{"id":20564,"date":"2024-04-09T08:50:11","date_gmt":"2024-04-09T12:50:11","guid":{"rendered":"https:\/\/worldscreen.com\/tvdrama\/worldscreen.com\/"},"modified":"2024-04-10T09:47:51","modified_gmt":"2024-04-10T13:47:51","slug":"turkish-love-story","status":"publish","type":"post","link":"https:\/\/worldscreen.com\/tvdrama\/turkish-love-story\/","title":{"rendered":"Turkish Love Story"},"content":{"rendered":"

Over the last ten years, Turkish dramas have made a lasting impact in Latin America, captivating local audiences and securing positions across multiple platforms.<\/em><\/p>\n

TV Latina<\/em> is gearing up to host the inaugural Turkish TV Festival, taking place May 7 to 9. The Spanish- and English-language online event features stars such as \u00d6zge \u00d6zpirin\u00e7ci and Melih \u00d6zkaya alongside executives from OGM Pictures, Madd Entertainment, Inter Medya, Kanal D International, Eccho Rights, atv, Global Agency, MISTCO, Calinos Entertainment and MediaHub. You can register for this free event\u00a0here<\/strong><\/a>.<\/p>\n

For years, telenovelas hailing from Mexico, Colombia, Venezuela and Brazil monopolized prime-time slots on free-TV channels in Latin America. Despite their widespread acclaim, these shows faced competition from Turkish productions, which unexpectedly arrived in the region a decade ago.<\/p>\n

Initially dismissed as a fleeting trend, Turkish dramas have defied predictions and established themselves in Latin American entertainment. Despite the enduring global success of traditional Latin American telenovelas, Turkish shows have successfully carved out their own space, demonstrating staying power and continued popularity after a decade.<\/p>\n

In 2014, Global Agency inked a deal with Mega in Chile to broadcast\u00a01001 Nights<\/em>\u00a0(Las mil y una noches<\/em>). This Turkish drama, starring Berg\u00fczar Korel and Halit Ergen\u00e7, marked the beginning of a wave of Turkish titles flooding into the region, reshaping programming schedules and viewers\u2019 preferences.<\/p>\n

Leading the charge was Iv\u00e1n S\u00e1nchez, the director of sales for Latin America at Global Agency. S\u00e1nchez spearheaded the introduction of Turkish dramas to Latin America through\u00a01001 Nights<\/em>. Reflecting on their journey, S\u00e1nchez notes, \u201cOver the past decade, we\u2019ve dubbed nearly 30 titles for the territory. Notable productions like\u00a01001 Nights<\/em>,\u00a0Magnificent Century<\/em>\u00a0and\u00a0Mother<\/em>\u00a0made an impact. Yet, we\u2019ve also seen success with others such as\u00a0A Part of Me<\/em>,\u00a0Broken Pieces<\/em>,\u00a0Evermore<\/em>\u00a0and\u00a0Daydreamer<\/em>, spanning various genres and captivating a wide audience.\u201d<\/p>\n

Throughout the past decade, S\u00e1nchez notes that the market has exhibited remarkable stability, allowing for diversification across platforms and time slots to reach a wider audience. He explains, \u201cWe\u2019ve been able to expand our reach, starting from free TV and later branching out to cable channels and SVOD platforms.\u201d<\/p>\n

Beatriz Cea Okan, VP and head of sales and acquisitions at Inter Medya, recounts a five-year journey to penetrate the Latin American market. \u201cInitially, distributors were cautious about testing content. However, we maintained our stance that channels should directly request titles from us, rather than involving a distributor in between,\u201d she explains. Chile became the first country where Inter Medya introduced its productions, eventually expanding to encompass all countries in the region.<\/p>\n

Cea Okan elaborates on Inter Medya\u2019s approach: \u201cIt started with one drama purchase, then two, leading to the opening of time slots, and eventually, further expansions. Presently, numerous channels in Latin America dedicate multiple time slots per day to Turkish content.\u201d<\/p>\n

