Media

Netflix brings books back to the charts: streaming multiplies sales

NielsenIQ research presented at the Turin Salon: after the release of films and series, sales of related titles grow by an average of 197.4% in the first four weeks.

by Andrea Biondi

Una scena della serie “Il _Gattopardo”   LUCIA IUORIO/NETFLIX

4' min read

Translated by AI
Versione italiana

4' min read

Translated by AI
Versione italiana

Long gone are the days when it was feared that television, but also cinema, would drive people away from reading. Today, the opposite is the case: the screen brings us back to books. And it does so with an intensity that Italian publishing has probably never experienced to this extent.

The research "From the screen to the page", carried out by NielsenIQ for Netflix and presented at the Turin Book Fair, lines up numbers that explain how TV series and films have become a commercial and cultural accelerator for the book market in Italia. The analysis examines 187 audiovisual productions distributed between 2022 and 2025 and over 2,400 related publishing titles. The most immediate result is this: in the four weeks following the launch of a series or film, sales of the books from which those works are taken grow by an average of 197.4 per cent.

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But the interesting fact is not just the peak. It is the duration. After sixteen weeks, the increase remains above 120%, while over almost a year - 44 weeks - the average figure remains at 64.5%. In short: it's not just the advertising pull of the launch. It is a persistent effect.

And it is precisely the catalogue that is one of the protagonists of the research. In fact, books already on the shelves and not new releases contribute around 87% of the growth recorded in the first weeks. An element that is of great interest to publishers because it means that platforms are not only pushing the book-event built together with the series, but are reactivating settled works, classics, titles, sagas that seemed to have already expressed their commercial cycle.

The case of The Leopard is emblematic. The Netflix series brought Tomasi di Lampedusa's novel back into the spotlight with an increase that reached +602% already in the week before its release and over +1.180% immediately after the series' debut. Bridgerton, on the other hand, represents the perfect serial model: each new season not only generates a new peak, but consolidates a publishing phenomenon that over time transforms a series into a global evergreen.

The research also returns an updated geography of book discovery. Physical bookshops remain the first meeting place between reader and title, with 38%, but immediately after come TV series and films, at 29%, ahead of word of mouth. Among the younger generation, the phenomenon is growing further: for Gen Z, audiovisual and social media are now parallel channels of cultural orientation.

It is not just marketing. It is a change in the way stories are enjoyed. 68 per cent of readers say they read the book to discover the differences with the audiovisual adaptation; 67 per cent to delve into characters and settings; 66 per cent actually buy the book. Reading is not replaced by viewing: it is extended, prolonged, somehow completed.

Within this framework, Netflix claims a specific role. According to NielsenIQ analysis, the platform's content outperforms the average of other streaming services: +211.4% in the launch period against an average of 193.1%; +138.7% in the medium term; +72.7% in the long term.

"Stories are at the heart of our publishing strategy: we bring films and series to the screen that engage and enthuse audiences. Books have always been one of the richest sources for our film and serial production. This is why we have chosen to rigorously analyse a relationship that is often experienced intuitively: that between the written page and audiovisuals. The research clearly shows that the dialogue between publishing and audiovisuals, through adaptations, broadens the visibility of titles and authors and allows them to reach new audiences. Written and visual storytelling reinforce each other, creating a virtuous complementarity and accompanying the audience in a narrative experience that continues beyond reading and viewing. In this context, Netflix confirms itself as one of the main drivers of discovery and editorial enhancement in the audiovisual sector,' said Tinny Andreatta, Vice President for Italian content at Netflix.

"The research results clearly confirm the strong complementarity between books and audiovisuals, a synergy already known to the industry, but which emerges here with surprising intensity. What is striking is not only the immediate effect, but the continuity of the impact over time and the extent of the behaviour activated,' says Vincenzo Mastrofilippo, NIQ's Customer Success Leader Book.

"Book publishing, as a story factory, is at the heart of cultural production, and this research shows well how audiovisuals are an important tool to make the most of publishers' catalogues, going so far as to multiply, triple in some cases, the sales of the titles involved. As the Study Office of the Italian Publishers' Association, we had in the past carried out research on individual titles and individual publishing cases, and it was clear to us how important the synergies between films, TV series and books were: the research commissioned by Netflix shows well how this mutually reinforcing effect is now systematic,' concluded Giovanni Peresson, Head of the Study Office of Aie.

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