As British thriller Liar enters production on its second season, DQ hears how the creative team behind the Italian adaptation of the drama, Non Mentire, tailored their version of the show for a local audience.
For six weeks in autumn 2017, British viewers were hooked on ITV thriller Liar. The series became the network’s highest-rated new drama that year, pulling in an average audience of 8.3 million, while more than nine million tuned in for the finale.
The show follows teacher Laura Nielsen and doctor Andrew Earlham, who share a seemingly enjoyable evening together. The next morning, however, while Andrew is looking forward to seeing her again, Laura claims he raped her. As the series unfolded on ITV, audiences found themselves split over who was telling the truth and who was the titular liar.
The drama, starring Joanne Froggatt (Downton Abbey) and Ioan Gruffudd (Harrow), is now in production on its second season, with Cheat’s Katherine Kelly joining the cast. It has again been written by Harry and Jack Williams and produced by Two Brothers Pictures in partnership with SundanceTV in the US. All3Media International handles distribution.
Meanwhile, earlier this year, an Italian adaptation – Non Mentire – launched on Mediaset’s Canale 5. Adapted by Lisa Nur Sultan and directed by Gianluca Maria Tavarelli (Non Prendere Impegni Stasera), the series was relocated to Turin, with Greta Scarano starring as Laura Nardini and Alessandro Preziosi playing the accused, Andrea Molinari.
The remake came from Indigo Films, which is best known as a feature film producer but is starting to push into television series for the first time. “Channels have expressed interest in working with us,” says Indigo producer Carlotta Calori. “Mediaset wanted to work with us because cinema producers have great access to talent and can provide a different product. The idea of doing Liar came from them; they had seen the original and liked it and wanted to do it, so they asked us to adapt it. Luckily, they could get Gianluca – it’s our first time working with him – and Lisa did a great job adapting it.”
Having enjoyed the original series enormously, Nur Sultan says she had no intention of changing the plot. “However, I wanted to find ways of making it connect to the Italian audience as much as possible,” she adds. “The first job was with the dialogue, making it as local as possible to make it as authentic as possible, so I was very careful to rewrite the dialogue in that way.”
The writer also made some of the characters “more Italian.” A stay-at-home dad in the original works from home in Non Mentire, while Laura’s sister, who is cheating on her husband in Liar, is more focused on her family in the adaptation. “We also made the male protagonist a little bit more sure of himself,” she says.
Aspects of the Italian legal system were also included, while Nur Sultan says one of her favourite scenes – and one which isn’t in the original – introduced a new perspective. When Laura posts a message on social media that accuses Andrea of rape, the headteacher at the school where she works warns her to think about the consequences of her actions, including the implications for Andrea’s son, a student at the school.
“It was important to include because a headmistress would never allow a Facebook post like that,” Nur Sultan notes. “We also felt a lot of the things the headmistress says had to be shown.”
Tavarelli watched the original series shortly after signing on to the project, but then did his best to cast it from his mind to ensure it didn’t affect his decisions during filming. “I didn’t want to copy the style; I wanted to start from the scripts and do my own work,” he explains. “It’s better not to see it. If you see it, you might be much more influenced by it.”
He adopted a ‘natural’ style of camerawork in an attempt to give the audience the viewpoint of a fly on a wall that follows the movements of the characters. “I’d just come from a lot of period pieces, so doing a contemporary piece was actually easier,” he says. “I tried to push the thriller aspects and the suspense so it was a relatively straightforward shoot.”
Non Mentire was produced in less than a year, from the start of writing the scripts in April 2018 to the show’s launch in February. Shooting took place in Turin and Rome across 11 weeks last summer.
Despite the boom in original content on established channels and fledging streaming platforms, Calori believes there’s still a place for adaptations.
“It’s a bit like a book. Even though you’ve read the book, you will go and see the film,” she argues. “A lot of people won’t have seen the original series in Italy, but our version stands up in its own right. It’s for an Italian audience, we have Italian actors in it. There are four or five versions of The Great Gatsby and everyone knows how it will end.
“The original Liar wasn’t a big success here. Maybe if it had been a huge success, we would have thought twice about it. So far I think it has enough to stand up on its own. It’s a show in its own right.”
But while scripted formats might still be in demand, it’s original series like My Brilliant Friend, Suburra, Gomorrah and Inspector Montalbano that mean Italian drama itself is very much in vogue.
