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Netflix, he said, is not looking to kill windowing but rather to "restore choice and options" for viewers by moving to day-and-date releases. Not only that, but Sarandos said Netflix would be expanding into more niche genres, including the financing of documentaries and art-house films. Here, the marketing stunt with teaming up with mega movie star Leonardo di Caprio on the release of documentary Virunga focusing on the fight against poaching threatened gorillas in the Democratic Republic of Congo. The documentary was released simultaneously on Netflix and in theaters in York and Los Angeles on 7 November 2014. Amazon Prime's tally in content creation and production is also impressive, most notably thanks to its decision to engage Woody Allen to write and direct a series for its SVoD services in January 2015 and its competitive force in TV by landing two Golden Globe trophies for best comedy for its critically promoted Transparent and actor for series star Jeffrey Tambor also in January 2015.

So the future is more than bright, for SVoD providers, but what are the threats to their growing supremacy and market share? A sorry state of affair for SVoD providers and traditional video distributors: counterfeiting in the video streaming market A tentative expansion to international territories? A false alarm Initially, the major threat to the rise and scaling up of SVoD services worldwide came from the reluctance, by some European countries to accommodate and "psychologically adapt" to the business model offered by the likes of Netflix. The French, in particular, were a headache: In the own words of then French Minister of Culture Aurelie Filipetti, "(the French) are absolutely not going to close the door to (Netflix), but they need to get used to the differences with the French market and how they can participate constructively.

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" France has some of the world's toughest rules for protecting its home-grown film and music industries, and none of these will make it easy for a foreign service like Netflix to make a serious dent in the market. The company, which initially started offering SVoD services in France around November 2014, faces higher taxes than it is used to, including 20 percent VAT, as well as obligatory investment quotations from its profits. Indeed, SVoD services based in France with annual earnings of more than 10 million euros are required to hand over 15 percent of their revenues to the European film industry and 12 percent to French filmmakers.

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Meanwhile, France insists that 40 percent of mainstream broadcasters 'content must be in French, while existing SVoD providers – including Canal Plus' "Infinity" and Wild Bunch's "Filmo TV" – are currently forced to wait 36 ​​months after a film's cinema release before they can stream that content online. These rules – the so-called "Cultural Exception" – mean that France retains a healthy film and music industry despite fierce competition from the Anglo-Saxon world. And while some commentators have said this model is outdated as ever-increasing numbers of people get their audiovisual entertainment online rather than more traditional TV and radio media, France is abandless continuing to do all it can to protect its homegrown industries. As mentioned above, these are hurdles, Netflix initially started offering SVoD services in France, the toughest foreign market to enter as of yet, during the fourth quarter of 2014.

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At MIPCOM 2014, Netflix chief content officer Sarandos went on record for saying that viewer behavior, in Germany and France, was "on par with our successful territories elsewhere in the world" and that Netflix prison dramedy 'Orange is the black' was the most watched show on the SVoD service in all of the six European territories. Sarandos added that the viewing mix in Europe – about 70 percent television series and 30 percent feature films – was also similar to that on Netflix services around the world.

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