November 14, 2025 • 46 mins
The entertainment industry is engaged in a reckless gamble, prioritizing the fleeting virality of social media stars over the reliable, public-friendly professionalism of trained talent.
This trend, which began with experimental casting, has rapidly metastasized into a full-scale corporate strategy, positioning influencers as the foolish replacement for groomed, quality artists across movies, television, music, and now, radio.
The entire entertainment ecosystem appears to be chasing instantaneous audience capture rather than fostering enduring creative merit.
Hollywood has definitively "Learned to Love Influencers", viewing them not as collaborators but as packaged audiences ready for monetization. This 'new era of fame' bypasses the necessity of traditional training, acting schools, or years spent honing a craft, opting instead for a shortcut driven by follower counts. The result is a critical substitution of seasoned actors and hosts with untested personalities.
This takeover is starkly visible in the world of television and streaming. Major platforms like Netflix are increasingly tapping into the established fanbases of "New Hollywood" by acquiring shows fronted by successful YouTube creators .
Rather than investing in development with proven writers and performers, the streaming giant is making content from creators like Brittany Broski bigger, while YouTube itself is making aggressive moves into traditional formats like late-night and stand-up comedy.
The platform is actively pushing shows like Royal Court to rival established, highly-vetted late-night hosts, making a clear statement that the traditional gatekeepers are being overthrown by algorithmic success.
Perhaps the most alarming expansion of this 'foolish' recruitment is the invasion of traditional audio broadcasting. A cornerstone of the radio industry, iHeartMedia, has struck a massive partnership with TikTok to bring platform creators into mainstream broadcast radio and launch an entire podcast network dedicated to them.
This move signals a profound erosion of quality standards, as broadcast airwaves—once reserved for highly vetted, public-friendly hosts—are handed over to personalities whose main qualification is their ability to generate clicks and soundbites.
The convergence of social media virality and institutional entertainment is not a merging of worlds, but rather a hostile takeover driven by desperate metrics.
By foolishly substituting quality, trained talent with readily available, built-in audiences, Hollywood and the entertainment industry are participating in a fundamental devaluation of craft, risking a systemic 'race to the bottom' where public-friendly quality is sacrificed for instant, yet often transient, buzz.
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This trend, which began with experimental casting, has rapidly metastasized into a full-scale corporate strategy, positioning influencers as the foolish replacement for groomed, quality artists across movies, television, music, and now, radio.
The entire entertainment ecosystem appears to be chasing instantaneous audience capture rather than fostering enduring creative merit.
Hollywood has definitively "Learned to Love Influencers", viewing them not as collaborators but as packaged audiences ready for monetization. This 'new era of fame' bypasses the necessity of traditional training, acting schools, or years spent honing a craft, opting instead for a shortcut driven by follower counts. The result is a critical substitution of seasoned actors and hosts with untested personalities.
This takeover is starkly visible in the world of television and streaming. Major platforms like Netflix are increasingly tapping into the established fanbases of "New Hollywood" by acquiring shows fronted by successful YouTube creators .
Rather than investing in development with proven writers and performers, the streaming giant is making content from creators like Brittany Broski bigger, while YouTube itself is making aggressive moves into traditional formats like late-night and stand-up comedy.
The platform is actively pushing shows like Royal Court to rival established, highly-vetted late-night hosts, making a clear statement that the traditional gatekeepers are being overthrown by algorithmic success.
Perhaps the most alarming expansion of this 'foolish' recruitment is the invasion of traditional audio broadcasting. A cornerstone of the radio industry, iHeartMedia, has struck a massive partnership with TikTok to bring platform creators into mainstream broadcast radio and launch an entire podcast network dedicated to them.
This move signals a profound erosion of quality standards, as broadcast airwaves—once reserved for highly vetted, public-friendly hosts—are handed over to personalities whose main qualification is their ability to generate clicks and soundbites.
The convergence of social media virality and institutional entertainment is not a merging of worlds, but rather a hostile takeover driven by desperate metrics.