“It’s a bit like what happened in Scandinavia. It started out with mafia dramas but it’s not just about those shows anymore,” Calori adds. “Gianluca’s shows like Maltese and The Young Montalbano have travelled a lot abroad. Montalbano is a huge success. We’ve noticed we’re up there now; there’s a lot of interest from international companies to work with Italians. It’s a nice moment for Italian drama. The fact that a show like My Brilliant Friend was commissioned in the US has shown that if it’s a good story, it will travel.”
Led by gritty series like the Mafia-focused hit Gomorrah, Italian drama is enjoying new levels of global interest. DQ finds out why.
The world has been watching great Italian movies for more than half a century. Following The Bicycle Thieves in 1948, films like La Strada, La Dolce Vita, 8½, The Good, The Bad and The Ugly, Cinema Paradiso, Il Postino, Life Is Beautiful, Gomorrah, The Great Beauty and Human Capital are past and present proof that superlative screen craft is a cherished component of Italian culture.
But until recently Italy’s TV business hadn’t achieved anything like the same profile beyond its borders. “The main free-to-air broadcasters, Rai and Mediaset, have a history of participating in continental European coproductions,” says Beta Film senior VP for international sales and acquisitions Oliver Bachert, “and there was the stand-out success of La Piovra (The Octopus), which sold around the world, but historically Italy has mostly focused on local productions that don’t attract much attention internationally.”
The roots of this insularity probably lie in a backlash against imported content that occurred in the 1980s. It took Italian TV producers until the 1990s to perfect their response, but when they did, they began to achieve real success with domestically produced soaps (such as A Place in the Sun and A Doctor in the Family) and police thrillers. Locally know as ‘giallo,’ the police titles included popular shows such as Marshal Rocca, Inspector de Luca and Inspector Montelbano. While they achieved some sales internationally, they didn’t spark the interest associated with, for example, the recent wave of Nordic Noir exports.
The catalyst for change has been the arrival in the market of pay TV platform Sky Italia, says Bachert, “which started commissioning dramas that are more in line with international trends. First came Romanzo Criminale from 2008 to 2010, and then Gomorrah, which we distribute.”
According to Bachert, Gomorrah, which was produced by Italian indie Cattleya, “took Italian drama to a new level.” The story of organised crime in Naples, told across 12 episodes, “won numerous awards and sold to 113 countries. It now has a second season coming up and has encouraged the international market to look more closely at Italian drama.”
Proof that Gomorrah was not a one-hit wonder came with the launch of 1992 in March of this year. Another Sky-backed project, the 10-episode series revolves around six people whose lives become intertwined with the political and social earthquake that swept away Italy’s post-war establishment.
Echoing its approach with English-language drama Fortitude, Sky was sufficiently excited by 1992 that it aired it across the UK, Ireland, Germany and Austria, in addition to Italy – a total market of 20 million homes. That, says Bachert, came in addition to sales in France (Orange), Spain (Canal+), Scandinavia (HBO Nordic) and Benelux (HBO Europe). Now there is talk of a follow-up series entitled 1993.
1992 was produced by one of Italy’s leading indie producers, Wildside. Explaining how the company came about, co-founder Lorenzo Mieli says: “It was founded in Rome in 2009 as a merger between Mario Gianani and Saverio Costanzo’s Offside and Wilder, plus Fausto Brizzi and Marco Martani who joined the team at the moment of the company’s creation. Wilder was a company founded by me and some partners in 2001. Basically that was the place where everything started – we used to produce scripted and unscripted for Italian pay broadcasters.”
From Wilder’s perspective, the big step-change actually predated Sky Italia’s investments, though it was the same corporate family that was behind its expansion: “Wilder experienced dramatic growth with Boris, which was the first scripted show ever made by Fox International Channels in Italy. It was a huge success that was crucial to boosting the business.”
Boris was a comedy series that ran for three seasons in 2007, 2008 and 2010 (totalling 42 episodes). Towards the end of the show’s run, FIC commissioned Wilder to make another series, a six-hour serial killer thriller called The Monster of Florence. Both series were broadcast by FIC on the Sky Italia platform, effectively priming Wilder for the next phase of its development following the merger with Offside.
