June 13, 2025 • 43 mins
In a notable shift from the "all-in-on-streaming" mantra of recent years, corporate media giants are recalibrating their strategies, moving away from a singular focus on streaming to embrace a more hybrid model that re-emphasizes the value of linear television and theatrical releases.
This strategic adjustment is not a full-scale retreat from streaming but a recognition that a diversified approach, leveraging the strengths of both new and traditional platforms, is essential for long-term profitability and audience reach.The initial rush to streaming, fueled by the "streaming wars," led to a fragmented market and mounting content expenses. Now, media conglomerates are finding that the traditional avenues of linear television and theatrical releases offer distinct advantages.
Linear TV, for instance, continues to command massive simultaneous reach, particularly for live events like sports and news, which remain a powerful draw for advertisers. As noted in the 2025 upfronts, there's a renewed appreciation for the broad audiences that linear channels can deliver.
This sentiment is echoed by industry leaders like Disney CEO Bob Iger, who has publicly stated that the combination of linear and streaming is a "winning combination." This "best of both worlds" approach allows companies to maximize their content's value across different windows of distribution.
Further evidence of this trend can be seen in Amazon's significant investment in a substantial slate of theatrical releases. By committing to debuting more films in theaters, the tech and streaming giant is acknowledging the cultural and financial benefits of the traditional cinema experience, which can create a powerful marketing funnel for a film's subsequent life on streaming platforms.
This strategic pivot is also reflected in the evolving nature of streaming itself. The rise of ad-supported tiers on platforms like Netflix and the bundling of various streaming services are, in essence, a re-creation of the cable package model in the digital realm.
This suggests that the future of media consumption is not a complete cord-cutting revolution but rather a re-bundling of content in a way that offers consumers choice while providing media companies with more stable revenue streams. The era of pure-play streaming appears to be giving way to a more integrated and, arguably, more sustainable media ecosystem.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or X and TikTok @kingofpodcastsListen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a CashApp https://cash.app/$kingofallpodcasts
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This strategic adjustment is not a full-scale retreat from streaming but a recognition that a diversified approach, leveraging the strengths of both new and traditional platforms, is essential for long-term profitability and audience reach.The initial rush to streaming, fueled by the "streaming wars," led to a fragmented market and mounting content expenses. Now, media conglomerates are finding that the traditional avenues of linear television and theatrical releases offer distinct advantages.
Linear TV, for instance, continues to command massive simultaneous reach, particularly for live events like sports and news, which remain a powerful draw for advertisers. As noted in the 2025 upfronts, there's a renewed appreciation for the broad audiences that linear channels can deliver.
This sentiment is echoed by industry leaders like Disney CEO Bob Iger, who has publicly stated that the combination of linear and streaming is a "winning combination." This "best of both worlds" approach allows companies to maximize their content's value across different windows of distribution.
Further evidence of this trend can be seen in Amazon's significant investment in a substantial slate of theatrical releases. By committing to debuting more films in theaters, the tech and streaming giant is acknowledging the cultural and financial benefits of the traditional cinema experience, which can create a powerful marketing funnel for a film's subsequent life on streaming platforms.
This strategic pivot is also reflected in the evolving nature of streaming itself. The rise of ad-supported tiers on platforms like Netflix and the bundling of various streaming services are, in essence, a re-creation of the cable package model in the digital realm.
This suggests that the future of media consumption is not a complete cord-cutting revolution but rather a re-bundling of content in a way that offers consumers choice while providing media companies with more stable revenue streams. The era of pure-play streaming appears to be giving way to a more integrated and, arguably, more sustainable media ecosystem.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or X and TikTok @kingofpodcastsListen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a CashApp https://cash.app/$kingofallpodcasts
Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
Support KOP by subscribing to his YouTube channel and search for King Of Podcasts
Follow KOP on X and TikTok @kingofpodcasts (F Meta!)
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, kingo Podcasts dot com.
Speaker 2 (00:07):
Major media companies are gonna shuffle away from going all
in on streaming.
Speaker 1 (00:15):
The King of Podcasts Radio Network proudly presents the Broadcasters
podcast Here is the King of Podcasts.
Speaker 3 (00:25):
And welcome to program.
Speaker 2 (00:26):
This is Ki of podcast or whether we want to
the Broadcasters Podcasts here we are once again, we are
back at it because of the movie studios, the major
media companies making changes. So you know, back in twenty
twenty that the real approach to go all in on
streaming was apparent because oh, they thought five years ago,
nobody's going back to the movie theaters. You know, I
(00:48):
think the network's nobody's really watching much of TV shows
on the networks anymore. Well, I think that the experiment
for going all in on streaming has finished because now
we're going to a hybrid model. The media companies are
starting to realize, Yeah, that whole idea of you know,
(01:08):
putting out a movie if it was in the theater
and maybe not even putting it out on in the
theaters first and then eventually put it over on streaming.
Remember they had that whole idea of oh, let's just
put it at the same time. Remember when Max did
that where they did simultaneous release of the movie in
theaters and the release on streaming during COVID. But then
(01:30):
they also had, you know, people like Peacock that I'll
go ahead and release a movie and when we have
in the theaters or there's just those that the movie
studios the major media company said well, we're just gonna
go ahead and put them on our streaming service exclusively.
And the content and the idea of putting real big
money on content, quality content if it's going to be
(01:52):
quality content, and then moving into streaming immediately so that
there's exclusive content. I guess it's only Netflix because at
the end of the day, there's a reason why Netflix
is able to get all these sponsors or all these subscribers,
because what they're doing is they're not putting out the
best quality of content. They're just putting out a lot
of content and streaming that's what it is. It's like
(02:13):
empty calories. It's disposable, and that's what you're really getting
over there. You might be getting some things with some talent,
with some things that are in here. Maybe they're more
for related with those stars that you really know of,
and then you'll get a following that will get a
show viral and somehow, some way we'll hear something about it.
Speaker 3 (02:31):
But then, how many times have we heard.
Speaker 2 (02:33):
About Netflix that something takes off because oh, it's a
show that was out there already, And then what happens,
you know Renumber when Suits did that, it's just like
the biggest thing in the world, and all of a sudden, Oh,
here comes NBCUniversal. Let's go in and just revisit Suits.
And of course they give it half a season and
it tanks because you can't go back and do that
(02:55):
show again. I think you're just gonna put the name
Suits on it, play the quirky little intro to the show,
make Stevenamel act like Harvey Specter and expected to go
and work.
Speaker 3 (03:06):
No, didn't.
Speaker 2 (03:10):
So we're going to go into that a whole report
on that tonight, among other things. But that's really the
approach now, is that the theaters are going to start
being more important again because the proof is in putting
about how well.
Speaker 3 (03:23):
Movies are performing.
Speaker 2 (03:24):
Disney can go and attest to that. So there's some
commentary out there, we'll go ahead and bring it all
to you tonight. I want to go in and give
announcement too that I have been putting out some additional
interviews that I've been doing with people here on for.
Speaker 3 (03:36):
The Broadcasters podcast.
Speaker 2 (03:37):
I just decided to go and do some extra interviews
that would be pertinent to the format. So I started
to get myself into the mood of starting to talk
to people that were in the radio space and talking
to them about various areas of where they are now.
So last week I pushed out an interview of the
weekend on the radio host Carol that is out there
(04:02):
Corral that is now. He's still in podcast in the
podcast world, but was very prominent in Los Angeles and
San Francisco on the radio there, especially talk radio and
also music radio as well.
Speaker 3 (04:14):
Let's pick that point to clear too. But it was
a good interview. I put that out there.
Speaker 2 (04:17):
You can find it at Kingopodcasts dot com or my
YouTube channel. And this week I'll do the same thing
again with another interview I did with Joe Parlovillo. He
was originally a producer sort of as a production assistant
or intern at WPLJ in New York, the big FM
(04:38):
radio station there. That hosted Scott, Scott Shannon and Todd
Betton Gill in the Morning Scott and Todd in the
Morning for nearly twenty years there which the show was
legendary in the market. And he gives us some stories
about what happened during that time in radio, some thought
about how radio and podcasting are much together. And also
we're going to hear more about what he's been doing
(05:00):
and his Good Listen series, which is based on the
book Good Listen, Creating Memorable conversations in business in life.
So he's all from that and that's really great public figure, podcaster, writer,
author of Good Listen, and so much more. You'll hear
that interview coming up. Just look forward over the weekend.
I'll have it posted at Kingopodcasts dot com Saturday, you'll
(05:24):
be able to look for it, and I also have
it on the YouTube channel as well. So let's get
into what we have with the report on the major
studio content spending in twenty twenty five and beyond. So
growth at all costs are here. The streaming wars has ended,
so the idea that these major studios we're gonna be
(05:47):
able to get their streaming services up off the ground,
get hundreds of subscribers like Netflix, take over Netflix's bottom
line and maybe the control of the market, and do
something like that. So the prom is they can't just
abandon their linear outlets. They can't just say we can't
(06:07):
do that, So it's a complex transition for them. Now,
global content spending in twenty twenty five by extreming services,
which is predicted at ninety five billion dollars, is going
to surpass commercial broadcasters in the US. Now, studios are
(06:30):
moving from a strategy of content quantity to content quality
and focusing on high impact franchise driven intellectual property, live sports,
and more strategic licensing a third party content to bolster
their offerings. Then your TV, by the way, has been
positioned more as a valuable cash generator to fund the
streaming pivot and a crucial marketing platform for driving audiences
(06:51):
to digital services.
