Netflix

The 300 companies on this year’s list brought in over $12.6 trillion in revenue for the latest 12 months, with the median revenue figure at $22 billion.

America's Most Innovative Companies

Leaders in all industries rely more than ever on Big Tech—and appreciate the giants that deliver, at scale, without drama.

World's Most Admired Companies

The corporations on our annual list posted aggregate revenues of $41 trillion for the second year in a row.

Fortune Global 500

Industries included in the sector are entertainment and publishing.

Fortune Sector Leaders: Media

The Fortune 500, in its 70th year in 2024, ranks the biggest U.S. companies by revenue.

Fortune 500

The 200 companies on this list are transforming industries from the inside out.

The 26th edition of the list shows how much esteem Big Tech giants command among other business leaders.

WMA-2024-Netflix

The 25th Fortune World’s Most Admired Companies list suggests that tech giants’ peers respect them as much as ever.

WMA-2023-Netflix

The corporations on our annual list of the world’s largest companies delivered a record $41 trillion in aggregate revenues.

The Fortune 500, in its 69th year in 2023, ranks the biggest U.S. companies by revenue.

Just as it dominates our economy, Big Tech now dominates Fortune’s annual ranking of corporate reputation.

WMAC-2022-09-Netflix

Aggregate sales hit $37.8 trillion last year—an increase of 19%, the highest annual growth rate in the list’s history.

This year’s Fortune 500 marks the 68th running of the list.

After a year in which humanity leaned more heavily than ever on tech giants, see which companies topped Fortune's ranking of corporate reputation.

WMAC-2021-09-Netflix

Total revenue for the world’s biggest companies fell 4.8% to $31.7 trillion this year—the first decline in half a decade.

The streaming entertainment giant made its debut in the <em>Fortune</em> Global 500 rankings this year, with its sales approaching $25 billion. That growth translated to the bottom line, too, as Netflix's profits rocketed up 48% in 2020 to $2.7 billion. Netflix can be accessed in 190 countries in more than 30 languages.

This year’s Fortune 500 marks the 67th running of the list.

F500-2021-115-Netflix

The streaming entertainment giant made another huge jump in the <em>Fortune</em> 500 rankings this year, from No. 164 to No. 115, with its sales approaching $25 billion. That growth translated to the bottom line, too, as Netflix's profits rocketed up 48% in 2020 to $2.7 billion. Netflix can be accessed in 190 countries in more than 30 languages.

Collectively, the ranked companies produced a three-year average shareholder return of 33%, vs. 19% for the S&P 500.

FGC 2021-Netflix

100 Fastest-Growing Companies

For an astounding 13th straight year, Apple claims the top spot in Fortune’s annual ranking of corporate reputation, based on a survey of almost 3,800 executives, directors, and analysts.

This year's Fortune 500 marks the 66th running of the list.

F500-2020-164-Netflix

The streaming entertainment giant, which jumped up 33 spots on this year's list, saw its bets on original content pay off with a 54% rise in profits in 2019. Netflix also continued its experiments in high-prestige filmmaking with last year's Oscar-nominated "The Irishman," directed by Martin Scorsese.

Collectively, the ranked companies produced a three-year average shareholder return of 19%, vs. 11% for the S&P 500.

Fastest Growing Companies 2020-05-Netflix

Here are the World's Most Admired Companies for 2019 as ranked in their industries. See who made the list.

This year's Fortune 500 marks the 65th running of the list.

Everybody loves an up-and-comer: 2019's top three-year performers in revenues, profits, and stock returns.

Here are the World's Most Admired Companies for 2018 as ranked in their industries. See who made the list.

Welcome to the inaugural Fortune Future 50, our new ranking of companies best positioned for breakout growth.

The Future 50

This year's Fortune 500 marks the 64th running of the list.

Everybody loves an up-and-comer: 2018's top three-year performers in revenues, profits, and stock returns.

Here are the World's Most Admired Companies for 2017 as ranked in their industries. See who made the list.

This year's Fortune 500 marks the 63rd running of the list.

