Netflix Puts Content Above Costs but Is the Policy Sustainable?
This week, the company announced yet more of the high-end content deals that underpin its growth, signing up Barack and Michelle Obama to produce films and documentaries, and announcing a $150m blockbuster, Six Underground, starring Ryan Reynolds.
The expenditure behind the casting coups and award-winning content, however, is significant.
“They need to keep on borrowing as they are investing so much so quickly in content and have to stay ahead, there’s nothing else they can do,” Tom Harrington, an analyst at Enders, says. “They have to stay ahead of Amazon (AMZN)
The Amazon founder, Jeff Bezos, does not like to come second and showed his intent to take the fight to
Disney has pulled its vast array of content – from Star Wars and Toy Story to Beauty and the Beast and the Marvel universe of superhero films – from
In the global quest to win subscribers
Netflix’s total streaming obligations, for making and licensing TV and film content, will cost $17bn over the next few years, while its long-term debt as of 31 March was $6.5bn. It also has $3bn to $5bn in costs it expects to pay relating to “traditional film output deals or certain TV series license agreements where the number of seasons to be aired is unknown”. Including the recent debt raising, the company’s total liabilities are around $30bn.
In Netflix’s favour, it remains in high-growth mode, a 20-year old business with the profile of a digital startup, that makes it a darling with investors that has kept it insulated from negative market sentiment. Revenues surged by 32% to $11.7bn, thanks to millions more subscribers agreeing to pay from £5.99 per month in the
However, Netflix’s practice of spreading the cost of programmes over a multi-year timeframe – an industry standard – is being questioned by some analysts who argue that the binge-watch nature of an on-demand world means the value of a programme or film expires much quicker than on traditional linear TV.
“Nominally
Meanwhile, the content deals keep coming. It has an agreement with Shonda Rhimes, creator of hits including Grey’s Anatomy, Scandal and How To Get Away With Murder; a $300m deal with Ryan Murphy, whose credits include Glee, Nip/Tuck and American Crime Story; the Friends co-creator Marta Kauffman, and Jenji Kohan, who is behind Weeds and Orange is the New Black. All of these cost a lot of money and are driving inflation in Netflix’s content costs.
“Netflix is trying to solve a problem of its own making,” Broughton says. “There are two elements here.
The question is, can
“Providing Netflix’s growth on subscribers and revenues remains at the same trajectory it is sustainable,” Broughton says. “Netflix has been adept at increasing pricing without losing subscribers but that is going to be difficult in its new growth markets like