Dan Barrett

Dan Barrett is the Content Director of Televised Revolution. His musings on television have been heard across ABC Radio, on websites like The Guardian and Crikey, and drunkenly in pubs across the country. At night he spends too many hours watching repeats of Cheers.

Netflix By The Regions Report – USA

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region and how they differ to other Netflix offerings.

Territory Overview
Netflix first launched their streaming service in January 2007. In the United States, Netflix operates a mixed mode service in offering video streaming as well as their heritage DVD by mail business. While cable TV still dominates the US market, subscription video on demand services have built up a significant presence.

With 77% of people aged 18-34 likely to belong to a ‘cord-never’ household (that is, they will never subscribe to traditional cable TV services), over-the-top services like Netflix are fighting to control this space. Their core competition is Amazon and Hulu. Premium TV heavyweight HBO are expected to roll out an SVOD service in 2015.

The US Netflix store is the biggest of the Netflix libraries across the globe. Its collection is the widest and most robust. Operating in such a competitive environment, however, means that some of the best titles available to Netflix subscribers in other markets are not available in the US store.


There are 6191 titles in the US store (as per 11 January 2015).

Titles included in the Popular On Netflix section are:
Friends (TV), Maron (TV), Family Guy (TV), Psych (TV), Secret State of North Korea, Jack Ryan: Shadow Recruit, The Trip To Italy, Broadchurch (TV), Cloudy With A Chance of Meatballs 2, Californication (TV), Law & Order: SVU (TV), The Croods, The Honorable Woman (TV), Chelsea Peretti: One of The Greats, The Walking Dead (TV), Jim Gaffigan: Mr Universe, Patton Oswalt: My Weakness Is Strong, American Dad (TV), Jessie (TV), Dexter (TV), An Idiot Abroad, Cast Away, Bill Burr: I’m Sorry You Feel That Way, The Birthday Boys (TV), The Blacklist (TV), A Young Doctor’s Notebook (TV), Donald Glover: Weirdo, Call The Midwife (TV), Trailer Park Boys (TV), Nick Offerman: American Ham, Parenthood (TV), Grey’s Anatomy (TV), Snowpiercer, Wyatt Cenac: Brooklyn, The Spoils of Babylon (TV), To Be Takei, Once Upon A Time (TV), Django Unchained, The Wolf of Wall Street, Aziz Ansari: Buried Alive, The Hunger Games: Catching Fire, Silver Linings Playbook, Pee-Wee’s Playhouse, Women Aren’t Funny, Tom Segura: Completely Normal, Mike Birbiglia: My Girlfriend’s Boyfriend, Good Eats Collection (TV), Morgan Spurlock: Inside Man, The Betchley Circle (TV), I Frankenstein, Jim Jeffries: Bare, Snatch, The Master, Labor Day, Reggie Watts: Why $#!+ So Crazy?, Star Trek Into Darkness, Fargo, Anthony Bourdain: No Reservations Collection (TV), Miss Fishers Murder Mysteries (TV), El Dorado, Team America: World Police, Derek (TV), 20 Feet From Stardom, Trevor Noah: African American, Chuck (TV), Turbo (TV), Short Term 12, The Increasingly Poor Decisions of Todd Margaret (TV), Legit (TV), Buffy: The Vampire Slayer (TV), Doug Benson: Doug Dynasty, Fear & Loathing In Las Vegas.

With so many US cable networks seeking to establish a presence with original scripted programs, the market is seeing some unique and interesting titles. No program is odder than WGN’s Salem, a series about the Salem witches. There are some sights on this program that some cannot unsee.

No Netflix region offers the depth of library and breadth of genre that the US Netflix provides. But, is it the best? Ultimately, it’s really predicated on taste. With more titles, the US Netflix service provides a great library, but there is greater bidding for quality titles with some titles simply not available in the market. So, while the Canadian Netflix store may have The Grand Budapest Hotel, 12 Years A Slave, The Dark Knight Rises, Argo, Superbad, Community, Brooklyn Nine Nine, or The Fresh Prince of Bel Air, they won’t be in the US store. The biggest Netflix store? Most certainly. But not always the best.


