Studio SVOD services by their very nature have become the first stop for most US studio content across most markets in EMEA where they have had a prominent multi-year presence. However, Show Tracker reveals that more titles are being licensed to third parties after an initial debut on Studio SVOD. Across EMEA, second-window acquisitions rose from 45 in 2023 to 56 in 2024 and 75 in 2025, as studios looked to keep monetising titles once their own period of exclusivity had passed.
Markets: DEU, ESP, FRA, ITA, NET, POL, SWE, UK, ZAR
Netflix has been the standout buyer. It increased from seven acquisitions in 2023 to 18 in 2025, with Paramount a particularly active seller. Deals are often multi-market: 1883 moved to Netflix across five markets, while Lioness and 1923 also travelled across several territories. That pattern is continuing in 2026, with titles such as Lawmen: Bass Reeves, Love & Death and The Staircase finding new homes on Netflix after their studio SVOD runs.
Amazon Prime is playing a similar, if more selective, role. Its activity rose from three acquisitions in 2024 to nine in 2025, with Paramount again a key supplier. Knuckles moved to Prime across Germany, Italy and the UK, while 2026 deals so far include Tulsa King, Claws, Heels and Pam & Tommy. Amazon’s buying is more title-by-title than Netflix’s, but it is becoming another reliable route for second-window licensing.
Broadcasters remain important too, particularly when Free TV and BVOD are viewed together. Many acquisitions acquired for Free TV are effectively BVOD plays, with titles appearing on services such as SVT Play, TV4 Play and M6+ with enhanced catch-up rather than solely on a traditional linear window. The same is true in the UK, where ITVX has become one of the most active buyers in the market, including a sizeable package of Disney titles such as Andor, The Bear and Only Murders in the Building as part of its Taste of Disney+. More Disney titles have continued to arrive and leave ITVX periodically throughout 2026.
Pay TV has not disappeared either. Operators including Magenta TV (Germany), Movistar+ (Spain) and Ziggo (Netherlands) remain regular buyers, while 2026 has already seen titles including Station Eleven, Suits: L.A. and Pitch Perfect: Bumper in Berlin move into Pay TV windows. These services may once have expected to get this kind of content earlier, before studio SVOD launches reshaped windowing. They are now finding a role further down the chain.
The broader picture is clear: Studio SVOD exclusivity is becoming one stage in a longer lifecycle. Once that first window has done its job, titles are increasingly being opened up again to Netflix, Amazon, broadcasters, local SVODs and Pay TV - extending both reach and value well beyond the studio’s own platform.
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