Alice Oseman’s fictional world, where LGBTQ+ teenagers freely explore love, friendship and identity, expanded first to graphic novels before being turned into a hugely popular Netflix series.
The rom-com, which debuted in 2021, is part of a growing portfolio of young adult book adaptations that have flooded streaming platforms in recent years. Hulu’s college drama “Tell Me Lies” and HBO Max’s hockey romance “Heated Rivalry” have become pop culture sensations, joining hits like Amazon Prime Video’s “The Summer I Turned Pretty” and the “To All the Boys” trilogy on Netflix.
“We really thought it was going to be quite a niche show that was seen by a specific group of people,” Oseman said of “Heartstopper.” “It kind of blasted up beyond our expectations.”
After three seasons on the streaming giant, the British coming-of-age series will conclude with a film later this year.
Corinna Brown and Kizzy Edgell starred in Alice Oseman’s queer romance “Heartstopper.”
(Teddy Cavendish / Netflix)
These adaptations often tell tales as old as time of young love and emotional turmoil, but it’s the diverse representation that draws audiences in, said Yalda T. Uhls, founder and chief executive of UCLA’s Center for Scholars & Storytellers.
Audiences gravitate toward authenticity, Uhls added. Young people increasingly want to see stories that reflect their lives, according to a survey administered by Uhls’ nonprofit last year.
“It has to resonate and feel authentic to the time,” Uhls said. “This generation really sees stereotypes pretty quickly … they’ll see inappropriate behavior quickly, and they will call it out.”
Viewers are hungry for diverse casting and storylines across Hollywood. Last year, audiences showed up to the theater at higher rates for movies that had people of color in the cast, according to the annual UCLA Hollywood Diversity Report, released in March.
Netflix’s focus on YA adaptations has paid off, driving more than 1.2 billion total views worldwide in 2025. Audiences are drawn to the platform’s fresh and inclusive interpretations of the genre, said Jinny Howe, Netflix’s head of scripted series for the U.S. and Canada.
“It is still harder to get marginalized stories sort of made and seen by people, but ‘Heartstopper’ is part of that journey,” said Oseman, who also serves as series creator and executive producer.
Lovie Simone plays track star Keisha Clark in “Forever,” a reimagining of Judy Blume’s 1975 novel.
(Elizabeth Morris / Netflix)
“Forever,” a reimagining of Judy Blume’s 1975 book that debuted on Netflix last year, follows two young Black protagonists who fall in love in Los Angeles. The audience had “such a fervent passion for that story, I think, because of the specificity of those perspectives,” Howe said. “Los Angeles was really seen through these eyes.” The show’s second season will reportedly start filming in May.
Young adult adaptations are at the core of the platform’s broader efforts to champion diversity in storytelling, said Peter Friedlander, Prime Video’s head of global TV.
“We’re always looking for shows that give a reflection or a window into other people’s stories,” said Friedlander, also former head of U.S. and Canadian scripted series at Netflix. “This business has been building for a long time, and it’s exciting to see what’s coming out of it.”
Representation in these shows, however, is still far from perfect, said Nicholas Rickards, a doctoral candidate at Brock University in Ontario, Canada, whose research focuses on YA adaptations. Many shows that center a woman of color often still feature white male love interests, he said.
“Studios aren’t totally prepared to tell that story yet,” he said.
Filling a YA void
Streaming platforms’ focus on YA adaptations came as cable TV, which previously dominated the genre, tapered off.
Then the entertainment landscape changed. Social media and streaming became preferred modes of content consumption for young audiences, paving the way for platforms like Netflix, Prime Video, Hulu, Disney+ and HBO Max. Diverse storylines, coupled with the global reach of streaming platforms, have reignited an explosion of YA adaptations, and it’s a race that isn’t slowing down.
Younger generations are often difficult to attract, and YA reimaginings are just one way platforms are trying to break into the teenage demographic, said Jennifer Hessler, an assistant professor of cinema and media studies at the University of Southern California.
Lola Tung’s Belly is in a love triangle with Gavin Casalegno’s Jeremiah and Christopher Briney’s Conrad in “The Summer I Turned Pretty.”
(Erika Doss / Prime Video)
Netflix’s initial breakout success in the genre came with the release of “To All the Boys I’ve Loved Before,” a movie trilogy adapted from books written by Jenny Han, who’s also behind “The Summer I Turned Pretty.” The movies became massive hits and continue to drive viewership, drawing more than 55 million views globally last year, nearly eight years after the first film’s release, according to Netflix.
Younger generations are the target demographic of YA series at Prime Video, but the shows attract audiences of all ages, Friedlander said. Identifying and helping cultivate fresh storylines driven by relatable characters are integral to that success.
“If you really make the best version of a story, it can ripple out among different fandoms,” Friedlander said. “I do think that’s the ability of what streaming platforms can achieve as well, because you can really introduce the narrative to wider audiences.”