According to Cea Okan, the cornerstones of a successful Turkish drama are the compelling stories and talented actors. \u201cTo this day, classic drama remains the most requested by customers, despite its dwindling production in Turkey,\u201d she highlights. \u201cThis led us to pioneer a new model of co-production, focusing on creating narratives that embody classic drama elements, which resonate strongly in Latin America.\u201d<\/p>\n

She highlights Inter Medya\u2019s standout titles, such as\u00a0Endless<\/em>\u00a0Love<\/em>,\u00a0Bitter Lands<\/em>\u00a0and\u00a0Mrs. Fazilet and Her Daughters<\/em>.<\/p>\n

CONQUEST AND CONSOLIDATION<\/strong>
\nLast year, Inter Medya made headlines with the extension of its co-production partnership with Telemundo. This agreement encompassed the daily drama\u00a0Hicran<\/em>, marking the debut co-production under this multiyear deal. Additionally, Inter Medya entered another co-production venture with Caracol Televisi\u00f3n for the drama series\u00a0Leylifer<\/em>, produced by Alim Yap\u0131m. Inter Medya solidified yet another co-production agreement with Mega Global Entertainment from Chile and Mas Ros Media to develop an innovative program offering.<\/p>\n

Sibel Levendo\u011flu, sales manager for Latin America and North America at Kanal D International, points out that the success of Turkish dramas has sparked heightened competition within their home country. This surge in competition has been accompanied by an escalation in production standards, reflecting a commitment to delivering high-quality content that can captivate both domestic and international audiences.<\/p>\n

One of the company\u2019s notable accomplishments, alongside the extensive distribution of its titles, has been the establishment of the Kanal D Drama channel, which serves as a platform for showcasing all the company\u2019s productions across Latin America, Europe and the U.S. Hispanic market.<\/p>\n

\u201cThe channel is a testament to the immense popularity of our content; it stands as one of our most significant successes,\u201d she says. \u201cMoreover, we maintain licensing agreements for the same content on free-TV channels across the continent. Over the past three or four years, we\u2019ve also forged partnerships with various platforms, which are equally crucial to our distribution strategy.\u201d<\/p>\n

Levendo\u011flu highlights several of Kanal D International\u2019s top-performing productions, including\u00a0Fatmag\u00fcl<\/em>,\u00a0Forbidden Love<\/em>\u00a0and\u00a0Wounded Love<\/em>.<\/p>\n

M\u00fcge Akar, head of sales at atv, recalls the company\u2019s initial foray into the Latin American market through the sale of the drama\u00a0Sila<\/em>\u00a0to Mega in Chile. \u201cIt was truly extraordinary for all of us in Turkey, as we had grown up watching Latin American telenovelas,\u201d she reflects. \u201cSecuring a sale in that territory was exhilarating. The introduction of Turkish dramas in Chile felt like lighting a massive fire that quickly spread across the entire continent in a domino effect.\u201d<\/p>\n

In the quest to establish a foothold in the region, Akar recalls encountering a significant challenge stemming from Turkey\u2019s distinct production system. \u201cThe Turkish production process operates quite differently\u2014it\u2019s not very systematic or planned; it\u2019s often done on the fly,\u201d she explains. \u201cThis posed a challenge because for markets like Latin America, where dubbed content is essential, we had to wait until a certain number of episodes were produced before we could sell them. This meant waiting for production to complete, then dubbing the episodes and finally marketing them. It\u2019s a lengthier process compared to other regions, but ultimately, it proved effective.\u201d<\/p>\n

According to Akar, titles such as\u00a0Sila<\/em>,\u00a0Hercai<\/em>,\u00a0Orphan Flowers<\/em>\u00a0and\u00a0Lifeline<\/em>\u00a0stand out as some of atv\u2019s notable successes.<\/p>\n

MAKING A DIFFERENCE<\/strong>
\nDuda Rodrigues, sales manager for Latin America at Calinos Entertainment, reveals that the company\u2019s initial venture into the Latin American market started with the sale of\u00a0The Girl Named Feriha<\/em>, a title acquired by Mega in Chile and broadcast as\u00a0El secreto de Feriha<\/em>. She highlights the remarkable success of this title, noting that its popularity was so enduring that a few years later, they secured another sale of the production in the same country, this time to Chilevisi\u00f3n.<\/p>\n

