Last year, Warner announced its intention to licence HBO series to Netflix, starting with ‘Insecure’. Show Tracker reveals that this is not the extent of their relationship with the service in the US and abroad, with long (pre Max launch) deals in place for ‘Riverdale’ and ‘Titans’ in most markets, alongside some in specific markets in the first and second window for titles like ‘Young Sheldon’ and ‘Manifest’.
On the TV show side, ‘Young Sheldon’ has held different first window homes during its lifetime in the French market, with its first two seasons premiering on Canal+ Series before moving to the Free TV service NRJ 12 for its third and fourth seasons. All throughout this period, Netflix was either taking the show in the second or third window, before eventually replacing both these services as the first window destination for season five.
‘Insecure’ meanwhile has started to surface in the second window in other markets outside the US on Netflix, most notably in markets where HBO Max has a presence, with the series available to subscribers on both platforms.
Warner’s engagement doesn’t end with scripted TV, but also in film. Movie Tracker reveals that Netflix is an important buyer for the studio in many international markets, particularly in the second window which has seen Netflix take an increasing share across international markets over the past few years.
Canada was the leading source of Netflix second windows for Warner in 2023, with the first-pay window for Warner titles promised to Bell’s SVOD Crave. Germany meanwhile leads in total acquisitions, supported by the third window, which is typically preceded by a pay-one deal on Sky Cinema and a Pay-Two window on rival Amazon.
The only major first window activity on Netflix in 2023 was in Australia. Here Warner is one of many studios able to benefit from non-exclusive agreements with local Pay TV operator Foxtel, resulting in most Warner Netflix pay-one premieres also appearing on Foxtel on the same day.
US activity is largely affected by Warner’s decision to licence most of its DC content onto Netflix in December for a limited window, resulting in a number of second windows and third windows for their older entries like ‘Wonderwoman 1984’. Warner CEO David Zaslav posits that this particular strategy produces both significant revenue in licensing fees, while also advertising the quality of the DC library, which will always be available on Max.
A pragmatic approach to movie licensing such as this, if successful, is likely to be emulated by other studios hoping to bring back what was once a reliable source of income, while also championing their own services by reminding the broader consumer base of the content available first hand.
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