Made for streaming
Netflix doesn’t have a formula for a breakout success, Howe said, but strong voices that feel universal must be at the show’s core.
Jeff Norton, whose work focuses on book-to-screen adaptations, said he looks for characters he can fall in love with when choosing books to pitch for development.
“That’s the most important thing — to find a main character or a set of characters that I think the audience will resonate with,” said Norton, who is an executive producer of Netflix’s “Geek Girl,” which was greenlit for a second season.
The structures of young adult novels “lend themselves really nicely” to short TV series, Howe said, because it allows fans “to have more time as they’re living inside of these worlds and these experiences — it’s just that much more enriching.”
Streaming platforms usually release shorter seasons, often with six to 10 episodes — about half the episode order of a typical cable TV series.
Balancing the expectations of a book’s existing fandom while trying to attract a new audience is a major component of Friedlander’s role, he said, adding that “the television medium will often demand that you do change some of the journey along the way so it fits the rhythm.”
Norton, the showrunner of Netflix’s “Finding Her Edge,” said much of that show’s plot diverges from Jennifer Iacopelli’s novel. However, he focused on maintaining the book’s tone and found “the readership is actually very forgiving if you keep the characters whole and intact, but give them more to do.”
Oseman’s shift from novelist to TV writer — and now screenwriter — came with a steep learning curve. The growing pains were worth it, she said, because her story reached audiences who might never have picked up her books. Visual media has been crucial in bridging that gap.
“I want young queer people to be able to see themselves in the stories that they’re consuming,” she said. “I really hope that the existence of ‘Heartstopper’ will encourage people who are commissioning TV and movies … to take a chance.”
In March, Bad Bunny performed his first-ever concert in Asia when he played in from of 2,300 fans in Tokyo as part of Spotify’s Billions Club Live series.
Starting April 8, a filmed version of that performance will be available on Spotify for the “Nuevayol” artist’s millions and millions of fans not in attendance.
The show, officially titled “Billions Club Live With Bad Bunny: A Concert Film,” was billed as a special stop in the Grammy-winning performer’s “Debí Tirar Más Fotos World Tour” — which kicked off with a November concert in the Dominican Republic and has since sold out stadiums across Latin America and Australia. He notably didn’t include dates in the United States as part of the tour.
Footage of the Japan concert swept social media, as it showed Bad Bunny doing a never-before-seen salsa rendition of his 2018 collaboration with Drake. He also notably sang his 2021 single “Yonaguni,” which features lyrics in Japanese.
Bad Bunny’s generational run looks to have no immediate end in sight, as he will kick off the European leg of his world tour with a May performance in Portugal before making stops in Spain, England, Sweden, France, Poland and Italy.
But the “Dakiti” artist’s newsworthy year hasn’t been limited to the music world.
In February, it was announced that Bad Bunny will star — alongside Academy Award-winning actor Javier Bardem and multiple-time nominees Edward Norton and Viggo Mortensen — in Puerto Rican rapper Residente’s directorial debut, “Porto Rico.” The film, which has yet to announce a release date, will explore the complicated colonial history of Puerto Rico through Western/historical drama storytelling devices.
Global streaming revenue surged to $150 billion last year, driven largely by an increase in prices by Netflix and other streamers, according to a new report.
In 2025, global streaming subscription revenue grew by 14%, reaching a total of over $157 billion, the report from Ampere Analysis found. In the last five years, revenue has tripled from the $50 billion seen in 2020.
Streamers continue to dominate the digital distribution market with rising monthly subscription fees , more consumers choosing subscriptions with ads, and platforms expanding their global reach.
“As the streaming market matures, the emphasis is no longer on pure subscriber growth but on extracting greater value from existing audiences,” said Lauren Liversedge, a senior analyst at Ampere Analysis. She noted that the growth is happening “particularly in the most competitive markets.”
Over the next five years, Ampere Analysis estimates subscription revenue will grow by another 29%, potentially reaching over $200 billion worldwide by 2030.
The U.S. is the largest driver of this revenue growth, as the country accounts for 50% of 2025’s global streaming subscription revenue, per Ampere Analysis. Netflix accounted for the largest revenue share in the U.S. at 14%. Last week, the company also announced a price hike, where its premium tier costs $27 a month. This marks the second time in a little over a year that the streaming service raised its fees.
“Our approach remains the same: We continue offering a range of prices and plans to meet a variety of needs, and as we deliver more value to our members we are updating our prices to enable us to reinvest in quality entertainment and improve their experience by updating our prices,” said a Netflix spokesperson in a statement.
It’s not the only streaming service to increase its prices, as Disney+, HBO Max and Apple TV made similar moves last year.
Recent data from Deloitte highlights some of the price sensitivity U.S. streaming audiences are experiencing. More than two-thirds of streaming subscribers are now opting for ads, marking a 20% increase from 2024.