By foolishly substituting quality, trained talent with readily available, built-in audiences, Hollywood and the entertainment industry are participating in a fundamental devaluation of craft, risking a systemic 'race to the bottom' where public-friendly quality is sacrificed for instant, yet often transient, buzz.
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!)
Listen 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/kingofpodcasts
Drop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVL
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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, King of podcasts dot com.
Speaker 2 (00:07):
Hollywood doesn't care about making any one famous. They care
now more about how many followers do you got?
Speaker 1 (00:17):
The King of podcasts Radio Network probably presents to the
broadcasters podcast Here is the King of podcasts.
Speaker 2 (00:27):
So I've been going down the rabbit hole of YouTube
looking at various programs of my past, my childhood. You know,
growing up, I remember watching a lot of USA Network.
If it wasn't cartoons, it was game shows. Who were
watching in all game shows? And if it wasn't, you know,
sitcoms were watching that were on either on the independent channels,
(00:50):
or movies and things like that, or talk to just whatever.
One of the things that I could tell you was
a lot of stars, whether they were in movies or television,
that they weren't immune to being on television for just
random stuff. They didn't have a problem being able to
go and be public friendly, be able to be entertaining, witting, witty, charming,
(01:18):
funny or whatever. I mean. It's one thing for in
today's culture, the one show that really does a good
job of having celebrities on and letting them be themselves.
Is Graham Norton over a BBC There's not even a
question of that. And that's the only show out there
(01:38):
I know of that really does that kind of thing.
It's not the late night shows here. Saturday Night Live.
Yeah somewhat to a point. They do give that chance,
but only certain people get to going to be on
that spot. Gotta be really famous to be there. But
those shows Graham Norton Saturday Live, that traditional sense. They're
not going to bring on influencers. I don't remember that
(02:00):
if they've had any influencers on, because you don't when
I look at sporting events, they're trying to go integrate
that you see whether with boxing, you see with football,
with other sports. Let's get some influences of vault. Now,
game shows. We still have game shows that are on primetime,
(02:21):
not that many. They're on during the day, but if
you want celebrity driven game shows, those are on in primetime.
Whether it's match Game or The Pyramid or you know,
that's it, like, there really isn't that much more. That's
all be a couple of other shows. But in the
(02:41):
days years passed by, we used to have a time
where we'd have game shows and talk shows and various
platforms for publicity purposes, and even if somebody had some
of the plug or not, there were people that knew
how to integrate themselves into the game. Think about like this,
(03:05):
Imagine now if you really wanted to try to go
and do a good version of Hollywood Scares. We've heard
that people have been doing the Hollywood Scers, trying to
bring that show back, and you have to think about
the B and C and D list stars they have
that they're trying to go and use that. You know,
they're not doing much of anything and they're just kind
of hanging on to do these shows. Same thing with
(03:27):
Match Games, same thing with the one hundred thousand dollars
Bitterer med so all that they're just not good. But
I look back at when Dick Clark hosted The Pyramid,
or want to look at Peter Marshall hosting Hollywood Scers,
or even John Davidson or Tom bergeron for that matter,
and the people they were get as celebrities on those shows,
And the same thing goes for various others. Just Match Game.
