Co-CEO, President & Director, Netflix Inc
Quotidien on Netflix? The exclusive interview with Greg Peters, the boss of Netflix
Greg Peters, co-CEO of Netflix, is the special guest on Quotidien. He reveals the streaming giant's recipe for success: combining technology and creativity. He also discusses the new partnership with TF1, flagship series, and managing a colossal investment. He confirms the company's commitment to expanding its offerings, particularly with Quotidien on Netflix, to become a global player.
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About Gregory Peters
During Netflix's Q1 2026 earnings call on April 16, 2026, Peters stated that the company was maintaining its full-year guidance for 12 to 14% revenue growth and a 31.5% operating margin, which includes roughly doubling the advertising business to about $3 billion. He noted that the advertiser base grew over 70% year-over-year in 2025 to more than 4,000 advertisers, and that programmatic advertising was on its way to becoming more than 50% of the non-live ads business. Peters described the video game market as a significant opportunity, citing approximately $150 billion in consumer spend excluding China and Russia. He also addressed a decision to walk away from a deal when its cost exceeded the net value to the business, saying the move tested the company's investment discipline. On the Q1 2025 earnings call, Peters declined to comment on specific sports rights opportunities, reiterating that the company's live event strategy remained focused on breakthrough events that make economic sense. He stated that Netflix did not have a five-year forecast or guidance, but that the company was working to build "the most loved and valued entertainment company." Peters also said that in the absence of meaningful M&A, growing free cash flow would be redeployed into share repurchases.
Transcript (128 segments)
✨ AI-enhanced transcript with speaker attribution
H
Host0:00
Gregory Peters, welcome to the set of Quotidien. Here is part of the team and here is the audience. Welcome to a traditional TV set for a live broadcast on the TNT on an old channel with a real audience here.
I imagine that everything I just said is very exotic for you.
G
Gregory Peters0:24
Yeah, a little bit but not really.
H
Host0:30
So welcome, you are 56 years old, you are the co-CEO of Netflix with Ted Sarandos. You are in Paris for the agreement you signed with the TF1 group. We will talk about it in a moment. You have never done a talk show. So thank you for starting with France and thank you for starting with us.
And even in French.
G
Gregory Peters0:48
Yes, in French. There. Yeah. I am very happy to be sitting with you tonight. Thank you.
H
Host0:53
And can I know where did you learn French?
G
Gregory Peters0:55
Uh, I lived in Paris for 3 months when I was young.
H
Host1:00
3 months and you speak like that?
G
Gregory Peters1:02
Yeah. Yeah.
H
Host1:03
Okay. It's not good.
G
Gregory Peters1:04
It's not... it's not good.
H
Host1:06
Okay. No but yes, you speak very well, you speak very well. But if there is a translation problem, we are here and then I think you have an earpiece just in case.
G
Gregory Peters1:10
That's it. Okay. Thank you.
H
Host1:13
Do you find that Paris resembles what we see in Emily in Paris on Netflix?
G
Gregory Peters1:20
Yes, it resembles a lot anyway. I recognize myself a bit but it's not really reality still. No, it's not really reality but still let's say it's a reflection of this culture, of everything that is magnificent here in Paris. What is good in Emily in Paris is that it attracted tourism precisely but even shopping, fashion, all that. So it shows the power of beautiful stories.
H
Host1:43
You watch all the series and all the episodes?
G
Gregory Peters1:48
Emily in Paris or others, it would be impossible to follow everything, there are too many. But let's say I sample those I can watch. I do watch quite a bit of Netflix.
H
Host1:58
Why are there two CEOs at Netflix? You say it's the alliance of tech and creativity.
G
Gregory Peters2:02
Yes, it reflects who we are as a group, meaning we bring together two very different worlds: the creativity that creates remarkable stories, and alongside it, the world of technology and product. By bringing together the best of both worlds, we have a particular power because it's quite exceptional to have this capability within the same group.
H
Host2:32
And you, you are more on the tech side, right?
G
Gregory Peters2:37
Let's say yes, the product tech side, yes, that's rather my strength and my background.
P
Paul2:44
So, the Netflix saga told in 2 minutes flat. 2 minutes flat, it's impossible but Paul will take up the challenge. If he forgets things, you tell us.
