Although Europe is still very much a fragmented audio-visual space of many nations and territories, there are also very clear patterns of co-production, creative collaboration and distribution. In this paper, we analyse which countries actually enter into creative or financial co-production networks based on data on TV-drama production and distribution among twelve countries. Not surprisingly we find regional and linguistic affinities in those networks, but some nations also come out with a very strong position in those networks, and across linguistic and regional divides. The paper provides a strong empirically grounded framework for the understanding of some of the basic structures behind mediated cultural encounters in Europe.