Here are the World's Most Admired Companies for 2016 as ranked in their industries. See who made the list.

This year's Fortune 500 marks the 62nd running of the list.

Too fast to be stopped: 2016's top three-year performers in revenue, profits, and stock returns.

Business insiders have spoken: Asked which companies they most admire, more than 4,100 executives, directors, and analysts chose these top 50 All-Stars.

This year's Fortune 500 marks the 61st running of the list. Wal-Mart claims the top spot again. See who made the list.

This year's Fastest-Growing Companies marks the 19th running of the list. In our annual list of public companies with the most stellar three-year profit, revenue, and stock growth, Facebook makes its first appearance.

Wal-Mart stayed on top as its sales crept closer to half-a-trillion dollars. Apple moved into the top five. And UnitedHealth Group continued its steady climb. 

Fastest-growing Companies

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Netflix (NFLX): Company Profile, Stock Price, News, Rankings

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netflix

Netflix (NFLX): Company Profile, Stock Price, News, Rankings | Fortune

Andrew Nusca

Google was (again) ruled an illegal monopolist. Now what?

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Jason Del Rey

Netflix’s latest earnings and surprisingly stable outlook defy the souring economy and plummeting consumer confidence

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Greg McKenna

Netflix stock has been nearly unscathed by Trump tariffs. Some think it could be Silicon Valley’s version of Johnson & Johnson

/2025/04/17/netflix-stock-unscathed-trump-tariffs-recession-fears-silicon-valley-johnson/

Stuart Dyos

Netflix says it plans to double its revenue and triple its operating profit in the next five years to join the pantheon of companies worth $1 trillion

/2025/04/16/netflix-revenue-operating-profit-growth-subscribers-1-trillion-market-cap/

Allie Garfinkle

Duchess Meghan’s new podcast focuses on startup founder life at a moment of market turbulence

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Emma Burleigh

YouTube star Ms. Rachel built her multimillion dollar empire by entertaining toddlers online. Now, she’s scored a deal with Netflix

https://fortune.com/2025/01/16/ms-rachel-youtube-star-netflix-deal/?itm_source=parsely-api

Netflix stock has been nearly unscathed by Trump tariffs. Some think it could be Silicon Valley’s version of Johnson &amp; Johnson

https://fortune.com/2025/04/17/netflix-stock-unscathed-trump-tariffs-recession-fears-silicon-valley-johnson/?itm_source=parsely-api

https://fortune.com/2025/04/16/netflix-revenue-operating-profit-growth-subscribers-1-trillion-market-cap/?itm_source=parsely-api

https://fortune.com/article/netflix-q1-2025-earnings-outlook-economy/?itm_source=parsely-api

https://fortune.com/2025/04/08/duchess-meghan-founder-confessions-podcast-launch-as-ever-consumer-products/?itm_source=parsely-api

Chloe Taylor

Jennifer Aniston says this is the one lesson she wishes she’d learned earlier in her career

https://fortune.com/2023/08/23/jennifer-aniston-career-advice-lesson-hollywood-the-morning-show-season-three-apple-tv/?itm_source=parsely-api

Michael Morris

Satya Nadella returned Microsoft to the top by showing humility as CEO. Here's how it's done

https://fortune.com/2024/09/30/microsoft-ceo-satya-nadella-leadership-success-humility-culture-change/?itm_source=parsely-api

Rachyl Jones

Netflix will spend ‘vast majority’ of its $17 billion content budget on originals in 2024, despite a deluge of licensed hit shows up for grabs

https://fortune.com/2024/04/25/netflix-spending-budget-originals-licensing-content-shows-streaming/?itm_source=parsely-api

