Javier Pons of Telemundo Studios: “We Have Identified 75 Titles from Telemundo’s Catalog for Microcontent”

Telemundo Studios has three operational verticals for its microcontent strategy: adaptations from its catalog, originals, and co-productions. Javier Pons, Chief Content Officer and Head of Telemundo Studios, told PRODU that he prefers to refer to the format as “microcontent” rather than just microdrama, as the goal is to cover other genres beyond fiction.

“A year and a half ago we began our journey into short dramas, what are now called microdramas. We saw an opportunity there to reach new audiences. Secondly, we saw an opportunity to turn a short-drama project into one of our long-form productions for the Telemundo screen. And third, it opened a new path and a new door for new voices. Those are the three key points we have been working on,” said Pons.

THREE OPERATIONAL VERTICALS

Pons explained that the first vertical in this strategy is transforming a group of titles from Telemundo’s “enormous” catalog, identifying at least 75 that could be adapted into microdrama format.

“You’ve already seen two of them: Diario de un Gigolo and Armas de Mujer, starring Kate del Castillo, which are set to launch on ReelShort, our current partner,” he commented.

The second vertical consists of originals. “We are experimenting with hybrid writers’ rooms, bringing together major creators from our biggest franchises and new creators from digital, theatrical, and alternative spaces,” he said.

The third vertical involves co-productions. “Our first co-production has been with VIP 2000. We’ve completed a series that is now in post-production about the love stories of the Bible—a genre that I believe has generated strong interest across all types of audiences for a long time,” he noted.

He added that Telemundo is learning a great deal from ReelShort. “It’s true that microdrama audiences have viewing habits and ways of engaging with content that are very different from what we are used to. But everything is a learning experience, and we try to absorb that learning not only for this format, but for all of our activity.”

He emphasized that the key attraction of the genre is the story. “It’s true that these formats are currently presented as very simple. We are looking for something slightly more sophisticated, but fundamentally it’s about a story that makes you fall in love, seduces you, and compels you to keep consuming it. From what I’m seeing economically, people are ultimately spending much more money than on any streaming platform. It’s a habit very similar to gaming.”

SHORT-FORM AS AN OPPORTUNITY FOR BRANDS

Pons said short-form content represents a major opportunity for brands.

“In the last five years, major global brands—across all sectors—have launched their own content because they have realized they are distribution platforms themselves. From luxury to mass consumer brands, they have already created short and longer stories, not necessarily formatted as microdramas, but they have had a first experience. And for microdrama—or short-form, as I prefer to call it because I want it to include all genres—it will certainly be an opportunity.”

THREE MAJOR SCRIPTED PREMIERES: LOBO, SIN SENOS AND EL SEÑOR DE LOS CIELOS

Pons said that this year Telemundo has three major scripted premieres: Lobo, Morir Matando, “a thrilling, fast-paced story based on a book by Mexican writer F.G. Haghenbeck”; followed by El Señor de los Cielos.

“We’re thrilled about Rafa’s return. It’s the natural cycle of bringing back the main protagonist of this franchise. The story comes with major surprises,” he said.

The third premiere is Sin Senos sí hay Paraíso, marking the return of Carmen Villalobos as Catalina Santana and El Titi, the iconic couple from the franchise, currently filming in Colombia. “It’s a co-production with Disney and TIS. We’re very happy.”

UNSCRIPTED PREMIERES

Pons also highlighted Telemundo’s major unscripted bets for the year: La Casa de Los Famosos, “our strongest franchise”; followed by Operación Triunfo, a highly successful musical talent format that will premiere after the World Cup. The network will also present Top Chef, the Telemundo adaptation of an NBC format, House of Villains, and Exatlón.

“It’s a year of innovation and risk—but calculated risk—based on very successful formats and very strong teams,” he added.

Regarding Operación Triunfo, he noted that it had only been produced in Argentina but never for the U.S. market.

“It’s the Latino and Hispanic American Idol, and we hope to produce our own ‘Aitanas and Bisbales,’ those major artists that the franchise has produced in Spain. The format was refreshed two years ago and has been airing on Amazon in Spain since then. We’ve incorporated all the updates and changes made to the format, while preserving its core conceptual pillars. Obviously, we’ll produce it in a different way and in Telemundo’s daily format—the original is not daily. We’ve created a very attractive and continuous concept that strongly connects with Hispanic audiences. Another opportunity to attract new audiences through music and young talent,” he concluded.