During my PhD at the University of Amsterdam, I investigated how global streaming giants shape European screen production. Over the course of my research, I had the pleasure of talking to producers, screenwriters, showrunners, and directors who had worked on Netflix originals in different parts of Europe. I became especially fascinated by the creative process of storytelling, how Netflix was influencing it, and how creators were thinking about and negotiating these new dynamics.

In one of these conversations, while I was enquiring about the types of creative notes given by Netflix executives to screenwriters, something unexpected came up: the streamer was labelling certain shows as “second-screen” and developing them accordingly. By “second-screen,” it was conveyed to me, Netflix meant shows that are designed to be on in the background (the second screen), while viewers scroll on their phones (the primary screen). In this scenario, Netflix wanted screenwriters to make sure the content could be followed by a distracted viewer, who is not even looking at the screen.

These findings, alongside others, were analyzed and published in the International Journal of Communication, in a piece titled “Local Production for Global Streamers: How Netflix Shapes European Production Cultures.”

Fast forward three years after that notable interview, in January 2025, this concept suddenly surfaced in the public discourse, with friends bringing it up to me over dinner having read about it in the news.

I felt uniquely positioned to contribute to the discussion, having encountered “second-screen shows” at a time when I could find no other information on them and having had a few years to reflect on their implications. Especially, in terms of broader concerns related to power asymmetries between global streamers and cultural producers.

I explore this in more detail in The Conversation, where I argue that the “second-screen” phenomenon is completely in keeping with the data-driven and algorithm-obsessed culture of global streamers and their quest for binge-worthy content. But, I also emphasize that this is just one component of a highly complex and ever-evolving global content strategy. The bottom line? For storytellers currently navigating challenges like eroding IP rights, data asymmetries, disproportionate remuneration, a shrinking TV drama market, and the emergence of generative AI, the “second-screen” phenomenon is just one small piece of a much larger puzzle.