Today, says Mieli, “Wildside’s pipeline is a combination of Offside’s traditional expertise in feature films and Wilder’s TV background. At the moment, our catalogue spans from art-house movies and commercial/blockbuster comedies to scripted shows for both pay and free TV channels. Our main job is to deliver high-quality products, with a focus on talent-driven projects that have a strong international appeal. To do this, we work to build solid relationships with top Italian directors and writers, which is also a way to attract international talent.”
Like Bachart, Mieli gives a nod in the direction of Gomorrah, which he says “did a priceless job for the Italian production community. It demonstrated that an Italian way to make quality shows exists. Maybe a component of exoticism is helping Italian shows travel so much. But we do believe now that the global audience is ready for something different from US storytelling.”
According to Mieli, coproduction is currently Wildside’s key modus operandi: “Considering the work we’ve been doing in the last two years and what we’re currently developing now, it’s pretty clear that our product is closer to the anthological and talent-driven model.”
The best current example of this is The Young Pope, an ambitious English-language production that Wildside is making for Sky, HBO and Canal+. “The Young Pope is the most representative example of our strategy… a high-profile coproduction with a pure Italian creative core. And we are developing three scripted projects for the international market with a similar model. But we haven’t forgotten the Italian scenario – two shows for Rai and one for Sky are in production and couple of features are in pre-production.”
Starring Jude Law and Diane Keaton in her most high-profile TV production to date, The Young Pope was one of the year’s surprise scripted announcements. Mieli explains its appeal: “The story sounded amazing from the very first moment. The idea of a controversial pope born in the US and surrounded by daily life in Vatican City had evident ground-breaking potential. Plus Paolo Sorrentino’s writing was a stunning piece of literature from the very early stages of development.”
Mieli is convinced The Young Pope can have the kind of impact already made by shows like Gomorrah and 1992, and not just because it has HBO, Sky and Canal+ behind it. “The Young Pope’s distribution will be managed by FremantleMedia International and we’ve no doubt it will travel a lot. We have a great story, an award-winning creator, an all-star cast and a very fascinating, highly recognisable arena in the Vatican.”
As it happens, the Wildside story became even more interesting during production – when FremantleMedia decided to acquire a 62.5% stake in the firm. Commenting on the deal at the time, FremantleMedia CEO Cecile Frot-Coutaz said: “This is a key strategic acquisition as we continue to strengthen our primetime scripted presence. Wildside is fast becoming one of Europe’s most sought-after drama producers and will complement our existing businesses in the US, Germany, Scandinavia, the Netherlands, Australia and the UK. The team has an impressive track record of attracting world-class creative talent and delivering award-winning drama, so I’m really excited that they are joining our family of production companies.”
Being in the Fremantle family may also give Wildside an opportunity to take scripted formats into Italy. There have been signs in recent times that this side of the business, traditionally underdeveloped, is starting to pick up.
Wildside, for example, made Israeli format In Treatment for the Italian market, while Spanish period drama Velvet and French supernatural thriller Les Revenants (The Returned) have also been adapted. Utilising FM’s international expertise should allow Wildside to push this door open further.
Wildside, of course, is not the only Italian indie providing a bridge to and from the international market. Cattleya, which counts DeAgostini and United Pictures International among its shareholders, recently announced plans for season two of Gomorrah. It also has a deal with Canal+ to create an English-language series called ZeroZeroZero.
ZeroZeroZero is based on a book by Roberto Saviano, who also wrote the book on which both the film and TV versions of Gomorrah are based. The director is Stefano Sollima, whose credits include Romanzo Criminale and Gomorrah – all of which guarantees a solid international showing for ZeroZeroZero.
Fabrice de La Patellière, director of French drama and coproductions for Canal+, says: “We are delighted to be involved in initiating this international project driven by Roberto Saviano’s talent and commitment. This story, with the work of the scriptwriters Stefano Bises and Leonardo Fasoli and director Stefano Sollima, offers an uncompromising, in-depth look into the world of cocaine trafficking and the complexities of the system. This invaluable partnership with Cattleya offers the opportunity of a unique series for our subscribers.”
Cattelya is also exploring the scripted format business. It is remaking NBC’s Parenthood for Rai Uno, the first ever US scripted format to be picked up by the channel. At the same time, it has signed a deal with Atlantique Productions to turn two Italian properties into English-language TV series. The first will be a re-imagining of the cult western Django, which has its roots in the spaghetti Western tradition. The second is Dario Argento’s classic Italian horror film Suspiria, which will be reinvented as period horror series set in London and Rome between the end of the 19th century and the beginning of the 20th.
