Tag: Netflix

  • Netflix recovers with 2.4 mn subscriber gain in Q3

    Netflix recovers with 2.4 mn subscriber gain in Q3

    Mumbai: In the third quarter ending September 30, 2022, Netflix reported 2.41 million net new paid subscribers. It now has 223.1 million paid subscribers globally. Earlier, the expectation was to gain one million subscribers. The expectation for Q4 is 4.5 million paid net additions versus 8.3 million in Q4 2021.

    The company said that after a challenging first half, it believes that it is on a path to reaccelerate growth. The key, it says, lies in pleasing members. Its focus has always rested on winning the competition for viewing every day. When its series and movies excite members, they tell their friends, and then more people watch, join, and stay with the platform.

    Speaking about competition, it said that while competitors are investing heavily to drive subscribers and engagement, building a large, successful streaming business is hard. Netflix estimates that they are all losing money, with combined 2022 operating losses of well over $10 billion, versus Netflix’s five to six billion dollars annual operating profit.

    For incumbent entertainment companies, this high level of investment is understandable given the accelerating decline of linear TV, which currently generates the bulk of their profit. Ultimately, though, Netflix believes that some of its competitors will seek to build sustainable, profitable businesses in streaming—either on their own or through continued industry consolidation. While it’s early days, we are starting to see this increased profit focus—with some raising prices for their streaming services, some reigning in content spending, and some retrenching around traditional operating models which may dilute their direct-to-consumer offering. Amidst this formidable and diverse set of competitors, it believes that its focus as a pure-play streaming business is an advantage. Netflix explains that its aim remains to be the first choice in entertainment and to continue to build an amazingly successful and profitable business.

    Netflix said that it operates in a highly competitive industry where people have many different entertainment choices—from linear TV to streaming, YouTube to TikTok, and gaming to social media. The silver lining is that the opportunity is very large and growing, and Netflix is still very small relative to that opportunity (for example, eight per cent of total TV time in the US and the UK, two of its most established countries). Its annual revenue of $30 billion or more in the 190 countries in which it operates is roughly five per cent of the combined estimated $300 billion pay TV/streaming industry, $180 billion branded advertising market, and $130 billion consumers spend annually on gaming. So, Netflix believes that it has a long runway for growth if it can continue to improve its offering steadily over time.

    Netflix also stated that its six per cent year-over-year revenue growth in Q3 was driven by a five per cent increase in average paid memberships and a one per cent increase in average revenue per membership (ARM). Excluding the impact of foreign exchange (F/X), revenue and ARM grew 13 per cent and eight per cent year-over-year, respectively. The sequential decline in revenue was entirely due to F/X.

    In the third quarter of the fiscal year in the Asia Pacific region, revenue grew by 19 per cent, excluding F/X, as average paid memberships rose 23 per cent year-over-year. ARM fell three per cent year on year, excluding F/X, owing in part to lower ARM in India. This was somewhat offset by higher ARM in Australia and Korea. It added 1.4 million paid memberships in the region (versus 2.2 million in the last Q3).

    Excluding F/X, EMEA revenue and ARM grew 13 per cent and seven per cent, respectively. Paid net additions totaled 0.6 million, down from 1.8 million in the previous quarter. In Latin America, revenue increased 19 per cent year-over-year, supported by ARM growth of 16 per cent vs. the year ago quarter excluding F/X. It added 0.3 million paid memberships, in line with membership growth in Q3’21. ARM and revenue grew by 12 per cent and 11 per cent, respectively, in the US and Canada, which is its most penetrated market. Paid net adds totalled 0.1 million (similar to the 0.1 million in Q3’21).

    For Q4 of 2022, it is expecting revenue of $7.8 billion, with the sequential decline entirely due to the continued strengthening of the US dollar vs. other currencies. On a constant currency basis, this equates to nine per cent year-over-year revenue growth. The revenue growth forecast is driven by the expectation of 4.5 million paid net ads (vs. 8.3 million in Q4 ’21) and ARM growth of six per cent year-over-year, excluding F/X. The paid net adds forecast assumes that it experiences its usual seasonality as well as the impact of a strong content slate, counterbalanced by macroeconomic weakness, which leads to less-than-normal visibility. While it is very optimistic about the new advertising business, the company does not expect a material contribution in Q4 2022 as it is launching its Basic with Ads plan intra-quarter and anticipates gradually growing its membership in that plan. Its aim is to give prospective new members more choice—not switch members off from their current plans.

