Netflix’s local-language hits, such as Squid Game, have helped it acquire more subscribers.Roger Kisby/Getty Images
Netflix went all out when it hosted its third Tudum event recently, the first to stream live globally. Named after the service’s signature startup sound, it was an extravagant affair with global influencers and journalists, including this reporter who attended as a guest of Netflix Canada.
But the event’s most important guests were inarguably fans, as Netflix worked to re-position itself not just as a creator of algorithmic content, but also as an industry leader in the era of Comic Cons and Disney’s D23 fan club.
More than 9,500 people filled the seats at the Kia Forum in Inglewood, Calif. The red carpet outside was a masterclass in solidifying brand identity with interactive displays for some of Netflix’s biggest fandoms, including the WWE, Wednesday, Stranger Things, Happy Gilmore 2, Squid Game and One Piece.
How an Ontario designer’s eye-catching earrings ended up on one of the hottest new shows streaming on Netflix
Opinion: Enjoy watching TV? Because it likes watching you
Inside, there were sneak peeks of the streamer’s upcoming slate, exclusive content, date announcements and more than 100 guest appearances. Lady Gaga performed a three-song set to celebrate her Wednesday Season 2 guest-starring role and performed the show’s viral dance to Bloody Mary.
In the short term, Tudum paid off. Netflix NFLX-Q stock climbed to an all-time high after the three-hour broadcast, which earned more than 25.7-million views across its platforms, and trailers from the event reached more than 300-million viewers within 15 minutes. To date, Tudum 2025 has garnered more than 695-million views across 184 countries.
But insiders are focused on the long term and how Netflix’s latest step will affect the industry. After rolling out an ad-supported tier in 2022, the company is on track to generate between US$3- and $4-billion in global ad revenues this year. Research firm Omdia estimates Netflix will reach US$46.2-billion in revenue in 2025, possibly surpassing YouTube for the first time.
Tudum took place at the end of May, during the same weekend as the ATX TV Festival in Austin, Tex. It also followed traditional U.S. network upfront presentations in New York, for which executives fly in stars and boast fall schedules to appeal to advertisers. A similar Canadian event took place in Toronto the following week, with Bell Media, Rogers Sports & Media, CBC and Corus each taking a day to appeal to buyers and press.
Left to right, Felix Mallard, Sara Waisglass, Brianne Howey, Antonia Gentry, Chase Stokes, Drew Starkey, Carlacia Grant and Madison Bailey attend Tudum 2025.Jerod Harris/Getty Images
It’s not the first time the streamer has overlapped with other such proceedings, nor will it be the last. As streaming and viewer habits continue evolving, the juxtaposition of these events raises questions about how traditional networks, other platforms and those who cover the industry as a whole need to evolve to keep pace. Viewer habits are changing and people want to feel seen and heard. Catering to that requires foresight, not denial.
Disney+ capitalizes on presold intellectual property and fandoms such as Marvel and Star Wars. Paramount+ leans into Taylor Sheridan, its growing Dexter universe and its roster of procedural crime dramas. Prime Video banks big on prestige IP such as Lord of the Rings and its newly acquired MGM Studios’ library.
Netflix, meanwhile, forgoes nostalgia for new fandoms and original takes on select IP, such as the live-action One Piece, which is based on the most popular manga series in the world. In the U.S., it works with fan-forward creators such as Shonda Rhimes, Ryan Murphy and Harlan Coben to further fuel loyalty.
In Canada, the streamer recently partnered with APTN and CBC to film North of North in Nunavut, a significant but rare milestone in Inuit representation. The award-winning series currently boasts a 100 per cent rating on Rotten Tomatoes. Notably, it was Netflix Canada’s first scripted commission after a call for pitches in 2020, proving the streamer can simmer in development until a show is ready rather than rush to screen. With time, investment and its global visibility, it’s not farfetched to assume Netflix Canada could eventually compete with Cancon on the same level as Crave or CBC Gem.
Tudum 2025 featured big industry names, including actor Sofia Carson.Emma McIntyre/Getty Images
Globally, Netflix is betting that cultivating multiple fan bases keeps the Netflix-and-chill era alive. But there’s a cost to every strategy. Fans have revolted over the sudden and unpredictable cancellations of beloved series such as GLOW, Warrior Nun and Santa Clarita Diet, leading to questions of loyalty and trust. There are also valid criticisms of the company’s data-first approach, which potentially blurs the line between fandom and micro-markets and risks reducing storytelling to metrics.
However, today’s savvy viewers appear to have a sixth sense for inauthenticity, and have no qualms about diving into the streamer’s growing young-adult space. Reports show an estimated seven out of 10 Gen Zs watch Netflix, putting it behind YouTube and ahead of Disney. Meanwhile, Netflix is also winning over Hallmark aficionados via its Netflix Christmas Universe and reality fans through franchises such as Love Is Blind, Too Hot to Handle and its spinoff series Perfect Match.
Local-language hits such as Lupin, Dark, Money Heist and Squid Game have only brought in more subscribers, proving that the streamer is appealing to fans on every corner of the map. It’s a diverse strategy that works well in conjunction with the platform’s push for discoverability once you’re there.
On the surface, Tudum may be about teasing new titles and showing off Netflix’s star power. But it also reflects a larger, social shift. Fans are no longer passive viewers who sit back and watch mandated schedules while blogging from their basements. These days, they’re active participants, unpaid marketers and an engagement currency. They’ve become an integral part of the life cycle, and content providers are racing to keep them engaged – whether that’s from a stadium or in their homes.
