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.



Lionel Richie Takes a Break from Performing after Heart Procedure

Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)
Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)
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Lionel Richie Takes a Break from Performing after Heart Procedure

Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)
Lionel Richie attends The King's Trust Global Gala at Casa Cipriani on Thursday, May 2, 2024, in New York. (Photo by Evan Agostini/Invision/AP)

Lionel Richie is taking a break from touring as he recovers from a heart procedure, a representative for the singer confirmed in a statement to The Associated Press on Wednesday.

Richie underwent a common procedure for atrial fibrillation, or A-fib, and the “doctor said everything went perfectly,” it read. “Lionel is doing great but will take some time off and will be back on stage soon.”

A-fib is a quivering or irregular heartbeat that is a worrisome stage-setter for blood clots, stroke and heart failure. Some researchers believe more than 10 million Americans have it — most of them older.

The 77-year-old singer also postponed two concerts earlier this year, in June, after falling ill. And in August, reports of Richie checking himself into a hospital after a performance in St. Louis made the rounds online.

Richie was scheduled to perform with Earth, Wind & Fire Saturday in San Francisco, Sept. 30 in Chicago and Oct. 3 in Columbus, Ohio.

According to his website, he is currently scheduled to launch his “King of Hearts” residency shows at Las Vegas’ the Wynn in October and November.

The Oscar and four-time Grammy Award-winning Richie launched his career with The Commodores before becoming a successful solo artist. In addition to his well-known hits like “Hello,” Richie co-wrote the iconic charity single “We Are the World” with Michael Jackson and has sold over 100 million records.

He is also a judge on “American Idol.”


Paramount Wins Warner Bros Takeover After Settling States, Union Lawsuits

The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)
The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)
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Paramount Wins Warner Bros Takeover After Settling States, Union Lawsuits

The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)
The Paramount logo is shown on one of the studio's structures at the Paramount studio lot in Hollywood, Los Angeles, California, US, February 26, 2026. (Reuters)

Paramount Skydance emerged victorious on Monday from a legal battle over its $110 billion acquisition of Warner Bros Discovery after settling with a California-led group of US states and a Hollywood writers union, paving the way for one of the largest media mergers in history.

The settlement marks a major win for Paramount CEO David Ellison, who battled the states for months to finalize a deal that would dramatically concentrate power across Hollywood's film, TV, streaming and news businesses.

Paramount agreed to abide by temporary film quotas and a news oversight committee, avoiding a forced sale of cable assets such as CNN or any of its lucrative film franchises.

The settlement delighted Warner Bros shareholders, but drew criticism from opponents of the merger who say it will hurt Hollywood jobs. Shares ‌of Paramount pared ‌back earlier gains on Monday, while Warner Bros Discovery surged more than 10%.

The Writers ‌Guild ⁠of America settled ⁠its parallel case against Paramount, while saying it still believes the deal will damage the industry. The states' settlement forced the union to "contend with the reality of forging ahead alone, with no backing from government enforcers" in a complex case that would have cost millions of dollars.

California Attorney General Rob Bonta called the settlement "a strong antitrust outcome."

"More production, more choice, and guardrails that keep this industry competitive. I don't think these two companies should merge, but that's not something that we are focused on with our resolution here," he said at a press conference in Los Angeles.

Paramount ⁠promised in the state settlement to bring more film production to the US — ‌spending at least $300 million more each year in domestic production — and adhere ‌to US theatrical release quotas for five years.

The company will produce 30 movies in each of the first two years ‌of the deal, and 32 movies in each of the following three years, Bonta said. Each year, ‌at least four of those films must be independent films and at least 20% must be blockbusters. If it falls below that threshold, it will pay $30 million per film, most of it into funds to support workers.

Paramount also promised not to raise rates on theater operators for three years.

Under the settlement terms, Paramount will establish a news editorial independence board to ensure independence ‌at the CBS and CNN networks.

Reuters first reported on Friday that Paramount and the states could settle as soon as the weekend.

