Rai Fiction Conquers Viewers in Italy and Abroad
Rai Fiction, the scripted production arm of Italian pubcaster Rai, has been on a steady rise both in terms of production volumes and audience results in the last couple of years. 2024 was especially successful for the unit both in Italy and abroad thanks to the adaptation of the Rai 1 hit series Doc by FOX in the U.S.
In this exclusive interview with Maria Chiara Duranti, Rai Fiction’s head Maria Pia Ammirati talks about the recent success stories of Rai’s productions, the strategy behind the growing popularity of Italian series and the plans and hits that we could expect in 2025.
In this exclusive interview with Maria Chiara Duranti, Rai Fiction’s head Maria Pia Ammirati talks about the recent success stories of Rai’s productions, the strategy behind the growing popularity of Italian series and the plans and hits that we could expect in 2025.
Fuochi D’artificio
Maria, Rai Fiction is among Europe’s leaders in fiction production and distribution. You took over the management almost five years ago. What have been some of the achievements of Rai Fiction during that period?
Rai Fiction today stands strong with a highly recognizable public service editorial line and a professional structure. It is a production hub capable of offering a diverse range of genres and formats while crafting a multifaceted narrative of contemporary society. It has also solidified its international position as a reliable and sought-after co-production partner.
How successful was 2024 for Rai Fiction in the domestic and international markets? What are your plans for this year?
In terms of audience ratings, 2024 was highly positive (over 3.8 million viewers and a 21.1% share for Rai 1 programming), reaffirming the strategic importance of the genre.
Among the titles, La Storia, based on Elsa Morante’s novel, is a success I am particularly proud of as it demonstrates the immense value that great literature can bring to fiction. Then, there’s Mare Fuori, now in its fifth season, a coming-of-age series with a strong youth following, and the medical drama Doc. Additionally, the international co-production Il Conte di Montecristo is currently receiving great audience acclaim. The archetypal power of certain stories never fades.
With these achievements, we are stepping into the new year, determined to further refine our storytelling in response to audience demand. The results reassure us in terms of both consistency and the international credibility of our productions, strengthening our role as a key reference point for the national production system.
What are the main elements of your strategy to drive continued growth for the company, and what do you see as the main challenges?
Our goal is to ensure our content offering remains increasingly coherent. To achieve this, we focus on the editorial excellence of Rai’s producers as well as on a meticulous and targeted approach to content promotion and valorization.
The main challenge lies in the platform landscape. Our results have proven that we are competitive, and we aim to consolidate a leading position that underscores two key points: the appeal of public service fiction and the continued relevance of generalist television when it successfully meets audience expectations.
What will be the series highlights for Rai in 2025?
We kicked off the year with excellent ratings for Il Conte di Montecristo, followed by the success of Leopardi - Il poeta dell’infinito and the third season of Mina Settembre.
In the coming months, we expect great results from a diverse lineup spanning various genres and formats. Notable among them are Belcanto, a period drama/melodrama set in the world of opera; Fuochi d’Artificio by Susanna Nicchiarelli, an epic partisan adventure and a story of love and friendship told from the perspective of young protagonists; and for the next season, the event series Portobello, directed by Marco Bellocchio, focusing on Enzo Tortora, a pivotal figure in Italian television history who was tragically and unjustly caught in a legal ordeal.
What are some of the latest developments you have observed in the fiction market?
Competition is evolving, particularly in terms of audience engagement. The distinction between generalist TV distribution and streaming platforms appears to be gradually diminishing. This shifting landscape is positively recontextualizing generalist TV viewership.
Regarding content trends, audiences are increasingly drawn to stories that blend light-heartedness with emotional involvement, favoring dramedy, mystery-comedy, and thriller genres. Additionally, there is a continued preference for long-running series, as viewers seek familiarity and attachment to characters.
What genres and titles from Rai Fiction’s catalog attract the most interest from international clients?
