The State of Netflix’s Comedy Business, 2025

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Considering the high level of stress in today’s world, it makes perfect sense that stand-up comedy continues to thrive as one of the most watched genres on Netflix, with approximately 60% of its subscribers tuning into at least one comedy special last year. Apart from providing substantial viewing hours for the platform, this genre has also shown great potential in fostering other original Netflix productions such as films, TV series, a major comedy festival, and starting this Wednesday, a weekly talk show hosted by John Mulaney.

As a movie enthusiast, I’ve noticed that Netflix has been smart about leveraging comedians’ success on their platform. The popularity of Aziz Ansari’s early stand-up shows paved the way for “Master of None,” and let’s not forget that Ali Wong’s blockbuster numbers likely convinced them to greenlight “Beef.” Over the years, they’ve built a diverse roster of over 200 stand-up comics, and they’re getting really good at allowing these talents to wear multiple hats. Since Netflix invests so heavily in content, there are always chances for their unique blend of synergy to shine through.

Michelle Buteau, for instance, has completed two Netflix stand-up specials and is set to launch the second season of her comedy series “Survival of the Thickest” this month. She’s also hosted unscripted programs like “The Circle” and “Barbecue Showdown” on the platform. Much like Leanne Morgan, who starred in a Netflix special in 2023, the streaming service collaborated with sitcom legend Chuck Lorre to create a half-hour comedy series consisting of 16 episodes, based around her. Prior to Netflix, John Mulaney was already well-known – he had worked with Canadian producer Lorne Michaels. However, Netflix has been a consistent employer for him over the past decade, commissioning five stand-up specials, eight seasons of “Big Mouth,” and last year’s six-part event series “Everybody’s in L.A.” – a show that led to the creation of “Everybody’s Live With John Mulaney.

Netflix has experimented with talk shows before, like streaming all 120 episodes of Chelsea, but hasn’t had great success turning its weekly talkers into blockbusters. However, John Mulaney’s new project will be different because it will air live globally, with new episodes premiering every Wednesday at 10 p.m. ET for the next three months. The live aspect may not guarantee the show’s success, but it could help it stand out in Netflix’s vast library and against traditional pre-taped network late-night shows. Additionally, while Mulaney probably won’t use the show to promote other Netflix series excessively, it seems likely he’ll invite many of his fellow Netflix stand-up stars on the show, further bolstering Netflix’s expanding comedy empire. This may be one reason why Robbie Praw, a seasoned Netflix executive who manages their extensive stand-up division, was quick to pursue Mulaney for a regular show after Everybody’s in L.A. wrapped: “We began discussions almost immediately.

Despite the show, “Everybody’s Live” not having an enormous audience in L.A., averaging 1.1 million views per episode according to your semi-annual ratings report, the unique talent of John Mulaney made this project irresistible. His exceptional artistry and creativity made it a no-brainer to work with him on this show.

Are you taking a closer look at the data, John? After all, John Mulaney is one of the most popular stand-ups on Netflix and one of the top ticket sellers worldwide. Given this, we are quite confident that his upcoming show, Everybody’s Live With John Mulaney, will be successful. Historically, shows like these have grown over time. Moreover, there simply isn’t anyone else quite like John Mulaney – as evident in SNL50 where he shone among some of comedy’s greatest stars. This confidence we have stems from both the numbers and his exceptional talent.

When did you start discussing with John Mulaney about creating more content following the wrap of “Everybody’s in L.A.”, given his initial reluctance or lack of plans to do so? It seemed like he enjoyed the low-stakes environment of “Everybody’s in L.A.” because it was a non-renewable project, but the idea organically grew from there. The content we produced last May wasn’t intended as a pilot; instead, it functioned as a six-day show. His performance was exceptional and effortless, which sparked our conversations almost immediately to gauge his interest in creating a new Netflix series based on that experience.

How long did it take for him to give his agreement and commit to more? To be honest, I can’t recall the exact timeline. However, we were excited about this project, and John, with his busy touring schedule, has a lot on his plate. So, we were pleased that we managed to coordinate everything within approximately ten months.

You’ve given a suggestion that this upcoming series won’t just be an extension of John’s work from last spring, with less emphasis on Los Angeles. I can’t reveal much more, but rest assured fans of what John accomplished with “Everybody’s in L.A.” will appreciate this show. We anticipate many newcomers to discover it as well. All I can tell you is Richard Kind will be featured in it. Much like last time when we conversed a year ago, I’ll let John handle the specifics of the series.

To put it simply, John is a fantastic partner to work with. He not only stars and writes for the show, but also produces it exceptionally well. In our collaborations, my role as an executive often involves stepping back and letting him shine. Every meeting I have with him leaves me excited about the show, and it’s clear that this is truly his creation, his vision.

There’s often discussion about Netflix providing feedback to its producers based on viewer data, but when it comes to live talk shows, is there really much data-driven advice you can offer? After all, the key piece of information we have is: “Our audience enjoys watching Mulaney a lot.”

To be honest, there’s not much science involved here. This show is so unique that there’s little to compare it with, and that’s what makes the entire process so thrilling.

