) in Q3.
TOTAL UK TV INTERNATIONAL EXPORTS
DOWNWARD EXPORTS
According to Pact’s “TV Exports Report,” British TV exports worldwide fell slightly in 2023-24, down 2% on the previous year, to £1,818 million. However, this is still 27% higher than sales in 2020-21. The report found that despite the challenges in the US market over the past 24 months, the US continues to be the
largest destination for UK TV exports, accounting for almost one-third of exports, and it remains the region of primary focus for British distributors. Sales to the US grew by 13 % yearly to a new high of £593 million. Other countries in the top 10 that experienced growth included The Netherlands (25% increase to £35 million) and South Africa (20% increase to £27 million). Germany and The Nordics saw 8% increases, reaching their highest-ever total export revenues (£118 million and £104 million, respectively). Elsewhere in the top 10 countries, France, Italy and Spain all saw significant decreases, with France falling out of the top five for the first time.
TOTAL UK EXPORTS REVENUES BY CONTENT TYPE (£M)
Sales of co-productions fell by 28% compared to the previous year, to £120 million, which is likely due to a reduction in activity (especially premium drama) by some of the large US media companies that have partnered with companies in previous years. Finished content fell 8% to £1,019 million but remained the most significant contributor. International productions grew significantly by 29% to £325 million, increasing its share of total TV exports from 14 to 18%. Scripted drama continued to dominate the genre share of exports but fell to 43% from 49% in the previous year, whereas entertainment saw the biggest increase of 6% to 27%. A final challenge for the UK industry will be the era of split-screeners consumers. Whereas once families were more likely to gather around a TV for major events like football matches or Christmas TV specials, the nation’s view of quality time now looks very different, with more than a third (35%) of the UK admitting to regularly splitting their attention between multiple screens or devices at the same time. According to BT Group, that rises to 58% among Gen Z, credited with giving rise to the split-screening habit. The top reasons Brits are using secondary screens during major events include scrolling social media (47%), messaging friends and family (39%), shopping online (33%) and playing video games (30%).
By Diego Alfagemez
“AURBIT REDEFINES HOW GLOBAL CONTENT AND ADVERTISING ARE EXPERIENCED”
HERMAN CAMPBELL , PRESIDENT AND CTO OF AURBIT, EXPLAINS THE PLATFORM’S ADVANTAGES FOR THE CONTENT INDUSTRY AND HOW IT CAN GENERATE NEW FINANCING REVENUES AT THE DEVELOPMENT STAGE.
Herman Campbell is the creator, president, and CTO of Aurbit. With extensive experience in advertising and marketing intelligence and a deep understanding of how technology drives this industry, he recognized a significant gap in interaction with linear TV and radio. Señal News spoke with Campbell to understand the platform’s potential for the content industry.
How would you describe Aurbit’s advantages to the global content industry?
“Aurbit’s advantages to the global content industry lie in its ability to seamlessly merge entertainment, advertising, and e-commerce. By leveraging audio recognition and location-based technology within a user-friendly app, Aurbit enables audiences to discover products, people, places, and music featured in ads, movies, TV shows, and other production content. That unlocks new revenue streams for content owners and advertisers without disrupting the viewer experience. Its scalable model allows creators, distributors, and broadcasters to monetize content in real-time while enhancing audience engagement. Aurbit redefines how global content and advertising are experienced, bridging entertainment, advertising, and commerce in a natural and integrated way.”
How does Aurbit bring new ways to finance and develop content?
“Aurbit brings several groundbreaking features that empower content creators and distributors to generate new revenue. Its direct-to-purchase functionality makes it possible for content owners to earn revenue every time a viewer taps on a product within the content. The platform’s CPC model ensures measurable, transparent returns, providing content owners with clear insights into engagement and revenue. Additionally, Aurbit’s marketplace for
seamless product placements connects brands with highly engaged audiences, offering new avenues for financing content and expanding development opportunities.”
How does the platform work, and how can producers, distributors, broadcasters, and platforms be involved?
“Aurbit integrates audio recognition and location-based technology into an app that allows viewers to interact with products, people, places, and music featured in content. The platform provides direct-to-purchase options or additional information when viewers tap on an item. It also dynamically adjusts to show different product purchase points based on the viewer’s location, ensuring relevance and convenience. Producers can integrate Aurbit during content creation to monetize specific elements within scenes. Distributors can enhance their offerings by adding interactive capabilities to manage content. Broadcasters can use the platform to provide interactive ad experiences and location-based purchase options tailored to their audience. Platforms can partner with Aurbit to deliver a seamless, immersive way for viewers to explore and engage with content.”