Cattleya president Riccardo Tozzi says: “Cattleya’s role on these series marks a further step in our plan to produce high-end English-language series. And, of course, we are extremely proud to be working with Dario Argento, a leading figure for an entire generation of filmmakers.”
It’s no real surprise that Sky’s international axis has provided the platform for Italian producers to reposition themselves on the global stage. But it’s notable that Mediaset and Rai are also exploring what might be possible beyond their borders.
Mediaset started to show some interest in the English-language drama market when it came in as a coproducer on , a Left Bank Pictures adaptation of Michael Dibdin’s detective novels that also had BBC, WGBH Boston and ZDF as coproducers.
That was very much an ad-hoc experiment. But last year Mediaset started to talk up the possibility of making international drama in a more systematic and strategic way. The first fruit of this came earlier this year when it joined forces with France-based Federation Entertainment to coproduce Lucky Luciano, a 12-hour miniseries about mobster Charles “Lucky” Luciano.
With Alessandro Camon on board as writer, Lucky Luciano will follow the life of the man considered to be the father of modern organised crime in the United States. “This is an extraordinary project based on the life of one of the most compelling figures in crime,” says Federation Entertainment’s Pascal Breton, who is producing the series alongside Stephane Sperry. “Lucky Luciano remains a mystery in many key facets of his life, especially in his relationship with the FBI. We intend to explore these mysteries and offer the most definitive work on his life that’s ever been produced.”
Mediaset’s perspective on the project comes from content MD Alessandro Salem, who says: “We’ve been looking for a long time for the right coproducer that shares our fascination towards the human complexity of such a criminal icon as Lucky Luciano. We’re thrilled to have found an outstanding partner for this miniseries event in Federation.”
Mediaset doesn’t intend Lucky Luciano to be a one-off. While it has yet to formally flesh out its strategy, the company says it is “devoted to pursuing international production as a new vector of development for high-profile, ambitious original scripted content together with world-renowned partners.”
For public broadcaster Rai, the challenge is how to engage with the international market while staying focused on the needs of the domestic market. Mattia Oddone, head of cinema and TV international sales at commercial arm Rai Com, says his parent company’s domestic channels are currently doing very well: “Drama works wonderfully on Rai, making Rai 1 and Rai 2 the leading channels in Italy. The key slots are on Sunday and Monday nights, primetime for miniseries and longer series.”
Rai produces around 400 hours of original drama per year with a budget of around €200m (US$223m). In terms of Rai dramas that cross over into the international markets, Oddone says: “Genre series account for most of our sales. One of our most marketable products this year has been new seasons of Il Giovane Montalbano (The Young Montalbano – a spin-off of the original Montalbano series), based on the popular protagonist of Andrea Camilleri’s acclaimed Sicilian crime novels.”
The Young Montalbano is one series that has ridden the wave of interest in non-English language drama, says Oddone, “selling to the US, the UK, France and Benelux.” More generally, “Latin America and Spanish-language rights for the US market are very important to us, as is Central and Eastern Europe. Crime series like the second season of Sfida Al Cielo – La Narcotici 2 (Anti Drug Squad 2) and La Catturandi (Palermo Police Squad, pictured top) have been in high demand there. Biopics on internationally recognisable figures such as Oriana, a dramatisation of the life of storied Italian journalist and campaigner Oriana Fallaci, have also performed very well.”
Oddone acknowledges there has been a change in the way TV drama is produced in Italy. But he also stresses that Italian success has so far been rooted in subject matter that is closely associated with the market. “Rather than making Italian content more international, we have seen Italian themes become more accessible for international audiences. Topics like the family and the Mafia are very much connected with Italy and the possibility to develop such stories has allowed Italian producers to tell them with more intelligence and subtlety.”
Given Rai’s role at the heart of the Italian cultural landscape, Oddone says there is no reason why Rai Com cannot also play its part in the growing international market for Italian drama. And there have been separate reports that the broadcaster is looking at a project about the Medicis and one based on Umberto Eco’s Name of the Rose. But Oddone also reiterates the point about not losing sight of the needs of the domestic audience. Rai is less likely, for example, to follow some of its Italian peers into English-language drama. “We are about to enter drama coproduction and we are seeking new projects. But it is a delicate matter and it also has to engage the interest of our channels, with which we are now working very closely.”
