Besides new competition from other countries and emerging content genres, Turkish drama remains one of the most popular content categories in the world. With mature markets established in the Middle East, Latin America, US Hispanic, and Central and Eastern Europe, Turkish drama has conquered a new territory in recent years: Western Europe.
“The growing demand in Western Europe highlights both the maturity of Turkish drama and the evolving preferences of audiences in this region. Viewers are increasingly drawn to high-quality productions that not only deliver strong emotional storytelling but also reflect universal themes. Turkish dramas stand out because they combine cinematic production quality with long-form narratives that allow characters and relationships to develop in depth, something that Western European audiences have embraced enthusiastically,” described Muge Akar, ATV’s Head of Sales. “At the same time, the boom demonstrates how Turkish series have moved beyond being a niche. They are now part of the mainstream entertainment landscape, competing directly with global productions and gaining prime slots on television and streaming platforms. This shift also signals a wider openness in Western Europe toward diverse content from outside the region, and Turkish dramas have positioned themselves at the center of this trend by consistently delivering engaging, high-volume, and relatable stories,” she added.
“Western Europe has recently become a vibrant hub for Turkish drama. What started with strong demand in Spain quickly spread to many other countries. Today, Turkish series rank among the most-watched content in the region. The variety of audience preferences across different territories, combined with their appetite for diverse genres, creates significant opportunities to license a wide range of our titles. The habits formed by audiences through free TV, coupled with the rapid growth of both local and global streaming platforms, have enabled our content to reach even broader audiences. We believe there are still many untapped opportunities to explore in this market. There is a deep trust, strong interest, and genuine affection for Turkish storytelling here. We’ve made tremendous progress, but we’re also aware that there’s still a long, promising road ahead,” Can Okan, Founder and CEO of Inter Medya, stated.
Elif Tatoğlu, Distribution Strategy and Sales Director at Kanal D International, agrees that the appetite for Turkish drama in Western Europe is genuine. “Audiences there have become more open to international storytelling, and Turkish series offer high production values, relatable family and relationship themes, and a fresh alternative to local content. Streaming platforms have also accelerated exposure, making it easier for viewers to discover and binge-watch our titles,” she said.
“Turkish drama has built a unique position in Western Europe by offering high-quality storytelling that blends universal themes with strong emotional appeal. Viewers in countries like Italy, Spain, and Portugal are drawn to the richness of the narratives, the production values, and the cultural proximity that still feels fresh and different from local content,” added Goryana Vasileva, Sales Manager for Europe, Latam, Nordic at Calinos Entertainment.
The growing success of Turkish dramas in Western Europe stems from their ability to combine universal themes with authentic cultural storytelling. “The emotional depth and high production quality appeal strongly to European audiences, while digital platforms accelerate their accessibility and visibility. This boom highlights the growing global significance of Turkish content,” Aysegul Tuzun, Managing Director at Mistco, said.
Ekin Koyuncu, Director of Distribution and Alliances at OGM Universe, agrees that the rise of global platforms has been a game-changer, allowing these stories to reach new audiences seamlessly and in parallel with local content. “Over the past few years, Turkish drama has gained remarkable traction in Western Europe. We see a convergence of factors: the high production value of Turkish series, the richness of storytelling, and the universal themes of family, resilience, and love. These elements resonate with European audiences who are increasingly seeking fresh, emotionally charged narratives beyond Hollywood or local productions,” she said.
WESTERN NEEDS
What were the key factors to open and conquer this competitive market? What content types and distribution strategies do clients in Western Europe need? There are several answers to those questions, but certainly, the success of Turkish drama in Western Europe comes from a combination of high production values, powerful storytelling, and strong talent. Turkish distributors’ catalogs consistently deliver series that meet international standards while preserving the emotional depth that makes Turkish drama unique. “ATV’s long-running story arcs and emotionally layered narratives give broadcasters a unique advantage: the ability to build loyal and sustained viewership. While many international shows are designed for shorter runs, ATV delivers extended storylines that keep audiences engaged week after week. That balance, premium quality, star-driven productions, and enduring storytelling have been essential in opening doors and conquering highly competitive Western European markets,” ATV’s Muge Akar stated.
“A key part of our strategy was adopting a data-driven approach to windowing, carefully analyzing where long-running dramas perform best versus limited series and strategically sequencing our distribution across free-to-air, AVOD/FAST, and SVOD platforms to maximize business potential. Building strong, lasting relationships in the market helped us better understand the market and connect with the right partners. Above all, trust and reliability have been crucial: delivering quickly, responding to partner needs efficiently, and maintaining high operational standards are just as important as the content itself,” said Inter Medya’s Can Okan. “We implemented a hybrid distribution strategy, offering content tailored to both free-to-air channels and digital platforms to meet diverse demands. While viewing habits vary from country to country, classic Turkish dramas consistently remain at the center of audience interest, which significantly supports our marketing and sales efforts. Additionally, we’re seeing growing demand for format sales and remake rights,” Okan added.