Speaker 3 (06:52):
It's a hybrid.
Speaker 2 (06:53):
So we know that what is being done right now
is very strategic. Among the major movie studios, they're all
making changes now to take their linear formats they're linear
properties and moving them into a secondary company separate of
the other company. So when you have the big movie studios,
(07:15):
they will have their streaming services and their other ancillary
properties there. Meanwhile, they're going to have a separate company
that's going to hold all their cable networks MBAs universals.
Right now, they're right now exploring that idea. Warner Brothers
Discovery has now introduced global networks into their fray. Paramount
(07:36):
won't probably do the same thing very much soon. And
that's the plan of all of them, is to branch
them out because they might be up on the sales
block that people will go ahead and that might be
companies that might consider with this separation that they'll be
positioned so that they can be put up for sale.
(07:56):
The news networks are going to be up for sale.
You'll have various key channels that will be brought up
in a bundle that'll be put for sale for some
of these other organizations out there that want to get
into the media, or they want to just go ahead
and as the air portfolio, they might just buy these out.
So so very big change in cable programming and we'll
(08:17):
see what they're going to do and how it will change. So,
first of all, the trends we're seeing right now with
the overall studio structure, the strategy is after heavy losses
to acquire subscribers Wall Street. Wall Street's focus is now
entirely shifted. It to the bottom line. Every content decision
(08:38):
is now scrutinized for its return on investment. Streaming is
the undisputed future, but spending growth is slowing now. Companies
are going to make calculator bets rather than green lighting
vast slates to programming. They're not going to suspend the
programming on content that's going to go right in the streaming.
They're not doing it anymore. And part of it was
with some companies like an app or an Amazon, they're
(08:59):
doing it to go ahead and supply, even though Tim
Cook will say you the otherwise that they are trying
to go make sure that their platforms are being utilized.
So Prime is doing as much as they can to
get people to stay on that platform and to subscribe.
I know that because I got my subscription coming up
in July. It's going to renew for a year, and
one hundred and thirty nine dollars is not cheap, but
(09:19):
it's there, and I'm gonna keep it on a new
role of linear and theatrical where linear networks are still
managed in decline, but they still generate a significant cash
flow and still reach larger, older audiences, and their primary
role is to maximize profit to reinvest in streaming. Now,
theatrical releases are still being reserved OWT for major event
(09:41):
films that can launch franchises, driving down downstream value on
streaming platforms. We're seeing more now that with some of
the ideas of some intellectual property and thinking they can
go ahead and create secondary programming that gonna be then
splayed all over through streaming platforms has not worked out well.
(10:05):
Specifically Disney with Marvel, Star Wars, DC or Potter. That's
their idea of that is because they're trying to go
through and they try to put all these different products
out there, and then you start seeing Marvel movies that
are coming out that start looks like TV shows and
that's not a good thing. Or then Star Wars bringing
out a series that yeah, I mean, they might have
(10:25):
put so many millions of dollars in the episodes, but
now Disney's only gonna be spending that kind of money
and Doors don't is gonna be the last streaming series
that's gonna get a significant amount of money for their content,
which is not gonna happen again.
Speaker 3 (10:39):
Because Disney's gonna go and focus more on.
Speaker 2 (10:41):
Movies that are gonna be in theatric release.
Speaker 1 (10:45):
Now.
Speaker 2 (10:45):
Besides high intellectual property value, that's the safer bed than
new unproven concepts. I listened to a book right now
on the MUSTYTV aspect of NBC and how they put
it together, and the idea that you can still have
meetings with the predictive programming executives that might give a
(11:05):
particular opinion about what a show should be in development
and what they're testing will say, and then dam be
the testing and damn the broadcast executives. Where the producers decide, no,
we're gonna stick with this, We're gonna stick with these stars,
We're gonna stick with this concept and go with it,
and there's been times where they're right. Then you have
(11:30):
live sports, the last bassion of appointment viewing a powerful
so for attracting retaining subscribers on both linear and streaming
and ad supported tears. So hybrid subscription models with advertising
are becoming the norm. We saw that from last year
a new revenue stream and offering consumers lower price entry points.
So studio by studio Walt Disney Company comes first. They're
(11:51):
trying to get their turnaround plan going in leveraging its
unparalleled intellectual property and parks divisions. They have had cost
kind of traditional media to fund more conscious a focused
content slate for a streaming services. So in twenty twenty five, Disney,
Hulu and ESPN specifically for the bundle they probably put together,
(12:14):
has caused that director to consumer segment now to finally
reach profitability. They're starting to make money with it, but
they got to grow it. So now content spending is
being consolidated around Disney, Pixar Marvel owned Star Wars. They
want to move away from general entertainment on Disney Plus
and strengthen Hulu for more adult oriented content, and Hulu
(12:37):
onto the Disney app is centerest to the strategy creating
a single powerful streaming hub. So Disney Plus and WHO
They're gonna be combined, and they're gonna put an approach
for how this is going to work. ESPN will have
their own standalone streaming service coming up in late twenty
twenty five and major pillar of future growth. They're gonna
try to capture cord cutters and sports fans directly while
still protecting the linear ecosystem and the price they're gonna
(13:00):
play for that. I can only imagine for all that
linear networks are being managed for profit and cash flow,
so fewer original scripted shows and lower cost sunscripted programming
instead and live events that goes for ABC, ESPN FX.
So I don't know what they're gonna do with FX,
Like they still got the Bear, they still got other
series that you're on Snowfall. I don't know how they're
(13:21):
gonna even pull this off. I mean, there's gonna be
some shows they're gonna beleveraged more for streaming, but they're
gonna be literally started on FX as they have been.
So now there are theatrical releases they've been doing which
would have been on Disney Plus, Mufass, The Lionking and
one to two. They were originally Disney Plus projects that
got moved instead back to theatrical. Disney's around now betting
(13:47):
on a lessons more approach, focusing on investment on the
biggest brands for a profitable integrated streaming future.
Speaker 3 (13:53):
For Netflix.
Speaker 2 (13:56):
They're planning a content spend of eighteen billion dollars in
twenty twenty five. They're going to broaden their entertainment offerings
to keep their massive global subscriber base engaged. So they're
trying to diversify now. Well, while they have the original
films a series, they're making new inroads into new areas.
They're trying to get int the live sports and events.
(14:16):
We've been seeing that right now and it's stop been working
so great so far. But they're trying NFL Christmas Games.
We now they're doing events form May. Outside of UC
there's gaming now, so they're going into a mobile gaming division,
trying to add it as an added value proposition to
subscribers to stay on more international content, local language productions
(14:40):
recognizeay global growth depends on catering to the regional tastes,
and they're looking to double AD revenue in twenty twenty
five because then they have their AD supported tier.
Speaker 3 (14:52):
Foreigner Brothers Discovery.
Speaker 2 (14:53):
They're going through a strategic realignment and now we have
the plans where streaming is udios are going to be
one division. The other one's Global Networks, which is all
the cable networks. So the plan will be streaming of
studios will be HBO, Max, Warner Brothers Pictures, and DC
Studios and the Max HBO Max platform, because Max is
going to be reverted back to HBO Max as the
(15:15):
streaming service name, scaling HBO Max globally, centering on HBO's
premium brand, identity, major theatrical films and lever doing huge
ip like DC and the Harry Potter Universe, and they're
also going to continue heavy investment in high ended scripted series.
The Last of Us is one of those movies like
a Minecraft movie and building out cinematic universes. So the
(15:38):
global networks at CNNT and T Networks, Discovery in Eurosport,
they're being managed for cashul instability and content has been
going to be more conservative, prioritizing live sports and unscripted
programming which are cost effective and draw large consistent audiences.
So less scripted shows on linears, which is still in
the plan. But then also the plan on spending money
(16:00):
on content is going to be more towards not for
streaming right away, because while they're going to try to
go and continue to scale more subscribers into these streaming services,
if they can get more money in the movies going
out there, and they can get more ad revenue, they're
going to do that. So the traditional ways of making
(16:21):
money are going to be prioritized over utilizing streaming to
get the most out of that.
Speaker 3 (16:28):
So streaming scrubscriptions.
Speaker 2 (16:30):
They're there, but they want to make money on the
content they're creating before it hits streaming, and they want
to make money on the advertising that they can get
some of these subscribers to buy in on because they
don't want to buy the full package to buy commercial
free because it's just too much emb senior ursual. They
(16:54):
have a hybrid strategy that you're levering, leaning your assets
to build Peacock, and they're trying to reduce Peacock's losses
and find synergies between new and old platforms. So Peacocks
had quite a few losses of subscribership. They're relying heavily
on live sports, exclusive NFL games and extensive Olympics cards,
so there's spending money on the content. But for sports,
(17:16):
next day access to NBC and Bravo remains a key
driver of viewership. Original content investment as highly selective, focusing
on projects with clear pass to profitability. Now they're linear
in theatrical divisions, that's NBC, USA, Bravo and Universal Pictures,
so linear ad revenue is declining and the channel's remain
important for live news, sports and reality programming, but they're
being increases and used as promotional funnels for Peacock. The
(17:40):
Universal Pictures is doing really well with their movies that
have been putting out, with the movie Wicked and the
one they had last year, the one who Can put
out this year, and creators like Christopher Dolan that are
gonna be coming around doing movies for them. It's a
theatrical success they're seeing is very critical for their ecosystem.
