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Netflix NFL games score 24 million viewers each on Christmas as streamers push further into sports

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Netflix NFL games score 24 million viewers each on Christmas as streamers push further into sports

With two much anticipated NFL games and a big assist from Beyoncé, Netflix created a major cultural moment for the streaming industry, marking a significant milestone as the service pushes further into live sports. But the events couldn’t top the ratings for last year’s games on broadcast television.

Netflix on Thursday said its two Christmas Day NFL games — Kansas City Chiefs vs. Pittsburgh Steelers and Baltimore Ravens vs. Houston Texans — each brought tens of millions of viewers to the Los Gatos, Calif.-based streaming service.

The Ravens-Texans game drew an average of 24.3 million U.S. viewers Wednesday, while the earlier Chiefs-Steelers matchup brought in 24.1 million, according to Nielsen data released by Netflix. Viewership peaked with 27 million viewers during the Ravens-Texans game with Beyoncé’s halftime performance, the company said. Worldwide streaming numbers will be released in the coming days.

The strong numbers come after Netflix’s boxing match between Jake Paul and Mike Tyson attracted huge viewership to the platform, despite being plagued by buffering and other technical issues for many users. That bout, Netflix’s first professional live sports event, drew 65 million households streaming concurrently and 108 million global viewers, the company said.

Netflix’s numbers are a sign of the potential for streaming as a vehicle for sports broadcasting. But the ratings didn’t top those for traditional TV. Last year’s most-watched Christmas Day game averaged 29.2 million viewers for CBS, according to Nielsen data.

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The data for Wednesday’s games included CBS local market viewing and mobile viewing on NFL+, in addition to traffic to Netflix, the company said.

NFL fans are used to turning on the the old-school broadcasters for their football showdowns, despite the growing popularity of streaming for on-demand and live programming.

Netflix’s NFL games were widely seen as a key moment for the streaming industry, pairing the most popular sport in America with the biggest global subscription streaming platform. Streaming services have been swallowing up the rights to sports leagues, with Amazon securing Thursday Night Football and upcoming NBA games, while Apple has Major League Baseball on Friday nights as well as Major League Soccer games.

“Amazon and YouTube and Apple and now Netflix, they’re all totally in the mix,” said Paul Verna, vice president of content at market research firm Emarketer. Netflix’s NFL Christmas Day broadcast is “them throwing their hat into the ring for live sports in a big way.”

The entry of the tech titans has also raised the price of sports rights. Traditional TV networks often are willing to pay big bucks to keep live games, one of the few things that can still get a huge number of people to tune in at a specific time.

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Netflix reportedly paid $150 million for its first two NFL games. The service will also carry at least one NFL Christmas game in 2025 and 2026 as part of a three-year agreement with the league.

CBS Sports produced the games, with NFL Media producing the pre-, post-, and studio halftime programming.

“Bringing our members this record-breaking day of two NFL games was the best Christmas gift we could have delivered,” Bela Bajaria, Netflix’s chief content officer, said in a statement.

Compared with some of its prominent streaming rivals, Netflix had been slower to dive into sports.

Prior to the Paul vs. Tyson fight, Netflix’s efforts in live sports included events such as exhibition golf and tennis tournaments, as well as sports documentaries. Last week, Netflix signaled further ambitions by signing a deal to stream the FIFA Women’s World Cup in 2027 and 2031. The company has been gradually upping its game in the space because of the appeal for viewers and, crucially, advertisers, which Netflix is attempting to court.

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“The other companies have started small and built up from there, and I see Netflix going in exactly the same direction,” Verna said.

Neither of the Christmas games were very close. In the first game of the day, Kansas City defeated Pittsburgh 29-10. Baltimore routed Houston 31-2.

From a technical perspective, the NFL games on Netflix were a far smoother viewing experience for those tuning in, compared with the Paul vs. Tyson match, during which the company’s service was overwhelmed by demand. Those problems rose the stakes for Netflix, which worked to prepare for another big influx of viewers.

The streaming giant has about 283 million subscribers worldwide, with nearly 85 million in the U.S. and Canada.

It did its best to Netflix-ify the telecasts, peppering commercial breaks with promos for its upcoming shows and movies (including “Squid Game” Season 2, which debuted Thursday, the second season of “The Night Agent” and “Back in Action,” starring Jamie Foxx and Cameron Diaz).

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The telecast also featured appearances from comedians Bert Kreischer and Nate Bargatze, who have appeared on Netflix. Bargatze’s latest standup special just debuted on the service.

But by far, the biggest nonathletic draw to the event was Beyoncé’s halftime performance during the Ravens-Texans contest in Houston, the singer’s hometown. The artist showcased her latest album, the countrified “Cowboy Carter” celebrating her Southern roots, ahead of February’s Grammy Awards, at which she’s competing for album of the year.

Times music critic Mikael Wood called the performance “a thrill from top to bottom.” “For all its cross-promotional synergy,” her “halftime show was a reminder that whatever lures Beyoncé from her superstar cocoon is worth celebrating,” Wood wrote.

Regular season NFL games typically don’t have a halftime show — a spectacle reserved for big games such as the Super Bowl. But the decision to add Beyoncé into the mix was a savvy move, Verna said.

“It definitely had much more media interest and attention because everybody knew Beyoncé was going to perform,” he said. “Netflix was smart to latch onto these Christmas games and having the halftime show certainly couldn’t have hurt.”

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Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Entertainment

Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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