Kanal D’s Elif Tatoğlu remarked that consistency and quality were essential in the Western Europe expansion. “We’ve invested in premium, character-driven stories with universal themes while maintaining high production standards. At the same time, we built long-term relationships with key broadcasters and platforms, offering flexible licensing models and marketing support. This combination of strong content and strategic partnerships allowed us to stand out,” she indicated. “Clients are increasingly looking for adaptable content-stories they can localize or reimagine for their own markets-alongside ready-to-air dramas with a proven track record. They also want multi-platform rights, fast delivery, and strong promotional assets to maximize reach. We’ve responded by expanding our format sales, creating marketing toolkits, and offering packages that suit linear, digital, and on-demand platforms. At the same time, viewing preferences vary widely across Western Europe. Some buyers are looking for more traditional, long-form storytelling, while others prefer shorter, episodic series that cater to different scheduling needs. Localization is another key factor: certain countries are willing to invest in dubbing themselves, while others require pre-dubbed content, which can make reach and entry more challenging. By balancing these different expectations and offering flexibility, we can serve a broad range of clients across the region,” she added.
Calino’s Goryana Vasileva also noted that several factors contributed to the outcome. First, the consistency of Turkish dramas in delivering long-running, high-performing series provided broadcasters with reliable content that yielded a strong return on investment. Second, dubbing and localization efforts have been critical, making the series feel native to each market while preserving its unique identity. “Of course, momentum matters. Early successes in key markets, such as Italy, help create awareness and open doors in other countries. Clients are seeking content that can be effective across multiple platforms. Strong daily or primetime dramas remain essential, but flexibility in distribution is increasingly important,” she said.
“Entering such a competitive market required a mix of cultural connection and strategic positioning. At the same time, close collaboration with European broadcasters, careful localization, and strong promotional strategies ensured that our series reached the right audiences and built lasting engagement,” Mistco’s Aysegul Tuzun added.
OGM Universe’s Ekin Koyuncu also noted the central role that content authenticity and consistency, strategic partnerships, and localization played in the path to growth in Western Europe. “We work closely with leading broadcasters and streamers to ensure optimal placement and promotion. By delivering a slate of premium series, we built trust with buyers who now recognize us as a reliable partner,” she said. “Clients in Western Europe are seeking strategies that make content accessible and visible, whether through thoughtful release planning or targeted launch initiatives. For us, it is always about finding the right approach for each partner and each market. We focus on being flexible and collaborative,” she added.
MARKET OPENERS
All major Turkish distributors had struck deals in Western Europe, which opened a new major market for drama distribution. “Recent deals in Spain and Italy highlight the strong demand for ATV’s dramas in Western Europe. These achievements represent an important step in the company’s long-term international growth strategy. Looking ahead, it is clear that our content will continue to expand rapidly across Western Europe. Strengthening existing partnerships while introducing new titles to the market will remain a key priority as ATV builds on this momentum,” Akar estimated.
“Turkish dramas are breaking viewership records in Spain and Italy. We’ve licensed many titles to these countries, and they consistently outperform even local competitors, often becoming the most-watched shows in their time slots. They’ve also generated major buzz on social media, and local press shows great interest in the stars of these series. Many Turkish actors have even become the faces of Italian and Spanish brands, highlighting just how strong the cultural impact has been,” Okan explained. “Beyond selling ready-made content, we are actively developing co-productions and remake deals with partners in the region. Spain and Italy have become indispensable destinations for Turkish content, and we’re confident that Western Europe will continue to be one of the major growth engines for Inter Medya in the coming years,” he added.
Kanal D also looks forward to building on its momentum in France, Spain, and Italy to further expand across Western Europe, particularly in Germany and the Benelux countries. “We’re also committed to strengthening our format partnerships and co-productions to blend Turkish storytelling with local creative input. Our titles are already proving their appeal in the region: ‘Fatmagül’ is currently airing in Switzerland, ‘Hekimoglu’ in Italy, and we’ve also sold ‘Kuzey Güney,’ ‘Price of Passion,’ ‘Matter of Respect’ and ‘Fatmagül’ into other Western European markets,” Tatoğlu stated.
“France and Belgium are next on our radar. At the same time, we are looking at opportunities to reach younger audiences through streaming platforms. Our Turkish series are delivering strong results in the region: ‘Forbidden Fruit,’ ‘Woman,’ and ‘Cherry Season’ are performing exceptionally well in Italy; while in Portugal, ‘Woman,’ ‘Our Story,’ and ‘In Spite of Love’ are achieving impressive ratings,” Calinos Vasileva remarked.
Since Latin America is one of the largest markets for Turkish dramas, Spain has naturally become a significant milestone in Western Europe. “The market has a strong tradition of embracing high-quality drama, and the fact that our titles are finding a place there demonstrates both the appetite for Turkish storytelling and the confidence in our brand,” OGM’s Koyuncu said.
“We have been working in Spain for a long time and have sealed many deals, including ‘Bahar.’ In recent years, interest in Turkish content has been increasing in Portugal. As a result, titles like ‘Secrets of an Angel,’ ‘The Town Dr,’ ‘Melek,’ and ‘Hold My Hand’ were licensed there. We are glad to see that the same trend is growing in Italy,” Mistco’s Tuzun affirmed.
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