    Members who don’t want to change will remain on their current plan, without ads, at the current price, the company explains. It has forecasted a Q4 2022 operating margin of four per cent compared to eight per cent in the year-ago period. The fourth quarter is typically its lowest operating margin quarter of the year as it is usually its largest quarter in terms of content and marketing spend.

  • Netflix to stream Malayalam film ‘Ariyippu’

    Netflix to stream Malayalam film ‘Ariyippu’

    Mumbai: After a good response on the film festival circuit, Mahesh Narayanan’s Malayalam film, Ariyippu, is all set to stream on OTT platform Netflix. The film made history as the first Indian film in 17 years to compete at the Locarno Film Festival in the international competition section. The film is also nominated for the Asia Pacific Screen Awards 2022 and will premiere at the Busan International Film Festival on 12 October 2022.

    Ariyippu centres around the lives of a struggling Malayali couple who dream of migrating out of the country for a better life. The film also explores emotional, social, and marital imbalances in their relationship.

    Ariyippu is being screened at the BFI London Film Festival, Marrakech International Film Festival, and Hong Kong Asian Film Festival. As the film continues to tour other major film festivals across the world, audiences globally will soon be able to stream the film exclusively on Netflix.

    It is directed by Mahesh Narayanan and produced by Shebin Backer Productions and Kunchako Boban Productions in association with Moving Narratives.

    Narayanan said, “With the ongoing recognition and love for our film, we are extremely honoured that Netflix is bringing the film as direct-to-digital globally, which will help cinephiles across the world experience the film very soon.”

    Netflix India VP of content Monika Shergill commented, “At Netflix, we are constantly working towards bringing you the most entertaining and compelling stories. We are excited to bring Ariyippu (declaration), a powerful film on the complex theme of a man-woman relationship, directed by the acclaimed director and producer, Mahesh Narayanan, along with stellar performances by Divya Prabha and Kunchacko Boban. Just like Minnal Murali won immense love across the world, we want our members to be won over by the dramatic universe of Ariyippu on Netflix.”

  • One Take Media Co. to present K-drama ‘Weightlifting Fairy Kim Bok-Joo’

    One Take Media Co. to present K-drama ‘Weightlifting Fairy Kim Bok-Joo’

    Mumbai: One Take Media Co. has announced its “New Week, New Drama” return with popular drama Weightlifting Fairy Kim Bok-Joo this week for its audience.

    This show has a lovely couple in the lead, Lee Song-Kyoung and Nam Joo-Hyuk, playing Kim Bok Joo and Jung Joon Hyung, respectively. A coming-of-age story about a group of college athletes who are fighting for their dreams, experiencing and finding love in the process, and growing every step of the way. 20-year-old Bok Joo is a weightlifter who is pursuing her dream of winning a gold medal, but she then finds romance for the first time in her life. The characters in this drama are elite athletes in weightlifting, swimming, and rhythmic gymnastics who work hard to achieve their goals in life. Watch this space next week for new show updates.

    One Take Media Co. is set to bring its all-popular Korean dramas dubbed in Hindi and in their original Korean language with English subtitles. Also, as informed recently, they have launched their OTT app, Playflix.

    According to a recent Netflix study done in India, the number of Indians watching Korean dramas has surged by 370 per cent and BTS (Bangtan Boys), a South Korean boy band formed in 2010 and debuted in 2013 under Big Hit Entertainment, is India’s fourth most streamed, according to Spotify’s 2020 data.

  • Maitri Advertising Works wins agency of the year award

    Maitri Advertising Works wins agency of the year award

    Mumbai: Maitri Advertising Works announced that it has won the South Indian Marketing Award for Agency of the Year. The agency has bagged four gold and one silver.

    The first gold medal was for Mathrubhumi Daily’s 100th-anniversary anthology ad series under the category ‘Series Branded Media Content.’ The next gold was for Asianet Bigg Boss Malayalam season 4 promo featuring Mohanlal under the category of ‘Best Use of Television.’

    The department of women and child welfare won its third gold with the “No More Compromise” campaign. The recognition was given for the skillful use of social media and digital platforms, which included two music videos starring Arya Dayal, Sayanora, and Indulekha Warrier; digital videos produced by director Basil Joseph; and posters & videos made with the assistance of other social media influencers.