\u201cAfter the success of\u00a0El secreto de Feriha<\/em>, we have introduced several significant titles,\u201d reveals Rodrigues. \u201cFor instance,\u00a0Woman<\/em>, adapted from a Korean format with 12 episodes, underwent a Turkish adaptation spanning three seasons. Another notable title is\u00a0Our Story<\/em>, a local version of the U.K. series\u00a0Shameless<\/em>, which has garnered two seasons. Additionally,\u00a0Forbidden Fruit<\/em>\u00a0has captured audiences with six seasons and 499 episodes. Currently, we are excited to offer the scripted format of\u00a0La chica que limpia<\/em>\u00a0or\u00a0The Cleaning Lady<\/em>, with its Turkish version titled\u00a0Farah<\/em>.\u201d<\/p>\n

According to Barbora Suster, head of Latin America and Iberia at Eccho Rights, Turkish content has evolved into a cornerstone for many free-TV channels. \u201cOver the years, buyers, channels and audiences have gained a deep understanding of how this content operates,\u201d she explains. \u201cThey\u2019ve learned which titles resonate the most and that Turkish drama encompasses various genres, each with its own level of success. Furthermore, the time slots dedicated to Turkish dramas on most free-TV channels have become well-established.\u201d<\/p>\n

Suster says that their main clients are free-TV channels, primarily due to the adaptability of Turkish content, allowing for daily scheduling. However, she notes a growing interest from buyers of pay-TV channels who have recognized the appeal of these extended dramas. \u201cThey\u2019ve discovered that these lengthy narratives, which were previously considered impractical, have found a place in the offerings of digital platforms,\u201d she adds.<\/p>\n

Among the highlights for Eccho Rights in Latin America, she mentions\u00a0Ezel<\/em>,\u00a0Elif<\/em>\u00a0and\u00a0Golden Boy<\/em>.<\/p>\n

\u00d6zlem \u00d6zs\u00fcmb\u00fcl, head of sales at Madd Entertainment, underscores the significant contribution of Latin America to the revenue generated by Turkish content over the past decade. \u201cHalf of the revenue from Turkish content comes from Latin America, which is incredibly significant,\u201d she emphasizes. \u201cThe arrival of Turkish titles has brought a positive impact to the entire region. From major global players to smaller countries, most television stations now broadcast Turkish content. We are very pleased with the reception of Turkish content in Latin America.\u201d<\/p>\n

She remarks on the strong partnership Madd Entertainment has cultivated with free-TV channels, highlighting their long-standing collaboration. Despite also working with global players like HBO Max through volume agreements, \u00d6zs\u00fcmb\u00fcl emphasizes the prevalence of free-TV partnerships. \u201cIn Turkey, our primary focus is producing content for free-TV,\u201d she explains. \u201cWe do not specifically tailor projects for the digital space. Our productions are intended for free-TV audiences, catering to families and suitable for both daytime and prime-time slots. We are adding digital platforms because together they have great potential.\u201d<\/p>\n

Madd Entertainment was established through the collaboration of its founding companies and producers, Ay Yap\u0131m and Medyap\u0131m. \u201cSince that time, every year we have had at least one major success, which we call a unicorn,\u201d she says. \u201cMy Little Girl<\/em>\u00a0was one of them. It is joined by\u00a0A Miracle<\/em>\u00a0(Doctor Milagro<\/em>),\u00a0A Woman Scorned<\/em>,\u00a0Love is in the Air<\/em>\u00a0and\u00a0Flames of Fate<\/em>. Every year, we are adding at least one major success for television channels worldwide.\u201d<\/p>\n