(18:02):
So they're gonna work with the slow decline of NBC
Networks and other cable networks that they have and try
to build Peacock to be sports heavy and cost conscious.
Paramount Global, which is gonna be merged with sky Dance
very soon. They're going through industry headwinds, workforce reductions, and
(18:24):
ongoing merging acquisitions discussions. Now for Paramount Plus, they're gonna
lean it us to establish franchises like Star Trek, Mission Impossible,
and Tailor Shared into Yellowstone Universe. They have their livest
sports with NFL and CBS as a critical component for
driving subscriptions and trying to achieve domestic profitability. In streaming
(18:44):
in twenty twenty five, so they're hoping to be profitable
coming out for their linear and theatrical areas. There's a
lot of cost cutting in a linear division. TV is
still a powerful asset due to the NFL and strong
unscripted slates, but cable networks facing against Yeah, And the
one thing is they got CBS Studios that's running all
their content. So for NCIS and see the all the
(19:09):
Dick Wolf stuff that's going on with FBI, they continue
to cut, cut, cut away on what they're doing. It's
not helping them much and they're struggling with that. Amazon
Prime Video and MTIM Studios for Amazon is just trying
to make sure the Amazon Prime ecosystem, the subscribership stays strong.
(19:30):
So now they're investing billions of big budget global appeal
content like Lord of the Rings, The Rings of Power,
and Fallout. Now there's more that's gonna be coming up
with the theatrical side. We're gonna talk about that very shortly.
They have their MGM acquisition with a deep movie library,
major film I appeal like James Bond. They are investing
across all genres for both streaming in theatrical releases challenges
(19:51):
and red ones are a red one where examples they
now are in the NBA deal with an eleven year
NBA race package eating in late twenty twenty five and
also adding to a successful thirties to night football package.
So Amazon's continued to spend on heavily on premium content
of all types so enhance the value of Prime membership
(20:12):
and dominate the future of streaming advertising. Look, The Accountant
two was the movie they put out in theaters. It
did what thirty to forty five days, and now it's
moved directly to Prime. And I can go watch The
Accountant too now and watch it on Prime after I
already watched it two months ago in the theater, because
we can do that. So that's the full report right
there on the studio. So let's go into what they
(20:33):
also have here with some individual studios and what they
said so far. So Amazon had just mentioned and now
they are going to be heavily invested in theatrical and
they're not holding any content back. So in twenty twenty
six they plan to bring a billion dollars slate. They
(20:58):
will be releasing twenty movies, ten will be theatrical and
the budget for that whole slate will be one billion
dollars are going to George Wilkinson, International TV Distribution manager
of Amazon Magem Studios Distribution, speaking of the NAM market
and conference in Dubruvnik, so he says they are heavily
invested in theatrical, so they're not holding any content back
(21:28):
from the market for that slate they have come for
next year. So this past year they had red one,
A working Man and a Cotton two went out for
theatrical first. They have upcoming features right now later in
the year with Heads of State, the pick Up and
Play Dirty. Those are streaming movies, not in the theatrical
(21:49):
sense right away, they're not going to do that. They
also have the sci fi venture project Hill Mary with
Ryan Gossing, and they have a new high drama crime
one on one and also a Master's Universe also coming
up in their whole set. There will be a new
season to Lord of the Rings The Rings of Power.
Two seasons available for distribution. The third ist coming and
(22:09):
coming to market now what goes reminded the audience said
this particular Lord of the Rings series, it will be
the most expensive TV series ever made in the history
of time sixty million dollars per episode, and also on
the TV side, they will continue to have the Citadel
franchise and Daniel the Kim's spy thriller Butterfly coming out.
(22:34):
On the Disney side of things, Bob Iger, the CEO
there at Disney, says linear and streaming our winning combination.
He took to CNBC on Tuesday on the squawk Box
and says, quote, what we've determined is the combination of
both is actually a winning combination for us, streaming and.
Speaker 3 (22:57):
Linear.
Speaker 2 (22:59):
And when he was at about the spinning off of
the cable networks for their business, he says, quote, I
think he gives us a stronger hand to stay in
that business. When you think about it, the spinoff companies
won't have the assets from a streaming perspective that we
will have. I think that gives us an advantage. So
among the other companies that are out there, HBO Max
is going to launch directed consumer and multiple new countries.
They will be in many countries in Europe now mostly
(23:22):
the Eastern Bloc. Netflix is going to span by twenty
twenty nine one point one billion dollars in Spanish originals,
Ted Sarandos mentioned that Spanish titles will generate over five
billion dollars of viewing on Netflix. All of them have
(23:44):
become instantly recognizable parts of the global culture. Now, Upfrontsweek
is going on right now in Hollywood, and all the
major media companies were promoting their broad portfolios with varying
degrees of success. Live Sporce is still a driving factor
in the conglomerates of programming strategies. Movies are now part
of upfronts now and a decline in scripted programming on
(24:07):
broadcast networks fall schedules says the TV business can be
used involved with some of the biggest scripted bets of
next season, which is like The Office, the follow up series,
the Paper going to streaming instead of being on network television.
So some of the things that Variety learned from the
upfronts and their reporting is that the entertainment business is
in rough financial shape. Peak TV, which had blank checks
(24:33):
for massive tempole productions, the hundreds and hundreds of shows
being produced for products being done, it's over earnings had
taken a hit layoffs of impacted thousands. Everyone's on the
hunt for more cost effective programming. So, as we said,
scripted programming is taking a big hit on the broadcast networks.
This coming season, nearly all the major broadcasters have their
focused through unscripted programming and sports. ABC will only have
(24:57):
five hours of scripted programming a week in the fall.
Fox will have four NBC canceled five scripted shows with
virtually no polity the works to replace them. Cbius is
the only one committed heavily to more scripted shows, but
mostly your spin offs. That includes Sheriff Country, Boston Blue, CIA,
and y Marshals. So scripture shows are costing more to
(25:19):
make still as they always do, and broadcast networks are
don't drawing as nearly as much customers as streamers. So
now NBC what the NBA package they have Now they're
going to eventize the return of NBA coverage on the network.
Now with broadcasting, what they can do is they will
(25:40):
continue to do weekly procedurals and broad companies. Both formats
continue to be popular, but the networks don't seem to
be any rush to find the next big show, and
the spin off or a nostalgia reb revival wave that
was around is over. NBC Actingla after one season and
(26:02):
the night Court reboot follow up also done after three seasons.
Another thing that the upfront they had was branding or
rebranding in some cases with names that lacked creativity, So
Warner Brothers Discovery said that Max is going to go
back to HBO Max again. Disney unveiled this ESPN streaming
(26:25):
service which will be called ESPN and it will offer
unlimited plan that includes all ESPN networks on the ESPN
broadcasts on ABC for thirty hollars a month, and it's
actually more than what's being offered on the ESPN.
Speaker 3 (26:41):
Plus.
Speaker 2 (26:46):
Now we know Aboutbsuniversal and the spinoff of the cable
networks it's called Versant housing brands like USA Network, sci Fi, E,
CNBC and MSNBC. And now movies are becoming more important
of the upfronts, which as usual was always television and
advertising for television, So now feature films are playing a role.
(27:06):
Immedia company pitches to advertisers. NBCUniversal talking about Wicked, their
sequel Wicked for Good coming up Amazon unprinted feature appearances
by John Cena, Gis Momoa, David Batista, and Arnold Schwarzenegger
talking about the upcoming films with Prime Video. They also
mentioned there's going to be Amazon's Thomas Crown.
Speaker 3 (27:28):
A fair reboot with Michael B.
Speaker 2 (27:29):
Jordan, and Jordan also revealing a series spinoff of the
Creed film franchise that'll be also coming up on Amazon Prime.
At Warner Brothers Discovery, they talked a lot about the
work of the DC Universe with James gun and Peter
Saffron DC TV shows like peace Maker season two and
(27:51):
the upcoming Lanterns, and they also showed a brand new
trailer for the new James Gunn directed Superman movie coming up.
Speaker 3 (28:01):
What is July of eleven? I think it is July eleventh.
Speaker 2 (28:06):
And as we said, sports is gonna be the big
deal right now for the upfront and all for linear television.
They're gonna just start using it for live sports. So
NBC is gonna be the first one that's gonna really
make the big difference on that. So they now have
an eleven year deal set for WNBA and NBA rights,
(28:26):
And one of the things he talks about now is
that Michael Jordan is gonna come out of retirement. He's
actually be part of the network's basketball coverage. Other traditional
TV outlets have gone all in and not just major players,
like the NFL NB and NHL, but also any sports
rights deal they can get their hands on. College level
(28:47):
sports of all kinds, of smaller leagues are getting their
time in the spotlight. YouTube is gonna live stream an
NFL game for free and twenty twenty five, Amazon and
Netflix are announcing your games for Thursday Night Football and
the Christmas Team double header respectively. But then you got
to ask yourself now, because of what all these citios
(29:09):
are doing now by really switching out what they're going
to be doing with those linear channels, with the theatrical releases,
all those things, the thing are still people are gonna
be asking for is are are people going to still
be able to find quality content they can go and stream.
Remember we had that whole idea of quibbi which crashed
(29:33):
and burned very quickly in twenty twenty. There's been talking
I've been hearing about this for a while now. But
here's the thing. There is being a thing something to
be said that the quibi type model, even though it
failed as it did, it came back in another form
because now there are people that are working in Los
Angeles in Hollywood, but they're working on different content that's faster, short,
(29:57):
or cheaper and quite literally overturns film and TV norms.
