January 30, 2025 • 45 mins
After their biggest jump in subscribers in recent years, Netflix (yet again) announced another $2 increase in their prices. Are streaming services now getting too expensive?
(recorded on January 24, 2025)
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Discussion Links Below:
- 04:41 ~ Adrien Brody's The Brutalist (2024) Controversy Over A.I. Use - https://www.cnn.com/2025/01/22/entertainment/the-brutalist-ai-controversy-scli-intl/index.html
- 13:08 ~ Warner Bros Discovery Wins South Park Ruling in Court - https://www.hollywoodreporter.com/business/business-news/south-park-streaming-rights-standoff-warner-bros-discovery-wins-ruling-clearing-way-for-trial-1236115255/
- 19:01 ~ Amazon Prime Video Shift Focus To Sports Streaming - https://www.reuters.com/business/media-telecom/amazon-prime-video-shifts-focus-live-sports-boost-profits-information-reports-2025-01-24/
- 27:53 ~ MAIN TOPIC
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
I'm so glad Sony like said, you know what? We're gonna cut it.
(00:05):
But I'm really pissed that the CEO doesn't understand why people don't like it.
I think it's okay. I think the fans just want too much.
Oh, no, bro. You're not putting enough effort into it.
We want the basic minimum. Put some effort into it.
Like how hard is that? Apparently really hard. Since Rhino be like...
(00:30):
Some ****. Have you seen that one? No.
Oh, well now you got to. All right, here we go. I'm gonna start right at five.
All right. We're going in.
We're going in five, four, three, two.
(00:51):
What's up, everybody? This is the Red Band Podcast, your source for all film and TV related news
and topics. I am your host, Anthony King. And of course with me is my co-host, Adrian G. Fuentes.
And sitting over there in the control room is our technical director, Mike Card.
How are you guys doing tonight, man? Pretty good. Pretty solid.
Pretty solid, man. Damn, I like how you didn't waste any time.
(01:14):
You just said, bro, it wasn't going to waste any time with my ****.
Yeah, no, no, no. **** you, man. **** you. I took advantage of you writing that sticky note.
You got distracted. You lost your chance, man. You ain't ****ing us this time.
That window was open as I was talking. It was your chance.
Yeah. I was like, Michael, anything? Nope. OK. Anyways, back to our main topic. ****.
(01:38):
Are you guys doing good, man? Pretty good. Pretty solid week.
Yeah. That's it. That's it. That's all I got. Yeah. Nothing to say with the more fire surrounding us.
Dude, they're going to San Diego, too. They're in LA. We're surrounded by flames.
Yeah, but where we live, we're kind of used to it, unfortunately.
Yeah, it's just Tuesday now, too. It's just OK. It's just that one particular area where we live.
(02:02):
It's not necessarily California, but where in California we live at.
We're literally just surrounded by like this fire, like just surrounding us.
It's a yearly thing where we get those warnings. It's like.
Now, I'm not saying we feel bad for it or we, you know, but it's just.
It's just Tuesday. Yeah. No, it's weird. It's like, yeah, we have your LA fires.
(02:23):
Then we have our San Diego fires. And some reason we just got one weird fire right in the middle.
Yeah. Yeah. Right. Like we even had a fire like two exits down.
Oh, yeah. I was actually there for that one. Yeah. Yeah.
There was like an evacuation order for that side of the freeway on the 215.
Yeah. I didn't see nothing. We were on the way to pick up Adrian.
And all of a sudden we're just like on the side of the freeway.
(02:44):
Like, what's all that fucking fire? Oh, shit. That's a building on fire.
The fuck? Just out of nowhere.
I honestly thought was the detention center. Yeah, I thought so, too.
I was like, oh, shit, they're burning it down.
Damn, people are quick. Yeah. But damn. Yep.
Is it just people like wanting to have a bonfire and they're like, oh, that's right.
Santa Ana wins. I mean, even seeing the people's crazy
(03:04):
talks, they're like, oh, it's a conspiracy theory, man.
It's like, have you been noticing this? The haze going around the extra fog?
Maybe that's what's causing the fires. What's the government putting into the chemtra?
Yeah. Yeah. It's getting to that point now. Yeah.
I've heard fog is causing fire. Yeah. Yeah.
I've heard the the the government doing it. The government's doing lasers.
The government's doing with satellites.
(03:25):
So far, my favorite conspiracy theory is that the fires have started to hide the ditty tapes.
I like that one. As if the government,
if they had it, they already took it. Yeah.
But apparently, like, no, no, they're trying to hide the tapes.
You mean the thing they're ready for? Yeah.
Things they already have in possession. Yeah.
They already got it. Like, what the fuck you think they have?
(03:46):
What do you think this is like some one piece treasure where it's like they're just
scattered throughout? If you want my sex tapes, I got to find them first.
I left everything I own in L.A. County. Yeah.
Yeah. I'm just taking the most ghettoest one piece ever.
(04:10):
Don't do it, Mike. Don't do it. I know you.
Since then, conspiracy did he theorists have searched for the great
the great diddy tapes?
Who's going to be your one piece crew to find all the tapes?
Collect them like the Dragon Balls.
(04:33):
Oh, shit. I think it's time we didn't jump into this film.
Yeah, we're starting to get really off topic now.
So let's just get this started. First thing we have here.
The Brutalist has come under fire for the use of A.I.
This is actually pretty interesting because this is now
putting more into the limelight of industry practices that have already been kind of going
(04:57):
around for like at least like the last 10 years. Yes.
But this one really caught people's attention because the person actually came out.
So the movie editor, David Jansko, he actually came out and admitted it that
he had to use A.I. to change some of the voice actors speech patterns.
Yeah, it was like a candid report.
Yeah. Why do you guys feel about this?
Because we've known that stuff like this has already happened for a very long time where
(05:22):
you have to re voice over dialogues, change pitches to certain tones, musicals, movies,
you know, to match certain persons voice, you're going to have to do some subtle changing.
Yeah. No, no, it's a common practice, obviously, to, you know, like I said, change out
tones, equalize it, you know, add either, either what's it called? Compress it.
Like there's always been tools like that.
(05:43):
Yes. Is there any difference in your opinion why it would be different using A.I. tools this time
instead of practices people have been doing manually?
Well, this one part gets a little tricky because he says that he used it to fix
fix certain dialect, certain verbs, certain words to to make it sound really, you know,
(06:05):
was it Hungarian? Yeah, Hungarian.
Yes. How often do you have to use it? Was it like for only a few sentences or for like 90% of the
dialogue? So you're worried about the extensiveness of how much it needed?
It is a tool when it's like, OK, we need to fix up this one scene or this one day he was really off.
So let's just fix it up. Yeah, that makes sense.
(06:26):
That unfortunately that happens. We're not perfect. These things film sets take months at a time.
And you're not going to have day to day consistency, unfortunately.
Yeah. So there'll be one day maybe he's off and like, OK, we'll fix up then.
But if it's the entire film, OK, then that's a little like, how would you feel like now having
these A.I. tools where you can completely switch someone's speech patterns to something completely
(06:48):
different? Like, hey, you don't need to put in an effort for a French accent because we can have
A.I. to do that for you. Just say your lines. But then that gets worse into the we'll fix it in post.
Yeah, it does. It does lead that into it. So does that worry you where we will eventually
start going into that lazier territory because we have the A.I. tools? Does that would that ruin
(07:10):
the authenticity of actors playing specific roles then when they're really acting?
Yes, because then you're going to have a clear distinction between stage actors and
film actors. Yeah, because stage acting, there's no hiding. Yeah, you can't have it. Yeah,
you're hiding it. So unfortunately, I think you'll divide that much and bigger. We have stage and
actors because there'll be ones who have no acts, just have a straight American accent and they're
(07:36):
just make it British. That's true. But it really does make me think exactly what is the appropriate
amount of how you're supposed to use these A.I. tools? How much is too much? I mean, for right now,
what's happening with with what's the other one? Yeah, who's the other the one? Amelia Parrott,
(07:59):
Paris, Paris for the movie Amelia Perez. Yes, they also use it for an actress, Carla Sofia Gascon,
who also used A.I. to enhance her voice for singing, but used it in a way to where
they're enhancing their singing potential exponentially further than what they were able to do already.
(08:19):
So is that like pitch adjustments? Like, hey, she can't hit this note, so we're going to change the
pitch. So she's hitting notes we need her to hit. Is that what they're doing with that? Probably.
That's so far only the extent of what has been said. But like I said, that's again, it could be
one of those things where like it's just helping out once in a while, I guess it's OK. But would
(08:40):
it be OK if see like here in a part in an interview with Screen Rant, Carla Sofia Gascon used her voice
that was blended with French pop star Camille, who co-wrote Amelia Perez's songs and scores.
Right. And in an interview with Screen Rant, she said that performing the songs in Amelia Perez were
(09:01):
all a challenge for me because I'm not a singer. I'm not really a singer. It's not my thing.
So using another person's voice and then using that as a way to.
Enhance her vocal range that she can't not do. I mean, she's saying she's not a singer. Got it.
Got it. Yes. But unfortunately, that's it. That's been done in Hollywood since forever.
(09:22):
No, that has been. Yeah. Yeah. Yeah. Yeah. Like I said, people are worried about it now because
they hear the phrase AI being used when we had analog tools to do this for a very long time. Yes.
Yes. My point is like, yeah, that's going to happen with like movies with pitches and singing,
you know, actor actors can't sing. So let's just use AI tools to adjust that so they can sing.
(09:44):
I know a lot of people are going to complain like, oh, why don't you use a musician or like an act
like someone who could sing, but they need to act at the same time. So I do get that.
