After taking a long break from acquiring third-party content, Netflix seems to be making a comeback in the first window acquisition space. The streaming giant, which once secured numerous global (ex-US) content deals, had shifted its focus primarily to producing original programming, leaving acquisitions mostly limited to major library titles.
However, data from Show Tracker indicates a significant uptick in Netflix’s acquisition activity during the 2023/24 season, particularly in both first- and second-window deals. This expansion comes alongside the debut of 36 English-language original productions within the same timeframe.
While Netflix’s multi-market acquisitions remain scarce—BBC Studios’ ‘A Good Girl’s Guide to Murder’ being a rare exception—the platform has picked up several first-window titles for individual markets. In the US, it secured ‘Boiling Point’ from BBC Studios and ‘Django’ from StudioCanal. Meanwhile, in Italy, Netflix acquired ‘Hacks’, a Max Original distributed by NBCUniversal.
The most notable increase in Netflix’s acquisitions has been in the second window, where it has licensed titles such as ‘Fire Country’ and ‘Yellowjackets' from Paramount across multiple regions, including EMEA, APAC, and the Americas. In the UK, Netflix has strategically focused on acquiring high-profile domestic series, such as ‘Big Boys’ from Fifth Season and ‘Maxine' from Abacus. Meanwhile, in the US, the platform added eight AMC titles to its lineup, sharing exclusivity for these with AMC+.
Netflix’s acquisition strategy isn’t limited to scripted series. The streamer has long aimed to be the go-to destination for the latest movies won through Pay-One movie deals. However, achieving a uniform global approach remains difficult, as many studios have either launched their own streaming platforms or locked in existing Pay-One agreements elsewhere. This results in Netflix’s film acquisition strategy varying significantly across different markets.
In 2024, Netflix released 47 English-language Netflix Original films but nevertheless saw a need to supplement these with more Pay-One acquisitions. Movie Tracker reveals that in Australia, the platform expanded its movie selection through a volume deal with Universal for its titles in the Pay-One window that is shared with local Pay TV provider Foxtel. Sony continues to be a key content supplier, striking volume deals with Netflix across several markets, including the US, Netherlands, India, and South Africa.
Netflix is also deeply engaged in the independent film sector, frequently acquiring titles to ensure a steady stream of fresh movies. In some regions, this approach is essential—for instance, in Canada, where major studio films are often locked into local volume deals or distributed via studio-owned streaming services due to vertical integration.
While Netflix never scaled back its first-window film acquisitions as drastically as it did with scripted series, it’s clear that the company is now selectively adding new series to its lineup while maintaining a high-volume strategy for films. Its approach varies by market, but distributors who previously ruled out Netflix as a buyer may want to reconsider—the platform is proving to be an increasingly viable option for international distribution.
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