What does a good series need, and what kind of culture does it take to make one? Nadine Lewerenz, Head of Studies of the Winterclass Serial Writing and Producing, talks about her own passion for watching series, this year's programme priorities, and why the exchange between master's students and experienced media professionals is so valuable for both sides.
1. What drew you to series?
Watching them, without a doubt – long before I'd ever considered going into the film industry. Shows like "Friends", "Ally McBeal" and "Grey's Anatomy" completely captivated me at the time.
What I still love about series today is the time you have to really explore characters, their psychology, ensemble dynamics and entire worlds. Whether it's told over a shorter arc, as in a miniseries, or across many episodes or even years, that kind of storytelling fascinates me endlessly.
2. You come from the industry yourself and are now shaping a programme that passes on exactly that hands-on experience. What of your own background flows into the Winterclass?
Since we have such high-calibre speakers sharing their valuable knowledge with the group, I tend to keep my own experience in the background. What does flow in, though, is my perspective on what good series need, and above all my attitude towards the culture in which they should be made. Open and transparent exchange, trust, loyalty and collaboration on equal footing matter a great deal to me: having strong allies, bringing different perspectives together, and genuinely building a team.
3. As Head of Studies, you're responsible for the content and direction of the Winterclass. Which priorities were particularly important to you this year?
I'm always driven by curiosity about "how it's done". Every project is unique, and that's exactly what makes it exciting. That's why, once again this year, the programme includes many case studies, so participants can learn from the concrete experience of wonderful colleagues.
Another major focus remains showrunning, and the question of how we can further strengthen and live out the showrunner principle here.
At the same time, the possibilities of storytelling are changing rapidly, driven by AI as well as by shifting market and financing conditions. That's also changing our understanding of how series creators work. I'm interested in how we can make use of these new possibilities, and what series need today to hold their own in a very different market.
4. The Winterclass brings together selected master's students and media professionals in a shared format. What makes this combination so special, and what value does it offer both groups?
The students bring new perspectives, a different energy and different questions; the professionals bring experience and insight into how things actually work in practice. It's exactly this exchange that so often produces engaged, open groups, fascinating conversations and new insights, and not least, close connections between emerging talent and established professionals.
5. There's a lot of movement in the series market right now. Which developments have particularly occupied you this year, and how do they find their way into the programme?
What I'm thinking about most is how the changing market and viewing landscape is affecting development, formatting, financing and the realities of production, and of course how we help the great series being made find their audience. Our speakers work on exactly these questions, and we'll be looking at them from a range of perspectives: from creators and producers through to broadcasters and streamers.
6. Who would you especially recommend the Winterclass to?
Everyone.
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The Winterclass Serial Writing and Producing brings together selected master's students and film professionals every year to work on new series material and the challenges facing the industry.
The application deadline for Winterclass 2026 is 2 October 2026. The programme is held in German.