Speaker 1: I'm Emily Chang, and this is the circuit.
Speaker 2: Today.
Speaker 1: We're on a film set like no other. We've landed
Speaker 1: in Columbia to visit Netflix's most ambitious Spanish language project yet,
Speaker 1: one Hundred Years of Solitude, the book by the famous
Speaker 1: author Gabrielle Garcia Marquez, is being adapted into a series
Speaker 1: for the first time. There's a cast of thousands involved,
Speaker 1: including director Alex Garcia Lopez.
Speaker 2: Do you think this can be a global hit?
Speaker 1: I don't know.
Speaker 2: I mean, I think you do a project and then
Speaker 2: once you finish it, it kind of goes out there and
Speaker 2: has its own life.
Speaker 1: I think Netflix in the last few years are taking
Speaker 1: a big gamble in a very good way. Netflix has
Speaker 1: been pouring money into productions outside the United States, leading
Speaker 1: to a string of international breakout hits like Squid Game
Speaker 1: from South Korea, Lupin from France, and Roma from Mexico.
Speaker 3: Hollywood is always traditionally exported content. People have seen those stories,
Speaker 3: they love those stories. And now what I think is
Speaker 3: rate is that we have provided access for lots of
Speaker 3: different languages and genres to be exported around the world.
Speaker 1: At the forefront of turning Netflix into a window for
Speaker 1: the world is Bella Bajaria, a London born executive who
Speaker 1: turned down fame to work behind the scenes. The former
Speaker 1: Miss India Worldwide landed a job as an assistant at
Speaker 1: CBS and climbed her way up. Now she's leading the
Speaker 1: Netflix team that's delivered award winning shows like Wednesday, Beef
Speaker 1: and Dahmer, but increasingly she's betting the show is on
Speaker 1: the road. On this edition of The Circuit, I sit
Speaker 1: down with Netflix Chief Content Officer Bella Bajaria to talk
Speaker 1: about the company's global strategy. You are through the ranks
Speaker 1: in traditional broadcast networks, then you started running international for
Speaker 1: Netflix than all of global TV. Now you're running all
Speaker 1: of content. Tell us a little bit about your background
Speaker 1: and how does that inform your philosophy on content today.
Speaker 3: So I'm Indian and lived in Zambia and in Africa
Speaker 3: and in London when I was younger, and moved to
Speaker 3: America as an immigrant, and I grew up watching Bollywood movies.
Speaker 3: I grew up watching different British content, and I was
Speaker 3: always exposed to lots of different things from different countries.
Speaker 3: And when I moved to the US, I really didn't
Speaker 3: understand really American culture, and at that point I had
Speaker 3: a British accent, and so I watched a lot of
Speaker 3: TV and film one to lose the accent and two
Speaker 3: to really try to understand American culture. And so the
Speaker 3: power of seeing yourself or not ever seeing yourself is
Speaker 3: a really personal thing for me. Hollywood has always traditionally
Speaker 3: exported content. People have seen those stories, they love those stories.
Speaker 3: And now what I think is great is that we
Speaker 3: have provided access for lots of different languages and genres
Speaker 3: to be exported around the world and have local storytelling.
Speaker 3: It's a very powerful thing to see yourself represented on
Speaker 3: screen and to see your culture for explored and so
Speaker 3: specifically nuances or culture or your country. And we do
Speaker 3: that in all of these countries with local, authentic storytelling.
Speaker 3: And if you really think about it, traditionally to see
Speaker 3: something in non English film that used to be like
Speaker 3: in an art house film that if your city had
Speaker 3: an art house, you know, theater, and sometimes it was
Speaker 3: a drive if you were going to do that. And
Speaker 3: now just the access to be able to watch The
Speaker 3: Crown and scroll right over and watch the Glory from Career,
Speaker 3: or watch the upland for France is all they are in.
