S1: Netflix EMEA: Marketing for Germany

Episode Summary

Director of Marketing for Germany, Felix Pace, and Manager of Marketing Production for Northern Europe, Junis Lampert, discuss their journey to Netflix, their experience with the culture, and the work they are doing for the German market.

Episode Notes

Director of Marketing for Germany, Felix Pace, and Manager of Marketing Production for Northern Europe, Junis Lampert, discuss their journey to Netflix, their experience with the culture, and the work they are doing for the German market.

Episode Transcription



Felix:               We are very direct in Germany, and very honest.  And my dad who’s Italian, but lives in the UK, always says the English are too polite, to be honest, and the Germans are too honest to be polite. 


Lyle:                Well today on We Are Netflix, we have two Germans, who are both honest and polite.  Felix Pace and Junis Lampert, are members our European marketing team introducing European audiences to Netflix shows and movies.  I’m Lyle Troxell.  My co host is Michael Paulson. 


And we’re here to learn about the challenges of working across so many cultures, German, Dutch, American, and Netflix’s own corporate culture.  Junis and Felix have some interesting observations on those cultural differences, including what it was like to go from German companies to Netflix.  They spoke to us from Netflix’s European headquarters in Amsterdam.  And I started by asking Felix how he came to work at Netflix.


Felix:               That’s a very good question.  I was invited to a recruiting event, I think, which wasn’t clear to me at the time, and it was a conference I was invited to.  I nearly didn’t go, because my little daughter was having a bad time, and I was kind of wanting to stay home with her, but I was allowed to go.  And went to that conference, and I enjoyed it very much. And then I got a call afterwards asking me if I’d like to take an opportunity that was open at Netflix. 


                        My first response was I’d happily do it.  There was just one thing that the team should know, which is, I’ve got two little daughters and I have a very super working family set up.  Which means I have both my daughters, they have different moms, but I have them with me 50% of the time, and because the job opportunity was in Amsterdam, and I live in Berlin.  The first thing I said is, that I’d love to do it, it’s just when I have my daughters half of the time, I will have to be in Berlin. 


                        And I was pretty sure that was a knockout argument.I wasn’t sure that people would go ahead with it, but Netflix did, which is absolutely fantastic.  I sometimes still can’t believe it that I divide my time between two great cities, and I’m able to be like a dad to my two little daughters, and do marketing for Netflix, as well.


Lyle:                I have a similar mixed family thing, where once you have multiple adults living in different houses that are taking care of the same kids, you don’t move, because they’re not to move together.


Felix:               Exactly.


Lyle:                It can’t happen, yeah.


Felix:               And that’s why I said, it’s like, I’d love to, and my kids, you know, but I have to like take two families, basically, and move them with me as a third family to Amsterdam, and that’s never going to happen, right?


Lyle:                Right.


Felix:               And I instantly thought like I’m going to very open and candid about this, I’m going to tell them, look, I’ve got these two daughters, I want to spend my time with them, I fought very hard to have them 50% of the time.  And that was so eye opening that, you know, that recruiting team wanted to help with that, and gave me that chance.


Lyle:                Can you sum up your feeling that you got when they said, oh, we can make that work?


Felix:               A lot of happiness, and kind of like also a love, because I can show my love to my kids. 


Lyle:                Yeah, that’s wonderful.  Well, Junis, you’ve been at Netflix for two and a half years.


Junis:               Yes.


Lyle:                You want to tell us what it’s like to be a manager of people at Netflix in Europe?


Junis:               Sure.  So, I started as a integrated producer on the marketing ops function here in EMEA and that’s not a manager role.  So I started as a so called individual contributor and really partnering up with the marketing team that Felix is now leading to bring those great campaigns to live in the region.  Like to put out really great creative ideas in front of the German consumers so that they get excited about our content, and they start talking about it and get engaged. 