My main concern is when you actually have character roles where you're playing a foreign
character from yourself that you need to give a specific accent or dialect. Well, will it be
(10:05):
okay to fully use AI to change that? They worked for the Adrian Brody movie, the Brutalist. They
worked with a coach named Tenera Marshall for months to like work on the accent. Yeah. Yeah.
But they mentioned that there were just some, there were some letters or pronunciations of
vowels of certain words that were said in a certain way. Hungarian, that was very hard to like nail.
(10:32):
Yeah. To nail that. Okay. Then that I understand. So the use of the AI was to accent a little bit
more of those vowels and words of pronunciations rather than just like the entire thing. Yeah. Now
I get that. That makes sense to do that. I mean, it's just a few words, I guess, but it does kind
of take away the idea that these two movies are Oscar nominated. That is very true. They're Oscar
(10:54):
nominated. Yeah. And Oscar's supposed to be the top of the top. You're the best. If you're nominated,
that means you are the best at your craft. Or someone paid enough. Yes. But the whole,
the whole, what's it called, spirit behind it is that you are the best if you receive this little
statue at that one, whatever you name it, you're nominated. That means you're the best at that
right there. But to, you know, unfortunately, I said for her voice to be, if it's her voice be
(11:19):
nominated, it kind of like takes away from it. And the same time, like I said, how much do you
keep the, like the authenticity before it really takes away from the magic of the stage play,
the performance that they're actually forgiving. Like sometimes you allow those imperfections to
happen. You allow them, you're like, okay, it's whatever. He didn't get that part right. Or that
(11:42):
didn't sound a little weird, but that's kind of like, what's the beauty of it too. If that makes
it art, you do have those imperfect moments. And if you're using tools to constantly take that away,
to make it perfect, to fix it in post, it really does take that away from the magic of it.
Then yeah, then it gets a whole mini, mini vanilli. Yeah. Yeah. Yeah. And then you get that
(12:05):
whole thing. So that's how I personally feel like that. I do agree like AI and using it in film,
there are specific ways you can use it and it is a great tool to use it. But when you use it too
extensively, or if you use it for, in the ways it's not necessary for, that's where I still have
the problems. Like that speech corrections, everything, I don't really see it that much
(12:26):
bigger deal when I see AI is more necessary for like VFX artists to really crunch down
algorithmic like numbers and all this other stuff that could be used to really help out other parts
of the industry. Yeah. Yeah. So that's kind of where I'm kind of like feeling on this one,
but I really interested to see how much more this is going to develop in the future as AI slowly
(12:50):
and slowly more gets in grip and integrated in the film industry. Unfortunately, there will be
that one movie that will overdo it. Oh yeah. There will be a movie that will be like 100%.
They're not even saying these lines anymore. Yeah. Yeah. So yeah, that's, I'm actually waiting
for that day to see which film is going to do that. All right. Next topic, what we have here,
South Park Streaming rights standoff. Warner Brothers Discovery wins the rolling clearing away
(13:15):
for the trial. So this is pretty interesting. We talked about this like about a year ago, right?
Back in 2023. Yeah. That's a while. So yeah, Paramount and Warner Brothers Discovery back then,
they were having this big beef over South Park. Warner Brothers had the exclusive rights to have
30 episodes on their streaming channel, Max for South Park. However, South Park studios also cut
(13:40):
a deal with Paramount to produce these specials. When they produced these specials, it cut into the
number of episodes that they were able to produce for Max. That's cut. What season was that? They
got cut short. It was like really, really short. It was like, that's like season 20, 24 to 26.
Okay. Supposedly when I'm reading in the article right here, Warner Brothers is claiming that
(14:05):
Paramount and South Park Digital Studios controlled in part by creators, Matt Stone and Trey Parker,
conspired to effectively double deal on content allegedly contemplated in the agreement by
diverting series specials to Paramount Plus to prop up its then fledging streaming platform.
Yeah. So he's angry at both parties. No, it makes sense, but it doesn't sound like he's suing the
(14:32):
South Park studios. Sounds like the lawsuit was 100% towards Paramount, which makes sense because
they're the controlling party. But it also sounds as if he's mad at South Park for including in that
deal as well of Paramount along with Warner Brothers and just kind of like overstretching,
like, yeah, I can, I can make this happen. When obviously you couldn't. Yeah. Oh, because also
(14:56):
the deal didn't specify how many episodes would be delivered to Warner Brothers as part of the
agreement. Yeah. Yeah. So they said like 30 episodes, but didn't specify how many episodes.
Yeah. Season 25, which is 2022 got six episodes. Yeah. 2023 got six episodes. Yeah. That's it.
Those two. It's all just those two ones right there. Yeah. They're out cut really, really short.
(15:20):
Geez. Now do you see South Park studios, like do they announce when their deal or term with
max ends? Do you think they're going to renew their licensing deal with them? Or do you think
they're just going to 100% move over to Paramount? I think whoever's got the biggest check.
Cause that's Warner. Weirdly enough, that's Warner. Wait a minute. With our debt. Cause
(15:43):
they're not, they had proven that they're not loyal to anyone. Yeah. They were never
loyal to Comedy Central. They're never loyal to Invisal. So to me it's like whoever has the
bigger check. That's very true. The number of times they got fucked over by Fox and they kept
going back to Fox. Yeah. That's true. But doesn't, oh no, they're not owned by Comedy Central no more,
(16:05):
right? No. Are they still owned? No. No, I believe they're. Do they own their own? I think they're
their own. Uh, because everything they, oh, they signed a deal with Biocom CBS, uh, in 2021
for 900 million for over six years. 900 million. So technically, yeah, if they want to, they can
(16:27):
just keep them under Paramount's deal when the whole deals end, but they do have that long contract
deal with Warner Brothers. Yes. It's where, well, again, it comes down to whoever's going to be
paying for the streaming rights. Yeah. For the main, which turns out Warner was the one that was in
the right, which I kind of saw all along that, yeah, they were technically in the right. Yeah.
It was double dipping. It was double dipping. It was double dipping, but at the same time,
(16:51):
they neither one wanted to sue with South Park. Yeah. Cause that's the moneymaker right there.
No one really wants to fuck with them at the end of the day. It sounds more like they're just kind
of pointing fingers to South Park, claiming that like Warner Brothers is like, hey, you said you
would make me 30 episodes and you promise me these three seasons, four, five, and six. How come these
episodes are falling short? Like thinking that it would have been like 10 episodes for each season.
(17:15):
Yeah. When South Park was like, well, you never really specified like how many episodes you really
wanted. So like you'll get just 30 episodes, but like, and Warner Brothers is mad that it took,
that South Park took advantage of the, I can never pronounce this word right. Ambiguity?
(17:36):
Hey Siri, how do you pronounce ambiguity? Ambiguity. Yeah. Ambiguity, not ambiguity. Wait,
what did I say before? I don't know. Ambiguity. I said that. Ambiguity. Ambiguity. Okay. Not
(18:00):
ambiguity. Fuck you. Ambiguity. Ambiguity. There you go. They were taking advantage of the contracts.
Ambiguity. That's South Park saying that South Park decided not to make 30 episodes across three
new, three of its newest seasons and that most of its episodes made were not meant to be shown
(18:27):
on Warner Brothers, but through the Paramount specials. So saying most of its resources kind
of went to Paramount and then whatever they made is what they made and went to Warner Brothers.
These are chicken scratch episodes. That's basically it. Yeah. Well, yeah, this is going to be
pretty interesting to see how this progresses forward and if this is going to affect any of
their future deals with Warner Brothers. So I'm actually pretty interested to see how that goes
(18:51):
moving forward. They could probably honestly give a shit. They don't give a shit. They never give a
shit. It's South Park. If anything, it's just more material. Oh yeah. Absolutely. Oh yeah. It's
definitely going to add more material to that. All right. Going over our last bit of film news
before we hit a break, Amazon Prime Video shifts its focus to live sports to boost its profits
because they are declaring this year that finally in 2025, Amazon Prime Video will be profitable.
(19:20):
No, seriously, it has not this entire time. It has not been profitable. Really? They make profit
off Amazon, not Amazon Prime Video. Wow. So their goal post, the goal post for this year for them
is to actually make the platform profitable. Well, maybe if they were, they would have worked on the
UI to begin with. Right. It does make sense because now I'm seeing that an annual spending
(19:45):
for Amazon Prime is roughly around three billion dollars annually, or at least for
broadcasting rights to major leagues such as NBA, NFL. And their main competitor is Netflix,
with Netflix showing Christmas Day, NFL games. They show the Jake Paul, Mike Tyson fight,
no matter how much of a fucking shit show that was. And WD Raw, WWE Raw events. Yeah. So they
(20:11):
they have a lot of skin in the game that they're trying to get. And with NBC Universal even securing
the rights to broadcast NBA games for an 11 year deal valued at seventy seven billion dollars. Yeah.
Jesus Christ. So even Peacock. So it sounds like Amazon's going to try to scramble and try to get
(20:32):
the scraps of any type of broadcasting sports of whatever's left from Formula One. You see I'm
saying, yeah, like every other streamer is getting like the major, major deals with massive sport
or organizations. Yeah. Cause right now I'm looking up at a cricket. Well, I'm looking right now.
(20:52):
I'm on the Amazon Prime, Amazon Prime video. They get just all of the upper elite class,
like sports, like sailboating. It's like they have like pro tennis. They have a couple of NBA games.