Speaker 3: Providing that kind of access is an extraordinary thing. And
Speaker 3: for me it feels very full circle from not being
Speaker 3: seen or not feeling seen on TV and entertainment, but
Speaker 3: also really learning American culture through television and film.
Speaker 2: You're in charge of content. That's a huge job.
Speaker 1: How do you decide what millions of people around the
Speaker 1: world want to watch?
Speaker 3: So it is a huge job, but it's a really
Speaker 3: fun job. And it's interesting because people have these always
Speaker 3: about the audience, right, and people around the world, and
Speaker 3: everybody has different tastes in different moods, right, even for
Speaker 3: you personally, Right, sometimes you're in the mood for a
Speaker 3: comedy and sometimes you're in the mood for an immersive drama.
Speaker 3: Having the teams around the world in all of these countries,
Speaker 3: because there's local creative executives who work with local creative ecosystems,
Speaker 3: with writers and producers and in their language, and really
Speaker 3: sort of look at what does the audience want? Right,
Speaker 3: And it really starts with a writer walks in the door.
Speaker 3: The one thing that is consistent around the world, it
Speaker 3: doesn't matter what language it is in A filmmaker writer
Speaker 3: walks in the door, they pitch something and it's the
Speaker 3: gut and judgment and intuition of creative executives who just
Speaker 3: there's something special in that tone. There's something really specific
Speaker 3: in that voice. Audience will love it. It's bold, it's original,
Speaker 3: it's fresh. You just feel something, and that's really how
Speaker 3: you decide. It's definitely art, not science. But there's no
Speaker 3: other way than just that human connection of listening to
Speaker 3: a story.
Speaker 1: That's interesting because I think so many people think because
Speaker 1: of technology, because of algorithms. There is a lot of
Speaker 1: science to it. So how much is it an algorithm
Speaker 1: versus intuition?
Speaker 2: Oh, it's very intuition.
Speaker 3: Look, and I think there's always you know, data they
Speaker 3: can give you, they can inform you. You know, there's
Speaker 3: renewal things in lots of different way things you can
Speaker 3: look at it.
Speaker 2: But the what's the.
Speaker 3: Next thing to greenlight a film or a TV show
Speaker 3: is all art and creative and gut and judgment. There's
Speaker 3: not an algorithm in the world that would say, you know,
Speaker 3: you should really make a show about road rage that
Speaker 3: turns into really a show about human connection and loneliness
Speaker 3: like beef actually really explored, or you should really make
Speaker 3: a period show about a woman playing chess. There's no
Speaker 3: way that anybody can say, like, that's the formula. It
Speaker 3: really is relationships and just gut and judgment and intuition.
Speaker 3: And I think think having also that we have twenty
Speaker 3: seven local country offices and creative executives who speak the language,
Speaker 3: are from the culture, who can really understand the nuances,
Speaker 3: and so they can really connect with a writer filmmaker
Speaker 3: to decide what to make an X. There is no
Speaker 3: other way to greenlight the next best, great thing.
Speaker 2: So what is the formula for an ideal Netflix show?
Speaker 3: So I find it really funny when people ask me,
Speaker 3: because people do ask me, you know, what is a
Speaker 3: Netflix show or what is a Netflix movie? And in
Speaker 3: a way, I think it's an old fashioned question because
Speaker 3: I think people are used to like a narrow programming
Speaker 3: of a specific network that really has a very specific
Speaker 3: demographic or they have a kind of a certain lane
Speaker 3: that they program, and we don't do that. We have
Speaker 3: over two hundred and fifty million accounts around the world
Speaker 3: across so many countries, and no other company has really,
Speaker 3: you know, aspired to make this much great film and
Speaker 3: TV around the world in so many languages, across so
Speaker 3: many genres and We're trying to entertain people with various backgrounds,
Speaker 3: various demos in different countries.
Speaker 2: Our businesses.
Speaker 3: We make film and TV and that's the core of
Speaker 3: what we do. And if you like something because you
Speaker 3: find something, you discover something and you're in the mood
Speaker 3: for that and you love it and you recommend it
Speaker 3: and then you come back to me, that's the ideal experience.
