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Netflix is the largest streaming video service in the world, with more than 300 million subscribers (as of the end of 2024) paying to access its massive library of TV and movie content through internet-connected televisions and other devices. The company produces a vast selection of original content in multiple languages, as well as licenses content from other providers. Netflix has also increased its presence in live sports programming, with recent deals to stream tentpole NFL, boxing, wrestling, and women’s soccer matches. The company, which began as a mail-order DVD rental business in the late 1990s, currently offers customers various tiers of monthly streaming subscriptions as well as advertising-supported options.

Q2 2025

Q1 2025

Q4 2024

Netflix (NFLX): Company Profile, Stock Price, News, Rankings

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Good afternoon, and welcome to the Netflix q one twenty twenty five earnings interview. I'm Spencer Wong, VP of finance, IR, and corporate development.

Joining me today are co CEOs, Ted Sarandos and Greg Peters, and CFO, Spence Newman. As a reminder, we will be making forward looking statements and actual results may vary. We'll now take questions from the analyst community, and we will begin, first with, our results, outlook and forecast. And our first question comes from Robert Fishman of MoffettNathanson. Robert's question is, The Wall Street Journal, report this week discussed Netflix's internal goal of doubling revenue and tripling operating income by 2030.

How should investors think about Netflix leaning into more content spending over the next five years?

I'll I'll take this, and thanks, Robert. Look. We have a unique culture, and part of it is this open information operating style, and it has served us very, very well. On rare and very disappointing occasions, our confidential and internal discussions can leak into the press. And while we wouldn't normally comment about a leaked internal information, we do want to be extra clear about this.

We often have internal meetings, and we talk about long term aspirations. But it's important to note that this is not the same as forecast. Our operating plans is the same as our external forecast and guidance. We don't have a five year forecast or five year guidance, but you can assume that we are long range thinking and that we're working hard every day to build the most loved and valued entertainment company for all of our stakeholders.

And maybe to pivot the conversation to what we're happy to comment on and discuss in we do have big long term aspirations and those aspirations are really grounded in the potential for growth that we see in the business. Now we think we got a pretty good business today, you know, over 40,000,000,000 in revenue. We've got over 300,000,000 paid households. Those represent an audience of over 700,000,000 individuals. We're leading in streaming view share, but we also think that we're a minority of our addressable market, our potential across any of those measures.

So you think about engagement, you know, we're less than 10% of TV hours. For an audience or a connected household's perspective, we still got hundreds of millions of folks to sign up. And from a revenue perspective, you know, we're about 6% of consumer spend and ad revenue in the countries we serve, in the areas that we serve. So we believe we got plenty of room to grow our engagement, our revenue, and our profit. Profit.

And as Ted said, you know, do that to become the most valued and loved entertainment company for all of our stakeholders.

Thanks, Ted and Greg. Our next question or I should say we have received several questions actually, understandably, about the economic environment and consumer sentiment as well. For example, Jason Helfstein from Oppenheimer, asks, this is the first time you are potentially entering a recession with a low cost ad plan. How do you think about consumers downgrading plans relative to the behavior you've seen in prior recessions?

Yeah. Given that we've got a bunch of questions on sort of the general economic environment, maybe just start with some some comments on that. We're paying close attention clearly to the consumer sentiment and where the broader economy is moving. But based on what we are seeing by actually operating the business right now, there's nothing really significant to note. So what are we looking at?

Primary metrics and indicators would be our retention that's stable and strong. We haven't seen any significant changes in plan mix or plan take rate to to part of that question. Our most recent price changes have been in line with expectations. Engagement remains strong and healthy. So things generally look stable from that lens.

Stepping back, we also take some comfort in the fact that entertainment historically has been pretty resilient in tougher economic times. Netflix specifically also has been generally quite resilient, and we haven't seen any major impacts during those those tougher times, albeit, of course, over a much, shorter history. And then to the point of the specific question, I think that having the low cost ads plan in our largest markets also gives us more resilience. And we think that that, we represent an incredible entertainment value starting at $7.99 in The US and Canada with that as planned. It's an accessible price point, and we really do expect the demand for entertainment to remain strong.

Yeah. And just to add to that, Greg, a bit, you know, we we remain focused on the things that we can control, and improving the value of Netflix is the big one. Historically, in tougher economies, home entertainment value is really important to consumer households, and Netflix is a tremendous value in absolute terms and certainly in competitive terms. So there are some international risks that folks talk about what's happening now. And I'd say, look, there always has been.

We pay taxes and levies around the world consistent with all sorts of local regulations. And so there's always some of that that has existed, always has. But what we're seeing today, we're not changing anything in the forecast. So kind of keep in mind that while The U. S.

