Ted Sarandos
Co-Chief Executive Officer and Chief Content Officer at Netflix
Well, I think it's really, it goes into this kind of storied history of content creation. Squid Game, as Reed pointed out, was picked up a couple of years ago from the Korea team, who did recognize it to be one of what they thought would be their biggest title this year. So good that they did. But I can tell you that we had the same eyeball, I wanted to tell you there was going to be the biggest title in our history around the world. And to your point, the growth -- out by Korea has been phenomenal and everywhere, everywhere we operate. So if you look at these numbers, they are the internal viewing looks a lot like a local language show in any country you look at it, it's enormously successful.
And that's 10 years trying to sell the show, our team recognized something that nobody else did and created an environment for that creator to make a great show. So how something can go viral is really hard to predict, but it's super powerful when it happens and the show has to deliver the goods to be able to deliver that much viewing and have people talk about it in such short hand that you can spoof on Saturday Night Live, because it's so in the zeitgeist I said it for you. And it happens, but we feel it when it's happening, you know when it's happening. It's a little hard to predict sometimes, so those you think you've got lightning in a bottle and you're wrong. And so sometimes you think you've got a great Korean show that turns out to be lightning in the bottle for the world.
But remember, it's -- that came from Korea, which is super-phenomenal, but we have had success is not on that scale, but like that with La Casa de Papel from Spain, with Lupin from France, with the film Blood Red Sky from Germany, from Sex Education in the UK, where the stories of the world increasingly come from anywhere in the world. And this is something that we really work on day in and day out. And the teams that are doing that around the world, the thing that they're mostly focused on is a great, great windfall when these things happen, but they are mostly focused on a bunch of shows you never heard of, like -- but that are hugely impactful in territory. Sintonia in Brazil, Chestnut Man right now in Denmark for us is an enormous success.
Coming up in the quarter, spin out version of Call My Agent! from India, the Italian film, The Hand of God, new seasons of Luis Miguel, so these are all shows that are meant to be hugely impactful and loved in territory and if they really catch on, they travel a lot. But they really focused on making a difference and around the world, non-English content viewing has grown 3 times as we started in 2008 making content. So I start thinking about the impact of that in the impact of that growth and you know, that we can put new storytellers into the world from everywhere in the world, and they will pay PayTV and film is made in the future.