Spanish-language content is making waves globally, and Banijay’s Steve Matthews is here to explain why it’s not just bold and daring—it’s only just beginning to show its true potential. But here’s where it gets controversial: is the global success of Spanish storytelling really about language, or is there something deeper at play? Matthews, who recently stepped up as head of scripted creative at Banijay, shared his insights at the Iberseries & Platino Industria event in Madrid, shedding light on the unique qualities of Spanish content and Banijay’s strategic approach.
Matthews, who joined Banijay in early 2023 after a rich background including work on Showtime’s The Borgias, now leads the scripted creative team alongside Johannes Jensen, who handles the business side. Together, they’re steering Banijay’s massive scripted output—over 1,000 hours across 60 labels—making it Europe’s largest scripted producer. Matthews uses a vivid helicopter metaphor to describe their approach: imagine Banijay as a helicopter flying over various production companies, landing briefly to offer support—whether it’s navigating tax incentives, connecting with agents, or helping set up writers’ rooms—before moving on. This hands-off yet supportive method allows each production company to maintain its creative identity and thrive in its local market.
When it comes to Spanish content, Banijay’s portfolio is impressively diverse. Four main scripted companies stand out: Pokeepsie Films, led by the acclaimed Álex de la Iglesia, known for his bold, theatrical style; Diagonal TV, which produces premium dramas like The Patients of Dr. García; Dlo Producciones, specializing in gripping genre series such as Netflix’s The Gardener; and Portocabo from Galicia, which crafts straightforward, well-made crime dramas. This variety is key to the resilience and appeal of Spanish storytelling—it’s far from a one-size-fits-all industry.
So, what’s driving the global appetite for Spanish-language shows? Matthews points to several factors. First, the sheer number of Spanish speakers worldwide—about a third of the global population—naturally boosts demand. Spain’s favorable regulatory environment and tax incentives also create fertile ground for high-quality productions. But beyond these practicalities, there’s an artistic element that Matthews describes as "operatic." Unlike the slow-burn, subtext-heavy style common in English-language dramas, Spanish stories often dive straight into the action, with characters expressing emotions boldly and openly. This directness resonates with audiences craving something less pretentious and more visceral.
Matthews shares a personal anecdote from when he first encountered Spanish scripts in 2016. He was puzzled by the lack of subtlety, only to realize that Spanish storytelling embraces a different rhythm—one that’s upfront and dramatic, like stepping onto a stage and singing your heart out. This operatic flair, combined with a certain "naughtiness" or daring spirit, has helped Spanish content carve out a unique space in the global market.
And it’s not just Spain. Latin American productions, including telenovelas, contribute to this rich tapestry. While often dismissed as mere escapism filled with sunshine and attractive actors, these shows actually offer deeply engaging, melodramatic narratives that keep viewers hooked for dozens of episodes. Matthews cautions against oversimplifying the relationship between Spanish-speaking countries, noting that linguistic and cultural differences—like those between Spain and Latin America, or between Spanish and Portuguese-speaking Brazil—mean co-productions require careful navigation.
Speaking of co-productions, Matthews acknowledges that while collaboration between Spain, Europe, and Latin America is growing, it’s not as widespread as he’d like. Smaller European markets, such as Sweden and the Netherlands, have a longer history of co-productions due to financial necessity, but larger territories sometimes remain insular. Banijay is actively exploring how to strike the right balance between encouraging cross-border projects and respecting the distinctiveness of each market.
Highlighting some standout Spanish Banijay shows, Matthews points to the upcoming third installment of the Culpa trilogy from Pokeepsie Films, a prime example of their signature blend of horror and psychological thriller with theatrical flair. Another favorite is Weiss & Morales, a cop drama produced by Portocabo that’s a true two-territory co-production between Spain’s RTVE and Germany’s ZDF, featuring a German and a Spanish detective working together. Dlo’s psychological thriller La Caza has also found success beyond Spain, inspiring remakes in France. Matthews appreciates how Spanish producers aren’t confined to literary adaptations but also embrace contemporary, genre-bending stories like Diagonal’s Hitchcock-inspired The Gardener on Netflix.
Beyond his panel discussions, Matthews is dedicating time at Iberseries to meet emerging writers, eager to hear fresh ideas and offer support. He emphasizes the importance of face-to-face connections in a sprawling company like Banijay, where fostering relationships can spark exciting cross-territory collaborations. In fact, two projects currently in development originated from such networking moments at previous events.
So, here’s a question to ponder: Is the global rise of Spanish content simply a matter of language and market size, or does its bold, operatic storytelling style tap into a deeper cultural shift in what audiences crave? And how might Banijay’s unique helicopter approach to nurturing diverse production companies influence the future of international content? Share your thoughts—do you agree with Matthews’ take, or do you see other factors driving this phenomenon? The conversation is just getting started.
