cross-posted from: https://startrek.website/post/44201153

As the US financial markets, politicians and entertainment media obsess about mergers and moving production of US scripted shows back to the United States, this seems like an enormous reality check. The United States provides less and less of the scripted entertainment globally.

It squashes the long held beliefs that the world watches/prefers American popular entertainment exports over those made at home or in other countries and regions.

There’s a new global leader in greenlights.

Over the first half of 2026, Asia surpassed both North America and Europe to become the world’s leader in streaming scripted orders, the researchers at Ampere Analysis have found. From January through June, 36 percent of “first-run scripted TV orders from the leading global streamers” (Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+) originated in the APAC (Asia-Pacific, which encompasses countries in East Asia, South Asia, Southeast Asia, and Oceania) region.

What’s unfortunate for members of this instance is that, in this process, it’s science fiction and fantasy that are being crowded out on the major streamers. (Perhaps that’s because English speaking science fiction and fantasy viewers are less willing to give scripted shows in and films in other languages a try…? )

Here’s a chart of the trends :

As a Canadian, who sees many of our Canadian productions obscure that they are set in Canada or even outright pretend to be in the USA even when based on Canadian source material, I hope that this means that we can tell our own stories without having to obscure our identity for distribution to international audiences.

As another example of Asian live-action and animated screen productions’ rapid and accelerating growth globally, Toho is increasing its footprint in Europe.

Toho Europe, the regional arm of Tokyo-based entertainment group Toho Co., Ltd. – founded in 1932 and best known internationally for the “Godzilla” franchise – announced a new branch in France. The company has been expanding across the European market since acquiring Anime Ltd. earlier this year, and said the French office would serve as a foundation for deeper engagement with the country’s film and animation industries.

While I would argue that the writer is confusing the distinction between digital and physical vs digital and analogue, this piece is interesting.

Also, I now really want to visit that shop in Hamner, Ontario.

Test screenings appear to have been completed for the upcoming Legendary Pictures Monsterverse cinematic release (expected in 2027 as opposed to the upcoming *Godzilla Minus Zero from Toho).

The buzz is coming from ‘anonymous screener reports’ to fan sites and IMDb.

Seems positive. Reportedly, the cartoonish extremes have been dialed back somewhat but still not as grounded as Godzilla (2014) and *Kong: Skull Island or Monarch: Legacy of Monsters.

As the US financial markets, politicians and entertainment media obsess about mergers and moving production of US scripted shows back to the United States, this seems like an enormous reality check. The United States provides less and less of the scripted entertainment globally.

It squashes the long held beliefs that the world watches/prefers American popular entertainment exports over those made at home or in other countries and regions.

There’s a new global leader in greenlights.

Over the first half of 2026, Asia surpassed both North America and Europe to become the world’s leader in streaming scripted orders, the researchers at Ampere Analysis have found. From January through June, 36 percent of “first-run scripted TV orders from the leading global streamers” (Prime Video, Apple TV+, Disney+, HBO Max, Netflix and Paramount+) originated in the APAC (Asia-Pacific, which encompasses countries in East Asia, South Asia, Southeast Asia, and Oceania) region.

What’s unfortunate for members of this instance is that, in this process, it’s science fiction and fantasy that are being crowded out on the major streamers. (Perhaps that’s because English speaking science fiction and fantasy viewers are less willing to give scripted shows in and films in other languages a try…? )

Here’s a chart of the trends :

As a Canadian, who sees many of our Canadian productions obscure that they are set in Canada or even outright pretend to be in the USA even when based on Canadian source material, I hope that this means that we can tell our own stories without having to obscure our identity for distribution to international audiences.

Just posted today on the creator’s Mastodon account.

Local media in Prague, Czech Republic, are continuing to provide updates on early production for Birdwatcher — working title for the new Monsterverse Monarch: Legacy of Monsters spinoff show focused on Lee Shaw during the Cold War in the 1980s.