Speaker 1: I've heard you use this term super serve before. What
Speaker 1: does that mean to me?
Speaker 3: That means somebody in your house loves unscripted shows and
Speaker 3: they like to watch dating shows and they play on
Speaker 3: Love Is Blind. That really super serves that need, right,
Speaker 3: that audience loves dating shows, that audience likes unscripted, or
Speaker 3: they discover something new, but it's something that really meets
Speaker 3: you where you are in that kind of mood or need.
Speaker 3: People have so many different days, like last year in
Speaker 3: twenty twenty three was interesting, too hot to handle. Germany
Speaker 3: was number one, as was all quite on the Western front.
Speaker 3: Very different, so different, very different people love.
Speaker 2: One or of the other and many people love both.
Speaker 3: And to understand that audiences have a wide range of
Speaker 3: taste in moods, So to me, it's super serving you
Speaker 3: know those needs.
Speaker 1: Latin America is the first place Netflix started making originals
Speaker 1: a decade ago. What's different today after being there for
Speaker 1: you know, ten plus years.
Speaker 3: So our first non English show that we did in
Speaker 3: the original when we really we were going to start
Speaker 3: expanding into originals outside of English was clebdor Crevos, which
Speaker 3: is twenty fifteen. And Latin America's had your rich history
Speaker 3: of storytelling and so many great movies and TV shows,
Speaker 3: and there's great creative ecosystem there and what's been great
Speaker 3: is just to see.
Speaker 2: It continue to grow and to continue to.
Speaker 3: Expand the variety and quality of what we do. And
Speaker 3: slowly it was opening the Mexico City office and opening
Speaker 3: Brazil and hiring local teams there and that means local
Speaker 3: cre of executives and local production executives and really having
Speaker 3: people on the ground who speak the language, who come
Speaker 3: from the culture, and to really work locally in that community.
Speaker 3: And that's taking time to build and grow and have
Speaker 3: that maturity in that market that way for us. And
Speaker 3: what I think is so exciting to see this year
Speaker 3: in twenty twenty four is that this year Latin America
Speaker 3: is making at the same time, which is really fun
Speaker 3: and challenging. Three of the most ambitious projects that we
Speaker 3: have ever taken on in Latin America, and that's your
Speaker 3: hundred Years of Solitude in Columbia, which is just beloved,
Speaker 3: but just trying to tell that story and the scope
Speaker 3: of that story is just a really big, ambitious production
Speaker 3: to take on. And you know, in Brazil doing Senna,
Speaker 3: the most famous beloved Brazilian athlete there and it's been
Speaker 3: interesting because we've had Formula one drive to survive and
Speaker 3: really being able to grow the fandom of that sport also,
Speaker 3: but to tell that story of Senna and his life
Speaker 3: and a life cut way too short, but to recreate
Speaker 3: races and that period aspect of that, you know, has
Speaker 3: been an incredible challenge but so rewarding. Elled turn Onto
Speaker 3: is again in such beloved comic and an IP I
Speaker 3: say ambitious in the one sense that they're Varya beloved
Speaker 3: stories and really important IP and characters and a story
Speaker 3: that people really love and feel a connection to, and
Speaker 3: the responsibility of wanting to do that really well. And
Speaker 3: then on the other side of the ambition of just
Speaker 3: actually sheer scope and scale, which is a lot but
Speaker 3: very exciting.
Speaker 1: How ambitious is Macondo on the scale of other Netflix projects.
Speaker 1: What gave you the confidence that this should be the project?
Speaker 3: You know, there was a lot of passion around it
Speaker 3: and a lot of thoughtfulness. Have a whole team as
Speaker 3: far as our executives and the producers and director and
Speaker 3: everybody involves.
Speaker 2: This is so special and it's.
