Netflix and France's TF1 join forces as traditional TV struggles
Streaming giant Netflix and major French broadcaster TF1 have signed a deal to merge some of their services at a time when demand for traditional TV is slowing.
Starting in Summer 2026, all Netflix members in France will be able to watch TF1 channels and on-demand content from TF1+ directly on Netflix.
That includes dramas like Broceliande and soaps such as Demain nous appartient, as well as major live sports matches. These will soon be available alongside Netflix's own French-language offerings and its international series and films.
'This is a first-of-its-kind partnership that plays to our strengths of giving audiences the best entertainment alongside the best discovery experience,' said Greg Peters, co-CEO of Netflix, in a press release.
Rodolphe Belmer, CEO of TF1 Group, added: "I am delighted about this new partnership with Netflix, with whom we have already established strong relationships through ambitious co-productions in recent months."
TF1 and Netflix have already worked together on projects such as L'Agence and Tout le bleu du ciel.
Belmer continued: "As viewing habits shift toward on-demand consumption and audience fragmentation increases, this unprecedented alliance will enable our premium content to reach unparalleled audiences and unlock new reach for advertisers within an ecosystem that perfectly complements our TF1+ platform."
It's not yet clear whether Netflix paid an initial fee for the content, and the firms didn't disclose how they will manage subscription and advertising revenues.
TF1 is a free-to-air channel in France, meaning it relies on advertising income, even for its streaming services.
The TV network currently reaches 58 million monthly viewers through its broadcast channels and serves 35 million users on its TF1+ streaming service.
Through Studio TF1, the company also manages over 50 production companies and labels across France and international markets.
Airbus SE introduced a new dividend policy on Wednesday, increasing the amount it intends to pay to shareholders in the future. The firm increased its new dividend payout ratio limit from 40% to 50% of the share of profits, bringing the new payout range to 30%-50%.
Airbus also hinted at the possibility of paying out a special dividend and introducing share buyback programmes.
The planemaker and defence company also said that it would maintain its long-term cash conversion target, a measurement of the firm's efficiency in converting its profits into cash.
'Airbus will reaffirm its commitment to profitable growth and its cash conversion target of around 1 over a 5-year horizon,' the company said.
Airbus' share price increased by 3% by around 11.00 CEST, following the announcement.
The company's statement comes at a time of global trade uncertainty and supply chain disruptions.
Airbus set a goal of handing over 820 aircraft this year. Ongoing supply chain issues slowed the deliveries in the first months of 2025, but Christian Scherer, CEO of the company's core planemaking business, said that Airbus remains "cautiously hopeful" about meeting its 2025 target.
Meanwhile, Airbus' defence business is thriving.
With the EU preparing a significant defence budget increase, the firm is expecting its military helicopter orders to grow by 50% between 2023 and 2025. Airbus is also developing a drone portfolio, aiming to become a market leader in this segment.
Airbus started this week at the Paris Air Show, announcing new orders from Saudi Arabia and Poland. Airbus also recently signed a framework agreement with the French military for purchases of navy drones, and secured another deal with Singapore to deliver military helicopters.
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Fashion Network
an hour ago
- Fashion Network
Interview with Maria Giulia Prezioso Maramotti
Staged before an audience that included Sharon Stone, Gwyneth Paltrow and Alexa Chung, the actual collection was a sublime meeting of refined North Italian tailoring and Southern sensuality – inspired by sultry cinematic icons like Sophia Loren and Silvana Mangano. By staging annual cruise shows, Max Mara has smartly positioned itself alongside the ultimate luxury marques like Dior or Louis Vuitton —whose show this year was in Avignon—even though its annual turnover is between one-fifth and one-tenth of those two French labels. That said, the Max Mara Group amassed annual sales in excess of €1.9 billion last year, so it is still a significant player. While in Naples, the house organized private viewings in the city's famed Archaeological Museum; tours of remarkable churches; and a cruise to Lo Scoglio, the must-see restaurant near Positano — famed for a clientele that ranges from the Arnault family and Tommy Hilfiger to Remo Ruffini and endless movie stars. There was also a dinner in Bersagliera restaurant in the beautiful port of Santa Lucia, where Neapolitan musicians had Paltrow, assorted influencers and the occasional dashing editor on their feet in a conga line, banging tambourines to tunes like 'Volare' or 'Bella Ciao.' This is why Fashion Network sat down with Maria Giulia Prezioso Maramotti, the third generation of the Maramotti family and granddaughter of founder Achille Maramotti. Today, Maria Giulia is the omnichannel retail director of Max Mara Fashion Group and global brand ambassador of the brand – demanding positions she holds down with aplomb, while still bringing up a three-year-old daughter. So, here is her take on cruise, Naples, transitioning control from one generation to another, and what's next for Max Mara. Fashion Network: Why are we in Naples? Maria Giulia Prezioso Maramotti: As you know, we began this tradition of resort collections seven years ago. The idea is a mix of what our creative director, Ian Griffiths, wants to say and whether we want to do that in Italy or not. There's an element of celebrating lifestyle, which is very particular – not just in Italy but especially in Neapolitan culture, where roughness and reality contrast with great beauty in a fashion moment that is rather unique. When fashion is going back to tailoring, which is the basis of our brand. Plus, we wanted to show a city that is becoming more and more a destination for tourism and culture. It has become much safer than it used to be. Lots of people visit – with daily flights from New York and places like Canada or Philadelphia. The city has never been busier. FN: Why is cruise so important to Max Mara? MGPM: For many reasons. The phenomenon was born out of the idea of creating an experience of full immersion in the brand. It's one thing to do a show back-to-back with other brands in Milan, when editors are overloaded. 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.