They have a couple NFL games because they have, you know, what's it called? I think it's Friday
(21:14):
night. They have Friday night and that's right. Thursday. Thursday night. That's right. Thursday
night. Thursday night. They have Thursday night and something else as well. But also shows here F1
racing or sorry, that's a doc. But shows a, no, so soccer, soccer events. Does any platform have
any exclusive streaming rights to any sports? No. Okay. There is no, no, I'm gonna have like an
(21:38):
exclusive exclusive like only airs here. Yeah. No, they, I'm pretty sure it's all separate. Here it
goes. NFL, NBA, NASCAR, soccer, PBC, which is boxing, tennis, the WNBA, which is way down the
list. Unfortunately, pickleball, pickleball. Okay. Pickleball. That was that getting more views than
(22:04):
the WNBA. That's crazy. That's unfortunately right next to it. And I'm like, I'm like, kind of,
I mean, everyone's going to watch green Griner, dude. Like, I mean, it makes sense.
Everyone's there to go and watch her. Hey, the seasons, unfortunately, that I'm not saying
unfortunate, but that league is getting better. Unfortunately, that league's getting better.
(22:27):
Yeah. Unfortunately, man. It's just, it's going to put them down. Actually, I think there's a,
I don't know if I'm right or not, but I think they're trying to form a new women's basketball
association. A new one? A new one. Why not just fix the first one? Yeah. Why not just?
Cause the contracts are just probably just sealed in too tight at that point. Probably. Well,
(22:50):
I'll get into that one. Yeah. Also they have squash. Squash. Okay. Fucking lame ass sports.
You have the yes, Charles, well done type of sports. They can't, they, Amazon is just too rich
and uppity for the, Hey yo, pass the rock type sports. You know, they can't have, they can't
have park recreational sports. They need single player event sports, but that's how you tap into
(23:17):
pretty much how niche markets when you tap into people, but not even that. But I mean, you get
to like multiple, like the world of sports is expanding what's being broadcasted. It used to
be just, you know, what is it? Four or five sports being broadcast, which is football, basketball,
baseball, car racing, and you know, whatever golf, golf tennis, like you're just very limited.
But it sounds like you're trying to scrounge for everything else to keep up with the bigger
(23:41):
players. Like, yeah, you get all these little niche stuff to increase your views, but you're
only doing that because you couldn't get the good games that you wanted because the other
platforms got those good games that are going to bring in those numbers. Yes. But it does bring
in the interest of like right now, like I said, I'm on here right now. Let's say you are going to
watch, you know, something on the NFL and it's done. Once the show starts and you start going
(24:03):
down, like, well, let's see what else they have because I'm, you know, I'm still want to do
something else. Like, so I'm like, well, let me check out like, well, squash is some stupid
sound like, man, let's fuck it. Let me see what it is. And who knows? You might get stuck in
watching it and there you go. Because also they're hoping for that too, where it they know it's a
sport that's not very popular. Not a whole lot of people watching it, but all it takes for you to
(24:25):
go, fuck it. Let's see what's gone. I ain't going to watch a D three college sport. It's just not
going to happen. Yeah. All right. It's not going to happen. I'm not going to look up someone from
fucking middle of Ohio. Yeah, but college to watch a game and be like, oh, damn, if only those
was what's a dumbass mascot. What's what's a stupid one? One that you just feel like,
(24:51):
oh man, if only the, the Ohio city slickers were able to make it this past year. Like,
I, like, I'm not going to watch it. All right. That's fucking stupid. I'm going to watch,
I'm going to watch the big schools. All right. I watched the big 10 and watch the packed. Well,
I know packed. What does anyone exist no more? I watched big 10, you know, I'm going to watch
these colleges. Yeah. But they're also tapping into sports series as well. That's true. So not
(25:17):
only are they doing, you know, live events, but they're also having like on here, Eli Manning
presents the undercovers team joining us, the city slickers, Ohio city slickers, one shot over time
of leads. You know, there's a bunch of sports shows on here as well. So, but do you think this
(25:37):
is a smart move for Amazon or do you think they should also focus on what they were working with
before? Cause you know, with these new video game adaptations and the television series, they're
actually starting to get something good with these going. Do you think they should work harder on
keeping those going or do you think they should divert their attention to the sports? Cause it
sounds like they're diverting their attention instead of working on both alleys. I think they
(26:01):
should work at both alleys. That just never completely on one. Cause to me, there's still
not enough sports on here to, you know, to keep full interest. But I honestly do see them
taking that full market or at least taking most of the market up sports. I do see that in the
future. Okay. Yeah. Yeah. That's going to be interesting to see how this developed furthers
(26:23):
and if they're able to get or sign more contracts with more sport teams and get better games.
Cause that's the biggest thing because of how chopped up, especially NFL is you're just
fighting for the teams and the games and the localization regions at that point. Yeah. Yeah.
And it's just basically how much you can get before everyone else scoops up the rest.
(26:43):
Yeah. And at this point, it sounds like almost everything has been taken up at least when it
comes to regards of like NBA NFL until the sports, until those contracts are up and then we'll see
from there. Or if they have spring games like baseball. Yeah, that's true. Stuff like that.
I have to wait until the season starts, you know, have like another, another two months, you know,
(27:04):
we'll have to see where they're, what they'll do. Yeah, definitely. All right. Well, we're going to
take a quick break from our sponsor and we will get back. We're covering our brain, our main topic.
So stay tuned. It'll be right back to you guys.
Here are the film topics that couldn't make it into this week's episode. Starting off,
Vin Diesel says that the next Fast and Furious movie is set to return to Los Angeles. Sundance
(27:29):
Film Festival has begun, but many attendees this year have mood subdued due to the fallout of the
LA fires that forced them from their homes. And finally, the Ray Skywalker movie gets its new
writer, the writer of the Ocean 12 and Born Ultimatum movies, making it the fourth writer
to enter the Star Wars project. And that's all I got now back to the show. And we are back covering
(27:56):
over a main topic tonight. This is pissing a lot of people off. Pissing me off. Netflix yet again,
is raising its prices after it's reporting its biggest ever subscriber jump. Because nothing
says, hey, well done for this fourth quarter by getting the most amount of subscribers. Let's
celebrate by raising the prices. So what were the new prices we're looking at now?
(28:24):
So we have the three tiers. We have ad tier, standard and premium ad tier is jumping up
from I'm going to just round up instead of doing the 99. Yeah, yeah, yeah, yeah.
Because that's just just confusing. Ad tier is jumping up from $7 to $8. Standard tier,
which is the no ads jumping up from 1549 to $18 in premium is jumping from $23 to $25.
(28:51):
Yeah, so I'm starting to pay 18 bucks for this. Dude, I'm canceling it.
Yeah, you know, I'm leaning a little bit more towards just Pluto with ads because it's free.
And then maybe getting like a cable package of some sort with like Fubo or something.
Yeah. But Netflix has been increasing their prices every year now, right? Just about.
(29:18):
I mean, the last time they rose their prices was 23.
Mm hmm. Yeah.
I don't know. The standard. Well, the standard with ads is the new is a new feature that they
added back in 2022. Yeah, when they broke things out. Yeah. Yeah. Back in 2011, it was 799 for
(29:39):
basic. That was just Netflix as is. Yeah. No ads. And then 2013 is when they started integrating
the standard and premium where it's just like more users. Got it. I guess you'd be able to add.
So that started out at 999 and 1199 for standard and premium. Basic still at 799. Got it. And 799
(30:00):
basic stayed relatively the same all the way up until 2019, where that jumped up to 899.
And standard and premium had slowly increased their prices every year. And almost as if like
they're shifting their their price set. So standard went from about 10 bucks 2013 following year,
(30:21):
11 dollars, then 12 and 13, 14, 15. And now we're into the 1549 range all the way up to 2024.
And now it's going to jump up to 16. Gosh, man, it's insane. And is there any justification from
Netflix on why they need to keep increasing their prices? Money. What justification is there? Oh,
(30:46):
yeah, we want to bring the most amount of features of live events and sports. And we feel overall
that our overall quality of our streaming service and value has increased. So to balance off the
offset of content and price, we decided to increase money because fuck you. That's why.
That's why I'm doing it. You know, it sounded pretty like nice, cleaned up how you're saying
(31:09):
it. That's exactly how these studios do it. Companies. Yeah, exactly. They'll pretty up by
saying, oh, because we're getting so much more content for you guys, we're going to charge you
more not realizing that things aren't probably actually equating financially from how much
they're actually putting out to how much they're getting back in. You know, but at the same time,
as I'm looking at other streaming services that increase our prices, I mean, it seems like it's
(31:33):
just a common thing. Like every year, let's just check that bitch up. There needs to be a price
ceiling, though it does because I'm looking at say Hulu's last increase was October 20, 2024.
Disney Plus October 20, 24, Max, June 20, 24. So it's like all last last year, all the services
(31:56):
were being jacked up except for Netflix itself. And today, I guess this year is Netflix turn.
Yeah, there's no clear price ceiling for streaming services. Yeah, no legal price ceiling because
it's a free market. Yeah. But at the same time, they know that they can only go so far before
federal federal is going to have to step in. Yeah, not even federal. I think it's more people will
(32:17):
like, fuck, it's not worth it. Like I said, most people are are at, you know, they're they're on a
budget. Yeah, they're not going to be able to spend, you know, 80, 90 bucks on five different
services. But even so, even if people start jumping shit from Netflix and start unsubscribing,
do you actually believe Netflix will react fast enough before the federal government will step
(32:41):
in? Or do you think they'll trade trying different tactics? No, no, no. Like I said, every single one
of them, they're going to dip their toes in the water. They're going to they're going to push
until someone steps in. But I think it's more of people will jump ship before the government
does anything about it. Because like I said, it's only people stick around to a service when there's
(33:03):
a good show on it. Yeah. And remember, every single every single time reference like when Max
once games of throng was gone, everyone unsubscribed. Yeah. They lost a huge amount
of people. So that's why they have to kind of figure out a almost algorithm where it's like,
keep the shows incoming little, you know, one at a time. So keep interest going.
