Just arrived in the post. Out now in hard and soft cover!

Spain's quota watchdog the CNMC has published statistics on the film and TV industry from 2023 and the report is full of interesting data, including this factoid: Netflix was the single biggest corporate investor in Spanish cinema that year. (1)

The big chart from the story though is APV's Top 10 non-English works from the 'last year' (which somehow includes 2025 and 2026 releases). As usual, no transparency about metrics or other parameters, but interesting nonetheless. (2)

But of course I am most interested in the impact of platforms, and there is a lot about this aspect of the industry (which only represents 14% of the overall volume of commissions in the region). Very interesting to see the geographical concentration of these investments. (3)

Now that is how to write a headline for a review of a straight to SVOD action comedy. Well done, THR.

Come for the "local content for local audiences" rhetoric and the vague promises of global success for Polish producers, stay to marvel at the shameless assertion that Nflix has no interest in commissioning anywhere else in CEE. (2)

And just LOL at this claim that seems like it was written by AI. I like Tucci just fine enough, but is he an expert in France and Italy? (3)

Methinks the global streaming platform's executive doth protest too much. (2)

Words to live by. Why do you think I started this account? 😂

Also, lol at the job title of Thomas Dubois, more evidence that APV, particularly in its intl operations, is an ad hocracy.

🚨Happy to announce my newest publication, an article in French Screen Studies on Amazon Prime Video's impact on French cinema. I have 50 free copies I can distribute, so be in touch by DM if you'd like to read it. (1)

Oh yeah and there was also mention of using Gen AI in The Eternaut to make low-cost VFX. While it is great to get such spectacle from a relatively small country in Argentina, the implications should be scaring the VFX community globally. (7)

And some notes on the content comments. Firstly, I'm glad to see KPop Demon Hunters get the spotlight, this will without a doubt go down as the co.'s biggest kids' movie ever and it is also playing constantly in my own home. Even as engagement falls, Netflix still moves all the cultural needles. (5)

The company reported 95 billion hours of viewing for the first half of the year, up about 1% from last year. This is now a trend, overall engagement is virtually flat, even as subs grow. This led to some analyst questions in the conference call. (2)

And in case you thought this might mean a strategic shift in the company's regional content strategy, think again. Poland will likely continue to be the regional hub for original commissions. (2)

Dying laughing at this bold vision statement for Apple TV+ from CEO Tim Cook. Apparently ATV+'s executives also work for my university.

I'm revising a chapter that comments on the use-value of these announcements, and part of my argument is that they are intended as part of PR effort to fight regulation. This piece will go directly into the chapter as it frames Spain as "investment friendly" as opposed to France. (2)

Very smart move from Netflix as it upstages HBO, presents itself as a virtual PSB, and gets the best kid's brand in the world.

Tired: Watching Conclave this week. Wired:

Love the points about hits from Mexico and Spain, the rapid decline of The Electric State, the ill-fated attempt to revive How to Sell Drugs Online (Fast), and others. But it is this insight about Netflix's increasing reliance on mini-series that chimes with some of my own research interests. (2)

And of course we had Nflix quarterly earnings last night, which are not nearly as fun without subscriber numbers. Still, funny to see the co. spotlighting its investment in the UK. Could be because of the popularity of Adolesence or maybe because the country is debating a streaming levy. 🤔

And if you ever needed evidence that the company - like many others - only engages in acts of cultural philanthropy as a way to lobby for lower regulation, see this passage in their letter to the French govt. (2)

Meanwhile, it is a boom time in French cinema with production near an all-time high, local market-share the envy of Europe and effective policy measures compelling the streamers to invest in films specifically. Truly a model for the continent.

Glad to see our European Cinema in the Streaming Era book made the list...I guess.

Very interesting quote here about content strategy at C+. Huge if true - pay-TV may continue to be the savior of the film industry - but is it? If C+ didn't have football rights, would subs stay to see French movies 6 months after their release? Do series not draw and retain subs? (2)

Always interesting to read Ampere's industry overviews. Particularly noteworthy in the latest one is Bisson's comments on the decline of direct-to-SVOD films and more bets on series, which he connects to the introduction of ad-supported business models. (1)

And sorry for ending on a pessimistic note, but overall NNE viewershp is still "below the median" in cinemas as well as on SVOD. (8)

Historians of European Cinema: Let's hope this Netflix remake of The Leopard will treat the original film with the respect it deserves. Netflix: The Leopard, you know, like Italy's answer to Downton Abbey...

These Euro remakes come in addition to yet another Witcher film, the 4th part of a South African franchise (Umjolo), a Japanese series sequel to the film Golden Kamuy, etc. @deduard.bsky.social has written about these IP-based strategies at Netflix, which are producing more and more works. (6)