Despite studios looking to sell more content to third parties, there are still localised challenges from studio integration. One such market is Sweden where high levels of vertical integration is present in 2024 with 60% of shows released by studios on their own service. Show Tracker reveals some of the the latest TV show distribution landscape in the market.
In 2022, Paramount and NBCUniversal launch their joint venture SVOD service SkyShowtime in Sweden. Since its launch, the two US studios have been prioritising the premieres of their new shows on the platform culminating in only one new show from each studio released on a third party service this year, UK drama ‘The Chemistry of Death’ and US comedy-drama ‘Based on a True Story’.
The presence of SkyShowtime shows a clear shift in premieres of Paramount and NBCUniversal shows. In 2022, around 30% of NBCUniversal shows were released on SkyShowtime followed by 19% on Telia-owned services. SkyShowtime holds an even bigger share with Paramount with approximately 50% of shows first premiered on the platform, while Viaplay takes the second spot for most releases with over 30% of shows premiering on the local SVOD. By 2024, third party activity has significantly decreased as around 80% of new shows from both US studios have gone out in the first window on SkyShowtime.
Taking a quick look at second windows in the market we can see an increase in the market from Free TV businesses. Swedish broadcaster SVT acquired US Star Original shows ‘The Dropout’ and ‘Dopesick’ from Disney in 2024. This continues the trend of Disney selling their Star Original content in the second window in multiple markets as well as Free TV broadcasters showing significant growth for Pay-Two acquisitions after SVOD overall.
Another notable buyer is Netflix, who is becoming more active in Pay-Two windows with multi-market acquisitions. Second window premieres from the global streamer tripled from last year as it released three new shows in 2024, including Max Original ‘Hacks’.
As local and global players respond to cost pressures and a relentlessly competitive market for SVOD in Sweden, it will be interesting to follow how first and second windows are sold and sequenced to maximise content revenues for distributors.
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