![]() In India, though, the company’s ambitions were modest. But they hit the ground running, and the results speak for themselves. But that success is a double-edged sword, as it meant that Netflix had to work and compete with deep-pocketed studios and entertainment giants that already had a foothold. Korea may be a slightly unfair comparison given the extent of the country’s entertainment industry’s existing influence around the world. ![]() So, what went wrong here? Low on ambition Netflix claims to support over 16,000 jobs in the country and says it contributes $4.7 billion to the country’s economy. But they account for a much smaller share of watch time on the platform - India bucks the trend on this count, being one of the few countries where people tend to watch movies more than series.Ĭompare this to South Korea, where Netflix launched at the same time as it did in India, and the difference is stark: not only has the company seen immense success there locally, it has produced originals like Squid Game and Hellbound that, if not achieving unprecedented heights, are at least reaching top ten lists globally. More examples would be welcome, but as far as non-English TV series are concerned, Aranyak and Yeh Kaali Kaali Ankhein are the only shows that even reached the Top 10 since July 2021, when Netflix first started publishing this information.įilms fare better on this front, with titles like Minnal Murali, Haseen Dilruba, and Mimi making top-ten lists even in countries without a strong Indian diaspora, like Argentina and Brazil. Here’s Aranyak, which came out a few weeks prior: This is the case with practically every major Netflix India release. With the exception of Sacred Games, which received some international attention - and stopped after two seasons in 2019 - Netflix India has commissioned dozens of titles, films as well as TV shows, none of which have registered internationally, let alone achieved the heights of shows like Narcos or Squid Game.įor instance, Yeh Kaali Kaali Ankhein, the most significant series released by the company in the last few months, has only reached top ten lists in South Asia and in countries with a sizable Indian diaspora: The company failed to leverage India as a content producer for global audiences, and focused disproportionately (and ineffectively) on subscriber growth in a poor market that largely cannot afford even its reduced prices. Data reviewed by Entrackr shows just how anemic the performance of Netflix originals outside the Indian subcontinent has been: not a single film or TV series has entered the top 10 of Netflix in the United States, the company’s wealthiest and most important market. But low subscriber growth in India is not Netflix’s biggest failure. Over the last five years, it dragged its feet on commissioning world-class hits from India, fired executives who may have made a difference, and manifested an inward-looking posture that left it eating the competition’s dust. But the company’s attitude towards the Indian market and Indian content have always suffered from severe strategic missteps, and perhaps most fatally, an unwillingness to break new ground. ![]() Netflix CEO Reed Hastings recently said the company was “ frustrated ” that it couldn’t get subscriber growth momentum going in India.
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