It’s no secret that Hollywood’s grip on global audiences has loosened. But while the decline of American entertainment dominance is old news, the industry’s assumed solution, pushing “local content for local audiences,” misses the mark. Looking at demand trends over the past few years reveals that as global viewers have moved away from U.S. content, they aren’t simply retreating to their domestic borders; they are actively blowing past them.
The global share of demand for U.S. series fell from 51.0% in 2022 to 41.9% in 2025. This is not just America losing a foothold in export markets. American audiences themselves are swapping out local shows for international imports. In the U.S., demand for American series dropped from 78.2% to 68.3% over the same three-year period.
This trend is broad-based and not just driven by a few large markets. Overall, 78% of countries had a smaller share of demand for U.S. series in 2025 than they did in 2022.
If audiences are watching less American content, what are they tuning into? The natural assumption is local programming, yet the data contradicts this. While 41% of countries saw local content demand grow between 2022 and 2025, more than half actually saw a declining demand share for local shows.
The real story lies in surge for a third category – content that is neither American nor produced in the viewer’s home country. Between 2022 and 2025, 89% of countries saw an increase in the share of demand for non-local, non-U.S. shows. The film industry mirrors this, with 94% of countries seeing increased demand for movies outside the U.S. and local categories. America’s dominant role as the world’s content supplier is slipping, and audiences are casting a wide net. A viewer in Brazil is increasingly likely to binge-watch a Korean, British, or Turkish drama.
Interestingly, there is a surprising plot twist for several major content exporters. Countries that have been massive export success stories in recent years, such as Japan, South Korea, Turkey, Spain, and Colombia, have actually seen their share of demand for local content fall at home. The ultimate irony of becoming a global content powerhouse is that cultural exchange goes both ways. Even as the world develops an appetite for a country’s homegrown stories, its own domestic audience often pivots away from local fare to content from other countries.
Several factors are driving these worldwide shifts. U.S. entertainment companies have slowed their output, expanded their international footprint, and ultimately primed audiences to be much more receptive to foreign-language content.
For global streamers, the takeaway is clear. While the production of local content may be increasing, the ultimate goal shouldn’t be to silo it. The true objective is to make authentic, local productions that have the power to scale globally. The future of streaming isn’t just about winning a specific local market; it’s about winning the world.
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