As the global content landscape becomes increasingly fragmented, distributors face the dual challenge of meeting evolving viewer demands while maximizing the value of both new and legacy IP. At the forefront of this effort in Latin America is Maria Sánchez, Senior Vice President of Content Licensing at Paramount Global Content Distribution. From expanding iconic franchises like "NCIS" and "FBI" to tapping into nostalgia with remastered classics, Sanchez oversees a diverse portfolio designed to serve the region’s shifting platform ecosystem—across free TV, pay TV, AVOD, FAST, and streaming.
Among the standout titles in Paramount’s current slate is "M.I.A.", the upcoming crime drama from MRC. The series, created by Bill Dubuque ("Ozark") and showrun by Karen Campbell, follows Etta Tiger Jonze, a woman caught in Miami’s criminal underworld after her family drug operation is jeopardized. "M.I.A." will premiere on Peacock in the U.S., and Paramount Global Content Distribution has secured international rights and presented it to global buyers at the 2025 LA Screenings. The series features a strong ensemble cast including Shannon Gisela, Dylan Jackson, Brittany Adebumola, Cary Elwes, Alberto Guerra, and Danay Garcia. The project deepens Paramount’s ongoing collaboration with MRC, following past successes such as "The Great" and "Poker Face".
In this conversation, Sanchez shares how Paramount is balancing premium originals with evergreen titles, navigating partnerships with Paramount+, and responding to client demand for flexible, market-specific strategies.
What are the main highlights of your current slate?
"We have four new dramas, all tied to strong, well-known franchises. The most exciting is "NCIS: Tony & Ziva", which brings back Cote de Pablo and Michael Weatherly. The chemistry between them is amazing, and fans will be happy to see them again. It's produced by CBS Studios and will premiere on Paramount+. Unlike traditional "NCIS" episodes that resolve a case in one hour, this version follows a 10-episode arc with one storyline, which makes it feel more premium. Then we have three spin-offs that are going straight to series: "FBI: CIA", from the "FBI" universe; "Sheriff Country", a spin-off of "Fire Country"; and "Boston Blue", which follows "Blue Bloods", now concluded after 14 years. We’re also presenting a new comedy called "DMV" -Department of Motors and Vehicles- not linked to any existing show, and "MIA", from the producers of "Ozark", currently filming in Miami. That one has a strong Latin cast, including Alberto Guerra. Miami has always been very attractive for our clients—"CSI: Miami" is still one of our most requested shows."
How do clients split their demand between the catalog and new content?
"It really depends. I was just talking to a client who asked for "Bonanza", and I said, “Sure, how many episodes do you want?” Some are looking for that nostalgia—"Walker, Texas Ranger", "Dr. Quinn", "Happy Days". Others want premium shows like "Poker Face", or stick with solid CBS procedurals like "NCIS" or "Matlock". Free TV leans toward those procedural, long-running series, while streaming or pay TV buyers tend to want a mix—some premium, some franchise content. We also continue investing in remastering classics like "Beverly Hills, 90210" to make them more accessible on new platforms."
With the rise of FAST and AVOD, do you see more opportunities for your library?
"Definitely. It’s still early in Latin America, but we see momentum. Samsung is already active, and now LG, TCL, and Hisense are setting up operations in Brazil and Mexico. We’re licensing to Pluto TV and seeing interest from VIX, Mercado Libre, and others. The ad market is still soft, but these older titles—things we haven’t licensed in years like "Cheers"—give us flexibility. They’re amortized, so we can adjust pricing and terms. That’s not the case for newer productions, like anything from "Taylor Sheridan," where we’ve invested heavily and need to recoup. But for legacy content, there’s really no downside."
How do you coordinate with Paramount+ on content strategy in the region?
"We work very closely, and the collaboration is great. Paramount+ has two deals with us—one for series, one for movies—with holdbacks and license periods clearly defined. For a show like "Tony & Ziva", we already know when it will air on free TV, basic cable, etc. So even when buyers show interest at events like this, we can go ahead and close deals. Even for content that’s exclusive to Paramount+, they’re happy if we find a second window or a free TV partner. It helps build awareness and grow the IP. We recently licensed "Yellowstone" to Puerto Rico and Venezuela, and that supports the overall expansion of the Yellowstone universe. At the end of the day, everyone wins."
Are there new content trends emerging in Latin America?
"Korean dramas are getting more attention. We've produced seven Korean series with CJ Entertainment for Paramount+, and now we’re seeing interest from clients who want to license them for free TV or even other platforms. That’s new for us—we didn’t have that content before. We don’t have Turkish telenovelas, which some clients have asked about, and Indian content has been mentioned too, but there hasn’t been significant demand. In general, though, buyers are more conservative now. There’s less budget for experimentation. So franchises and known formulas are winning out. It’s about making safe bets."