The question seems to be asking if the show will continue to depict Los Angeles since it’s no longer mentioned in the title. To put it simply, yes, the show will still incorporate elements of Los Angeles, given that it’s being filmed there. However, we can expect to explore other parts of the United States and even the world, considering the show is intended for global streaming.

Netflix has produced various weekly talk shows and programs similar to talks, featuring personalities such as Chelsea Handler, Joel McHale, Norm Macdonald, and Michelle Wolf, among others. However, most of these didn’t sustain long-term success, except for David Letterman’s project. The live aspect of John Mulaney’s show sparked a reconsideration of the idea, but it’s not something they are focusing on extensively. If this specific show succeeds, they might explore more live content when it aligns with their vision, but it’s not their main priority.

How about the idea of a live comedy show? Your mention of shows like “I Think You Should Leave” highlights your appreciation for my work on tape. With live shows gaining popularity on Netflix, have you ever considered us having our own take on “Saturday Night Live”? While we’d be thrilled to be part of that legacy someday, currently, there are no immediate plans for it.

As an ardent admirer, I’ve always been captivated by the extensive collection of stand-up comedy at Netflix, particularly the over 300 specials you’ve produced in the last decade. It seems this vast library has become a veritable treasure trove for comedy enthusiasts, satisfying their constant hunger for laughter.

I was wondering if the sheer size of this library has influenced the number of greenlights you give now? Given that you started from scratch ten years ago, one might assume less green-lighting would be necessary. However, you’ve shared a fascinating perspective: rather than reducing volume, it’s created a more immersive journey for viewers discovering their favorite comedians on Netflix.

For instance, Nate Bargatze’s recent special has sparked renewed interest in his older works, and Mo Amer’s latest comedy series has encouraged viewers to revisit his past specials. It’s truly delightful to see how this rich archive not only births new specials but also fuels the rediscovery of classic stand-up performances by beloved artists.

Are you perhaps shifting your focus from buying stand-up specials in advance to acquiring ones that have already been produced and are available elsewhere? Or maybe you’re trying to save money on stand-up by doing this while still maximizing the spend? I don’t believe it’s a significant change. We’ve always purchased shows that were already produced and then made available on Netflix, such as Dave Chappelle’s early specials which we obtained before they were produced. Essentially, we’re just looking for exceptional stand-up specials to offer our subscribers. Sometimes, it can be advantageous when you come across pre-produced content because it gives a clear view of the creative direction. However, I don’t think the overall strategy has changed; it remains about seeking the best content out there, whether we purchase it in advance or license it from other platforms.

Unlike some competitors, Netflix chooses not to distribute TV shows and movies they own across other platforms or FAST channels. However, when it comes to stand-up specials, isn’t there an opportunity to generate revenue without compromising our brand?

Our main goal is to establish Netflix as the destination for stand-up comedy viewing.

One significant advantage of Netflix’s growth since you started your stand-up business is its expansive platform, which provides numerous opportunities for comedians who excel in stand-up specials to appear in series, films, or other Netflix events. For instance, Bert Kreischer seems omnipresent on the service. Does this extensive “Netflix Universe” aid in your efforts to draw talent?

Having a vast Netflix platform gives comedians opportunities to be in shows and movies, which helps in attracting more talent.

When it comes to your rivals, I’m intrigued about your take on the current market landscape. Amazon seems to have experimented with stand-up comedy but then stepped back. HBO has a rich history in specials. Meanwhile, this year, Hulu is highlighting one comedian each month. They even struck a deal with Bill Burr, who’s been a mainstay on Netflix. How much of a challenge do these other players pose to your reign?

I believe the audience drawn to Netflix for stand-up and our extensive library titles, as well as our festivals and radio stations, demonstrate our strong commitment and pride in leading the comedy business. However, it’s beneficial for the stand-up industry that there are other players in the market. After all, we’re avid stand-up enthusiasts, so seeing comedians find a platform is fantastic. Sometimes, comedians like Nate Bargatze move to Amazon and then return to Netflix. We believe the existence of competition is advantageous and merely shows how significantly the stand-up business has grown.

Was there a competitive bidding process for Burr’s latest comedy special? And did Netflix show particular interest and pursue it actively? Well, given Bill’s exceptional comedic talent and our previous successful collaborations, it wouldn’t be surprising if there was. We’re excited about the prospect of partnering with him again in the future.

It seems that you mentioned Louis C.K. as someone you have no intention of collaborating with again. However, last fall, we did purchase a comedy special directed by Adrienne Iapalucci, who is associated with him. This doesn’t necessarily mean we are planning to work directly with Louis or commission a project featuring him. Since then, has there been a change in this stance? Or is it still the case that you have no interest in involving him with Netflix, given his past actions?

Before we part ways, could I inquire: Have any plans been set yet for the Netflix Is a Joke festival in 2026?
At the moment, there’s nothing to share, but rest assured that we’re big fans of grand comedy events at Netflix — so watch this space!

Well, it seems my strategy for convincing you about the upcoming 2026 fest was spotted! Thank you for catching on so swiftly, and let me add a chuckle to that!

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2025-03-07 17:48