                        The role itself, developed tremendously in those two years.  It started really all from a role where we heavily relied on what was coming from the global teams on marketing assets and then see what can we add from a German perspective to it.  Whereas now, we really emphasize this local ideas, and this local creative, really coming out of local insights and create it from scratch that will tell the story that we want to tell about certain shows.


Lyle:                I understand, Junis and Felix, I understand very much that both of you are engaged in the marketing efforts and sharing our content to the German audience.  And I understand you have slightly different roles.  So let’s get a base ground of like what you guys do.  Felix, let’s start with you.


Felix:               My role is really easy.  I make people in Germany, Austria and Switzerland get excited about Netflix.  That’s basically what my job is.  Like getting the right content in front of our audience so that they just, you know, see how great we are, what we have and instantly want to sign up, or watch the content.  Which is a super easy job, and I love it, because of that.  Because we’ve got so much great content. 


Lyle:                So, you’re giving a show, and like this is going to launch, and it should be really good in Germany, and you’re like, and they say let’s make this really exciting.  And you figure out how to make it exciting.


Felix:               Exactly.  So, I see a show, and say like, why is this especially exciting for my audience in Germany or in Austria and Switzerland.  And then we, basically, invent a campaign around it, which drives exactly those insights to make people even more excited about the show.  And this is basically what we do.  We choose from all the titles that we release, a basket of titles, that are the most relevant, and then do campaigns around them, and drive them forward.  And that’s where we need Junis and her team especially to come in, because she helps us scale that.


Junis:               Yeah.  Felix team is doing basically defining on what we are doing, and why we are doing it.So what titles are we supporting and why are we supporting, why will they be relevant for the German market.And the integrated producers, and we have marketing ops come in and say, okay, how are we bringing this to life?How do we give this strategic vision, and those concepts live to make sure it gets in front of the consumer to be really state of the art in terms of creativity, and great ideas that’s exciting and engage people. 


Felix:               So basically, Junis is in charge of all the magic, and making what we kind of envision come to life so that people can actually see it, and experience it.


Lyle:                Let’s walk through a show that we did, let’s like say, Stranger Things, Season 2 came along.  And what did you do Felix?  What did you or your people in your team do for like Stranger Things?


Felix:               So, we look at the Stranger Things brief.  So, you know, what’s happening in the show, why is it exciting.  We see, obviously, it’s the second season, right?  So, we saw what was happening Stranger Things season one.  So, what were people talking about, what worked really well.  And what are people excited about with the season two.  And then we write all that in a brief, and we go out to creative agencies, we go to a media agency and kind of come up with a plan of like, what ideas should we develop for Stranger Things 2. 


Lyle:                Like artwork, and videos?


Felix:               Exactly, like artwork so that’s like out of like posters, for example.  And maybe we do like a publicity stunt, or we have like digital assets, like little films.That can be anything from a trailer to something we produce maybe with influences, because we see such big shows.And so we got like a bunch of ideas that we basically streamline so it’s a clear narrative what happens before launch to get people excited about the launch.  So, you know, we start before like this coming, you all need to watch this.


                        Then on launch day, we’re going big on this, and let everyone know.  And then we do a couple of things after launch.  And because people, once you watch the show, you want to talk more about it, right?  You’re hooked, and then you’re probably sad, because you binged it, and you go, oh no, I watched all the episodes, what do I do now?  And so we try and create some assets afterwards that you can share, and you can, you know, really be hungry for and happy that you’ve got more of the show and you get to more.  This could be like anything from behind the scenes footage to stuff that we come up with especially for our market.


                        At this stage though, this is all a bunch of ideas.Like there’s a briefing, and we talk to agencies and they come back with more ideas.  So, this is all very theoretical.  And then, we take this Junis’s team.  And Junis actually then tells us what’s feasible, what we can actually can do or not.  This is kind of where you guys take over, right?


Lyle:                Junis, how do you make those decisions?  What do you look at, at that point?


Junis:               Well, we obviously are heavily involved already upfront in all those discussion, and we are guiding the creative process as well.And we are already upfront deciding who are the most creative partners in the market to work with, and who will bring the campaigns to life in the best way possible, and most Netflix way possible.