Speaker 3: Taken us a long time to really figure out how
Speaker 3: to put it together, how to actually tell that story
Speaker 3: over that time, and look, it's always a little scary.
Speaker 3: There's confidence in it, for sure, because I think we
Speaker 3: have a thing. We just have so many talented people,
Speaker 3: but there's also a real passion and pride of really
Speaker 3: capturing this and doing justice really to the material. And
Speaker 3: so it was always scary going in and I'm sure
Speaker 3: Paco Bay have told you that along the way. But
Speaker 3: it's also one of those stories and it's just sort
Speaker 3: of all three of these in Latin America that we're
Speaker 3: doing that were we just have to have this, We
Speaker 3: have to tell the story. Audiences are going to love it,
Speaker 3: like the Swing is. It's a big one, but it's
Speaker 3: so inspiring and it's exciting, and it just felt like
Speaker 3: our audiences would love it, and it was just one
Speaker 3: of those that we just had to have.
Speaker 2: Is the goal a local hit or a global hit?
Speaker 3: The goal is always a local hit. So the goal
Speaker 3: always starts with very specific, authentic storytelling. And what you
Speaker 3: want is you want people in that country and in
Speaker 3: that language to love it that really resonates with them.
Speaker 2: It's very relevant.
Speaker 3: I still really believe the more specific and authentic something is,
Speaker 3: the more universal it actually is. And I think when
Speaker 3: people set out to make a global hit, you try
Speaker 3: to make something for everyone, and so you make something
Speaker 3: for no one. And so the idea of really resonating
Speaker 3: locally is the most important thing. And we've seen that
Speaker 3: time and time again with the shows that have resonated.
Speaker 2: They were made for their country.
Speaker 3: There were made such local storytelling, there is such cultural
Speaker 3: specificity and nuances that really resonated with that country, and
Speaker 3: then it just ended up connecting with a larger audience
Speaker 3: and word of mouth and conversation. And we've seen that
Speaker 3: happen time and time again.
Speaker 1: How much is Netflix spending on content in Latin America
Speaker 1: and how does that compare to other regions.
Speaker 3: We have great investment in Latin America, you know, we
Speaker 3: have a big global content budget that we spend, you know,
Speaker 3: and we also have a wide range if you think
Speaker 3: about between nonfiction and docs and scripted and scripted and
Speaker 3: films around the world in different languages. So there's really
Speaker 3: investment in different countries. Latin America has always you know,
Speaker 3: because we've also been there the longest outside of you know,
Speaker 3: the US, so that's always had like a very healthy investment.
Speaker 2: So take us around the world. Where are you really
Speaker 2: leaning in?
Speaker 1: Where do you see the most potential Beyond Latin America?
Speaker 3: Okay, we have twenty seven local country offices, betweens teams,
Speaker 3: they're making local things. We also make TV shows and
Speaker 3: movies and fifty different languages in fifty different countries. There's
Speaker 3: so many things in these countries, and so it hasn't
Speaker 3: been so much that this one place has more potential
Speaker 3: than the other. When Japan is looking at, you know,
Speaker 3: what's an amazing slate and taking a mix of live
Speaker 3: action and film and anime and taking sort of manga
Speaker 3: I and adopting that sometimes they do in Japan, we
Speaker 3: also do it in the US, you know, so they
Speaker 3: can look at their slate that way. The one thing
Speaker 3: that is consistent is there's an amazing storytelling at all
Speaker 3: of those places, and that's actually the one.
Speaker 2: Real consistent thing around the world.
Speaker 3: It doesn't matter which language you're doing it in, how
Speaker 3: do you find the next best film or series. Take India,
Speaker 3: for example, so they can watch things in self languages
Speaker 3: or Hindy. They also watch English content, but they also
Speaker 3: love lacasa papel, so they watched Spanish things and they
Speaker 3: love crank content. So it's not even my language in English,
Speaker 3: it's this language and lots of different around the world.