It’s worth noting that Italian scripted content has also started making ground in markets like China and Turkey, primarily as formats. But if there is one other big story worth following, it’s the arrival of Netflix in Italy this October. The subscription VoD platform’s chief content officer Ted Sarandos was in the country recently trying to win over the Italian industry with promises of investment in Italian-originated content that can travel.
Speaking at the Ischia Global Film and Music Festival, he said: “We think we can bring a large global audience to a local Italian show and that we will be able to invest at a higher level than an Italian producer would invest in a series or a film from Italy.”
Echoing the company’s approach in France, where it greenlit a major local series called Marseilles, Sarandos said Netflix is planning a major commission that will “represent probably 15% to 20% of our spending on Italian programming.”
With Netflix spending an estimated US$5bn a year globally on content, the company’s entry into the Italian market should provide a welcome boost to the country’s producers at this pivotal moment.
Mediaset feeling lucky
Mediaset’s Alessandro Salem and Federation Entertainment founder Pascal Breton discuss their new coproduction Lucky Luciano and outline how Italian drama is taking on the international market.
Alessandro Salem: “What is happening right now is the spotlight is again on the power of Italian stories and the success they are achieving worldwide. In Italy and abroad the national frame isn’t always appropriate to nourish the creative process and to grant the financing of ambitious projects, so international development is more and more crucial.
“Rather than cinema or television, today we should speak of talents who explore storytelling and, depending on the specific nature of the project, later take on a TV or cinema direction.
Pascal Breton: “We’ve witnessed a ‘Scandinavian wave’ these past few years, and I think we’re now seeing a French wave with series like The Returned and The Bureau, as well as Versailles and Marseille within the next year, along with a wave of highly talented directors, writers and producers. The meeting of TV producers with top talent from French and Italian cinema is bringing a new creative force into a field that’s been dominated by Anglo-Saxon series.”
Salem: “Lucky Luciano is a TV series with international DNA: Italian roots, American trunk and international branches. It is about one of the most famous, and yet less known, criminal icons of the 20th Century, Charles Salvatore Lucania, also known as ‘Lucky.’ The series discloses what’s behind the story of the kid from Sicilian sulfur mines who will organise the American mob as an actual corporation, and will leave a lasting mark on the story of our countries through the controversial collaboration with the American and Italian authorities.
“The locations, the renowned character, the popularity of the Italian organised crime stories in the TV and movie iconography, have made it natural for us to launch the project on an international scale, and have led us to look for partners who share our ambitious and transnational vision.”
Breton: “Lucky Luciano is a perfect example of a story originating in Europe that has had a deep impact on the history of the US, and the story’s potential is endless. We were looking for an opportunity to coproduce with Mediaset, and we couldn’t have found a better subject.
Salem: “Mediaset has ambitions to become a major player in the international drama market. Within the next three years the goal is to have a constant pipeline of international dramas. To this aim, on one side, Taodue – our in-house production company – is focusing its talent towards international production with several projects greenlit. On the other side, we are confident we can count on our distribution strength through our presence in Italy and Spain.
“We are aware that English is nowadays a sort of precondition for international drama – indeed, Lucky Luciano will be shot in English. An exception can be Spanish, when the story justifies it, because of the extent of Spanish-speaking markets. That’s the case of Taodue’s upcoming movie Call Me Francesco.”
There are reports this week that UK-based indie producer Drama Republic is developing David Nicholls’ hilarious and poignant novel Us for the BBC. The UK pubcaster is yet to confirm the project but it is likely to be a three- or four-part miniseries, with acclaimed British playwright Nick Payne lined up to write the screenplay. It’s the kind of high-profile book-based project that would sit comfortably in the Sunday evening slot that has been occupied in recent times by The Casual Vacancy and Jonathan Norrell & Mr Strange.
Nicholls has written three previous novels, two of which were adapted as movies (Starter for Ten and One Day). So the fact this one is being lined up as a TV project is another indication of the shift in the balance of power towards small-screen drama.
The switch from film to TV will suit Nicholls’ work, which is narratively and emotionally very rich. In the case of Us, the story is told from the point of view of Douglas, a married man whose wife Connie announces that she plans to leave him when their 17-year-old son Albie goes to college. Douglas takes the two of them on holiday to Europe to try to convince Connie to change her mind, while also hoping it will be an opportunity to emotionally reconnect with his son. Inevitably, the trip doesn’t go to plan.