(03:49):
You know, I look at who was available as celebrities
and what they were able to do with them on
these shows if they wanted to be on on a
talk show or an award show or whatever there was
that could be on television that gave them a chance
to be a part of You had stars that were
very aera d ie. They were able to go and
get on Listen tonight, I got to quit saying listen
(04:12):
because that's becoming a crutch word. I realized that I've
been listening back to myself. But here. So there was
a Hollywood Star Hollywood Squares episode I was watching earlier tonight,
and on there you had Karen Valentine in a room
two to two fame. You had Dinah Shore, who talk show hosts, singer,
you know, a lot of entertainment behind her. Burt Reynolds was,
(04:34):
you know, just getting out on television and really making
himself into movies. This was what mid seventies. This episode
was on Eva Gabor, who was on Green Acres. And
then I'm looking at the other cast securiers to normally
have on. Tony Randills on there, who's done Broadway, who's
done television, and like, there's a whole lot behind him
(04:57):
and the career he had. There were all these people
that we're able to go ahead and be they could
metamorph into whatever was needed for what they were doing,
and they could be good for any show. We don't
have that right now, So the question is where's the
talent coming from. We don't have that kind of talent
(05:19):
that can do that. And the way that some celebrities
are being noticed now you have to find different places
to go and find them, and then you might find
clips that will be viral, but people are not actually
catching the whole thing. It's just not that way. So
there are other things that some of these magazines or
(05:39):
publications that are doing. They're taking the load and trying
to go and do something with promoting different things. Your
press junkets are only so much out there that are
gonna be usable. That's what we got left. But I
have an interview that's coming up in a couple of weeks.
I'm gonna go ahead and air it here because we're
(06:00):
going to get into the dead time of where Hollywood
doesn't have that much going on. Entertainment news will be
kind of dying down a bit as we get to
the holidays, and I'm gonna play playing back an interview
that I had of Ralph Sutton, who is hosted the Sex,
Drug and Rock and Roll podcast The SDR Show. Also
hosted The Tour Bus, a syndicated album rock show for
(06:24):
many years across radio stations across the country and done
a lot of work. Now he's very much into podcasting.
Does the Gas Digital Network, which you might heard of,
have a number of stars that come out of that realm.
And one of the things he was telling me about
the fact is, you know, there is this thing about
and I think even Neil Viglio when I had that
interview a few weeks ago, there's something about where people
(06:45):
are going to find talent. They do not want to
go and try to create someone and make them famous.
The musicians, music industry doesn't want to do the same thing.
They just want to find someone that has followers, someone
that has a following, somebody that might be caught up
because us people become famous online. Hollywood doesn't want to
do the work they might have done and create stars.
(07:09):
They don't want to do the whole thing of bringing
someone that is a complete unknown working on them getting
them ready to go and become famous, to become stars.
They don't want to do that anymore. That's all gone
because they can feel like, well, they have the gun,
they don't want to invest the money into it when
they can go and just find someone that just is
already has some kind of fame, already has some kind
(07:30):
of likability, some notoriety something about them. They have followers,
they're influencers. And since COVID, and since after COVID, we
have more people now that are becoming much more viable
for Hollywood to go ahead and bring on board to
do something with. And since twenty twenty, we've seen a
few stars that have made their way through. I mean
(07:51):
we're talking about everyone after the reality era. So the
Kardashians had their time, Gardashians, Jenners, whatever, and other somebodies
that were out there that were made either from let's
say the Bachelors let's say from other places or survivor whatever.
It's like all these talent shows like American Idol, Americans,
(08:12):
God Talent, the Voice, we have stars that come from
those and they didn't come from anywhere. They might have
some kind of notoriety or people might recognize them a
little bit, but not nationwider mainstream notoriety. But now the
thing is, let's just go and cheat, and we're going
to find these followers these influencers. See the influencers are
(08:36):
playing to the algorithm of whatever platform they're on, and
keep in mind that if they are doing something, they
might be more talented or multi talented than you would imagine.
But the problem is that they have to be stuck
to a certain algorithm that will continue to generate followers
(08:59):
and continue to gender rate hits or likes or whatever
so they can continue to monetize. They have to go
and do the same thing over and over. It's very
tough for someone to go ahead that is being made
to be one dimensional either, because that's what they have
to do to keep the platform to feed their coffers.
