BB Media’s Main Trends in CEE Fiction 2024
The fiction market in Central and Eastern Europe (CEE) in 2024 accumulated a total catalog of over 120.000 fiction titles by the end of 2024, representing 8% of the total content available in Europe, which exceeds 1.5 million titles. Fiction films comprise a larger share of this content compared to series available in the region. While CEE has higher overall titles than the rest of Europe, the proportion of fiction content is comparable—44% in CEE versus 27% in Europe.
According to BB Media analysis, Poland, Slovakia and the Czech Republic lead the region in terms of the number of active streaming services and the volume of available fiction titles.
Among platforms, Netflix stands out with the largest subscription catalog of titles available in the region (+17.000) and as the service that launched the most fiction titles in 2024. Looking ahead to 2025, Netflix remains a trendsetter with 54 new content announcements.
The analysis of content origin in CEE highlights the dominance of international titles, led by the United States with over 36.000 titles, followed by India (+13.000) and the United Kingdom (+7.000). France (+4.000) also emerges as significant contributors to the international content offerings.
In addition, local platforms such as Megogo and Go3 have also strengthened their positions by offering competitive catalogs that reinforce their regional identity due to their larger fiction libraries.
This aligns with audience preferences in the region, where 68% of households who watch online content in Europe and 72% in CEE have watched locally produced content during the second quarter of 2024. Furthermore, a significant portion of them prefer original audio with subtitles (53% in Europe and 56% in CEE), reflecting an appreciation for authenticity and local storytelling.
The titles announced for 2025 in CEE primarily belong to the drama genre, followed by action, comedy, and adventure. These genres align with the preferences of the European audience, reflecting a wide range of interests in the region.
While drama appears to be the primary focus of upcoming releases, it does not rank as highly as other genres in terms of audience preference in the region. Additionally, crime stands out as the third most popular genre, with a 45% preference among European viewers—nearly as favored as action (46%). Despite this, only 7% of the announced titles fall into the crime genre, highlighting a potential opportunity for future productions to better cater to audience demand.
The countries in CEE with the highest number of announced releases so far are Poland (83), Turkey (82) and Romania (75), including titles that are launched simultaneously in multiple countries. In February, 16 new titles are set to launch in the region, offering a varied lineup of remakes, new seasons of global hits, and original productions. Notable titles include My Fault: London, The Witcher: Sirens of the Deep, and Sintonia.
The fiction market in Central and Eastern Europe continues to be a key player in the European streaming landscape, fueled by its significant audience potential and increasing digital connectivity, which saw a 9% growth compared to compared to the last quarter of 2022. While international platforms dominate the market, local players like Megogo and Go3 are gaining ground, standing out with competitive fiction catalogs that strengthen their regional identity. This dynamic highlight an imbalance where local platforms are effectively challenging global giants, reflecting the region’s significance as both a consumer base and a competitive streaming market.
Among platforms, Netflix stands out with the largest subscription catalog of titles available in the region (+17.000) and as the service that launched the most fiction titles in 2024. Looking ahead to 2025, Netflix remains a trendsetter with 54 new content announcements.
The analysis of content origin in CEE highlights the dominance of international titles, led by the United States with over 36.000 titles, followed by India (+13.000) and the United Kingdom (+7.000). France (+4.000) also emerges as significant contributors to the international content offerings.
In addition, local platforms such as Megogo and Go3 have also strengthened their positions by offering competitive catalogs that reinforce their regional identity due to their larger fiction libraries.
This aligns with audience preferences in the region, where 68% of households who watch online content in Europe and 72% in CEE have watched locally produced content during the second quarter of 2024. Furthermore, a significant portion of them prefer original audio with subtitles (53% in Europe and 56% in CEE), reflecting an appreciation for authenticity and local storytelling.
The titles announced for 2025 in CEE primarily belong to the drama genre, followed by action, comedy, and adventure. These genres align with the preferences of the European audience, reflecting a wide range of interests in the region.
While drama appears to be the primary focus of upcoming releases, it does not rank as highly as other genres in terms of audience preference in the region. Additionally, crime stands out as the third most popular genre, with a 45% preference among European viewers—nearly as favored as action (46%). Despite this, only 7% of the announced titles fall into the crime genre, highlighting a potential opportunity for future productions to better cater to audience demand.
The countries in CEE with the highest number of announced releases so far are Poland (83), Turkey (82) and Romania (75), including titles that are launched simultaneously in multiple countries. In February, 16 new titles are set to launch in the region, offering a varied lineup of remakes, new seasons of global hits, and original productions. Notable titles include My Fault: London, The Witcher: Sirens of the Deep, and Sintonia.
The fiction market in Central and Eastern Europe continues to be a key player in the European streaming landscape, fueled by its significant audience potential and increasing digital connectivity, which saw a 9% growth compared to compared to the last quarter of 2022. While international platforms dominate the market, local players like Megogo and Go3 are gaining ground, standing out with competitive fiction catalogs that strengthen their regional identity. This dynamic highlight an imbalance where local platforms are effectively challenging global giants, reflecting the region’s significance as both a consumer base and a competitive streaming market.