    The fourth gold was for the promotion of Netflix’s Christmas release, Minnal Murali. The print campaign, designated as a superhero comics series, was considered for the award. The silver medal is for the hoarding done by joining forces with the Kerala motor vehicle department, asking people to stop speeding.

    “You don’t need to live in big cities to do global-scale advertising and campaigns. The success of Maitri is evidence that Kerala has an abundance of resources for it. Our ability to capture the trust of international companies is an example of it,” said Maitri COO Jayakumar.

    Maitri director of ideation Venugopal Ramachandran Nair commented, “The space and trust our advertisers provide us are what motivate us to think differently. Our energy comes from their courage to embrace innovation. A name worth mentioning here is Mathrubhumi MD M.V. Shreyams Kumar. His support, when we pitched the concept of ‘anthology advertising’ as part of the centennial celebration of Mathrubhumi, is one example. Maitri has been associated with Mathrubhumi for more than twenty years.”

    “The biggest asset of our creative team is the youth who think differently. Behind Maitri’s successful campaigns are a group of hard-working young people. They are the real strength of the seniors leading Maitri,” added Maitri group creative director Francis Thomas.

    Maitri director of operations & Kerala Advertising Agencies Association state president Raju Menon said, “In earlier times, network agencies used to come to Kerala and bag brands. Today, the situation has changed. Now, international clients are coming forward, realising the power of regional agencies. This has opened the door for the creative geniuses of Kerala to prepare world-class campaigns.”

  • Netflix to remain SVod world leader by 2027: Digital TV Research

    Netflix to remain SVod world leader by 2027: Digital TV Research

    Mumbai: Global SVod subscriptions will increase by 475 million between 2021 and 2027 to reach 1.68 billion. Six US-based platforms will account for 47 per cent of the world’s total in 2027.

    Netflix will remain the revenue winner, with $30 billion expected by 2027 – similar to Disney+, HBO Max and Paramount+ combined. Global SVod revenues will reach $132 billion by 2027.

    Digital TV Research principal analyst Simon Murray said, “Our forecasts in June had Disney+ [274 million subscribers] overtaking Netflix [253 million subs] by 2027. These forecasts assumed that Disney+ Hotstar would retain the Indian Premier League cricket rights. It didn’t – hence the 67 million lower forecast for Disney+.

    “SVod revenues for Disney+ will reach $15 billion by 2027. Despite lowering our forecasts by 67 million subscribers, SVod revenues for Disney+ will be the same in 2027 as in our previous forecast. SVoD ARPUs and revenues will increase in key markets after the platform introduces the hybrid AVoD-SVoD tier and the more expensive SVod-only tier,” he added.

  • Netflix to launch second season of ‘Mismatched’ on 14 October

    Netflix to launch second season of ‘Mismatched’ on 14 October

    Mumbai: OTT platform Netflix has announced that the second season of Mismatched will launch on 14 October.

    The web-series traces all the hallmarks of a coming-of-age show, tackling relationship feuds and the many moods that come with being young, driven and in love as Dimple, Rishi and their peers struggle to navigate through these new-found complexities. Dialling up the relatability and the deja-vu, everyone’s favourite students (and their professor) are coming back real soon.

    Netflix added that since the success of the first season, the series has had many fans asking whether their favourite young couple would find their way back to each other. In a unique teaser, we get to see Dimple and Rishi reunite on screen, only for visible tension to take over. Amidst the arguing, the camera pans out and we see possible new partners. Will Rishi and Dimple achieve #CoupleGoals this year, or will new love interests derail them?

    The new season sees the return of Prajakta Koli, Rohit Saraf, Vihaan Samat, Muskkaan Jaferi, Taaruk Raina, Rannvijay Singha, Vidya Malvade, Kritika Bharadwaj, Abhinav Sharma and Devyani Shorey. They will be joined by newcomers Priya Banerjee, Ahsaas Channa and Sanjana Sarathy.

  • Western Europe continues to witness growth; adds 73 mn Svod subscribers

    Western Europe continues to witness growth; adds 73 mn Svod subscribers

    Mumbai: Western Europe will have 238 million Svod subscriptions by 2027. The figure has increased from 165 million by end-2021. Six US-based platforms will account for 81 percent of all Svod subscriptions by 2027.

