1. Co-production, innovation, and resilience
Acknowledging a difficult period in politics and the current challenges facing the TV industry, this year’s Seriencamp conference focused on the power of coproduction, innovation and resilience.
The anticipated Nostradamus Report 2025, delivered by media analyst Johanna Koljonen and co-organised with the Göteborg Film Festival, was themed under ‘Resilient Industry Change’ and acknowledged today’s political instability and growing humanitarian crises. A powerful and central theme of the report is the industry’s “reality resistance” - the unsustainable tendency to ignore external threats like geopolitical instability, economic challenges, and climate crises, which directly impact production and distribution.
Koljonen also emphasised that digital transformation is no longer a distant issue for the industry - it is an urgent and present reality that demands a fundamental rethinking of how projects are created and brought to audiences. Reaching a broader and more diverse audience has become crucial, not only for maintaining artistic relevance but also for ensuring financial sustainability. The report further highlights increasing risks to freedom of expression amid a global rise in authoritarianism. Nonetheless, Koljonen maintained that the industry's core strength remains in producing engaging, high-quality stories, and its continued success will rely on proactive internal action to adapt and thrive.
2. The future of European coproduction
Over a dozen European networks including ZDF, France Télévisions and NRK outlined their international co-production strategies, as well as the importance of strategic partnerships and optimising budgets as networks shift to a streaming-first commissioning model.
Belgium’s recent streaming levy, which requires large streamers and broadcasters to invest a portion of their revenue into local production, has spurred development efforts, though Netflix is legally challenging the measure. In Switzerland, the introduction of the "Lex Netflix" tax has led to a rise in co-production proposals, but these have yet to result in a significant number of new commissions. France Télévisions, meanwhile, is focusing on a small number of high-impact international co-productions each year, aiming for projects with strong global appeal despite limited output.
The New8 collective showed footage of various shows in production. The lineup showcased a diverse range of high-quality, original dramas including titles such as Other People’s Money, Stenbeck, Kabul, This is Not a Murder Mystery, and the Finnish hit Queen of F**ing Everything*. Formed by ZDF (Germany), NPO (Netherlands), VRT (Belgium), SVT (Sweden), DR (Denmark), YLE (Finland), RÚV (Iceland), and NRK (Norway), New8 is committed to developing and co-producing eight distinctive drama projects each year. The initiative aims to offer compelling, alternative content to European audiences at a time when major streaming platforms are scaling back their investments in the region.
3. Broadcasters strive for YA content
Bold, genre-blending teen series from Europe are alive and well this year, as exemplified by the festival’s exclusive premiere of ZDFneo’s Club der Dinosaurier. An 80s-inspired comedy, the series follows two high school nobodies who unexpectedly transform into reptiles after taking experimental testosterone to become more masculine.
There was plenty of discussion about how public broadcasters can target that elusive YA audience. NRK’s Marianne Furevold-Boland highlighted the importance of going beyond traditional marketing (citing the success of their satirical series Requiem For Selina) and incorporating audience testing during development. Daniel Lawrence Taylor, creator and writer of BOARDERS, echoed this sentiment in his masterclass, emphasising that direct engagement with young people - such as participating in feedback sessions at schools - was essential for creating content that feels authentic and relevant to younger viewers.
WDR’s Mozart/Mozart, a series delving into the life of Mozart’s sister, stood out as one of the conference’s most heavily promoted titles. The show seeks to bridge generational divides by giving a fresh, contemporary perspective to a subject that for some younger audiences may seem dated or stuffy. Meanwhile, in the conference’s final session, RTL+ offered a sneak peek at its upcoming German adaptation of the Israeli hit Euphoria, betting on the proven global appeal of the format while tailoring it for younger German audiences.
4. What networks want
In a session titled ‘10 Good Strategies to Get a Greenlight’, the challenges of a post-peak TV era were once again brought into focus. In a period of contraction, commissioners are showing increased caution. Rather than taking risks on entirely original concepts, they are now far more likely to favour projects connected to established IP and/or well-known talent.
