Katarzyna Petru
When the world came to a halt in 2020, streaming flourished. Premieres that would normally have gone to cinemas landed straight on platforms. Tenet, Soul, Wonder Woman 1984 – every service wanted to be the one that “delivers”, and viewers felt like the new releases never ended. But it was a fleeting paradise. After the pandemic came a slowdown, and then – surprisingly long hangover.
When COVID halted filming worldwide, series such as The Mandalorian, Stranger Things, Severance, and The White Lotus disappeared from the radar for long months. And just when the situation was supposed to normalise, Hollywood was hit by strikes from writers and actors – the largest in decades. For almost half a year in 2023, nothing was being produced. Actors could not act, writers could not write, and shooting plans were literally gathering dust. This paralysis hit all sectors – from the largest productions to smaller series with potential.
The rebuild has begun – and in full swing
Only in 2025 did something truly start. Disney+ is launching a strong series of hits – a new season of The Bear, the long-awaited Ironheart, and Alien: Earth. Max (formerly HBO Max) is back with continuations of its biggest brands and officially starts work on the Harry Potter series. Netflix doesn’t need to prove anything – Stranger Things 5, Wednesday, and Squid Game 3 are returning with great fanfare. Interestingly, the new season of Squid Game is said to have a bigger budget than the previous two combined – and that means something in a world where numbers do the talking.
Apple TV+ is also regaining its rhythm. Eddy Cue, Apple’s vice president, stated outright that their production schedule is not paralyzed by external factors for the first time in years. This means they can work, plan, and finally release things when they want.
Film is making a comeback
Not only is streaming reviving. Cinemas are rubbing their hands together too. In the coming months of 2025, Thunderbolts, F1: The Movie, Minecraft: The Movie, Mission: Impossible – The Final Reckoning, Jurassic World: Rebirth, and of course Avatar: Fire And Ash will hit the screens. These are not niche titles – these are productions aiming for a billion dollars in revenue. Even Tom Cruise has postponed filming of the last Mission: Impossible to avoid risking a release during strikes.
There is not only a visible return of production capacity but also financial courage. After years of restrictions, budgets are finally pouring in, promotional campaigns are starting up, and the market once again looks like a living organism rather than a blocked emergency system.
What next?
The second half of 2025 is a pivotal moment. Schedules are filling up, platforms are starting to compete again for subscribers not only for archives, but also for new productions. If everything goes according to plan, 2026 could be the first full season in five years where everything is delivered on time. And it seems that streaming is back, not just to survive – but to rule once again.