Compared to the pre-pandemic period, Rai Fiction sales have increased by nearly 50%, driven by narratives featuring strongly defined and recognizable protagonists. Among the most internationally sought-after titles are L’Amica Geniale (My Brilliant Friend), co-produced with HBO, Mare Fuori (The Sea Beyond, Beta), Doc - Nelle Tue Mani (DOC, Sony Pictures Television), Imma Tataranni – Sostituto Procuratore, and Il Paradiso delle Signore (The Ladies’ Paradise, Banijay).
Rai’s series are traveling not only as ready-made products but also as formats. What have been some of your success stories in the format markets, and will we see new adaptations of Italian series internationally?
Recently, DOC, the U.S. adaptation of our Doc - Nelle tue mani, premiered on Fox with strong ratings, starring Molly Parker. This year, Mar Afuera, a Spanish adaptation of our record-breaking Mare Fuori, will air, produced by Atresmedia Televisión in collaboration with Beta Fiction Spain. Furthermore, Il Paradiso delle Signore, in addition to being sold as a ready-made product in over 70 countries, has already inspired a highly successful Greek adaptation.
You actively collaborate with other European public broadcasters on various productions. Are you planning to expand these partnerships and seek new international cooperation opportunities?
Internationalization remains a crucial front for promoting Italy’s cultural identity and values.
For instance, Il Conte di Montecristo (The Count of Montecristo) is one of our latest productions developed within the European Alliance (Rai - France Télévisions - ZDF) in collaboration with France Télévisions. Soon, we will air two new original series co-produced with our German and French partners: the political thriller The Kollective and Kabul, which delves into the dramatic evacuation from Taliban-occupied Kabul. Additionally, we have reaffirmed our commitment to the Alliance by launching a new call for projects aimed at discovering original serial productions.
Rai remains one of the most stable public broadcasters in Europe in terms of viewership while also growing rapidly in the digital segment. How do you explain this success, and what has been Rai Fiction’s contribution?
In 2024, fiction continued to be a major draw for audiences on RaiPlay, accounting for 48% of total Legitimate Streams and 55% of Total Time Spent (TTS). Among the top 20 most-viewed programs on RaiPlay across all genres, 12 are fiction titles from Rai. This clearly indicates that fiction is the most-watched genre, attracting new users to the platform not only through RaiPlay Originals but also via generalist content consumption.
For example, Mare Fuori reached 162 million views in its latest season, serving as a gateway for younger, more digitally inclined audiences.
Rai Fiction today stands strong with a highly recognizable public service editorial line and a professional structure. It is a production hub capable of offering a diverse range of genres and formats while crafting a multifaceted narrative of contemporary society. It has also solidified its international position as a reliable and sought-after co-production partner.
How successful was 2024 for Rai Fiction in the domestic and international markets? What are your plans for this year?
In terms of audience ratings, 2024 was highly positive (over 3.8 million viewers and a 21.1% share for Rai 1 programming), reaffirming the strategic importance of the genre.
Among the titles, La Storia, based on Elsa Morante’s novel, is a success I am particularly proud of as it demonstrates the immense value that great literature can bring to fiction. Then, there’s Mare Fuori, now in its fifth season, a coming-of-age series with a strong youth following, and the medical drama Doc. Additionally, the international co-production Il Conte di Montecristo is currently receiving great audience acclaim. The archetypal power of certain stories never fades.
With these achievements, we are stepping into the new year, determined to further refine our storytelling in response to audience demand. The results reassure us in terms of both consistency and the international credibility of our productions, strengthening our role as a key reference point for the national production system.
Leopardi - Il Poeta Dell’infinito
What are the main elements of your strategy to drive continued growth for the company, and what do you see as the main challenges?
Our goal is to ensure our content offering remains increasingly coherent. To achieve this, we focus on the editorial excellence of Rai’s producers as well as on a meticulous and targeted approach to content promotion and valorization.