                        And then once marketing decides on okay, we want to throw this big Halloween party for Stranger Things, for example.  We then really think, okay, how can we bring this to life, and what is great location?  How should the location look like that?  We have a lot of photo opportunities that people will make photos with, and just engage with the content, engage with the sets.  See how we can just deliver really, really great experience and bring it closer to the consumers.


Felix:               And then to highlight how involved Junis team is from the beginning.  For example, in Germany, like when we work with creative agencies to develop those ideas, and Junis had the great idea when I joined to kind of not rely on one agency, but work more with freelances, so we can be much more creative, much more open, much more flexible and agile.  And she really drove that whole process so that now we’re at the stage where we have such a nice kind of like ecosystem of creative people in the region that we can really come up with great ideas and execute on them.


Junis:               My core motivation of doing so, was also to get a my diverse team of creatives working on our account.  You don’t always find, you know, those strong female creative directors in the agencies.  So we really put some effort in to find those people who are freelancing in the market who we know have a proven track record of amazing creative ideas, and engage with them directly to come up with great ideas for our title campaigns.


Lyle:                How are you finding these freelancers?  I mean, agencies are relatively easy, right, because you hit one company and they have a whole bunch of people, and they can do a large campaign for you.  But, individuals, that must take a little bit more time and energy to cultivate that community.


Junis:               Well, I think, one key of success for each of the regions is that we are all regional experts, so we all come out of the region.We are all Germans working on the German region.  And we have our network, and it was really up to me then to dig into this network to connect with people to get to know people.  And be also lot in the region, again, be a lot in the, you know, creative cities like Berlin and Hamburg, spend time with some people there, and extend the network, and search for those people.  It’s an investment, but in the end, it really paid off because we have a beautiful pool of.


Felix:               It paid off really well.  I mean, it’s like that’s super exciting to work with that pool as well, because we put a lot of trust in our creatives, and I think that’s what they also really appreciate.  Because we go to the creatives and kind of go this a brief, and you go and create your ideas that we can use.  And then Junis works with them from the get-go already.  What’s, you know, what’s feasible, what can we do.  And we give them so much opportunity to do their best work, because that’s what we want them to do.


                        And so, we can actually build a team of superstars for every title that we have.  Because the strength, we know the weaknesses.  And we can have people up in constellations that have never worked in before.  Like we can do anything that you can’t do in the normal agency set up.  And this is something that when I joined and Junis presented that idea that was ahead of the time, absolutely embraced and loved and I’m so proud that we are now in a position where we can actually do that, because Junis executed the whole thing.


Junis:               That’s a lot of praise for me, thank you. 


Felix:               Well, you deserve it. 


Lyle:                So before all this, but you only kind of exclusively worked for agencies and then Junis came along and was like, well wait a second, if we kind of change how we do things, we can do things much better?


Felix:               Junis was here before me, so she can say how it worked before my time.  I can only tell how I did it at the companies I worked for before Netflix.  We usually have one creative agency attached to you.They’ve got like an account and you pay them to come up with ideas, it’s like a contract with them.  Which works really well, but you also the downsides of this, is that you’re building up a lot of overhead costs.  And it’s the same people attached to your account all the time.So, you kind of – it’s hard to get out of that box, right?  It’s hard to come out of it.  And when I came here, and then Junis came up with her idea, and I think you can take it from there how we worked before and why you came up with that. 


Junis:               I mean, we pretty much work how you just described it for a long time. And I think the need of more diverse minds working on our account came also with the increased diversity of content that we wanted to promote.  And really authentically promote to the audience.So we were like, we are not finding those teams that we think come up with the strongest ideas on such content.


                        So, we went out into the market and found those teams ourselves.  And it, I think, it’s a great example of the culture we are operating in, and the freedom and responsibility you have.


