A World Premiere and Diverse Content Offer Mark ZDF Studios’ MIPCOM 2025
ZDF Studios is all set for this year’s MIPCOM market which will host the World Premiere of Ku’damm 77 – the fourth part of the popular Ku’damm saga. In this interview with TVBIZZ Magazine, Head of Drama Mirela Nastase reveals the other premieres in the catalog, noting that the most popular genres for the German distributor remain romance, family drama, and crime. The executive has also seen a surge in demand for short-form and youth content especially for on-demand and digital platforms. At the same time, ZDF Studios is actively expanding its FAST channel business.
Mirela Nastase, Head of Drama, ZDF Studios
What are the flagship titles—both scripted and non-scripted—that you believe define ZDF Studios’ MIPCOM slate this year and showcase the evolution of your catalog?
Currently in production, we have Grand Hotel by the Sea, a romantic period drama set on the Dutch coast at the turn of the 20th century. Female-led series are a key focus in our catalog, and we’re excited to announce the start of shooting for medieval period drama Agnes, a Czech TV – ARTE co-production. We’re also delving into the crime genre with two new thrilling series: Bust Up from New Zealand and Death in Benidorm, a Channel 5 UK original set in Spain.
Our unscripted catalog features some of the most captivating documentaries, including Pharaohs at War, The Story of the Oceans, and Ancient Greece: The Dark Chronicles. We also have a unique forensic archaeological miniseries, Crime Scene: Antiquity.
While you have major new titles, certain shows are perennial best-sellers. Looking at your scripted lineup, what do you believe is the consistent, underlying quality that makes these titles so reliably successful in the international market?
The Ku’damm saga stands out as one of the most internationally successful German series in our catalog. Its fourth season, Ku’damm 77, will make its world premiere at MIPCOM. This captivating mother-daughter family drama spans over two decades, with its power lying in its ability to explore the most intimate relationships. It strikes a delicate balance, offering both clarity and room for ambiguity, interrogations, paradoxes, and a continually evolving sense of realism in its characters. At the same time, it poignantly reflects the shifting societal norms for women—and beyond.
ZDF Studios has been steadily and significantly scaling its format business. What is the strategic thinking behind this expansion? Are you focusing on adapting your own German IP for other territories, or are you also seeking to acquire and represent third-party formats from around the world?
We’ve definitely ramped up our focus on scripted formats and are excited to seize any new opportunities that come our way. German IP has proven to resonate internationally, and we believe that local adaptations could be a great complement to our partners’ programming. We offer accessible content that has consistently delivered strong performance over time, coming from one of the most mature TV markets in the world.
In the Czech Republic alone, we’ve had a successful adaptation by Nova of Soko Leipzig running for over seven years and ongoing (as The Specialists). German procedurals like Heldt and Die Chefin have also seen successful adaptations. One of our goals is to see The Mountain Medic (Der Bergdoktor), a beloved series in the region, get its own local version someday.
Your portfolio is remarkably broad, spanning high-end drama, crime procedurals, family entertainment, and factual entertainment. In the current global climate, which genres are you finding have the most robust international demand? Are you seeing a resurgence in any particular type of content?
In an increasingly saturated world—overflowing with information, constant connectivity, political uncertainty, and rising risks—we see a growing demand for clarity and emotional reassurance. Crime procedurals offer the comfort of resolution, while lighthearted dramedies bring warmth, escapism, and a sense of calm. It’s no surprise that our most popular genres remain romance, family drama, and crime.
Audiences around the world are more content savvy than ever. They welcome new stories across all genres—provided there’s consistency, authentic characters, and high production quality. There is also a clear demand for short-form and youth-oriented content. One standout example is Love Sucks, the ZDF vampire twist on Romeo and Juliet, which received an enthusiastic response from viewers.
Having established a strong presence across Europe, the Americas, and Asia, which new or emerging territories are you currently focusing on for growth? How does your approach differ when introducing ZDF Studios content to a market that is less familiar with German productions?
South America and Africa have been emerging markets for us for some time, and we continue to prioritize building strong partnerships in these regions. While the Middle East is currently experiencing turmoil, it remains on our radar, though with less immediate focus. India and Japan are also key territories where we are actively working to strengthen our presence.