Speaker 3: And so what I think has just been amazing to
Speaker 3: see is the growth in many of these different countries
Speaker 3: outside of the US.
Speaker 1: People seem to be getting over subtitles like would you Agree?
Speaker 1: And I wonder is Netflix behind that?
Speaker 2: Look.
Speaker 3: I think Netflix has really offered this access several years ago.
Speaker 3: I guess now it is. A director Bong at the
Speaker 3: Oscars had said, if people and when he won for Parasite,
Speaker 3: he said, if people could get over those one inch subtitles,
Speaker 3: there's a whole worlds out there of amazing storytelling. And
Speaker 3: I think if your experiences, Okay, I'm going to go
Speaker 3: to an art house theater and I'm going to try
Speaker 3: to find this non English film, and I'm going to
Speaker 3: put all this effort and I'm going to go past
Speaker 3: the subtitles.
Speaker 2: For sure, there's that.
Speaker 3: Now, wh's just the access is there.
Speaker 2: I think we've really.
Speaker 3: Shown globally that with specific, authentic storytelling, coupled with great
Speaker 3: subtitles and dubbing, with good recommendations and easy discovery, that
Speaker 3: a story can come from anywhere and excited audience everywhere.
Speaker 1: Your strategy has been pretty unique for a US based streamer.
Speaker 1: Why is Netflix going so much more global than your competitors.
Speaker 3: I've worked in many different countries and historically have had
Speaker 3: lots of jobs in Hollywood and linear networks and studios,
Speaker 3: and I think there was a really dimess focus and
Speaker 3: then you sell later after the fact, right, you sell,
Speaker 3: you can tell your title internationally. We're a local service
Speaker 3: and people in their homes Coulid play and we're in
Speaker 3: one hundred and eighty countries. We were always going to
Speaker 3: do storytelling, you know, locally in that way. So that's
Speaker 3: always just been a big part of our business.
Speaker 2: Best right, Well, that was my next question, like is
Speaker 2: it paying off?
Speaker 3: Yes, but I say it's also understanding that people in
Speaker 3: different countries. It's also the investment in local storytelling. Right,
Speaker 3: So it takes time, and it's hard, and it takes
Speaker 3: effort to spend time in those places not have a
Speaker 3: Western lens on what that is. To really go to
Speaker 3: these countries, open the offices, meet with governments and local
Speaker 3: producers and local writers and understand each you know, local
Speaker 3: kind of creative ecosystem and so be close to the
Speaker 3: storytelling each of these countries. And doing that has been
Speaker 3: with as much care and passion and interests in commitment
Speaker 3: and edication as the US was. And that's why we
Speaker 3: also did something which has been done before really in
Speaker 3: that way, is that it's very important to have local
Speaker 3: teams with decision making and budgets and green light authority
Speaker 3: in the country and who understood really the nuances of
Speaker 3: that community.
Speaker 1: Producers in South Korea, governments in Europe have expressed concern
Speaker 1: that Netflix could become so successful and so powerful in
Speaker 1: some of these countries that it actually pushes out local media.
Speaker 2: How do you respond to that.
Speaker 3: All of what we make the investment in those countries
Speaker 3: provide lots of jobs and all local storytelling. It's local
Speaker 3: storytelling of people also exporting culture. If you think about it,
Speaker 3: when we make things on the ground of just behind
Speaker 3: the camera in front of the camera, the amount of
Speaker 3: production jobs. We also have a group Grow Creative that
Speaker 3: we do many training programs and pipeline programs to train
Speaker 3: people in different a visual in the medium. And so
Speaker 3: there's a big commitment to our investment in these countries
Speaker 3: and the local economy which we've seen through just actually
Speaker 3: like jobs. And also what is hearts always quantify is
Speaker 3: exporting culture and the increase in tourism.
Speaker 1: So what's your take on a state of the streaming
Speaker 1: wars broadly right now?
Speaker 3: I don't think as a winner takes all type of situation.