The main challenge lies in the platform landscape. Our results have proven that we are competitive, and we aim to consolidate a leading position that underscores two key points: the appeal of public service fiction and the continued relevance of generalist television when it successfully meets audience expectations.
What will be the series highlights for Rai in 2025?
We kicked off the year with excellent ratings for Il Conte di Montecristo, followed by the success of Leopardi - Il poeta dell’infinito and the third season of Mina Settembre.
In the coming months, we expect great results from a diverse lineup spanning various genres and formats. Notable among them are Belcanto, a period drama/melodrama set in the world of opera; Fuochi d’Artificio by Susanna Nicchiarelli, an epic partisan adventure and a story of love and friendship told from the perspective of young protagonists; and for the next season, the event series Portobello, directed by Marco Bellocchio, focusing on Enzo Tortora, a pivotal figure in Italian television history who was tragically and unjustly caught in a legal ordeal.
What are some of the latest developments you have observed in the fiction market?
Competition is evolving, particularly in terms of audience engagement. The distinction between generalist TV distribution and streaming platforms appears to be gradually diminishing. This shifting landscape is positively recontextualizing generalist TV viewership.
Regarding content trends, audiences are increasingly drawn to stories that blend light-heartedness with emotional involvement, favoring dramedy, mystery-comedy, and thriller genres. Additionally, there is a continued preference for long-running series, as viewers seek familiarity and attachment to characters.
LAG
What genres and titles from Rai Fiction’s catalog attract the most interest from international clients?
Compared to the pre-pandemic period, Rai Fiction sales have increased by nearly 50%, driven by narratives featuring strongly defined and recognizable protagonists. Among the most internationally sought-after titles are L’Amica Geniale (My Brilliant Friend), co-produced with HBO, Mare Fuori (The Sea Beyond, Beta), Doc - Nelle Tue Mani (DOC, Sony Pictures Television), Imma Tataranni – Sostituto Procuratore, and Il Paradiso delle Signore (The Ladies’ Paradise, Banijay).
Rai’s series are traveling not only as ready-made products but also as formats. What have been some of your success stories in the format markets, and will we see new adaptations of Italian series internationally?
Recently, DOC, the U.S. adaptation of our Doc - Nelle tue mani, premiered on Fox with strong ratings, starring Molly Parker. This year, Mar Afuera, a Spanish adaptation of our record-breaking Mare Fuori, will air, produced by Atresmedia Televisión in collaboration with Beta Fiction Spain. Furthermore, Il Paradiso delle Signore, in addition to being sold as a ready-made product in over 70 countries, has already inspired a highly successful Greek adaptation.
You actively collaborate with other European public broadcasters on various productions. Are you planning to expand these partnerships and seek new international cooperation opportunities?
Internationalization remains a crucial front for promoting Italy’s cultural identity and values.
For instance, Il Conte di Montecristo (The Count of Montecristo) is one of our latest productions developed within the European Alliance (Rai - France Télévisions - ZDF) in collaboration with France Télévisions. Soon, we will air two new original series co-produced with our German and French partners: the political thriller The Kollective and Kabul, which delves into the dramatic evacuation from Taliban-occupied Kabul. Additionally, we have reaffirmed our commitment to the Alliance by launching a new call for projects aimed at discovering original serial productions.
Il Conte Di Montecristo
Rai remains one of the most stable public broadcasters in Europe in terms of viewership while also growing rapidly in the digital segment. How do you explain this success, and what has been Rai Fiction’s contribution?
In 2024, fiction continued to be a major draw for audiences on RaiPlay, accounting for 48% of total Legitimate Streams and 55% of Total Time Spent (TTS). Among the top 20 most-viewed programs on RaiPlay across all genres, 12 are fiction titles from Rai. This clearly indicates that fiction is the most-watched genre, attracting new users to the platform not only through RaiPlay Originals but also via generalist content consumption.
For example, Mare Fuori reached 162 million views in its latest season, serving as a gateway for younger, more digitally inclined audiences.
