For someone responsible for ensuring that the UK production pipeline for the world’s biggest streamer runs smoothly, Anna Mallett sounds very composed. But then this highly experienced executive spent 13 years at the BBC – where she ended up as Managing Director, Production, at BBC Studios – and knows the UK production business inside out. 

“It has been really fulfilling to see how Netflix has evolved production as our organisation has moved to a more local approach. This has entailed ensuring we have the right skills and capabilities to support productions now we’re focusing on local commissioning,” says Mallett, who is Vice President, Production, EMEA/UK.

“I’m lucky because I’m able to look across the UK and EMEA [Europe, Middle East, Africa]. It’s important to think about how we can continue to innovate and raise our game.”

She has been at Netflix since 2021 when she left ITN, having served for two years as its first female CEO, steering the company through the disruption of the first phase of the pandemic. 

“It was a privilege to be at ITN,” Mallett recalls. “It’s an amazing organisation with an important purpose. What attracted me to Netflix was the global scale. Over half a billion people watch it. I don’t think any company has tried to entertain an audience at that scale. It was an opportunity I couldn’t miss.”

She adds: “The main difference between working for Netflix compared with ITN and the BBC is there is a lot of focus on individual responsibility. Freedom as well. Decision-making can happen more quickly, perhaps, than at other organisations. It is a highly entrepreneurial culture that feels distinct to Netflix, which I’ve found energising.

“But one thing that unifies Netflix, ITN and the BBC is a focus on creativity. Creativity is at the heart of all those organisations. That’s why I absolutely love working in media.”

Netflix is the principal sponsor of this month’s RTS London Convention, The Next Episode: Keeping our creative edge, which Mallett is chairing. Speakers include industry luminaries such as Jane Featherstone, Co-Founder and CCO, Sister; Andrew Georgiou, President & MD, Warner Bros. Discovery UK & Ireland and WBD Sports Europe; Anne Mensah, Vice-President of Content for UK Netflix; the heads of the UK PSBs and Ted Sarandos, Co-CEO Netflix. Added to that stellar line-up is Kirsty Wark, who recently stood down from Newsnight, Andy Wilman, producer of The Grand Tour and Clarkson’s Farm, and podcast stalwarts Marina Hyde and Richard Osman.

Mallett says: “I’m looking forward to hearing keynotes from some of the most important leaders in our industry. It’s fantastic to have the leaders of the PSBs with us. And I’m particularly excited to hear Ted speak.”

The UK is Netflix’s biggest production hub outside the US. Mallett, who oversees a staff of around 200 people, has spoken widely of the advantages the UK offers to TV and film producers.  None of us needs reminding that some of Netflix’s most successful shows – The Crown, Bridgerton and Sex Education  – have been made in Britain, generating hundreds of millions of pounds for our economy and creating thousands of jobs.

In June, the streamer released numbers showing the so-called “Bridgerton universe” had contributed more than £275m to the UK economy, helping support 5,000 businesses.  Last year, Netflix announced that, between 2020 and 2023,  it had invested $6bn in the UK creative industry, an amount that was unthinkable when the streamer launched in the UK in 2012.

“The UK has this wonderful production heritage. It’s an industry that has developed over many years and is second to none,” says Mallett. “It has a wonderful talent base, facilities and infrastructure. Also, the UK’s got some of the world’s best storytellers. All this gives it real creative edge on the world stage.”

How, then, can it keep that creative edge during challenging times when commissioning has stalled in many areas? “Like many others, we were impacted by the strikes in the US, but our commitment in terms of the amount we’re commissioning hasn’t changed. We definitely want to play our part. We decided the Convention theme should be ‘Keeping our creative edge” because clearly there are challenges – financial, creative and technological. We need to talk about how we can focus on what we’re great at and leverage future opportunities, as well as tackling difficulties.”

She adds: “For all media companies, there is a challenge around audience. There is a a proliferation of choice and huge competition for share of time. One of the good things about Netflix is that we like competition. Not only [because] all boats rise when there is competition, but healthy competition ensures we find new ways to tell our stories and stand out. Our TV industry is already world-beating but it’s more important than ever that we retain our creative and competitive edge.”

Mallett has attended numerous RTS conferences over the years. She read geography at Durham University before studying for a doctorate at Oxford on John Martin, the 19th-century landscape painter and engineer. Her career began at the Boston Consulting Group, specialising in media and retail. Recognising her leadership potential, Boston sent her to Harvard Business School.

Asked to describe a typical working day at Netflix, she says one great thing about working for the streamer is that every day is different. “I never know what exciting opportunity or challenge is going to come up, but I spend a lot of time working with the production teams in different countries.”

Talking about the London Convention, she says that she is delighted to be its Chair, and relishes the opportunity for industry leaders to come together and explore different perspectives and ideas.

“You can’t achieve that as successfully through a virtual meeting,” she says. “Netflix is hugely honoured to be the RTS London Convention’s principal sponsor. I think we’re the first streamer to do this. We feel incredibly lucky to have this opportunity. We’re committed to the UK for the long term and are part of its ecosystem.” 

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What I watch at home …

‘I loved One Day. I watched it on a plane and started crying. People gave me funny looks. And I thought The Gentlemen was really energising.’

 She is also a Bridgerton fan and thought Beckham was ‘fantastic’:  ‘It gave a great insight into him and his challenges – difficult things that happened when he was very young. It was a brilliant and intimate documentary.’

She also enjoys ‘a lot of non-Netflix shows’, citing Clarkson’s Farm – ‘It’s such good fun and so imaginative’ – and Ted Lasso. ‘You know, I live in Richmond [where the show is set].’ The Great British Sewing Bee is a show she finds ‘so absorbing’. She adds: ‘I watch a wide range of shows. There’s no one type of TV that I go for.

‘As for podcasts, I’m a big fan of The Rest is Entertainment, The Rest is History and The Rest is Politics. You feel you get to a new level in the issues, so I love those.’