Ted Sarandos
Co-Chief Executive Officer and Chief Content Officer at Netflix
It shouldn't be any more complicated than that, Doug. Honestly, we've got to compete, and we've got to continue to improve on the core service, which is making TV series and films and now games that people really love. That's what we're really focused on. And I think that that's a thing that I think we can continue to grow the business in. And now we talked about being highly penetrated in some of those core markets with users, which means that it's harder to get them to join Netflix if they're already using Netflix. So we got to figure out these different models that we're doing now to more effectively monetize that viewing.
As Spence said earlier, the engagement is really key. As you see in the Nielsen data that we published in the letter, our engagement has been super healthy -- even with this heightened levels of competition, our engagement -- our viewing has been very, very steady, holding on to our market share in the space. But on top of that, in the quarter, while we were not happy with the top line subscriber growth, we definitely saw that the new season of Ozark, the Inventing Anna, The Adam Project, and certainly the biggest of them all the new season of Bridgerton delivered exactly as expected, actually quite -- actually a little bit bigger than expected with fans. Now, of course, we think we've got to do that and we have to have an Adam Project and a Bridgeton every month, and to make sure that that's the expectation of the service constantly. So we're definitely feeling the higher levels of penetration in those markets of users, and we're definitely feeling a heightened level of competition for sure. And so we've just got to continue to do what we're doing and improve each of those things.
Now, how do you improve content? We've been doing this for a decade. Well, first of all, that's about 90 [Phonetic] years less time than all of our competitors have been at it. But I look at things like things we've been doing over the last few years that we've been improving in. So big movies, just a few years ago, we were struggling to out-monetize the market on little art films. And today we're releasing some of the most popular and most watched movies in the world. Just over the last few months things like Don't Look Up and Red Notice and Adam Project is examples of that. And that's just in the few years of improvement on one line of content. Another is unscripted. We didn't -- we made zero unscripted about three years ago, and today creating these big, unscripted brands and growing original, unscripted universes like Too Hot to Handle and Ultimatum that's really popular right now around the world, Selling Sunset, these are large, growing, original unscripted universes.
So we've come a long way from Ultimate Beastmaster my point is. And I think about things like our content in Korea. Again, pretty new to the market. Everybody knows about Squid Game, it was probably the biggest show in the history of television, and just a few years ago we were producing no original content in Korea. And while we all know about Squid Game, there's D.P. and All of Us Are Dead, and a slew of original contents that are thrilling our members in South Korea and fans around the world. So we're continuing to improve constantly in getting those moments that can lead to something like a Squid Game or Bridgerton constantly.