ARAM YACOUBIAN ON A SMALL BRANCH—MIGHTY LEARNINGS FROM LITTLE BHEEM

When Aram saw the original version of the adorable Indian animation series Mighty Little Bheem, he thought it would be a big hit in India:

The main character is this little child in a small Indian village, whose boundless curiosity and extraordinary strength leads to all sorts of adventures. He’s like a baby Indian Popeye. His character is based on Bheem, a mythical character in the Sanskrit epic Mahabharata, known across India. It seemed obvious to me, Indians would love this show.

But Aram had serious doubts about whether it was a good bet for Netflix. The first concern he had was with the animation quality.

Indian shows tend to be low budget. The quality of the animation was good enough to be popular on Indian TV. But I thought about what Dominique and I had agreed on. We wanted to make sure the quality was high enough to be successful not just in the country of origin but around the world. I knew that if we were going to purchase this show, we would have to invest two or three times what is normally spent on an Indian animation to get the quality we were looking for.

This led to Aram’s second concern:

That was a lot of money to invest in an Indian show. To recoup the investment we’d have to get a lot of children all around the world to watch it. But very few Indian programs had ever been hugely popular outside of India—in all the history of television and streaming. This was due to low budgets but also to a belief that the storytelling was too locally specific for global audiences. There was a widely held belief that Indian series didn’t travel well.

Aram’s third concern was the lack of historical data on preschool shows—even within India:

Mighty Little Bheem is for young children and until now there had been practically no preschool shows made in India either for streaming or television. That’s because Indian rating agencies don’t measure preschool shows, so they can’t be monetized. Was there even an audience in India for programming aimed at such young kids? History couldn’t provide an answer.

On the face of it, all this made things look pretty bad for Mighty Little Bheem. “All of history and all these business reasons were telling me not to make this show,” says Aram. But he also reflected on the context the Netflix leaders had set for him:

Reed made it clear that international expansion is our future and India is a key growth market. Mighty Little Bheem is a great show from a key Netflix growth market. Ted made it clear that when it comes to countries like India, we have so much to learn that we should take big risks, as long as the learning potential is evident. With Mighty Little Bheem what we would learn from the bet was very clear. The context Ted had set was enough for me to say, “Okay, even if this show crashes and burns, I’m trying three different things, all of which are going to provide Netflix with really good information.”

Melissa made it clear that we wanted children’s shows from around the world that were deeply local in topic and texture to make up our programming slate. Mighty Little Bheem was deeply Indian and had the elements to appeal to children anywhere.

Dominique and I had agreed that we should prioritize animation for our big international bets and that this animation should be of high quality. Mighty Little Bheem was an animated show that could achieve the high quality we needed with a financial investment.

With this context in mind Aram made his decision. He purchased Mighty Little Bheem and gave money to the local creators to upgrade the animation. The show launched mid-April 2019 and within three weeks became one of Netflix’s most watched animated series from anywhere in the world. It has now been watched by more than twenty-seven million viewers.