Ted Sarandos welcomed resolution to the actors strike to allow his streamer, and Hollywood, to get back to work.

“We’re mostly just thrilled the strike is behind us, and getting back to what we do best and what our writers and actors do best and all of our below the line folks, which is make great stories for the world,” the CEO told the UBS Global Media and Communication Conference during a session that was webcast on Monday.

Sarandos reiterated Netflix would spend around $17 billion on content in 2024 post-Hollywood strikes, as long as that content spend matched the company’s expansion. “You just have to stay closely aligned to that growth. We think that $17 billion level aligns with our growth. If we surpass that and if we accelerate on that, we’ll revisit that as well,” he argued.

Sarandos also predicted cycle of TV legal dramas to reach viewers in 2024 after Suits had its moment in the streaming world on his platform.

“I would argue next year you’ll probably see a bunch of lawyer shows,” he told the investors conference.

Suits, an NBCUniversal show, found new life on Netflix, as the service cemented its reputation for offering classic TV shows and movies as part of its streaming TV offering. Sarandos argued his subscriber base discovering TV shows long after they aired on broadcast TV networks adds value to library licensing deals for original IP, often followed by new incarnations of marquee franchises.

“Sony is making a movie of Cobra Kai. Why are they doing that? Because Cobra Kai was a monster on Netflix,” Sarandos said. A continuation of the Karate Kid movie franchise — with original stars Ralph Macchio and William Zabka reprising their roles — Cobra Kai began as a YouTube series during the platform’s relatively brief foray into longer-form scripted programming.

After two seasons at YouTube, it moved to Netflix in 2020.

Sarandos added Hollywood studios licensing library series to Netflix, rather than hoarding them for their own upstart streaming platforms, reflects the origins of the TV business.

“They always built their studios to license. The unnatural state was kind of forced vertical integration. There will be opportunities for us to license,” Sarandos told investors. The same should take place on the movie front, where Netflix is moving beyond producing its own original films like Maestro and May, December for its own content vault to licensing more titles from others.

He also hinted at more live event programming at Netflix after success with its first-ever live, global streaming event with the stand-up special, Chris Rock: Selective Outrage, which included live pre- and post-shows.

“What we’re trying to do with live … the key is let’s focus where live is the creative part of it. If it’s better because it’s live, let’s do it live,” he argued.

The Netflix boss told the investors conference that the streaming giant had to balance consistency with adapting to a changed entertainment landscape to ensure long-term success. “Streaming is a good business. It’s just a hard one,” he said