    Netflix will have 62 million subscribers by 2027 – three million more than 2021. Subscriptions are flat for 2022 mainly due to increased competition. Netflix’s share of the total will fall from 36 percent in 2021 to 26 percent by 2027.

    Disney+ will have 46 million subscribers by 2027 – 20 million more than 2021. Newcomer Paramount+ and SkyShowtime will add 11 million subscribers and HBO Max will bring in an extra 5 million.

    Western European Svod revenues will total $25 billion by 2027 – up from $16 billion in 2021. The UK will remain the Svod revenue leader.

    Digital TV Research principal analyst Simon Murray said, “Netflix will slowly lose Svod revenues as we assume that it will convert its cheapest tier to a lower-priced hybrid Avod-Svod tier. Any Svod revenue shortfall will be covered by its Avod revenues. Netflix will remain the Svod revenue winner, although its share of the total will fall from nearly half in 2021 to a third in 2027.

    “We do not expect many more price rises due to the intense competition. We assume that Disney+ will follow its US example by converting its present tier to a hybrid Avod-Svod one and charging more for SVOD-only tier,” Murray added.

  • Netflix, Ubisoft announce plans to create three mobile games

    Netflix, Ubisoft announce plans to create three mobile games

    MUMBAI: OTT platform Netflix and Ubisoft have announced plans to create three mobile games from game franchises to Netflix, starting in 2023. Announced at Ubisoft’s annual digital event Ubisoft Forward, the three games will expand on the Valiant Hearts, Mighty Quest and Assassin’s Creed universes, and will be available exclusively on mobile to Netflix members around the world with no ads or in-app purchases. 

    A new Valiant Hearts game, sequel to Ubisoft’s game Valiant Hearts: The Great War, is directed by the original core team and will retain the same DNA while featuring a new story. It will be available to Netflix members in January 2023. 

    After The Mighty Quest for Epic Loot mobile game, The Mighty Quest will come to Netflix in 2023 with a new game. This time, the game will draw inspiration from the roguelike genre to deliver an experience that celebrates the series’ premiere hack-and-slash combat in a fresh and highly replayable format.

    And for Assassin’s Creed fans, they will be able to immerse themselves in the Assassin’s Creed universe on Netflix in more than one way. In addition to the previously announced live-action series, an all-new mobile game is being developed exclusively for Netflix.

    “We’re thrilled to work with Ubisoft, whose track record creating memorable worlds for fans is unmatched. This partnership will provide our members with exclusive access to some of the most exciting game franchises as we continue to build a catalogue of great mobile games for our members around the world,” said Netflix’s vice president Games Mike Verdu.

    “As we continue to create great experiences on all platforms, we’re glad to be partnering with such an innovative and creative partner as Netflix. I believe that this partnership will be a great opportunity for Netflix members to further explore our worlds and universes on mobile” said Ubisoft chief mobile officer Jean-Michel Detoc. 

  • Streamers account for 16% of investments in European original content

    Streamers account for 16% of investments in European original content

    Mumbai: The global streamers’ share of investments in European original content grew rapidly to 16 per cent in 2021. Netflix accounts for more than half (56%) of the global streamers’ investments in European original content, down from 92 per cent in 2019, as other streamers, notably Amazon Prime, increased their investments.

    A new report, ‘Investments in original European content—2011–2021 analysis,’ has been published by the European Audiovisual Observatory, part of the Council of Europe in Strasbourg. The report is based on data from Ampere Analysis. In 2021, private broadcasters accounted for 43 per cent of investments in European original content, slightly ahead of public broadcasters’ 41 per cent. Within the 16 per cent, Netflix claimed nine per cent, Amazon Prime four per cent, Disney+ two per cent and HBO Max one per cent.

    The report analyses the evolution of financing of original European content by broadcasters and global streamers since 2011. In the report, “original content” refers to all categories of original works (fiction, documentaries, game shows, talk shows, etc.). “European” refers to the EU27 + UK + Norway.

    Streamers’ investments have increased both for acquisitions and original content. However, investments in original content have grown faster than acquisitions and now account for the majority of content investments in Europe since 2020.

    Total investments in original European content have sharply increased with the entry of the global streamers into the European market. These investments by streamers were accompanied by a knock-on effect: they faced new competition and new standards for TV shows. Private broadcasters also increased their investments while public broadcasters faced budget constraints. 