Ellison thanked the states and ⁠California Governor Gavin Newsom for ⁠his support throughout the process.

"Our goal has always been to build a stronger Hollywood — one with more stories told, greater choice for consumers and stronger competition," he said in a statement.

While Trump administration regulators cleared the deal, a coalition of 12 state attorneys general, led by California's Bonta, sued in July to block the merger, arguing it would reduce competition and create a media behemoth with the power to raise prices in movies and television.

The Writers Guild also sued to stop the deal, arguing it would decrease pay and worsen working conditions for film and TV writers.

The companies said earlier this year the merger will mean $6 billion in savings, through moves including cost cuts that would likely affect jobs across Hollywood as well as in the CNN and CBS newsrooms. The combined company is expected to hold $80 billion in debt.

The settlement helps Paramount avoid a $7 million-a-day "ticking fee" it would have owed Warner shareholders for each day the deal does not close past September 30.

Antitrust regulators in other jurisdictions globally, including the European Union and Britain, have already cleared the deal.


'Resident Evil' Tops Box Office with Franchise Best Debut of $60 Million

Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files
Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files
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'Resident Evil' Tops Box Office with Franchise Best Debut of $60 Million

Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files
Cast member Milla Jovovich speaks during a panel for "Resident Evil: Retribution" during the Comic Con International convention in San Diego, California July 13, 2012. REUTERS/Mario Anzuoni/Files

Zach Cregger’s “Resident Evil” gave the North American box office a shot in the arm in its first weekend in theaters. The Sony Pictures release earned $60 million in ticket sales from 3,684 locations in the US and Canada, according to studio estimates Sunday.

That’s a best for the video game inspired franchise, of which there have been seven prior movies dating back to 2002, and for the filmmaker behind “Weapons” and “Barbarian.”

It’s also more than most of the previous films made in their entire domestic runs. The only exception is “Resident Evil: Afterlife,” which was released in 2010 and netted out with $60.1 million, not accounting for inflation.

Cregger’s “Resident Evil” stars Austin Abrams (who also played a pivotal role in “Weapons”) as a medical courier whose last job of the night finds him battling infected creatures in Raccoon City. Reviews were overwhelmingly positive; it currently boasts a 95% on Rotten Tomatoes.

The audience was primarily male (66%) and under 35 (75%), according to PostTrak exit polls, and gave it a B+ CinemaScore. Cregger’s previous films have defied a lot of box office logic when it comes to horror movies, whose earnings tend to be front-loaded and drop sharply after the first weekend.

“Barbarian” grossed over $46 million on a budget under $5 million. “Weapons” made $270 million on a $38 million budget.

“Zach Cregger is a household name in the world of horror,” said Paul Dergarabedian, the head of marketplace trends for Rentrak. “There are certain directors who become the star of the movie.”

“Resident Evil” cost a reported $75 million to produce, which does not include marketing and promotion expenses. Internationally, it earned $48.3 million, bringing its global launch to $108.3 million.

“Zach Cregger plus big franchise equals big bucks,” The Associated Press quoted Dergarabedian as saying. “And he made it feel fresh and new.”

According to Rentrak, horror movies this year, including hits like “Obsession” and “Backrooms,” have generated over $1.1 billion at the domestic box office.

Second place went to “Practical Magic 2,” which fell about 59% from its lackluster opening weekend with $12.2 million from 4,163 theaters in North America. An additional $7 million from international showings brings its running global total to $76.8 million.

“Spider-Man: Brand New Day” landed in third place with $6.5 million in its eighth weekend, pushing its domestic total to $944.5 million. “The Odyssey,” in its 10th weekend in theaters, added another $4.9 million to take fourth place. “Coyote vs. Acme” rounded out the top five with $4.5 million.

One notable limited release was “The History of Concrete,” a documentary from comedian John Wilson, which earned $90,000 from one screen (the IFC Center in New York). The only film to make more in a single weekend at that venue was “Parasite,” which made $119,407.