For WDR commissioning editor Frank Tönsmann, the big change within the last few years can be summed up in one line: ‘distribution became part of the editorial process’. When it comes to international sales, ZDF’s Susanne Frank noted that the most successful series tend to feature universal stories - not rooted in culturally specific themes or local politics - and leverage IP or talent recognisable beyond their home countries. Currently, crime and comedy genres are in high demand, especially for daytime slots, as audiences gravitate toward lighter content and escapism. Dystopian dramas, sci-fi and horror, appear to have fallen out of favour for now. There’s also a noticeable rise in the popularity of limited series, while broadcasters continue to seek long-running procedurals.
Throughout the conference, questions were raised about how the creator economy is reshaping the television industry. The traditional requirement for a proven track record when pitching TV projects may be shifting. What are the implications for emerging talent who may not have conventional TV experience but have built significant followings on other platforms, especially among younger audiences? In this evolving landscape, YA content on innovative streaming services such as ARD Mediathek could provide an exciting space for these new voices to break through.
5. Unlocking the power of games
The global popularity of series such as Arcane and Fallout has rejuvenated video games as an invaluable source of IP. Reflecting this, the conference dedicated an entire day to exploring the convergence of games and drama series, examining current trends, future possibilities, world-building, and the mutual lessons both mediums can offer one another.
In a dynamic keynote, David Daubitz, a narrative lead and head writer who works at the intersection of television, games, and real-time animation, outlined the massive potential games now have for hybrid formats, genre-blended and character-driven storytelling, and exciting opportunities for building on IP. He discussed the emotional architecture that is unique to games, posing the question of whether we are adapting the lore of the game, or the ‘lived’ experience/victory. The result is what he calls a ‘creative playground’ (as opposed to market) for intensely creative, emotionally-driven games and TV series. As he quoted, ‘a story is something the player remembers, not just something the writer writes’.
6. AI, put to work
While we’re used to talking about AI in very abstract terms, it was refreshing to hear concrete examples of how AI is already being integrated into the daily workings of the industry.
The ‘AI for Real’ session, part of Seriencamp’s innovation-focused final day, made a compelling case for the practical applications of AI across every stage of development and production. With the industry under increasing pressure to produce series on tighter budgets, AI is quickly becoming an indispensable tool.
The session showcased how AI software can streamline both the administrative and creative sides of production. From set design and scriptwriting to post-production, AI is offering innovative, cost-effective solutions that are transforming how content is created and consumed. One particularly interesting example involved building secure, company-specific databases of content - where scripts and videos from long-running procedurals for example can be instantly searched for specific plot points, characters, or even props.
Ultimately, the goal is to free creatives from tedious, time-consuming tasks, allowing them to focus on what they do best: being creative.
7. Coming Soon...
The conference teased plenty of exciting new titles coming soon to the European drama landscape. Among the most anticipated is the big-budget fantasy period dramaHagen, adapted from Wolfgang Hohlbein’s bestselling novel Hagen von Tronje.
Produced by Constantin Film, the story - often cited as an inspiration for modern fantasy epics like Game of Thrones and The Lord of the Rings - marks a bold addition to RTL+’s lineup, aiming to showcase Germany’s ability to deliver high-calibre entertainment. Following its release as a feature film, the series will soon debut as a six-part series, distributed by Fremantle as War of the Kingdoms.
Another standout is the raw and intimate German miniseries Naked, a love story exploring codependency and sex addiction. The complexities of the male and female gaze, along with the challenges of portraying love and sex on screen, were explored in a thought-provoking panel featuring the series creator Silke Eggert. Produced by Fandango Film TV GmbH, Naked will premiere at Filmfest Munich next month before airing on WDR later this year.
On the sci-fi front, the Swedish miniseries We Come in Peace - a co-production between TV4 and ZDF - is currently in development. The show follows a Civil Defence agent and a scientist as they investigate humanity’s first contact with aliens. The conference featured a panel that delved into the production and visual effects challenges of bringing this ambitious sci-fi vision to life within current budget constraints.