Following the performance of Arafta, which surpassed 1.3 billion views on YouTube and was licensed in 33 countries, the company aims to produce between 400 and 600 episodes in 2027.

*With reporting by Carolina Mussio and Ana Paula Carreira, from Cannes, France.

GoQuest Media arrives at Mipcom 2026 with Arafta and Kuma, two of its leading Turkish drama titles, and a strategy focused on expanding its production capabilities and direct monetization across digital platforms. The company plans to produce more original titles, distribute them through YouTube, and explore new international expansion opportunities with dramas from different markets.

“We’re at Mipcom to present our two IPs, Arafta and Kuma. We’re going to produce many more shows, and we’re having conversations around the new titles we’ll be developing going forward,” explained Vivek Lath, founder of GoQuest Media. He emphasized that the goal is to consolidate a business model built around content designed to travel across territories and platforms.

Following the performance of Arafta, which surpassed 1.3 billion views on YouTube and was licensed in 33 countries, the company aims to produce between 400 and 600 episodes in 2027. Its strategy is based on simultaneous launches in multiple languages and content designed from the outset for international audiences.

“From day one, the story, the script, and the cast were designed and structured for an international audience. It wasn’t really designed for the local Turkish audience,” Lath said. The executive acknowledged that this was a risky decision. “It was a risky experiment to choose to design a Turkish series for international audiences, but not so much for the local audience. And it worked. It worked for us.”

A Turkish drama designed to travel

The differentiation of Arafta stems from a specific creative decision. “Traditionally, the most famous Turkish dramas are family stories. You have an ensemble cast and lots of people within those stories. Ours revolves around just one couple, and everything is built around them. It doesn’t have a very large ensemble cast. We focus on audiences who like Turkish romantic melodramas, rather than family stories. We’re betting on romance for younger audiences, but told in the Turkish way.”

The first season of Arafta has already surpassed 1.3 billion views on YouTube and was licensed in 33 countries. The second season is being released weekly on the platform, as part of a distribution strategy that extends its presence beyond the digital ecosystem.

“What’s interesting about the second season is that we launched it simultaneously, on the same day, on Amazon Prime Video in India, as well as in Russia and on Vidio in Indonesia. The series is available on YouTube and on these streaming platforms at the same time,” he explained.

For Lath, this combination demonstrates that international reach does not depend on a single distribution channel. “It can travel not only across territories, but also across platforms,” he stressed.

Viral potential built into the creative process

Another distinctive element of GoQuest Media’s model is incorporating social media circulation potential into the development of its series, rather than relying exclusively on traditional marketing campaigns.

“We design the series together with our production partner in such a way that we need viral moments within the story. We need specific scenes that can go viral on social media without resorting to traditional marketing,” the company’s founder said.

Lath explained that this approach was also part of an experiment that delivered positive results. The strategy aims to make certain narrative moments entry points for new viewers, encouraging organic circulation and helping audiences discover the content across different markets.

Targeting 400 to 600 episodes in 2027

Expanding original production will be one of the company’s key priorities over the coming year. According to Lath, GoQuest has already signed one of its new projects and is in discussions about two additional titles, with official announcements to follow once the outstanding agreements have been finalized.

“We’re producing two more series. We’ve just signed one, and there are two others whose stories we’re evaluating before moving forward,” he said. He also confirmed that Kuma will return for a second season, which is currently in the design and pre-production planning stages.

The company expects to begin rolling out its next phase of releases around Ramadan, with another launch planned for May or June, when it hopes to introduce Kuma season two.

“In 2027, we want to have at least 400 to 600 episodes of Turkish dramas, whether from a single series or multiple productions,” he revealed.

Once the model is established with Turkish drama, the company intends to extend it to other audiovisual industries. Markets under consideration include South Korea, the Philippines, India, and Arab countries, as well as Spain and its telenovelas.

In this context, Latin America holds a prominent place in the strategy. “The United States and Latin America, along with the Middle East, are the two major blocks that contribute the most to overall traffic,” Lath explained. Europe is also an important market, driven by the popularity Turkish dramas have achieved across several countries in the region.

“Demand comes from all over the world. We have a very strong and balanced distribution footprint globally,” he said.

Simultaneous launches in multiple languages

Localization is another cornerstone of the model. Rather than releasing a production in Turkish first and adding dubbed versions for other markets later, GoQuest aims to make its series available in multiple languages from day one.

The company has already implemented this strategy with the second season of Arafta. “We dubbed it into eight different languages and released them all simultaneously, on the same day,” Lath said.

