iWorld
Original and exclusive content constitue Netflix’s entire US library
Mumbai: The number of original and exclusive titles in Netflix’s US catalogue accounted for more than 50 per cent of all available content for the first time in the company’s history in March 2022, according to a report.
Ampere’s Subscription Video on Demand (SVoD) tracking data indicates that there are now over 3,700 original-branded (i.e. original and exclusive) movies and TV seasons in the Netflix US library, which has consistently offered around 7,000 titles over the last three years.
Among the major SVoD platforms, Netflix is second only to the much smaller Apple TV+ in its focus on original-branded content. It’s far ahead of fellow longstanding streaming incumbents Amazon Prime Video (9 per cent) and Hulu (4 per cent).
Netflix’s original content investment reached $6.2 billion in 2021. Originals have been a major focus of Netflix’s content strategy. In September 2016, when originals and exclusives accounted for only 5 per cent of its US catalogue, the then CFO David Wells set a target of a 50/50 split between original and licensed titles within the next few years. This transition to the majority of original titles is a product of Netflix’s market-leading spending.
Content data shows that the group has outspent every other SVoD company on original content each year since 2013 and has consistently increased its yearly investment. Netflix’s original content spend peaked at $6.2 billion in 2021, more than double the next highest spender, Disney+, with $2.8 billion.
Netflix owns some of the most-watched SVoD content, including Bridgerton. Such investment has helped make Netflix a prominent distributor of popular content. Ampere’s proprietary Popularity score indicates that across Q1 2022, Netflix originals and exclusives accounted, on average, for 12 per cent of the 100 most popular titles available on SVoD in the US, the highest share of any SVoD platform.
Notable titles include the final season of crime series Ozark and the second season of period drama Bridgerton, which recently became the most-watched English-language TV series on Netflix.
Ampere Analysis analyst Joe Hall said, “Netflix’s increasing content self-sufficiency is necessary for today’s streaming market. The rise of studio-led direct-to-consumer platforms has led to a shrinking pool of licensable content as studios prefer to keep productions in-house. Original content also allows platforms to offer exclusive titles internationally without additional licensing costs. This is particularly important as Netflix sets its sight on acquiring more international subscribers to compensate for maturity in developed markets.”
75 percent of titles on Netflix will be original or exclusive by the end of 2024. Under current growth rates, Ampere estimates that 75 per cent of the movies and TV seasons available on Netflix will be either originals or exclusives by the end of 2024.
iWorld
Govt pushes live events sector to Rs 196 billion by 2028
LEDC roadmap targets 15–20 million jobs and global hub status by 2030
MUMBAI: India’s live events story is getting louder and this time, it’s policy turning up the volume. The fourth meeting of the Live Events Development Cell (LEDC), chaired by Chanchal Kumar, was held on 30 April 2026 at Vigyan Bhavan, bringing together representatives from nine Central Ministries, six States and 12 industry stakeholders to chart the sector’s next phase of growth. The numbers already tell a compelling story. India’s organised live events industry was valued at Rs 145 billion in 2025 and is projected to grow at 10 per cent to Rs 196 billion by 2028 making it one of the fastest-expanding segments within the media and entertainment ecosystem.
Set up in July 2025 by the Ministry of Information and Broadcasting, the LEDC is tasked with turning that momentum into a structured growth engine. Its long-term ambition is ambitious, position India as a global live events hub by 2030 while generating an additional 15–20 million jobs.
At the meeting, officials emphasised the sector’s multiplier effect spanning tourism, employment and allied industries while underlining the need for coordinated execution. A key update was the rollout of a single-window clearance system for live event permissions via the India Cine Hub portal, aimed at simplifying approvals and improving transparency.
States have been urged to adopt the system, alongside implementing the “Model Executive Order for Streamlining Licensing and Permissions for Live Events in India, 2026” by 31 May 2026. The framework seeks to standardise what has long been a fragmented and time-consuming regulatory process.
Beyond permissions, the discussion also turned to infrastructure and talent. A draft concept for greenfield venue development was tabled, alongside plans to build a skilled workforce. The Indian Institute of Mass Communication, in collaboration with industry bodies MESC and EEMA, is set to introduce certificate courses tailored to the live events sector.
Chanchal Kumar stressed that alignment across stakeholders is already in place, with the next challenge being execution at scale. The government, he noted, remains committed to creating a facilitative and transparent ecosystem for organisers.
For an industry once seen as fragmented and event-driven, the message is clear, India’s live events business is no longer just about the show, it’s about building an entire stage for growth.