There have been low budget and soapy, occasionally spunny, and
sometimes non physical projects that are coming on now with
some really interesting titles the Offer King and His Virgin Bride,
(30:19):
Carrying his Babies, Stealing His Heart and Mafia Daddy's Surprise
Sex Tuplets. Yeah, so soft proberts are coming back once again,
and they've been back now in short form.
Speaker 1 (30:35):
Now.
Speaker 2 (30:35):
One of the students is doing very well in this
kind of space, is crazy. Mapable Studio, a Sunnyvale, California
based company that owns the platform, Real Short, has fifty
five million monthly actives users, most of the women. The
company has been at one point started putting out four
projects a month. Now it's more than thirty. Majority of
(30:56):
production work takes place in LA, with other projects going
to hubs in New York, Atlanta, enter Toronto. There are
also rivals to the platform that include Drama Box That's
Short and Good Short All That, which rank in the
top twenty entertainment products on Apple's app Store. Yes, even now,
the Telenovella folks at Television Univision, they're starting to go
(31:20):
ahead and do micro dramas, and they're upfront in New York.
They actually mentioned they're gonna now use their VIC streaming
service to do short form tele novels. One top streaming
executive says the service they work at is exploring right now,
adapting consisting content that can be broken down into tiny
chunks a typical vertical series for the telenovels or for
(31:43):
the dey episodes, they can either break down those series
or create new content.
Speaker 1 (31:55):
Now.
Speaker 2 (31:56):
In the production style of these particular micro dramas that
are being done now, twelve hour days your standard. A
featuring script might take just a week to shoot. Actors
might get as few as three to five takes per
setup to get their performance to strike. According to Hollow Reporter,
productions try to keep budgets and they'refore wages low, and
so projects might fall below three hundred thousand dollars per
(32:18):
project and five hundred thousand. Of the companies trying a
new concept and the quality of the series, flashbacks are
wildly impossible. Scenarios and expository dialogue abound. One source describes
as the writing set of these series as a lot
of telling, not showing. Unions are starting to take notice
now as one IAC leader is eyeing the format as
(32:39):
its members who are allowed to both work in union
and non unit projects take jobs in these verticals.
Speaker 3 (32:46):
They're under the radar as.
Speaker 2 (32:47):
Far as union goes, because they're usually going for eight
hundred thousand to one million dollar budget type projects. But
the verticals like these, these micro formatted programs that Quibi
was predicting that this is going to be happening, but
they were just ahead of their time. Another person to
(33:10):
talk to, the see of Surreal Studio Services. West Bailey
says that.
Speaker 3 (33:14):
Right now.
Speaker 2 (33:18):
Verticals went from something that never happened to something that's
probably representing somewhere in the neighborhood of forty percent of
the shoots on his style stages and may even be
over fifty percent. And in terms of verticals, we're seeing
an increase of the amount of verticals that are going
on as well, again up to five hundred series. Now
(33:46):
verticals took off an Asia before the pandemic, before production
heated up in the US, and shoot days from the
online content category rose twenty five percent year over year.
A couple other things I want to bring up. One
that I want to make mention of real quick that
would be interesting. The first AI related case with media
has come in to play now this isey universal of
(34:07):
fial lawsuit against artificial intelligence startup mid Journey, accusing the
company of copyright infringement on ten page complaint alleged at
this company that was found in twenty twenty two quote
unquote helped itself to copyright a material to train it software,
calling the company a bottomed split of pitch of plagarism.
While authors, artists, record, labels and news organizations of all
(34:28):
suit AI companies to protect their work. This is the
first time for major Hollywood movie companies, who until now
kept their grimses.
Speaker 3 (34:35):
Out of court.
Speaker 2 (34:36):
So we'll keep an eye on that and see if
it becomes of anything more. But yes, AI coming into
play with the movie studios coming into play together on
a lawsuit. That's a big deal. But we'll keep an
eye on it and see what they're gonna do. Let's segue
to the music and the media now. Apple Music head
Oliver Schuster, spoken of a keynote at the nmpa's annual
(34:56):
meeting on Wednesday, says that quote, as a company, we
look at music as art. We would never want to
give away art for free. It makes no sense to me.
NMPA is the National Music Publisher Association's annual meaning in
New York.
Speaker 3 (35:11):
That's what they're doing.
Speaker 2 (35:14):
The Schuester says that I think it's crazy. At twenty
years end, we stroll off our music for free.
Speaker 3 (35:19):
Well, the only service that doesn't have a.
Speaker 2 (35:20):
Free services the company. We look at music as art.
We would never want to give away art for free.
He talked about how Apple Music's competitors offer free ad
supported tiers, including Spotify, which is the world's largest streating service.
Speaker 1 (35:35):
Now.
Speaker 2 (35:36):
For Spotify, they said the company remains a large revenant
driver in the music industry. That the adsupported tier helps
draws in more fans and we then convert to the
premium offerings instead, which is why I'm on Spotify, and
I never decided to spend money on Apple Music, not
at all. The multi tier model that they have now
is a key factor in consistently paying out more than
every other retailer or streaming service annually. Beyond the dollars
(35:59):
the ads reported tier generates more than sixty percent of
premium subscribers began as AD supported users. I was one
of them, and then presenting them with opportunities to upgrade
to a broader straight of premium features is our blueprint and.
Speaker 3 (36:09):
It's working and it's true.
Speaker 2 (36:13):
At this NMPA conference, they also mentioned that Spotify and
Amazon offering subscriptions. This bunnels with audio books has caused
songwriters' roles is drop, let's go into podcasting your radio now.
So there's a panel podcast leaders that can mean. At
the recent Milliken Institute Global Conference about the evolving the
(36:35):
position of a podcast and a medium shifting role in
the media landscape, ask him the question what is a
podcast exactly? Jessica Cordova Kramer, CEO of Leman out of Media,
said that quote, everyone wants a podcast, No one wants
to make a podcast. It's a lot of work, a
good one anyway. True, that's why we are in the
(36:56):
business of doing it for others. But that's what I
do for a living, a set of doing my own content.
A Creamer says, it's all about the core audio experience.
But the definition is fluid. It can evolve, video, involve social,
evolved live events, but the primary definition is that that
RSS feed is coming into your ears from one of
the awesome platforms. When asked about the role of video
(37:23):
and podcasting future. Ben may sell Us, host of the
cost of the Midas Touch podcast, says that the role
of community and podcasting success is that our podcast does
to show that to me, is fueled and built by
a community. The community builds a podcast, and a podcast
drives and succeeds when it truly understands what they say.
And the keyword is simulcast I think that's where all
(37:45):
this is all going. C's Josh Lindgren mentions that it's
not one size fits all that video is a growing
segment of the podcast world. It is definitely going to
keep growing, but it doesn't mean you have the You
can have a very successful, successful business, excuse me, and
as achieved your aims are doing the value in the
podcast that podcasters should consider video as entering an entirely
(38:08):
different industry where distributioned is different, monetization is different, including
the way that advertisinggainst sposorship work. When it comes to
me with video, it's fine because look, YouTube is such
a powerful platform for proadcasting. If you don't have your
content on YouTube, you have to be It's a no brainer,
it really is. They also had on the founder of
(38:30):
one Rehrnan Lopez that says that most shows study on
video are considered more often than audio only shows just
because of the way the algorithms work. But every creator
has to look at that against the trade offs and
more talk about audio here. The Trade Desk says now
in a new review of research trends and in the
(38:51):
recent study they put out seeing they're saying now that quote,
audio is proving to be a powerful and connective medium
that marketers cannot afford to ignore. So E Marketer reports
that consumers in twenty twenty four spent two hours and
forty two minutes a day with audio, accounting for twenty
one point four percent of total media time. Advertisers out
(39:13):
getting just four point five percent of the US ad
spend to audio media, which means you could be spending
more money on audio for advertising because there's a big
audience right there. Two hundred and twenty nine million people,
or six or two thirds of the population in the
US still listen to digital audio in twenty twenty four,
and that's going to continue to grow. The average US
(39:37):
listener spends fifty minutes each day with podcasts, with over
five hundred and fifty five hundred and forty million global
podcasts to choose from. It's up fifty percent since twenty twenty.
The Trade Desk reports that audio is a growing channel
for consumers, has increasingly become a part of everyday life,
and there's a clear opportunity to tap into an underinvested,
(40:00):
engaged audience. There's more too, but that's the basic the
gist of it. Now, there's technology that's out there that
I was kind of interested by because I'm wondering if
it would be any good at all, since we know
that radio at this moment under the Corpus structures are
not going to bring us back to giving us radio
(40:23):
programming that's going to have a live, local presence with
real personalities and a very well thought out playlist of music.
But maybe we'll get something out of this the Comedy Future.
They're relaunching their interactive programming platform Tether under the brand
Listener Driven Radium. They wanted to empower audiences by shaping
(40:47):
their listening experience, so the platform offers features crowdsourced song
voting via website and mobile app, personalized notifications, customized will branding,
and an enhanced audio imaging so listeners can vote on
their favorite songs via the station's website or mobile app
(41:08):
in flut to the playlist in real time wid hearing
to the station's music strategy.
Speaker 3 (41:13):
That would be good.
Speaker 2 (41:14):
As long as you have availability of songs that you
can listen to, that will be very important. But we
don't know about that. Like if you have the playlist
that's gonna be pretty big and we'll include new songs
and things like that. You know, if you have a
larger playlist for the audience to go in tap into,
then you get a better playlist of music.