I will probably forget a lot of things. So, first Netflix, like any giant, it started from a simple idea. Before, when you wanted to watch a movie, you went to the video rental store on your street, you had to move, there wasn't much choice, and if you returned them late, you paid penalties. I've experienced that too, believe it or not. Anyway, it was an annoying experience. But in 1997, a young computer entrepreneur named Reed Hastings had an idea: a DVD-on-demand system for $20 a month. Americans could order as many DVDs as they wanted per day without late fees. DVDs are sent by mail in those famous red envelopes.
Go to netflix.com, make a list of the films you want to see, and in 24 hours, you'll receive the DVD. You keep it as long as you want, without paying penalties. And when you've finished watching everything, you take these prepaid envelopes, send back the DVDs to us, and we send you others. It's easy.
Netflix takes off and soon has about fifty warehouses full of DVDs all over the United States. A thriving but rudimentary business.
All DVDs are inspected to check for scratches, and after this handling, they are re-enveloped, ready to be sent.
DVDs will die as quickly as they appeared. No problem, Netflix always has a step ahead. 10 years after its launch, the company announces this.
The Netflix DVD rental service launches today a new subscription system to watch movies on their computer.
The industry is skeptical, many people don't believe it.
I am very skeptical about Netflix's ability to succeed in their transition to downloading.
Yet, the bet is brilliant and the boss is sure of himself.
Yahoo, Apple, Amazon, all these separate companies, they do books, music. We will be the only company that will focus solely on films.
This is the beginning of the Netflix we know today, an online platform that quickly won't just stream movies and series, but will also produce its own, starting with House of Cards in 2013.
Netflix now creates its own content. They have already produced House of Cards with Kevin Spacey, partly thanks to an algorithm that understands what people really want to watch.
And what I find deliciously ironic in Netflix's story is that one year after its launch, in 1998, Amazon's boss, Jeff Bezos, immediately spotted the genius and tried to buy you. He offers $15 million. It's a pittance, but the founders refuse. And today, you have become competitors of Amazon Prime, meaning Jeff Bezos, the man who wanted to buy you. Bravo!
In 2 minutes, that went well.
H
Host5:33
If you had to summarize the Netflix recipe in one formula, what would it be?
G
Gregory Peters5:40
I would say that essentially we constantly try to provide the best possible experience for our subscribers. First the customer, but thanks to technology and creativity, we provide them with the best entertainment possible. I believe that's very simple, but it's a simple concept.
H
Host6:01
What is your main competition? I tell you YouTube, Disney, Disney Plus, HBO, sleep.
G
Gregory Peters6:11
Well, there are many, everything you mentioned for sure, but YouTube is certain, but also social media, gaming, and ultimately everything that can be done around entertainment. And today, I believe we are in an extremely competitive environment. There are many competitors, that's for sure.
H
Host6:30
Television like the one we are doing is not your competitor?
G
Gregory Peters6:38
In a very general way, yes, still. But the good news is that from tonight and tomorrow, Netflix subscribers in France will be able to watch Quotidien.
H
Host6:49
Tell us what will happen from tonight on Netflix France.
G
Gregory Peters6:55
Well, one of the reasons I am here in France is to announce this partnership with TF1, through which we will bring all of TF1's offerings to the Netflix app. So subscribers, if they want entertainment, can see all sorts of things including Quotidien. So they will be able to see that.
H
Host7:16
So like that, we can go see TF1, TMC, TF1 Plus, all TF1 channels live.
G
Gregory Peters7:26
Exactly. Exactly. And what we have done is try to create a special place, a special location for TF1 within the Netflix offer. You have live channels, sports, Quotidien training, also on demand, but all this is inside the Netflix offer and available for all subscribers.
H
Host7:48
And will we be able to watch in Kentucky or is it just in France?
G
Gregory Peters7:55
So indeed, it will be available for subscribers in France. Yes, still, we could extend this partnership beyond what we've done. It's like what we've done in the past, by the way. And telling French stories to the whole world is part of our mission.
H
Host8:12
And who needs who the most? Is it TF1 that needs Netflix or Netflix that needs TF1 or the experience we will have from tonight?
G
Gregory Peters8:26
Yes. I would say that in any relationship, there must be a mutual bond and it is important to rely on each other, and it's important to see how the product we offer supports TF1 and how TF1 supports our subscribers too.
H
Host8:43
So this is a world first.
G
Gregory Peters8:45
A world first indeed, it has never been done in any other country.
H
Host8:52
No, not only has it never been done, but I also don't think it can be compared to anything else because it's really a completely integrated model. It exists nowhere else. So this is the very first time it happens, and it's in France.
Will you do it in other countries?