Represents our largest spend for content and employees, production infrastructure, we produce original content in 50 countries around the world, and we're a net contributor to many of those economies and cultures. So in our letter, we talked about our commitment to The UK. We also recently announced a billion dollar commitment to production in Mexico. In 2023, we announced we're 2 and a half billion in committed to Korean content in Korea. And all of these are just examples of the global commitment.

So when we produce in these countries, we create and support employment and training. We work with local producers and local talent. We help export local stories and local cultures around the world. We even drive tourism. So we believe we're additive to the local economies and the local cultures all around the world where we're working, so perhaps a little bit less exposed.

Thanks, Ted. So that sort of takes care of the question we got from Dan Salmon specifically on tariffs as well. So I'll move us along to a question now from Rich Greenfield of LightShed Partners. Does your price increase cadence change due to the global economic uncertainty, or is that outweighed by the strength of your slate and increased time spent watching Netflix?

Yeah. It really links to how we think about price, changes. As we stated before, we really rely on our members to let us know when we've invested enough, grown the value in our offering, and then determine based on that when we adjust pricing to be able to reinvest back into our service. So we're gonna continue to follow that philosophy and that path rather than some, predetermined plan. We certainly seen, periods of challenging economic conditions historically in different countries, and we've generally been able to keep that positive flywheel spinning even in those situations.

And I think that that speaks to the gap between value and price that, and that we are, for many people, a very good value even as they're being careful about where they spend. We've also been expanding that range of price points, including a low priced ads plan in our ads market, which better allows us to offer the right plan at the right price to a wider range of consumers. So that's all to say that we're proceeding largely as we've done in the past, while continuing to work to improve both value and accessibility.

Great. Thanks, Greg. Our next question is from John, Hoodlick of UBS. How has member retention been trending given the, q four, strong paid net additions? Have you retained the bulk of these subscribers?

And can you give us a sense of how churn, has been trending?

Yes. Sure. Spencer, why don't I take that one? Give Greg and Ted a break for a sec. As Greg mentioned, we're seeing strong, stable acquisition and retention trends in the business generally.

That resulted in healthy member growth in Q1. Last quarter, we did provide some color on the retention characteristics for some of those bigger live events in Q4. Recall we had you know, the Paul Tyson fight. We had NFL on Christmas Day. And we also had Squid Game, which was an event in and of itself.

So but we did mention at the time that those those three big events were still a minority, a small minority of our net ads in q four. But we also noted that the retention characteristics for the members that came in for those big events was similar to members that joined for other big titles, and that continues to be the case. So really no meaningful changes to our retention story, which no news on that front is is good news from our perspective.

Thanks, Spence. We have another question about our, outlook and forecast, from Michael Morris of Guggenheim. Given the strength in operating margins in the first half of the year, can you discuss the key incremental costs that will drive lower margins in the second half? Do you expect these costs to be more heavily weighted to the third quarter or the fourth quarter? Spence?

Yes, I'll take it again. Okay. Thanks, Michael. So as you see in our letter and as you mentioned, we're still forecasting 29% full year margin, operating margin for the year. And we primarily manage the full year margin.

As you know, our margins bounce around a bit quarter to quarter. That's usually based on the timing of our content slate. That's the primary driver. And that's what's reflected in our forecast. So content expense will we expect will grow and ramp in Q3 and Q4 on a year over year basis given the timing of our slate.

We've got our biggest titles returning in the back half of the year. I'm sure Ted will talk to some of that later in the call. And also typically in Q4, we have a heavier film slate. We've also got sales and marketing expenses that will probably that we expect would ramp in the second half of the year, both to support the slate, but also ad sales, go to market operations and are hitting in our marketing and sales line. So that we're continuing to build out our sales operations and capabilities, and some of that is hitting there and growing in the back half.

So all of that is expected and reflected in our guidance. Other than, as I said, a little bit of a heavier slate typically on the film side in Q4, meaningful differences between Q3 and Q4. The one thing maybe I'll also just add, Spencer, we obviously beat a bit in operating income in Q1. But at this point, most of that was is a little bit on the revenue side, on the expense side. And it looks to us that most of that was timing of spend, but still spend that we would expect to hit in the full year.

So there's still long ways to go in the year, good bit of macro uncertainty out there. So this is still our best estimate for kind of outlook for the year. Great.

Thanks, Spence. I'll move us along now to a set of questions around advertising. From Dan Salmon of New Street Research. Does the current macro environment change your approach to the television upfronts? Any broad broad thoughts on how you're approaching upfront versus the scatter market would be great.