Fashion Network
an hour ago
- Fashion Network
Interview with Maria Giulia Prezioso Maramotti
Staged before an audience that included Sharon Stone, Gwyneth Paltrow and Alexa Chung, the actual collection was a sublime meeting of refined North Italian tailoring and Southern sensuality – inspired by sultry cinematic icons like Sophia Loren and Silvana Mangano. By staging annual cruise shows, Max Mara has smartly positioned itself alongside the ultimate luxury marques like Dior or Louis Vuitton—whose show this year was in Avignon—even though its annual turnover is between one-fifth and one-tenth of those two French labels. That said, the Max Mara Group amassed annual sales in excess of €1.9 billion last year, so it is still a significant player. While in Naples, the house organized private viewings in the city's famed Archaeological Museum; tours of remarkable churches; and a cruise to Lo Scoglio, the must-see restaurant near Positano — famed for a clientele that ranges from the Arnault family and Tommy Hilfiger to Remo Ruffini and endless movie stars. There was also a dinner in Bersagliera restaurant in the beautiful port of Santa Lucia, where Neapolitan musicians had Paltrow, assorted influencers and the occasional dashing editor on their feet in a conga line, banging tambourines to tunes like 'Volare' or 'Bella Ciao.' This is why Fashion Network sat down with Maria Giulia Prezioso Maramotti, the third generation of the Maramotti family and granddaughter of founder Achille Maramotti. Today, Maria Giulia is the omnichannel retail director of Max Mara Fashion Group and global brand ambassador of the brand – demanding positions she holds down with aplomb, while still bringing up a three-year-old daughter. So, here is her take on cruise, Naples, transitioning control from one generation to another, and what's next for Max Mara. Fashion Network: Why are we in Naples? Maria Giulia Prezioso Maramotti: As you know, we began this tradition of resort collections seven years ago. The idea is a mix of what our creative director, Ian Griffiths, wants to say and whether we want to do that in Italy or not. There's an element of celebrating lifestyle, which is very particular – not just in Italy but especially in Neapolitan culture, where roughness and reality contrast with great beauty in a fashion moment that is rather unique. When fashion is going back to tailoring, which is the basis of our brand. Plus, we wanted to show a city that is becoming more and more a destination for tourism and culture. It has become much safer than it used to be. Lots of people visit – with daily flights from New York and places like Canada or Philadelphia. The city has never been busier. FN: Why is cruise so important to Max Mara? MGPM: For many reasons. The phenomenon was born out of the idea of creating an experience of full immersion in the brand. It's one thing to do a show back-to-back with other brands in Milan, when editors are overloaded. 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 of southern 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 and 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 recruiting 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.
France 24
3 hours ago
- France 24
Rape trial of France's feminist icon Pelicot retold on Vienna stage
The staging is the latest project of Vienna Festival director Milo Rau, one of many who followed last year's mass rape trial in the southern French city of Avignon. Unusually for such trials, the hearings were held in open court after Pelicot insisted it be held in public, a decision that meant it received international media coverage and generated fierce debate. Rau delved into the files "in a bid to make the trial public" while detaching it from the courtroom, he told AFP. The resulting performance is in a sense "an extension of the actions" of Gisele Pelicot, who at a key moment had refused to allow her rapists to be tried behind closed doors, he added. 'Long journey' In "The Pelicot Trial", dozens of actors read out statements made in court, but also texts and material that illustrate the debates the case has generated. Lawyers for the Pelicot family cooperated with the production by supplying documents from the case, but French playwright Servane Decle, 28, said research for the project was still a difficult task. "It was a bit of a challenge to reconstruct the words that were spoken in court," said Decle, who researched journalists' notebooks and news reports for her script. It was equally demanding to include voices from outside the courtroom -- to get beyond the sometimes "superficial" framework of the French justice system which "was not ready to try" more than 50 defendants in court, she said. Those voices included statements from experts and feminists. Wednesday's premiere will start at 9:00 pm in a church in the Austrian capital, and run for up to seven hours. Admission to the staged reading is free and spectators will be able to come and go as they please. It will be "a long journey" that seeks to "pull the threads of all the societal issues behind the trial together," said Decle. The case exposed issues ranging from marital rape to the porn industry and the role of technology, she added. The idea behind the performance is to make it possible to experience "a collective trauma of spending a night together" and wake up in another world, said Rau, emphasising the universal and symbolic nature of the case. 'Second wave of MeToo' movement In December, a French court sentenced Pelicot's former husband Dominique to 20 years in prison, a verdict that also made headlines in Austria. So did the sentences handed down to 50 co-defendants, all "ordinary men of all ages and from almost all walks of life", according to a text that will be read out as part of the performance. According to actress Safira Robens, preparing for the performance was "very difficult", citing the graphic descriptions of rape, which sometimes haunted her at night. "I'm afraid of the reactions, but the subject is so important that it's worth it," she said, hailing Pelicot for having insisted it was up to rapists -- not their victims -- to feel ashamed. "She opened the door and triggered a second wave of #MeToo," said Decle. A shortened version of the performance will next be staged in Avignon on 18 July. However, Gisele Pelicot, 72, will not be there.
