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Puck welcomes John Heilemann as its Chief Political Columnist!

Netflix

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Julia Alexander • April 23, 2024

The New Netflix Narrative

Yes, yes, Netflix’s earnings knocked it out of the park and entirely reversed a narrative from a few years ago. But can Peters and Sarandos convince Wall Street to view it more like Apple than Disney, by focusing on engagement rather than subscriber counts? And wouldn’t it be nice if Madison Avenue played along, too.
Julia Alexander • March 28, 2024
Tubi or Not Tubi?
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The jury is still out on the durability of free, ad-supported streamers. But Tubi seems to have found a foothold by leaning into how younger viewers actually consume TV: as something to put on in the background while they watch other screens.
Julia Alexander • March 19, 2024
Netflix 2028: A Streaming Odyssey
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If we project current trends out four years, Netflix could account for nearly half of all major SVOD revenue globally. Are Max and Disney’s content licensing strategies paving the way?
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Julia Alexander • March 12, 2024
Netflix’s Live Sports Vulcan Chess
Rival executives have characterized the streamer’s recent live events as a sign of desperation—or simply P.R. stunts to jumpstart its ad revenue efforts. But this critique underestimates the Sarandos strategy and its ultimate ambition.
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Julia Alexander • March 5, 2024
Assessing Netflix’s Less-Is-More Film Strategy
New film boss Dan Lin is about to make a fraction of the movies produced by his predecessor, Scott Stuber. So how can he optimize the value at that sort of yield? And what’s he going to make?
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Matthew Belloni • March 1, 2024
Disney, Netflix, and the Less-Is-More Movie Mantra
Executive shuffles at two top film studios underscore a strategic shift amid a challenged business, where fewer projects are getting made, quality may finally trump quantity, and, if all goes well, Disney could actually ditch the cookie cutter for the occasional creative risk.
Netflix reportedly paid $20 million for the recent hit ‘Beckham.’
Julia Alexander • January 30, 2024
Are We Living In a Sports Content Bubble?
Conventional wisdom, spurred on by Netflix, suggests that it is smarter to invest in sports-adjacent documentary content than exorbitant and ephemeral sports rights packages. But, obviously, it’s much more complicated.
A close Scott Stuber friend thinks he probably would have left Netflix early last year if not for the strikes—it wasn’t a great time to start a new thing.
Matthew Belloni • January 26, 2024
Netflix Wrestles With Its Age of Empire
A $5 billion WWE deal and the exit of film chief Scott Stuber mark an inflection in the streaming wars as Ted Sarandos consolidates the market—adding live sports, producing fewer original movies, and absorbing content from the rivals Netflix is leaving behind.
When Young Sheldon debuted on Netflix in December as part of a “co-exclusive” arrangement between the streamer and the show’s owner Warner Bros., it scored 963 million minutes watched in its first week, and doubled to 1.8 billion minutes in the second—some 20x the minutes watched on Max the week before.
Julia Alexander • January 9, 2024
The Fallacy of the Streaming ‘Co-Exclusive’
Examining the trendy, largely one-sided economic arrangement pervading the streaming space.
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Scott Mendelson • January 7, 2024
The Color Purple Question
Is it fair to quantify the commercial value of a prestige film that disappoints at the box office without considering a potential streaming license as part of its gross?