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TUDUM: Netflix Unveils Sneak Peeks of ‘Squid Game 2’ and ‘Bridgerton’ Season 3

Netflix on February 1 released a teaser video for its biggest properties arriving in 2024, including more than 50 new movies and 90 new and returning series. The highlight is “Squid Game 2,” the follow-up season to the South Korean dystopian smash hit that became Netflix’s biggest show of all time.

At the end of Netflix’s mega-tease, we see Seong Gi-hun (Lee Jung-jae) and his new bright-red hair walking through an airport when a mysterious voice on his phone tells him, “You’re going to regret the choice you made.”

The package also provides first looks (and premiere dates where available) at the third season of “Bridgerton” (first half: May 16, second: June 13), the action movie “The Union” with Mark Wahlberg (August 16), and Jerry Seinfeld’s comedy “Unfrosted: The Pop-Tart Story” (May 3).

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There is footage from Eddie Murphy’s “Beverly Hills Cop: Axel F,” the new season of “The Diplomat,” the final seasons of “Cobra Kai” and “The Umbrella Academy,” and Tyler Perry’s war movie “Six Triple Eight,” to highlight a few more.

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At a Wednesday event in Los Angeles, press in attendance (including IndieWire) learned Tina Fey’s “Girls5Eva” will make its debut as a Netflix original series on March 14; it is the show’s third season overall. “Mother of the Bride” with Brooke Shields debuts May 9.

Watch the teaser below:

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Undated 2024 highlights include new David Benioff and D.B. Weiss show “3 Body Problem,” Guy Ritchie’s first TV series “The Gentlemen,” and Ryan Murphy’s new “Monsters” installment about the Menendez Brothers. On the film side, Netflix has its first collaboration with Amblin for a thriller called “Carry-On,” the animated “Spellbound” from Skydance and John Lasseter, and the journalistic drama “Scoop” starring Gillian Anderson.

At the event, content chief Bela Bajaria said that even with the “Suits” effect driving so much engagement on the platform, the willingness of studios to license more of their quality content isn’t making her “rethink” the mix of originals and acquired.

“We have a licensing team that never went away, and we always continue to license around the world. So yes, there are some titles and some things that became open, but it’s just really opportunistic,” she said. “Will our audience love it? Is there that great flow? Does it fit with what we’re doing? So it’s a very fluid thing.”

Bajaria went on to call her originals “amazing,” adding that they “drive a lot of conversation” and are “a very important part of our business.”

But in terms of acquired materials, she says consumers, talent, and studios all “really benefit from” content migrating to Netflix. For talent, it’s a larger audience; for studios, well, “they make more money.” And for the end user, viewers, it’s all about “having a second shot at a show.”

None of this means that Netflix has softened its stance on theatrical.

“We’re the only real pure-play streamer. Our members love films, and they want to see films on Netflix. For us that’s going to be the most important thing,” Bajaria said. “A lot of other companies do theatrical, and it’s a great business for them, it’s just not our business. Our business is to make sure that members come to Netflix.”

Bajaria also commented on one movie we won’t be seeing on Netflix in 2024, the Halle Berry film “The Mothership,” which Netflix recently canceled despite production being complete. Calling it a “very rare” situation, Bajaria says “a lot of issues,” both “in production and creatively,” led both talent and Netflix to agree “it was better to not launch it.”

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