The executive confirmed that this approach will become standard practice for future titles. “Our release strategy for everything we do will be to launch in multiple languages on exactly the same day, so that the whole world can experience the drama in its own language.”

The next production will take the strategy even further, featuring dubbing in 14 languages and subtitles in 60. Arafta, meanwhile, already has subtitles in 59 languages.

“Literally, it’s going to be a full global play, even including languages such as Swahili,” Lath noted.

The strategy is also intended to facilitate commercial distribution and create opportunities for presales with television partners and licensees ahead of release. Once the new projects are formally announced, GoQuest will begin commercial discussions with potential partners.

Internationally viable content as a priority

The company’s geographic and linguistic expansion reflects a strategic principle that Lath considers central to GoQuest Media: focusing on stories that can work across multiple markets, regardless of where they originate.

“That’s the bet: to have content that can be watched everywhere. That’s also where GoQuest’s strength lies, because everything we’ve done has been about facilitating the cross-border movement of dramas. We want to focus exclusively on this area and on content that can travel. If a piece of content doesn’t have the potential to travel, we don’t care how profitable it is: we’re not going to focus on it, and we’re not going to touch it,” he concluded.

La entrada Vivek Lath, GoQuest Media: “We’re at Mipcom To Present Arafta and Kuma” se publicó primero en TTV News.

THE CATALOG

1. Plim Plim: The Kindness Hero

Plim Plim is a heartwarming 2D animated series for toddlers and preschoolers that blends adventure, music, and valuable life lessons. With a heart on his chest and a smile on his face, Plim Plim is a hero who inspires children to embrace kindness, build confidence, and discover their inner strength through fun, magical journeys. Through music, storytelling, and a lovable group of friends-Nesho, Bam, Acuarella, Mei-Li, Hoggie, Tuni, and Wichi- as well as their preschool teacher, Ms. Arafa, Plim Plim captures the magic of childhood with its warm, whimsical tone, blending fun, catchy tunes, and relatable moments. It nurtures emotional development, resilience, and meaningful connections, helping young children recognize and express emotions, face challenges with empathy, and find joy in learning. Plim Plim gently reminds us that life’s simple joys and small acts of kindness can create a ripple effect, fostering empathy, understanding, and healthy habits in young hearts. For parents and caregivers, Plim Plim is a trusted resource that reinforces positive values through engaging stories and memorable songs. Plim Plim’s content includes musical videoclips, themed specials and episodes in 10 languages. Available on YouTube and Netflix.

More information can be found here.

2. Bumpy, the bear

Bumpy, the Bear is a new preschool property co-produced by Krakatoa and Spiritum Entertainment, with the participation of RTVE. Conceived from the outset as a digital-first, music-led and multiplatform brand, Bumpy is built around a simple, universal idea: every child has the right to learn through play, exploration and discovery. Designed to reach audiences internationally across multiple platforms, the brand’s roadmap extends beyond digital content into television, licensing, publishing, toys and live experiences. Bumpy is a purple bear who, together with his group of friends, puts what he learns at school into practice — with varying degrees of success. Joining Bumpy on his adventures are Tracey, a reindeer who loves music; Pedro, an energetic rabbit who is deaf in one ear; and Tod Brown, a sensitive and highly creative multilingual buffalo.

More information can be found here

MEET THE TEAM AT MIPCOM

Damián Soriano – VP of Content, Spiritum Entertainment

Víctor M. López – Chief Commercial Officer, Spiritum Entertainment & CEO of Krakatoa

Cindy Fernández – International Licensing & Consumer Products Manager, Krakatoa

Stand: R7

COMPANY INFORMATION

Name: Spiritum Entertainment

Address: Cerrito 1070 2do Piso, of. 48, CABA, C1010AAV, Argentina

E-Mail: info@spiritum.tv

Website: spiritum.tv

La entrada 🧸SPIRITUM ENTERTAINMENT🎬 se publicó primero en TTV News.

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After five seasons of Sopa de Letras produced for Aragón TV and two for Canal Sur, the format adds a new Telemadrid adaptation alongside a kids’ spin-off for Aragón TV.

Following the successful adaptation of The Search for two regional broadcasters in Spain, Keshet International continues to grow the format’s footprint with two further licensing deals.

Building on the success of Sopa de Letras on Aragón TV and Canal Sur, Globomedia has now been commissioned by Telemadrid to produce a third local version of The Search in Spain, alongside The Search Kids spin-off for Aragón TV, Sopa de Letras Zagales. These two new versions represent the fifth and sixth international adaptations of the format.