The Prague Reporter can reveal exclusive photos from the production, showing star Wyatt Russell on location alongside an array of period props and vehicles. The imagery points to a story set in the Soviet Union during the Cold War, with Russell’s Lee Shaw apparently operating undercover and under pursuit by the KGB…

…The Prague Reporter’s exclusive set photos offer the clearest look yet at Birdwatcher‘s Cold War setting. Several images show period props featuring Cyrillic lettering, while others capture Russell in scenes that appear to depict his character moving covertly behind the Iron Curtain...

…e Cyrillic markings on props strongly suggest that Birdwatcher is portraying the Soviet Union, although the specific locations represented by the scenes have not been officially identified. Previous reports have placed the story in 1984, when Shaw is sent on a secret mission behind enemy lines to prevent the Soviet Union from unleashing a Titan capable of changing the course of the Cold War.

Here a couple of the large number of behind the scenes photos from the article.

Note: the lower photo for bread store #61 🍞— хлеб is Russian for bread.

As there has been a fair bit of interest when I shared information on a recent Mainland Chinese science fiction movie, I thought it would be worthwhile to let the users here know about the top ranked urban fantasy television series Mystic Nine that is the hit of the summer with a 30% market share in China.

If you’re looking to try a 20th century fantasy show with a touch of horror and monsters, timey wimey shenanigans, lots of humour, cute dogs, great vfx and the kind of fantastic action scenes that Chinese television excels in, this is the one. (If you are a fan of Moopsy in Star Trek Lower Decks, this show definitely has something for you.)

Mystic Nine (2026) is a 30 episode x 40 minute series produced for Youku but more easily accessible internationally through Rakuten Viki.

It’s part of a larger Lost Tomb IP novel and television franchise that involves 9 clans responsible for the 9 gates of the city Changsa in the Republican Era. Think of Raiders of the Lost Ark meeting Republican Era factionalism.

This entry takes place in 1935 and the book author was reportedly closely involved in the adaptation. It’s a good entry into the IP and the opening credits give a nutshell summary of the clans.

A review and update on the latest IDW comic offering in the Godzilla franchise as well as a reflection on the evolution of comics as separate narratives from screen.

Flash forward to the modern era and Godzilla comics are just fucking weird! No concept seems to be too outlandish. No crossover too absurd. No retcon too sacrilegious.

Indeed, if you’ve picked up a book from IDW lately (the custodians of the brand as far as print is concerned), you’ll have been exposed to some of the wackiest takes on the King of the Monsters imaginable. He’s been sent to hell (both Norse and Catholic), corrupted by the Venom symbiote, fought 16th-century pirates, and been the subject of a geopolitical conspiracy that triggered the respective assassinations of Archduke Franz Ferdinand, Bugsy Siegel and Abraham Lincoln. Some of those things all happened in the same batshit story!

Since Ellison committed to hold off on the merger until the case was resolved, based on this decision,, the merger is years away if happening. Paramount is unsurprisingly unhappy at such a late trial date as they’d asked for a trial date no later than November 2026.

The judge hearing the antitrust case seeking to block the Paramount-Warner Bros. Discovery merger has issued a preliminary scheduling order, with a trial set to start in March 2027 — considerably later than Paramount was hoping for.

Judge Araceli Martinez-Olguin on Tuesday issued a ruling that said the trial will run a total of 12 court days, beginning Tuesday, March 2, 2027, and ending March 19. In her order, she said a final pretrial conference will be held Wednesday, Feb. 24, 2027. The judge said the parties must submit a joint case management statement by no later than noon on Aug. 13, 2026, for an initial case management conference on Aug. 19.

Breaking news on Godzilla Minus Zero world premiere.

The 2026 NY Film Festival will host the world premiere of Takashi Yamazaki’s Godzilla Minus Zero.

The sequel to sleeper hit Godzilla Minus One will screen as the Spotlight gala selection on Sept. 26 at the 64th annual event.