Ignacio Meyer of TelevisaUnivision: “UNIMÁS Strengthens its Strategy with a More Aggressive Push into Reality Shows”

One of TelevisaUnivision’s priorities in the U.S. is the strategic boost they are giving to UNIMÁS, where programming has been revamped with a special focus on high-impact formats centered on game shows, reality shows, and true crime.

“These three genres drive conversation and social consumption, generate high engagement, and align with the network’s identity, which is somewhat younger and more multiplatform,” Ignacio Meyer, President of US Networks at TelevisaUnivision, told PRODU.

He added that within this overall strategy, the most important bet is ¿Apostarías Por Mí?, a 24/7 digital format. They are also expanding Quién Caerá, “which is a successful game show. Right now, Quién Caerá Kids is on air. And we have the return of CDI: Código de Investigación, a program developed by Univisión that we have a lot of faith in. UNIMÁS’s strategy is significant,” he emphasized.

REDEFINING THE ROLE OF BROADCAST TV

Meyer noted that although broadcast TV faces challenges, he believes it is also experiencing a “very positive moment.”

“What we’re doing is redefining the role of broadcast TV within this ecosystem where more video is being consumed than ever before—that’s the reality we’re living in. It’s a healthy industry because more video is being consumed, and we need to reposition roles,” he said.

He pointed out that successful TV franchises share two invaluable elements. The first is live content.

“Live content, regardless of genre, is still something TV offers in a unique way; it brings groups together to watch. That’s one key element,” he said.

The second element, he added, is content that—live or not—generates conversation.

“Today, that conversation typically happens through social media—what in English is called social currency. In other words, content that often happens live—sports and music are two major examples—and sparks conversation.”

He explained that for the company, this means being the home of soccer.

“We’ve had very strong properties like the Copa América, the Copa Oro, and Liga MX, where soccer drives massive audiences precisely because of its real-time nature and its social conversational impact.”

He added that Latin music continues to be a very important cultural bridge across generations.

“We have a lot of programming there, whether it’s award shows like Premio Lo Nuestro and Premios Juventud, or what we do with our radio programs, streaming, or podcasts. These shows also generate a lot of buzz when we bring together many stars, creators, and influencers, and help launch new artists as the stars of the future,” he said.

TWO MARKETS

Meyer explained that although TelevisaUnivision is centered in two countries—Mexico and the U.S.—they clearly recognize the differences between the two markets.

“The biggest difference, which is often overlooked, is that the Hispanic community in the U.S. is not monolithic or homogeneous. It is a deeply diverse community. While it’s true that more than 60% have Mexican origins, they coexist with audiences from the Caribbean, Central America, South America, and Spain. This creates a wide range of cultural references, values, and experiences, which also shape their behaviors.”

He stressed that this diversity requires authentic and broad representation in content development—from stories and characters to narratives and profiles—that organically connect with diverse audiences in both markets.

He added that Mexico today is also more diverse than it was a decade ago.

“We believe we have a strong competitive advantage in this regard because we now have a global audience research team that allows us to truly understand the core values in Mexico and the U.S., identify what they have in common, and integrate both realities into one strategy. A strategy for investment and content development with a global vision, regardless of platform. The differences are cultural, and the goal is to find common ground, develop it, and deliver content wherever the consumer is watching,” he said.

MICROCONTENT AS A KEY AREA OF EXPANSION

Meyer also referred to micro-soap operas and microcontent.

“We are very aware of this phenomenon, where consumption is becoming shorter, more mobile, and more social. One of our main areas of expansion in development has been precisely micro-soap operas and microcontent, which we are producing alongside new content creators,” he said.

He noted they have produced numerous successful “micronovelas” in vertical format on ViX.

“We’ve also started working with creators. In the U.S., we began last year and earlier this year with Alofoke on After Party, and now we’ll do more with him, La Casa de Alofoke. We’re also pushing a social-first strategy with initiatives like Watch Parties with influencers and digital series such as Probando Probando con Abel y Abelito, winners of La Casa de los Famosos. It’s an excellent series that has performed very well in digital environments and truly demonstrates the potential of these franchises when adapted to a digital-first approach.”

He cited the case of MrBeast, “the most important creator on YouTube,” with whom they have created a program called Road to Beast Cup to complement World Cup coverage. “This will illustrate how we are strategically entering the creator economy—blending content, sports, and social purpose. This content with MrBeast will bring together athletes and creators in a skills tournament and will also have a social component, where we’ll be able to refurbish soccer fields across the region. It’s content that clearly originates on social media, with one of the pioneers of large-scale content like MrBeast, and we will bring it to television,” he emphasized.