Gracenote reports that U.S.-produced SVOD titles increased 13% year-over-year, while the U.S. share of available titles across the five top streaming services fell to 42% from 45% a year ago. The post highlights Netflix as having 32% U.S. titles, with South Korea (9.8%) and Japan (9.5%) contributing larger shares than Great Britain, alongside international titles appearing in Nielsen Top 10 rankings.
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Add as preferred sourceThis is the new streaming meme: “more U.S. content” can still mean “less U.S. dominance.” As catalogs globalize, executives should treat country mix like a portfolio decision—impacting recommendation performance, marketing efficiency, dubbing/subtitling budgets, and even ad sales packaging by audience segment. For studios, it raises the bar on rights strategy: global buyers want scalable stories with clear localization paths, not just domestic hits. For platform teams, measurement and forecasting assumptions built on U.S.-centric supply are getting stale—especially when non-U.S. titles are now consistent Top 10 contenders.
