Atresplayer has found another route to Argentine audiences: including a selection of its series and programmes within a Flow subscription. The agreement between Atresmedia Internacional and Personal adds on-demand content to a relationship already covering the channels Antena 3, Atreseries, Atrescine and ¡HOLA! TV. It brings together two ways of distributing Spanish television, scheduled live programming and titles chosen from a catalogue, within the same operator's offer.
The arrival took place in September, according to company information reported by PRODU on September 29 and subsequently published on Atresmedia Internacional's website on October 6. The rollout is progressive: Flow will add a selection of fiction, entertainment, original productions and atresplayer premieres. The commercial opportunity involves opening another route for content already belonging to the Spanish company's audiovisual business, using the Argentine distributor's relationship with its customers.
The move follows a half-year in which Atresmedia reported €53.2 million in content production and distribution revenue, up 2.8% from a year earlier. That line includes atresplayer's paid video business, programme and series sales, international channel distribution and film. It describes the business context preceding September's agreement: a group combining advertising, direct subscriptions and third-party distribution to commercialise its productions.
The distributor's subscription as an entry point
Atresmedia's announced proposition goes beyond moving its linear channels onto another platform. Those channels were already present on Flow and remain in the offer. The expansion introduces a selection carrying the atresplayer name that customers can access within their subscription. The change concerns how content is reached: alongside programming broadcast at a particular time, there is a library from which viewers can choose titles for on-demand consumption.
Orestes Aja , director of Atresmedia Internacional, places the agreement within a strategic relationship with Personal. In the published communication, he explains that it combines a growing commitment to on-demand content with the strength of the group's linear brands. His stated objective is to reach new audiences through a catalogue that will continue expanding.
A library drawing on different stages of the business
The announced selection combines Gran Hotel, Velvet, El tiempo entre costuras, Sin identidad, Fariña and Presunto culpable with more recent productions. These names make the Atresmedia library tangible. The proposition is not expressed only as a large quantity of available viewing: it identifies works that can individually give someone a reason to explore the catalogue. That presentation matters in an on-demand environment, where the initial choice can be a particular series rather than a television channel or a place within a broadcast schedule.
The second announced group includes La novia gitana, La ruta, Santuario, Beguinas and Perdida. Their inclusion brings more recent work into the selection and connects the new distribution window with atresplayer's development as a content brand. Together, the two groups draw on several stages of the company's production activity rather than presenting only an archive of older titles.
The continued presence of Antena 3, Atreseries, Atrescine and ¡HOLA! TV serves a different function. The linear offer provides live news, fiction and entertainment; the catalogue lets the viewer select a particular production. Atresmedia Internacional describes their combination as an evolution of its Flow alliance. In product terms, the distributor retains scheduled programming while incorporating a library organised around individual titles.
The commercial environment receiving the selection
Personal's public offer, consulted in October, makes the distributor receiving atresplayer more concrete. Flow combines television, films, series, sports, music and children's content. Its website presents Flow Full with more than 150 television channels and access to Paramount+, alongside film rental and optional additional packs. The proposition brings together an included catalogue and supplementary products. Aggregation is part of the service's commercial structure as well as a way of organising entertainment, with different levels of access presented to the customer within the same product family.
Flow+ offers another version of that aggregation. The plan includes two subscriptions chosen from Netflix Premium, Disney+ Premium, HBO Pack, Pack Fútbol and Universal+, which customers can change every 30 days. That is a feature of the distributor's current offer, separate from September's announcement of an atresplayer selection within the Flow subscription. The product page makes package personalisation explicit: customers choose not only individual programmes, but also which services become part of their television and streaming offer.
The packs Flow offers are not interchangeable with a catalogue licence. Its documentation describes Pack Fútbol as two premium channels carrying Liga Profesional matches and round-the-clock sports programming; HBO Pack combines eight channels with access to Max. The atresplayer selection, by contrast, is announced as content within a Flow subscription. This architecture distinguishes the value of the incorporated series from an additional subscription purchase, without turning September's announcement into a promise of independent access to another application. The distributor markets different kinds of content entitlement within its product range.