D.A. Wallach, Recording Artist; Co-founder and General Partner, Time BioVentures

Brainstorm Health 2024: Lessons from the Music Industry

Conferences

Well, thank you very much. It's great to be here following an actual death panel. And um as you heard in my introduction, I'm a bit of an odd duck. Um I run a biotech and health care venture fund in L A called Time Bio Ventures, but this was my previous life. And as you can tell from this photo, uh you should take everything I say today with a grain of salt. I want to talk a little bit about the parallels between the lessons we've learned in the music industry and what I perhaps see uh on the horizon for the healthcare sector. And when I was in college and got my first record deal, we entered the industry at a remarkable time when things were in total freefall. So what you see in this graph here is us, recorded music revenue over time starting from about 1970 the peak is the absolute bonanza of an era that the nineties were as the recorded music industry resold the entire history of music uh on compact discs, people were just rolling in cash. And when we got our first record deal in 2007 this freefall had been catalyzed by the advent of Napster and then youtube and with it, the erosion of consumer spending on recorded music. So you probably remember these record stores, they were progressively going out of business at this time. And a couple of years after we entered the industry, I had the good fortune of meeting the founders of Spotify. And when I saw their product, I was just completely blown away by the potential that I saw in it to get people paying for music. Again, it was such a compelling product that you could imagine consumers going from free music to something uh for which they would pay a monthly subscription. And that's exactly what happened. The old music supply chain was I think to a lot of folks at that time, clearly anachronistic and you'll remember these days, it was basically this very clunky intermediate system to get content to consumers. So you'd go into a brick and mortar record store and you'd sort of prostrate in front of Grand Wizard of music who would query their huge brain for all of the history of records. And they'd recommend to you just the perfect record to get in this example, the Jimi Hendrix experience. And that record typically would have come through one of just a few record labels like capital or Sony that were basically the sole distribution channel through which artists could get their content into their fan base. And Spotify succeeded by dramatically simplifying that connection between consumers and content. And it put all consumers on an equal footing such that they could access the same catalog of music globally for a very low monthly price. And here's the end of that story or at least up until today, what's happened with streaming, which is depicted in green here, consumers started to pay and revive the industry. Health care in some ways has the exact opposite problem, which is that we're spending too much and the amount that we're spending is growing too fast. And most of that spending is on our hospital centric business model. So as you can see from this breakdown of the 4.5 trillion we're spending in the US per year, something between 70 80% of it is basically going to human mediated health care services, be it in hospitals or brick and mortar clinics. And this model, as I see, it is really trapped in an 18th and 19th century factory paradigm where the concept is basically get a bunch of big brains into big buildings and you'll realize production efficiencies. And we have similar issues in education with large universities and in criminal justice. These are all a paradigms that originated in the 18th and 19th century and they're all in certain similar ways failing us today that fits into a supply chain. It might be a little bit of a stretch. But I think it's actually reminiscent of the music industry supply chain that I described previously. Instead of going into a record store, you go into a hospital or a clinic and you're seen by a physician who queries their huge brain which has been stuffed full of information, the whole corpus of medical knowledge. And they will try and identify for you the perfect intervention. And if that happens to be a drug as here, that drug will have come from one of a few large pharmaceutical companies like pfizer, which similar to the record labels are essentially now the distributors for those who really create new medicines, which are the small and mid size biotech companies. And so the question I want to raise is whether we should do to these and please forgive me when I was putting these together. I did not know that Johns Hopkins or CV S were sponsors of this great event. Nothing against either of them. I think they're