But that can only do so much. Yeah. People are sorry, going like, it's not worth it.
(33:26):
I mean, overall, this article by Forbes is saying that the overall
reaction of the Internet is furious. But we're in this cognitive dissonance of need of these
streaming services to the point to where it's like, all right, well, bitch and moan and we'll vent
(33:46):
out it on Twitter or X or blue sky or whatever. And then once we've ended all out, then it's like,
OK, you want to watch something? OK, let's see what we have and then just go back to
network because it has been proven over and over and over again. Remember when Netflix was first
cracking down on the password sharing the Internet blew up, it was all pissed off. Oh, I'm
unsubscribe. I'm unsubscribe. But at the end of the day, they got more subscribers. Yeah.
(34:10):
So they know they can keep pushing their customers for the same reason.
They know they can keep pushing their customers further and further and they're not going to even
react back. It's just going to be momentary reaction on the Internet, but they know it's
going to calm down. And at the end of the day, people just go right back to them when they see
another show they want to watch. And so teaching the pretty much teaching everybody to like
(34:35):
switch to like a free subscription or like a free subscription or free streaming app
is like pulling teeth because it's like, I want to skip the commercials and it's not going to have
a guarantee of what I want to watch is on there. But you know, but you know, you're going to save
money. But at the same time, it's one of those things where, you know, all the companies, you
(34:57):
know, they're all raising the price because they're trying to outbeat one another. If
my theory is if one of them decides like, you know, it's screwed, it's bringing down to,
you know, a few bucks lower that they're all going to go, no, no, now we've got the federal
government involved because that's unfair practice right now. No, no, it will happen.
It absolutely will happen. The minute one person drops their prices, everyone will start suing.
(35:18):
That's going to happen. But that conversation that needs to happen, you see I'm saying it needs to
be brought forth because if one person drops their prices and everyone's happy about that,
and everyone starts complaining, that's going to have more third parties stepping in and like,
all right, why isn't anyone else dropping their prices as well as don't forget that what people
seem to remember is a lot of these companies are double dipping in different streaming services.
(35:41):
Yep. So they're all banking off of each other. Yes. So they're able to, unfortunately,
you know, have those inner workings where they all agree to do certain things.
Yeah. I mean, that should be a thing. One company should drop its prices so all the other people
get pissed off. That'll force the federal government to actually implement a price floor and apply
ceiling. They will. You see, it will be counted to them too though. Yeah, it would. But the thing
(36:07):
is as well is with this also, if they did something like that, would that cover also every streaming
service out there as well? Because there are other streaming services are only offering like three,
four bucks at a time. A lot. No, no, it will affect them all. It'll absolutely affect. It'll
be a cascade effect. Yes. So it's one of those things where you kind of take the good with the
bad where you do have the like these niche streaming services that are offering, you know,
(36:31):
oh, for five bucks a month, they could, you know, get the streaming service.
I don't like the concept of a price floor. I'm sorry, if you can't drop your prices low enough
to compete with other competitors, you're kind of out of it. Like I know that happens with super
stores and how that's how they won. But at the same time, like you got to do something about this
because you can't just keep allowing everyone to keep increasing their prices, increase their prices.
(36:55):
Like it's going to get to the point like when Netflix is just going to be 40 bucks by itself.
Yeah, they go fuck themselves. Yeah, you see I'm saying you see I'm saying it's going to get to
that point. They're going to believe they're that big. Oh, no, no, absolutely. They will. That's the
thing that I think. They could only go so much before people start saying we can't do this anymore.
(37:15):
Yeah. Because that's why cable itself is gone. It's dropped more than half of its customers
because they can't afford it. Yeah. And no matter how many promos they sent me over the mail,
I'm not going to sign up for it. It's, you know, I say most I think it's been proven like
most people have only two or three. What's it called? Services now. Yeah, streaming services.
(37:39):
Yeah, that's all they have. Eventually, it will come down to just straight to and then eventually
just one. Well, when you got like Disney bundling with, you know, Disney plus HBO Max and Hulu,
you're going to start seeing like a lot of bundles like that coming forth together.
So it's going to help people consolidate things. But at the same time, what's going to stop from
(38:01):
them when they start getting more people, they got this bundle, we're going to increase the price,
increase the price and carry the price. And the excuse is what we're bundling different.
You see what I'm saying? Yeah, it's going to keep getting worse and worse and worse. And then we're
going to get to that point where you're literally paying television prices, cable prices, 60 bucks,
80 bucks. Remember those days? Yeah. Like you might as well just cancel all your subscriptions
(38:27):
and go for a cable package. Because I mean, shit, you're literally going to be paying the
exact same thing and they're bringing ads back. So what's the fucking point? Yeah. Got to watch
these six ads before your movie. Well, shit, just space them out. And like how far, how,
how long do you think streaming services got before something's going to have to be done?
(38:54):
If they're on this road as they are now with every year slightly increasing the prices a dollar or
two. I see another maybe four or five years before it kind of starts, it hits a fan. I think about
that. Yeah. Either that or they try to bank off some kind of major event and try to put it behind
a paywall. For instance, if they try to do some kind of paywall behind, you know,
(39:20):
like FIFA or that kind of stuff. Where you're already paying for the service and now you have
to pay extra fees just to unlock. Yeah. You're going to have to bring back the Paramount antitrust.
That's the shit that caused all this in the beginning. Yeah, that's true. As soon as that
that Paramount decree was deregulated and that fuck ass lawyer said, Hey, you know what? This doesn't
(39:46):
extend to streaming services. This is only the theaters. And they're like, Oh yeah, you're right.
Then this whole shit storm began. Short story for everyone who already forgot the Paramount decree
was a lawsuit that was filed back in 1948. They kept theaters from strictly showing movies at
movie theater chains that they owned, which means if you had to show to one, you had to show to all.
(40:07):
Every movie theater had to get access, every mom and pop. And then some fuck ass lawyer decided
to come forward not too long ago. Mind you, maybe about like 2000, what 18? Yeah, something like
that. 17 or so decided to come forward and say, Hey, you know what? This doesn't extend to like
(40:28):
streaming services. They can make their own stuff and put it on their own streaming service and
don't have to share. And you don't have to share. And they're like, shit, you're right. All right,
we're going to have to repeal it. And there you go. And that just opened the fucking floodgate to
like everything having its own streaming service, some bullshit. Oh yeah. And that's where we're at
(40:51):
today, man. So the only way we're going to go back is if we have an antitrust like this again,
because this is the only way it's going to be able to shut down. Now it would probably even shut down,
but it's going to limit the amount of content that they're going to be able to restrict
and the amount of money that they're going to be able to make. Yeah. Well, it's going to be
some time until we get that point. Unfortunately, people are going to keep allowing themselves to
(41:15):
get abused until they finally hit their bowling point. I need to ask a lawyer about this.
And that's a business lawyer. But hey, what would be the steps like hypothetically,
what would need to be taken for this to be reestablished? That's going to be a long road.
And what would happen if you know any lawyers out there, business lawyers,
ask them that question. What would be needed to bring back the paramount antitrust law for
(41:40):
today's standards for streaming services? Pretty sure a wad of cash.
A big wad of cash. A big wad of cash. Yeah. What would be needed and then what would be the steps
and what would be the results of that happening? Well, that's going to be interesting. Hopefully
we can, if we can find a lawyer, just hit us up, man. Just give us the news, the bit, the information
(42:02):
and I don't know, we can hope. Let's try to get someone on for a podcast episode like that.
Can we actually get like a film business lawyer on here? Yeah. Let's look for that. If you guys
know a film business lawyer, reach out to us, send us a message, send us a DM, send us an email,
let us know who you want us to talk to or who we can talk to so that we can get them on the show.
(42:23):
Yeah. All right. Well, we want to thank everyone for listening to this week's episode. I'm curious
on your thoughts on tonight's topic. How you feel about Netflix raising its prices? Do you hate it?
Do you love it? You can leave a comment. Huh? I said, hate it or love it. I said, hate it.
Oh yeah. You can leave a comment below for watching this on a Red Band podcast,
YouTube channel for a listener to discuss episode topics and various other film related news.
(42:46):
We put out episodes every Wednesday for our audio listeners and Fridays for those who like to watch
our videos. For audio listeners, you can find the Red Band podcast on Spotify, Apple podcasts,
and iHeartRadio. And of course, I'll say again, you can watch our video format on our Red Band
podcast channel on YouTube. And before we fully close out Mike has those last end notes for you
guys. Yes. As Anthony has mentioned, all the ways you can listen to us, especially watching us on
(43:10):
our YouTube channel, which is youtube.com forward slash the Red Band podcast. Look for the screaming
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(43:31):
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(43:58):
of course we have these things. And as always, we have our Patreon account listed, listed below
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And we're always looking for sponsors. So hey, you want to be a sponsor that'd be.
(44:25):
Fucking dog.
Yes. So yeah, subscribe to all that. Love it. YouTube listening service. And I know I already
(44:46):
went on a rant about streaming services and renting and stuff, but we'd really appreciate
if you subscribe to us. Like I was saying, though, if you know somebody that would want to be
a sponsor for us or if you want to sponsor us, that'd be awesome. Yay. Sponsors. Okay. I'm
throw it back to you. All right, guys. You heard it from Mike. Please like and subscribe. We'll
(45:09):
see you next time. Later taters.