The contracting journey also has an identified destination. Personal says customers choose packs and platforms through the Subscriptions section of Flow's application or webapp. Access to the application requires a contracted service and an account; people already using Personal services can sign in with their Mi Personal credentials. These are the distributor's documented product functions, rather than an assumed technical connection between independent atresplayer and Flow accounts.
The product documentation covers viewing through mobile applications, a browser, compatible televisions and a decoder. On a computer, customers enter through the browser; the Flow Android TV decoder brings access to Flow and other streaming applications together and has Chromecast built in. Personal lists Samsung televisions running Tizen 5.0 or later and LG sets with WebOS 5.0 or later, as well as compatible Android TV and Google TV devices. For phones and tablets, it specifies Android 9 or iOS 15 as minimum versions. The decoder adds access to applications downloaded from Play Store, 4K pictures and Bluetooth connectivity. The general service presentation also highlights pause, rewind and download functions. These are Flow’s current product capabilities, describing the distributor’s viewing environment; Atresmedia’s announcement identifies the selection being incorporated into its catalogue.
The distributor's product also contains its own originals. Its website highlights El método Scaloni, a documentary of three 30-minute episodes about the Argentine national coach and his technical team, featuring interviews and testimony from football figures. Personal presents it alongside series such as La llama que llama and El resto bien. The Spanish titles therefore enter an environment already using named productions to explain the offer to local audiences. Scheduled television, acquired fiction and original content all form part of the material through which Flow presents its service to prospective viewers.
Audiovisual access also connects with the operator's other services. Personal's information describes benefits for customers holding a mobile line alongside home internet or Flow under the same account ownership, including bill and shop discounts, WiFi Backup or additional mobile data. Management is concentrated in Mi Personal, which provides bills, online payments, contracted products and technical support. That is the Argentine partner's commercial setting: the atresplayer selection joins a product that can already be connected with connectivity services and customer support. This is a documented feature of Personal's current customer proposition.
The direct business and the platform business
Atresmedia's January–June 2026 results place that coexistence within its business model. The company explicitly includes atresplayer premium B2C and B2B revenue in content production and distribution. The first term describes business with consumers; the second covers business between companies. Incorporation into Flow belongs to the strategy of distribution through a partner, while the Spanish platform retains its subscription business and its own original and exclusive content proposition.
In the half-year report published on July 23, atresplayer premium had passed 760,000 subscribers. The group accompanied that figure with titles premiered during the year: Padre no hay más que uno, Rafaela y su loco mundo, the second season of Entre tierras, La nena and the thriller 33 días. This describes the direct offer at that time, separately from the specific selection announced for Flow.
The report also includes production and distribution of channels for pay-TV platforms in Europe and the Americas. That is Atresmedia Internacional's activity, sharing a revenue category with paid video and other content sales. The structure explains the agreement's emphasis on retaining linear channels. They are an existing part of the international business on which the new on-demand offer is developed.
Visitors, accounts and viewing on the owned platform
The half-year digital indicators describe several dimensions of that business. According to Comscore figures reproduced in the report, the Atresmedia group averaged 21.2 million unique visitors from January to June and ranked tenth among Spain's most-visited sites. For atresplayer, the document reports an average of 2.5 million unique visitors. The first figure concerns the audiovisual group's internet presence; the second refers to its online video platform.
Registration is another relationship with the platform. The report puts atresplayer's registered users above 18 million in June 2026, alongside its more than 760,000 premium subscribers. A visitor, a registered account and a subscription describe different connections with a service. Presented separately, these indicators show digital reach, an identified relationship and the paid product.
Video consumption supplies another perspective. In June, atresplayer reached almost 22 million viewing hours, up 6% from the same month a year earlier. This is a measure of time spent with video, giving a view of activity beyond account numbers. For a business investing in titles and opening distribution windows, content matters through both its ability to attract visits and the use it generates. The owned-service figure precedes the Argentine agreement and describes activity already taking place during the first half of the year.
Atresplayer's development also sits alongside Spanish linear television. The report attributes a 25.4% audience share to the group's channels in the first half, using Fifty5Blue data, and daily reach of 16.1 million viewers passing through its channels. These concern television consumption in Spain, in a different viewing and distribution environment. The digital catalogue and international channels belong to a company continuing to exploit scheduled programming as well as organising access to individual works on demand.
