Helge Köhnen & Tanja Grinscher Tout Bavaria Media’s Lineup

Helge Köhnen, head of content sales at Bavaria Media, and Tanja Grinscher, deputy head of content sales, talk to World Screen Newsflash about their lineup of European projects and share how they are navigating the complexities of the distribution market.

European broadcasters are increasingly collaborating to offer prestige dramas with locally resonant themes for their audiences. ARD, WDR, SWR and ORF are among those backing Story House Pictures’ new period drama Mozart Mozart, which promises to tell the untold story of Wolfgang Amadeus Mozart’s sister, Maria Anna, centering the narrative on her attempts to live a life of her choosing, despite the restrictions of the time. Bavaria Media International is launching the show in Cannes.

WS: It has been a challenging year for the industry. What’s been driving your business over the last few months?
KÖHNEN: The audience’s appetite for great stories remains undiminished even as headlines focus on cost pressure and uncertainty. Especially in times of crisis, content with a clear message and high production value cuts through and creates orientation. Two dynamics have been particularly supportive of our business: sustained demand for long-running series and film cycles with reliable cadence, and a tailwind for acquisitions in markets where local commissioning has temporarily slowed, as is the case in several European countries right now. Both factors benefit distributors with a broad, consistently refreshed pipeline. Additionally, we can bundle titles at competitive prices—from premium highlights to long-running brands that give broadcasters and platforms planning security. That is made possible through a constant stream of fresh content produced within Bavaria Film Group, our framework agreements with several TV broadcasters and our large network of national and international producers.

WS: What’s your sense of what buyers need, and how has that informed the slate you’ve curated for MIPCOM?
GRINSCHER: We’re seeing a pronounced “barbell” demand: on one end, true tentpoles with high visibility and strong IP; on the other, programs with broad audience appeal and clear scheduling utility. There’s still plenty of solid “middle of the road” [titles], but market pressure rewards stories that stand out—a signal fire in an ocean of content. Our slate reflects that. Leading the lineup is the ambitious prestige series Mozart Mozart, a modern, surprising take on one of the most famous names in music history. In parallel, we serve rising demand for ongoing cycles with new installments of Cold Valleys, Modern Murder, Inspector Wannabe and more. And we celebrate the 20th on-air anniversary of Storm of Love, one of Europe’s most successful drama series, sold into more than 50 countries and thriving with nonlinear audiences as well. We’re also proud to present curated gems such as Where We Come From, twice awarded with the Deutscher Fernsehpreis, and Josefa’s Return, selected for the New York Film Festival. Together, they demonstrate how relevance, artistry and resonance can go hand in hand.

WS: Tell us about Mozart Mozart and what your distribution plans are for this new prestige production.
KÖHNEN: Mozart Mozart, from Story House Pictures for ARD and ORF, captivates us for two reasons: perspective and execution. It is explicitly not a conventional historical drama but a bold “what if” narrative. What if Maria Anna Mozart—Amadeus’ highly talented sister—had been given the chance to nurture her skills and show her full potential? That lens reframes a familiar success story in a fresh, unique way. Formally, the series employs a distinctive music concept with acoustic and visual layers that clearly differentiate the Mozart siblings in their approach and impact, catching audiences pleasantly off guard throughout.
GRINSCHER: It’s produced for ARD and ORF, so you’ll recognize hallmarks of classic public-service storytelling—and it’s also wild, colorful, contemporary and, crucially, a lot of fun to watch. On the distribution side, we are teaming up with Beta Film for worldwide sales. The goal is clear: position Mozart Mozart with global visibility and bring it to markets where strong characters, lavish production and a universal, empowering theme truly resonate.

WS: How do you see the scripted business amid this reduction in commissions worldwide?
KÖHNEN: We’re in a period of consolidation—but not of creative fatigue. Cost-cutting has limits; the need for outstanding stories remains. Historically, when local commissions decline, demand for high-quality acquisitions rises. That dynamic favors suppliers who deliver reliably and at breadth. For us, the implications are straightforward: Double down on differentiated scripted content (strong IP, high production value), and secure volume in parallel: cycles and series that enable planning and regular refreshes. That mix is what makes a catalog competitive: providing both highlights and the dependable day-to-day programming that schedulers need.

WS: How important is known IP in the drama business?
KÖHNEN: Increasingly important. It’s a catalyst for visibility. Strong IP and high production values help titles break through in a hyper-competitive market. That can mean an established brand like Storm of Love, which continues to perform internationally and nonlinearly in its 20th year. It can also mean personalities with global recognition: Souls Without Walls with Olympic figure skater Katarina Witt; Call Me Levi, about denim legend Levi Strauss; and the untold story of Maria Anna in Mozart Mozart. Names like these travel across territories, provided the storytelling is distinctive and relevant.

WS: How do you see AI impacting your business?
GRINSCHER: AI is already productive—often away from the spotlight. While consumers notice the rapid visual progress, the most immediate use cases for us as a distributor are pragmatic: AI use in research and administration, as well as for the generation and enrichment of metadata, is already a daily business.
KÖHNEN: Additionally, we see an increase in efficiency gains in subtitling, dubbing workflows and the creation of marketing assets. AI-generated key visuals and trailers are within reach. The human component won’t vanish, but roles will evolve.

WS: We’re hearing a lot about AVOD and FAST in North America. What opportunities are you pursuing to further monetize your library, especially your back catalog?
GRINSCHER: Longevity and volume are key for AVOD and FAST. Long-running series allow regular channel refreshes, deepen engagement and extend life cycles. Our back catalog encompasses more than 30,000 hours, from high-quality feature classics to long-runners like medical series Friends For Life and its sister series Young Doctors. Thematic and genre channels open new routes to reintroduce evergreens; we were early to “unlock the vault” and revive titles such as the lighthearted animal dramedy Zoo Doctor and the family series Circle of Life. Owning distribution pathways is equally important. Our YouTube channel Fernsehschätze (TV Gems) is creating fresh awareness and reach for classics. On Amazon Prime Video Direct, we’ve published ten seasons of Vienna Crime Squad. Beyond incremental revenue, we gain direct audience data—a strategic advantage that informs future rights acquisition and packaging with real-world signals.

WS: What are your goals for Bavaria Media in the 12 months ahead?
KÖHNEN: First, Mozart Mozart will cue the music as we launch the series globally with Beta Film at this year’s MIPCOM. In the year ahead, our compass remains steady: strong IP, high production values and clear distinctiveness, complemented by sufficient volume to give platforms and broadcasters programming reliability. Bolstering our lineup with new acquisitions and installments, we simultaneously plan to expand our self-publishing activities. There is still untapped potential on that front, and certain gems in our vast back catalog will gain new visibility once made available via our own channels. Just like Maria Anna, some hidden talents will captivate audiences once they are allowed into the spotlight. Now is the time for that.