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For Netflix, 2022 was in some ways what Queen Elizabeth might have called anannus horribilis.
The stock price collapsed at the start of the year.
There were layoffs and lots of talk about the future of streaming.
It really has been, despite the noise, a phenomenal year.
Viewers are taking to the shows that were creating.
And its not just that theyve been successful, its really the viewing is just phenomenal.
Three so far have crossed the billion-hour mark.
Thats a good sign, and the years not done yet.
A few titles to come I think will be really great viewing plays for us.Emily in Parisis coming back.
It wasnt just one kind of show that seemed to click either.
I mean,Wednesdaycould not be any more different fromInventing Anna.
Whats your take on whyWednesdayhas blown up?
Is it the young-adult or genre fandoms totally embracing it like it was a CW show?
I dont know that I can identify one thing.
I do feel like its firing on all cylinders.
When you look from every angle at that show, youre seeing extraordinary creative performances.
Its just the most brilliant craftspeople coming together to create this experience.
And maybe part of it was launching at Thanksgiving a period when theres a lot of co-viewing and gathering.
You did a lot of marketing for the show, which isnt always the case with Netflix series.
I have to give credit to the marketing team.
I dont know if youve been traveling recently, but theres ads in the TSA bins.
It was very clever to have marketing inside where were traveling at the busiest travel times in the U.S.
The way theWednesdaydance has exploded on TikTok has been impressive.
Its astonishing how that just spread like wildfire and how it helped fuel more and more viewing.
It was, I guess, lightning in a bottle.
Its clear how effective Netflix marketing can be when it goes all in on a project likeWednesday.
What do you say to showrunners who are sometimes disappointed their projects dont get the same sort of attention?
You havent yet announced a season two forWednesday.
I assume there will be another season of the show, but whats the trajectory for this franchise?
Do you anticipate an entire newAddams Familyuniverse expanding again now that youve had this entry?
I wish I could tell you more.
Im optimistic but have nothing to say right now.
But you would like to have more.
How are you interpreting the mandate from Ted?
And isnt there a risk by putting too much focus on developing megahits?
It isnt a business of manufacturing hits.
Its about inspiring storytelling.
Its about tapping into authentic voices and going on different storytelling adventures.
It is how we think about programming.
Again, we have to really lean into people who we think are capable of telling quality stories.
That can be very experienced storytellers or it can be new storytellers.
I take a stab at keep our options open so you can get to the hits.
I think our audiences want to be surprised.
Our audiences want to have their expectations exceeded.
And thats what the job is.
You have talked in the past about wanting to take big swings in your new job at Netflix.
Theyre all big swings to me.
I look at all those elements when Im thinking about risk-taking.
I think storytelling innovation is another swing.
Thats what Im hoping to seed out into the storytelling universe in many ways.
Thats not the case now, obviously.
But even shows you deem a success now often last no more than three seasons.
How do you figure out how many episodes a show should run these days?
Is it just how many people watch versus how much the show cost you to make?
There are many components considered.
It is a multifaceted decision, but its one that you cant apply the same analysis to every title.
We have to look at every title specifically what are the creative hopes for the project?
What is the opportunity for the future of the storytelling?
Its more complex than its often painted to be.
I imagine my competitors experience the same level of complexity.
Completion rate really is a big deal, isnt it?
Lets talk about comedy.
For all the success youve had with drama this year, comedy has been a tougher genre for Netflix.
But what does 2023 hold for you with half-hours?
I know you have high hopes forThat 90s Show.
TheresUnstable, which is the Rob Lowe show thats coming out.
We have the Michelle Buteau show,Survival of the Thickest, and one with Vince Staples.
So theres a whole new slate of programming that I am very bullish on.
The Upshawsis a multi-camera comedy that has gotten some traction and feels like it could go for 100 episodes.
Do you want sitcoms that produce that many episodes and that build up a huge library?
I am open to shows running as long as theyre creatively fulfilling and creatively soaring.
There isnt, like, a set goal in mind.
I think thats whats happened here.
Do you see any extensions that are in the offing for Flanagan and Macy?
Well see what happens with that one.
I imagine its your goal to keep him at Netflix?
I think you hit the nail on the head when you talked about the success of Ryans year.
I only started working with Ryan about a year and a half ago, when I started this job.
And in terms of the deal, when do you think youll know what will happen?
I cant really say.
Some of your most viewed content is stuff that did well on broadcast TV likeNCISorGreys Anatomy.
And youve had a lot of success with shows youve rescued from linear networks likeManifestandLucifer.
I would refer back to what we were talking about earlier the spectrum of storytelling.
Because I do look at them as all different types of stories.
I guess our goal has always been to provide programming for everybody.
That includes all types of viewing, and thats kind of been the strategy from day one.
Although early on, Ted famously said he wanted Netflix to become HBO before HBO could become Netflix.
That is what were doing.
Were trying to do the greatest variety of must-watch TV shows.
Thats the challenge, and thats the opportunity.
Its not shifting the lens.
Its just continuing to broaden it.
By broadening, I mean really broadening the spectrum of storytelling that were providing.
You had a lot of commercial hits in 2022.
Do you think that will be matched by a similar level of success in terms of awards recognition?
Do you care about whether you get more Emmy nominations than last year or more than HBO does?
I always hope our talented partners get celebrated by their peers and colleagues for their incredible work.
So much passion and work goes into every frame of these series.
I know how rewarding that recognition can feel.
Its just too hard to predict what will happen in awards season.
I think there is extraordinary groundbreaking being done and am optimistic that it gets celebrated.
If youre flexible on content categories, why be so dogmatic in terms of presentation?
Our shows have succeeded because weve given our viewers what they want, when they want it.
Its what our viewers expect of us.
So I appreciate the question but …
… but we can move on!
Do you ever think of expanding the classic-TV content on the service?
What show are you looking for, Joe?
What have I not provided that you want?
Theres so much from the 70s and 80s that just isnt streaming.
To be honest, I dont really have an answer for that.
Its a moving target.
Tell me what youre most excited about on your 2023 roster.
What should we keep an eye on?
Kaleidoscopeat the top of the year is going to be a heist experience like none other.
I think that Shawn LevysAll the Light We Cannot Seeis an emotional and heartbreaking saga.
Sofia Vergara inGriseldais unlike any performance youve seen from her, and she is extraordinary.
Keri Russell starring inThe Diplomatfrom Deb Cahn is an exceptional political character drama.
Im also really proud of the number of season twos we have coming out next year.
