The entertainment industry currently finds itself in a logical loop knot that’s proving difficult to untangle. Rising production costs have led to an exodus of film and TV production from California, with states like Georgia and countries such as Croatia, Estonia and Belgium eagerly courting Hollywood business via generous tax incentives. That makes them attractive alternatives for cost-cutting studios. But there’s a catch: many of these international production offers require the creation of local language content to qualify for the juicy tax breaks. Sneaky, sneaky.
At the same time, the streaming landscape is facing a major dilemma. The U.S. and Canada market has become saturated, leaving little room for subscriber growth. As such, future growth is increasingly being driven by international audiences. For instance, around 70 percent of Netflix (NFLX)’s global subscriber base and roughly 80 percent of its quarterly additions come from international markets these days. Disney+ and Max are also seeing greater gains overseas than here at home.
The problem is that, while international audiences may be growing, they tend to have lower average revenue per user compared to North American audiences. In simpler terms, streaming services tend to make more money from North American subscribers than those in Latin America, Europe, Middle East, Africa and Asia Pacific. This creates a paradox worthy of a Christopher Nolan movie. To drive growth, streaming platforms must license and/or develop local language content for international markets. But to maximize profitability, they need that content to resonate with their more high-yield English-speaking North American subscribers that don’t consistently care for it. Something’s gotta give.
According to Nielsen, which tracks the top 10 most watched streaming TV originals in the U.S. each week, only 17 non-English titles have made it into a weekly Top 10 list this year so far (hat tip to Entertainment Strategy Guy). That’s a remarkably low hit rate, highlighting how difficult it is for non-English shows to achieve broad commercial success in the U.S. While American audiences are increasingly interested in foreign language content (more on that below), the path to sustained popularity remains as elusive as a sequel to Man of Steel.
Spanish shows dominate non-English content in North America
A deeper look at the data shows that Spanish-language content dominates. Of the 17 non-English titles that cracked the weekly top 10, eight were in Spanish. Other languages represented include Japanese (3), Portuguese (2), Korean (2), French (1) and German (1). This distribution underscores the role of established entertainment industries and large language communities in shaping global content. For example, there are upwards of 62 million Spanish speakers in the U.S., and countries like Japan, Brazil, South Korea, France, and Germany all boast mature entertainment industries.
In terms of genre, drama leads the way with 12 of the 17 titles, followed by unscripted (2), kids content (1), horror (1), and sci-fi (1). Drama’s dominance can be attributed to its versatility—crime dramas, historical epics, romantic stories, and action thrillers all fit within the broad umbrella of the genre. (Similarly, unscripted can cover news, reality, game shows, etc.). Shows like Money Heist, Griselda, and Tokyo Vice were standout examples of how high-quality drama series, with universal themes like crime and family dynamics, can resonate with U.S. viewers. Epic historical drama Shogun delivered the top-tier production value that Americans are accustomed to. Many of these shows boast high concepts and unique plot hooks.
Interestingly, no non-English comedy series made it into Nielsen’s top rankings in 2024. This isn’t a huge surprise, given that humor is often culturally specific and harder to translate across borders.
Even as the majority of non-English titles fail to break through in the U.S., American appetites for foreign language content are growing. Between Q1 2022 and Q3 2024, the demand share for non-English shows in the U.S. increased from 12.8 percent to 17 percent of total TV demand, according to Parrot Analytics, where I work as Senior Entertainment Industry Strategist. This is good news for media companies that want to eventually wean themselves off a complete reliance on costly domestic productions.
In terms of the specific content that has gained traction, kids animation and Japanese anime stand out. But since Japanese anime is an insular industry that can’t easily be entered or replicated by outsiders and kids animation is similarly broad yet specialized, we are going to exclude these genres moving forward. Having said that, their ability to resonate across borders thanks to improved subbing and dubbing technologies should not be discounted by entertainment companies.
Excluding these genres, we still see a broader range of languages represented among the 50 most in-demand non-English series in the U.S. thus far in 2024. Spanish-language series lead the charge, with 14 shows making the list, including seven of the top 10. Other languages include Hindi (8), Korean (6), Japanese (4), German (4), Arabic (4), Turkish (2), Bengali (2), Chinese (2), Danish/Swedish (1), Tamil (1), Greek (1), French (1). Interestingly, India’s entertainment output is making notable inroads into the U.S., with both Netflix and Amazon Prime Video featuring a growing library of Indian films and TV shows.
Among the genres, drama once again dominated with 19 of the 50 titles, followed by unscripted (16), sci-fi (6), dramedy (4), comedy (4), and fantasy (1). In particular, crime dramas, family dramas, historical dramas, and romantic dramas seem to be most successful in crossing cultural boundaries.
Spanish-language dramas like “Money Heist” and “La Usurpadora” have captivated audiences worldwide, showcasing the high production values and engaging storylines that make them so popular. These shows prove that Spanish-language content with elements of soap opera and crime thriller genres can have broad international appeal.
On the other hand, Korean dramas have been gaining traction in the U.S., with series like “Squid Game” and “Queen of Tears” resonating strongly with American audiences. Netflix reported that over 60 percent of its subscribers watched at least one Korean title last year, highlighting the increasing popularity of Korean content in the U.S. Drama remains a dominant genre in Korean TV shows, with unscripted variety shows and cooking reality shows also finding a niche audience.
In the U.S., Spanish language content, particularly dramas, accounts for a significant portion of TV demand. Spanish soap operas and crime thrillers are leading the trend, with “Money Heist” standing out as a flagship program. The versatile nature of drama makes it a successful genre for international shows, transcending language barriers to attract a diverse viewership. Spanish news and sports commentary also hold relevance in the U.S., showcasing the diversity of Spanish-language programming available.
As the entertainment industry navigates the growing demand for non-English programming in North America, the focus remains on striking a balance between international expansion and domestic success. By analyzing successful international genres like dramas, crime thrillers, and family-oriented stories, studios can make strategic content investments to cater to global audiences while resonating with U.S. viewers. This approach ensures that global growth does not compromise the appeal of local language shows, maintaining a strong foothold in both markets.
Ultimately, the key to success lies in understanding what resonates with audiences across different regions. Whether it’s a gripping crime drama from Spain or a historical epic from India, studios can make informed decisions about content investment to drive engagement and revenue. By adapting content to suit the preferences of diverse audiences, the entertainment industry can navigate the complex landscape of international programming and maximize its impact on viewers worldwide.