I just think we do have a lot of one
(09:20):
trick ponies out there. Somebody found something that people really
get into and like, and then they get into it
and then try to do something else. I mean, look
at a TikTok feed. I mean, look, I'm one of
those where I'm not getting that much traction on there,
but I still go out there and put on you know,
apply my trade out there and put comments out there
and put clips and see what happens. And there are
(09:42):
some things that will do better than others. But social
media doesn't work for someone like me because I'm not
playing to the algorithms, because my thing is my content
might not be for everyone. And I also rotate and
change up what I talk about, just like I do
with my podcasts. So also we'll take a risk if
I'm doing a podcast, or if I'm doing content of
(10:05):
any kind, audio or video, I'm risking myself to the
fact that if I did one predicular subject and just
kept rolling on it and milking it for all it's worth. Yeah,
I might get some more traction in the long run,
more followers, more monetization, who knows. But I'm not doing
that because to me, I just feel like, okay, it's
(10:26):
still difficult for people to go ahead and do something
with themselves, to give themselves something more. Let's put it
like this. So mister Beats a great example of okay,
because of the money he has been able to raise
from the stuff that he's been doing to do okay,
he's doing charitable work, he's becoming entrepreneur. He has a
lot of different products he does. He has the burger business,
he has chocolate bars, he has all these other things
(10:47):
that he's doing. So for his business is very multi level.
But for whatever tality has, I don't know what it is.
I don't know the appeal. And there are others out
there that supposed to have some appeal, but it's like, Okay,
they have their one lane. Somebody might be just good
at cooking, somebody might be just good at some commentaty
(11:08):
of one certain thing or pop culture, whatever they are.
But I know there are people out there that because
they're online, they're saying, well, why do I have to
be stuck in a pigeonhole of doing one particular thing,
which is for me, I don't want to do that.
I want to do radio, and podcasting is the new radio,
so I'm doing that. I'm not worried so much about content,
(11:32):
like I want good quality content that I can talk about.
But I feel like I can be knowledgeable on various
fields and I have some wisdom and I have some
things to some takeaways I can give. So I can
do a show like this and flip to a wrestling
show the next day, and flip to a show on society,
dating a culture the next day after that, and I
can do that. I can talk about the cannabis industry
(11:53):
because I do that. On another show. So there's other
things I like to talk about besides, But that's not
what people want in their content, and people want to
be able to have it where you're not necessarily programming
content that's going to be for a large audience that's
gonna be broadcasting. Every influencer is narrow casting. But then
(12:16):
Hollywood wants to go ahead and recruit some of these
folks that have been narrow casting for their entire public persona,
and then they're going to try to expand them into
doing something more. And they'd rather just go through as
many as they can to see if they seek or swim,
and then eventually find someone that will come across and say, Okay,
(12:38):
maybe we can do something with them. And has anyone
really become truly famous as a result of this, not necessarily.
But the other thing that happens is that what happens
with these influencers are brought in and they sell out
because for the most part, these influencers are driven my money,
(12:58):
not a passion for their doing. They're trying to do
this because this is a way for them to go
and make ends meet or become successful and famous and
make the money. But the money is very important. Now,
going back about three weeks ago, Hollywood Reporter put out
a story that talked about how Hollywood learned to love influencers.
Maybe about four weeks ago and Taylor Lorenz put out
(13:21):
the story and says that twenty twenty five is the
year that the power dynamics in Hollywood finally flipped. The
content creator industry is finally surpassing traditional Hollywood in terms
of cloud, cultural capital, and increasingly size. But the creator
industry is rapidly professionalizing, facing the disruption by the proliferation
(13:43):
of AI. The landscape is me up by politics and
live streaming is rewriting the nature of fame and fandom.
But no matter what, sure, influencers in certain things are
getting used to be something. More so for press junkers,
you're seeing more influencers being evolved. If there's things that
you can kind of use for say advertising, or for
(14:05):
marketing purposes, or just something that's something short, short form
content and not necessarily anything bigger that might be on
a bigger platform like television or movies, they're gonna use
them for something like that kind of throw away stuff.
YouTube is down the number one streaming platform this year.
It happened, passing Netflix and Amazon for the first time.
