Netflix’s job cuts have reached its London office, with production executive Anna Mallett among those leaving as the impact on the company’s U.K. operations becomes clearer. The reductions follow layoffs in mid-October that affected approximately 1,000 employees globally, equivalent to 6 percent of the streaming company’s workforce.
The Hollywood Reporter confirmed an earlier report by Broadcast that Mallett was among the employees affected. The London reductions are understood to involve roughly 2 percent to 3 percent of the office’s staff. Several hundred people work at the office, where employees in communications and other roles have also departed.
Mallett held the position of vice president of physical production for the U.K., with additional responsibility for local-language content production across Europe, the Middle East and Africa. Netflix brought her into the business in November 2020, and her work covered both television series and films across those markets.
Her production remit included Baby Reindeer and Adolescence, as well as later seasons of the Spanish series Money Heist. Before joining Netflix, Mallett was chief executive of ITN. Earlier in her career, she held the roles of group chief operating officer and managing director of production at BBC Studios.
The October layoffs were Netflix’s largest workforce reductions since 2022. In the United States, the departures included two prominent content executives: chief content officer Bela Bajaria and film boss Dan Lin. Hollywood veteran Peter Rice succeeded Bajaria as chief content officer.
Discussing third-quarter earnings on a recent call, Netflix co-CEO Sarandos said the company’s business was functioning and did not require a fundamental change in strategy. He instead pointed to a need for stronger execution in the United States, while describing content performance across the company’s international markets as largely successful.
Sarandos also said the U.S. business was working, but its growth had fallen short of what Netflix believed it could achieve and what the company wanted. His comments distinguished the need to improve results in that market from a broader change in Netflix’s approach.
Using a baseball comparison, Sarandos described some of the year’s titles as solid doubles and triples. He said other territories depended on some U.S. productions becoming home runs capable of reaching audiences around the world, making execution a focus for the company.