I'm so glad Sony like said, you know what? We're gonna cut it.
(00:05):
But I'm really pissed that the CEO doesn't understand why people don't like it.
I think it's okay. I think the fans just want too much.
Oh, no, bro. You're not putting enough effort into it.
We want the basic minimum. Put some effort into it.
Like how hard is that? Apparently really hard. Since Rhino be like...
(00:30):
Some ****. Have you seen that one? No.
Oh, well now you got to. All right, here we go. I'm gonna start right at five.
All right. We're going in.
We're going in five, four, three, two.
(00:51):
What's up, everybody? This is the Red Band Podcast, your source for all film and TV related news
and topics. I am your host, Anthony King. And of course with me is my co-host, Adrian G. Fuentes.
And sitting over there in the control room is our technical director, Mike Card.
How are you guys doing tonight, man? Pretty good. Pretty solid.
Pretty solid, man. Damn, I like how you didn't waste any time.
(01:14):
You just said, bro, it wasn't going to waste any time with my ****.
Yeah, no, no, no. **** you, man. **** you. I took advantage of you writing that sticky note.
You got distracted. You lost your chance, man. You ain't ****ing us this time.
That window was open as I was talking. It was your chance.
Yeah. I was like, Michael, anything? Nope. OK. Anyways, back to our main topic. ****.
(01:38):
Are you guys doing good, man? Pretty good. Pretty solid week.
Yeah. That's it. That's it. That's all I got. Yeah. Nothing to say with the more fire surrounding us.
Dude, they're going to San Diego, too. They're in LA. We're surrounded by flames.
Yeah, but where we live, we're kind of used to it, unfortunately.
Yeah, it's just Tuesday now, too. It's just OK. It's just that one particular area where we live.
(02:02):
It's not necessarily California, but where in California we live at.
We're literally just surrounded by like this fire, like just surrounding us.
It's a yearly thing where we get those warnings. It's like.
Now, I'm not saying we feel bad for it or we, you know, but it's just.
It's just Tuesday. Yeah. No, it's weird. It's like, yeah, we have your LA fires.
(02:23):
Then we have our San Diego fires. And some reason we just got one weird fire right in the middle.
Yeah. Yeah. Right. Like we even had a fire like two exits down.
Oh, yeah. I was actually there for that one. Yeah. Yeah.
There was like an evacuation order for that side of the freeway on the 215.
Yeah. I didn't see nothing. We were on the way to pick up Adrian.
And all of a sudden we're just like on the side of the freeway.
(02:44):
Like, what's all that fucking fire? Oh, shit. That's a building on fire.
The fuck? Just out of nowhere.
I honestly thought was the detention center. Yeah, I thought so, too.
I was like, oh, shit, they're burning it down.
Damn, people are quick. Yeah. But damn. Yep.
Is it just people like wanting to have a bonfire and they're like, oh, that's right.
Santa Ana wins. I mean, even seeing the people's crazy
(03:04):
talks, they're like, oh, it's a conspiracy theory, man.
It's like, have you been noticing this? The haze going around the extra fog?
Maybe that's what's causing the fires. What's the government putting into the chemtra?
Yeah. Yeah. It's getting to that point now. Yeah.
I've heard fog is causing fire. Yeah. Yeah.
I've heard the the the government doing it. The government's doing lasers.
The government's doing with satellites.
(03:25):
So far, my favorite conspiracy theory is that the fires have started to hide the ditty tapes.
I like that one. As if the government,
if they had it, they already took it. Yeah.
But apparently, like, no, no, they're trying to hide the tapes.
You mean the thing they're ready for? Yeah.
Things they already have in possession. Yeah.
They already got it. Like, what the fuck you think they have?
(03:46):
What do you think this is like some one piece treasure where it's like they're just
scattered throughout? If you want my sex tapes, I got to find them first.
I left everything I own in L.A. County. Yeah.
Yeah. I'm just taking the most ghettoest one piece ever.
(04:10):
Don't do it, Mike. Don't do it. I know you.
Since then, conspiracy did he theorists have searched for the great
the great diddy tapes?
Who's going to be your one piece crew to find all the tapes?
Collect them like the Dragon Balls.
(04:33):
Oh, shit. I think it's time we didn't jump into this film.
Yeah, we're starting to get really off topic now.
So let's just get this started. First thing we have here.
The Brutalist has come under fire for the use of A.I.
This is actually pretty interesting because this is now
putting more into the limelight of industry practices that have already been kind of going
(04:57):
around for like at least like the last 10 years. Yes.
But this one really caught people's attention because the person actually came out.
So the movie editor, David Jansko, he actually came out and admitted it that
he had to use A.I. to change some of the voice actors speech patterns.
Yeah, it was like a candid report.
Yeah. Why do you guys feel about this?
Because we've known that stuff like this has already happened for a very long time where
(05:22):
you have to re voice over dialogues, change pitches to certain tones, musicals, movies,
you know, to match certain persons voice, you're going to have to do some subtle changing.
Yeah. No, no, it's a common practice, obviously, to, you know, like I said, change out
tones, equalize it, you know, add either, either what's it called? Compress it.
Like there's always been tools like that.
(05:43):
Yes. Is there any difference in your opinion why it would be different using A.I. tools this time
instead of practices people have been doing manually?
Well, this one part gets a little tricky because he says that he used it to fix
fix certain dialect, certain verbs, certain words to to make it sound really, you know,
(06:05):
was it Hungarian? Yeah, Hungarian.
Yes. How often do you have to use it? Was it like for only a few sentences or for like 90% of the
dialogue? So you're worried about the extensiveness of how much it needed?
It is a tool when it's like, OK, we need to fix up this one scene or this one day he was really off.
So let's just fix it up. Yeah, that makes sense.
(06:26):
That unfortunately that happens. We're not perfect. These things film sets take months at a time.
And you're not going to have day to day consistency, unfortunately.
Yeah. So there'll be one day maybe he's off and like, OK, we'll fix up then.
But if it's the entire film, OK, then that's a little like, how would you feel like now having
these A.I. tools where you can completely switch someone's speech patterns to something completely
(06:48):
different? Like, hey, you don't need to put in an effort for a French accent because we can have
A.I. to do that for you. Just say your lines. But then that gets worse into the we'll fix it in post.
Yeah, it does. It does lead that into it. So does that worry you where we will eventually
start going into that lazier territory because we have the A.I. tools? Does that would that ruin
(07:10):
the authenticity of actors playing specific roles then when they're really acting?
Yes, because then you're going to have a clear distinction between stage actors and
film actors. Yeah, because stage acting, there's no hiding. Yeah, you can't have it. Yeah,
you're hiding it. So unfortunately, I think you'll divide that much and bigger. We have stage and
actors because there'll be ones who have no acts, just have a straight American accent and they're
(07:36):
just make it British. That's true. But it really does make me think exactly what is the appropriate
amount of how you're supposed to use these A.I. tools? How much is too much? I mean, for right now,
what's happening with with what's the other one? Yeah, who's the other the one? Amelia Parrott,
(07:59):
Paris, Paris for the movie Amelia Perez. Yes, they also use it for an actress, Carla Sofia Gascon,
who also used A.I. to enhance her voice for singing, but used it in a way to where
they're enhancing their singing potential exponentially further than what they were able to do already.
(08:19):
So is that like pitch adjustments? Like, hey, she can't hit this note, so we're going to change the
pitch. So she's hitting notes we need her to hit. Is that what they're doing with that? Probably.
That's so far only the extent of what has been said. But like I said, that's again, it could be
one of those things where like it's just helping out once in a while, I guess it's OK. But would
(08:40):
it be OK if see like here in a part in an interview with Screen Rant, Carla Sofia Gascon used her voice
that was blended with French pop star Camille, who co-wrote Amelia Perez's songs and scores.
Right. And in an interview with Screen Rant, she said that performing the songs in Amelia Perez were
(09:01):
all a challenge for me because I'm not a singer. I'm not really a singer. It's not my thing.
So using another person's voice and then using that as a way to.
Enhance her vocal range that she can't not do. I mean, she's saying she's not a singer. Got it.
Got it. Yes. But unfortunately, that's it. That's been done in Hollywood since forever.
(09:22):
No, that has been. Yeah. Yeah. Yeah. Yeah. Like I said, people are worried about it now because
they hear the phrase AI being used when we had analog tools to do this for a very long time. Yes.
Yes. My point is like, yeah, that's going to happen with like movies with pitches and singing,
you know, actor actors can't sing. So let's just use AI tools to adjust that so they can sing.
(09:44):
I know a lot of people are going to complain like, oh, why don't you use a musician or like an act
like someone who could sing, but they need to act at the same time. So I do get that.
My main concern is when you actually have character roles where you're playing a foreign
character from yourself that you need to give a specific accent or dialect. Well, will it be
(10:05):
okay to fully use AI to change that? They worked for the Adrian Brody movie, the Brutalist. They
worked with a coach named Tenera Marshall for months to like work on the accent. Yeah. Yeah.
But they mentioned that there were just some, there were some letters or pronunciations of
vowels of certain words that were said in a certain way. Hungarian, that was very hard to like nail.