Speaker 3: And you know, we've always had competition. There's competition everywhere
Speaker 3: in the world. So my job is as simple and
Speaker 3: hard as this. How do we make the best filming
Speaker 3: TV around the world consistently? How do we make sure
Speaker 3: you click play and you love what you watch and
Speaker 3: you come back. So that's really, you know, that's the
Speaker 3: focus for us. How do we do it across so
Speaker 3: many languages, across so many genres, How do we do
Speaker 3: it well in every country? And to me, the focus
Speaker 3: for us, I mean that's the business wearing, that's all
Speaker 3: we do. That is the focus, which I really appreciate
Speaker 3: having this clear focus on entertainment and audiences, and so
Speaker 3: that is really I think for me, the one thing
Speaker 3: I can speak to is like continue to consistently work
Speaker 3: with the best creators around the world, push storytelling in
Speaker 3: a way that can be surprising and delightful and bold
Speaker 3: and original and fresh. I mean, if you think about
Speaker 3: Latin America from twenty fifteen till now, some of these
Speaker 3: other countries, right, we've been really focusing on making originals
Speaker 3: the last three years and some five years and some
Speaker 3: you know, only like two years, so there's still just
Speaker 3: so much growth. And for me, really the focus is
Speaker 3: on that.
Speaker 1: You know, we're talking so much about these other countries.
Speaker 1: Hollywood has been the center of global entertainment for century.
Speaker 1: Is Hollywood's position as the center of global entertainment under threat.
Speaker 3: So hollywoods not going anywhere. There's great answery of storytelling here.
Speaker 3: That's not going anywhere. But I think once it's done,
Speaker 3: it's just opened up more. Who gets to tell the story?
Speaker 3: What kinds of stories do you tell? Who sees their
Speaker 3: stories represented? Who gets to tell those stories? And I
Speaker 3: think that's you know, an amazing thing. And I think
Speaker 3: this idea of there is just great storytelling all around
Speaker 3: the world and have people just have access to more
Speaker 3: of it and from different points of view.
Speaker 1: After a huge push into original content, it does seem
Speaker 1: like Netflix is pulling back a little, reducing output a little.
Speaker 2: Maybe what's the strategy.
Speaker 1: Behind that or maybe stabilizing.
Speaker 2: I don't think we're pulling back at all.
Speaker 3: I does not feel like, get on this side, We're not.
Speaker 3: I think what you have to look at, which I
Speaker 3: think is so interesting, is that we started making more
Speaker 3: originals when expanding in different countries.
Speaker 2: Then in certain countries where we had.
Speaker 3: Done scripted, we started even expanding more into nonfiction in
Speaker 3: those countries and doing docs and unscripted, And you know,
Speaker 3: if you think about even in Europe and some of
Speaker 3: those countries. In France, we did a tour to France
Speaker 3: sports thing, we did Rhythm and Flow, and we started
Speaker 3: expanding into unscripted. Only seven years ago we've started building
Speaker 3: and expanded the entire unscripted group at Netflix. So for me,
Speaker 3: I think we're always expanding into new things.
Speaker 1: So it costs so much money to make content at
Speaker 1: the level of people expect now and probably Netflix created
Speaker 1: that expectation are certainly played a huge role in it.
Speaker 1: Is the strategy sustainable.
Speaker 3: Prices just kind of go up for lots of different
Speaker 3: reasons in lots of different ways, right, I mean, there's inflation,
Speaker 3: and this is different products, not just TV and film.
Speaker 2: And I think you also have to.
Speaker 3: Remember, like there's certain things that cost a lot because
Speaker 3: they're big in world building, and there's certain things that
Speaker 3: don't cause a lot because you know, they're smaller character
Speaker 3: or family dramas, and so it's not you know, to me,
Speaker 3: it's definitely sustainable. The job is still always focusing on
Speaker 3: variety and quality and to understand that people really do
Speaker 3: have eclectic taste and they watch a wide breath of
Speaker 3: shows and films, and I think that pursuit of excellence
Speaker 3: and the pursuit originality and working with the best creators
Speaker 3: and filmmakers in the world, that is just always the
Speaker 3: focus and the goal, because people love entertainment and they
Speaker 3: want to be entertained, and it creates such conversation and
Speaker 3: connection and it's such a fun thing to recommend and
Speaker 3: what are you watching and you hear them, So for me,
Speaker 3: that's really kind of that's the focus.