Originally created by Youngest Media (Money Drop) and Keshet International for Keshet 12, The Search is a high-energy, studio-based game show that transforms the classic word search puzzle into a thrilling television event. Contestants race across a giant LED grid, combining trivia knowledge, quick thinking, and teamwork to uncover answers below their feet before time runs out.

Kelly Wright, KI’s MD of Distribution, says: “Powered by Globomedia, the momentum behind The Search in Spain and beyond is undeniable. With a brilliantly simple concept at its core, the format’s strength lies in its adaptability, as demonstrated by the multiple versions of Sopa de Letras produced to date—each tailored to meet the needs of individual broadcasters.”

Telemadrid’s Sopa de Letras will be hosted by well-known journalist and presenter Jota Abril. Following the same core gameplay structure as the existing Spanish versions, three pairs of contestants compete in a tournament format for a jackpot of €10,000, taking on fast-paced challenges including “Quick Soup” and “Letter Quake” across the show’s large-scale interactive grid. Sopa de Letras will premiere on Telemadrid Saturdays and Sundays at 15:30 from 9 May.

Meanwhile, Aragón TV’s Sopa de Letras Zagales is co-hosted by Miki Nadal, who popularized the first adaptation in Spain, now in its fifth season for Aragón TV – alongside his young co-host, actress Vera Berges. This 60-minute spin-off features three pairs of children (aged 10–11) competing in a tournament format across qualifiers, semi-finals, and a grand finale. Sopa de Letras Zagales is premiering on Aragón TV on Friday nights at 21:50, and averaging 9.6% share – well above shows previously occupying that slot: El Bosque Encantado (7.8%) and Verano 2025 (8.5%).

In addition to these two new orders, Globomedia has already produced successful adaptations of The Search for Aragón TV and Canal Sur. Since launching in the autumn of 2024, Sopa de Letras has revitalized Aragón TV’s weekday schedule with a daily 60’ show, increasing slot average share by +39%. With five seasons and more than 270 episodes produced with host Miki Nadal to date, this visually striking, interactive, and family-friendly gameshow has achieved this success by blending competitive gameplay featuring three pairs competing for €6,000, with a returning contestant mechanic that builds loyalty. One duo famously played more than 90 episodes of Sopa de Letras, becoming media sensations in Spain and sparking buzz well beyond Aragón TV, where it generated record highs of 16.4% share. Meanwhile, Canal Sur’s 30’ adaptation of Sopa de Letras features two pairs competing for a prize pot of €10,000. Following its launch in the autumn of 2025, Canal Sur’s Sopa de Letras hosted by Antonio Garrido has been recently recommissioned for a second season.

The first international version of The Search was produced in Uruguay, where KI licensed the format to Canal 4 and strong ratings led to an expanded order of 70 episodes of Sopa de Letras. Elsewhere, KI licensed the format to Free Kings last year, where VRT’s Ketnet channel commissioned 30×15’ episodes of Lettersoep (Alphabet Soup) in Belgium – the first kids’ adaptation of The Search. To date, six international adaptations of The Search have been produced, with the format currently under option in the UK, Brazil, Argentina, Mexico, Portugal, the Netherlands and Greece.

La entrada Keshet’s The Search Gets Two Further Adaptations in Spain se publicó primero en TTV News.

Established products and companies such as Ibope, TGI, and TechEdge remain central to the business, continuing to evolve and scale within the Fifty5Blue portfolio.

Kantar Media announces its new brand identity, Fifty5Blue. The rebrand marks a significant milestone following the company’s separation from Kantar Group and its acquisition by H.I.G. Capital in August 2025.

This new brand signals a new chapter for the company. In a media and entertainment ecosystem challenged with increasing audience fragmentation and an abundance of content and datasets, Fifty5Blue is focused on one core challenge: helping advertisers, agencies, media owners and social platforms make better decisions on both their content & advertising strategies and investments.

“Today we step forward as Fifty5Blue with ambition,” said Patrick Béhar, Global CEO. “In a world full of noise, with no shortage of data, we believe clarity is the real differentiator. Our role is to remove unnecessary complexity, provide the right data with the most rigorous methods and help our clients gain the clarity to make better decisions. This new brand stands on the shoulders of the business we have built over the past year and the standards we continue to hold ourselves to – clearing the fog, standing for independence, and embracing impatience.”

Over the past year, the business has undergone a decisive transformation under independent ownership, investing significantly in people, technology, and partnerships. “We have embraced the freedom to move faster, sharpen our focus and invest for the long-term, while remaining anchored in the independence, rigour and transparency that have always defined our organisation and our audience measurement solutions globally,” said Patrick Béhar.