HBO’s Togetherness Establishes That We Don’t Want To ‘Binge’, We Want To Consume Naturally.

As the screen faded to black and the credits rolled on HBO’s new half hour series Togetherness, an immediate desire to press play for the next episode came upon me. My inability to do so, knowing I’d have to wait another seven days for the next episode to air, was the source of considerable frustration. This spoke just as much to the fact that Togetherness is compelling television as it did about the way our viewing behaviours have changed.

Recently, like many of you, I enjoyed watching the Amazon series Transparent (coincidentally also starring Jay Duplass, co-director of Togetherness). Like Togetherness, this is a half hour series that sits comfortably between comedy and drama featuring a very similar aesthetic to the ‘mumblecore’ films of the mid 00’s (a film movement sparked by films directed by Jay Duplass and his brother Mark). Amazon embraced the same model that Netflix employed, which is to release an entire season of a show and allow viewers to watch the show at their own pace, rather than parsed out one instalment at a time each week. Or what is known as ‘binge viewing’.

The term ‘binge viewing’ connotes a sense of uncontrollable consumption. While it’s certainly the case that some people do find themselves up for an hour or two longer than intended when they hit upon a highly engaging run of episodes, how uncontrolled really is this activity? If anything, the act of ‘binge viewing’ is actually a controlled viewing experience with viewers self-determining just how much they wish to consume at any one time. To suggest that viewers cannot self-regulate how much of a TV series they want to watch reeks of corporate broadcaster paternalism.

In watching Transparent I watched the episodes not all at once, as the miscomprehension of binge-viewing seems to be, but rather in clusters over three days. 4 episodes one day, another 3 the next, then the final 3 a day later. I fit the show into my own schedule, matching the number of episodes I wanted to consume at any one time. I’d have loved to have done the same for the similarly toned Togetherness.

While the conversation that surrounds a TV show is important culturally, it doesn’t match the cultural enrichment one feels when they’ve been appropriately sated by media they’ve consumed. In watching Transparent in blocks, I had the time to immerse myself deeply into that world and to fully experience the rich emotional tapestry of the world that creator Jill Soloway had crafted. Just a half hour of the show would simply not be enough to feel fully enriched. Is the conversation really of enough value as to strip away the far stronger emotional engagement I felt with Transparent by watching more than a single episode at a time? Heavens no.


What is wonderful about half hour series of this nature is they do provide easy access points for viewers to consume as many episodes as they need at any given moment. But more than that, it’s a more comfortable way to consume a narrative in the comfort of ones living room.

Films feel comfortable in 90-150 minute blocks in the cinema as the environment is suited to that experience. We’re all happy and content to sit there as we’ve put aside that time to be at the event, are in a darkened room with a huge screen that compels ones attention, and are prepared to abide by societal expectation that we will stay quiet and focus on the film. TV is different. We consume it more casually with people talking during shows, taking bathroom and kitchen breaks, and second screening. An effort has rarely been made to be in the position to consume that content.

Cinema consumption behaviour never quite transferred to the lounge-room. For many of us, we grew up with TV advertising dominating much of our consumption habits. As such, any movies we watched were always interrupted by television commercials. The idea of a character arc being broken up into 25-30 minute increments feels as natural as a television ad break. A continuous run of a movie only entered the average persons consumption habits after 1999 when DVD became the dominant form of film consumption.

Sure, prior to DVD we had VHS movie rentals, but the behaviours we built from video store rentals echo that of the cinema. Consumers still made an effort to rent the movie. They drove to the store, walked the aisles, and made a purchasing decision. Already consumers were far more invested than plonking on the couch to see what content is available.