Speaker 3 (41:34):
That's just not a bad idea.
Speaker 2 (41:36):
Users will receive alerts from the chosen songs or artists
are about to play, boosting tune into the listener to loyalty.
We'll see how that works out. Like do we care
that what are your favorite songs were gonna finally play?
Speaker 3 (41:47):
Like, okay, think about it.
Speaker 2 (41:48):
If you had this thirty years ago, you made a
call on the request line and you want to know
that your song is gonna get play, Well, yeah, somebody
calls you back and says, hey, your song is gonna
play next.
Speaker 3 (41:56):
Now, I don't know if everybody cares about that.
Speaker 2 (41:59):
Stations can taylor the voting interface and visuals to align
with their branding and sponsorships, making it cohesive. And they're
gonna utilize real worlds, which is a great service for
jingles and for imaging. They're going to enhance the stations
sound by delivering captivating contest promos and intros, and current
clients will see no disruption in the service and the
(42:19):
platforms core features and functionality will remain intact. So that's
one of the new ideas that you're going to come
up now with that maybe that companies will buy into
listener driven radio, which I said, anyway, that is something
you can do. I thought that might not be a
bad idea, I guess, but you know, we'll see if
they're going to.
Speaker 3 (42:39):
Work with at all.
Speaker 2 (42:41):
If any stations will buy into it, I'll be kind
of curious about that. So that's your Broadcast Broadcasters podcast
for this week.
Speaker 3 (42:49):
Come back next week.
Speaker 2 (42:50):
We'll do another great episode and over the weekend, make
sure to go and listen to my interview with Joe
Partavila and hear a great story about some when it
came in the radio and has done a lot with
that even coming out of radio after twenty plus years
in the business. Come back next week for the Broadcasters
podcast fromer. The content is King, and the control of
your content is in your hands.
Podcasting since two thousand and five. This is the King
of Podcasts Radio Network, kingo Podcasts dot com.
Speaker 2 (00:07):
Major media companies are gonna shuffle away from going all
in on streaming.
Speaker 1 (00:15):
The King of Podcasts Radio Network proudly presents the Broadcasters
podcast Here is the King of Podcasts.
Speaker 3 (00:25):
And welcome to program.
Speaker 2 (00:26):
This is Ki of podcast or whether we want to
the Broadcasters Podcasts here we are once again, we are
back at it because of the movie studios, the major
media companies making changes. So you know, back in twenty
twenty that the real approach to go all in on
streaming was apparent because oh, they thought five years ago,
nobody's going back to the movie theaters. You know, I
(00:48):
think the network's nobody's really watching much of TV shows
on the networks anymore. Well, I think that the experiment
for going all in on streaming has finished because now
we're going to a hybrid model. The media companies are
starting to realize, Yeah, that whole idea of you know,
(01:08):
putting out a movie if it was in the theater
and maybe not even putting it out on in the
theaters first and then eventually put it over on streaming.
Remember they had that whole idea of oh, let's just
put it at the same time. Remember when Max did
that where they did simultaneous release of the movie in
theaters and the release on streaming during COVID. But then
(01:30):
they also had, you know, people like Peacock that I'll
go ahead and release a movie and when we have
in the theaters or there's just those that the movie
studios the major media company said well, we're just gonna
go ahead and put them on our streaming service exclusively.
And the content and the idea of putting real big
money on content, quality content if it's going to be
(01:52):
quality content, and then moving into streaming immediately so that
there's exclusive content. I guess it's only Netflix because at
the end of the day, there's a reason why Netflix
is able to get all these sponsors or all these subscribers,
because what they're doing is they're not putting out the
best quality of content. They're just putting out a lot
of content and streaming that's what it is. It's like
(02:13):
empty calories. It's disposable, and that's what you're really getting
over there. You might be getting some things with some talent,
with some things that are in here. Maybe they're more
for related with those stars that you really know of,
and then you'll get a following that will get a
show viral and somehow, some way we'll hear something about it.
Speaker 3 (02:31):
But then, how many times have we heard.
Speaker 2 (02:33):
About Netflix that something takes off because oh, it's a
show that was out there already, And then what happens,
you know Renumber when Suits did that, it's just like
the biggest thing in the world, and all of a sudden, Oh,
here comes NBCUniversal. Let's go in and just revisit Suits.
And of course they give it half a season and
it tanks because you can't go back and do that
(02:55):
show again. I think you're just gonna put the name
Suits on it, play the quirky little intro to the show,
make Stevenamel act like Harvey Specter and expected to go
and work.
Speaker 3 (03:06):
No, didn't.
Speaker 2 (03:10):
So we're going to go into that a whole report
on that tonight, among other things. But that's really the
approach now, is that the theaters are going to start
being more important again because the proof is in putting
about how well.
Speaker 3 (03:23):
Movies are performing.
Speaker 2 (03:24):
Disney can go and attest to that. So there's some
commentary out there, we'll go ahead and bring it all
to you tonight. I want to go in and give
announcement too that I have been putting out some additional
interviews that I've been doing with people here on for.
Speaker 3 (03:36):
The Broadcasters podcast.
Speaker 2 (03:37):
I just decided to go and do some extra interviews
that would be pertinent to the format. So I started
to get myself into the mood of starting to talk
to people that were in the radio space and talking
to them about various areas of where they are now.
So last week I pushed out an interview of the
weekend on the radio host Carol that is out there
(04:02):
Corral that is now. He's still in podcast in the
podcast world, but was very prominent in Los Angeles and
San Francisco on the radio there, especially talk radio and
also music radio as well.
Speaker 3 (04:14):
Let's pick that point to clear too. But it was
a good interview. I put that out there.
Speaker 2 (04:17):
You can find it at Kingopodcasts dot com or my
YouTube channel. And this week I'll do the same thing
again with another interview I did with Joe Parlovillo. He
was originally a producer sort of as a production assistant
or intern at WPLJ in New York, the big FM
(04:38):
radio station there. That hosted Scott, Scott Shannon and Todd
Betton Gill in the Morning Scott and Todd in the
Morning for nearly twenty years there which the show was
legendary in the market. And he gives us some stories
about what happened during that time in radio, some thought
about how radio and podcasting are much together. And also
we're going to hear more about what he's been doing
(05:00):
and his Good Listen series, which is based on the
book Good Listen, Creating Memorable conversations in business in life.
So he's all from that and that's really great public figure, podcaster, writer,
author of Good Listen, and so much more. You'll hear
that interview coming up. Just look forward over the weekend.
I'll have it posted at Kingopodcasts dot com Saturday, you'll
(05:24):
be able to look for it, and I also have
it on the YouTube channel as well. So let's get
into what we have with the report on the major
studio content spending in twenty twenty five and beyond. So
growth at all costs are here. The streaming wars has ended,
so the idea that these major studios we're gonna be
(05:47):
able to get their streaming services up off the ground,
get hundreds of subscribers like Netflix, take over Netflix's bottom
line and maybe the control of the market, and do
something like that. So the prom is they can't just
abandon their linear outlets. They can't just say we can't
(06:07):
do that, So it's a complex transition for them. Now,
global content spending in twenty twenty five by extreming services,
which is predicted at ninety five billion dollars, is going
to surpass commercial broadcasters in the US. Now, studios are
(06:30):
moving from a strategy of content quantity to content quality
and focusing on high impact franchise driven intellectual property, live sports,
and more strategic licensing a third party content to bolster
their offerings. Then your TV, by the way, has been
positioned more as a valuable cash generator to fund the
streaming pivot and a crucial marketing platform for driving audiences
(06:51):
to digital services.
Speaker 3 (06:52):
It's a hybrid.
Speaker 2 (06:53):
So we know that what is being done right now
is very strategic. Among the major movie studios, they're all
making changes now to take their linear formats they're linear
properties and moving them into a secondary company separate of
the other company. So when you have the big movie studios,
(07:15):
they will have their streaming services and their other ancillary
properties there. Meanwhile, they're going to have a separate company
that's going to hold all their cable networks MBAs universals.
Right now, they're right now exploring that idea. Warner Brothers
Discovery has now introduced global networks into their fray. Paramount
(07:36):
won't probably do the same thing very much soon. And
that's the plan of all of them, is to branch
them out because they might be up on the sales
block that people will go ahead and that might be
companies that might consider with this separation that they'll be
positioned so that they can be put up for sale.
(07:56):
The news networks are going to be up for sale.
You'll have various key channels that will be brought up
in a bundle that'll be put for sale for some
of these other organizations out there that want to get
into the media, or they want to just go ahead
and as the air portfolio, they might just buy these out.
So so very big change in cable programming and we'll
(08:17):
see what they're going to do and how it will change. So,
first of all, the trends we're seeing right now with
the overall studio structure, the strategy is after heavy losses
to acquire subscribers Wall Street. Wall Street's focus is now
entirely shifted. It to the bottom line. Every content decision
(08:38):
is now scrutinized for its return on investment. Streaming is
the undisputed future, but spending growth is slowing now. Companies
are going to make calculator bets rather than green lighting
vast slates to programming. They're not going to suspend the
programming on content that's going to go right in the streaming.
They're not doing it anymore. And part of it was
with some companies like an app or an Amazon, they're
(08:59):
doing it to go ahead and supply, even though Tim
Cook will say you the otherwise that they are trying
to go make sure that their platforms are being utilized.
