Global Drama Trends: The View from Atresmedia

Spanish media group Atresmedia has maintained its commitment to high-end scripted storytelling, Miguel García, sales director at its international distribution arm, Atresmedia Sales, tells TV Drama as the company gears up to present a diverse drama slate at MIPCOM. García talks to TV Drama about trends in the global drama sector and how Atresmedia Sales is meeting the needs of its clients.

TV DRAMA: We’ve seen the numbers about the reduced number of commissions at the global platforms. How are you approaching this contraction in new content production?
GARCÍA: Atresmedia continues at the same high level of production it has maintained in recent years. In Spain, the contraction has not been as severe as in other markets, and we are still the leaders in both audience and production. We premiere more than ten new series or seasons each year for our platform, atresplayer, and our TV channels, Antena 3 and LaSexta.

TV DRAMA: What have been the most significant shifts in financing models? How are you approaching pulling projects together?
GARCÍA: Production costs have risen significantly, and it’s becoming increasingly important to reduce budgets to maintain the same number of new productions each year. That’s why it’s always beneficial to look for presale models that combine countries or partnerships between TV networks and platforms. Atresmedia and Netflix have joined forces through Buendía Estudios to produce Sira, the sequel to El tiempo entre costuras (The Time in Between). A major production like this required a presale agreement, such as the one that has been achieved.

TV DRAMA: With commissions down, are platforms acquiring more to fill the needs of their subscribers and audiences?
GARCÍA: Atresmedia has such an extensive catalog of hits that platforms have always approached us to acquire second and third windows for successful series to complement their libraries. These are productions well known to audiences, with strong appeal and retention power, something essential nowadays. Viewers continue to watch and rewatch series like El tiempo entre costuras (The Time in Between), Aquí no hay quien viva (I Hate This Place), Los Protegidos (A Normal Family) and many more.

TV DRAMA: What elements does a project need to cut through today?
GARCÍA: Platforms and audiences are looking for new stories that touch them, entertain them and offer a different perspective on different topics. These can be based on real events or be purely fictional, but they must be special. In this regard, the “Series Atresmedia” [label] is a quality seal known for content with soul, stories that dare to explore topics others often do not dare and captivate viewers.

TV DRAMA: Are there any particular trends you’re seeing in terms of what’s in demand?
GARCÍA: Certain elements always tend to attract audiences, such as love stories, family issues and crime. These elements can appear in thrillers, romantic comedies and historical dramas. For example, our telenovela Sueños de libertad (Dreams of Freedom) remains the most-watched series in Spain daily, as it combines elements of love, betrayal, power and family.

TV DRAMA: How are you tapping into the demand for known IP, while also still bringing out new ideas?
GARCÍA: It’s true that series based on recognized IPs help to increase the chances of getting commissioned, as the risk of failure is lower. If the audience is already familiar with the story or characters, it provides a strong boost for the content’s launch marketing efforts. That doesn’t necessarily mean they have to be new seasons—what matters is that there are recognizable elements. These could come from a real-life crime or from a story based on a book, for example. Atresmedia is now presenting at MIPCOM a fiction series based on Sonsoles Ónega’s best-selling novel, Las hijas de la criada (The Maid’s Daughters); a series based on the best-selling books by Megan Maxwell, ¿A qué estás esperando? (What Are You Waiting For?); and shows inspired by real crimes, such as 33 días (33 Days).