While our consumption habits have changed, our learned behaviours still exist. For many millennials and younger, they grew up in an age of DVD, so their learned behaviour mimics that of the full movie consumption experience. For the rest of us, we instinctively expect a home content consumption experience to be interrupted. Watching a TV series in half hour chunks is the most natural of TV experiences.

But additionally, we have learned to consume multiple episodes at once. We may be comfortable with our consumption experience being interrupted, but we now also expect (through a near 15 years of DVD viewing in addition to expectations set by Netflix’s House of Cards) that we can now consume multiple episodes at once. This is a newly learned behaviour that sits comfortably with our established learned behaviours.

The TV viewer of 2015 is not the same TV viewer of 1995.

HBO’s ‘Togetherness’ is not transformative TV, but it does offer strong emotional ties for the viewer with subject matter that has very strong connective tissue with those watching the series. It’s wonderful TV that demands to be seen. It is, however, mired in an old fashioned mode of consumption that no longer holds relevance with today’s viewer. We want TV that connects, but we also want to experience that connection for as long as feels relevant to us at that point in time. TV schedules are obsolete. What remains are controlled viewing desires that offer an emotional connection which have no connection to an arbitrary weekly time-slot.

TV distributors and broadcast channels need to match viewer expectation. Viewers are seeking consumption habits that feel natural to their psychological nourishment and not the whims of a television schedule.

Netflix By The Regions Report: United Kingdom

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region and how they differ to other Netflix offerings.

Territory Overview
Netflix launched in the UK in January 2012. A monthly subscription to the service costs £6.99 (US $10.56). Their biggest competitors in the market are Sky Go and Lovefilm/Amazon Prime Instant Video.

Amid the quite good collection of movies, the most notable aspect of the UK Netflix library is its very strong collection of UK TV shows. Most of these shows are sourced through Channel 4. Netflix UK, more than any other Netflix region, more closely resembles the regions linear TV services thanks to this content – there are more panel shows available here than you know what to do with.


The Netflix UK library offers 2353 titles (as of 06 January 2015).

Titles included in the Popular On Netflix section are:
Sons of Anarchy (TV), The Office – US (TV), Breaking Bad (TV), Pretty Little Liars (TV), Brooklyn Nine Nine (TV), House (TV), Merlin (TV), Sabotage (TV), Orange Is The New Black (TV), Gossip Girl (TV), The Inbetweeners (TV), Marco Polo (TV), A Long Way Down, Homeland (TV), The Legendary Hercules, Misfits (TV), Prison Break (TV), Dexter (TV), American Horror Story (TV), A Haunted House 2, Toy Story 3, 90210 (TV), Horrid Henry (TV), Mr Selfridge (TV), White Collar (TV), Flight, The Vampire Diaries (TV), The Tomorrow People (TV), The Hunger Games: Catching Fire, Monsters Inc, The Killing – US (TV), Miranda (TV), Just Go With It, Sherlock (TV), Luther (TV), The IT Crowd (TV),Fringe (TV), Lie To Me (TV), The Hobbit: An Unexpected Journey, Fresh Meat (TV), Chuck (TV), Brave, Single Mom’s Club, Outnumbered (TV), The Hobbit: The Desolation of Smaug, Grown Ups, Locke, Grimm (TV), The originals (TV), Top Gear (TV), Seriously Funny, Olympus Has Fallen, Walking On Sunshine, Homefront, The Unit (TV), Scrubs (TV), Skins (TV), The Dateables (TV), Draft Day, Stargate Universe (TV), Orphan Black (TV), Mythbusters (TV), Jack Reacher, Michael McIntyre Showtime (TV), Last Tango In Halifax (TV), The Family, Breakout Kings (TV), Educating Yorkshire (TV), Step Brothers, Whitechapel, Damages (TV), Covert Affairs (TV), 8 Out of 10 Cats (TV), Gavin & Stacey (TV), Qi (TV).

One cannot discuss the UK Netflix without pointing out that they do in fact stream the original House of Cards TV series starring Ian Richardson.