(10:32):
Yeah. To nail that. Okay. Then that I understand. So the use of the AI was to accent a little bit
more of those vowels and words of pronunciations rather than just like the entire thing. Yeah. Now
I get that. That makes sense to do that. I mean, it's just a few words, I guess, but it does kind
of take away the idea that these two movies are Oscar nominated. That is very true. They're Oscar
(10:54):
nominated. Yeah. And Oscar's supposed to be the top of the top. You're the best. If you're nominated,
that means you are the best at your craft. Or someone paid enough. Yes. But the whole,
the whole, what's it called, spirit behind it is that you are the best if you receive this little
statue at that one, whatever you name it, you're nominated. That means you're the best at that
right there. But to, you know, unfortunately, I said for her voice to be, if it's her voice be
(11:19):
nominated, it kind of like takes away from it. And the same time, like I said, how much do you
keep the, like the authenticity before it really takes away from the magic of the stage play,
the performance that they're actually forgiving. Like sometimes you allow those imperfections to
happen. You allow them, you're like, okay, it's whatever. He didn't get that part right. Or that
(11:42):
didn't sound a little weird, but that's kind of like, what's the beauty of it too. If that makes
it art, you do have those imperfect moments. And if you're using tools to constantly take that away,
to make it perfect, to fix it in post, it really does take that away from the magic of it.
Then yeah, then it gets a whole mini, mini vanilli. Yeah. Yeah. Yeah. And then you get that
(12:05):
whole thing. So that's how I personally feel like that. I do agree like AI and using it in film,
there are specific ways you can use it and it is a great tool to use it. But when you use it too
extensively, or if you use it for, in the ways it's not necessary for, that's where I still have
the problems. Like that speech corrections, everything, I don't really see it that much
(12:26):
bigger deal when I see AI is more necessary for like VFX artists to really crunch down
algorithmic like numbers and all this other stuff that could be used to really help out other parts
of the industry. Yeah. Yeah. So that's kind of where I'm kind of like feeling on this one,
but I really interested to see how much more this is going to develop in the future as AI slowly
(12:50):
and slowly more gets in grip and integrated in the film industry. Unfortunately, there will be
that one movie that will overdo it. Oh yeah. There will be a movie that will be like 100%.
They're not even saying these lines anymore. Yeah. Yeah. So yeah, that's, I'm actually waiting
for that day to see which film is going to do that. All right. Next topic, what we have here,
South Park Streaming rights standoff. Warner Brothers Discovery wins the rolling clearing away
(13:15):
for the trial. So this is pretty interesting. We talked about this like about a year ago, right?
Back in 2023. Yeah. That's a while. So yeah, Paramount and Warner Brothers Discovery back then,
they were having this big beef over South Park. Warner Brothers had the exclusive rights to have
30 episodes on their streaming channel, Max for South Park. However, South Park studios also cut
(13:40):
a deal with Paramount to produce these specials. When they produced these specials, it cut into the
number of episodes that they were able to produce for Max. That's cut. What season was that? They
got cut short. It was like really, really short. It was like, that's like season 20, 24 to 26.
Okay. Supposedly when I'm reading in the article right here, Warner Brothers is claiming that
(14:05):
Paramount and South Park Digital Studios controlled in part by creators, Matt Stone and Trey Parker,
conspired to effectively double deal on content allegedly contemplated in the agreement by
diverting series specials to Paramount Plus to prop up its then fledging streaming platform.
Yeah. So he's angry at both parties. No, it makes sense, but it doesn't sound like he's suing the
(14:32):
South Park studios. Sounds like the lawsuit was 100% towards Paramount, which makes sense because
they're the controlling party. But it also sounds as if he's mad at South Park for including in that
deal as well of Paramount along with Warner Brothers and just kind of like overstretching,
like, yeah, I can, I can make this happen. When obviously you couldn't. Yeah. Oh, because also
(14:56):
the deal didn't specify how many episodes would be delivered to Warner Brothers as part of the
agreement. Yeah. Yeah. So they said like 30 episodes, but didn't specify how many episodes.
Yeah. Season 25, which is 2022 got six episodes. Yeah. 2023 got six episodes. Yeah. That's it.
Those two. It's all just those two ones right there. Yeah. They're out cut really, really short.
(15:20):
Geez. Now do you see South Park studios, like do they announce when their deal or term with
max ends? Do you think they're going to renew their licensing deal with them? Or do you think
they're just going to 100% move over to Paramount? I think whoever's got the biggest check.
Cause that's Warner. Weirdly enough, that's Warner. Wait a minute. With our debt. Cause
(15:43):
they're not, they had proven that they're not loyal to anyone. Yeah. They were never
loyal to Comedy Central. They're never loyal to Invisal. So to me it's like whoever has the
bigger check. That's very true. The number of times they got fucked over by Fox and they kept
going back to Fox. Yeah. That's true. But doesn't, oh no, they're not owned by Comedy Central no more,
(16:05):
right? No. Are they still owned? No. No, I believe they're. Do they own their own? I think they're
their own. Uh, because everything they, oh, they signed a deal with Biocom CBS, uh, in 2021
for 900 million for over six years. 900 million. So technically, yeah, if they want to, they can
(16:27):
just keep them under Paramount's deal when the whole deals end, but they do have that long contract
deal with Warner Brothers. Yes. It's where, well, again, it comes down to whoever's going to be
paying for the streaming rights. Yeah. For the main, which turns out Warner was the one that was in
the right, which I kind of saw all along that, yeah, they were technically in the right. Yeah.
It was double dipping. It was double dipping. It was double dipping, but at the same time,
(16:51):
they neither one wanted to sue with South Park. Yeah. Cause that's the moneymaker right there.
No one really wants to fuck with them at the end of the day. It sounds more like they're just kind
of pointing fingers to South Park, claiming that like Warner Brothers is like, hey, you said you
would make me 30 episodes and you promise me these three seasons, four, five, and six. How come these
episodes are falling short? Like thinking that it would have been like 10 episodes for each season.
(17:15):
Yeah. When South Park was like, well, you never really specified like how many episodes you really
wanted. So like you'll get just 30 episodes, but like, and Warner Brothers is mad that it took,
that South Park took advantage of the, I can never pronounce this word right. Ambiguity?
(17:36):
Hey Siri, how do you pronounce ambiguity? Ambiguity. Yeah. Ambiguity, not ambiguity. Wait,
what did I say before? I don't know. Ambiguity. I said that. Ambiguity. Ambiguity. Okay. Not
(18:00):
ambiguity. Fuck you. Ambiguity. Ambiguity. There you go. They were taking advantage of the contracts.
Ambiguity. That's South Park saying that South Park decided not to make 30 episodes across three
new, three of its newest seasons and that most of its episodes made were not meant to be shown
(18:27):
on Warner Brothers, but through the Paramount specials. So saying most of its resources kind
of went to Paramount and then whatever they made is what they made and went to Warner Brothers.
These are chicken scratch episodes. That's basically it. Yeah. Well, yeah, this is going to be
pretty interesting to see how this progresses forward and if this is going to affect any of
their future deals with Warner Brothers. So I'm actually pretty interested to see how that goes
(18:51):
moving forward. They could probably honestly give a shit. They don't give a shit. They never give a
shit. It's South Park. If anything, it's just more material. Oh yeah. Absolutely. Oh yeah. It's
definitely going to add more material to that. All right. Going over our last bit of film news
before we hit a break, Amazon Prime Video shifts its focus to live sports to boost its profits
because they are declaring this year that finally in 2025, Amazon Prime Video will be profitable.
(19:20):
No, seriously, it has not this entire time. It has not been profitable. Really? They make profit
off Amazon, not Amazon Prime Video. Wow. So their goal post, the goal post for this year for them
is to actually make the platform profitable. Well, maybe if they were, they would have worked on the
UI to begin with. Right. It does make sense because now I'm seeing that an annual spending
(19:45):
for Amazon Prime is roughly around three billion dollars annually, or at least for
broadcasting rights to major leagues such as NBA, NFL. And their main competitor is Netflix,
with Netflix showing Christmas Day, NFL games. They show the Jake Paul, Mike Tyson fight,
no matter how much of a fucking shit show that was. And WD Raw, WWE Raw events. Yeah. So they
(20:11):
they have a lot of skin in the game that they're trying to get. And with NBC Universal even securing
the rights to broadcast NBA games for an 11 year deal valued at seventy seven billion dollars. Yeah.
Jesus Christ. So even Peacock. So it sounds like Amazon's going to try to scramble and try to get
(20:32):
the scraps of any type of broadcasting sports of whatever's left from Formula One. You see I'm
saying, yeah, like every other streamer is getting like the major, major deals with massive sport
or organizations. Yeah. Cause right now I'm looking up at a cricket. Well, I'm looking right now.
(20:52):
I'm on the Amazon Prime, Amazon Prime video. They get just all of the upper elite class,
like sports, like sailboating. It's like they have like pro tennis. They have a couple of NBA games.
They have a couple NFL games because they have, you know, what's it called? I think it's Friday
(21:14):
night. They have Friday night and that's right. Thursday. Thursday night. That's right. Thursday
night. Thursday night. They have Thursday night and something else as well. But also shows here F1
racing or sorry, that's a doc. But shows a, no, so soccer, soccer events. Does any platform have
any exclusive streaming rights to any sports? No. Okay. There is no, no, I'm gonna have like an
(21:38):
exclusive exclusive like only airs here. Yeah. No, they, I'm pretty sure it's all separate. Here it
goes. NFL, NBA, NASCAR, soccer, PBC, which is boxing, tennis, the WNBA, which is way down the
list. Unfortunately, pickleball, pickleball. Okay. Pickleball. That was that getting more views than
(22:04):
the WNBA. That's crazy. That's unfortunately right next to it. And I'm like, I'm like, kind of,
I mean, everyone's going to watch green Griner, dude. Like, I mean, it makes sense.
