With a growing portfolio of original dramas and game shows, Dori Media continues to scale its global production and distribution model. CEO Nadav Palti explains how the company turns unique personal stories into internationally viable content, why flexibility is essential, and what’s next for its scripted and non-scripted pipeline. One of Dori Media’s key scripted titles, "Young Suchard", will officially launch at the 2025 LA Screenings, marking a major international push for the teen drama based on the early life of famed mentalist Lior Suchard.
Tell us about the origin of the series "Young Suchard." What made you want to be involved in that project?
At Dori Media, we’re constantly developing new ideas—some get greenlit, some don’t. But our strength lies in development. We’re active both in Latin America and Israel, in Spanish and Hebrew, and we’re always approached by creators with concepts. The key is finding stories that can travel.
In this case, we collaborated with Lior Suchard, the world-famous mentalist. Our relationship with him started over a decade ago when he performed at the International Emmy Academy Days we hosted in Israel in 2014. A couple of years ago, Israel’s public broadcaster, Kan 11, put out a call for youth-oriented series. Lior came to us with an idea based on his own teenage experiences—he was different, highly intelligent, and used his mentalist skills to navigate social challenges. We built a team of four writers to develop it into a 20-episode scripted drama. We start shooting in Israel this August, and while it will be in Hebrew, we believe "Young Suchard" has strong international potential.
What was the creative process like in translating real-life experiences into a scripted drama?
This is what we do. We take real stories and turn them into compelling fiction. We did it before with "Normal", which aired across Latin America on WarnerMedia, dubbed into Spanish and Portuguese. The real person provides the concept, but then we step in with writers and producers to build a drama with narrative structure and emotional arcs. Documentaries can sometimes feel dry—drama helps audiences connect emotionally, and through that connection, they absorb the underlying message.
In the case of "Young Suchard", it’s especially relatable for young viewers. It shows a teenager who doesn’t fit in, who is constantly misunderstood, but who eventually discovers that what makes him different is also what gives him power. That’s something teens everywhere can identify with.
How involved was Lior Suchard throughout development?
He was central in the concept phase—bringing his life experiences and ideas—but not as a writer. That’s why we formed a development team around him. He’ll also make cameo appearances in the show, which adds a nice layer, but the focus is on telling a fictional story inspired by his life, with the storytelling rigor that viewers expect from a scripted series.
Why is having a distinctive character so important in this case?
Because his skill set—being a mentalist—is both unusual and visually striking. He doesn’t have superpowers, but the techniques he uses can feel shocking or magical to people. That makes for great television. And it gives the character depth. Viewers can relate to the idea of being different or misunderstood, and the show explores how to turn those differences into strengths.
What's the production timeline and distribution strategy?
We begin filming in August and plan to have the show ready by next year. It will premiere in Israel, and then we’ll take it worldwide. The idea is to position it as a high-quality teen drama with broad international appeal.
Anything else on your slate that you would like to highlight right now?
Yes, we just announced a new game show called "La Subasta" ("The Auction"), which will premiere in July on América TV in Peru. It’s a strong format, and we believe it can travel well throughout Latin America and globally.
"Power Couple" is another major success. It’s currently in its seventh season on Record TV in Brazil, with 74 episodes per season. It’s a massive primetime reality format, and its performance keeps getting stronger. We see potential for this to expand across all of Latin America, the U.S., Europe—everywhere.
We’re also producing four new dramas in Israel. After we wrap filming "Young Suchard", we’ll begin shooting "Dabushka", followed by "You Call Me Esther" early next year—an eight-episode high-end drama. So yes, we’re keeping our pipeline full.
How important is it for Dori Media to balance scripted and non-scripted formats?
It’s essential. Free-to-air broadcasters today are focusing more on entertainment—game shows, reality, news. Drama is increasingly moving to platforms: OTT, cable, satellite. To serve both, we must produce both. Whether it’s a pre-prime access game show like "La Subasta" or a primetime drama like "You Call Me Esther", we aim to cover the full spectrum.
Given how fast things are changing across platforms, how critical is flexibility in your business approach?
It’s absolutely critical. You need to adapt constantly—what worked last year may not work today. Drama takes time; sometimes it’s four to seven years from concept to air. So you commit to long-term projects knowing the market might shift. With teen drama, the cycle is faster, maybe three years. And with non-scripted, you have to keep innovating—new games, new formats, new angles. The only way to succeed is by staying flexible and always creating.