The UK library is an awkward, mixed bag. While it certainly has a bunch of good movies and TV shows, it doesn’t have many of the best of British TV series. While there is *some* BBC content on the service (current era Doctor Who, for example), without the BBC content (or even the recent run of quite okay Sky Atlantic original series) it feels a little lacklustre.

[PODCAST] Televised Revolution – Stan, Presto, Netflix? Which One? (Ep 379)

The first quarter of 2015 in Australia will see an explosion in subscription video on demand services. We’ll have Stan, Presto, and Netflix all seeking your attention. What do they have to offer subscribers? Which should you sign up to? The panel have a chat about these services and how they’ll fit into their TV consumption habits moving forward.

The panel also discuss the TV news of the week.

  • Amazon announce their new pilots and a blow to their greenlit Chris Carter show The After.
  • Sling TV is announced for the US.
  • Millennials want Netflix.
  • Presto add kids TV titles to their TV service.

At Televised Revolution, we look forward to receiving your mail and check us out on the Twitter. You can also find the podcast on iTunes (please leave us a review, it helps people find the show).

Netflix By The Regions Report: Switzerland

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region and how they differ to other Netflix offerings.

Territory Overview
Netflix launched in Switzerland in September 2014 at a monthly subscription price of CHF 11.90 (US$11.73). Teleboy VOD and Teleclub Play are the primary competition for Netflix in the market.

Teleclub Play

Teleclub Play

A new service, the library on offer feels very empty. TV shows and movies both fail to do much to enthuse or excite.


There are 1582 titles in the Switzerland store (as per 8 January 2015).

Titles included in the Popular On Netflix section are:
Marco Polo (TV), House of Cards (TV), Orange Is The New Black (TV), Breaking Bad (TV), Modern Family (TV), The Big Bang Theory (TV), Skyfall, Sherlock (TV), Fargo (TV),The Hobbit: An Unexpected Journey, Shooter, The Avengers, New Girl (TV), How I Met Your Mother (TV), Family Guy (TV), Brooklyn Nine Nine (TV), Ray Donovan (TV), Orphan Black (TV), Killer Elits, The WalkinGD ead (TV), Under The Dome (TV), The Killing – US (TV), The Lincoln Lawyer, Penny Dreadful (TV), The Help, The Departed, Der Tatortreinger (TV), Silver Linings Playbook, American Horror Story (TV), Fais Pas Ci Fais Pas Ca (TV), Stromberg: The Film, The Book of Eli, Dexter (TV), Failure To Launch, Colombiana, Sons of Anarchy (TV), Margin Call, Metronome (TV),The Family Stone, Sherlock Holmes, The Next Three Days, Elementary (TV),  The Fall (TV), The Mentalist (TV), Misfits (TV), White Collar (TV), You Again, Inception, From Paris With Love, Luther (TV), Man On A Ledge, Top Gear  (TV), Due Date, Pretty Little Liars (TV), The Terminal, Lie To Me (TV), Seven, American Beauty, Jeff Who Lives At Home, Planet Earth, The Ides of March, Safe Haven, Fargo, Broadchurch (TV), Arrow (TV), Life (TV), Life Unexpected (TV), Jobs vs Gates, Life As We Know It, Lawless, Catch Me If You Can, Prison Break (TV), American Gangster, Sex & The City 2, Steve Jobs: The Billion Dollar Hippy.

The content on offer in Switzerland just doesn’t offer enough yet to prove its value. Its limited library holds almost no real value.

What To Watch? Togetherness, Eye Candy, Schitt’s Creek, and 12 Monkeys [Week of 12 January 2015]

Another busy week for TV in January. Along with the below high profile programs, this week delivers series returns for Shameless, Episodes, House of Lies, Girls, Looking, House of Lies, Kroll Show, It’s Always Sunny In Philadelphia, Broad City, Workaholics, Suspects, Helix, and Call The Midwife.

The biggest problem with TV nowadays is that even the weakest shows still look kind of alright. This weeks programming offers several examples of this.

