Globo invests in content, advertising, technology in multiplatform plan

On the night of December 24, 1988, Christmas Eve, one question captivated Brazil: “Who killed Odete Roitman?” The episode revealing the villain’s murder in Vale Tudo, Globo’s prime-time soap opera at the time, reached a historic audience milestone and fueled weeks of national debate—in an era with no internet, social media, or streaming. Mobile phones would not even arrive in the country for another two years. Now, in the digital age, and despite expectations, the death of the billionaire in the Vale Tudo remake once again caused a stir. The episode hit a record audience on streaming service Globoplay—132% above the average viewership for previous episodes—triggered more than 200,000 Google searches, and topped X (formerly Twitter) trending topics for five hours globally and 14 hours in Brazil.

Vale Tudo was one of the highlights presented at Upfront 2026, Globo’s main annual event for the advertising market, held Monday night (13), in São Paulo. In addition to previewing new programming and advertising formats, Globo emphasized the value of Brazilian content created for Brazilian audiences and its multi-platform approach, encompassing broadcast and pay-TV, streaming, and digital channels, offering both linear and on-demand, paid and free options. According to Globo’s leadership, this ecosystem positions the brand at the center of both consumption and influence, enabling the company to turn media products into cultural phenomena.

“Our vision is long-term, based on principles measured not in quarters but in decades. This perspective creates an environment where talent flourishes and where brands and the industry grow stronger,” said CEO Paulo Marinho, on stage at the event.

Mr. Marinho celebrated the centennial of Grupo Globo and the 60th anniversary of TV Globo, both marked this year, as well as the 10th anniversary of Globoplay, a local streaming service capable of competing with international giants. He also mentioned the inauguration of Latin America’s largest virtual production studio and upcoming innovations such as DTV+, in addition to highlighting the recent acquisition of OOH media company Eletromidia, now part of the group.

“At Globo, we meet to be informed, entertained, connected, and to talk. Conversations spark more conversations, which create curiosity, gossip, and more conversations,” he said. “Vale Tudo is the latest meme sensation, one of the most talked-about topics in Brazil, and that’s not to mention the massive audience.”

The new version of the telenovela reached 150 million people on TV Globo, becoming the most-watched show among young viewers (aged 18–34) on Brazilian television, and creating strong engagement between brands and audiences. Brazil’s historic and luxurious Copacabana Palace, where the villain is killed in the storyline, even released a fictional “official statement” on the case, while brands such as Omo, Subway, Dove, Zé Delivery, and iFood launched marketing campaigns inspired by the mystery—leading to record advertising revenues tied to the show.

On October 11, fans gathered outside the Ventura Corporate building in downtown Rio de Janeiro—used as the exterior set for the Roitman family’s aviation conglomerate, TCA—dressed as the billionaire character, singing and dancing in a tribute dubbed “Débora Bloco,” honoring actress Débora Bloch, who plays the protagonist.

“How did we reach 100 years? By doing exactly this,” said Manzar Feres, Globo’s chief business officer, in an interview with Valor. “Our deep understanding of the market and careful monitoring of social trends allow us to grasp what Brazilians are thinking and drive conversations across every social and demographic segment.”

In 2025, Globo reached 196 million people across all platforms, with viewers spending an average of 3 hours and 46 minutes per day, the highest engagement in the past decade. At the same time, Globoplay became Brazil’s most engaging streaming service, with users spending 2 hours and 8 minutes daily, more than on YouTube or Netflix. Approximately 30 million people consume Globoplay content each month.

The network also spotlighted its strong tradition in sports broadcasting, announcing the return of Formula 1 to Globo in 2026, backed by an extensive multiplatform production setup.

Even without some of the exclusive rights it historically held, Globo has maintained audience leadership in soccer coverage. During the FIFA Club World Cup, its broadcasts on TV Globo and pay channel SporTV reached 130 million people, 101 million more than CazéTV’s audience online. In the 2025 Brazilian Championship, whose rights are now shared among Record, Prime Video, and CazéTV, 50 million fans followed the matches exclusively on Globo platforms, including TV Globo, SporTV, Premiere, and ge tv, a free sports channel launched in September. Available on Globoplay, TikTok, YouTube, and the ge.globo portal, ge tv attracted 13 million viewers and 457 million views in its first month.

“It’s not just about airing games. We know how to deliver sports as a platform, just as we do with news and entertainment. We’re constantly testing our ecosystem strategy,” Ms. Feres said. She added that ge tv provides advertising opportunities for smaller brands seeking access to mass media.

Globo also plans to expand two new content formats that allow advertisers to explore different commercial integration models. The first involves short vertical videos, designed for mobile viewing. Globo already produces more than 3,000 clips per month for apps and websites such as ge, gshow, and Receitas (culinary videos). On g1, more than half of all video consumption now happens in this format, which will soon extend to Globoplay and Globo’s social media channels.

The second format is microdramas, ultra-short soap operas made for mobile devices. The first launches are scheduled for later this year. On TV Globo, “Tudo por uma Segunda Chance,” starring Jade Picon, will feature 50 episodes of two to three minutes each, available free on social media. Produced by Estúdios Globo, the format will also reach Globoplay, where Cinderela e o Segredo do Pobre Milionário, starring Gustavo Mioto and produced by Formata, will premiere with 50 episodes of up to two minutes each, using paid models.

Established advertising formats are also gaining new tools. Pause Ads, launched two years ago and exclusive to Globoplay, display ads when users pause their content. The format will now allow full-screen video playback for greater impact while maintaining a non-intrusive experience.

DAI (Dynamic Ad Insertion), available for three years, enables different ads to be shown to viewers during the same commercial break, based on user profiles. Viewers must be watching Globo’s programming or online via Globoplay. Profiles are built using data from Globo ID, the company’s single sign-on system.

Now, with integrated media and behavioral data, advertisers can track the precise impact of each campaign in DAI through more granular measurement tools. “This was something the advertising market had been asking for a long time,” Ms. Feres said.

Globo is also preparing to enter the next frontier in broadcasting: DTV+, also known as TV 3.0, a technology expected to radically change how television is produced, watched, and monetized. The bill establishing DTV+ was signed in August by President Lula.

The system merges conventional broadcast signals with internet connectivity, enabling interactive programming and technical enhancements such as 4K and 8K resolution, immersive audio, and t-commerce (television-based shopping). With a remote control, viewers will be able to replay a goal or buy clothing featured in a telenovela.

“DTV+ will gain real traction starting next year,” Ms. Feres said. Globo has already begun testing the technology in the Rio–São Paulo corridor, where the standard is operational. One example is the ‘Nu Explica’ project, in partnership with Nubank, focused on financial education. Using Globo’s ORA artificial intelligence system, the campaign integrated digital bank-branded content into Jornal Nacional commercial breaks, displaying economic indicators at the end of each segment. The project reached 83 million people and resulted in more than 300 contracts signed within 10 minutes of airing, with eight ad slots per broadcast block and interactive access to real-time data such as dollar, euro, and stock market updates.

To benefit from DTV+, consumers will need compatible TVs or converter boxes, meaning adoption will occur in phases. “We’ve begun talks with a TV manufacturer to ensure 3.0-compatible sets are available before the World Cup [which kicks off on June 11, 2026, in the U.S., Mexico, and Canada],” Ms. Feres said. “We’re also in constant dialogue with the market regarding the production of converters.”

This article was translated from Valor Econômico using an artificial intelligence tool under the supervision of the Valor International editorial team to ensure accuracy, clarity, and adherence to our editorial standards. Read our Editorial Principles.