Armed with a slate packed with high-end psychological thrillers, emotionally driven dramas, and high-profile talent; ITV Studios is arriving at LA Screenings with an offer that’s guaranteed to connect with Latam audiences across multiple territories and platforms.
As the Latin American TV market continues to evolve, buyers across the region are becoming increasingly selective in the types of scripted content they acquire. With platforms balancing audience engagement, brand positioning, and tighter budgets, the demand for premium international dramas that combine strong storytelling with recognizable talent remains high.
Against this backdrop, ITV Studios arrives at this year’s LA Screenings with a diverse slate designed to meet the changing needs of broadcasters and streaming platforms alike.
From psychological thrillers and emotionally driven dramas to true crime stories with genre-bending twists, the company’s latest lineup reflects a growing appetite for distinctive, high-impact storytelling. Titles such as The Dark, The Party, Tip Toe, and The Killings at Parish Station showcase the breadth of genres and creative voices now shaping the international drama landscape. At the same time, established IP and returning franchises continue to play an important role for buyers seeking reliable audience performance across multiple territories.
In the following interview with ttvnews, Catalina Ramirez, VP Sales, US and Latin America at ITV Studios discusses which upcoming titles from the group’s slate are generating the most excitement for Latin America, the trends currently influencing scripted acquisitions in the region, and how buyers are navigating the balance between proven hits and new launches.
Which titles from ITV Studios’ drama slate do you believe have the strongest potential in Latin America, and why?
One of the titles I’m personally most excited about is The Dark. It’s a true crime story with a horror edge, almost with subtle slasher undertones, and it’s one of those shows that keeps you completely hooked, episode after episode. It has that “just one more” quality that audiences really respond to. It’s one of the first and much anticipated titles from Ben Stephenson’s Poison Pen and it will air on ITV in the UK.
We’re also thrilled to be launching The Party at our event, a suspenseful psychological thriller led by the brilliant Luke Evans. The story unfolds over the course of a single explosive night at a billionaire’s birthday party, slowly revealing a decades-old crime. It’s incredibly tense, very character-driven, and feels premium in every sense. This show is an adaptation of Elizabeth Day’s best-selling political thriller novel of the same name.
Sarah Solemani (Him & Her) has written and stars in the adaptation and it’s produced by the brilliant producer World Productions known for Line of Duty and Vigil.
Another standout for us is Tip Toe, starring Alan Cumming, who is truly exceptional in this role. It’s a powerful and emotionally rich story that explores difficult themes, but does so with a real sense of beauty and humanity. It’s written by the brilliant Russell T Davies and produced by Nicola Schindler’s Quay Street Productions, behind huge hits like Fool Me Once and It’s A Sin.
I’m also very excited about The Killings at Parish Station, starring Mia Wasikowska. What I find especially compelling is how it blends investigative drama with subtle horror elements, unfolding across two timelines and creating a really atmospheric, eerie tone. This is an Australian production from HELION Pictures for Stan.
And more broadly, what’s exciting about this slate is that each show brings something very distinct to the table, whether it’s tone, genre, or storytelling style, which gives our partners in the region a lot of flexibility depending on their audience and platform needs.
What key elements are currently resonating most with LATAM buyers when it comes to scripted drama?
It really varies depending on the platform and whether the content is intended for broadcasters, fast channels or streaming, as each has very different programming strategies and audience expectations.
That said, across the board, we’re seeing that buyers in Latin America are looking for content that delivers both immediate impact and long-term value. Strong, recognizable IP continues to be very important, as it brings built-in awareness and helps cut through in an increasingly competitive market.
At the same time, there’s a clear demand for stories that connect emotionally with audiences, content that feels authentic, engaging, and culturally resonant.
Buyers are also becoming much more strategic in how they acquire content, balancing exclusivity with flexibility, and thinking carefully about how titles can perform across different windows and platforms.
Overall, it’s a very thoughtful and curated approach. It’s not just about finding great content, but about finding the right content that aligns with their brand, their audience, and their long-term strategy.
Are you seeing a preference for returning, proven titles versus new launches in the region? How does this influence your strategy this year?
Proven IP will always be incredibly valuable in the region. These are titles that have already demonstrated success and come with an established audience, which makes them a very safe and attractive option for buyers.
At the same time, we’re seeing growing interest in limited series and even films, particularly as viewing habits continue to evolve across platforms. Audiences are consuming content in very different ways depending on where they are watching, so buyers are looking to build more diverse and flexible slates.
Because of that, many partners are actively looking for a mix, returning titles that provide consistency, alongside fresh, compelling new stories that can attract attention and bring something new to their offering.
What remains consistent across both is the demand for stories that truly resonate. Content that speaks to audiences, feels relevant, and connects on an emotional level continues to be key in the Latin American market.
Which specific markets within Latin America are driving the most demand for international drama?
We’re increasingly seeing buyers approach acquisitions with a pan-regional mindset, looking for content that can travel well across multiple territories in Latin America and perform at scale. That said, for many buyers, Mexico and Brazil continue to be key markets in the region in terms of both volume and often play a central role in shaping broader content strategies.
Looking ahead to the rest of the year, what are your expectations for the LATAM market in terms of demand, budgets, and content preferences?
Looking ahead, we expect the market to remain active, but also selective. Budgets continue to be more disciplined, so buyers are being increasingly strategic and focused on titles that can deliver real impact.
There’s a strong emphasis on content that feels premium, distinctive, and easy to position, whether through well-known talent, strong storytelling, or clear audience appeal.
We also anticipate continued interest in content that can work across different windows and platforms, as flexibility is becoming more important in how partners build and program their slates.
Ultimately, we see a market that is evolving in a very thoughtful way. Demand is there, but it’s about precision, finding the right stories, for the right audiences, at the right moment.