* * * *

Airs: 11 January 2015 (HBO – US)
The Duplass brothers Mark and Jay have both had strong TV ties in the past with the two recurring together on The Mindy Project, while Mark stars in The League and Jay in Transparent. The two have built their name, however, through low budget ‘mumblecore’ films The Puffy Chair, Baghead, and Jeff Who Lives At Home. With Togetherness, this marks their first foray into TV behind the camera with the brothers writing and directing the series. It looks promising, even if it does appear to be examining a well-worn subject matter of suburban malaise.

Eye Candy
Airs: 12 January 2015 (MTV – US)
Based on a novel by Goosebumps writer RL Stine, Eye Candy marks a further shift by MTV away from teen relationship light-dramedy series like Awkward and Faking It toward weightier genre shows. Teen Wolf was a big success for MTV and it appears they’re trying to build on that success with this new series.

Airs: 13 January 2015 (ITV2 – UK)
Imagine meeting the girl of your dreams just 15 minutes before the end of the world? That’s the premise of this comedy that places twentysomething brits into a Walking Dead-like apocalypse (sans zombies) where they face comedic terrors like cannibals and cooking with ones own body waste.

Parks & Recreation – Final Season
Airs: 13 January 2015 (NBC – US)
Few TV shows have been as consistently nice as Parks & Recreation, while maintaining such an intense following by hip young viewers. The show has also been a ratings disappointment since it’s first season, meaning it is a miracle that we’ve been able to enjoy seven seasons of the series. While the show has passed its peak, the show will be thoroughly missed.

Note that double episodes of Parks & Rec will air as NBC burns off the series.

Schitt’s Creek
Airs: 13 January 2015 (CBC – Canada)
Eugene Levy and Catherine O’Hara star in a series co-created by Levy and his son Daniel. Schitt’s Creek revolves around a wealthy couple who lose everything and are forced to live in a small town that they once purchased on a lark.

Man Seeking Woman
Airs: 14 January 2015 (FXX – US)
Jay Baruchel stars as a naive romantic on a quest for love in this series based on a book by SNL’s Simon Rich. A tired premise and the trailer below looks a little rubbish, but it’s impossible not to want to watch a show starring Jay Baruchel.

12 Monkeys
Airs: 16 January 2015 (Syfy – US)
The film 12 Monkeys is an oft-forgotten brilliant time travel movie that really deserves to be better celebrated. This show will hopefully encourage people to re-watch the original film. The film deserves better than this remake TV series appears to offer.

Sensible Chuckle – Dario Russo [Episode 2]

Dan Barrett sits down with Danger 5 Director / co-creator/co-writer/actor Dario Russo about the second season return of Danger 5. Russo explains how Shaun Micallef got involved in the series, who takes care of business in a bathroom while keeping underpants on, and how it works casting and directing your own father as one of history’s greatest monsters.

This is the second of seven podcasts that will tie in with season 2 of Danger 5. Future episodes will feature interviews with other Danger 5 actors and the creators of the show. Each episode will focus on a different episode, providing quasi-director commentaries to watch along with the show.

Sensible Chuckle can be listened to and downloaded from here:

iTunes | PocketCasts | Soundcloud | StitcherRSS

[Review] Girls – Season 4 Series Return

With season 3, Girls stopped being fun to watch.

The characters narcissism reached new highs, Lena Dunham’s profile skyrocketed even further, and the shows focus wavered a little as the show seemingly readjusted character arcs following actor Christopher Abbott’s resignation from the show. Abbott leaving left ‘Marnie’ without much narrative drive, while also leaving his characters friend ‘Ray’ further on the outer – his connection to the series protagonists already tenuous.

Thankfully season 4 redresses some of the issues with the third season. Hannah is taken off the board, with the character studying a post-grad writing course in Ohio. By isolating the character, Hannah is forced to tackle head-on her extreme narcissism that so often causes so much pain for others (season 3’s confrontation scene at the magazine being a great example that is mirrored to great effect midway into this fourth season). Her absence also means the other characters in the show are forced to embark upon their own narrative tracks independently from the series core character. It strengthens the show considerably.