During the journey of Turkish productions in conquering Latin America, Mar\u00eda Espino, sales manager for Latin America and Iberia at MISTCO, mentions the company\u2019s initial foray into the region with historical dramas. She cites\u00a0Resurrection Ertugrul\u00a0<\/em>as a prime example. Set in the 13th century, the series follows the heroic journey of Ertugrul, the father of Osman, the founder of the Ottoman Empire. Ertugrul navigates challenges as he strives to secure a home for his tribe and the woman he loves. The show captivates audiences with its epic narrative and historical intrigue.<\/p>\n

AUDIENCE FAVORITES<\/strong>
\n\u201cSince then, MISTCO has undergone several transformations, expanding our offerings to include both dramas and romantic comedies,\u201d she explains. She emphasizes that despite their business diversifying to encompass pay TV and various digital platforms, their primary clientele continues to be free-TV channels.<\/p>\n

Among the notable titles highlighted over the years, Espino mentions\u00a0Hold My Hand<\/em>, which \u201cwas the best-selling drama for MISTCO in 2019, as well as subsequent successes such as\u00a0Melek: A Mother\u2019s Struggle<\/em>\u00a0and\u00a0The Innocents<\/em>.\u201d<\/p>\n

Ekin Koyuncu, who serves as the director of global distribution and partnerships at OGM Universe, became a part of the OGM Pictures family in 2022. From this platform, they spearheaded the launch of OGM Universe, a distribution company focused on bringing content to audiences worldwide.<\/p>\n

\u201cSince the arrival of Turkish content in Latin America, we\u2019ve witnessed continuous growth, which fills us with pride,\u201d Koyuncu remarks. \u201cNowadays, we observe an increasing number of titles being produced each year, showcasing a wide diversity of content. Moreover, Turkish dramas are not only prevalent on linear television but also gaining prominence on major platforms in Latin America and the U.S. Hispanic market. This trend indicates a growing demand for Turkish dramas, and their inclusion across different media platforms brings us joy.\u201d<\/p>\n

Like other executives, Koyuncu acknowledges that in Turkey, they grew up watching Latin American telenovelas from countries like Brazil, Colombia and Mexico. Consequently, she views it as a significant achievement to compete with these established productions in their own territory, considering the rich storytelling and high production quality of Latin American telenovelas.<\/p>\n

\u201cReplacing telenovelas in their daytime and prime-time slots demonstrates that audiences truly appreciate the way we develop stories, craft our productions and maintain high quality,\u201d Koyuncu remarks. \u201cCurrently, we are competing with local productions from Argentina, Colombia and Brazil. However, with the rise of Latin American dramas, competition is intensifying, and we must remain competitive while maintaining our position in the territory.\u201d<\/p>\n

Koyuncu highlights titles such as\u00a0Miracle of Love<\/em>,\u00a0Stickman<\/em>,\u00a0Broken Destiny<\/em>\u00a0and\u00a0Lost in Love<\/em>.<\/p>\n

Despite initial predictions, Turkish dramas have achieved lasting success even in territories like Brazil, known for its history of producing original productions, and the U.S. Hispanic market.<\/p>\n

\u201cDespite the geographical proximity with Brazil, similar to that of Latin America, the process of introducing Turkish content has been different,\u201d remarks S\u00e1nchez at Global Agency. \u201cIn 2015, we brought\u00a01001 Nights<\/em>\u00a0to Brazil, partnering with Bandeirantes. However, since then, progress has been slower. Presently, we are striving to collaborate with new channels in the Brazilian market.\u201d<\/p>\n

He further explains that they have discovered an alternative avenue through SVOD platforms, such as Globoplay, where\u00a0Mother<\/em>\u00a0became one of the top three most-watched contents on the platform.<\/p>\n

\u201cFor the U.S. Hispanic market, we have closed some deals with Univision and Telemundo, particularly for finished products,\u201d adds S\u00e1nchez. \u201cIn 2013, Telemundo premiered the first adaptation of a Turkish drama in Latin America with\u00a0Pasi\u00f3n prohibida<\/em>. Currently, most of the adaptations we are involved in are through Televisa, which adapts them for Mexico and simultaneously airs them in the U.S. on Univision.\u201d<\/p>\n