Everyone's there to go and watch her. Hey, the seasons, unfortunately, that I'm not saying
unfortunate, but that league is getting better. Unfortunately, that league's getting better.
(22:27):
Yeah. Unfortunately, man. It's just, it's going to put them down. Actually, I think there's a,
I don't know if I'm right or not, but I think they're trying to form a new women's basketball
association. A new one? A new one. Why not just fix the first one? Yeah. Why not just?
Cause the contracts are just probably just sealed in too tight at that point. Probably. Well,
(22:50):
I'll get into that one. Yeah. Also they have squash. Squash. Okay. Fucking lame ass sports.
You have the yes, Charles, well done type of sports. They can't, they, Amazon is just too rich
and uppity for the, Hey yo, pass the rock type sports. You know, they can't have, they can't
have park recreational sports. They need single player event sports, but that's how you tap into
(23:17):
pretty much how niche markets when you tap into people, but not even that. But I mean, you get
to like multiple, like the world of sports is expanding what's being broadcasted. It used to
be just, you know, what is it? Four or five sports being broadcast, which is football, basketball,
baseball, car racing, and you know, whatever golf, golf tennis, like you're just very limited.
But it sounds like you're trying to scrounge for everything else to keep up with the bigger
(23:41):
players. Like, yeah, you get all these little niche stuff to increase your views, but you're
only doing that because you couldn't get the good games that you wanted because the other
platforms got those good games that are going to bring in those numbers. Yes. But it does bring
in the interest of like right now, like I said, I'm on here right now. Let's say you are going to
watch, you know, something on the NFL and it's done. Once the show starts and you start going
(24:03):
down, like, well, let's see what else they have because I'm, you know, I'm still want to do
something else. Like, so I'm like, well, let me check out like, well, squash is some stupid
sound like, man, let's fuck it. Let me see what it is. And who knows? You might get stuck in
watching it and there you go. Because also they're hoping for that too, where it they know it's a
sport that's not very popular. Not a whole lot of people watching it, but all it takes for you to
(24:25):
go, fuck it. Let's see what's gone. I ain't going to watch a D three college sport. It's just not
going to happen. Yeah. All right. It's not going to happen. I'm not going to look up someone from
fucking middle of Ohio. Yeah, but college to watch a game and be like, oh, damn, if only those
was what's a dumbass mascot. What's what's a stupid one? One that you just feel like,
(24:51):
oh man, if only the, the Ohio city slickers were able to make it this past year. Like,
I, like, I'm not going to watch it. All right. That's fucking stupid. I'm going to watch,
I'm going to watch the big schools. All right. I watched the big 10 and watch the packed. Well,
I know packed. What does anyone exist no more? I watched big 10, you know, I'm going to watch
these colleges. Yeah. But they're also tapping into sports series as well. That's true. So not
(25:17):
only are they doing, you know, live events, but they're also having like on here, Eli Manning
presents the undercovers team joining us, the city slickers, Ohio city slickers, one shot over time
of leads. You know, there's a bunch of sports shows on here as well. So, but do you think this
(25:37):
is a smart move for Amazon or do you think they should also focus on what they were working with
before? Cause you know, with these new video game adaptations and the television series, they're
actually starting to get something good with these going. Do you think they should work harder on
keeping those going or do you think they should divert their attention to the sports? Cause it
sounds like they're diverting their attention instead of working on both alleys. I think they
(26:01):
should work at both alleys. That just never completely on one. Cause to me, there's still
not enough sports on here to, you know, to keep full interest. But I honestly do see them
taking that full market or at least taking most of the market up sports. I do see that in the
future. Okay. Yeah. Yeah. That's going to be interesting to see how this developed furthers
(26:23):
and if they're able to get or sign more contracts with more sport teams and get better games.
Cause that's the biggest thing because of how chopped up, especially NFL is you're just
fighting for the teams and the games and the localization regions at that point. Yeah. Yeah.
And it's just basically how much you can get before everyone else scoops up the rest.
(26:43):
Yeah. And at this point, it sounds like almost everything has been taken up at least when it
comes to regards of like NBA NFL until the sports, until those contracts are up and then we'll see
from there. Or if they have spring games like baseball. Yeah, that's true. Stuff like that.
I have to wait until the season starts, you know, have like another, another two months, you know,
(27:04):
we'll have to see where they're, what they'll do. Yeah, definitely. All right. Well, we're going to
take a quick break from our sponsor and we will get back. We're covering our brain, our main topic.
So stay tuned. It'll be right back to you guys.
Here are the film topics that couldn't make it into this week's episode. Starting off,
Vin Diesel says that the next Fast and Furious movie is set to return to Los Angeles. Sundance
(27:29):
Film Festival has begun, but many attendees this year have mood subdued due to the fallout of the
LA fires that forced them from their homes. And finally, the Ray Skywalker movie gets its new
writer, the writer of the Ocean 12 and Born Ultimatum movies, making it the fourth writer
to enter the Star Wars project. And that's all I got now back to the show. And we are back covering
(27:56):
over a main topic tonight. This is pissing a lot of people off. Pissing me off. Netflix yet again,
is raising its prices after it's reporting its biggest ever subscriber jump. Because nothing
says, hey, well done for this fourth quarter by getting the most amount of subscribers. Let's
celebrate by raising the prices. So what were the new prices we're looking at now?
(28:24):
So we have the three tiers. We have ad tier, standard and premium ad tier is jumping up
from I'm going to just round up instead of doing the 99. Yeah, yeah, yeah, yeah.
Because that's just just confusing. Ad tier is jumping up from $7 to $8. Standard tier,
which is the no ads jumping up from 1549 to $18 in premium is jumping from $23 to $25.
(28:51):
Yeah, so I'm starting to pay 18 bucks for this. Dude, I'm canceling it.
Yeah, you know, I'm leaning a little bit more towards just Pluto with ads because it's free.
And then maybe getting like a cable package of some sort with like Fubo or something.
Yeah. But Netflix has been increasing their prices every year now, right? Just about.
(29:18):
I mean, the last time they rose their prices was 23.
Mm hmm. Yeah.
I don't know. The standard. Well, the standard with ads is the new is a new feature that they
added back in 2022. Yeah, when they broke things out. Yeah. Yeah. Back in 2011, it was 799 for
(29:39):
basic. That was just Netflix as is. Yeah. No ads. And then 2013 is when they started integrating
the standard and premium where it's just like more users. Got it. I guess you'd be able to add.
So that started out at 999 and 1199 for standard and premium. Basic still at 799. Got it. And 799
(30:00):
basic stayed relatively the same all the way up until 2019, where that jumped up to 899.
And standard and premium had slowly increased their prices every year. And almost as if like
they're shifting their their price set. So standard went from about 10 bucks 2013 following year,
(30:21):
11 dollars, then 12 and 13, 14, 15. And now we're into the 1549 range all the way up to 2024.
And now it's going to jump up to 16. Gosh, man, it's insane. And is there any justification from
Netflix on why they need to keep increasing their prices? Money. What justification is there? Oh,
(30:46):
yeah, we want to bring the most amount of features of live events and sports. And we feel overall
that our overall quality of our streaming service and value has increased. So to balance off the
offset of content and price, we decided to increase money because fuck you. That's why.
That's why I'm doing it. You know, it sounded pretty like nice, cleaned up how you're saying
(31:09):
it. That's exactly how these studios do it. Companies. Yeah, exactly. They'll pretty up by
saying, oh, because we're getting so much more content for you guys, we're going to charge you
more not realizing that things aren't probably actually equating financially from how much
they're actually putting out to how much they're getting back in. You know, but at the same time,
as I'm looking at other streaming services that increase our prices, I mean, it seems like it's
(31:33):
just a common thing. Like every year, let's just check that bitch up. There needs to be a price
ceiling, though it does because I'm looking at say Hulu's last increase was October 20, 2024.
Disney Plus October 20, 24, Max, June 20, 24. So it's like all last last year, all the services
(31:56):
were being jacked up except for Netflix itself. And today, I guess this year is Netflix turn.
Yeah, there's no clear price ceiling for streaming services. Yeah, no legal price ceiling because
it's a free market. Yeah. But at the same time, they know that they can only go so far before
federal federal is going to have to step in. Yeah, not even federal. I think it's more people will
(32:17):
like, fuck, it's not worth it. Like I said, most people are are at, you know, they're they're on a
budget. Yeah, they're not going to be able to spend, you know, 80, 90 bucks on five different
services. But even so, even if people start jumping shit from Netflix and start unsubscribing,
do you actually believe Netflix will react fast enough before the federal government will step
(32:41):
in? Or do you think they'll trade trying different tactics? No, no, no. Like I said, every single one
of them, they're going to dip their toes in the water. They're going to they're going to push
until someone steps in. But I think it's more of people will jump ship before the government
does anything about it. Because like I said, it's only people stick around to a service when there's
(33:03):
a good show on it. Yeah. And remember, every single every single time reference like when Max
once games of throng was gone, everyone unsubscribed. Yeah. They lost a huge amount
of people. So that's why they have to kind of figure out a almost algorithm where it's like,
keep the shows incoming little, you know, one at a time. So keep interest going.
But that can only do so much. Yeah. People are sorry, going like, it's not worth it.
(33:26):
I mean, overall, this article by Forbes is saying that the overall
reaction of the Internet is furious. But we're in this cognitive dissonance of need of these
streaming services to the point to where it's like, all right, well, bitch and moan and we'll vent
(33:46):
out it on Twitter or X or blue sky or whatever. And then once we've ended all out, then it's like,
OK, you want to watch something? OK, let's see what we have and then just go back to
network because it has been proven over and over and over again. Remember when Netflix was first
cracking down on the password sharing the Internet blew up, it was all pissed off. Oh, I'm
unsubscribe. I'm unsubscribe. But at the end of the day, they got more subscribers. Yeah.