G
Gregory Peters9:11
In Germany with ZDF or the BBC, we'll see. It's possible. What we like to do is leave the choice to the consumer. We'll rely on this experience, and if other opportunities arise, why not?
H
Host9:27
Is television dying or is it becoming a streaming service like another, like it's coming to?
G
Gregory Peters9:36
Listen, no, I think not quickly. Maybe let's say there is a transformation in how the audience expects to be entertained, what they expect from what they see on screen, and what we bring is some of what we've learned, so technology, recommendations, all that. We bring all that into the experience so that TF1's programming, which works well, you know, ensures that it reaches a large audience.
H
Host10:08
We are going to look at Netflix's iconic series displayed here behind me. Your investment in programs will be $20 billion next year. I said $20 billion. So that's about $50 million per day. When you have that much money, you become the main global cultural power. How do you manage that?
G
Gregory Peters10:31
Once again, it's linked to the fact that we provide entertainment to a large number of subscribers, and we can do it because there is value found by our subscribers, but each time the subscriber decides if they will continue, if they will renew their subscription. So we invest to ensure they stay with us through the stories that we hope to tell in an interesting way, but worldwide. So like Lupin, for example, which was created here in France, we find a global audience.
H
Host11:01
And you see what I mean about the responsibility you have, the responsibility it gives.
G
Gregory Peters11:08
Yes, we feel this responsibility, but it is towards our subscribers. Are we meeting their expectations? They trust us, they pay their subscription, and our role is to ensure that translates into beautiful stories that we bring to them on Netflix.
H
Host11:23
The algorithm, does it reveal the viewer's taste or does it manufacture the viewer's taste? In which direction does it go?
G
Gregory Peters11:33
I don't think we can create or manufacture the viewer's taste. What we try to do is link programs that, if I watch this, this, this, Amre, she might watch that, that, that. So will Netflix's algorithm propose something different to Amre than what it proposes to me? Yes, absolutely. But that's precisely the idea: we reflect your individual tastes, and there is a very large catalog of fiction to offer. So we think the offers we make suit you best. But what's magical about this is that we create a link between fictions and programs and content that you would never have imagined before. And that's why we see the largest audience for works we created for many different audiences, precisely thanks to the recommendation system.
H
Host12:37
Where is the algorithm?
G
Gregory Peters12:41
It is in the cloud, in the air, in the sky. Let's say in reality, physically it doesn't exist. Let's say it's much software programs, a lot of ones and zeros. But, well, the work of hundreds of engineers behind who think about how to truly bring you the best titles, those that will please you the most, and we present them in an attractive way too.
H
Host13:07
Can you modify the algorithm yourself?
G
Gregory Peters13:12
So me, no. What you want to ask is whether we rig the game? No, because the key to our success is that our religion, so to speak, is that we are at the service of our customers, our subscribers. So we won't have fun rigging the game because it wouldn't be the best experience.
A
Ambre13:37
Ambre, you are part of the generation of cinephiles who grew up with Netflix. Yes, I remember that when Netflix established itself in the streaming market, there were many cinema and series enthusiasts who rebelled against you, saying that the art of the series was the serial, not binge-watching, and that the art of cinema was the big screen. Today, we can't completely say that anymore. Netflix has established a new way of doing cinephilia, series-philia. We obviously won't cite everything, but we can say, for example, in terms of TV art, a series like Black Mirror completely changed the game. It established binge-watching and the anthology format and marked culture and society to the point of entering the vocabulary, which is always a very powerful indicator. Are we in Black Mirror or is it Black Mirror? It's become an expression to comment on our dystopian news. And on the cinema side, likewise, we won't cite everything, but I recall for example that filmmaker Jane Campion made her feminist western with you, winning the Oscar for best direction, the third woman in history to win it, or that Noah Baumbach made his film Marriage Story with you, also crowned with the most prestigious nominations.
And these two examples are not trivial. I'd like to zoom in on them for a second because Jane Campion's film was a cinephile and silent film, all tension in the image. And Noah Baumbach's film, on the contrary, was a very talkative film, all in agitated and high-level dialogue. However, there is a growing noise about what is called the impoverishment of streaming content. More and more industry professionals state that now on platforms like Netflix, we assume that many viewers are on their phones while watching a movie, and their concentration ability is reduced, so films and series should be adapted to that with, for example, simpler dialogues, characters who say everything out loud all the time, etc. An interview that had made a lot of noise on this was that of Matt Damon, holder of the Oscar for best screenplay, who made a Netflix film and said this.
