Analysing Netflix algorithms, capitalism, and glocalisation
When Netflix first launched in the UK in 2012, it promised to bring the future of television to our fingertips. More than a decade later, it’s clear that what we get on Netflix is shaped not only through our taste but also determined by licensing deals, country regulations, and even political economics.
While UK users have access to a wide range of content, the library differs significantly from what’s available in other regions. I always found that confusing. Why does the US, for instance, get the uk based and produced show Misfits. This raises questions about media control and regulation.
Upon further research I have determined that one of the most visible reasons for this is due to licensing restrictions. Unlike traditional broadcasters, Netflix doesn’t own the rights to every show on its platform. Instead, it negotiates licensing agreements with production studios on a country basis.
For example, while The Office (US) is seen on Netflix in some countries, UK users can’t watch it because the rights are held by Amazon Prime. Similarly, popular titles like Parks and Recreation are often licensed to competitors in the UK, making them unavailable on British Netflix. So, to watch some of my favourite shows I have had to shell out even more money to different streaming platforms.
To bypass these restrictions, many other UK viewers turn to Virtual Private Networks (VPNs), which allow users to change their location and access foreign Netflix libraries. This workaround, while technically against Netflix’s terms of service, has become increasingly popular. According to a report by Bizcognia, approximately 41% of adults are aware of VPNs, and 31% of global internet users utilize VPN services. This number may increase when major shows are accessible in specific regions only. This practice reflects a broader desire to access content beyond national borders.
Netflix has also made significant investments in British content, producing series like The Crown, Top Boy, and Sex Education. These shows are marketed globally but rooted in British culture.
This strategy is often described as glocalisation: the global distribution of locally produced content.
Roland Robertson
It’s a smart move that allows Netflix to appeal to local tastes while retaining its global presence. I have friends from all around who can speak on London gang culture through watching Top Boy, even though they haven’t stepped foot in the UK.
Still, scholars such as Robert. W McChesney warn us that this does not mean true media democratisation. In his critique of the global media system, McChesney argues that
media conglomerates, even when producing localised content, tend to prioritise profit over culture.
Robert. W McChesney
The UK Netflix model may look inclusive but is still bound by the rules of corporate control.
UK Netflix then becomes a site of tension between access and control, and localisation and globalisation. Users think they are choosing what to watch, when, and how, even shaping their algorithms. But in reality, those choices are curated by hidden licensing deals and algorithmic filtering. Netflix tells me I want to watch the new Gabby Petito doc, and I do, but really only because Netflix has put that thought in my mind.
Therefore, UK viewers can watch Netflix in their home country, but not all the platform has to offer globally. What’s available depends not just on what’s popular, but on what’s profitable, and who owns the rights. The use of VPNs and the rise of UK-produced originals show how viewers and producers are negotiating with these limits. We attempt to understand licensing and profit, but we also need to have our say. Netflix may feel like a universal platform, but in truth, it’s bound by complex corporate deals.
Maybe I’ll watch Misfits via a VPN, then.