Abstract
Netflix has commissioned and released an increasing number of high-end international series that tap into the genres of science fiction, fantasy and horror. These follow one of two strategies: (1) local productions that engage with local folklore and myths, or (2) productions centred in the ‘West’, where international talent is brought in to create cosmopolitan ‘global’ TV events such as 1899 (2022). The first strategy brings together local storytelling with a globally appealing packaging. The second strategy risks reducing ‘transnational’ production to a few tokenistic stars and narratives which are ultimately from everywhere and nowhere at the same time.
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