That cost-conscious sentimentexpands beyond North America, reaching Western Europe, according to Ampere Analysis. The total revenue from ad tiers has risen rapidly across these markets over the past five years, up from less than 5% in 2020 to 28% in 2025.
But even as consumers demonstrate their willingness to pay less and watch ads, streaming platforms still benefit, making money from both subscription fees and advertising. When accounting for that ad revenue, streaming services generated closer to $177 billion in global revenue last year. Advertising is expected to become an even more important revenue stream for these companies, as ads alone could add $42 billion in annual revenue by 2030, per Ampere Analysis.
A classic period drama, one that popularised the genre globally, is still regarded as one of the finest to ever grace our screens. Period drama enthusiasts will be familiar with the show in question — Upstairs, Downstairs.
Upstairs, Downstairs laid the groundwork for Downton Abbey with a story that will be familiar with fans who have only seen the modern sensation. As the definitive period dramas of their era, the parallels between Upstairs, Downstairs and Downton Abbey are self-evident.
Both shows portray the personal struggles of an aristocratic family and their servants against a backdrop of social and political upheaval on an overlapping timeline.
Like Downton Abbey, it spans three decades, covering both World Wars and the roaring 20s through to the Great Depression. The classic show chronicled the turbulent lives of the aristocratic Bellamy family and their servants in the early 1900s.
They diverge in numerous ways, however, and one is immediately apparent.
The seventies programme is less high-end, a quality that can taken as nostalgic or a dealbreaker. Upstairs, Downstairs premiered in 1971 and ran for five years, predating Downton Abbey by a good 50 years.
In fairness, Downton’s setting is inherently more luxurious. The Bellamy family inhabit a London townhouse, a far cry from the Crawley family’s lavish country estate that was a character in its own right.
And while Downton’s visuals proved a triumph, a frequent criticism from audiences is that the programme descended into melodrama. In contrast, Upstairs, Downstairs has been likened to a stage play for its more understated visuals and plotlines.
Fans of both period dramas shared their preferences. One viewer sparked a debate on Reddit, asking: “If you have seen both shows, which show do you think is better?”
“Upstairs Downstairs without question,” replied one viewer decisively. Another agreed: “I like Downton Abbey better, but Upstairs, Downstairs is the better show.
“I have tried watching the Upstairs/Downstairs remake multiple times and I always end stopping after about two episodes,” commented a third. “It just doesn’t grab me like Downton.”
Upstairs, Downstairs is available to watch on ITVX.
All episodes have found a new home on the streaming platform
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What some consider as the ‘best series ever made’ that is based on an award-winning novel is now streaming on Netflix.
In the latest significant update for the streamer’s library, all episodes of The Man In The High Castle have been added to the service. While it was originally a Prime Video exclusive released back in 2015, running for four season until 2019.
It is an alternate history period drama, loosely based on the novel of the same name written by Phillip K. Dick. The author was one of the most celebrated sci-fi writers, with many of his works adapted for the screen including into films such as Blade Runner, Minority Report and Total Recall.
The story takes a look at what the world might look like had the outcome of World War II turned out differently. In this dystopian scenario, the Axis powers won the war, leading to the United States being divided into three parts, an area controlled by the Japanese, a Nazi-controlled section, and a buffer zone between the two.
Despite the oppression, a new hope emerges when films turn up that seem to show a different world. A woman believes the films contain the key to freedom and is determined to find their mysterious guardian as she begins to build a network of resistance.
The series was created for television by Frank Spotnitz who previously worked as a writer for The X Files. Alien director Ridley Scott served as an executive producer.
It boasts an 84% rating on website Rotten Tomatoes. One reviewer claimed: “a superb, frightening experience filled with unexpected twists and (some sci-fi) turns.”
A different critic penned: “unlike anything else on television, impeccably acted and packed with vivid, multi-layered characters, gut-wrenching twists and dark, dark moments of human misery”.
It would go on to last for three more seasons and years after the final episode released, many fans still hail it as one of the more superior historical fiction shows. One went so far as to post on Rotten Tomatoes declaring it as “one of the best shows ever made.”
Another added: “a haunting alternative history vision implemented in a extremely authentic fashion.”
While a third confessed how they were hooked upon discovering the series for the first time. They said: “Beyond impressed, stayed up until 2am on a week day… I decided to squeeze in the pilot. Needless to say, seven episodes later I was still watching.”
They continued: “The storyline is incredible. The acting is great. The emotions that it brought out of me was real and raw. It made me appreciate and think differently about the word/idea/concept that we all throw around ‘FREEDOM'” Yes, it’s fictional, and yes it’s just a TV-show, but boy they hit on something, at least in me. I’m beyond impressed!”
Someone else commented: “This is the best series since Breaking Bad. I think every one under the age of 40 needs to see this.”
The Man In The High Castle is streaming on Netflix.
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