Sure. Similar to commentary on the on consumer sentiment, you know, we're keeping a close eye on the marketplace, but we aren't currently seeing any signs of softness from our direct interactions with buyers. Actually, to the opposite, we're we're seeing some positive indicators from clients as we approach our upfront event. I think worth noting perhaps that the fact that we're currently relatively small in ads, that sort of, you know, ads as a revenue contributor to Netflix, but probably more importantly, the amount of ad spend that we're seeking to win relative to the big ads pie. That smallness probably provides us some insulation to market shifts right now.

And we are, you know, rolling out our proprietary ad tech suite. We've rolled that out in Canada, United States. We've got our remaining 10 markets coming. That offers a bunch of new capabilities that advertisers have told us they want. So we're just starting to sell into those new capabilities that opens up new opportunities for us.

It opens up new demand for us as well. So I would say based on everything that we're seeing right now, we continue to expect that we will roughly double our advertising revenue in 2025 through a combination of both upfronts, programmatic expansion, and scatter.

And that's a very good segue to our next question, which comes from Vikram of Baird. Could you, provide an update on your first party ad tech platform? 's the rollout in Canada performed relative to your expectations, and do you have any observations so far, in The US?

Yeah. It's a big, milestone for us to roll out our own ad suite. We've working on it for a while. We're still in the middle of that rollout, but our Canada and US launches have gone well. They're consistent with our expectations.

We're learning and improving quickly now based on the feedback we're getting from having those live and operating them. Then we'll roll out across the remaining 10 ads markets in a few stages over the coming months. So that's, sort sort of all lined up and ready to go. The biggest initial benefit that we are seeing, again, as expected from being on our own ad server, is it just enables more flexibility, for advertisers, more ways that they can buy. There's fewer activation hurdles.

We have the ability to improve that overall buyer experience iteratively. It just makes it easier to transact with Netflix, and that, of course, drives increased sales. And so we're seeing that. And then we expect over time that our first party ad tech platform will allow us to do other things, deliver more critical capabilities more quickly to advertisers. These are things like more programmatic availability, something we definitely hear demand for.

Enhanced targeting, something we're excited about. We could leverage more data sources, and, of course, something we hear all the time, more measurement and reporting capabilities. So these are all things that we've got in work. Some of those have been delivered already in some of the territories, and those will come, over time. And then the other big space of benefit, by being on our own tech ads tech stack is it enables us to have more control to create a higher quality ad experience for our members.

This is, you know, things that are really important, like increasing ad relevance, which is just good for everybody in the in the whole ecosystem. So just getting started. Excited to get it out there. We got many years of building ahead of us, but we've got a clear road map. We know what we're what we're committed to, and we'll just continually do iteratively improve and innovate in advertising just like you've seen us do in all sorts of other areas.

Thanks, Greg. And speaking of ads relevance, Justin Patterson has a longer term question on ads. Netflix has solved personalized content recommendations. What are the key steps to solving ad content recommendations or relevance? In which inning do you believe you're in?

Not sure I would characterize this completely solved. We hope that we can be even better day to day in recommending our our the main titles. But we do have an ambition to achieve that same level of sophistication and maturity capability that we did on the on the personalized recommendations in the ad space. So that means, you know, matching the right ad with the right audience, the right viewer, and the right title. And we think putting those three things together drives superior campaign outcomes for advertisers.

We think it's a better experience for members, so it's it's win win win. You know, where are we at in that process? I would say that we are literally just beginning to get that going. So the first stage of that is actually being on our own ads platform. We've launched that, as I said, in Canada, US.

We've got the remaining markets coming over the next, months to come. And in doing that, during this time, we've been able to significantly already expand our targeting capabilities. So that now includes targeting features that are based on Netflix unique data. So think life stage, interest, viewing mood. In The US, we've also recently enabled, advertisers to do more significant targeting.

So this is targeting on their own onboarded audiences, targeting on Netflix model audiences, targeting against audience segments that are provided by a select set of third party vendors. So we've got a lot of exciting work going on in that space. And then looking ahead, in 2026, we'll do more of that, more data targeting capabilities. We'll move more of that globally. So a lot of things we do, we start in The United States and expand, across more territories.

You'll see that. And then, of course, more measurement functionality, in all markets. And then in 2027, when we get to look to specific focused investments at a higher order and data capabilities such as ML based optimizations, we've got advanced measurement and advanced targeting. We'll be really opening a rich space there. Another big benefit we get on our own ad stack is we'll be able to innovate and develop more quickly new ad formats so we have more spaces that we can, you know, point all of that improved targeting capability against.