The business will continue to accelerate its investment in hybrid solutions that combine the highest-quality panels with the scale and granularity of big data, powered by strong technology and governed by independence.

Additionally, Fifty5Blue has accelerated its investment in AI to deliver greater value to customers and partners by making it easier to interrogate Fifty5Blue’s real-time, proprietary data and by creating a new generation of tools to support the full advertising funnel. “AI fundamentally reinforces the importance of our single-source datasets, which are based on direct observation of what real people watch,” Patrick Béhar added.

The global launch of Fifty5Blue is supported by a refreshed visual identity that reflects the brand’s values: clarity, focus, and confidence. While the brand evolves, the business continues to serve advertisers, agencies, broadcasters, and platforms worldwide, acting as a long-term partner through periods of transition and change. Established products and companies such as Ibope, TGI, and TechEdge remain central to the business, continuing to evolve and scale within the Fifty5Blue portfolio.

“Our clients and partners can expect the same trusted measurement, independence, and commitment to helping them navigate change. What’s new is our impatience to innovate, deliver and scale faster for our clients, our partners, and our teams. We are our clients’ window on what the world is watching” Patrick Béhar concluded.

La entrada Kantar Media Announces Its New Brand Identity as Fifty5Blue se publicó primero en TTV News.

Salado is one of the Uruguayan production companies attending Content Americas for the first time under the umbrella of Uruguay XXI, bringing a slate of established content as well as projects in development, with the clear goal of using the market to close new partnerships.

Produced by Luis Cabrera and Ana Paula Carreira, from Miami

Lucía Silva, Executive Producer at Salado, spoke with ttvnews and said that Uruguay stands out among other countries as a destination with strong opportunities for developing internationally competitive productions, largely supported by government incentives.

“Today we compete with other Latin American countries that also have incentives, but Uruguay has many strengths, like the proximity of locations and the quality of our crews. Because this is such a global industry, our technicians meet international standards. Uruguay offers high-quality production services and has always met all international benchmarks. We have excellent equipment; there’s no need to bring anything in, and the incentives really help enhance those strengths. In our experience, incentives work, they’re necessary, and hopefully they’ll continue to grow,” Silva said.

The Uruguayan producer Salado has two very clear paths when it comes to content: production services and its own slate of original projects in development. “We’ve provided services for major productions, with titles like El Presidente and Senna,” Silva noted.

The executive highlighted that at this market they have held many conversations around one of their titles, Mi vida con él. “It’s a film we’re developing with Arboleda, and it’s kind of our flagship project right now because we truly believe in it—we feel it’s a great project. Then there’s a co-production with Brazil; there’s a very strong Brazilian delegation here, so that’s a series we’ve talked about a lot as well. We also have a film we want to present in Spain, and we’ve had meetings with some very interesting Spanish producers, with a Spanish TV catalog.”

According to Silva, her take on Content Americas is that it’s a deal-making market. “2025 was a year of a lot of work, and 2026 comes with the goal of being able to complete things—we’re excited to close deals. Salado’s differentiator is quality and personalized, curated production services. It’s not a film factory; it’s about an approach that’s not tied to service cost, but to the way we make films and the way we want to work,” she concluded.

La entrada Lucía Silva, Salado: “Uruguay Offers High-Quality Production Services” se publicó primero en TTV News.

The title, gathering record-breaking numbers on TRT 1, is presented as a poetic epic where love defies time, pride, and fate

After an spectacular week at Cannes, OGM Universe continues hugging the spotlight with the launch of a new title, the high-end Turkish drama Deep in Love (Taşacak Bu Deniz).

Produced by OGM Pictures in association with TRT 1, the series “redefines epic romance for a new generation, blending mythology, passion, and destiny against the raw beauty of the Black Sea”.

Created by Ayşe Ferda Eryılmaz and Nehir Erdem, and directed by Çağrı Bayrak, Deep in Love brings together Ulaş Tuna Astepe, Deniz Baysal, Burak Yörük, and Ava Z. Yaman in a story that bridges the mythical and the modern.

In the drama, Adil Koçari, the proud leader of the mountains, returns to reclaim the land and the love he lost, but a single gunshot from Esme Furtuna should have ended everything. Instead, it all begins again. Their forbidden love ignites a storm of vengeance and desire, echoing an ancient legend where the mountain and the sea can never touch, yet never stop reaching for one another.

“Visually grand, emotionally charged, and universally relatable, Deep in Love stands as a defining work within OGM Universe’s expanding international catalogue, a story where myth meets memory and where love, no matter the distance of time or pride, always finds its way home,” explains the company.