The industry is moving beyond traditional licensing. How is ZDF Studios experimenting with new business models, whether that’s through equity investment in production, co-productions with streamers, or exploring AVOD/FAST channel opportunities for your vast library?
Beyond our direct licensing business, we are expanding our B2C offerings through VOD and FAST channels. This strategy helps us reach territories where B2B partnerships have been limited, providing a valuable complement to our overall growth.
In spring we announced a partnership with the international media development company Castalia Communications Corporation launching Crimen ZDF, a FAST channel for Spanish-speaking audiences in the United States and Latin America. Crimen ZDF features the finest procedural crime, thriller, and mystery series from Europe and will be available on Samsung TV Plus Mexico.
More recently, we signed with Studio 100 International an agreement to extend our existing international content partnership, which began in April 2022, to the German-speaking market.
Going forward, titles from Studio 100 International will be available in Germany, Austria and Switzerland on the ZDF select and ZDF tivi channels via Amazon, on Telekom’s MagentaTV, and on Apple TV.
More developments Europe wide will be announced soon.
Streaming platforms are both competitors and key partners. How has your relationship with global SVOD services evolved? Do you see them primarily as buyers of finished content, or are they becoming more involved as co-production partners from the early stages?
Global SVOD platforms continue to be essential partners for our business. Our collaboration ranges from co-developing and financing new shows to licensing content tailored to their needs, as well as expanding our direct-to-consumer business. Developing content in close partnership with these platforms is one of our core priorities.
Artificial intelligence is impacting everything from script analysis and post-production to metadata creation and targeted distribution. How is ZDF Studios pragmatically integrating AI tools into your business to enhance efficiency and creativity, while navigating the associated challenges and ethical considerations?
We launched ZDF Sparks in 2024—a young, Berlin-based company focused on consulting, designing, and implementing AI-driven solutions. Their work centers on algorithms, machine learning, and data platforms, with applications in planning, communication, distribution, and the personalization of data and audiovisual content for ZDF, ZDF online platform and ZDF Studios.
ZDF Studios is known for its strong international co-production and partnership model. What specific types of projects or partners are you most interested in for the year ahead? Are you looking for gap financing opportunities, creative collaboration on specific genres, or partnerships with specific regional players?
In the coming months, we’re aiming to expand our FAST and VOD business across the CEE region. We’re also looking to co-produce with pan-regional Central and Eastern European channels and platforms, while actively identifying strong local productions with potential for international distribution.
Currently in production, we have Grand Hotel by the Sea, a romantic period drama set on the Dutch coast at the turn of the 20th century. Female-led series are a key focus in our catalog, and we’re excited to announce the start of shooting for medieval period drama Agnes, a Czech TV – ARTE co-production. We’re also delving into the crime genre with two new thrilling series: Bust Up from New Zealand and Death in Benidorm, a Channel 5 UK original set in Spain.
Our unscripted catalog features some of the most captivating documentaries, including Pharaohs at War, The Story of the Oceans, and Ancient Greece: The Dark Chronicles. We also have a unique forensic archaeological miniseries, Crime Scene: Antiquity.
While you have major new titles, certain shows are perennial best-sellers. Looking at your scripted lineup, what do you believe is the consistent, underlying quality that makes these titles so reliably successful in the international market?
The Ku’damm saga stands out as one of the most internationally successful German series in our catalog. Its fourth season, Ku’damm 77, will make its world premiere at MIPCOM. This captivating mother-daughter family drama spans over two decades, with its power lying in its ability to explore the most intimate relationships. It strikes a delicate balance, offering both clarity and room for ambiguity, interrogations, paradoxes, and a continually evolving sense of realism in its characters. At the same time, it poignantly reflects the shifting societal norms for women—and beyond.
ZDF Studios has been steadily and significantly scaling its format business. What is the strategic thinking behind this expansion? Are you focusing on adapting your own German IP for other territories, or are you also seeking to acquire and represent third-party formats from around the world?
We’ve definitely ramped up our focus on scripted formats and are excited to seize any new opportunities that come our way. German IP has proven to resonate internationally, and we believe that local adaptations could be a great complement to our partners’ programming. We offer accessible content that has consistently delivered strong performance over time, coming from one of the most mature TV markets in the world.