So Prime is doing as much as they can to
get people to stay on that platform and to subscribe.
I know that because I got my subscription coming up
in July. It's going to renew for a year, and
one hundred and thirty nine dollars is not cheap, but
(09:19):
it's there, and I'm gonna keep it on a new
role of linear and theatrical where linear networks are still
managed in decline, but they still generate a significant cash
flow and still reach larger, older audiences, and their primary
role is to maximize profit to reinvest in streaming. Now,
theatrical releases are still being reserved OWT for major event
(09:41):
films that can launch franchises, driving down downstream value on
streaming platforms. We're seeing more now that with some of
the ideas of some intellectual property and thinking they can
go ahead and create secondary programming that gonna be then
splayed all over through streaming platforms has not worked out well.
(10:05):
Specifically Disney with Marvel, Star Wars, DC or Potter. That's
their idea of that is because they're trying to go
through and they try to put all these different products
out there, and then you start seeing Marvel movies that
are coming out that start looks like TV shows and
that's not a good thing. Or then Star Wars bringing
out a series that yeah, I mean, they might have
(10:25):
put so many millions of dollars in the episodes, but
now Disney's only gonna be spending that kind of money
and Doors don't is gonna be the last streaming series
that's gonna get a significant amount of money for their content,
which is not gonna happen again.
Speaker 3 (10:39):
Because Disney's gonna go and focus more on.
Speaker 2 (10:41):
Movies that are gonna be in theatric release.
Speaker 1 (10:45):
Now.
Speaker 2 (10:45):
Besides high intellectual property value, that's the safer bed than
new unproven concepts. I listened to a book right now
on the MUSTYTV aspect of NBC and how they put
it together, and the idea that you can still have
meetings with the predictive programming executives that might give a
(11:05):
particular opinion about what a show should be in development
and what they're testing will say, and then dam be
the testing and damn the broadcast executives. Where the producers decide, no,
we're gonna stick with this, We're gonna stick with these stars,
We're gonna stick with this concept and go with it,
and there's been times where they're right. Then you have
(11:30):
live sports, the last bassion of appointment viewing a powerful
so for attracting retaining subscribers on both linear and streaming
and ad supported tears. So hybrid subscription models with advertising
are becoming the norm. We saw that from last year
a new revenue stream and offering consumers lower price entry points.
So studio by studio Walt Disney Company comes first. They're
(11:51):
trying to get their turnaround plan going in leveraging its
unparalleled intellectual property and parks divisions. They have had cost
kind of traditional media to fund more conscious a focused
content slate for a streaming services. So in twenty twenty five, Disney,
Hulu and ESPN specifically for the bundle they probably put together,
(12:14):
has caused that director to consumer segment now to finally
reach profitability. They're starting to make money with it, but
they got to grow it. So now content spending is
being consolidated around Disney, Pixar Marvel owned Star Wars. They
want to move away from general entertainment on Disney Plus
and strengthen Hulu for more adult oriented content, and Hulu
(12:37):
onto the Disney app is centerest to the strategy creating
a single powerful streaming hub. So Disney Plus and WHO
They're gonna be combined, and they're gonna put an approach
for how this is going to work. ESPN will have
their own standalone streaming service coming up in late twenty
twenty five and major pillar of future growth. They're gonna
try to capture cord cutters and sports fans directly while
still protecting the linear ecosystem and the price they're gonna
(13:00):
play for that. I can only imagine for all that
linear networks are being managed for profit and cash flow,
so fewer original scripted shows and lower cost sunscripted programming
instead and live events that goes for ABC, ESPN FX.
So I don't know what they're gonna do with FX,
Like they still got the Bear, they still got other
series that you're on Snowfall. I don't know how they're
(13:21):
gonna even pull this off. I mean, there's gonna be
some shows they're gonna beleveraged more for streaming, but they're
gonna be literally started on FX as they have been.
So now there are theatrical releases they've been doing which
would have been on Disney Plus, Mufass, The Lionking and
one to two. They were originally Disney Plus projects that
got moved instead back to theatrical. Disney's around now betting
(13:47):
on a lessons more approach, focusing on investment on the
biggest brands for a profitable integrated streaming future.
Speaker 3 (13:53):
For Netflix.
Speaker 2 (13:56):
They're planning a content spend of eighteen billion dollars in
twenty twenty five. They're going to broaden their entertainment offerings
to keep their massive global subscriber base engaged. So they're
trying to diversify now. Well, while they have the original
films a series, they're making new inroads into new areas.
They're trying to get int the live sports and events.
(14:16):
We've been seeing that right now and it's stop been working
so great so far. But they're trying NFL Christmas Games.
We now they're doing events form May. Outside of UC
there's gaming now, so they're going into a mobile gaming division,
trying to add it as an added value proposition to
subscribers to stay on more international content, local language productions
(14:40):
recognizeay global growth depends on catering to the regional tastes,
and they're looking to double AD revenue in twenty twenty
five because then they have their AD supported tier.
Speaker 3 (14:52):
Foreigner Brothers Discovery.
Speaker 2 (14:53):
They're going through a strategic realignment and now we have
the plans where streaming is udios are going to be
one division. The other one's Global Networks, which is all
the cable networks. So the plan will be streaming of
studios will be HBO, Max, Warner Brothers Pictures, and DC
Studios and the Max HBO Max platform, because Max is
going to be reverted back to HBO Max as the
(15:15):
streaming service name, scaling HBO Max globally, centering on HBO's
premium brand, identity, major theatrical films and lever doing huge
ip like DC and the Harry Potter Universe, and they're
also going to continue heavy investment in high ended scripted series.
The Last of Us is one of those movies like
a Minecraft movie and building out cinematic universes. So the
(15:38):
global networks at CNNT and T Networks, Discovery in Eurosport,
they're being managed for cashul instability and content has been
going to be more conservative, prioritizing live sports and unscripted
programming which are cost effective and draw large consistent audiences.
So less scripted shows on linears, which is still in
the plan. But then also the plan on spending money
(16:00):
on content is going to be more towards not for
streaming right away, because while they're going to try to
go and continue to scale more subscribers into these streaming services,
if they can get more money in the movies going
out there, and they can get more ad revenue, they're
going to do that. So the traditional ways of making
(16:21):
money are going to be prioritized over utilizing streaming to
get the most out of that.
Speaker 3 (16:28):
So streaming scrubscriptions.
Speaker 2 (16:30):
They're there, but they want to make money on the
content they're creating before it hits streaming, and they want
to make money on the advertising that they can get
some of these subscribers to buy in on because they
don't want to buy the full package to buy commercial
free because it's just too much emb senior ursual. They
(16:54):
have a hybrid strategy that you're levering, leaning your assets
to build Peacock, and they're trying to reduce Peacock's losses
and find synergies between new and old platforms. So Peacocks
had quite a few losses of subscribership. They're relying heavily
on live sports, exclusive NFL games and extensive Olympics cards,
so there's spending money on the content. But for sports,
(17:16):
next day access to NBC and Bravo remains a key
driver of viewership. Original content investment as highly selective, focusing
on projects with clear pass to profitability. Now they're linear
in theatrical divisions, that's NBC, USA, Bravo and Universal Pictures,
so linear ad revenue is declining and the channel's remain
important for live news, sports and reality programming, but they're
being increases and used as promotional funnels for Peacock. The
(17:40):
Universal Pictures is doing really well with their movies that
have been putting out, with the movie Wicked and the
one they had last year, the one who Can put
out this year, and creators like Christopher Dolan that are
gonna be coming around doing movies for them. It's a
theatrical success they're seeing is very critical for their ecosystem.
(18:02):
So they're gonna work with the slow decline of NBC
Networks and other cable networks that they have and try
to build Peacock to be sports heavy and cost conscious.
Paramount Global, which is gonna be merged with sky Dance
very soon. They're going through industry headwinds, workforce reductions, and
(18:24):
ongoing merging acquisitions discussions. Now for Paramount Plus, they're gonna
lean it us to establish franchises like Star Trek, Mission Impossible,
and Tailor Shared into Yellowstone Universe. They have their livest
sports with NFL and CBS as a critical component for
driving subscriptions and trying to achieve domestic profitability. In streaming
(18:44):
in twenty twenty five, so they're hoping to be profitable
coming out for their linear and theatrical areas. There's a
lot of cost cutting in a linear division. TV is
still a powerful asset due to the NFL and strong
unscripted slates, but cable networks facing against Yeah, And the
one thing is they got CBS Studios that's running all
their content. So for NCIS and see the all the
(19:09):
Dick Wolf stuff that's going on with FBI, they continue
to cut, cut, cut away on what they're doing. It's
not helping them much and they're struggling with that. Amazon
Prime Video and MTIM Studios for Amazon is just trying
to make sure the Amazon Prime ecosystem, the subscribership stays strong.
(19:30):
So now they're investing billions of big budget global appeal
content like Lord of the Rings, The Rings of Power,
and Fallout. Now there's more that's gonna be coming up
with the theatrical side. We're gonna talk about that very shortly.
They have their MGM acquisition with a deep movie library,
major film I appeal like James Bond. They are investing
across all genres for both streaming in theatrical releases challenges
(19:51):
and red ones are a red one where examples they
now are in the NBA deal with an eleven year
NBA race package eating in late twenty twenty five and
also adding to a successful thirties to night football package.
