We caught up with Daphne Idiz, a researcher at the University of Amsterdam and the author of a recent journal article titled “Local Production for Global Streamers: How Netflix Shapes European Production Cultures”. In her conversation with Cineuropa, Idiz unpacks her study, which delves into the ways in which Netflix’s increased production of local streaming content affects wider European TV production practices. The open-source journal article is available here. 

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Cineuropa: In your article, you argue that Netflix is shaping Europe’s TV production practices. Can you elaborate on your argument?
Daphne Idiz: My argument is two-fold. First, I focus on “production work”, which I use to capture all non-creative aspects of production. So that means production timelines, contractual arrangements, remuneration, rights, access to performance data, etc. For instance, a crucial change is around IP. When Netflix produces a Netflix original, it owns the exclusive rights. This is a big trade-off: you get the opportunity to produce for the global stage, but you give up a lot to do so.

Second, I focus on changes related to “storytelling”. What types of stories are being told and how? This is where Netflix’s creative influence becomes apparent, especially in the notes given to screenwriters. In my article, I break these notes down into categories that demonstrate that data play a big part in Netflix’s decisions, as does its complicated global/local presence.

If we take a step back and ask why this matters, Netflix spends billions each year making series and films all around the world. This has a significant cultural impact because it’s producing on such a global scale, determining what to commission, and transforming how it’s produced and circulated.

Can you expand on your methodology? Why did you decide to focus on Belgium, Spain, Germany, Denmark and the Netherlands?
My geographic scope was restricted by a few factors, the first being European countries in which Netflix had produced original series. The second was how accessible information was on the screenwriters, producers, showrunners and directors who had worked on these shows. The final restriction was simply who agreed to an interview. So, out of over 50 potential interviewees I contacted in ten countries, I ended up with 14 participants in five.

I wanted to get into the nitty-gritty of each stage of production in order to understand where and how changes were happening. I structured my interviews accordingly, and this approach helped tease out a lot more nuance in terms of where Netflix exerted influence.

You touch on the concept of “streaming lore”. Can you elaborate on this?
“Streaming lore” was coined by Benjamin Burroughs in 2018 [source here] to describe the mythology that got built up around Netflix and other streaming services related to their use of technology and the distribution model. It’s about looking at the discourse we hear about the industry, understanding that this is constructed and serves a strategic purpose, and critically analysing it. I’m interested in the idea that the links we read about between data and creative freedom at Netflix do not necessarily reflect the real experiences of creatives.

In two of the paragraphs, you zoom in on “cultural disconnects, power asymmetries and an upside for screenwriters” as well as on an “early green light” and “hands-on, high-speed production”. Can you delve deeper into these concepts?
These themes came up repeatedly in my interviews. “Cultural disconnects” stemmed from Netflix not having local executives when it first started producing series in Europe. They were all based in the USA. Interviewees felt these executives didn’t really understand their culture or audience, and there were logistical issues like needing to translate scripts to get feedback. This has changed, as Netflix now has multiple European production hubs. As illustrated by the recent strikes in the USA and Denmark, “power asymmetries” are a persistent issue when producing for Netflix. Some key and intertwined challenges concern IP rights, access to performance data, and residuals. The “upside for screenwriters” is that Netflix really looks for screenwriters to take the helm of productions. It demands a showrunner with a creative vision, which is also a very American way of producing.

“Early green light” refers to the fact that for many interviewees, Netflix “greenlit from nothing” – an idea, a short bible... It was totally unlike their prior pitching experiences. However, the same interviewees said Netflix has become more traditional and risk-averse when it commissions now. Finally, “hands-on, high-speed production” is the idea that productions went very fast and that Netflix, contrary to a lot of claims we see around “creative freedom”, was in fact very much involved in the process.

What are your main findings and the conclusions you’d like to share with our readers?
I think the biggest takeaway is that Netflix really is having an impact on local producers and creatives, their practices and the ensuing content being made. I think it’s also important to stress that this is continually evolving and is a two-way street. It’s not just Netflix establishing standards and production styles; local producers and creatives have a part to play, and some shifts are happening because of their perceptions.

The thing that really stuck with me after conducting this research is the degree to which data are feeding into creative decisions. As one interviewee put it, “Whenever you talk to the algorithm and data people [at Netflix], it feels like a cult.” And the part that I find both fascinating and a little terrifying is that some series have been designed around the ways in which specific audiences – in this case, young viewers – consume content. It’s something I notice now when I watch certain Netflix series – once you start seeing it, it’s hard to unsee.