American cultural exports are no longer the default soundtrack for the world.
Tom Wainwright, reporting for The Economist, notes that nine of Denmark’s top ten most streamed songs in 2025 were by Danish artists performing in Danish. In 2019, only four songs in the top 20 were local. Streaming platforms like Spotify amplify global megastars but also fuel a ‘long tail’ explosion of local music, filling charts across Europe, Latin America, and Asia with homegrown songs.
"A study of YouTube trending videos across 100 countries over three years found that three-quarters trended in only one country, and only four videos trended in every country, demonstrating that truly global hits are exceptionally rare even on universal platforms."
- Tom Wainwright, The Intelligence from The Economist
The retreat extends to film and television. Hollywood’s share of global streaming commissions is falling as Netflix and Amazon commission hyper-local series like Polish comedy ‘1670’ to reach broader, non-elite audiences abroad. The shift is structural. Mobile gaming markets now show zero overlap in top-ten titles across the five largest countries, with 34 distinct titles across those lists. Developers find it profitable to build specifically for regional tastes.
This regionalization is happening alongside a domestic revolt against legacy Hollywood franchises. Kyle Buchanan, on The Daily, argues Gen Z is tired of ‘hand-me-down’ IP like Star Wars. Digital-native directors like Kane Parsons, who turned YouTube lore into A24’s fastest-grossing release, are outperforming studio blockbusters by tapping into digital anxieties specific to their generation. The fear of missing out on the week-long digital conversation around a film drives repeat viewings and box office success.
"Hollywood’s traditional ladder has been kicked away. Talent now flows from Discord servers and YouTube comments sections directly to the multiplex."
- Kyle Buchanan, The Daily
America still controls the distribution pipes - the app stores and YouTube algorithms - and profits from them. But it no longer dictates the content. The deglobalization of fun signals a weakening of American soft power as the share of American content in global viewing, listening, and gaming declines.

