Global ‘Squid Game’ Mania Lifts Netflix Quarter

Netflix’s global sensation “Squid Game” helped lure more new customers than expected, the world’s largest streaming service said on Tuesday. (Netflix/AFP)
Netflix’s global sensation “Squid Game” helped lure more new customers than expected, the world’s largest streaming service said on Tuesday. (Netflix/AFP)
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Global ‘Squid Game’ Mania Lifts Netflix Quarter

Netflix’s global sensation “Squid Game” helped lure more new customers than expected, the world’s largest streaming service said on Tuesday. (Netflix/AFP)
Netflix’s global sensation “Squid Game” helped lure more new customers than expected, the world’s largest streaming service said on Tuesday. (Netflix/AFP)

Netflix Inc’s global sensation “Squid Game” helped lure more new customers than expected, the world’s largest streaming service said on Tuesday as it predicted a packed lineup would further boost signups through the end of the year.

After a sharp slowdown in the first half of 2021, Netflix added 4.38 million subscribers from July through September to reach 213.6 million worldwide. Wall Street analysts had projected 3.86 million additions, according to Refinitiv data.

Netflix enjoyed a subscriber boom last year as COVID-19 kept audiences at home, but growth stalled early this year. At the same time, Walt Disney Co’s Disney+, AT&T Inc’s HBO Max and other competitors bolstered their offerings. Netflix blamed the earlier weakness in part on a thin slate of new programming caused by production shutdowns from the pandemic.

Then, South Korean drama “Squid Game” debuted on Sept. 17 and surprised executives by becoming the streaming service’s most-watched original series in its first month. On Tuesday, Netflix said a “mind-boggling” 142 million households had watched the dark drama about people who compete in a deadly competition to erase financial debt.

The series, made with a relatively small budget, shot to the top of Netflix viewing charts in 94 countries, kick-started sales of track suits and Vans sneakers, and kindled interest in learning Korean. “Squid Game” merchandise is now on its way to retailers, Netflix said.

The fervor around “Squid Game” also is expected to lift the current quarter. Netflix projected it will pick up 8.5 million new customers by year’s end, ahead of industry forecasts of 8.33 million, as it releases a heavy lineup of new programming. Upcoming debuts include big-budget action flick “Red Notice” and a second season of fantasy drama “The Witcher.”

It also expects a “more normalized” programming slate in 2022 spread throughout the year, “assuming no new COVID waves or unforeseen events,” the company said in a quarterly letter to shareholders.

Shares of Netflix were close to even in after-hours trading at $641 following the earnings report.

Overseas growth
Most new customer pickups in the quarter came from the Asia Pacific market, where Netflix now has 30 million subscribers. Industry experts believe the region may rival the United States and Canada - Netflix’s largest market - in three to five years, said Third Bridge senior analyst Joe McCormack.

Netflix is trying new ways to attract customers overseas, including offering a free plan in Kenya. It will take one to two years to tell if that tactic leads to more paying subscribers, the company said.

For the quarter that ended in September, diluted earnings-per-share came in at $3.19, beating analyst expectations of $2.57. Revenue rose 16% to $7.5 billion.

Before the earnings report, Netflix shares had risen roughly 22% this year and were trading near record highs, but their gains lag behind the 54% increase in the Nasdaq.

Netflix, which keeps much of its viewership data secret, also said it will release information more frequently and shift its main publicly reported metric to hours viewed, rather than the number of accounts that watched a title for at least 2 minutes. The company noted that it competes with a large set of activities beyond TV including TikTok and Fortnite. When Facebook Inc suffered a global outage in early October, “our engagement saw a 14% increase during this time period,” Netflix said.



‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
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‘How to Train Your Dragon’ Tops the US Box Office

This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)
This image released by Universal Pictures shows Mason Thames, as Hiccup, riding Night Fury dragon, Toothless in a scene from "How to Train Your Dragon", (Universal Pictures via AP)

Neither Pixar nor zombies were enough to topple “How to Train Your Dragon" from the No. 1 slot at North American box offices over the weekend. The Universal Pictures live-action remake remained the top film, bringing in $37 million in ticket sales in its second weekend, despite the sizeable new releases of “Elio” and “28 Years Later” , according to studio estimates Sunday. “How To Train Your Dragon” has rapidly amassed $358.2 million worldwide, The Associated Press reported.

Six years after its last entry, the Dean DeBlois-directed “How To Train Your Dragon” has proven a potent revival of the DreamWorks Animation franchise. A sequel is already in the works for the $150 million production, which remakes the 2010 animated tale about a Viking boy and his dragon.

Pixar's “Elio” had a particularly tough weekend. The Walt Disney Co. animation studio has often launched some of its biggest titles in June, including “Cars,” “WALL-E” and “Toy Story 4.” But “Elio,” a science fiction adventure about a boy who dreams of meeting aliens, notched a modest $21 million, the lowest opening ever for Pixar.

“This is a weak opening for a new Pixar movie,” said David A. Gross, who runs the movie consulting firm FranchiseRe. “These would be solid numbers for another original animation film, but this is Pixar, and by Pixar’s remarkable standard, the opening is well below average.”

“Elio,” originally set for release in early 2024, had a bumpy road to the screen. Adrian Molina — co-director of “Coco” — was replaced mid-production by Domee Shi (“Turning Red”) and Madeline Sharafian. Back at Disney’s D23 conference in 2022, America Ferrera appeared to announce her role as Elio’s mother, but the character doesn’t even exist in the revamped film.

Disney and Pixar spent at least $150 million making “Elio,” which didn’t fare any better internationally than it did in North America, bringing in just $14 million from 43 territories. Pixar stumbled coming out of the pandemic before stabilizing performance with 2023’s “Elemental” ($496.4 million worldwide) and 2024’s “Inside Out 2” ($1.7 billion), which was the company's biggest box office hit.

“Elemental” was Pixar's previously lowest earning film, launching with $29.6 million. It rallied in later weeks to collect nearly half a billion dollars at the box office. The company's first movie, “Toy Story,” opened with $29.1 million in 1995, or $60 when adjusted for inflation. It remains to be seen whether “Elio's” decent reviews and “A” from CinemaScore audiences can lead it to repeat “Elemental's” trajectory.

With most schools on summer break, the competition for family audiences was stiff. Disney’s own “Lilo & Stitch,” another live-action remake, continued to pull in young moviegoers. It grossed $9.7 million in its fifth weekend, bringing its global tally to $910.3 million.

“28 Years Later” signaled the return of another, far gorier franchise. Director Danny Boyle reunited with screenwriter Alex Garland to resume their pandemic apocalypse thriller 25 years after “28 Days Later” and 18 years after its sequel, “28 Weeks Later.”

The Sony Pictures release opened with $30 million. That was good enough to give Boyle, the filmmaker of “Slumdog Millionaire” and “Trainspotting,” the biggest opening weekend of his career. The film, which cost $60 million to make, jumps ahead nearly three decades from the outbreak of the so-called rage virus for a coming-of-age story about a 12-year-old (Alfie Williams) venturing out of his family’s protected village. Aaron Taylor-Johnson, Jodie Comer and Ralph Fiennes co-star.

Reviews have been good (90% fresh on Rotten Tomatoes) for “28 Years Later,” though audience reaction (a “B” CinemaScore) is mixed. Boyle has more plans for the zombie franchise, which will next see the release of “28 Years Later: The Bone Temple” next year from director Nia DaCosta.

“28 Years Later” added another $30 million in 59 overseas markets.

After its strong start last weekend with $12 million, A24’s “Materialists” held well with $5.8 million in its second weekend. The romantic drama by writer-director Celine Song and starring Dakota Johnson, Pedro Pascal and Chris Evans has collected $24 million so far.

Next weekend should also be a competitive one in movie theaters, with both “F1,” from Apple and Warner Bros., and Universal’s “Megan 2.0” launching in cinemas.