M
Matt Damon15:40
Watching movies at home is starting to impact how we make movies. For example, a traditional action film has three acts, and your biggest action scene with lots of explosions is put in the last act as a finale. Netflix told us, 'Could we have a big action scene in the first five minutes so people stay?' And if you could repeat the plot three or four times in the dialogues because people will be on their phones.
H
Host16:07
You were saying earlier that Netflix has two pillars: creativity and technology. Sometimes we get the impression that there is a real struggle between the two.
G
Gregory Peters16:16
It's interesting because I don't necessarily agree with what Matt Damon just said. He talked about great films that have been on Netflix, like The Power of the Dog. It's one of my favorite films. But precisely, it doesn't match that at all. As you said, it's an extremely long film, a film that explores space, the landscape, and it did very well on Netflix. So I think that when you have a gripping story, people put down their phone and watch their screen and follow the story. Our creators seek just that result through their stories, and they succeed.
H
Host16:59
We are taking a break, you stay with us, and we continue the discussion when we come back with Greg. See you soon.
J
Juliette17:10
The story of one of the most famous sound jingles on the planet. This one: ta-dam. You do ta-dam. We do bam-bam. Ta-dam. Juliette. Yes, it's probably one of the most well-known sounds on the planet. A sound that has become so iconic that it even has its own festival, the Tudum festival.
On YouTube, look, we even find pages that offer to listen to 10 hours of Tudum non-stop, and it seems to work well, there are already a million views.
H
Host17:45
Interesting, but that doesn't answer the question. We absolutely need your help, Mr. Peters, who invented this sound? Because there are two explanations. The first, we find it with the series House of Cards. At the end of season 2, in 2014, the main character Frank Underwood becomes President of the United States. He settles in the Oval Office, places his hands on the desk, looks the camera straight in the eyes, and suddenly: ta-dam. And yes, for many, that's the moment that inspired the Tudum. Two knuckles on the American president's desk.
But there might be another explanation. In fact, it would be this man, Lon Bender, a superstar sound engineer who notably won an Oscar for his work on Braveheart by Mel Gibson, and it's him who would have invented the Tudum by knocking his wedding ring against a piece of furniture in his room. So, can you tell us the truth, knowing that I prefer the House of Cards version? We want the truth.
G
Gregory Peters18:46
It might be a little bit of both. Indeed, there is some House of Cards in it, in that it was the inspiration for the initial sound, but I don't know exactly how the exact sound was created. Perhaps it was a combination, and Mr. Bender was the first to record it, I don't know.
H
Host19:04
OK. Well, in any case, you find out and let us know.
So, I remind you, your investment in programs next year will be $20 billion. With that money, why didn't you buy the World Cup rights?
G
Gregory Peters19:16
World Cup, I don't know if the rights were available. Are you informed? Let's say we have had the rights for the Women's World Cup in the United States, in Canada. So you can see that on Netflix. Yes, because afterwards you have to negotiate by country.
H
Host19:42
Exactly. Most of these rights are sold country by country. So it's a very complicated deal and sometimes the rights are sold for several years to several countries. So you have to wait a certain time. But I look forward to seeing it. Will you one day get into news? Could there be Netflix News?
G
Gregory Peters20:01
Listen, we have nothing planned in that direction. I don't think we can add something, have real added value in news, but anyway, that's the kind of partnership with TF1 because TF1 is still a big news channel. So now, our subscribers can see TF1 news on Netflix.
J
Juliette20:22
Your series have changed society too. The proof with you, Juliette. Yes, all your series have an incredible impact. Obviously, there is the economic impact. We know, for example, that in 2024, 38% of tourists cited the series Emily in Paris as a motivation to come to France. With the series Lupin, it's the city of Hauts-de-Seine that saw a XXL attendance boom. But even more than the economy, it's society as a whole that has often been transformed by your series. We will take several examples. We start with the series Adolescence. It's a British series in four episodes that will shake the planet. We follow the story of Jamie, a 13-year-old English boy accused of murdering a girl from his school. A judicial fiction that reaches the British Parliament and provokes debates during the online security law. Prime Minister Keir Starmer even takes up the subject.
He even advocates for Adolescence to be broadcast in schools. You then decide to make the series available for free. Next, another story showing the impact of your platform in 2024 is the series about the Menendez brothers. The true story of two brothers sentenced to life for murdering their parents. But the series raises a question: were they only murderers or also victims of sexual abuse? Social media goes wild. Kim Kardashian even visits them in prison, and the prosecutor has decided to reopen the case.