Lyle:                So it really came from you seeing like, this agency thing isn’t really working for me, because I can’t get the creatives I want.And this freedom and responsibility thing means I can change it, and so you changed it?


Junis:               Exactly.


Lyle:                That’s fantastic.  Let me ask you, what kind of people are you looking for?  How do you find a person you know would be good for the work you’re doing?


Junis:               Obviously, we look like the first point when we engage with them, we look at their track record, what have they been doing in the market that really drove conversation.  But I’m not judging a creative only on that, because sometimes they are just limited out of their circumstances they are working in.  And then, you know, if you have to work on a big German bank, you cannot be the most creative person you want to be. 


                        So, it’s a lot of you have looking what they have done.Engaging with them, really search in a conversation.  And then it’s really interesting to ask them, how they perceive Netflix.  What would they do better if they could work on the next campaign?  And if those creative juices get flowing, and you really feel, hey, this is, you know, this is the direction you want to take it, wee really give it a try.  And that’s also what this whole approach about to just try it out, there’s no big commitment.  And just booking a creative person for two weeks and see what they will come up with, if they have those two weeks to think about Stranger Things. 


Lyle:                I’d like you guys to kind of explain to me what it was like to be hired by Netflix from a personal perspective.  What it was like coming into kind of a shift in how companies are run.  Netflix runs a little differently.  What was surprising, what was the feeling for you? 


Junis:               So, I used to work in the creative agencies in Germany.And they have been a very, very good school for me.  They gave me all the tools I needed to do the job at Netflix, but I hit the ceiling at some point.  And really felt like I’m at disadvantage for who I am, and not of what I can do, or am capable of.  So, I was told that, for example, this job of leading the new account of an agency should be done by a man, because it’s a more maleish brand. 


                        And I felt like, okay, I’m coming to a border here.Like there are boundaries that I didn’t expect there to be.  So, I was really happy with Netflix reaching for me and giving me this opportunity to change that and coming into an environment that is much less hierarchical.We don’t thrive out of hierarchies, which is very uncommon in a lot of German companies.  We really empower the people to make their own decisions.Create the scope of their role.You can shape the role in the sense of stewing there where your strengths are, and which values and expertise you can bring to the team.


                        And I really felt that that was one of the biggest shifts for me to have this, like huge opportunity of playing out my talents.There’s a lot of category thinking as well in the German landscape.  It’s like either you’re a product manager, or you’re a strategic planner, or you’re a creative person.  And I heard this is as well, when I was like, well, I’m kind of everything.  I really feel that that’s something Netflix is highly appreciating of, you know, shaping the role based on your talents.  And having many hats on, and you can be this very strategic mind that also operates very efficiently.  And also can have creative ideas. 


Felix:               Yeah, I completely, I could especially the last part.That, you know, you can really grow your skill set, like and you can show everything that you’ve done.  So, I mean, my recruitment, when I was asked, there was two job positions open.  And one was the director of social media marketing, and one was director of marketing.


                        And I was asked what would I rather do?  And my response was, I don’t know, because to me they’re both the same thing.  Like I don’t think social media marketing is different from like marketing.  Because, A, it’s got the same word in it, and B, it’s like, you know, a good idea is talkable, and I think that’s what people usually mean by social.  So, that was my first challenge I gave the recruiting team when they would ask me.


                        And, you know, and then because I had worked at Twitter before, it was decided that it should be social marketing.  And it ended up through the recruitment process without anyone telling me, I ended up with the director of marketing position.  And then where also my manager here at Netflix also said, you know, with your background, we don’t need that social position anymore.  We’ll just – you do both, because you can do both, right?


                        So, you do you, like your own self, like where’s the difference, it was brilliant, and show us, right?  You can do marketing like you understand marketing.  And that seems so simple, but that’s huge.


Junis:               And I think that’s, by the way, also the biggest challenge.It’s the most exciting part, but then the biggest challenge is, okay, now it’s up to you, right?  Now it’s, yes, Junis, you always said you are so strategic, so creative, and such a great project manager, now you have this playground, what are you doing out of this?  You know, what will you come up with?  Is it really that great? 


