Israel’s television industry continues to produce a wealth of new content and maintain strong viewership despite ongoing challenges tied to nearly three years of war and increasing anti-Israel sentiment internationally. Recent years have seen an influx of Israeli series garnering both domestic and global attention, including established hits such as *Fauda* and *Tehran*, alongside emerging shows spanning genres from comedy to psychological thriller.
Industry insiders, however, caution that the current vibrancy visible to audiences masks underlying difficulties. Danna Stern, a prominent television producer formerly with Yes Studios, described the sector as “extremely challenged,” noting a significant decline in commissioning new shows. According to Stern, orders for new productions have dropped by approximately 30 to 40 percent. “Viewers don’t feel it yet because they are still watching shows developed four or five years ago,” she said.
Meni Aviram, another seasoned producer known for *Bloody Murray,* echoed these concerns, emphasizing that the industry is contracting amid a broader international trend. Global streaming platforms and broadcasters are curtailing commissions as they prioritize profitability, favoring established franchises and in-house productions. Additionally, Stern pointed to Israeli government policies that could reduce public and regulatory support for local content, while international partners are reportedly becoming more hesitant to collaborate with Israeli creators amid growing cultural boycott pressures.
Despite these challenges, Israeli television remains robust on the viewer’s end. This season has included several high-profile releases addressing the aftermath of the October 7, 2023, Hamas attack, such as new episodes examining the massacre’s impact. The third season of *Tehran*, a Mossad-centered spy thriller that won an International Emmy for Best Drama, aired on KAN 11 and was streamed internationally on Apple TV. Its themes have gained renewed significance against the backdrop of ongoing tensions between Israel and Iran.
Other productions have similarly attracted both critical acclaim and broad audiences. *Checkout (Kupa Rashit)*, a popular supermarket-set comedy from KAN, has been licensed to Netflix and recently inspired a spin-off feature film. Series like *Bad Boy*, *Unconditional*, and several dramas and comedies produced by Keshet and Yes have also found international distribution through platforms such as Netflix and Apple TV.
At home, viewers have responded positively to a diverse slate of shows—ranging from black comedies like *Finders Keepers* to gritty dramas like *Hooligans*, and supernatural crime series such as *Nutuk*. According to Aviram, approximately 70 percent of Israeli productions now surpass the quality of many international offerings available on various platforms, reflecting Israeli creators’ ability to deliver compelling stories despite limited resources.
Although the industry’s future faces uncertainty, the current slate of programming continues to resonate strongly with audiences at home and abroad, maintaining Israel’s place on the global television map even as behind-the-scenes challenges persist.