How does Aurbit improve audiences’ experience with brands and content?
“Aurbit transforms the viewer experience by enabling direct interaction with content, turning passive viewing into an active, personalized experience. Viewers can discover and purchase products that appear on screen, creating a deeper connection with the content and brands. This interactive approach enhances engagement, fostering a stronger brand and audience bond."
By Diego Alfagemez
Herman Campbell
“OUR GOAL IS ALWAYS TO CONQUER THE WHOLE WORLD”
SELIN ARAT, DIRECTOR OF INTERNATIONAL OPERATIONS AT TIMS&B PRODUCTIONS, EXPLAINS THE TURKISH PRODUCTION COMPANY’S FOCUS ON EXPANDING INTO LINEAR TV AND STREAMING PLATFORMS AFTER BEING RENOWNED FOR DRAMAS THAT HAVE TRAVELED WORLDWIDE.
Tims&B Productions is one of Turkey’s most renowned production companies, responsible for global hits such as “Bitter Lands,” “Deception,” and the recently released “Valley of Hearts.” With new projects for free-to-air TV channels and digital platforms, Señal News spoke with Selin Arat, Director of International Operations, who described the company’s path to global expansion.
How would you define Tims&B’s international strategy?
“Whatever we do, we focus on capturing the entire world. It is important first to win over our local audiences to guarantee a series’ longevity and success; however, we value creating international appeal as well because we now also have a responsibility towards our loyal viewers worldwide to deliver high-quality content.”
How do you want to position the company in the global arena?
“I would position us as a solid prodco committed to creating top-notch content that travels the world. Budget-wise, we are naturally bound by the financial
limitations of the specific industry and country we are in, but in terms of creativity, the sky is the limit. For Turkish drama aficionados, I think we can safely declare that Tims&B has become a household name in this industry following the legacy of Tims Productions.”
What are the main features of the upcoming series “Eşref Rüya”?
“‘Eşref Rüya’ is a story that will candidly portray love in all its stages. Apart from the script’s strength, the cast is one of the most powerful features of this highly anticipated series. We are working with some of the best in Turkish television. Çağatay Ulusoy and Demet Özdemir, both revered internationally, paired up on screen for the first time. The creative team behind the project is equally exciting as we are embarking on this journey together with our dear scriptwriter Ethem Özışık and wellknown director Uluç Bayraktar, who are meticulously weaving the intricate details of the universe of ‘Eşref Rüya.’”
What business potential do you observe in producing content for digital platforms?
“Of course, the business model of digital platforms is quite different from linear television. When creating a series for platforms, the goal is to escape free TV restrictions, allowing for the experimentation of different genres and styles of storytelling and shorter durations. It is a challenge for producers and abovethe-line crews who are so used to running a close race that it gives
them an opportunity to run an extended marathon instead. From a commissioning point of view, the local operations of the global streamers need more content than linear broadcasters, as their content is more quickly consumed than a typical successful, longrunning free TV drama. Therefore, their stable interest in our content continues. Broadcasters remain the key buyers, as the business model there is more win-win for all parties from a financial standpoint.”
What is the international potential of “Valley of Hearts”?
“’Valley of Hearts’ has debuted this season with a bang. Against two great continuing shows, it has successfully carved out a place within the immensely competitive Thursday slot. Despite the widely watched football games (local and international) that have been on almost every week this season, it has managed to stay within the top-watched programs. So, we are quite happy with the results. As for the international potential of the series, it is one of our fastestselling titles since ‘Bitter Lands.’ With a star-studded cast and set against the incredibly captivating backdrop of Cappadocia, ‘Valley of Hearts’ encompasses everything that would resonate with global audiences. It is a strong family drama with all its layers depicted by characters with “black and white hearts,” focusing on themes of intrigue, power struggles, secrets, and passion with not one but two love axes at the core.”