fantastic organizations just a little bit dated. And so I wonder if we should do to these, what we did to these and if we do, what would the equivalent of Spotify even be, what would streaming medicine be? What I propose? Is that what we need to build? And this includes A I and a lot of the other technologies that people have been talking about today. And yesterday is a single global catalog containing all medical knowledge, all diagnostics, all interventions and all medical reasoning. Essentially the super A I of medicine in the cloud to which people can connect from anywhere in the world and connect to the exact same knowledge just like today. They connect to the same music catalog through Spotify or the same film and TV catalog through services like Netflix. My belief is that this type of knowledge centralization is actually the only way to make medicine modern and I would define modern medicine as evidence-based. I don't see why we should distinguish between medicine and evidence-based medicine. I don't think anyone goes to the hospital looking for non evidence based medicine. It should be personalized with validated algorithms that are universally applicable to patients. Uh everywhere in the world, it should always be up to date. So the standard of care that someone gets in Botswana should be exactly the same that they get in Los Angeles or New York. Uh We should be honest that if we're not giving people the same high quality care everywhere, we're doing that because they're poor, not because they deserve a different standard of care and it should be geography and income invariant again, the same medicine no matter where you are, no matter who you are with that type of centralization of knowledge. I believe we can actually decentralize the care itself. So on the one hand, centralize the information out of hospitals, sort of evaporated it into the cloud and then push down care into the community through decentralized delivery. And I've chosen the village people here, not because I think they should be your doctor, but just to make the point that perhaps people who today have different jobs even outside of health care in the future, when paired with this type of technology streaming medicine could end up being superior as a way of delivering care to even super doctors like house. And so I think in the future, we're going to marvel at the fact that you had to be a genius to be a doctor in the past. I actually think that's a moral imperative because lowering the barriers to medical competence is the only way that we can possibly scale up high quality care globally. What you see here is that the darker countries are those with a higher density of physicians per capita in the US. It's about three doctors per 1000 when you get into countries like Madagascar. Uh it's less than 1/10 of a doctor per 1000 people. So we're not going to fix that by manufacturing doctors in our current paradigm, it's just impossible. I would propose that maybe the doctor of the future is more like an accountant. It's a highly trained specialized person, but not necessarily someone who is educated for 15 or 20 years. And I think there are a million potential configurations of how those sorts of professionals could fit into something like streaming medicine to deliver better care. But this is just one kind of spitball idea. I came up with, imagine that patients get a voucher to spend on choosing a sort of primary care navigator and then hire this person. This is again like the sort of health care accountant character and they're paid directly by this voucher, not by insurance. So take primary care out of insurance, put them entirely on the side of the patient. And then this team, the patient, their care professional working with streaming medicine can navigate the system and choose the best products and services to cure them and then align cost savings with patients, let them capture the savings that they generate by navigating their own care in a thoughtful and cost effective way. Again, apologies to CVS and Johns Hopkins. But a couple of weeks ago, we learned Wal Mart is not going to save us. And I don't think that this is a particularly exciting future either. I would be shocked if 100 years from now, the way we're doing medicine is in minute clinics and huge buildings. And fortunately in my day job, we get to see amazing entrepreneurs coming up with all the little seeds of this future that I'm outline and we're not investors in all or even most of these companies, but I think they're really promising. And I would invite any of you who are working on this, who sort of believe in blowing up the system and starting from a blank sheet of paper to reach out to us. We're super excited to engage in entrepreneurs who are thinking really big and I appreciate your time. Thank you.

