In what is the largest deal in its history to date, Netflix has acquired all of the intellectual property rights to Roald Dahl's story, which includes rights to use the characters and fantasy worlds created by the late British writer Roald Dahl.
The deal - which Netflix has worked on over the past three years - is one of the company's largest global deals, to own the intellectual rights to an integrated world full of events and characters such as the "Marvel" and "DC" worlds.
It will also help Netflix build its arsenal of content in the online broadcast wars against competitors, including Disney+, Amazon Prime Video and HBO Max.
The global platform intends to create an extended and integrated world based on the stories and novels of the late writer, such as "Charlie and the Chocolate Factory", as the huge deal - details of which were announced last Wednesday - grants Netflix all rights to the author's entirety of works. 16 titles with their characters, as well as potential opportunities in many businesses outside of Netflix's core business of series and movies, allowing them to control game licenses, live theatrical performances, virtual reality and ads using "D" characters.
The new stories owned by "Netflix" may give an ability to confront the chains owned by "Disney" (communication sites)
Over the past three years, Netflix has paid nearly $1 billion for the rights to the animated series and movies, based on 16 of the British fantasy writer's stories, including "Charlie and the Great Glass Elevator" and "The Friendly Giant" The Big" (The BFG), "The Twits" and "Matilda".
While Netflix indicated in its announcement on Wednesday that it is working on a new series, which is its debut in the worlds of “Roald Dahl”, based on the world of “Charlie and the Chocolate Factory” with director Taika Waititi, and is also in partnership with “Sony” and “Working.” Title (Working Title) on the musical adaptation of Matilda.
“As we bring these timeless tales to more audiences in new formats, we are committed to preserving their unique spirit and global themes of illusion,” said Ted Sarandos, co-CEO and chief content officer of Netflix, and Luke Kelly, grandson of author and managing director of Roald Dahl Story. surprises, while adding some new visual magic into the mix."
"Netflix and Roald Dahl's story share a deep love of storytelling. Together, we have an extraordinary opportunity to write multiple new chapters of these beloved stories, delighting children and adults around the world for generations to come," Kelly added.
Sarandos and Kelly said: "We want to extend our heartfelt thanks to all those who have helped make this great deal possible so far."
Looking to the future, we are excited to continue the close working relationships that RDSC has established with existing rights holders and publishing, theater and entertainment partners, to protect and grow the great legacy of these beloved stories.
Under the deal, all 26 Roald Dahl Story employees will retain their roles and duties at the company, while Roald Dahl's Story will operate as a separate unit within Netflix, expanding its current plans to 19 TV shows, films, stage shows and live experiences.
A significant portion of the proceeds from the sale will also be directed to establishing a charitable trust, whose mission is to focus on supporting existing and new philanthropic partners in the areas of children's health and combating hate and racism.
Roald Dahl was born in Wales to Norwegian parents in 1916, participated in the Second World War in the British army, and then turned to writing fiction after returning from the war, and his writings were light and harmonious with the drawings of his companion Quentin Blake, and his works were translated into 63 languages and sold more than 300 Millions of copies worldwide, and millions of children around the world have loved his characters like Matilda, the Friendly Giant, Mister Fox, Willy Wonka and Charlie.
These new characters and stories owned by “Netflix” may give the ability to stand up to the chains owned by “Disney” and the titles owned by competing platforms in the online viewing market, but how will these stories that charmed the children of the fifties and sixties be treated and presented to the generations of the third decade of the millennium ?
That's what we'll find out soon after all.