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Netflix and French television group TF1 strike world-first streaming deal

Netflix and French television group TF1 strike world-first streaming deal

LeMonde8 hours ago

Netflix announced on Wednesday, June 18, a livestreaming and on-demand content agreement with French television group TF1, its first such deal with a major traditional broadcaster anywhere in the world. The service will launch in summer 2026, Netflix's co-chief executive Greg Peters told Agence France-Presse while declining to name any of the financial or other details of the tie-up with TF1.
Netflix subscribers in France will get access to TF1's five TV channels and content from the group's own TF1+ streaming platform – all "without ever having to leave the Netflix environment" on their smart TV or other device, the US company said in a statement. On offer will be sporting events, soap operas and reality shows such as the Survivor -style Koh-Lanta.
TF1 and Netflix have for years collaborated on productions like 2019's historical drama Le Bazar de la Charité (The Bonfire of Destiny). But France's top private broadcaster – one of Europe's largest – has big ambitions for TF1+ to stand on its own two feet, making the more intimate tie-up with Netflix a surprise. The TF1 streaming platform aims to become the most popular free offering in France and the wider French-speaking world.
"TF1+ is and will remain at the center of our strategy," TF1 chief executive Rodolphe Belmer told AFP ahead of the announcement. Belmer insisted that the deal did not risk "cannibalization" of TF1+ and was "truly complementary" in a media landscape of fragmenting audiences and growing on-demand viewing. He added that the TF1 group had done "lots of analysis" and expected a "significantly net positive" business effect.
On Netflix's side, "TF1 is very good with sports, with live areas that we don't operate in a large way right now," said Peters, who also praised the quality of the group's scripted programming. Netflix said in 2022 that it had surpassed 10 million subscribing households in France and has reported growth since then without naming concrete figures.

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Rape trial of France's feminist icon Gisèle Pelicot being retold on Vienna stage
Rape trial of France's feminist icon Gisèle Pelicot being retold on Vienna stage

LeMonde

timean hour ago

  • LeMonde

Rape trial of France's feminist icon Gisèle Pelicot being retold on Vienna stage

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World champion Olga Carmona signs for PSG women's team
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World champion Olga Carmona signs for PSG women's team

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Interview with Maria Giulia Prezioso Maramotti
Interview with Maria Giulia Prezioso Maramotti

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Interview with Maria Giulia Prezioso Maramotti

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So, instead of just 20 minutes to consider a show, you have about 48 hours to understand the brand. And you have more time to talk about product — a main driver for a brand like Max Mara. FN: I was struck when you explained that, in Naples alone, your group has nine stores. What's the secret behind this great love affair between a northern Italian brand and the great capital of southern Italy? MGPM: Naples is a city that serves as a reference point for the whole south of Italy. People from the provinces use Naples, as it's a bigger market than you think. So, we have many labels – like Max Mara Weekend, Max & Co. – serving different market segments, either in city-center freestanding stores or in Pompei Mall. FN: You also displayed the Atelier collection in Naples in a beach club. It has remarkable couture-level coats – the leitmotif of your brand. Why is it here, and what is the thinking behind this special project? MGPM: Our Atelier collection is like a development lab when it comes to the recruitment of new fabrics. Laura Lusuardi, who oversees it, has worked with many different designers at Max Mara — like Karl Lagerfeld or Giambattista Valli. Plus, Atelier allows her to recruit talent internally. It's a collection focused on creating the next shapes and offering the freedom to explore different materials and fabrics. It's a smaller collection, with less commercial pressure — and that is important. We sell it in our main flagships, and we practice stock rotation — bringing it to a store for two weeks and then moving it to another. It's our couture meets ready-to-wear. Laura has been the rainmaker of another key project – our archive. It started as her passion for vintage. But then we built our new HQ in our hometown of Reggio Emilia, and we realized how many pieces we had. And the archive became a great guide to research and cultural relevance. After that, people began donating stuff – me, Laura, Franca Sozzani or Carine Roitfeld, who donated great looks. It's a blend of this and purchases made at markets or auctions, along with the Max Mara archive of all our collections. FN: Three years ago, you became a mum with Mariasole, and last year, you launched the Max & Co. kids line. I've seen you describe Max & Co. as the enfant terrible of your group. So, tell us more about that project? MGPM: If you look at our kids collection, it's an enfant terrible — with a little rebellion, but not too much. And my daughter is the muse. It's a license with Brave Kids, part of Only the Brave, and we are very happy with it. FN: Apparently, your daughter is obsessed with fashion. Were you like that as a child? Do you see your daughter taking over one day? MGPM: I was definitely obsessed with clothes as a kid, and I am still as a woman. Honestly, I don't know what Mariasole will want to do. The key thing is I'd like for her to find her own way. FN: Last October, you received the Design Heritage Award from Fashion Group International in New York. How important is it that Max Mara gets these sorts of recognitions? MGPM: It was a great acknowledgment, which we really appreciated. In an industry where longevity is a little undervalued and there is so much change, we represent the ability to maintain a certain continuity. FN: If your grandfather, Achille Maramotti – who founded Max Mara in 1951 – were around today, what would he think of the group's growth and story? MGPM: My grandfather passed when I was 21. I think he would have been very proud of what his children have achieved, primarily and proud that his grandkids are now part of that. He believed in maintaining things of a certain quality, making garments with carefully chosen, great fabrics. He was not someone who was nostalgic at all — he was happiest when looking at contemporary fashion. So, I think he would be very happy. FN: Often, handing over a family business to the next generation can be tricky. Why do you think that Italians seem to handle that better? MGPM: Two reasons – Italians don't look at fashion as primarily part of the financial world. Italian entrepreneurs are all about obsession with products. That comes from close proximity to their companies, which means they can choose good partners to make very good products. They know their company extremely well, as they are very present. Of course, when you get to a certain dimension, you need to add outside management, but as you know your company inside out, you can usually choose pretty well. Secondly – as a lot of Italian companies are family-run, your parents teach you a lot. You live and breathe the company, and that is something you cannot teach. Of course, there have been a lot of great Italian brands bought by French giants, but quite a lot of us are still independent! MGPM: The answer is that it's very difficult to create really great women's fashion, so we are going to stick to what we know. As for hotels, let's say we are a little more conservative than our colleagues and won't go there. But we did sign a license with Shiseido last year and will have a great new scent next year. So, stay tuned.

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