Speaker 2: On how you sustain it. You work really close to
Speaker 2: with Ted Sarandos.
Speaker 1: You're a co CEO who had this job before you
Speaker 1: had this job. You know, I'm curious what your partnership
Speaker 1: is like.
Speaker 3: Ten and I have a very great relationship. I've worked
Speaker 3: for him for seven years at this point, and he
Speaker 3: offered me, first, you know, to come in and start unscripted,
Speaker 3: and then I said, you know, I haven't done that before,
Speaker 3: and he said, I don't care. I just have smart people.
Speaker 3: And so we've gone through a lot together and then
Speaker 3: he wanted me to go outside of the US and
Speaker 3: expand all of this. So we've worked very closely together.
Speaker 3: And I'd say we have a shorthand, but I'd say
Speaker 3: why we work so well together is the one thing
Speaker 3: we definitely have in common is we're both fans of
Speaker 3: film and taving.
Speaker 2: We're out jada by it.
Speaker 3: We're not cynical, we love it. We're still excited about
Speaker 3: did you watch this?
Speaker 2: And I think that.
Speaker 3: Actual joy and appreciation, like we don't take it for granted.
Speaker 3: And I think that part that we both have really
Speaker 3: in common is why we work so well together. We
Speaker 3: just care a lot about the audiences and we care
Speaker 3: a lot about the talent and the team, but this
Speaker 3: excitement of just watching the next great thing is great.
Speaker 2: The next five years. What is it like the last
Speaker 2: five years.
Speaker 3: I think it's just consistently what Netflix to be always
Speaker 3: the destination of the home of working with the best
Speaker 3: talent around the world. And that means for people who
Speaker 3: work here to create an environment where they feel inspired
Speaker 3: and creative and can have fun. And if we can
Speaker 3: do that, that also provides that same environment for writers
Speaker 3: and directors and actors and filmmakers to come here and
Speaker 3: do their best work and you know, always continue to
Speaker 3: be original and bold and fresh and pushing sword telling
Speaker 3: and be scared to take the next big swing. So
Speaker 3: for me and the next five years is you know,
Speaker 3: continuing to do this and in surprise and delight our
Speaker 3: audiences all the time.
Speaker 2: I can't wait to keep watching.
Speaker 1: Thank you, thank you, thanks so much for listening to
Speaker 1: this podcast edition of The Circuit. You can watch my
Speaker 1: visit to Latin America and the set of one hundred
Speaker 1: Years of Solitude and a few of Netflix's other sets
Speaker 1: by checking out the full video episode of the Circuit.
Speaker 1: It was such a beautiful journey full of so much
Speaker 1: color and culture and good food, and I'm so grateful
Speaker 1: to all of the people we met there. I'm Emily Chang.
Speaker 1: You can follow me on Twitter and Instagram at Emily
Speaker 1: Chang TV. You can watch new episodes of the Circuit
Speaker 1: on Bloomberg Television or on demand by downloading the Bloomberg
Speaker 1: app to your smart TV or on YouTube, and check
Speaker 1: out other Bloomberg podcasts on Apple Podcasts, the iHeartMedia app,
Speaker 1: or wherever. You listen to your shows and let us
Speaker 1: know what you think by leaving.
Speaker 2: Us a review.
Speaker 1: I'm your host and executive producer. Our senior producers are
Speaker 1: Lauren Ellis and Alan Jeffries. Our associate producer is Tyler Kotta.
Speaker 1: Our editor is Alison Casey. Thanks so much for listening.