Since its premiere on TRT 1, the series has become one of the most talked-about Turkish dramas of the season, with record-breaking ratings and 16.4 million digital views across its first two episodes.

The show is being distributed internationally by both OGM Universe and TRT Sales.

A Forbidden Union

Deep in Love unfolds on the untamed coast of the Black Sea, where waves and mountains have been at war for generations.

Long ago, the sea maiden Furtuna and the mountain boy Koçari defied their clans to love each other. Their forbidden union ended in betrayal and death, and the gods, enraged, turned their people to stone. Since that day, the villages of Koçari and Furtuna have lived divided, bound by blood, pride, and an ancient curse.

Centuries later, that hatred still breathes. The Koçari and Furtuna families rule their opposing villages, trading only vengeance and pain. But love knows no boundaries.
When Adil Koçari, the fierce son of the mountain, and Esme Furtuna, the brave daughter of the sea, fall in love as teenagers, their secret passion reignites the feud. Their love story is one of fire and salt, torn between duty and desire, loyalty and freedom.

Deception tears them apart. Esme is forced into a loveless marriage after being told her child has died, unaware that her baby has been given away. Years later, Adil becomes a powerful man, the king of livestock in the Black Sea region, still consumed by his loss and his hatred. Esme, now a widow, runs a small guesthouse by the sea and serves as the village head.
When Adil seeks revenge once again, fate strikes back. Wounded by Esme’s hand, his life is saved by a young doctor named Eleni Miryano, who has just arrived from Greece searching for her true origins. Raised by a Greek family, Eleni has no idea she is the lost daughter of Adil and Esme, the child stolen from them long ago.

As Eleni heals Adil, a deep bond forms between them, unaware of the blood that connects them. And when she finds herself drawn into the rivalry between Koçaris and Furtunas, love and destiny collide once more. In this land where gods once punished love, can the daughter of two enemies finally bring peace? Or will the Black Sea rise again and drown them all in its rage?

La entrada OGM Universe Launches its Newest Drama, Deep in Love se publicó primero en TTV News.

The executive also revealed that Electric Entertainment is going through one of its most active phases and mentioned a newly signed agreement with Content Partners Capital to finance new productions.

Produced by Luis Cabrera, from Cannes, France.

During Mipcom 2025, Dean Devlin, CEO of Electric Entertainment, spoke with ttvnews about the studio’s current projects, which are celebrating its 25th anniversary with a solid lineup of series and a new stage of international expansion.

Devlin shared that Electric Entertainment is experiencing one of the busiest moments in its history: “We have the most ambitious slate of television projects we’ve ever had, a major feature film on the way, and we just signed a deal with Content Partners to finance new productions. The best is yet to come.”

That feature film, inspired by his wife’s real-life story, marks a personal and emotional turn for Devlin. “It’s her story, and she wrote it herself. I decided to support her and help finance part of the project. It was a very intimate and special process,” he said. The film, starring Linda Lavin in her final performance before her passing, has surprised audiences with its theatrical reception and secured nationwide distribution through AMC Theatres.

“For an independent studio to reach 25 years is quite an achievement. I think what’s kept us alive is that we own all our productions,” Devlin emphasized. “We sell our shows to a main outlet in the US and then distribute them worldwide. We have incredible partners who have stood by us year after year; without them, we wouldn’t be here.”

Among the studio’s most recognized titles, Leverage: Redemption stands out as one of television’s longest-running franchises. “We now have three seasons of Leverage: Redemption, and with the five seasons of the original series, we’ve surpassed 100 episodes. At a time when eight-episode seasons are the norm, reaching that number is truly amazing,” noted the producer.

Devlin also discussed The Librarians: The Next Chapter, currently in production in Belgrade, Serbia, where the team is exploring new mythologies native to Eastern Europe. “In this first season, we worked with local experts and discovered creatures like the drekavac, a regional demon. That’s the spirit of The Librarians: taking audiences to explore legends they may have never heard of,” he explained.

Meanwhile, The Ark is wrapping production on its third season, also filmed in Serbia. “This time, we went all out,” Devlin joked. “The show has expanded massively—there are aliens, new planets, and an entire colony. It’s a much bigger and wilder season.”

With more than two decades of experience, Devlin reaffirms his commitment to creative independence and international growth: “Being independent means constantly reinventing yourself. But as long as we can keep telling good stories, the future of Electric will continue to shine.”

La entrada Dean Devlin, Electric: “We Have the Most Ambitious Slate of Television Projects in Our History” se publicó primero en TTV News.