                        And this is a very, like, it’s a great feeling, but it’s at the same time also the challenge you put on yourself of, okay, what do I do now with this playground, and with all those opportunities to really make use of my talents that were restricted in way before? 


Felix:               Totally.  And I think you have to, you know, you have to learn to trust the people that are trusting in you.  So, it’s this mutual trust that you have to accept.  And I think that’s where an open feedback culture is wonderful.  Because in companies I have worked before, you have these like annual feedback meetings, and stuff comes around that you always are very surprised.  And so you’re dreading these like feedback meetings, right? 


                        And now, you know, I have the confidence here that I am doing a good job, because nobody has told me otherwise.  Like nobody has given me context that, you know, stuff is not working out, or that they don’t like it.  And you know, you get like little bumps here and there, which is fine, because that’s how you grow, that’s how you learn.  But you don’t get this thing, you always do this and this.  You know, like these really random universal feedbacks where you kind of can’t pinpoint them.


Junis:               And if I might add to that, it was also big difference on how the feedback is presented to you and with which intent.  It’s always coming from a good place, and it’s always coming with the best intent to make you better, and for everyone to grow in the company.  And I’ve never seen so many people really acting in the best interest for a campaign, or for the company, or for the brand.  And not acting out of their own ego.  And that was also big, big shift for me from coming from a German agency background, and starting at Netflix, to really see this selflessness and people really striving towards the one goal to make the business better, and to make the business grow.  And that was fascinating for me to see.


Felix:               I completely agree.  I think this kind of we’re interested in setting people up for success.And that’s kind of what we, you know, we’re doing our job, but we’re constantly like also, you know, want other people to succeed with us.  I think that’s so valuable.  And I think you told me about the first time you got feedback, which I thought was really interesting.  Because we do have annual feedback sessions where we do give a shout at each other, like feedback.  And I think, when you got your first feedback, that was eye opening for you as well, wasn’t it? 


Junis:               Well you always, when you get the first 360 feedback, what we call it, you’re always a little bit nervous, what will come out of that?Like, what are people really thinking about me?  So I opened the feedback and what was really empowering was to see from a lot of cross function of partners in the German team, but also in the European team too.Hey, speak up, even in bigger groups like every time you add something to the conversation, it’s so valuable.We want to hear you more.  We want to hear your thoughts, more your thinking behind certain things, and really have this empowerment after a short amount of time of people telling me trust your voice, trust your opinion, and really raise your voice even in the meeting room with many, many people you might not know yet.  And that was a great opinion, as well.


Felix:               And it’s not a power play.  I think feedback often is power play in companies.  Where it’s like, you know, I’ve got something on you, you know, that will stop you from going further.  Or that’s where I can pressure you into something with.  And that’s not the case.  Like feedback is really for growth, how it should be.


Junis:               Yeah.  I was really bad at taking feedback before I started at Netflix.


Felix:               I know.


Junis:               I always took it personal.  And I always have a defense mode on.  Don’t say that to me, I want to be, you know, I don’t want you to have anything against me.


Felix:               Exactly.


Junis:               And it really switched with, you know, if you realize that those people, as I just described coming from a good intention, and they don’t take it personally, they want this for your personal growth, and for you to succeed.  And that’s a complete different feeling. 


Felix:               And it’s very non German, right?  I mean, this is something.


Junis:               Very non German.


Felix:               And from a corporate culture, right?


Lyle:                What does that mean?  What does it mean to be non German?


Felix:               It’s a thing, it’s actually it’s very German, in a way, because we are very direct in Germany, and very honest.  And my dad, who’s Italian, but lives in the UK, always say, the English are too polite, to be honest, and the German’s are too honest to be polite.  So we have a directness that, you know, and that was something working in this with many cultures, as well.  Like I think, after my second month, or something, where I, in a meeting, was very direct about something that I didn’t like.  And that my American colleagues didn’t understand the context where I was coming from, from my culture.  And, you know, then I had to set the record straight.