Narcissism has always been at the core of the show, driving so many of the characters actions. This season positions this consciously as the theme of the season – Can these characters break away from being so narcissistic? Is it an attitude they will just mature out of? Appearing in a small guest role in the season return, Natasha Lyonne establishes the notion that narcissism is a generational issue that affects only those younger than herself. As the season plays out, Girls is set to explore whether that’s a legitimate claim. By looking further inward at the attitude which propels so much of the series narrative, Girls may be set to come out of this season reborn and all the better for it.

Girls s4The biggest problem with Girls continues to be the boys in the show. Actor Adam Driver, who is such a phenomenal screen presence that the show often steps up to provide him with great material, yet fails to provide the same for titular Girls Shoshanna and Jessa. Similarly, while Ray is saddled with a dopey multi-episode storyline in the first half of season 4 dealing with noise pollution, actor Alex Karpovsky is compelling on screen in a way that most of the cast simply can’t match. For a show about Girls, these two male leads continue to drive so many of the shows most engaging scenes.

Fans of the show will be happy with the series return and anyone who has fallen away from the show is advised to give the series another look. Half-hour dramedy’s like Girls often play best when watched in chunks of episodes, so it may be wise to bank a few episodes up before re-entering the world of the show. This first episode is perfectly fine (good even), but the weakest of the five episodes sent out by HBO for review.

For season four, Girls is back and may be the best the show has ever been.

Girls airs in Australia on Showtime. Season 4 returns Monday 12 January 2015 at 7:30pm.

Netflix By The Regions Report: Sweden

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region and how they differ to other Netflix offerings.

Territory Overview
Netflix launched in Sweden in October 2012. Currently it costs SEK 89 (US$11.16) per month to subscribe to the service. It’s competition is HBO Nordic and Viaplay. Since the launch of Netflix into the region, there has been a 24% decline in packaged video spend.

Sweden is a technology friendly country. 94% of its people have a TV set, 91% are internet-connected, 74% have a smart phone, and 40% own a tablet.

In early 2014, it was reported that Netflix had 880,000 subscribers in Sweden.

While many of the TV titles are well-known to Netflix subscribers from other parts of the world (New GirlWalking Dead, Archer, Californication, etc), the library does offer quite a few Scandanavian TV show titles in the mix, including expected favourites like The Bridge and Wallander, but also less well known shows like Real Humans, Hellfjord, and Arn: The Knight Templar.

Their film library is also generally good, with a strong emphasis on crime dramas.

There are 1582 titles in the Sweden store (as per 8 January 2015).


Titles included in the Popular On Netflix section are:
Suits (TV), Drop Dead Diva (TV), Sherlock (TV), Dallas Buyers Club, The Spectacular Now, Friends (TV), Grimm (TV), The Fresh Prince of Bel Air (TV), Out of The Furnace, Marco Polo (TV), Gossip Girl (TV), Orphan Black (TV), House of Lies (TV), Stargate Universe (TV), Crossing Lines (TV), Modern Family (TV), Homeland (TV), Merlin (TV), How I Met Your Mother (TV), The Rebound, Red Dawn, Orange Is The New Black (TV), Sons of Anarchy (TV), Jackass 3, A Little Bit of Heaven, The Lego Movie, Brooklyn Nine Nine (TV), The Fighter, 300, Monsters University, Under The Dome (TV), London Boulevard, Prison Break (TV), The Score, Barbie: Life In The Dreamhouse, Winters Tale, The Mechanic, We’re The Millers, Bomb Patrol, Blitz, American Horror Story (TV), New Girl (TV), The Intouchables, White Collar (TV), Letters To Juliet, Hannah Montanna (TV), Danny The Dog, Mad Men (TV), Taken 2, Blue Mountain State (TV), Elementary (TV), Violetta (TV), Arrow (TV), All Hail King Julien (TV), The Usual Suspects, Wreck It Ralph, The Vampire Diaries (TV), Family Guy (TV), Supernatural (TV), The Bridge (TV), Hangover Pt 3, Home Improvement (TV), The Walking Dead (TV), Lone Survivor, The Borgias(TV),  Bones (TV), Pretty Little Liars (TV), Fat Sick & Nearly Dead (TV), Dexter (TV), Ocean’s Thirteen, Balls Out, Iron Man 3, The Departed, The Hobbit: An Unexpected Journey, Top Gear (TV).