So Amazon's continued to spend on heavily on premium content
of all types so enhance the value of Prime membership
(20:12):
and dominate the future of streaming advertising. Look, The Accountant
two was the movie they put out in theaters. It
did what thirty to forty five days, and now it's
moved directly to Prime. And I can go watch The
Accountant too now and watch it on Prime after I
already watched it two months ago in the theater, because
we can do that. So that's the full report right
there on the studio. So let's go into what they
(20:33):
also have here with some individual studios and what they
said so far. So Amazon had just mentioned and now
they are going to be heavily invested in theatrical and
they're not holding any content back. So in twenty twenty
six they plan to bring a billion dollars slate. They
(20:58):
will be releasing twenty movies, ten will be theatrical and
the budget for that whole slate will be one billion
dollars are going to George Wilkinson, International TV Distribution manager
of Amazon Magem Studios Distribution, speaking of the NAM market
and conference in Dubruvnik, so he says they are heavily
invested in theatrical, so they're not holding any content back
(21:28):
from the market for that slate they have come for
next year. So this past year they had red one,
A working Man and a Cotton two went out for
theatrical first. They have upcoming features right now later in
the year with Heads of State, the pick Up and
Play Dirty. Those are streaming movies, not in the theatrical
(21:49):
sense right away, they're not going to do that. They
also have the sci fi venture project Hill Mary with
Ryan Gossing, and they have a new high drama crime
one on one and also a Master's Universe also coming
up in their whole set. There will be a new
season to Lord of the Rings The Rings of Power.
Two seasons available for distribution. The third ist coming and
(22:09):
coming to market now what goes reminded the audience said
this particular Lord of the Rings series, it will be
the most expensive TV series ever made in the history
of time sixty million dollars per episode, and also on
the TV side, they will continue to have the Citadel
franchise and Daniel the Kim's spy thriller Butterfly coming out.
(22:34):
On the Disney side of things, Bob Iger, the CEO
there at Disney, says linear and streaming our winning combination.
He took to CNBC on Tuesday on the squawk Box
and says, quote, what we've determined is the combination of
both is actually a winning combination for us, streaming and.
Speaker 3 (22:57):
Linear.
Speaker 2 (22:59):
And when he was at about the spinning off of
the cable networks for their business, he says, quote, I
think he gives us a stronger hand to stay in
that business. When you think about it, the spinoff companies
won't have the assets from a streaming perspective that we
will have. I think that gives us an advantage. So
among the other companies that are out there, HBO Max
is going to launch directed consumer and multiple new countries.
They will be in many countries in Europe now mostly
(23:22):
the Eastern Bloc. Netflix is going to span by twenty
twenty nine one point one billion dollars in Spanish originals,
Ted Sarandos mentioned that Spanish titles will generate over five
billion dollars of viewing on Netflix. All of them have
(23:44):
become instantly recognizable parts of the global culture. Now, Upfrontsweek
is going on right now in Hollywood, and all the
major media companies were promoting their broad portfolios with varying
degrees of success. Live Sporce is still a driving factor
in the conglomerates of programming strategies. Movies are now part
of upfronts now and a decline in scripted programming on
(24:07):
broadcast networks fall schedules says the TV business can be
used involved with some of the biggest scripted bets of
next season, which is like The Office, the follow up series,
the Paper going to streaming instead of being on network television.
So some of the things that Variety learned from the
upfronts and their reporting is that the entertainment business is
in rough financial shape. Peak TV, which had blank checks
(24:33):
for massive tempole productions, the hundreds and hundreds of shows
being produced for products being done, it's over earnings had
taken a hit layoffs of impacted thousands. Everyone's on the
hunt for more cost effective programming. So, as we said,
scripted programming is taking a big hit on the broadcast networks.
This coming season, nearly all the major broadcasters have their
focused through unscripted programming and sports. ABC will only have
(24:57):
five hours of scripted programming a week in the fall.
Fox will have four NBC canceled five scripted shows with
virtually no polity the works to replace them. Cbius is
the only one committed heavily to more scripted shows, but
mostly your spin offs. That includes Sheriff Country, Boston Blue, CIA,
and y Marshals. So scripture shows are costing more to
(25:19):
make still as they always do, and broadcast networks are
don't drawing as nearly as much customers as streamers. So
now NBC what the NBA package they have Now they're
going to eventize the return of NBA coverage on the network.
Now with broadcasting, what they can do is they will
(25:40):
continue to do weekly procedurals and broad companies. Both formats
continue to be popular, but the networks don't seem to
be any rush to find the next big show, and
the spin off or a nostalgia reb revival wave that
was around is over. NBC Actingla after one season and
(26:02):
the night Court reboot follow up also done after three seasons.
Another thing that the upfront they had was branding or
rebranding in some cases with names that lacked creativity, So
Warner Brothers Discovery said that Max is going to go
back to HBO Max again. Disney unveiled this ESPN streaming
(26:25):
service which will be called ESPN and it will offer
unlimited plan that includes all ESPN networks on the ESPN
broadcasts on ABC for thirty hollars a month, and it's
actually more than what's being offered on the ESPN.
Speaker 3 (26:41):
Plus.
Speaker 2 (26:46):
Now we know Aboutbsuniversal and the spinoff of the cable
networks it's called Versant housing brands like USA Network, sci Fi, E,
CNBC and MSNBC. And now movies are becoming more important
of the upfronts, which as usual was always television and
advertising for television, So now feature films are playing a role.
(27:06):
Immedia company pitches to advertisers. NBCUniversal talking about Wicked, their
sequel Wicked for Good coming up Amazon unprinted feature appearances
by John Cena, Gis Momoa, David Batista, and Arnold Schwarzenegger
talking about the upcoming films with Prime Video. They also
mentioned there's going to be Amazon's Thomas Crown.
Speaker 3 (27:28):
A fair reboot with Michael B.
Speaker 2 (27:29):
Jordan, and Jordan also revealing a series spinoff of the
Creed film franchise that'll be also coming up on Amazon Prime.
At Warner Brothers Discovery, they talked a lot about the
work of the DC Universe with James gun and Peter
Saffron DC TV shows like peace Maker season two and
(27:51):
the upcoming Lanterns, and they also showed a brand new
trailer for the new James Gunn directed Superman movie coming up.
Speaker 3 (28:01):
What is July of eleven? I think it is July eleventh.
Speaker 2 (28:06):
And as we said, sports is gonna be the big
deal right now for the upfront and all for linear television.
They're gonna just start using it for live sports. So
NBC is gonna be the first one that's gonna really
make the big difference on that. So they now have
an eleven year deal set for WNBA and NBA rights,
(28:26):
And one of the things he talks about now is
that Michael Jordan is gonna come out of retirement. He's
actually be part of the network's basketball coverage. Other traditional
TV outlets have gone all in and not just major players,
like the NFL NB and NHL, but also any sports
rights deal they can get their hands on. College level
(28:47):
sports of all kinds, of smaller leagues are getting their
time in the spotlight. YouTube is gonna live stream an
NFL game for free and twenty twenty five, Amazon and
Netflix are announcing your games for Thursday Night Football and
the Christmas Team double header respectively. But then you got
to ask yourself now, because of what all these citios
(29:09):
are doing now by really switching out what they're going
to be doing with those linear channels, with the theatrical releases,
all those things, the thing are still people are gonna
be asking for is are are people going to still
be able to find quality content they can go and stream.
Remember we had that whole idea of quibbi which crashed
(29:33):
and burned very quickly in twenty twenty. There's been talking
I've been hearing about this for a while now. But
here's the thing. There is being a thing something to
be said that the quibi type model, even though it
failed as it did, it came back in another form
because now there are people that are working in Los
Angeles in Hollywood, but they're working on different content that's faster, short,
(29:57):
or cheaper and quite literally overturns film and TV norms.
There have been low budget and soapy, occasionally spunny, and
sometimes non physical projects that are coming on now with
some really interesting titles the Offer King and His Virgin Bride,
(30:19):
Carrying his Babies, Stealing His Heart and Mafia Daddy's Surprise
Sex Tuplets. Yeah, so soft proberts are coming back once again,
and they've been back now in short form.
Speaker 1 (30:35):
Now.
Speaker 2 (30:35):
One of the students is doing very well in this
kind of space, is crazy. Mapable Studio, a Sunnyvale, California
based company that owns the platform, Real Short, has fifty
five million monthly actives users, most of the women. The
company has been at one point started putting out four
projects a month. Now it's more than thirty. Majority of
(30:56):
production work takes place in LA, with other projects going
to hubs in New York, Atlanta, enter Toronto. There are
also rivals to the platform that include Drama Box That's
Short and Good Short All That, which rank in the
top twenty entertainment products on Apple's app Store. Yes, even now,
the Telenovella folks at Television Univision, they're starting to go
(31:20):
ahead and do micro dramas, and they're upfront in New York.
They actually mentioned they're gonna now use their VIC streaming
service to do short form tele novels. One top streaming
executive says the service they work at is exploring right now,
adapting consisting content that can be broken down into tiny
chunks a typical vertical series for the telenovels or for
(31:43):
the dey episodes, they can either break down those series
or create new content.
Speaker 1 (31:55):
Now.
Speaker 2 (31:56):
In the production style of these particular micro dramas that
are being done now, twelve hour days your standard. A
featuring script might take just a week to shoot. Actors
might get as few as three to five takes per
setup to get their performance to strike. According to Hollow Reporter,
productions try to keep budgets and they'refore wages low, and
so projects might fall below three hundred thousand dollars per
(32:18):
project and five hundred thousand. Of the companies trying a
new concept and the quality of the series, flashbacks are
wildly impossible. Scenarios and expository dialogue abound. One source describes
as the writing set of these series as a lot
of telling, not showing. Unions are starting to take notice
now as one IAC leader is eyeing the format as
(32:39):
its members who are allowed to both work in union
and non unit projects take jobs in these verticals.
