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One of the standout thematic trends this year is the prevalence of drama series and docu-series based on real events. The conference Ficción Documentada: Historias basadas en hechos reales explores how fact-based storytelling is shaping global content. During the panel featuring María Jesús Espinosa de los Monteros (Director of LaCOproductora, Spain), Marina Arto de Prado (Head of Advertising Regulation, Administrative Sanctioning and Litigation Procedure, Atresmedia, Spain), and Alex Medeiros (Head of Content – Drama & Documentaries, Globoplay + Canales Globo, Brazil), and moderated by Nerea Sanjuan (Counsel, Andersen Tax & Legal), the discussion focused on the boundaries of productions based on real events, both in documentary and fiction formats. The speakers emphasized that while documentaries require extensive investigation and factual research, fiction allows for greater creative freedom—though it must always remain grounded in reality and respectful of the truth behind the story.
The main trends shaping the European and Ibero-American audiovisual ecosystem for the 2024–2025 season, as presented by Gloria Saló at Iberseries 2025, are as follows:The United Kingdom leads in new releases, followed by France, Mexico, Germany, and Spain, which also show strong activity. In Europe, linear broadcasters continue to drive fiction production, while in Spain, SVOD platforms such as Netflix and Disney+ play a leading role. In Latin America, Mexico, Brazil, and Colombia stand out, with the rise of vertical microdramas — short-form content (1 to 3 minutes) designed for mobile consumption. Literary adaptations have emerged as a key trend, with 125 titles based on written works, highlighting the growing connection between literature and audiovisual storytelling across Europe and Ibero-America. The internationalization of formats is also on the rise, with examples of microdramas being adapted across countries and European comedies successfully exported to other regions.The boom in vertical microdramas, ultra-short formats created for mobile viewing, represents a significant shift in audiovisual storytelling and audience engagement.Additionally, artificial intelligence and new technologies are driving innovation in content creation and production, a trend expected to expand in the coming years.Finally, the growing relevance of international co-productions continues to strengthen the industry, fostering collaboration between broadcasters and producers from different countries and enhancing the global reach of Ibero-American content.
During the panel titled “Micro Drama: The Next Cultural Wave,” Minseok Lee, CEO of Whynot Media (Korea), stated that his company ranks number-one in the production of web series, short dramas, branded web series and now micro dramas. Whynot Media has produced 147 IPs across 1,971 episodes. In particular, the series Bitch x Rich (also referred to as “Bitch and Rich”), a teen thriller, quickly became a Netflix Top-10 hit. While this series (which achieved significant success in Korea and across Asia) exemplifies Whynot’s leadership in the micro-drama era, the company is driving a new era of mobile-consumption video: episodes of about 2 minutes, in seasons ranging from 20 up to 50 episodes. Key themes include love affairs, revenge, romance, etc. Feature-wise: vertical screen format, short and fast delivery, immersive storytelling. Budgets typically range from USD 100,000 to USD 300,000. The business model can either be pay-per-episode, or based on subscription/membership, or advertising. Bitch x Rich (Cheongdam International High School) is a Korean teen thriller produced by Whynot Media. The story follows Kim Hye-in, a scholarship student from a poor background who becomes the only witness to a murder at an elite private school. Transferred to the exclusive Cheongdam International High School, she finds herself entangled in a web of privilege, secrets, and power struggles. There, she clashes with Baek Je-na, the school’s most popular and feared student — and the prime suspect in the murder. Blending mystery, class tension, and teenage rivalry, the series exposes the dark side of wealth and ambition among Korea’s elite youth.
Another interesting example of recent success is Dr. B-Pang! a vibrant Korean 3D animated series created by Name X Entertainment, blending humor, music, and social commentary through the lens of street-food culture. The story follows Dr. B-Pang, a rebellious fish-shaped pastry (bungeoppang) who refuses to be “baked the same as everyone else,” and a struggling K-pop trainee who starts selling pastries to chase his dream of stardom. Together, they embark on a whimsical journey across Seoul’s colorful streets, celebrating friendship, individuality, and creativity. Combining elements of snack-sized storytelling, catchy music, and Korea’s pop-cultural energy, Dr. B-Pang! has become a standout title in the country’s fast-growing short-form animation scene. Dr. B-Pang! is a fitting example of how Korean creators successfully blend K-pop culture with merchandising and character-based storytelling. Designed as a cross-media IP, Dr. B-Pang! integrates music, animation, and branded character merchandising, illustrating Korea’s innovative approach to combining pop culture, storytelling, and commercial strategy.
Atresmedia presented its new drama Las hijas de la criada at Iberseries & Platino Industria in Madrid, with author Sonsoles Ónega and the creative teams of Buendía Estudios and Atresmedia in attendance.Based on Ónega’s 2023 Premio Planeta-winning novel, the series pays tribute to the often-overlooked role of Galician women in the fishing and canning industries. Producers highlighted its universal themes, strong female characters, and international potential, comparing it to past successes like Velvet and La catedral del mar.Las hijas de la criada premieres Sunday, November 30 on Atresplayer.
In a spotlight session moderated by Brendan Fitzgerald, CEO of Secuoya Studios, the Spanish producer emphasized the urgency of forging international partnerships — not merely producing for Spanish audiences, but developing content with global reach.Secuoya Studios is experiencing strong growth through its strategy, designed to boost the creation of scripted series, films, documentaries, and unscripted formats in multiple languages, with global ambitions. Brendan announced the company’s first English-language series for a UK client in January 2026, with two additional foreign-language projects planned. He also highlighted the arrival of Andrés Zamora to lead global Sales and Distribution, strengthening the company’s international positioning.Looking ahead, Secuoya is exploring new formats, including vertical dramas, microdramas, and half-hour comedies adaptable for multiple platforms. Fitzgerald emphasized the growing diversity of attendees at Iberseries, noting representatives from over 50 countries and calling this year’s edition the most dynamic to date.
Beta Film is also active at Iberseries this year, highlighting its long-standing ties to Spanish production. For more than 15 years, Beta Film Spain has championed projects such as Velvet and La Infiltrada, the latter earning a Goya Award. Their narrative illustrates how German and Spanish cooperation can yield successful cultural exchanges.
A panel by HBO Max underlined the importance of authenticity and social resonance in storytelling, referencing recent series such as The Topurias and Expediente Vallecas as examples of impact-driven content. Expediente Vallecas, is a three-part documentary and Buendía Estudios’ first non-fiction project for the streamer.The series revisits Spain’s most famous poltergeist case, the 1991 death of 17-year-old Estefanía Gutiérrez Lázaro in Madrid’s Vallecas district, officially documented by police as paranormal. Featuring unseen archives and testimonies from her family, the project aims to separate myth from fact and approach the story with a human perspective.Produced by Buendía Estudios, the docuseries is created and executive produced by Irene del Cerro and directed by Noemí Redondo.
Javier Pons — Chief Content Officer and Head of Telemundo Studios CEO contributed by discussing the network’s rise in prime time among Latin audiences. He attributed this success to building strong IPs and offering diversified stories across both OTT platforms and linear TV — proving that traditional television is still very much alive. He also noted growing interest in micro-dramas in vertical formats, especially in Latin America, where telenovela catalogs provide a strong base for short-form experimentation.