So just getting started in this space. We got a lot of work to do for sure, but we're we think we'll be able to move very quickly and, frankly, more quickly than other streamers because we believe we're gonna be able to leverage not only preexisting tech that we have, data that we have, but also data science expertise and the rapid product innovation experience that we've got.

And, Greg, the the inning analogy gives us a little more flexibility than crawl, walk, run. Right? So when you walk through all that, it's nice to have all those innings ahead of us.

That's right. Stepping up to the plate and starting to swing. That'd be where

Thanks, Greg. I'll move us along to a series of content related questions from, analysts, beginning with Rich Greenfield from LightShed. There are four major sports properties available right now. How should we think about the strategic fit, for Netflix in terms of, number one, the UFC, number two, WWE premium live events, number three, f one, and number four, Major League Baseball.

Thanks, Rich. I just I do wanna remind you that our live strategy is beyond just sports, so I'm not I'm not gonna comment on any of those specific opportunities at this time. But I will steer you back to the letter to show you that our live event strategy is unchanged, and we remain really focused on the big breakthrough events. Our audiences love them. And so anything and anything we chase in the event space or the sports space is a deal that have to make economic sense as well.

So live is a relatively small part of our content spend. We have about 200,000,000,000 view hours, so small relative to view hours too. But that being said, all all viewing is not equal. What we have seen with live is this very outsized positives around conversation and acquisition, and we suspect retention. And we're really excited to keep building on that.

We have the Taylor Sorrento fight in July. That's a rematch from when they fought the first time on the Tyson Paul fight night. It was the most watched women's sporting event in U. S. History.

So there's a lot of excitement around that. The NFL, of course, is a great property, and we're happy to have the Christmas Day game. So we opted into the second NFL game for Christmas Day. So we'll be presenting all day football again on 12/25/2025, really exciting. And then today, our live adventures have have all been primarily in The US, but we intend to, grow the capability, to do it around the world in the years ahead.

So very pleased with the progress so far and excited about the future for live sports and non sports.

Thanks, Ted. The next question is from Matt Thornton of FBN Securities. Do you think video podcasts could perform well as a category on Netflix?

we're constantly looking at all different types of content and and content creators. The lines between podcast and talk shows are getting pretty blurry. We wanna work with kind of great creators across all kinds of media that consumers love. And podcast, to your point, have become a lot more video forward. And today, we actually produce a lot of podcast ourselves, as part of our kind of publicity and publishing efforts.

So, some are really show specific like Squid Game and Diplomat. Some are genre focused. Some are talent focused. We have a great one called, You Can't Make This Up, all about Netflix docs. And they live everywhere podcasts live today.

But as the popularity of video podcasts grow, I suspect you'll see some of them find their way to Netflix.

Thanks, Ted. From Rich Greenfield again, how do you create iconic animated franchises? What does it really take to build, out culturally relevant animated IP? Is the answer a different team acquisitions or something else entirely?

Well, thanks, Rich. Keep in mind, this we're relatively new at this, and it's a completely creative process. We've had some hits, and we've also had some misses, so we know we have our have work to do. But I would point out that we've had some some really nice hits with Leo, with Seabeast, Guillermo del Toro's Pinocchio, certainly Pierce Culture, even won the Oscar for us for best animated feature film. And the the other thing that keeps you keep in mind about why we're excited about this space, there's a lot of demand for animated film.

In 2024, '9 out of the top 10 most streamed movies were animated features. So just like in our live action strategy, we wanna make some, we wanna license some, and we have more access to data license than we did when we began in house animation. And we get to that now through output deals with Universal, Illumination, and with Sony. But the animation team, Hannah and Dan, they're working really hard on a very promising slate of exclusive originals they're gonna roll out through 2027, including one called In Your Dreams coming out in q four, which is really fun, really entertaining, beautifully produced film that I think you're gonna love. So we got our work cut out for us, but it's a big prize.

Thanks, Ted. Our next question comes from Robert Fishman, of MoffettNathanson. As you think about the competitive landscape over the next five years, should investors expect Netflix to move into short form or creator led content to compete head to head with, YouTube?

Sure. I'll kick this one off. I think just starting at the macro lens, we've always had very strong competitors, including YouTube, many others. We're all definitely competing hard for people's entertainment time. So we absolutely have to earn every hour that we win.

We don't take anything for granted. We don't get anything for free. We wake up every day eager to improve our service for our members and for members to be. We also think in that broadest competitive lens that the biggest opportunity we've got is actually going after the roughly 80% share of TV time that neither Netflix nor YouTube have today. We think of that as a real immediate opportunity.