It’s interesting that Payne will handle scriptwriting duties, given that Nicholls has a good TV screenwriting track record himself. Having first come to prominence as a writer on series such as Cold Feet and Rescue Me, he recently wrote 7.39 for the BBC, about a man who starts an affair with a woman he meets on a commuter train. Aired in 2014, that project drew an audience of 5.7 million across two episodes on consecutive nights, which isn’t too bad. Perhaps, though, the decision has been swayed by the poor reviews that the movie version of One Day received, with the LA Times calling it a “heartbreaking disappointment of a film.” There’s no question that One Day the novel is far superior to the film, so maybe Us will benefit from some outside input, with Nicholls presumably on hand in an executive producer role.
Just last night, I was thinking to myself that there aren’t enough dramas about female serial killers. So imagine my surprise when I saw that World Productions (Line of Duty) is making a two-part drama for ITV about Mary Ann Cotton, a Victorian serial killer who used arsenic to kill three of her husbands so she could claim against their insurance policies. Called Dark Angel, the production is based on David Wilson’s book Mary Ann Cotton: Britain’s First Female Serial Killer and was commissioned by ITV director of drama Steve November and controller of drama Victoria Fea.
As far as anything in this life is a dead cert, this is it. Why? Because it will be directed by Brian Percival (Downton Abbey) and star Joanne Froggatt (also Downton). Anyone familiar with Downton will recall that Froggatt’s character Anna Bates spent some time under suspicion of murder – so there’s a neat link between the two shows.
Fea said of the show: “The combination of a tautly written script, an outstanding cast and great producers in World Productions make this a really exciting addition to the slate.” Dark Angel will start filming in August in Yorkshire and County Durham. It will be supported by Screen Yorkshire’s Yorkshire Content Fund, while Endemol Shine International is distributing it globally.
Still with ITV, the channel has also just commissioned six more episodes of WW2 drama Home Fires. Inspired by Julie Summers’ non-fiction book Jambusters, it follows a group of women in a rural community during the war. It was created and written for TV by Simon Block (Lewis, The Shooting of Thomas Hurndall).
WW2 has inspired a surprising number of drama series in recent years. The UK’s other recent offerings include the BBC’s Land Girls and ITV’s Foyle’s War, while Canada has given us Bomb Girls (set in a munitions factory during WW2) and, more recently, X Company. The latter is a spy thriller that debuted on CBC in February 2015. After the show’s first season generated a good response, CBC quickly took the decision to give the series a second run of 10 episodes.
WW2 has also inspired some good dramas out of continental Europe. The most high profile is Germany’s Generation War, which is one of the few German dramas to have secured sales to the English-speaking market. Another interesting title is Un Village Français (A French Village), a French show created by Frédéric Krivine, Emmanuel Daucé and Philippe Triboit. Set in a fictional village in German-occupied France, the show first aired on France 3 in 2009 and has slowly but surely picked up a loyal international fanbase. With a seventh and final series planned for 2016, the entire oeuvre was sold by 100% Distribution to MHz Networks in the US (and has also sold to MBC in Korea).
Explaining why Un Village Français has found an audience in such diverse markets, Cecilia Rossignol, director of sales & acquisitions at 100% Distribution, said it is because the show is not primarily a story of war. “It is about people who find themselves in extreme situations and must make choices. In this, it is a universal series.”
In recent weeks, we have discussed the success of Jane the Virgin, a Venezuelan telenovela that was remade for The CW in the US. With a second series recently recommissioned by The CW, there are now reports that Mediaset in Spain is to make a local version of the show. The deal underlines the beauty of having a strong formattable scripted franchise. Not only can buyers choose between licensing the Venezuelan or the US format, they can also acquire either of the completed series. With every new completed series the options increase, turning small local successes into globally successful franchises.
On a separate note, SVoD service Netflix announced this week that it will continue its rapid global roll-out with launches in Italy, Portugal and Spain during October. Echoing the recent launch in France, this may result in a new wave of investment in local productions. It might also provide a way for shows from these countries to break into the English-speaking markets (Netflix could, for example, acquire global rights to a local show and then test it in different territories if it performs well in its originating market). Overall, Netflix now has 62.3 million subscribers and is aiming to have services in around 200 countries within two years.