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Turkish producer Onur Güvenatam founded Ogm Pictures in 2019, and has since shepherded a steady stream of hit series and movies such as drama “The Red Room,” the widely-sold “Golden Boy” and “One Way for Tomorrow,” the first Netflix original film out of Turkey.

For Netflix, Ogm has also made Turkish original film “Paper Lives” and the series “The Gift.” Güvenatam is at Mipcom with new shows “Stickman” (Çöp Adam), “Miracle of Love” (Yüz Yıllık Mucize), and “Broken Destiny,” (Toprak ile Fidan) being sold by his recently launched in-house sales company Ogm Universe.

He spoke to Variety about the secret to Ogm’s success, and vented frustrations about the business model imposed by U.S. streamers.

“Golden Boy” was the most-watched television drama last year in Turkey and has been sold to over 100 countries. Why does it connect so well with audiences?

It’s about two young sisters affected by marriage.

March brings breezes loud and shrill/stirs the dancing daffodil. Bit of poetry for you there. What Sara Coleridge fails to mention is that March also brings season seven of Brooklyn Nine-Nine to Netflix UK, more weekly episodes of Riverdale season five, a brand new sci-fi series from the creators of Misfits, a new film directed by Amy Poehler and a host of cool animated series.

The One (pictured above) is an eight-part British series created by Howard Overman about a near-future world in which a DNA test can track down your perfect partner. It’s adapted from John Marrs’ novel of the same name, and yes, has a strikingly similar premise to US anthology sci-fi Soulmates. Another fun new UK addition is The Irregulars, a period supernatural fantasy set in the Sherlock Holmes universe in which a bunch of ragtag kids not only have to save the world from darkness,...

Netflix has long since blown past the snooty preconceptions of the Hollywood elite that dubbed them as a mere streaming service, with the company currently churning out some of the most acclaimed shows on television and countless feature-length awards season contenders on an annual basis. The old guard tried to resist the inevitable paradigm shift for as long as possible, but based on both the quantity and quality of the in-house originals, Netflix can now comfortably be viewed as genuine rivals to the traditional major studios.

Of course, that takes a whole lot of investment, with close to $20 billion being funnelled into content last year, and that number only set to rise even higher. The Coronavirus pandemic may have decimated the theatrical industry, but Netflix has seen their subscriber count and viewership numbers continue to grow. Thankfully, then, a a massive number of original movies are coming to the platform this year,...