                        And I remember, I think I was also going to you, or the team and saying, that, oh, I just was bit took direct with someone, and I should have known, because I worked in multicultural companies before.And then the team was like, oh, finally, the first time that happened to you, because it happens to everyone.It’s, you know, you come with your cultural background, and we meet other cultures, and it’s something that you learn. 


                        So, in a way, we are very direct, we are very honest.But when it comes to giving feedback in companies, in corporate culture, we tend to use that as a kind of power mechanism of, you know, controlling people of, as you said, having something on you.  Like, you know, there’s something I know about you that you’re doing, you’re not doing well, and I’m going to tell you in this feedback.


Junis:               It’s also very top down.


Felix:               Yeah, it’s very top down.


Junis:               You’re not encouraged to give feedback to your manager.


Felix:               Exactly.


Junis:               And it’s really.


Lyle:                Is that different here at Netflix?


Felix:               Yeah.


Junis:               Absolutely.


Felix:               Absolutely. 


Junis:               I think in the second week, a marketing director asked me, so, Junis, you have been here two weeks, what can I do better?  Like give me all the feedback you have.  And I’m like, well, two weeks is maybe not a fair amount of time to really give you great feedback.  But, those running conversations, we do this all the time, and we give each other feedback no matter if a manager, which role name we have, which position we are in, which team we are in.  It’s if you have a valuable piece of feedback to make someone better, just share it with them. 


Felix:               And then we share that feedback.


Lyle:                Junis, you mentioned earlier that had gotten feedback, and you’re like, oh, it’s hard to get feedback.  I’m assuming you’ve gotten a little bit better at receiving feedback.But also, the feedback that you got early on about speaking at the meetings and stuff, have you changed as a person?  Have you gotten better at that skill?


Junis:               Yes, absolutely.   It’s this empowering moment of telling me to speak up more, and giving me the room to also do so, and the freedom, really changed me.  Because I’m naturally someone who speaks up, that’s why maybe also in the Podcast, but.  But I usually like to voice my opinion if I have something really valuable to add.  And, yeah, it gave me the opportunity here to do so.  And to also evolve in my role from a producer working for the German team and to a manager role, having now eight people in my team working across several countries.  And, yeah, I think I’ve gotten better in it, and really now also practice it in front of the team to be, yeah, to lead by example on how you can establish your voice in the company, and in discussions?


Lyle:                Tell me more about transitioning into a manager?  You say you have eight employees.  What are their tasks?  How do you engage with them?  How do you hire with them?  Explain a little bit about that to me, and to us.


Junis:               So, my team consists of eight producer rock stars, who are amazing and work for the UK, German regions and Nordics and Central Eastern Europe.So a very diverse team.  They all come out of the regions, so they’re really regional experts.  And they are basically what Felix and I described early on, and partnering up with the marketing team to really push creative boundaries within our local campaigns, for our shows.


                        And I’m just really, really lucky to share the knowledge I gained for two years as a producer with them to set them up for success with all the learnings I gained over the time, to see how they can push it further.  How they can evolve the team.  And obviously, I’m always looking for people who can higher the benchmark.  So, people who probably will do even a better job than I did.  I think that should be always the benchmark when hiring new rock stars in the team.And it’s really exciting to be at a point where you can share all this knowledge.  And where you can, yeah, pass it on to others, and see what they make out of it.


Lyle:                Can you explain to me, and some people might not know what actually a producer is in the marketing scope?  Like what are those people actually doing?  I mean, you talked a little bit about that from yourself, but describe, maybe even some examples, of what’s happening right now?


