{"id":2693,"date":"2026-06-22T15:06:48","date_gmt":"2026-06-22T15:06:48","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2693"},"modified":"2026-06-22T15:06:48","modified_gmt":"2026-06-22T15:06:48","slug":"netflix-u-s-canada-scripted-boss-jinny-howe-on-maintaining-volume-branching-into-new-genres-and-when-ip-makes-sense","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2693","title":{"rendered":"Netflix U.S.-Canada Scripted Boss Jinny Howe on Maintaining Volume, Branching Into New Genres and When IP Makes Sense"},"content":{"rendered":"
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\nNetflix has spent upwards of $18 billion annually on content, and according to US-Canada scripted series head Jinny Howe, that\u2019s not changing any time soon. Howe spoke to an industry crowd las wee as she held a keynote conversation at the Banff World Media Festival.<\/p>\n

Read more Comedian Moshe Kasher Diagnosed With Tonsil Cancer: \u2018My Life Has Been Terror\u2019 but \u2018I Will Be Okay\u2019<\/a><\/p>\n

\n\t\u201cOur volume is not slowing down,\u201d she told the audience, without getting into specific numbers. \u201cWe are very fortunate to still be in this growth mindset. I think we\u2019re so about satisfying our members, and we know that their appetites are robust and that there are many, many types of shows that they hope for and expect from us.\u201d <\/p>\n

\n\tHowe, who was named to her current post in August, has been busy reorganizing some of her team, getting to know some of the genres she was less familiar with (like comedy) and building a studio entity inside Netflix. \u201cWe evolved some of our structures, just to make sure that we\u2019re being as aggressive in places that we want \u2014 the studio being an opportunity to help build up from the ground floor some of the things that we aren\u2019t seeing coming from the marketplace and just have a little more hustle in that way,\u201d she said.<\/p>\n

\n\tHowe has also been busy looking to diversify Netflix\u2019s slate. \u201cRather than being more reactive to projects that were coming and packaged from the marketplace, we were looking to think on how to get more competitive with key IP and also just with key talent that is emerging,\u201d she said.<\/p>\n

\n\tYoung adult continues to be an important audience that Netflix and Howe are pursuing, with shows like \u201cGinny & Georgia,\u201d\u00a0\u201cForever,\u201d\u00a0\u201cXO, Kitty\u201d\u00a0and\u00a0\u201cMy Life With the Walter Boys.\u201d Howe\u00a0 took advantage of Banff to announce \u201cIcebreaker,\u201d which is based off of Hannah Grace\u2019s bestselling hockey romance novel. \u201cI know there\u2019s a lot of hockey romance,\u201d she said. \u201cThis is the book that was meant to really ignite and supercharge the genre, so we\u2019re very excited about that. Stay tuned for more there.\u201d <\/p>\n

\n\tBut Howe said she\u2019s also looking at finding more projects geared toward the younger male audience as well.<\/p>\n

\n\tOn the IP front, coming up for Netflix are new takes on \u201cLittle House on the Prairie,\u201d \u201cA Different World\u201d and \u201cScooby Doo\u201d (\u201cScooby Doo: Origins.\u201d) Howe said she\u2019s very deliberate on determining with properties deserve to be a reboot\/remake\/revival.<\/p>\n

\n\t\u201cIP on its own is not enough to make the best version of a television adaptation,\u201d she said. \u201cIt\u2019s really writer and take dependent. What we are trying to be thoughtful about is maybe not just chasing the hottest IP in the marketplace, but really, in combination with somebody who feels inspired by the source coming in with a really original take, or just something that feels like it\u2019s going to cut through\u2026 It doesn\u2019t have to all be based on IP. Projects don\u2019t all have to be heavily packaged for us. It\u2019s we\u2019re equally excited about something that feels wholly original.\u201d<\/p>\n

\n\tWhat\u2019s the best way to pitch Netflix these days? Is it true that shows need to pitch out stories through Season 4? Does the opening episode need an inciting incident within the first few minutes to draw in audiences?<\/p>\n

\n\t\u201cNo one knows what\u2019s going to happen in Season 4,\u201d she said. \u201dIt\u2019s looking to understand that you know what the show is, that you really are in this pitch conversation, presentation, getting us excited and giving us a glimpse of how the audience is meant to feel as they watch your show.<\/p>\n