Speaker 3 (32:46):
They're under the radar as.
Speaker 2 (32:47):
Far as union goes, because they're usually going for eight
hundred thousand to one million dollar budget type projects. But
the verticals like these, these micro formatted programs that Quibi
was predicting that this is going to be happening, but
they were just ahead of their time. Another person to
(33:10):
talk to, the see of Surreal Studio Services. West Bailey
says that.
Speaker 3 (33:14):
Right now.
Speaker 2 (33:18):
Verticals went from something that never happened to something that's
probably representing somewhere in the neighborhood of forty percent of
the shoots on his style stages and may even be
over fifty percent. And in terms of verticals, we're seeing
an increase of the amount of verticals that are going
on as well, again up to five hundred series. Now
(33:46):
verticals took off an Asia before the pandemic, before production
heated up in the US, and shoot days from the
online content category rose twenty five percent year over year.
A couple other things I want to bring up. One
that I want to make mention of real quick that
would be interesting. The first AI related case with media
has come in to play now this isey universal of
(34:07):
fial lawsuit against artificial intelligence startup mid Journey, accusing the
company of copyright infringement on ten page complaint alleged at
this company that was found in twenty twenty two quote
unquote helped itself to copyright a material to train it software,
calling the company a bottomed split of pitch of plagarism.
While authors, artists, record, labels and news organizations of all
(34:28):
suit AI companies to protect their work. This is the
first time for major Hollywood movie companies, who until now
kept their grimses.
Speaker 3 (34:35):
Out of court.
Speaker 2 (34:36):
So we'll keep an eye on that and see if
it becomes of anything more. But yes, AI coming into
play with the movie studios coming into play together on
a lawsuit. That's a big deal. But we'll keep an
eye on it and see what they're gonna do. Let's segue
to the music and the media now. Apple Music head
Oliver Schuster, spoken of a keynote at the nmpa's annual
(34:56):
meeting on Wednesday, says that quote, as a company, we
look at music as art. We would never want to
give away art for free. It makes no sense to me.
NMPA is the National Music Publisher Association's annual meaning in
New York.
Speaker 3 (35:11):
That's what they're doing.
Speaker 2 (35:14):
The Schuester says that I think it's crazy. At twenty
years end, we stroll off our music for free.
Speaker 3 (35:19):
Well, the only service that doesn't have a.
Speaker 2 (35:20):
Free services the company. We look at music as art.
We would never want to give away art for free.
He talked about how Apple Music's competitors offer free ad
supported tiers, including Spotify, which is the world's largest streating service.
Speaker 1 (35:35):
Now.
Speaker 2 (35:36):
For Spotify, they said the company remains a large revenant
driver in the music industry. That the adsupported tier helps
draws in more fans and we then convert to the
premium offerings instead, which is why I'm on Spotify, and
I never decided to spend money on Apple Music, not
at all. The multi tier model that they have now
is a key factor in consistently paying out more than
every other retailer or streaming service annually. Beyond the dollars
(35:59):
the ads reported tier generates more than sixty percent of
premium subscribers began as AD supported users. I was one
of them, and then presenting them with opportunities to upgrade
to a broader straight of premium features is our blueprint and.
Speaker 3 (36:09):
It's working and it's true.
Speaker 2 (36:13):
At this NMPA conference, they also mentioned that Spotify and
Amazon offering subscriptions. This bunnels with audio books has caused
songwriters' roles is drop, let's go into podcasting your radio now.
So there's a panel podcast leaders that can mean. At
the recent Milliken Institute Global Conference about the evolving the
(36:35):
position of a podcast and a medium shifting role in
the media landscape, ask him the question what is a
podcast exactly? Jessica Cordova Kramer, CEO of Leman out of Media,
said that quote, everyone wants a podcast, No one wants
to make a podcast. It's a lot of work, a
good one anyway. True, that's why we are in the
(36:56):
business of doing it for others. But that's what I
do for a living, a set of doing my own content.
A Creamer says, it's all about the core audio experience.
But the definition is fluid. It can evolve, video, involve social,
evolved live events, but the primary definition is that that
RSS feed is coming into your ears from one of
the awesome platforms. When asked about the role of video
(37:23):
and podcasting future. Ben may sell Us, host of the
cost of the Midas Touch podcast, says that the role
of community and podcasting success is that our podcast does
to show that to me, is fueled and built by
a community. The community builds a podcast, and a podcast
drives and succeeds when it truly understands what they say.
And the keyword is simulcast I think that's where all
(37:45):
this is all going. C's Josh Lindgren mentions that it's
not one size fits all that video is a growing
segment of the podcast world. It is definitely going to
keep growing, but it doesn't mean you have the You
can have a very successful, successful business, excuse me, and
as achieved your aims are doing the value in the
podcast that podcasters should consider video as entering an entirely
(38:08):
different industry where distributioned is different, monetization is different, including
the way that advertisinggainst sposorship work. When it comes to
me with video, it's fine because look, YouTube is such
a powerful platform for proadcasting. If you don't have your
content on YouTube, you have to be It's a no brainer,
it really is. They also had on the founder of
(38:30):
one Rehrnan Lopez that says that most shows study on
video are considered more often than audio only shows just
because of the way the algorithms work. But every creator
has to look at that against the trade offs and
more talk about audio here. The Trade Desk says now
in a new review of research trends and in the
(38:51):
recent study they put out seeing they're saying now that quote,
audio is proving to be a powerful and connective medium
that marketers cannot afford to ignore. So E Marketer reports
that consumers in twenty twenty four spent two hours and
forty two minutes a day with audio, accounting for twenty
one point four percent of total media time. Advertisers out
(39:13):
getting just four point five percent of the US ad
spend to audio media, which means you could be spending
more money on audio for advertising because there's a big
audience right there. Two hundred and twenty nine million people,
or six or two thirds of the population in the
US still listen to digital audio in twenty twenty four,
and that's going to continue to grow. The average US
(39:37):
listener spends fifty minutes each day with podcasts, with over
five hundred and fifty five hundred and forty million global
podcasts to choose from. It's up fifty percent since twenty twenty.
The Trade Desk reports that audio is a growing channel
for consumers, has increasingly become a part of everyday life,
and there's a clear opportunity to tap into an underinvested,
(40:00):
engaged audience. There's more too, but that's the basic the
gist of it. Now, there's technology that's out there that
I was kind of interested by because I'm wondering if
it would be any good at all, since we know
that radio at this moment under the Corpus structures are
not going to bring us back to giving us radio
(40:23):
programming that's going to have a live, local presence with
real personalities and a very well thought out playlist of music.
But maybe we'll get something out of this the Comedy Future.
They're relaunching their interactive programming platform Tether under the brand
Listener Driven Radium. They wanted to empower audiences by shaping
(40:47):
their listening experience, so the platform offers features crowdsourced song
voting via website and mobile app, personalized notifications, customized will branding,
and an enhanced audio imaging so listeners can vote on
their favorite songs via the station's website or mobile app
(41:08):
in flut to the playlist in real time wid hearing
to the station's music strategy.
Speaker 3 (41:13):
That would be good.
Speaker 2 (41:14):
As long as you have availability of songs that you
can listen to, that will be very important. But we
don't know about that. Like if you have the playlist
that's gonna be pretty big and we'll include new songs
and things like that. You know, if you have a
larger playlist for the audience to go in tap into,
then you get a better playlist of music.
Speaker 3 (41:34):
That's just not a bad idea.
Speaker 2 (41:36):
Users will receive alerts from the chosen songs or artists
are about to play, boosting tune into the listener to loyalty.
We'll see how that works out. Like do we care
that what are your favorite songs were gonna finally play?
Speaker 3 (41:47):
Like, okay, think about it.
Speaker 2 (41:48):
If you had this thirty years ago, you made a
call on the request line and you want to know
that your song is gonna get play, Well, yeah, somebody
calls you back and says, hey, your song is gonna
play next.
Speaker 3 (41:56):
Now, I don't know if everybody cares about that.
Speaker 2 (41:59):
Stations can taylor the voting interface and visuals to align
with their branding and sponsorships, making it cohesive. And they're
gonna utilize real worlds, which is a great service for
jingles and for imaging. They're going to enhance the stations
sound by delivering captivating contest promos and intros, and current
clients will see no disruption in the service and the
(42:19):
platforms core features and functionality will remain intact. So that's
one of the new ideas that you're going to come
up now with that maybe that companies will buy into
listener driven radio, which I said, anyway, that is something
you can do. I thought that might not be a
bad idea, I guess, but you know, we'll see if
they're going to.
Speaker 3 (42:39):
Work with at all.
Speaker 2 (42:41):
If any stations will buy into it, I'll be kind
of curious about that. So that's your Broadcast Broadcasters podcast
for this week.
Speaker 3 (42:49):
Come back next week.
Speaker 2 (42:50):
We'll do another great episode and over the weekend, make
sure to go and listen to my interview with Joe
Partavila and hear a great story about some when it
came in the radio and has done a lot with
that even coming out of radio after twenty plus years
in the business. Come back next week for the Broadcasters
podcast fromer. The content is King, and the control of
your content is in your hands.
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