.rachsyme profiles Bela Bajaria, the executive who is leading Netflix’s quest for worldwide TV domination.
The shakeup was dissected in the industry trades, perhaps in part because of what Bajaria described to me as the media’s appetite for “pitting two women against each other.” But her elevation over Holland was most noteworthy as a sign of Netflix’s evolving priorities. Bajaria had come up in the industry through the high-volume, high-spectacle world of network-TV movies and miniseries, working for two decades at CBS and at NBC Universal.
One challenge is the seeming saturation of the American streaming market. Just a few years ago, Netflix was effectively what one industry analyst described to me as “the only game in town.” Now, with the ascendancy of, among other platforms, Prime Video, Peacock, Paramount+, and the formidable triple “bundle” of Disney+, ESPN+, and Hulu , it is harder to keep viewers engaged. According to a recent study by the streaming-analytics firm Antenna, only fifty-five per cent of U.S.
In recent years, Netflix has spent gargantuan sums to lock some of the biggest American showrunners into exclusive or semi-exclusive “over-all” content-making deals. In 2017, Shonda Rhimes left ABC, where she’d made runaway hits such as “Grey’s Anatomy” and “Scandal,” and signed a contract with Netflix for a reported hundred million dollars.
“It’s big and beautiful, and has a big emotional score, and an emotional story, and a great cast,” Bajaria said.In 2017, Netflix marked its territory in Hollywood with the opening of a new company headquarters, the Icon Building, on what was once the original Warner Bros. studio lot. One morning, I passed under the lobby’s eighty-foot-long video screen to the elevator banks, where a massive statue of Young-hee, the murderous doll from “Squid Game,” loomed.
“I have this theory that I won because I didn’t see it as a step in my career,” Bajaria told me. “I didn’t want to be an actress. I didn’t need it.” After her victory, a Bollywood studio offered her an acting contract. She instead bought a copy of the Hollywood Creative Directory and sent a slew of cover letters to studios inquiring about entry-level jobs. She got two interviews. One, at TriStar Pictures, yielded nothing.
TV networks are the steamships of entertainment, hulking and difficult to redirect. Many of Bajaria’s older colleagues at CBS had worked their way through the ranks and then sat in plum positions for decades. “The men around me kept telling me, Your job isgreat,” she recalled.
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