Read more Cannes Breakout Comedy \u2018Jim Queen\u2019 Closes Key Deals Ahead of Annecy Screening (EXCLUSIVE)<\/a><\/p>\n

\n\t\u201cSome audiences love slower,\u201d she added. \u201cThey love that the episode takes a little longer to get into, like I would say with some of maybe like The Prestige audience is expecting to marinate a little bit in the world before the plot really takes off\u2026 I guess some big opening, some cold open teaser at the start will intrigue people, but there isn\u2019t a formula in terms of how we grab audiences. It is so bespoke to who you\u2019re speaking to. So that is not something that we\u2019re asking for, by any means.\u201d<\/p>\n

\n\tCoincidentally, Howe\u2019s Banff conversation came as the box office success of the films \u201cBackrooms\u201d and \u201cObsession\u201d opened up a conversation about the new generation of young filmmakers targeting a Gen Z crowd.<\/p>\n

\n\t\u201cI find it really inspiring,\u201d Howe said. \u201cI think that in the history of art and the history of making any form of content, there\u2019s always someone new that talent is emerging from. So this just feels like another new avenue and we are paying attention again because we\u2019re really interested in what people culturally are interested in and what is resonating.\u201d<\/p>\n

\n\tWhat does she deem a hit for Netflix scripted series?\u00a0 \u201cI think like anyone, we are looking at viewing relative to cost,\u201d she said. \u201cBut I do think that, depending on when they talk about audience and saying we want to have every audience member\u2019s favorite show, obviously a \u2018Stranger Things\u2019 is a phenomenon on its own \u2014 so you can\u2019t stack everything up against one type of show, one type of audience. So we are trying to be as thoughtful about making sure that the intended audience, whatever that size is relative to who they are, is being satisfied and served. And it\u2019s not necessarily always going to be apples to apples in that way, but in general we say every show that we launch is an event for someone and it should feel special. It should feel original. It should feel like the best in class version of it, that you can only find it at Netflix.\u201d<\/p>\n

\n\tMeanwhile, with Howe in Canada, she had the opportunity to tout her Canadian team, which is busy commissioning and greenlighting projects like \u201cNorth of North\u201d and \u201cWayward.\u201d (Next up, the team has the thriller \u201cBelow\u201d with Josh Hartnett, Charlie Heaton and Mackenzie Davis.)<\/p>\n

\n\t\u201cLast year the Canadian team launched their first slate and it was really incredible,\u201d she said. \u201c13 Canadian Screen Awards recently flowed across their slate, which we\u2019re tremendously proud of. This is a really thoughtful, passionate team of leaders that I think are being very, very focused on Canada first in terms of their programming.\u201d<\/p>\n

\n\tHowe, who joined Netflix in 2018, coined the now ubiquitous phrase \u201cgourmet cheeseburgers\u201d to describe Netflix\u2019s programming strategy \u2014 wide appeal but premium production and quality.<\/p>\n

\n\t\u201cI\u2019m tremendously proud that this term has actually pierced the culture in any sort of way,\u201d she said. \u201cIt\u2019s been really sort of bizarre but very cool and anyone who knows me well knows that I do tend to speak in food metaphors and analogies. I talk about cakes not rising. I talk about the temperature or the cake not being cooked all the way through. It\u2019s just the way that I speak.\u201d<\/p>\n

Read more Benedict Cumberbatch, Claire Foy to Voice Animated Special \u2018Mog\u2019s Bad Thing\u2019 for Channel 4, Lupus Films (EXCLUSIVE)<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Speaking at the Banff World Media Festival, Netflix U.S.-Canada Scripted Boss Jinny Howe discussed volume, new genres and when IP makes sense.<\/p>\n","protected":false},"author":1,"featured_media":2692,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[54],"tags":[1965,2298,157],"class_list":["post-2693","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tv","tag-banff-world-media-festival","tag-jinny-howe","tag-netflix-2"],"yoast_head":"\nNetflix U.S.-Canada Scripted Boss Jinny Howe on Maintaining Volume, Branching Into New Genres and When IP Makes Sense - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=2693\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Netflix U.S.-Canada Scripted Boss Jinny Howe on Maintaining Volume, Branching Into New Genres and When IP Makes Sense - 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