The entertainment industry is currently caught in a complex web of challenges that seem increasingly difficult to navigate. With production costs on the rise, many film and television projects are moving away from California, seeking more favorable conditions in states like Georgia and countries such as Croatia, Estonia, and Belgium, all of which are luring Hollywood with attractive tax incentives. However, there’s a catch: to take advantage of these financial benefits, studios often need to create content in the local language. It’s a clever tactic, but it complicates the landscape.
Simultaneously, the streaming sector faces a significant conundrum. The market in the U.S. and Canada has reached saturation, leaving little room for subscriber growth. Consequently, the momentum for future expansion is increasingly reliant on international audiences. For example, approximately 70 percent of Netflix’s global subscribers, and around 80 percent of its quarterly growth, now come from international markets. Other platforms like Disney+ and Max are also experiencing more substantial growth overseas compared to their domestic performance.
However, this situation presents a paradox: while international audiences are expanding, they generally contribute less revenue per user compared to North American subscribers. In straightforward terms, streaming services earn more from their North American subscribers than from those in regions like Latin America, Europe, the Middle East, Africa, and Asia Pacific. This creates a dilemma akin to a plot twist in a Christopher Nolan film. To foster growth, streaming services must either license or produce local content for these international markets, yet the same content must appeal to their more lucrative English-speaking North American audience, which may not always be interested. It’s a balancing act that requires careful navigation.
According to Nielsen’s tracking of the weekly Top 10 most-watched streaming TV originals in the U.S., only 17 non-English titles have made it into this list so far this year (thanks to Entertainment Strategy Guy for the insight). This low number illustrates the significant challenge non-English programs face in achieving widespread popularity in the U.S. Despite a growing interest among American viewers in foreign-language content (as discussed later), the road to consistent success remains as elusive as a sequel to Man of Steel.
Spanish-Language Shows Lead Non-English Programming in North America
Digging deeper into the data reveals that Spanish-language programming is at the forefront. Out of the 17 non-English titles that reached the weekly top 10, eight were in Spanish. The remaining titles included three in Japanese, two in Portuguese, two in Korean, one in French, and one in German. This distribution highlights the influence of robust entertainment industries and sizable language communities on global content trends. For instance, the U.S. is home to over 62 million Spanish speakers, while countries such as Japan, Brazil, South Korea, France, and Germany boast well-established entertainment sectors.
When examining genres, drama takes the lead with 12 out of the 17 titles, followed by unscripted content (2), kids programming (1), horror (1), and sci-fi (1). The prevalence of drama can be attributed to its versatility—ranging from crime stories and historical narratives to romantic plots and action-packed thrillers. Similarly, unscripted content encompasses news, reality shows, and game shows. Titles like Money Heist, Griselda, and Tokyo Vice exemplify how quality drama series, featuring universally appealing themes such as crime and familial relationships, can connect with U.S. audiences. The historical drama Shogun also showcased the high production values that American viewers expect. Many of these series are characterized by intriguing concepts and distinctive narratives.
Interestingly, no non-English comedic series appeared in Nielsen’s top rankings for 2024. This is not entirely surprising, given that humor is often culturally specific and can be challenging to translate effectively across different audiences.
Despite the struggles many non-English titles face in breaking into the U.S. market, American interest in foreign-language content is on the rise. Between Q1 2022 and Q3 2024, the demand for non-English shows in the U.S. increased from 12.8 percent to 17 percent of total TV demand, according to data from Parrot Analytics, where I serve as a Senior Entertainment Industry Strategist. This trend is promising for media companies eager to diversify beyond their traditional reliance on expensive domestic productions.
Focusing on specific content that has gained traction, kids’ animation and Japanese anime stand out. However, as Japanese anime operates within a closed industry that’s difficult for outsiders to penetrate, and kids’ animation is both broad and specialized, we will set these genres aside for now. Nevertheless, their ability to resonate across cultural boundaries, thanks to advancements in subtitling and dubbing, remains significant for entertainment companies.
Excluding these genres, we still observe a diverse range of languages represented among the 50 most in-demand non-English series in the U.S. so far in 2024. Spanish-language series lead with 14 shows in total, including seven within the top 10. Other represented 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), and French (1). Notably, Indian entertainment is making significant strides in the U.S., with both Netflix and Amazon Prime Video expanding their libraries of Indian films and TV shows.
Once again, drama dominates among the genres, with 19 of the 50 titles categorized as such, followed by unscripted content (16), sci-fi (6), dramedy (4), comedy (4), and fantasy (1). In particular, crime dramas, family dramas, historical dramas, and romantic dramas appear to be most successful in transcending cultural barriers.
Spanish-language dramas such as “Money Heist” and “La Usurpadora” have won over viewers globally, demonstrating the high production values and compelling narratives that contribute to their widespread appeal. These series highlight the potential for Spanish-language content, particularly those that blend elements of soap operas and crime thrillers, to resonate on an international scale.
Korean dramas, too, have made significant inroads in the U.S. market, with series like “Squid Game” and “Queen of Tears” striking a chord with American audiences. Netflix noted that over 60 percent of its subscribers engaged with at least one Korean title last year, underscoring the growing interest in Korean content. The drama genre remains predominant within Korean television, although unscripted variety and cooking shows are also carving out their own niche.
In the U.S., Spanish-language programming—especially dramas—commands a notable share of TV demand. Spanish soap operas and crime thrillers are at the forefront, with “Money Heist” emerging as a flagship title. The inherent versatility of the drama genre allows it to overcome language barriers, appealing to a wide range of viewers. Spanish-language news and sports commentary also play a vital role, reflecting the diversity within Spanish-language programming.
As the entertainment industry adapts to the increasing demand for non-English programming in North America, the challenge lies in balancing international outreach with domestic success. By carefully analyzing successful international genres such as dramas, crime thrillers, and family stories, studios can make strategic investments that cater to global audiences while still resonating with U.S. viewers. This strategy ensures that the pursuit of global growth does not undermine the popularity of local-language content, maintaining a strong presence in both markets.
Ultimately, understanding audience preferences across different regions is crucial for success. Whether it’s a gripping crime drama from Spain or a sweeping historical epic from India, studios can make informed choices about content investments to drive engagement and revenue. By customizing content to fit the tastes of diverse audiences, the entertainment industry can effectively navigate the intricate landscape of international programming and enhance its impact on viewers worldwide.