Junis:               Sure.  So, the full role name is integrated producer.  And it’s a very rare role, especially in, for example, markets like Germany.  So we put a lot of emphasize in explaining the role, as well, when we engage with candidates.  The role consists basically of partnering up with the marketing teams.  And when we, let’s say, want to support Star Trek, to come up with this brief together with the marketing managers of what we want to achieve with this campaign.  What are the deliverables that we are expecting from an agency?  Is it, you know, a big customized billboard?  Is it an event?  Is it like social? 


I said whatever assets part of the campaign we need, the producer is taking care of that those get created, not only creatively, but also as a final asset, and then deliver to the media by the social channels.  Or even set up a whole event.  And the great thing about this role, is that we always start with the idea first.  We don’t think in particular channels of, you know, now I want to do something big and digital.  Sometimes that happens, but usually we come off with we do very open briefings to the creative people.  And then see, okay, what is the strongest idea?  What is the strongest narrative, and how can we translate this to the various channels?


So, in my time where I was a producer, I worked on any channel.  I did crazy, like I don’t know, like I told the projection on the TV tower, or a huge 100 meter billboard with the cups, finger verse, which went completely viral in Germany.  Or a music video from scratch with En Vogue, and re-record of their famous song Free Your Mind.  And like shooting a whole music video with them on the ground. 


Felix:               And I think it’s also important to stress that when we do these campaigns, we’re very fluid when it comes who needs those campaigns.And because Junis, in her role as producer, also led the campaign for Altered Carbon, which is a marketing campaign, but she partnered up with marketing, but took the lead to do that, and came up with, I think, my favorite Netflix campaign, Ever, which is the, I mean, you say it, because it’s your project, I don’t want to take that away from you.


Junis:               You know, that Altered Carbon stands for eternal life.Those people who can’t afford a sleeve, can live forever.  And we said, okay, in the world of Altered Carbon, if you can live forever, we should actually make one of our German Netflix member an eternal member, Netflix forever member.  Like, you will get Netflix for your lifetime and if a scenario like Altered Carbon will happen, you will have your Netflix membership to the last day. 


Lyle:                For all future sleeves.


Junis:               For all future sleeves forever.  And this very simple idea of just giving out a membership that lasts forever, and that is eternal, drove extremely high fandom, and also conversation in the German market.  And people went crazy about it and really wanted to participate.  And we made a very special Netflix quiz with I think over 500 questions.  And the people who got the farest would win this membership.  And I think it was over three  days, and I had a feeling everyone was talking about it.  We had 150 press articles.  It was really massive.  It was talk of the country for some days, so.


Lyle:                Did somebody win?


Junis:               Sure.


Lyle:                Yeah.


Junis:               Sure, we got eternal members in Germany


Lyle:                Oh, that’s fantastic.  That’s a great story.  Felix, do you have an example of something that you, a memorable thing you’ve launched, or help work on that you can?


Felix:               I mean, you know, I was, when I came in, I was lucky enough to witness the Altered Carbon campaign coming together.  So, that’s what I get.  And but, you know, I think that the last thing we launched a big campaign was for Disenchantment, which I personally love the show a lot.  And we were very excited as a team and for that coming to the service.  And, you know, because Germany is like a fairytale country, because you know, we’ve got the Grimm Brothers who told the fairytale.  So we kind of built on that, and had some amazing activations from social assets. 


Where, you know, you see a girl playing with her doll and playing out, being the character of what she sees as being a princess now that she’s seen Disenchantment.  And, you know, and with the father being completely lost.  You know, not being able to tame this new little adult princess.Which is great, because you can tap in so many cultural memes, and so many things that are happening right now when you’re here.  And so, I always marvel at my team coming up with these ideas and making them come to life.


Lyle:                Well, Felix and Junis, I got to say that you got me excited.  I want to go work there.  


Junis:               Join my team.


Felix:               Oh, yeah, we’ve got open positions, so, you know.


Lyle:                I don’t think our boss would be very happy.  I’m also not sure I would enough cultural knowledge of.


Felix:               Oh, we can get you there.


Lyle:                Well, thank you very much for joining us.


Junis:               Thank you for having us.


Felix:               Thank you for having us.