Gabe Spitzer oversees one of the most complex live sports portfolios in the streaming industry. As VP/Global Live Sports & Entertainment for Netflix, he manages rights negotiations for the NFL, FIFA, MLB, WWE, and various combat sports. His current focus is on expanding the platform’s footprint in global football, a strategy that places the streamer at the center of high-stakes broadcasting deals. He is currently in Melbourne, Australia, for the NFL‘s first regular-season game played on that continent. The match between the Rams and 49ers will stream live on Thursday, marking a significant milestone for the league’s international expansion. Spitzer made the 7,900-mile journey from Los Angeles to attend the event.
Expanding the NFL Footprint
Netflix increased its NFL inventory from two games last year to five this season. Spitzer noted that the league approached the streamer around the time of last year’s Super Bowl, indicating they had additional game slots available. The primary driver for acquiring these extra rights was the desire to open the season with an international broadcast. With over 325 million paid global subscribers, the company sees value in leveraging its worldwide reach from the very first week of the season. “It was a bit open-ended in terms of what was possible with the NFL,” Spitzer explained. He emphasized the need to ensure the broadcast schedule felt intentional rather than random.
The selection of specific dates was a strategic decision. The Week 1 game in Australia signals Netflix’s serious commitment to the live sports business. Additionally, the Thanksgiving Eve matchup between the Rams and Packers in Los Angeles represents another first for both the team and the network. Spitzer highlighted that these two initial broadcasts set a tone for the rest of the year. They demonstrate a clear editorial voice and a willingness to tackle new formats. This approach distinguishes the platform from traditional linear broadcasters who often stick to established routines.
Hiring Kuechly for NFL Analysis
The production side of these broadcasts requires significant human capital. Spitzer stated that Netflix has completed roughly 90% of its NFL talent hires for the 2026 season. A notable addition to the roster is Pro Football Hall of Famer Luke Kuechly, who will serve as a game analyst. Kuechly was not the immediate frontrunner because he had limited television experience prior to this role. He had previously worked on Panthers radio, but the team saw potential in his unique perspective during initial meetings. “We had an initial meeting with him and loved him,” Spitzer said. “Immediately you felt like he was thinking about the game differently.”
The hiring process included a rehearsal session at NBC studios in Stamford, Connecticut, in early July. Kuechly worked alongside Noah Eagle and interacted with industry veterans like Fred Gaudelli. The team found him to be both analytical and relatable. Spitzer expressed confidence in Kuechly’s ability to handle the pressure of a national broadcast. “We know this is going to be the first time he’s done a big national game and we will give him all the support possible,” he added. The company is also hoping to secure WWE superstar Seth Rollins for the Christmas game between the Bears and Packers, though schedules remain uncertain.
The Scale of the Women’s World Cup
Women’s World Cup: Massive Scale
While the NFL deals are substantial, the upcoming Women’s World Cup in Brazil represents a different tier of complexity. The tournament begins on June 24, 2027, and Netflix holds exclusive broadcast rights for the U.S. and Puerto Rico in both English and Spanish. The company also secured English and French rights for the same tournaments in Canada. Spitzer described this project as the most ambitious live sports undertaking in Netflix’s history. The platform has only had live functionality for a little over three years. Previous projects were typically single-day events, which is a stark contrast to the scale of a month-long tournament.
The logistical challenge involves broadcasting 64 matches over 30 days. Each day requires up to eight hours of live coverage. “To go from those to 30 days of programming, 64 matches, live for a full eight hours every day for an entire month for arguably one of the biggest sporting events in the world is something that we’re not taking lightly,” Spitzer said. The team has been in deep preparation for about a year. With under 300 days remaining, significant work still needs to be completed. However, Spitzer maintains full confidence in the production team’s ability to deliver a high-quality product. The sheer volume of content requires a robust infrastructure that the company has spent years building.
There is a plausible argument that the success of this tournament will define Netflix’s reputation in sports for the next decade. If the editorial balance strikes the right chord, it could convert casual viewers into long-term subscribers. The risk lies in the execution of such a massive simultaneous release. One misstep in scheduling or commentary could alienate the core audience that Spitzer says is essential to the project’s success. The stakes are high because the brand equity involved is immense.
Editorial Strategy and Future Ambitions
Targeting Three Types of Viewers
Spitzer and his team have spent hours determining how to appeal to different types of viewers. The strategy relies on a three-part audience model. The first third consists of hardcore soccer fans who expect deep analysis. The second third are sports enthusiasts drawn by storytelling and player narratives. The final third are what Spitzer calls bandwagon fans. “It’s really about a third, a third and a third,” Spitzer explained. If you are in the U.S., you might just watch the U.S. games, or if you are in Canada, you might watch the Canada games. We have to make a World Cup for all of them.
But I really think in the way we’re approaching it, we have to nail it with the hardcore fans first. If they’ve bought in and they think we’re telling the World Cup story in the right way and the coverage is strong, they’re gonna be the advocates for those other two thirds. That doesn’t mean we can’t still do World Cup 101 explainers.
Part of the benefit we hope of being on Netflix is that we’re building this massive World Cup hub where you can come in and there’s gonna be a ton of content at your fingertips, and that’s going to offer viewer choice to create a journey for yourself of how you want to consume and be educated on the World Cup.
Netflix is also keeping an eye on the men’s World Cup. Spitzer said the company is interested in talking to FIFA about the 2030 tournament. These conversations could begin late this year or early next year. However, Spitzer clarified that interest in a conversation does not equal a formal bid. “Us wanting to have a conversation doesn’t mean that we’re bidding on it,” he stated. The men’s World Cup is the largest global sporting event, and Netflix is already in business with FIFA on the women’s side. The company is waiting for FIFA to start an official process. When that time comes, Netflix will conduct an internal analysis to decide if it makes sense to proceed.
Spitzer noted that while much of the press focuses on the U.S. market, Netflix is a global company. The company has recently secured rights for the World Baseball Classic in Japan. This indicates that future negotiations with FIFA may not be limited to the United States. “We could be looking at other markets,” Spitzer said. The global nature of the platform allows it to consider a wider array of opportunities. This flexibility is a key advantage over traditional broadcasters who are often tied to specific regional rights packages.
Reevaluating Sports Documentary Strategy
Beyond live events, Netflix continues to invest in sports documentaries. Spitzer recently read a piece in SBJ by Austin Karp about creators adjusting to changing trends. He found the article thoughtful and relevant to the current climate. “It’s just in an interesting transition point right now,” Spitzer said. The company remains a believer in sports documentaries but has adjusted its greenlighting process. In the past, there was a trend of following teams for an entire season, which led to a saturation of similar content.
Netflix now focuses on ensuring that access is authentic and not overly controlled by leagues or athletes. The recent launch of the documentary Raygun: Breaking Badly about an Australian break dancer demonstrates that the slate is still active. The genre is undergoing a reexamination rather than a decline. The company aims to find a balance between volume and quality as it moves forward.