    The increase in investments in original European content by global streamers has chiefly benefited Spain, and to a lesser extent, the UK. Spain’s economy therefore relies strongly on global streamers, whose investments account for 38 per cent of all investments. The comparatively low level of investment by the public broadcasters in Spain is compensated to an extent by the above-the-average investments of global streamers in the country. Germany and France appear to be lagging behind in their ability to capture global streamers’ investments.

    The report’s other key findings are:

    • Whereas the audio-visual sector in Europe was stable between 2011 and 2019, the share of revenues invested in original content has grown since 2015. But global streamers’ investments did not substitute for broadcasters’ investments.
    • On the contrary, broadcasters increased their investments, at least until the pandemic, faster than before the entry of the global streamers on the European market.
    • Global streamers kept on increasing their investments during the pandemic, therefore offsetting the decrease in investments by the broadcasters.
    • The comparison of the content investments between categories of players faces limits: the broadcasters’ costs associated with the news are not available; among the streamers, investments in acquisitions are only available for Netflix and Amazon Prime.
    • In the case of Netflix and Amazon Prime, 54 per cent of their content investment was in originals and 46 per cent in acquired films and TV.
    • Nonetheless, investments in sports rights explain a large portion of the differences between players: none for global players, limited for public broadcasters, and dominant for private broadcasters.
    • Private broadcasters significantly increased their investments in original content, even though sports rights costs were experiencing strong growth.
    • In turn, public broadcasters’ investments have likely been limited by stagnating resources.
  • Netflix announces slate of upcoming made-in-Indonesia films and series

    Netflix announces slate of upcoming made-in-Indonesia films and series

    Mumbai: OTT platform Netflix has announced a slate of upcoming made-in-Indonesia films and series, which it said is its most ambitious yet. The 7 new titles, spanning sci-fi thrillers, comedy, and period drama, were unveiled at the Waktu Netflix Indonesia (Time for Netflix Indonesia) event recently.

    Speaking on the occasion, Netflix content lead-Indonesia Rusli Eddy said, “The Indonesian film industry has evolved rapidly in recent years. More and more creators and stories from Indonesia are now being seen and appreciated by audiences and critics around the world. Our upcoming slate from Indonesia gives you authentic and unique stories, a representation of our country that is rich with stories and cultures, and brings you high-calibre talent whose significant works have shaped the film industry.”

    Since Netflix’s establishment in Indonesia in 2016, it has showcased stories such as Ali & Ratu Ratu Queens and Photocopier. The company added that the upcoming slate reflects its company’s commitment to helping the industry build compelling content from the country’s resources and taking these stories to the world.

    At the end of this year, members can catch the first action-comedy film from Timo Tjahjanto called “The Big 4.” It tells the story of a by-the-book female detective who teams up with a group of down-on-their-luck assassins to investigate her father’s murder. Tjahjanto, who has signed a multi-project deal with Netflix, said, “To be able to share my story with the world, made possible by Netflix, is exciting. I cannot wait for people to see the movie.”

    Showrunner Shanty Harmayn, in collaboration with directors Kamila Andini and Ifa Isfansyah, will release Netflix’s first Indonesian period drama, “Gadis Kretek,” set against the backdrop of the country’s cigarette industry in the 1960s. “Rooted in Indonesia, I believe this beautiful story will resonate with audiences everywhere,” Harmayn added.

    Director Joko Anwar will unveil his new sci-fi thriller Nightmares and Daydreams, about ordinary people encountering strange phenomena. The series has multiple storylines which intersect with each other and lead to a dramatic denouement. Anwar said, “Indonesia is so full of unique and extraordinary stories. I’m always excited to have the chance to bring these stories to a wider audience, especially those that relate to the origins of our world.”

    Other films and series announced include “Dear David,”  an unconventional coming-of-age story, created by Muhammad Zaidy and directed by Lucky Kuswandi. Then there is a sitcom: “Klub Kecanduan Mantan” (Ex-Addicts Club) by Salman Aristo; “Hari Ini Akan Kita Ceritakan Nanti” (Today We’ll Talk About That Day), and the latest instalment from the universe “Nanti Kita Cerita tentang Hari Ini” (One Day We’ll Talk About Today) by director Angga Dwimas Sasongko. Meanwhile, Komedi Kacau (Comedy Chaos) is a series from writer, director, and comic Raditya Dika that presents a glimpse into the comedy world. Finally, there is a project with writer-director Ernest Prakasa.