Zak Brown, Chief Executive Officer, McLaren Racing Paul Hudson, Chief Executive Officer, Sanofi In conversation with: Alyson Shontell, Editor-in-Chief, FORTUNE; Co-chair, Fortune Global Forum 

Fortune Global Forum 2023: Driving Forward With Data 

In this roundup of voices from Fortune's Most Powerful Women Summit, hear from Sen. Laphonza Butler, Mellody Hobson of Ariel Investments and Netflix's Chief Content Officer Bela Bajaria.

Leadership Next: Highlights from the Most Powerful Women Summit

Leadership

Hi, everybody. Good morning. Good morning. So great to see you all here. We are hearing so many great insights that tap into our theme this year. Realizing your part. I'm sorry, I'm still on last year's theme. Rising to the occasion. We've, we've done the Realizing the power now we're rising. Ok. Um Welcome to leadership next, the podcast about the changing rules of business leadership. I'm Alan Murray and I'm mia my perspective around diversity and diversity initiatives, inclusion belonging is that if you want to be a world class 21st century company, if you wanna understand your potential customer, if you want to understand the people who work in your company, you need diverse perspectives, diverse ideas, diverse backgrounds, all to come together for better outcomes. If you don't want that, then stay monolithic and over time you will disappear. And I think that, you know, people are trying to make this about the right thing to do. This is good corporate governance. This is about being a fiduciary to all the stake holders that are important to a company and un unfortunately, the pullback after the horrific murder of George Floyd that shined a light on an issue that anyone who was black or brown already knew about. There was no revelation for us is that the pullback has certainly been directly related to the Supreme Court decision with Harvard in the sense that they're coming for us. If we have diversity on our agenda, I say don't give into that. I think companies have to stand firm because this is ultimately in the best interest of the company, the shareholder and our society in the end of the day audiences do have different tastes. We know that our members watch um on average six different genres a month. And so people do have a wide range of tastes. And so it's really been about creator first. And I say the other thing is, I think people look at us and think we make global shows, we don't make global shows, we make local specific authentic shows and films and then we launch it to a global audience because I also think if you try to make a show for everyone, you make a show for no one. And that's really kind of how we have been, you know, successful at storytelling first and really being very authentic to what that voice is in whatever country that comes from. What California has taught me. And my work in it has been about how do you, you know, take what is the one of the greatest melting pots uh in the world and find com common ground and, and build coalition. Um, and I think what, what, um, young people and, you know, everybody in between senior saints, um, would have us to, to believe is that, you know, things are, the government is broken that nobody is talking to each other. The only way that we were able to pass a $15 minimum wage in California was through coalition. It was not just the labor movement but it was small businesses. It was not just small businesses, but it was nonprofits. And everybody played a role in figuring out what might work for California. And so having the, had the experiences of trying, of working to build those coalitions to make significant change in one of the most dynamic places. Um and, you know, economies in the country and, and dare I say in the world is, and I think an asset that I can bring and, and will bring um to my service in the US Senate.

Bela Bajaria, Chief Content Officer, Netflix Interviewer: Michal Lev-Ram, FORTUNE