Distribution within a broader revenue mix
Content production and distribution generated exactly €53.248 million in January–June 2026, against €51.785 million in the same period of 2025. The report says the category covers domestic and international production and sales of programmes and series, atresplayer premium B2B and B2C, pay-TV channels in Europe and the Americas, and film activity.
In parallel, advertising revenue in audiovisual content was €386.241 million, compared with €391.436 million a year earlier, a reduction of 1.3%. That category comprises linear and connected television, atresplayer, digital channels, influencer marketing, owned websites and third-party editorial properties. The company sells advertising space across a wide range of media while also earning revenue from producing, selling and distributing content. The half-year shows different trajectories for those two revenue lines, with the production and distribution category growing as audiovisual advertising declined.
Two audiovisual revenue lines moving differently
Revenue changes in January–June 2026 against January–June 2025, according to Atresmedia’s half-year report. Both categories belong to the group’s audiovisual business.
Tap or hover for details. All values are also available in the data table.
Collapse notes
Changes in aggregated revenue lines. The period ends before the Flow distribution agreement and does not measure its outcome.
Explore the data table
| Category | Year-on-year change |
|---|---|
| Content production and distribution | 2.8% |
| Audiovisual content advertising | -1.3% |
The group recorded total net revenue of €520.0 million, up 2.6%, with €481.2 million in its audiovisual business, an increase of 2.7%. Radio is the other main activity in the consolidated report.
From an owned premiere to the sale of a production
International distribution also develops through agreements for individual works. An Atresmedia communication dated October 15, after the Flow announcement, details sales of Las hijas de la criada to Portugal's RTP, Ireland's TG4, Finland's YLE, Romania's Antena Group and Croatia's HRT. The series adapts Sonsoles Ónega's novel and stars Verónica Sánchez, Carlota Baró and Alain Hernández. These are identified destinations for a production, another commercial format alongside channel distribution and the atresplayer selection made available through the Argentine partner.
The same communication traces its release windows. Atresmedia places Las hijas de la criada's atresplayer premiere before its Antena 3 broadcast and the international agreements. It also describes the second season of Entre tierras, shown on atresplayer during the spring before its announced arrival in Antena 3's prime-time schedule. The route incorporates paid services, free-to-air television and foreign buyers, with particular titles and partners identified at each stage. Individual productions can therefore move through different commercial opportunities, rather than the entire library being offered through one uniform sequence of releases.
Other fiction reached Cannes at different stages. A la deriva, starring Paula Echevarría, Daniel Grao and Michel Noher, was releasing new episodes every Sunday on atresplayer according to October's communication. Ágata y Lola is described as a police procedural and Trazos ocultos as an emotional thriller. For these productions, Atresmedia reports interest from operators in Europe, the Middle East and Latin America. Its communication distinguishes those commercial presentations from the sales identifying specific buyers for Las hijas de la criada: international promotion covers both named agreements and discussions around new productions.
At the Cannes market, the company also reported continued international distribution for Sueños de libertad: HBO Max in Latin America and Brazil, TV3 in Latvia and Lithuania, Happy Channel in Romania and TVP Play in Poland were among the named outlets. The MIPCOM communication describes Atresmedia Sales working with buyers of productions; the Flow announcement concerns Atresmedia Internacional's relationship with Personal.
The half-year report records the international channels' scale separately: 59 million subscribers, up 11% from the previous first half. Flow was already an environment carrying those linear brands. Adding an on-demand selection expands the product in that relationship through titles viewers can choose. Alongside it, the named sales of individual productions illustrate another route for commercialising Spanish content abroad.
Who's who and how to read the figures
Atresmedia Internacional develops the overseas distribution business of Spain's Atresmedia Corporación de Medios de Comunicación, S.A. Atresplayer is its online video platform and has a paid premium offer. Personal is the Argentine partner and Flow the service incorporating the selection. Orestes Aja heads Atresmedia Internacional. B2C means business with consumers and B2B business between companies. Visitor, registered-user, subscription, viewing-time and revenue figures come from the January–June 2026 report; the distribution agreement followed in September. The 59 million concern international channel subscriptions, a separate measure from the digital subscription product.
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Marian Vasile
Marian Vasile is a MarTech and growth professional. His work spans product marketing, SEO, paid advertising and deep online tracking, including behavioral analytics and attribution.
