《洛杉矶时报》（Los Angeles Times）通过一次全新的独立调查测量了奈飞公司原创内容的增长，它对平台上新发布的综艺和电影进行了计数。调查印证了高盛公司（Goldman Sachs）之前的预测：奈飞今年可能会在节目上投入多达130亿美元，而不是他们之前公布的预测值80亿美元（这一差异也可能是会计计算导致的）。根据《时代》（Times）在奈飞公司首席内容官泰德·萨兰多斯最近出席的一次会议上的报道，该公司2017年在内容上的花费为63亿美元，其中85%都投入了原创内容。
尽管数据之外的一些信息表明，大部分观众在使用奈飞的多数时间里，观看的都是非公司原创的内容。研究公司7Park Data发现超过80%的奈飞数据流都是授权内容——也就是《办公室风云》（The Office）或《无耻家庭》（Shameless）等其他公司制作的内容。有42%的订阅者不看或几乎不看奈飞的原创内容。
has released 88% more original programming so far this year than it did during the same span in 2017. The surge in new content is aimed at weaning the streaming platform from shows and movies licensed from other producers—but that old content may be what many subscribers watch the most.
The growth of original content on was measured in a new, independent survey by the Los Angeles Times, which tallied the number of new shows and movies released on the platform. It lends credence to previous projections by Goldman Sachs that could spend as much as $13 billion on programming this year instead of the $8 billion the company had publicly projected (that discrepancy may also be a matter of accounting). spent $6.3 billion on content in 2017, and about 85% of that spending goes to originals, according to the Times report of a recent conference appearance by Chief Content Officer Ted Sarandos.
Some outside data, though, suggests most viewers spend the bulk of their time watching programming didn’t make itself. Research firm 7Park Data found that more than 80% of streams were for licensed content—that is, shows like The Office or Shameless that originally aired elsewhere. Forty-two percent of subscribers watched little or no original content.
However, that data was gathered way back in the first quarter of 2017, when ’s content strategy was still ramping up. Sarandos, in his recent conference appearance, did seem to confirm that licensed content is still viewed more than original content on the platform. But even early last year, demand for original content had already jumped, growing from 12% of streams in 2016.
It’s also debatable exactly how such numbers should be interpreted. One studio executive opined to the Times that while most viewer time is spent on licensed content, “it’s the originals that drive subscriptions.” Sarandos has argued that older TV shows get higher volume simply because of the depth of their back catalog of episodes. At the same time, has never released its own data on viewer behavior, and argues that outside analysis is inevitably imperfect.
The drawing power of original content will play a decisive role in the story over the next few years. Now that the streaming service has proven its premise, legacy players are launching their own platforms—and pulling their licensing deals with . That includes, most notably, Disney, whose various deals with start sunsetting in 2019.