And I wanted to end with a case that had immense repercussions here in France, the Cantat case. Last year, you broadcast the documentary Rockstar Killer: The Cantat Case. You reveal new testimonies concerning Cristina Rady, the ex-wife of the singer found hanged at her home. Immediate consequence. The Bordeaux public prosecutor decided to reopen an investigation. He wants to look into possible intentional violence committed by the singer, and it was the broadcast of a successful documentary that allowed this decision.
So for you, that's also your role. And also, I have another question. What will be the next big case we'll see on Netflix?
G
Gregory Peters22:28
What is the next big case? We work with many documentarians around the world and they have all sorts of ideas. So I couldn't tell you, we'll have to work with them, ensure they have the means to tell their stories effectively to bring them to the whole world. But anyway, you have here the example of the power of narrative: when you have a truly captivating story, well, the audience gets hooked and sometimes asks difficult questions. What are the implications for society?
H
Host23:03
Adolescence, we can be very proud of it. It has indeed had a profound impact and raises deep questions about how we behave today.
Some conservatives say you are ideologues. Is that true?
G
Gregory Peters23:16
No. Yes. No, I wouldn't say that. Our job is to entertain the world. As you said, we have some 325 million households. So that's almost a billion people who don't see things the same way. They don't have the same values, the same interests. And our role is to bring them the entertainment that will interest them, that will please them. And for that, you need to create or work with creators with different viewpoints, different perspectives from around the world, great diversity. We are not ideologues, we don't have a point of view, we try to find the best creators who tell their stories in the best way possible to attract the audience.
H
Host23:57
You were on the verge of buying Warner. What happened? We see this with Paul.
P
Paul24:03
Yes, Greg Peters, you were indeed on the verge of pulling off what would have been the biggest coup in Netflix history. Here we're not talking about rights to a series or a movie, but an entire studio. And not just any studio: Warner Bros. Discovery, a cinema giant. Imagine the amazing catalog on one side, Netflix already number one worldwide in streaming, and on the other, Warner and its platform HBO Max with the entire Harry Potter saga, Lord of the Rings, Matrix, Batman, and on the series side, not bad either: Sex and the City, Game of Thrones, The Wire, and of course the 10 seasons of Friends. A content library virtually unmatched in the Hollywood industry and an XXL deal. Hold on tight: to buy Warner, you offered $72 billion. The operation was so advanced that for journalists, it was already done.
Netflix is the winner. The winner and then deal done. A major billion-dollar merger deal between Netflix and Warner Brothers Discovery.
Hollywood deal, Netflix has agreed to buy Warner Brothers.
Except that this marriage was so powerful that it started to scare all Hollywood. Your colleague Ted Sarandos was even auditioned by the U.S. Senate, and the senators grilled him.
But why on earth would we give our approval, our green light to make you the world's greatest giant in the content field? You don't share my values or those of many other American parents, and you want the United States government to allow you to become one of the largest, if not the largest, streaming monopolies in the world.
And here, it's a plot twist worthy of a Netflix series. Another player enters the dance: Paramount studios led by this man, David Ellison. David Ellison is no nobody. He's the son of Larry Ellison, founder of Oracle, one of the planet's biggest fortunes, and especially very close to Donald Trump. And to everyone's surprise, Paramount outbids you. And it's them who will buy Warner's massive catalog for $111 billion.
Some see a favor from the Trump administration. Ellison was also spotted last Sunday next to Donald Trump for the MMA fight of his birthday at the White House. So here's what we know about this missed deal. Greg Peters, why didn't it work when everyone thought it was already done?
G
Gregory Peters26:18
Listen, we thought it would be a deal where we were either in competition with a producer or we would have licenses for sports rights or other. Meaning we were first looking for the value for our members from this operation, and we had to seize this opportunity. But finally, if someone else is willing to pay much more than us, well, we tell them good luck and we let them take the deal.
H
Host26:50
No, it really happened like that? Someone capable of paying more, that doesn't exist. Except Paramount, it's still one of the richest men. That helps a little bit.
And regarding the big Hollywood studios that we see behind on screen, Warner, Paramount, and Universal, some say it's the fall of Rome, the real-time disintegration of a century-old industry. What do you think about the fall of Hollywood?
G
Gregory Peters27:20
I don't think that at all. No, Hollywood, in my mind, is still a source of extraordinary cinematic history. It will continue to be for a long time. What we are doing, and we are working very hard on this. Besides, others are doing it too. We are trying to reform or transform the way our audience identifies with our stories, those that we tell. I still believe in the power of a beautiful story, and there are great narrators who struggle to connect with current technologies.