By Diego Alfagemez
Selin Arat
CONTENT AMERICAS 2025
Duda Pereira, Sophie Charlotte, Manuel Belmar, Angela Colla (GLOBO)
Juan Ponce, Mónica Alburquerque, Jacqueline Castro, Javier Pons (TELEMUNDO STUDIOS)
Andre Santos, Carlota Vieira (SIC)
Esteban Borras (CLAXSON), Carlos Cabrera (VENEVISION), Miguel Clutterback (ARTEAR), Fernando Muñiz (AMERICA TV PERU), Agustín Sacanell (KAPOW)
Julieta Castro, Julieta Camarda (JUST J), Marcelo Tamburri, Valeria Jaidar (ZETA STUDIOS)
Silvia Cotino (MEDIASET), Zaida Jiménez (TELETICA)
Jimmy Van Der Hayden (CDC), Rosina Rodriguez (CANAL 12 URUGUAY)
Ozkan Ipek, Mustafa Tayfur (HACITYAMAZ), Bea Okan, Sinem Alışkan (INTER MEDYA), Ignacio Barrera (MAS ROS), Can Okan (INTER MEDYA)
RCN team at its Content Americas cocktail
María Aguete (OMDIA), Doris Vogelmann (VME), Jonathan Broughton (PLUMRESEARCH)
Sebastián Caballero, Vanessa Gómez (RED COLLISION)
Fernanda Briceño, Barbara Lorenzo, Alis Pérez, Fabiola Bovino (DISNEY) Ekin Koyuncu (OGM)
Andrea Hugeman (DW), Doris Vogelmann (VME)
César Sabroso, Eddy Ruiz (A&E), Julian Rousso (ANIMA)
Elif Tatoğlu, Duda Perman (KANAL D)
Julián Rodríguez Montero (TVUP), Laura Tapias (APPLICASTER)
Mikaela Pérez (GOQUEST), Liliam Hernández, Ana Castillo (UNIVERSAL CINERGIA)
Luis Peraza y Karen Barroeta
Blanca Ponce (NUEVEMEDIA), Patricia Jasin (WBD), Roxana Rotundo (VIP2000), Doris Vogelmann (VME)
Leonardo Pinto (INVERLEIGH), Lizbeth, Fred Groll Bourel (TV5)
Alex Marín (RCN)
Edson Pfutzenreiter Mendes (SERIELLA)
PREMIUM CONTENT WITH A GLOBAL APPEAL
Sonia Mehandjiyska
ELECTRIC ENTERTAINMENT WILL ATTEND THE NEW MIP LONDON EVENT TO SHOWCASE NEW ONGOING PRODUCTIONS AND PRESENT NEW SERIES IN DEVELOPMENT. SONIA MEHANDJIYSKA, HEAD OF INTERNATIONAL DISTRIBUTION, DETAILS THE COMPANY’S STRATEGY.
Electric Entertainment will be part of MIP London’s first edition, with the primary objective of discussing the ongoing productions and presenting its new series in development and potential collaborations with its clients.
“Since this is the first edition of this market, we’re waiting to see what unique opportunities it will offer,” stated Sonia Mehandjiyska, Head of International Distribution at Electric Entertainment. “We are always grateful to meet up and see our partners and friends in the business in person and look forward to seeing what this new market will shape up to be.” She also mentioned that Electric Entertainment will share some exciting news about its current TV series on the market. This year, Electric Entertainment started filming the second season of its newest series, “The Librarians: The Next Chapter,” and they are also currently working on producing two original series for its channel and app ElectricNOW. “One of the series is Electric’s first foray into adult animation, which is called ‘Sloane and the Cosmic Schlep,’” said Mehandjiyska.
The eight-episode, half-hour animated sci-fi comedy series will be executive produced by Dean Devlin, Marc Roskin, and Rachel-Olschan Wilson (for Electric Entertainment); Derek Frederickson (for Twisted Media); Scott Elias and produced by Anna Elias. The series follows a restless young woman who leaves her home on Earth to find adventure, romance, new friends, and a job as an interplanetary taxi driver for a slew of unruly aliens. But this puts Sloane and her friends in the crosshairs of N’Corp, the most nefarious monopoly in the galaxy, that will stop at nothing to eliminate all competition in its rideshare enterprise. The series
was an Official Selection at many film festivals, including Cannes Shorts, Film Invasion Los Angeles, and the Berlin Shorts Award, among many others.
In addition, the second ElectricNOW original series is “The Poly Couple,” which was originally a social media series about a polyamorous couple created by Dana Hobson and Daniel Wolf and inspired by the true events of their real-life daily experiences as a modern polyamorous couple. Working with Electric Entertainment, they are converting the stories into eight half-hour episodes exploring the difficulties and often comic complications of navigating love and relationships. This edgy single-camera half-hour comedy will be available in the first quarter of 2025.
SPANISH EXPANSION
Electric Entertainment also launched ElectricNOW en Español last year, and currently, it’s working to expand it into more Spanishlanguage territories. “With a focus on Latin America, we will continue to offer more and more original Electric Entertainment content and acquired content in Spanish,” Mehandjiyska said. “Our strategy and focus have always been to produce high-quality series and films that are appreciated worldwide by a wide audience. We are also continuing to expand the content and the languages offered on our app and channel ElectricNOW,” she concluded.
By Romina Rodriguez
"The Poly Couple"