Available on the service is the co-production with the US NBC ‘Welcome To Sweden’, a “comedy” created by and starring Amy Poehler’s brother Greg.

For those outside of Sweden, the real strength of this library is its Scandi-TV series. Beyond that, much of the library echoes that of other Netflix services in the region. The library is respectable.


Netflix By The Regions Report: Norway

Purpose Of The Report
When Netflix launch into new territories, they must sign content deals with the rights holders of content in that region. As such, different content appears in different Netflix regions. Furthermore, Netflix don’t just roll out US content into every territory, but rather mix it up with local content that suits the cultural temperament of the territory. The Netflix By The Regions Report is a mere snapshot of the sorts of content on offer in each region and how they differ to other Netflix offerings.

Territory Overview
Netflix launched into Norway in October 2012. A recent price increase has seen the monthly cost go from 79kr to 89kr (US$11.47). Norway has the highest spend on SVOD in the Nordics with 730,000 households holding an SVOD subscription in Q3 2014. This represents one in three households. Competitors include Viaplay and HBO Nordic.

With a smaller library than many other regions, there is less to choose from, but the titles that are available are very good. There are a number of gems from both mainstream Hollywood and critically acclaimed, artier fare.

The Netflix Norway library offers 1598 titles (as of 07 January 2015).


Titles included in the Popular On Netflix section are:
Dallas Buyers Club, Suits (TV), Sherlock (TV), Downton Abbey (TV), The Fresh Prince of Bel Air (TV), Friends (TV), Grimm (TV), Drop Dead Diva (TV), Crossing Lines (TV), House of Lies (TV), Orphan Black (TV), Out of The Furnace, Modern Family (TV), Monsters University, The Score, Marco Polo (TV), How I Met Your Mother (TV), Homeland (TV), Sons of Anarchy (TV), The Spectacular Now, The Usual Suspects, Jackass 3, She’s Out of My League, The Lego Movie, Barbie: Life In The Dreamhouse, Mad Men (TV), Empire of The Sun, The Fighter, Brooklyn Nine Nine (TV), The Borgias (TV), Orange is The New Black (TV), The 300, Winters Tale, Amelie, The Intouchables, LA Confidential, The Mechanic, The Bridge (TV), Under The Dome (TV), The Departed, The Rebound, Moonrise Kingdom, The Lincoln Lawyer, Conviction, Heat, Family Guy (TV), New Girl (TV), Blitz, We’re The Millers, Prison Break (TV), The Untouchables, Elementary (TV), Stargate Universe (TV), Kill The Irishman, The Killing – US (TV), Wreck It Ralph, Taken 2, White Collar (TV), Arrow (TV), American Horror Story (TV), Man on Fire, The King’s Speech, All Hail King Julien (TV), Ocean’s Thirteen, Silver Linings Playbook, Everest, Luther, When Harry Met Sally, The Hobbit: An Unexpected Journey, Dexter (TV), Merlin (TV), Planet Earth (TV), Lone Survivor, Broadchurch (TV), The Fall (TV).

One of the stand-out titles in the library is the criminally underseen Real Humans, a show that examines our technology-obsessed society through this world of consumer level humanoid robots.

It’s not a huge library, but its a good library. With a good mix of TV and movies (including a healthy number of Norwegian films), Netflix Norway delivers a valued service.