The shifting tides in streaming as brands take center stage
Amid restructuring and cost-cutting moves, streaming platforms are increasingly leaning on familiar brands and established franchises, whether already loved or in active development. This shift reads as a response to the uncertainty surrounding the US economy and a strategic bid to cultivate loyalty by leaning on familiar universes, even as big players like Disney+ report subscriber pressure. Plans to refresh familiar titles such as Toy Story, Frozen, and Zootropolis with sequels signal an attempt to stabilize reach through trusted IP.
For a time, the idea of flow painted a picture of broad plurality, a horizon where extraordinary voices could rise and creators could find footing beyond traditional cable. Yet recent developments sketch a more constrained landscape, where consolidation and brand-centric strategies seem to dominate.
The ‘Billions’ and ‘Dexter’ Universes
At the end of January, a top executive announced that Showtime will merge its premium service with Paramount+, rebranding to Paramount+ With Showtime. The move is expected to bring staff adjustments and shifts in content strategy, a fact already felt in the lineup. Showtime has been streaming notable but smaller scale series such as Kidding and Becoming a God in Florida, signaling a broader push toward series that fit a cross-platform strategy. Plans also emerged around a potential adaptation of Lisa Taddeo’s Three Women, with a different lead approach; while competitors move toward broader franchises, the company keeps Starz in view as a rival anchor.
Following Yellowstone’s ascent into a sprawling franchise, Paramount’s leadership is signaling a continued push to convert well-known brands into durable franchises. The announcement of spin-offs from the hit financial drama Billions includes Projects like Millions, about aspiring moguls in Manhattan, and Trillions, a fictional glimpse into the world’s wealthiest individuals, along with variations in Miami and London. Some observers question whether such extensions are needed in a crowded streaming era where other high-profile titles exist already, such as Industry.
Meanwhile, the reception to Dexter: New Blood and a more satisfying arc for the morgue-based sleuth has spurred additional projects, including a feature-length prequel, Dexter: Origins, and a second chapter centered on Harrison. These efforts are led by Clyde Phillips, the acclaimed showrunner responsible for the early seasons of the original series. The logic is to keep a proven character alive in new formats while audiences respond to familiar investigative atmosphere and dark humor.
Movistar Plus+ remains the primary gateway for Showtime titles in the Spanish market, yet SkyShowtime is poised to broaden access by combining material from Sky Studios, Showtime, Paramount+, Peacock, Universal, and DreamWorks. Movistar sources indicate existing Showtime titles will remain available, and new seasons will follow, with marquee examples like the upcoming second season of Yellowjackets scheduled to appear as SkyShowtime coverage expands. The broader intent is clear: preserve continuity for loyal viewers while gradually expanding through a multi-brand platform strategy.
All ‘by-products’ everywhere
It is increasingly rare to find a streaming service that does not leverage recognizable brands to extend reach. Beyond the Yellowstone universe created by Taylor Sheridan, which has yielded titles such as Mayor of Kingstown and Tulsa King, Paramount+ has secured access to Star Trek projects through collaborations with partners like Amazon Prime Video for joint ownership of series such as Picard and Lower Decks.
After strong performance for The Lord of the Rings, Amazon plans to push further into universes such as Tomb Raider and The Final List, with Phoebe Waller-Bridge contributing in a new series for Prime Video. The John Wick saga will also premiere in a streaming-friendly format outside the United States and the Middle East, with a title that imagines an infamous hotel where killing is forbidden, offering audiences a fresh mythology to follow.
On Netflix, the platform has revised its account-sharing policy and is pursuing a stream of brand extensions. The final season of Stranger Things is anticipated in 2024, with a code-named spin-off in development. Meanwhile, new iterations of La casa de papel and Los Bridgertons are on the horizon, with Queen Charlotte receiving a separate release window. Netflix is also testing international releases of films such as The Squid Game in the UK, reflecting a broader approach to localization and global reach.
AMC+ continues its expansion by positioning Walking Dead spinoffs like Dead City, Daryl Dixon, and related narratives in the foreground. The service also hosts Anne Rice’s Immortal Universe, linking the two popular novel series Interview with the Vampire and The Witches of Mayfair into a cohesive streaming thread.
Industry observers vary in their outlook. Some optimists argue this brand-first strategy creates a hedge against risk, enabling investments in ambitious ideas. Others worry that studios may become overly reliant on known IP, underutilizing fresh storytelling opportunity and leaving true originality under pressure. The current moment is clearly a test of imagination, with executives balancing brand power against the need for new voices and untested formats.