MPW Summit 2023: The Future Of Streaming

Hollywood is in the middle of a roller coaster moment. One that may even be considered an inflection point. The business is changing for a variety of reasons from shifting consumer habits to technological advances to the way shows and movies are made. This is a time of challenge for the creatives who bring content to life, for actors, for content distribution companies. And those challenges include the recently resolved Writers Guild strike and the actors strike that's still underway. So today we are joined by an executive who is seeing it all up close and in real time, she's a woman who is responsible for bringing some of the most beloved and binged content to traditional television and now to streaming Bela Bia is chief content officer at Netflix. She's got a long history with the company having joined in 2016 and a long career in the industry overall. Bella once again ranks on fortune's most powerful women in business list making it her fourth time on the list. She joins us now to talk about the current state of the business where streaming is headed and her rise to become one of the most powerful women in Hollywood. So please thank her and welcome her, excuse me to the stage. Bella. Hi, thanks. Thanks for being with us. I know you are literally all over the world, so we appreciate you making a stop here. Um I just real quick, I want to ask you, your role has changed over the year. Obviously, the company has evolved significantly as well as the industry like we mentioned. But tell us just what does it mean to be Chief Content Officer at Netflix today? Um Good morning, everybody. It's, you know what it means, it means. It's a really fun job. I, you know, I get to work with the best creators and filmmakers around the world, many different languages, many different countries and bring these stories to a global audience. So it's, you know, incredibly rewarding, especially for somebody like me who is an Indian immigrant to the country, never saw myself on screen. And it's a very powerful thing to see yourself. Um And so to be part of a company that doesn't just export Hollywood content, but really tells these stories from around the world and have discovery around the world. And the way we do is, you know, it's such a fun job. I mean, I get to work with Chloe Dumont and David Fincher and David Beckham recently and lots of amazing, you know, filmmakers around the world. So it's, you know, it's a great job. Can't forget posh, posh, posh. Yeah. So, so we're going to talk a little bit more about the global scale Netflix streams in more than 190 countries. About two thirds of your, more than 230 million subscriptions are now coming from outside of the US and Canada. So I'm curious to hear over the last few years in particular and your career, what have you learned about how to approach the strategy for approaching content on such a global scale? So I'd say like looking at, you know, it's always about like, what do audiences love? What do they want to watch? Right? What we do is we are an entertainment company, right? We only make movies and series and it's really understanding that people have lots of different tastes and lots of different moods even in your own family. And, you know, depending on what you're in the mood for, right? That there's a wide breadth of choices if you know, earlier in the year, if I look at something like, you know, in the US, there was Night age in an action show, beef, a beautiful award winning thing really about human connection in so many ways. And love is Blind, a very popular dating reality show. All of those things were number 12 and three in the US and they kept flip flopping, which really shows you kind of the breath of, you know, different tastes. And when we look at, you know, what are those great titles? And how do we really do that? It always starts with a creator, it always starts with a filmmaker and it starts with being very specific and authentic to that voice and what language that is and that thing is universal, whether it's in Mumbai or Madrid or Los Angeles, right? There's a very cultural specific thing of voices and it's authentic and we really support that vision. We do that on this scale by doing it. You know, we have 27 local country offices with local people in those offices who are from the creative ecosystem, who speak the language, who are from the culture, who work in that community. And that's really kind of we do it, you know, in that way. And it's always like in the end of the day, audiences do have different tastes. We know that our members watch on average six different genres a month. And so people do have a wide range of tastes. And so it's really been about creator first. And I say the other thing is I think people look at us and think we make global shows, we don't make global shows, we make local specific authentic shows and films and then we launch it to a global audience because I also think if you try to make a show for everyone, you make a show for no one. And that's really kind of how we have been, you know, successful at storytelling first and really being very authentic to what that voice is in whatever country that comes from. So, since you're brought up, love is blind, I'm going to stick to it for a minute here. But you, you have love is Blind Brazil and you've got Love is Blind Japan. How do you decide this is what we're going to, you know, these are the countries we're taking it to. This is, this is going to work here. So what's interesting about that is so, you know, the love is blind. The US version was first and you know, it really resonated and that version in English resonated around the world and it really becomes like the country teams or a local producer who's like, oh, here's our take on it or here's why this would work. So we don't start with saying, OK, we're going to just push this out to these countries. It's not really again when I talk about starting with the idea first. It was those country teams, right, Qatar who runs Japan, you know, or Elizabeth who runs Brazil. It really was a very specific like, OK, we love this here. Here's what our version locally would look like. Here's how we're going to make it locally and make it sort of more relevant to our country and that's really how that comes about. OK. Um I, I wanna ask you about the Hollywood strikes uh that these have taken center stage, of course, over the last few months um We just saw WG A members um approve a contract agreement after nearly five months. Um This is really being touted by union leaders and members uh in large part as, as a success. Um And uh both when it comes to gains in payment, giving writers more control and transparency over the use of generative A I in scripts. Do you see this as a win for the studios and for Netflix? Look, I, so first I'm going to say congratulations to the WG A which who did ratify the agreement yesterday. And in that agreement, there was, you know, really meaningful gains and protections for writers. And I'd say for, you know, all of us to get writers back to work and you know, that really is the