The ten-episode Netflix series Emily in Paris, which tells the story of a young woman sent to the French capital to work at a marketing agency bought by her US employer, has left France's entertainment critics largely outraged, with one slamming its portrayal of the French as 'all mean and all lazy and [who] never arrive at the office before late morning'.
One of the side effects of the coronavirus pandemic has been a shake-up in the world of culture, including in France. As cinemas have stayed closed and music festival and tours have been cancelled, online streaming has stepped in to satisfy consumer demand for new film releases and live performances. Critics fear that not only is the culture industry rapidly becoming concentrated into the hands of a few major global players, there is also a risk that the dominance of online in films and music will reduce cultural diversity for many people – especially the poorest. Mickaël Correia reports.
US streaming giant Netflix on Friday inaugurated a vast new office in Paris and announced a catalogue of new content for its market in France, where it currently claims 6.7 million subscribers, as well as further production partnerships.
France's state-owned public service network France Télévisions is joining forces with main private network TF1 and also M6, the country’s most profitable private channel, to launch a subscription service next year called Salto, offering a back catalogue of French TV shows and original content in response to the growing success of US video entertainment giant Netflix, which has attracted 3.5 million subscribers in France.
Film production streaming giant Netflix's chief content officer, Ted Sarandos, said his company was pulling out of next month's Cannes Film Festival, arguably the most prestigious annual filmmakers venue, because they will not be treated equally due to a French law that stipulates films cannot be released on home entertainment platforms until 36 months after their release in cinemas.
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