Cea Okan at Inter Medya reveals that the company has established a presence in Brazil through Globoplay and in the U.S. Hispanic market through partnerships with TelevisaUnivision and Telemundo. Additionally, they have expanded their reach through Pasiones, owned by Hemisphere Media Group.<\/p>\n

At the same time, the company is actively developing what they\u2019ve dubbed the \u2018new generation\u2019 of Turkish series. \u201cThese are faster-paced series tailored for streaming platforms,\u201d she says. \u201cIn fact, we have already begun selling these series to Globoplay in Brazil. They have been met with great success because buyers are interested in acquiring both classic content and this \u2018new generation,\u2019 which is shorter and more daring in its storytelling.\u201d<\/p>\n

Cea Okan says that free TV continues to acquire long novelas with 120 episodes, \u201cbut these new miniseries can also work very well on weekends or once a week.\u201d<\/p>\n

EXPANDING HORIZONS<\/strong>
\nThere is no denying that the primary clients of Turkish distributors in Latin America and the U.S. Hispanic market have traditionally been free-TV channels. However, in recent years, there has been a noticeable expansion of business to include paid channels and online platforms and services.<\/p>\n

\u201cOur primary clients are free-TV channels, followed by pay-TV,\u201d says Koyuncu. \u201cCurrently, we observe Turkish dramas gaining more presence on platforms. However, our primary focus in terms of distribution remains on free TV. FAST is a relatively new concept for us. We are exploring it, understanding it and learning about its potential in terms of budgets and revenue. While it may not be comparable to free-TV, pay-TV, SVOD or hybrid platforms at the moment, we anticipate it becoming valuable for monetization in the very near future.\u201d<\/p>\n

Espino at MISTCO notes that budgets in Latin America have faced reductions since last year. \u201cBuyers are more selective in their acquisitions. I believe that in 2024 there will be an improvement, in addition to more slots. Many channels are expanding their blocks, which had been closed due to the pandemic, for Turkish content.\u201d<\/p>\n

Looking at this year, Akar from atv outlines their strategic goals: \u201cWe aim to uphold our position in Latin America, leveraging our presence in all countries of the region. Two new titles [were launched] in January. In addition, we seek to strengthen our position in Europe and explore partnerships with countries we haven’t collaborated with before, including Italy and Portugal.\u201d<\/p>\n

Rodrigues from Calinos Entertainment highlights their focus on acquiring new content with international appeal. \u201cWe are eager to add super successful scripted formats to our catalog in 2024,\u201d she states. \u201cWe anticipate a very positive year in terms of local production in Turkey for international sales.\u201d<\/p>\n

\u201cOur primary focus will be on our own productions,\u201d says Koyuncu. \u201cWe aim to collaborate with strong partners in Latin America and the U.S. Hispanic market to co-produce and distribute our titles in these regions. Our goal is for our formats to resonate with audiences in these countries, across free-TV channels, pay TV and streaming services. Additionally, we aspire to showcase our production capabilities in the region through locally produced content.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Turkish dramas have made a lasting impact in Latin America over the last ten years.<\/p>\n","protected":false},"author":283,"featured_media":20565,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"pmpro_default_level":0,"footnotes":""},"categories":[77,70],"tags":[654,6682,7497,444,7535,490,4541,153,1880,7533,1926,2717,8851,1036,2613,6363,2916,7534],"class_list":["post-20564","post","type-post","status-publish","format-standard","has-post-thumbnail","","category-features","category-top-stories","tag-atv","tag-barbora-suster","tag-beatriz-cea-okan","tag-calinos-entertainment","tag-duda-rodrigues","tag-eccho-rights","tag-ekin-koyuncu","tag-global-agency","tag-inter-medya","tag-ivan-sanchez","tag-kanal-d-international","tag-madd-entertainment","tag-maria-espino","tag-mistco","tag-muge-akar","tag-ogm-universe","tag-ozlem-ozsumbul","tag-sibel-levendoglu","pmpro-has-access"],"yoast_head":"\nTurkish Love Story - TVDRAMA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/worldscreen.com\/tvdrama\/turkish-love-story\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Turkish Love Story - 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