goal of, you know, all of the members of the A MP TP and really as a community, right? It was like to get everybody back to work. And so now, you know, obviously with S A which is still in the middle of a negotiation. So I can't really, really talk about that a lot, but the focus now is to really reach agreement with Zag. And now we have two agreements out of the three with the guild and to really get, you know, everybody back to work, making amazing series and films that all of you should watch and will love. And by the way, be, be thinking of a question for Bella will go to you. Um but uh you, you've said just sticking with technology here for, for a bit because you brought up gen A I, you've said in the past that algorithms don't dictate your content decisions. And I know you've already talked about it a little bit, but Netflix has always um you know, you originated in Silicon Valley and, and there was this tech platform even in the DVD days, right? And you've always had such amazing technology at your fingertips. So how do you balance that, the tech and the science piece and the art and the intuition you yourself and as a company. So first, I'd say it's really important to remember we're in an entertainment company. We don't do anything else except make movies and series, right? That's what we do and it's the core of what we do. And so for me and I've been in an entertainment executive for 27 years, something like that a long time. And it's always about the creativity, right? It's always about working with writers and directors, having that relationship, having that trust, building a relationship and really supporting that vision. And whether that's when I was at CBS or ran Universal Television or Netflix, the core of it is always judgment, gut intuition, creativity. There is not an algorithm in the world to tell you the next thing that's going to actually connect and resonate with people. That's not what we do. It really is a, always a creative business and we are an entertainment company and I think it's amazing that we with great storytelling coupled with, you know, really amazing quality subtitles and dubbing and with easy access and discovery, that sort of a combination of those things is really an amazing thing. But we are an entertainment company. And for me, if you talk about discovery and access, what's been incredible is, you know, the experience when you come on Netflix is that you can discover Lupin from France or La Casa de Papel from Spain. And right, you can watch, you know, the David Beckham, you know, doc series and there's just such a wide breadth of things and that sort of the experience in Netflix of coupling like great storytelling with amazing discovery is, you know, what has been really successful and why our members love that they get to discover, you know, dear child, you know, a month ago from Germany that people have, you know, loved all over the world. I seem to get stuck with a lot of dino trucks and Pokemon recommendations because my five year old boy uses my Netflix profile. But I was, I was going to say would just use your own profile, then you would not have that. Yes. Questions for Bella, please raise your hand. We'll bring a microphone over to you. If anybody would like to ask a question. No, I've got plenty of my own. I want to ask you going back to David Beckham, I want to ask you about sports programming just kind of more more broadly and you haven't really leaned into live sports TV, deals, right? Streaming deals. And some of your competitors definitely have. Can you explain a little bit about the strategy and this kind of sports adjacent genre? So I think, you know, for us, it's always been that our power and our strength is storytelling. Character. You love stories, you love a world, you can discover, right and really experience. And that was always the focus. And so early days, you know, we did right to survive, which is following, you know, doc series in formula one. And that was amazing because people who had never watched the sport or like the or knew anything about it fell in love with the characters and the story, some of them, now a lot of them watch the sport that they never did. And Formula One has really been public about talking about the growth in the US because of the show, the power of storytelling and falling in love with characters. Kind of is the key to that. And you've seen recently, we had a show called Full Swing, which was golf. And the PGA has also talked about the growth of the sport because people discovered the sport through great characters and storytelling. And so our focus has been that whether it's, you know, quarterback with the NFL or a lot of these like doc, you know, like, like, and David Beck and like the doc sports, you know, shows that we do. So the focus has always been that for us and we love that we have really become the premier home for sports programming and it's a really important part of what we do. But again, it goes to the core of storytelling and characters, like that's what we do. And I say on the live sports, it's just, we have never, we haven't really ever figured out how that as a business of licensing live rights from the sports. Like, you know, how that actually makes sense for us as a business. But what does make sense is always focusing on great partnership with these leagues, which we do have and really expanding that programming because our members love that sports programming. Great. Very, very quick question over here. Hi, I'm Fatima Goss Graves with the National Women's Law Center. And I'm just curious with the strikes and the conversations we're having around the A I how you're planning for what feels like more fundamental shifts to the business model. Look, I think, um, you know, we have really always what's been like amazing, I think in Hollywood and even through the strikes, right, it's been like the companies and the community, really wanting to get everybody like back to work and really focusing on great storytelling and, and how to do that. So that was at least the core on both sides, you know, this kind of thing of one community getting back together. A I has always been a thing that we've talked about with, with all of the guild and there's, and that's, and we have, you know, two agreements that obviously have been resolved and people are very happy, right on both sides about that agreement is that, you know, A I is a really great tool in the hands of creators. And so directors can, you know, use A I in visual effects and you can use them in sort of background for anime. I mean, there's lots of different ways to use it and it's a really great tool for us in the hands of creators and when they want to use that for efficiencies. So that's sort of always been kind of a conversation, you know, even throughout the negotiation. Thank you, Bella. Um Bella, we do need to wrap, but thank you so much for joining us again. Um And congrats on being on the list and we always appreciate your uh recommendations for new shows as well. So, thank you. Thank you. Thank you.

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