Ku’damm 77 Cast
In the Czech Republic alone, we’ve had a successful adaptation by Nova of Soko Leipzig running for over seven years and ongoing (as The Specialists). German procedurals like Heldt and Die Chefin have also seen successful adaptations. One of our goals is to see The Mountain Medic (Der Bergdoktor), a beloved series in the region, get its own local version someday.
Your portfolio is remarkably broad, spanning high-end drama, crime procedurals, family entertainment, and factual entertainment. In the current global climate, which genres are you finding have the most robust international demand? Are you seeing a resurgence in any particular type of content?
In an increasingly saturated world—overflowing with information, constant connectivity, political uncertainty, and rising risks—we see a growing demand for clarity and emotional reassurance. Crime procedurals offer the comfort of resolution, while lighthearted dramedies bring warmth, escapism, and a sense of calm. It’s no surprise that our most popular genres remain romance, family drama, and crime.
Audiences around the world are more content savvy than ever. They welcome new stories across all genres—provided there’s consistency, authentic characters, and high production quality. There is also a clear demand for short-form and youth-oriented content. One standout example is Love Sucks, the ZDF vampire twist on Romeo and Juliet, which received an enthusiastic response from viewers.
Having established a strong presence across Europe, the Americas, and Asia, which new or emerging territories are you currently focusing on for growth? How does your approach differ when introducing ZDF Studios content to a market that is less familiar with German productions?
South America and Africa have been emerging markets for us for some time, and we continue to prioritize building strong partnerships in these regions. While the Middle East is currently experiencing turmoil, it remains on our radar, though with less immediate focus. India and Japan are also key territories where we are actively working to strengthen our presence.
Bust Up
The industry is moving beyond traditional licensing. How is ZDF Studios experimenting with new business models, whether that’s through equity investment in production, co-productions with streamers, or exploring AVOD/FAST channel opportunities for your vast library?
Beyond our direct licensing business, we are expanding our B2C offerings through VOD and FAST channels. This strategy helps us reach territories where B2B partnerships have been limited, providing a valuable complement to our overall growth.
In spring we announced a partnership with the international media development company Castalia Communications Corporation launching Crimen ZDF, a FAST channel for Spanish-speaking audiences in the United States and Latin America. Crimen ZDF features the finest procedural crime, thriller, and mystery series from Europe and will be available on Samsung TV Plus Mexico.
More recently, we signed with Studio 100 International an agreement to extend our existing international content partnership, which began in April 2022, to the German-speaking market.
Going forward, titles from Studio 100 International will be available in Germany, Austria and Switzerland on the ZDF select and ZDF tivi channels via Amazon, on Telekom’s MagentaTV, and on Apple TV.
More developments Europe wide will be announced soon.
Streaming platforms are both competitors and key partners. How has your relationship with global SVOD services evolved? Do you see them primarily as buyers of finished content, or are they becoming more involved as co-production partners from the early stages?
Global SVOD platforms continue to be essential partners for our business. Our collaboration ranges from co-developing and financing new shows to licensing content tailored to their needs, as well as expanding our direct-to-consumer business. Developing content in close partnership with these platforms is one of our core priorities.
Artificial intelligence is impacting everything from script analysis and post-production to metadata creation and targeted distribution. How is ZDF Studios pragmatically integrating AI tools into your business to enhance efficiency and creativity, while navigating the associated challenges and ethical considerations?
We launched ZDF Sparks in 2024—a young, Berlin-based company focused on consulting, designing, and implementing AI-driven solutions. Their work centers on algorithms, machine learning, and data platforms, with applications in planning, communication, distribution, and the personalization of data and audiovisual content for ZDF, ZDF online platform and ZDF Studios.
ZDF Studios is known for its strong international co-production and partnership model. What specific types of projects or partners are you most interested in for the year ahead? Are you looking for gap financing opportunities, creative collaboration on specific genres, or partnerships with specific regional players?
In the coming months, we’re aiming to expand our FAST and VOD business across the CEE region. We’re also looking to co-produce with pan-regional Central and Eastern European channels and platforms, while actively identifying strong local productions with potential for international distribution.