And then when it comes to the specific head to head competition with YouTube or other platforms like YouTube, we believe we are a more competitive, better service for a certain class of creators and certain types of storytelling. And most importantly in that is that we lead monetization for those kinds of titles, And that means we can provide a better opportunity than YouTube or other services for those creators and those stories. And Ted, maybe you wanna comment on the creator and content type expansion?

Yeah. Sure. They you know, we're looking for the next generation of great creators, and we're looking everywhere. So they're not just in film schools and certainly not just in Hollywood. Creators today have tools that were unimaginable a decade ago, you know, to tell stories to reach audience.

You know, the question that's out there is that is it premium? Well, some of it is, and we believe we have the best monetization model in the planet for premium storytelling. I think we could help those creators reach an audience. Our model can also support more ambitious efforts for them, gonna help de re derisk them unlike the kind of typical UGC models. Look at people folks like miss Rachel.

She's been in the top 10 every week since she launched on Netflix. Kill Tony right now is killing it with our stand up fans. We're working with side with Sidemen with we just launched pop the balloon. So we think it's really exciting. When you put this all together, we believe it's the best place for premium content as defined by fans, and the best home for storytellers wherever they're working on honing their skills today.

Thank you. From Ben Swinburne of Morgan Stanley, we are starting to see some of the fear, around AI and content creation subside, and major directors like the Russo's, Jim Cameron, etcetera, begin embracing the technology. What is Netflix doing to leverage AI for its creative partners? How meaningful, can this be? And are there any examples that you can share?

Well, Ben, there's a ton of excitement about what AI can do for content creators. I read the article too, what Jim Cameron said about making movies 50% cheaper. I remain convinced that there's an even bigger opportunity if you can make movies 10% better. So our talent today is using AI tools to do set references for previs, VFX sequence prep, shop planning, all kinds of things today that gotta make the process better. Traditionally, only, you know, big budget projects would have access to things like, you know, tech you know, advanced visual effects such as de aging.

So today, you can use these AI powered tools so to enable smaller budget projects to have access to, you know, big VFX on screen. A a recent example I think is really exciting, Rodrigo Prieto is was the the DP on the Irishman just five years ago. And if you remember that movie, we were using very cutting edge, very expensive de aging technology, that still had massive limitations, still created a bunch of complexity on set for the actors. It was a giant leap forward for sure, but nowhere near what we needed, for that film. So this year, just five years later, Rodrigo is directing his first feature film for us, Pedro Paramore in Mexico.

Using AI powered tools, he was able to deliver this de aging VFX to the screen, you know, for a fraction of what it cost on The Irishman. In fact, the entire budget of the film was about the VFX cost on The Irishman. So same creator using new tools, new better tools to do something that would have been impossible to do just five years ago. That's incredibly exciting. So our our focus is simple.

Find ways for AI to improve the member and the creator experience.

Thanks, Ted. Our next question is from David Joyce of Seaport, Research Partners. The question is, with so much content in your library, what can you do for discovery to help drive further engagement with the platform? Is there anything further structural you can do with the recommendation engine, or is it going to require more marketing?

Yeah. A fact that surprises many people is that even our most popular, most buzzy titles that you're hearing tons of conversation around, those still drive less than 1% of viewing. So that discovery and recommendations capabilities are really critical to unlocking all the value from the investments that Bella's team is making around the world. And we believe, and we continually see this in test results quarter after quarter, that there is more room to improve that discovery and recommendation experience, and therefore provide more value for members and therefore find the biggest audiences for, around the world for our titles. To that end, some examples of this.

Last year, we began testing a new, simpler, more intuitive TV homepage. This is something that we hadn't made big structural changes to in over a decade, and we believe that that will significantly improve the Discovery experience on We've been polishing and improving that experience based on the input we got from members who used it, and we plan on rolling that out later this year. So that's that's very exciting and a pretty significant structural shift that we anticipate will move things forward significantly. But we're doing things at the other end of the spectrum too. So we're also building out, like, new capabilities.

An example would be interactive search that's based on generative technologies. We expect that will improve that aspect of discovery for members. So there's many, many specific improvements that we've got in work, a lot more to come in this space. And really, frankly, no foreseeable limit on those improvements in the years to come.

Great. Thanks, Greg. Michael Morris from Guggenheim has our next question. It's actually about extra member accounts. How has adoption of extra member accounts trended since launch?

Can you share how this offer has contributed to revenue growth to date and whether you see it as additive to future growth?

We see extra member as a part of our plans and pricing model. So it's an option that provides flexibility and choice for members. It allows them to, you know, tailor the Netflix offering to their needs. We know some members want to share Netflix with family or friends. An extra member gives them an easy way to do that.

Netflix (NFLX) Q1 2025 Earnings Call Transcript

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