A shiny graph showing you from which countries Netflix’s content comes

The EU’s currently proposing a mandate for online services including Netflix and Amazon Prime to include more EU content. If this means more continental European content on Netflix and Amazon, I’m all for it. If it means more UK content, boo!

Anyway, the proposals include:

  • Allowances for member states options to impose financial contributions to on-demand services.
  • On demand service must ensure that a minimum share of European content is represented.
  • On demand services must also give European content ‘prominence’ meaning changes to user interfaces and recommendation engines.
  • Small companies “with no significant presence” and social media sites should not be subject to changes.
  • Provisions were also added increasing measures to protect minors from harmful content.

Where does Netflix’s content currently come from, though, you might ask? Here’s a graph. It’s sort of a graph anyway. I think it would have taken about three seconds’ thought to come up with a way of making it clearer, though.

But the general gist is that on the right-hand side, you can see in descending order of hours of content the countries producing the TV and movies on Netflix; in case your grasp of EU member states needs help, the grey and blue lines are an attempt to show you which are non-EU countries and EU countries respectively.

It’s not hugely surprising, given the strength of all the different countries’ respective media industries and Netflix’s English-language bias, but I’m surprised Turkey at least didn’t manage to hit the list at all.

Graph: Netflix Content by Origin (duration) 

Source: IHS Technology

  • Mark Carroll

    Can anyone summarize the most interesting findings? The image link seems broken for me!

  • JustStark

    It's broken for me now too, but from memory when it wasn't, the USA was the biggest content source with not quite as much as the rest put together, then the UK, then Canada, then loads of others with very tiny shares.

    I don't understand why any quota rules should be needed; unlike in the US where Americans simply won't on the whole watch anything not in English, the success of Channel 4 and BBC4's subtitled strands shows that translated programming can succeed in the UK if it's good enough; and of course other European countries are used to getting their stuff in translation.

    So the only possible reason for a quota rule would be to force Netflix to carry inferior content just because it's produced within the EU, which is protectionism pure and simple.

  • Mark Carroll

    That sound fair enough to me. It was nice Netflix had Spiral, maybe still do, but apart from things like The Bridge, the good foreign-language stuff I've liked has been Israeli and Japanese and such. Thank you very much for the summary: mostly us and North America, huh?

    I read the subtitles even for English-language shows so foreign is just fine. (-:

    So you think we don't see much other-EU stuff now because it's mediocre rather than because it's otherwise hard to sell? The success of the Scandinavian crime/politics stuff indeed suggests there's a way that BBC4 at least can get the British to watch decent foreign drama.

  • Naughty IHS seem to have taken down the graph, so I've downloaded it from elsewhere and replaced the original. You should all now be able to view it fine and even be able to click on it to make it larger

  • IMO (and experience), most TV is rubbish, but most countries don't produce very good TV. The US and UK seem to be top dogs in terms of producing reasonable amounts of good TV, with other countries such as Australia and Canada producing small amounts. What good TV we get from overseas is very much the cream of the crop that some nice acquisitions manager has had to sit through hours of crud to locate. Even so, they're starting to run dry, as Walter Presents will show you, although there are notable omissions here and there.

    However, it's only when you sit down with an actual TV schedule from any given country that you realise firstly how much they import from the UK and US, secondly how little original scripted content is made, and thirdly just how rubbish most of what gets made is. That's true even of the US – sit down with the HBO schedule and you realise how little good, original stuff is actually on it. I've yet to see a good Norwegian TV show, too.

    I find Netflix UK is actually very good for non-EU TV shows, particularly Turkish and Asian shows, but also Australian, Danish, Canadian et al.

  • JustStark

    Looks like I misremembered: the US actually has over 50% (though in my defence, the way the right-hand-side is laid out makes it difficult to compare).