Diego Ávalos and the Global Impact of Spanish Originals on Netflix

Nearly a decade has passed since Diego Ávalos took a leap of faith in joining Netflix and now the “guru of content” finds himself in the driver’s seat behind Netflix Spain, Portugal, and the Nordics. As vice president of content, Ávalos has been laser-focused on increasing the streaming company’s audience worldwide with a special affinity toward cultivating authentic, non-English content that resonates with audiences not only in Spain, but across the globe.

In 2015, Netflix waltzed into Mexico, offering its first Spanish-language original, Club de Cuervos (Club of Crows). It was a hit — but it only whetted viewers’ appetites for more. The service yearned for content tailored specifically to Spanish audiences. The answer? Cable Girls, a captivating period drama filmed in Madrid and Netflix’s first Spanish original production. This groundbreaking series earned several accolades, including the Ondas Award for Best Fiction Web Series or Online Show in 2017.

The hunger for homegrown content was real, and Ávalos knew that the Spanish market had more untapped potential. Then came the game-changer in late 2017 — the acquisition of the streaming rights to Money Heist (La Casa de Papel), a gripping series created by Álex Pina. The show’s immediate international success paved the way for Netflix to finance three more seasons, propelling Money Heist to the title of Netflix’s most-watched non-English program by 2018.

Despite having grown up without a television and avoiding social media for personal use, Ávalos’ strategic genius shines through when using both platforms to capture audiences. “Before technology, fandom would be very micro,” he muses. “It’d be in your neighborhood, in your community. Now with fandom, you can connect with somebody who has more in common with you in a different country than being your neighbor. That is thanks to the internet, and thanks to technology.

“It has made stars more connected to their fans. That also creates more attention, from being able both to create more moments of connection with them, but also as it relates to bringing eyeballs to whatever those people may be working on.”

Money Heist Steals the Show

Aware of the power of fandom, Diego Ávalos has doubled down on Money Heist, with Netflix and Pina inking an exclusive global deal, ensuring more Spanish-language programming will be produced in Spain. The agreement covers spinoffs for Money Heist, of which Berlin is to be the first, as well as a Korean version of the show. Another upcoming project being pursued by Netflix Spain is a series inspired by the pandemic and bunkers that are being built throughout the world.

While Ávalos has won over Netflix stakeholders with his mantra of made in Spain, for Spain, the data reveals more widespread penetration and global appeal for Spanish-language content. Part 5 of Money Heist was viewed by over 69 million Netflix households worldwide, earning a place on the Top 10 lists of 92 countries, including France, Germany, and Australia.

Shortly after the release and success of Money Heist, Netflix opened its Tres Cantos studio in Madrid. The studio has housed some of Netflix’s largest productions from Spain, featuring hits like Élite, La Noche Más Larga, Valeria, and Fuimos Canciones. Since the debut of Netflix’s initial Spanish production, 2016’s Cable Girls, these stages have not only hosted remarkable shows but have also generated more than 10,000 job opportunities and collaborated with over 40 local production companies.

Reimagining Spanish Content for a Worldwide Viewership

As Diego Ávalos helms the ship for Netflix in Spain, Portugal, and the Nordics, his vision stretches far beyond regional boundaries. He’s a staunch advocate for Spanish-language content, not just in Spain but across the entire Spanish-speaking world. His mantra is clear: “We have to prime local elements with a local vision.”

This philosophy extends to Netflix’s involvement in movies and series produced in Mexico and scattered across Latin America. Ávalos knows that culture and language are powerful bridges that can transcend borders. He also understands that these stories offer unique insights into diverse cultures, giving global audiences a window into worlds they might otherwise never encounter.

Ávalos is brimming with optimism, foreseeing an even brighter future where Spanish-language content is celebrated not only in Spanish-speaking territories but also around the world, heralded for its exceptional talent and storytelling.

A perfect case in point is the creation of Someone Has to Die, a limited series that thrusts viewers into 1950s Spain during the Francisco Franco era. With three gripping episodes, this show was produced and crafted right in Spain by the talented Manolo Caro.

In a recent interview, Diego Ávalos passionately declared, “English and Hollywood no longer dominate the world, and Spain is now at Hollywood’s level.” Netflix is setting out to cultivate a treasure trove of talent across Spanish-speaking regions, breaking free from the constraints of any one country.