As a seasoned observer of the global entertainment landscape, I must say that the success story of Netflix in Scandinavia is both fascinating and inspiring. Having lived and worked in various regions around the world, I have seen firsthand how cultural nuances can make or break a production.
A dozen years ago, Netflix started a global media revolution in a Norwegian ski resort.
The TV series titled “Lilyhammer,” starring Steven Van Zandt from “The Sopranos” as a mafia member on witness protection in Lillehammer, Norway, marked the streaming platform’s debut into creating original content. Approximately a year later, another show, known as “House of Cards,” appeared. Since then, history has been made.
After experiencing a streaming boom followed by a significant decline, the Scandinavian television industry has undergone some challenges. In 2022, HBO Max, having invested heavily in Nordic originals such as “Beforeigners” by Anne Bjørnstad and Eilif Skodvin (creators of Lilyhammer), decided to cease production of Nordic content due to a merger that led to the formation of Warner Bros. Discovery. Meanwhile, Viaplay, a prominent streaming service in the region, increased its focus on Scandinavian dramas after Netflix’s entry but, as a result of substantial financial losses, reduced its original content budget significantly last year, from about 50 to 10 titles annually, and turned towards less expensive non-fiction and licensed shows from the United States.
Netflix never stopped betting on the Nordics.
By investing in daring productions such as the Danish post-apocalyptic YA series “Rain,” the Swedish crime saga “Snabba Cash,” and the Norwegian monster flick “Troll,” the streaming platform has backed ambitious projects that stand out from typical Scandinavian TV fare.
Looking back, a nation such as Norway used to produce approximately 2-3 television series per year, according to Lilyhammer’s co-creator Skodvin. There was a select few shows on the national broadcaster and a handful of comedies on private networks. The advent of Netflix sparked the streaming revolution, completely transforming the landscape. All of a sudden, we were capable of sharing our tales with a global audience.
Over a span of twelve years, the company has poured “hundreds of millions of Euros” into creating unique television content in this region, as stated by Jenny Stjernströmer-Björk, vice president of Nordic content at Netflix. She further added that they plan to keep making such investments.
Since other streaming services in the region are either withdrawing or reducing their presence, such substantial investments are crucial to maintain a thriving local industry.
Bjørnstad points out that drama producers in Scandinavia have been facing tough times, especially since Viaplay’s investment in dramas fell apart. Consequently, Netflix’s continued investment is crucial now. It’s essential that they continue to nurture the wealth of talent that has emerged during the boom period.
On September 12th, I was thrilled to dive into the world of “Billionaire Island,” the fresh Netflix series from Bjørnstad and Skodvin, which offers a witty, Norwegian-flavored satire on the extravagant lifestyles of the super-rich, reminiscent of “Succession.
According to Bjørnstad, these salmon fishing families are now part of the top 1%, among the wealthiest individuals globally. They reside on a tiny island deep in the ocean. Over roughly two decades, six residents out of the 5,000 have amassed billions of dollars each.
Skodvin describes it as a soap opera in the style of popular American shows such as Dallas or Dynasty, but with a focus on salmon fishing,” is one way to paraphrase this sentence.
The show “Billionaire Island” has gained immense popularity throughout Scandinavia, ranking as the most-watched program on Netflix in Norway and breaking into the top 5 in both Sweden and Denmark.
Uncommon triumphs like these in the Nordic region aren’t as frequent as one might expect. Unlike Netflix, such stories are not their main aim when producing a new Nordic original series. Instead, as stated by Stjernströmer-Björk, the intention is to make each production as authentically local as possible.
Regarding our projects in Denmark, we’re dedicated to serving our Danish members. Similarly, for Swedish projects, we cater to our Swedish members and so on. As small nations, while we might appear similar from an external perspective due to shared languages and histories, we also have distinct differences.
Kasper Barfoed, a Danish writer and director for Netflix’s medical drama “The Nurse” and serial killer thriller “The Chestnut Man,” shares that he initially anticipated receiving notes asking him to adjust content for various audiences such as those in Belgium or Africa. However, quite the opposite has happened; he’s been instructed to make his work as authentically Danish as possible, focusing on the unique aspects of Danish culture. Barfoed explains that Netflix seems to believe that a series stands a better chance of crossing borders if it resonates locally first, while trying to appeal to everyone may result in a product that doesn’t connect anywhere.
Regarding local creative ideas, it’s worth noting that this hasn’t compromised our high professional expectations. In fact, Scandinavian producers attribute the streaming platform to raising the professionalism of the Nordic sector and modernizing it.
According to Barfoed, concepts such as intimacy coordinators, which were unheard of before Netflix, have made a significant impact on the industry. Working with one for the first time was incredible, almost magical. They help us elevate our professionalism and improve our work.
Previously, there wasn’t much of a formal industry like this, at least not to the extent we see now, according to Skodvin. When we produced Lilyhammer, we were completely clueless about budgeting, production, and all related aspects. However, in today’s Scandinavian productions, you have professionals in every department, people who know exactly what they are doing.
Netflix, having spent over a decade in the Nordic region, appears to be a permanent fixture. The upcoming Scandinavian lineup, set to debut at the inauguration of Netflix’s Nordic hub in Stockholm on Thursday, as stated by Stjernströmer-Björk, is their largest, most daring, and ambitious project yet. In addition to fiction, Netflix has significantly increased its investment in local reality and documentary formats, such as the Swedish series Love is Blind, the non-fiction film A Beautiful REAL Life about Danish singing sensation Christopher, and the Sundance award-winning documentary Ibelin focusing on Norwegian gamer Mats Steen.
Despite experiencing an extraordinary growth phase followed by a harsh downturn, manufacturers in this area continue to approach the future with prudence and caution.
According to Barfoed, the arrival of Netflix and their production of shows signals a significant change, but the landscape is rapidly evolving. It’s hard to predict what the industry will look like in 5 or even 10 years. Will other major players such as Amazon and Apple enter the scene? Currently, it’s the traditional broadcasters and Netflix, but will this duality sustain itself? Time will tell.
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2024-09-25 20:56