H
Host27:55
Why wouldn't they be able to connect? I don't see it.
Well, you have the connection with the general public, direct access to the general public, they don't.
G
Gregory Peters28:07
Well, there are several things. First, you have studios like Sony, for example, that produce content without having this direct link, and we have their films and establish that connection for them, the connection you're talking about. But often, you also have studios that have offerings where they go directly to the consumer like us.
H
Host28:29
Artificial intelligence, how will you use it?
G
Gregory Peters28:33
From our point of view, there are many ways to use it. We talk about the power of recommendation, the algorithm system. This algorithm can be more effective by making direct links between stories and the audience. On the other hand, we can give creators tools that will allow them to go through this narrative process more efficiently. I have an example. What I saw today here in France, on Stage 2, is a film about sharks.
H
Host29:06
Ah, on stage? Yes, on stage. Yes, under the stage. With the shark on stage.
G
Gregory Peters29:13
Exactly. Exactly. So, it's very difficult to film these underwater signs. But what we did is that AI allowed us to imagine what an underwater scene would look like, so that when we really went underwater, we could do it in fewer takes. So all this planning, lighting, framing, all that was planned thanks to AI.
H
Host29:36
And 100% AI films where there would be no more actors. The screenplay completely written by an artificial intelligence. Do you believe in that? Do you believe in it? Will you refuse it? Because there are many concerns about 100% AI actors.
G
Gregory Peters29:53
Here, I think we have very clear lines on this. We do not want to replace actors, that's clear. These are tools that will help creators tell their stories, things they might not be capable of doing technically. Visual effects, special effects that wouldn't have been feasible in the past. There are areas, but there are other areas where, for example, virtual actors, we don't believe in. There is something extremely subtle in the human being in his way of playing, of being present, and we can't replace that with AI.
H
Host30:28
Paul, did you want to show an extract from a series to our guest?
P
Paul30:31
Yes, it's an extract from the excellent series The Studio, season 1, episode 8. We see the main character of the series, Seth Rogen, on the night of the Golden Globes. He crosses paths in the bathroom with Ted Sarandos, your partner at Netflix. Sarandos plays his own role in this episode, and I find it's an extract that says everything about Netflix's power in cinema. Watch.
We wonder if it's not very far from reality, and I specify that it's a series that is not Netflix, it's an Apple series, so it's quite fair-play on their part to have played in this episode. It's not contractual, the thank-yous at ceremonies.
G
Gregory Peters31:32
Yes, well, like obviously this satire on Hollywood is a very dynamic series and shows competition, but we are also partners often, we work together, there are other studios that sometimes produce for the other studios you mentioned, we do co-productions with them too, so at the end of the day, it's a community that mocks each other a little bit.
H
Host31:56
That wasn't my question at all, is it contractual? Written in contracts that they must thank Netflix every time they receive a prize. It's a bit the impression.
G
Gregory Peters32:02
No, no, no, no. That's fiction. A joke. It was a joke.
H
Host32:08
In 10 years, what will Netflix look like?
G
Gregory Peters32:13
I hope we will have even more wonderful stories, extraordinary content to offer to our subscribers.
H
Host32:21
There will be, but is there a ceiling on the number of possible subscribers on the planet?
G
Gregory Peters32:28
In 10 years, now we are, I said what? 325 million. In 10 years, you're betting on how many? I tell myself that our fundamental task is still entertainment and all human beings on the planet to be entertained, a television screen at home, you need internet. So that, the number will grow, but I think that's the limit.
H
Host32:53
And on access, on brand diversification, on, I don't know, Netflix, you might invent a Netflix Sport or Netflix something in 10 years.
G
Gregory Peters33:07
I imagine you see at 10 years, the content we offer. Yes. So how will it translate on screen? I think there is one thing certain, it's that the partnership aspect will be more and more important over the years. And so, I think we will work with more people around the world who bring together aspects, so sport, news. Well, that will happen I think. So, I don't know exactly how it will happen because obviously it's something that happens little by little each day.
H
Host33:43
Experience as we go, and it starts today, tonight with the deal with TF1, so TF1 starts now tonight.
Last question, your favorite series or documentary from Netflix among those behind if it is behind.
G
Gregory Peters34:05
It's very difficult because it's like asking who is your favorite child. I really like Adolescence. It's still extremely powerful content.