To embrace something is usually a warm and affectionate act. However, what the experts at Seriencamp Conference “embrace” on the CINENOVA stage often feels distant or even rejecting. Johanna Koljonen embraces “failure,” Marianne Furevold-Boland embraces “challenges,” Andri Ómarsson embraces “constraints,” Claudia Blümhuber embraces “fear.” Maria Valenzuela even embraces artificial intelligence – a topic viewed by many of the nearly 900 conference attendees somewhere between taboo and threat.
Those who accept and internalize this mindset show the resilience needed to meet the theme of the 11th Seriencamp Conference: Innovation in a Disrupted Industry. Amid economic, political, social and cultural changes, the series industry urgently needs new approaches to secure funding, resources and attention for creative content without depending on major global players. In Cologne’s Ehrenfeld district, three key areas are in focus: self-marketing, co-productions, and gaming.
Bianka Bunde, Social Media Manager at ZDFneo, outlined five key strategies for series to succeed in a crowded market: create visually clear, emotionally engaging and dialogue-driven stories within platform guidelines; plan digital distribution from the start; integrate social media organically rather than pragmatically; use targeted buzzwords, hashtags and triggers; and stay flexible. Distribution, she stressed, “is a dynamic process.”
Audience interests and production priorities can change quickly. Her advice: “Make plans early but be ready to adapt.” Samya Hafsaoui agreed during the opening panel Marketing Your Series: How to Cut Through the Clutter & Find Your Audience. Representing her 170,000 followers, she added: “Be your own influencer and communicate early in the creative process.” But avoid working with influencers who are just paid to promote. “Audiences are too savvy for that.”
This focus on genuine audience connection is crucial, emphasized Marianne Furevold-Boland, Head of Drama at Norwegian broadcaster NRK, during the panel What is True Innovation. “Marketing to users should not be seen negatively. It’s a service.” French showrunner Noémie Saglio called on decision-makers to “be creative producers,” during her talk More Creative Control over Talent. And she stressed the importance of “learning to read” – knowing your material deeply.
Although there was some humor about producers’ unfamiliarity with Saglio’s scripts, the challenges facing the industry remain serious. This was underscored in the Nostradamus Report 2025 from the Göteborg Festival, shared by media analyst Johanna Koljonen. When she asked how mass entertainment could continue “without compromising our values,” given global crises like the Gaza conflict and political turmoil, the mood briefly turned somber.
Yet, despite the challenges, the atmosphere in Cologne was optimistic. Noémie Saglio expressed it well: “Saving money is frustrating but also a challenge – and that can be motivating.” This depends on creatives “knowing their rights” and maintaining control over their work, as French lawyer Elsa Huisman highlighted in her talk on empowering creatives. It also requires Europe to “work more closely together,” as Spanish producer Anxo Rodriguez suggested, and to “think locally but act globally,” leveraging the reduced reliance on American funding, noted Banijay Entertainment’s Head of Scripted, Business Johannes Jensen.
The conference’s second focus area, (inter)national co-productions, is also vital. “Co-productions are not automatically better,” said Irina Ignatiew-Lemke at the Realities of Co-Production panel. “But beyond funding, gaining feedback from different perspectives is invaluable,” added Fleur Winters (Big Blue), a creative and producer. Andri Ómarsson, representing a small market like Iceland, noted that “being agile and flexible” is essential. Small markets depend heavily on international partnerships.
Large markets benefit as well. Al Munteanu (BriskPace) shared at the Producers Vision Pitch that projects like German Angst see Germany as home but the world as the market. The gaming industry also plays a growing role. Since titles like The Last of Us and Fallout, video games have become a strong source for series adaptations.
Coded IP often outperforms traditional filmed content commercially. In his keynote Synergies for Games & Series, Ubisoft’s David Daubitz showed that 3.42 billion global gamers generate an average of $50 each. He identified five key trends: a shift from complexity to simplicity, episodic game structures, character-driven storytelling, world-building before narrative and genre blending – factors that also contribute to series success if handled well.
“Simple adaptation is not enough,” said Pierre Puget (Brains Narrative Studios) during the networking breakfast. To capture the appeal of games, series must create immersive worlds. Similarly, game developers should consider serial adaptations early on. “It’s not about competition but finding the best story.” This spirit reflects the goal of Seriencamp 2025, where nearly 160 experts from studios, broadcasters and platforms gathered to discuss how to navigate the industry’s challenges.
The event featured works in progress from series like Mozart/Mozart, We Come in Peace, and Ku’damm 77, as well as Seriencamp Festival premieres of Softies, Chabos, Kyllroth, Reykjavik Fusion, Love Scam and Underdogs, often before sold-out audiences. Together, the conference and film program show that the fight for meaningful entertainment is just beginning. As bildundtonfabrik co-founder Philipp Käßbohrer – author, director, producer and showrunner – put it when receiving the Deadline German TV Disruptor Award: “Let’s dive into the stream of change.” Seriencamp is one of the launchpads.