Getting into China remains a top priority for Netflix, as does sourcing and producing original programming in Asia for a global audience, according to Netflix chief content officer, Ted Sarandos.

Sarandos was speaking during last weekend’s Television Critics Association in Pasadena, California – just two days before the red-hot entertainment juggernaut announced that it had crossed the 75 million mark in global subscribers.

“Right now, we’re looking at how people are signing up, how much they’re watching, what they’re watching,” said Sarandos, when asked what sort of early adoption indicators the company had seen since Netflix went global in the first week of January.

“The one thing that is true throughout is the enthusiasm for original programming, even in places that we expected would be more about local programming,” he said.

Although Netflix controversially doesn’t offer ratings figures for its shows, Sarandos said that original shows were being streamed the most, including in Asia-Pacific, included the Aziz Ansari-starrer Master of None, and the Marvel shows Jessica Jones and Daredevil.

If there were concerns that some Netflix shows – think Orange is the New Black – might be too raunchy for markets such as Indonesia or Malaysia, Sarandos says Netflix has not yet run into any problems with the region’s censors or regulatory boards.

“So far, it hasn’t been an issue,” he said, adding that the on-demand content comes with detailed descriptions and ratings to allow viewers to make apropriate viewing choices. “It’s different from country to country, but even heavily-regulated TV environments have unregulated internet environments,” he said.

The company is also focusing on creating culturally-diverse content in different parts of the world, that can be broadcast to a global audience.

“The most exciting part of Netflix coming to anywhere in the world, particularly Asia, is the ability to take very local and regional stories and make them global,” Sarandos says. He cites the success of Lilyhammer, a Norwegian show that found a following worldwide.

The company’s creative teams are now overseeing the production of six original shows in Japan; Angelina Jolie Pitt’s First They Killed My Father: A Daughter of Cambodia Remembers in Cambodia; have wrapped production of the second season of Marco Polo, which was shot at Pinewood Iskandar Malaysia Studios; and will premiere Crouching Tiger, Hidden Dragon: The Green Legend in February.

“Asia is a really rich storytelling culture, and there’s fascination around the world with Asian stories. That’s ripe to be successful for us.

“India is a huge priority for us, and we are now identifying some local programming out of India,” Sarandos added.

The brand has not given up on China, either. “It’s a very complicated market, and a constantly fluid situation. We are working hard to open up that market,” he said.

Otherwise, Netflix will continue to offer reality-based programming, buoyed by the success of Making of a Murderer.

Sarandos says other programmes that have translated well globally include the mostly Spanish-language Narcos and the Mexican production Club de Cuervos.

“Internet speeds are getting faster, broadband is becoming more dependable and faster – and we’re just scratching the surface globally.”

Published on 27 January 2016