(34:10):
So they know they can keep pushing their customers for the same reason.
They know they can keep pushing their customers further and further and they're not going to even
react back. It's just going to be momentary reaction on the Internet, but they know it's
going to calm down. And at the end of the day, people just go right back to them when they see
another show they want to watch. And so teaching the pretty much teaching everybody to like
(34:35):
switch to like a free subscription or like a free subscription or free streaming app
is like pulling teeth because it's like, I want to skip the commercials and it's not going to have
a guarantee of what I want to watch is on there. But you know, but you know, you're going to save
money. But at the same time, it's one of those things where, you know, all the companies, you
(34:57):
know, they're all raising the price because they're trying to outbeat one another. If
my theory is if one of them decides like, you know, it's screwed, it's bringing down to,
you know, a few bucks lower that they're all going to go, no, no, now we've got the federal
government involved because that's unfair practice right now. No, no, it will happen.
It absolutely will happen. The minute one person drops their prices, everyone will start suing.
(35:18):
That's going to happen. But that conversation that needs to happen, you see I'm saying it needs to
be brought forth because if one person drops their prices and everyone's happy about that,
and everyone starts complaining, that's going to have more third parties stepping in and like,
all right, why isn't anyone else dropping their prices as well as don't forget that what people
seem to remember is a lot of these companies are double dipping in different streaming services.
(35:41):
Yep. So they're all banking off of each other. Yes. So they're able to, unfortunately,
you know, have those inner workings where they all agree to do certain things.
Yeah. I mean, that should be a thing. One company should drop its prices so all the other people
get pissed off. That'll force the federal government to actually implement a price floor and apply
ceiling. They will. You see, it will be counted to them too though. Yeah, it would. But the thing
(36:07):
is as well is with this also, if they did something like that, would that cover also every streaming
service out there as well? Because there are other streaming services are only offering like three,
four bucks at a time. A lot. No, no, it will affect them all. It'll absolutely affect. It'll
be a cascade effect. Yes. So it's one of those things where you kind of take the good with the
bad where you do have the like these niche streaming services that are offering, you know,
(36:31):
oh, for five bucks a month, they could, you know, get the streaming service.
I don't like the concept of a price floor. I'm sorry, if you can't drop your prices low enough
to compete with other competitors, you're kind of out of it. Like I know that happens with super
stores and how that's how they won. But at the same time, like you got to do something about this
because you can't just keep allowing everyone to keep increasing their prices, increase their prices.
(36:55):
Like it's going to get to the point like when Netflix is just going to be 40 bucks by itself.
Yeah, they go fuck themselves. Yeah, you see I'm saying you see I'm saying it's going to get to
that point. They're going to believe they're that big. Oh, no, no, absolutely. They will. That's the
thing that I think. They could only go so much before people start saying we can't do this anymore.
(37:15):
Yeah. Because that's why cable itself is gone. It's dropped more than half of its customers
because they can't afford it. Yeah. And no matter how many promos they sent me over the mail,
I'm not going to sign up for it. It's, you know, I say most I think it's been proven like
most people have only two or three. What's it called? Services now. Yeah, streaming services.
(37:39):
Yeah, that's all they have. Eventually, it will come down to just straight to and then eventually
just one. Well, when you got like Disney bundling with, you know, Disney plus HBO Max and Hulu,
you're going to start seeing like a lot of bundles like that coming forth together.
So it's going to help people consolidate things. But at the same time, what's going to stop from
(38:01):
them when they start getting more people, they got this bundle, we're going to increase the price,
increase the price and carry the price. And the excuse is what we're bundling different.
You see what I'm saying? Yeah, it's going to keep getting worse and worse and worse. And then we're
going to get to that point where you're literally paying television prices, cable prices, 60 bucks,
80 bucks. Remember those days? Yeah. Like you might as well just cancel all your subscriptions
(38:27):
and go for a cable package. Because I mean, shit, you're literally going to be paying the
exact same thing and they're bringing ads back. So what's the fucking point? Yeah. Got to watch
these six ads before your movie. Well, shit, just space them out. And like how far, how,
how long do you think streaming services got before something's going to have to be done?
(38:54):
If they're on this road as they are now with every year slightly increasing the prices a dollar or
two. I see another maybe four or five years before it kind of starts, it hits a fan. I think about
that. Yeah. Either that or they try to bank off some kind of major event and try to put it behind
a paywall. For instance, if they try to do some kind of paywall behind, you know,
(39:20):
like FIFA or that kind of stuff. Where you're already paying for the service and now you have
to pay extra fees just to unlock. Yeah. You're going to have to bring back the Paramount antitrust.
That's the shit that caused all this in the beginning. Yeah, that's true. As soon as that
that Paramount decree was deregulated and that fuck ass lawyer said, Hey, you know what? This doesn't
(39:46):
extend to streaming services. This is only the theaters. And they're like, Oh yeah, you're right.
Then this whole shit storm began. Short story for everyone who already forgot the Paramount decree
was a lawsuit that was filed back in 1948. They kept theaters from strictly showing movies at
movie theater chains that they owned, which means if you had to show to one, you had to show to all.
(40:07):
Every movie theater had to get access, every mom and pop. And then some fuck ass lawyer decided
to come forward not too long ago. Mind you, maybe about like 2000, what 18? Yeah, something like
that. 17 or so decided to come forward and say, Hey, you know what? This doesn't extend to like
(40:28):
streaming services. They can make their own stuff and put it on their own streaming service and
don't have to share. And you don't have to share. And they're like, shit, you're right. All right,
we're going to have to repeal it. And there you go. And that just opened the fucking floodgate to
like everything having its own streaming service, some bullshit. Oh yeah. And that's where we're at
(40:51):
today, man. So the only way we're going to go back is if we have an antitrust like this again,
because this is the only way it's going to be able to shut down. Now it would probably even shut down,
but it's going to limit the amount of content that they're going to be able to restrict
and the amount of money that they're going to be able to make. Yeah. Well, it's going to be
some time until we get that point. Unfortunately, people are going to keep allowing themselves to
(41:15):
get abused until they finally hit their bowling point. I need to ask a lawyer about this.
And that's a business lawyer. But hey, what would be the steps like hypothetically,
what would need to be taken for this to be reestablished? That's going to be a long road.
And what would happen if you know any lawyers out there, business lawyers,
ask them that question. What would be needed to bring back the paramount antitrust law for
(41:40):
today's standards for streaming services? Pretty sure a wad of cash.
A big wad of cash. A big wad of cash. Yeah. What would be needed and then what would be the steps
and what would be the results of that happening? Well, that's going to be interesting. Hopefully
we can, if we can find a lawyer, just hit us up, man. Just give us the news, the bit, the information
(42:02):
and I don't know, we can hope. Let's try to get someone on for a podcast episode like that.
Can we actually get like a film business lawyer on here? Yeah. Let's look for that. If you guys
know a film business lawyer, reach out to us, send us a message, send us a DM, send us an email,
let us know who you want us to talk to or who we can talk to so that we can get them on the show.
(42:23):
Yeah. All right. Well, we want to thank everyone for listening to this week's episode. I'm curious
on your thoughts on tonight's topic. How you feel about Netflix raising its prices? Do you hate it?
Do you love it? You can leave a comment. Huh? I said, hate it or love it. I said, hate it.
Oh yeah. You can leave a comment below for watching this on a Red Band podcast,
YouTube channel for a listener to discuss episode topics and various other film related news.
(42:46):
We put out episodes every Wednesday for our audio listeners and Fridays for those who like to watch
our videos. For audio listeners, you can find the Red Band podcast on Spotify, Apple podcasts,
and iHeartRadio. And of course, I'll say again, you can watch our video format on our Red Band
podcast channel on YouTube. And before we fully close out Mike has those last end notes for you
guys. Yes. As Anthony has mentioned, all the ways you can listen to us, especially watching us on
(43:10):
our YouTube channel, which is youtube.com forward slash the Red Band podcast. Look for the screaming
microphone and keep a lookout for our audio and video versions of these podcasts of when they are
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And of course, the ways you can be able to listen to us if you're on the go, if you're at work,
(43:31):
if you're driving into your car, head us a head on over to Samsung podcast, Apple podcasts, Spotify,
and iHeartRadio. So you can listen to us on the go. Look for the screaming microphone again. And
if you have somebody that you know that might enjoy these recommended to them, you know, share
it with them and we'd really appreciate that. And of course our Patreon account, our last version,
I keep on saying and of course a lot and the course and and of course, because it's like,
(43:58):
of course we have these things. And as always, we have our Patreon account listed, listed below
with the link. So head on over there and consider subscribing to our content because more subscribers
equals more content for you guys. And we want to keep making these and we really appreciate that.
And we're always looking for sponsors. So hey, you want to be a sponsor that'd be.
(44:25):
Fucking dog.
Yes. So yeah, subscribe to all that. Love it. YouTube listening service. And I know I already
(44:46):
went on a rant about streaming services and renting and stuff, but we'd really appreciate
if you subscribe to us. Like I was saying, though, if you know somebody that would want to be
a sponsor for us or if you want to sponsor us, that'd be awesome. Yay. Sponsors. Okay. I'm
throw it back to you. All right, guys. You heard it from Mike. Please like and subscribe. We'll
(45:09):
see you next time. Later taters.
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