(14:25):
People watching YouTube now more on their sets than in
the phones or any of the device. YouTubers are becoming
some of the biggest TV stars today now, and I'm
surprised it's really like that, because yeah, YouTube has original content,
and there's a lot of original content that's not from
YouTube itself, but also just people that go on the
YouTube and they're exclusive on YouTube, and there are those
(14:47):
stars I don't even catch up on to because I mean,
it's really interesting about YouTube what you're looking for over there,
Like if you just you were able to go and
open up a new log in and then let's just
see what YouTube gives you in your recommendations. I mean,
what kind of audience is getting those recommendations of these
particular people that That's what I don't know. But YouTube,
(15:12):
just like just like other places, the algorithms will make
sure that you get content that you want to keep
you on there. So it's not as if the influencers here,
these content creators are getting seen by everybody, but there's
a large audience they get, but they're not getting exposed
to everyone like they would if people were to look
(15:33):
for on television or movies. That's the thing that comes
up with social media and comes up with streaming like this,
where you know you're getting recommendations, you're getting algorithms that
are giving you what you feel like you want, but
they're not gonna leave you just open with a platform
and say, Okay, here's the other thing we got. Because
if you get overwhelmed and in a data with content
(15:53):
you're not gonna watch, you just want to just you're
not gonna take the time to go and go looking
around because in this time of technology, no, we have
curated content for every user so that you're on the
platform as long as possible and getting those right kind
of people that you're going to benefit from them having
(16:17):
their content put in front of you so you watch
it more, and then the creators get more money. So
while there's the bulk of people that might be getting
created content that might be this larger end stuff with
both of the stuff I don't get, but I'm also
not going out of my way to go find it either.
Outside of YouTube, the creator economy is now a two
(16:38):
hundred and fifty billion dollar global force. The thing is
is that these big Hollywood powerhouses, they want to be
involved in the money that these folks are making because
they're also taking money away from themselves, so they want
to get involved with them. And we're going to go
into the whole story of where you're seeing this happening
(16:58):
so much, and of these content creators now into things
that Hollywood would normally give to someone, they're trying to
go and build because they can trust and create. We
talked plenty in the last few years after COVID, when
influencers became influencer market became really rampant, and we talked
about the fact that with guests out there on this program,
(17:20):
the folks out there would say that influencers were not
necessarily loyal or people that can rely on because the
early influencers, the pioneers, they were gonna go and buck
the system, but they were also gonna get screwed over
because the kind of offers they were going to get,
you know, hollow was going to go and use it
for whatever they can and throw them away. But now
(17:41):
the power and the cloud, as this story says, the
influencers have it. Now they now have all the chips
they want. They don't need Hollywood, Hollywood needs them. It's
turned around and with the less amount of actors and
actors out there for all these different projects to do
something to be able to make this happen. So the
(18:04):
next two years, the content creator industry should double to
four hundred and eighty billion dollars. Sixty seven million people
today are currently working as full or part time creators. Yes,
this is in the US out of three hundred and
forty billion million, excuse me. And by twenty thirty there'll
be maybe more than one hundred and five million content
(18:27):
creators in the US alone. Content creators contributed to fifty
five million dollars to the gross domestic product in twenty
twenty four, which is equivalent to five hundred thousand jobs.
That is according to Oxford Economics. So now we know
that one of the things that has helped out influencers
(18:47):
is the quality of their content. Whether it's them buying
better cameras, better phones, better equipment, better editing work, better everything.
They're polishing their product, and then the chance to go
and do content can be a little bit longer, give
people a little bit more time to go ahead and
really give something out there that Hollywood or other folks
(19:09):
can go in audition and check to see if somebody
is going to be really viable for what they're looking
to do in the project for them, whether it's an agent,
whether it's a studio, whether it's some director, producer, whatever
they might be of what they're looking to go and do.
Sponsor content deals expected to surpass ten billion dollars this year.
More advertisers comming back on traditional media advertising diving headfirst
(19:32):
into influencer marketing. So what was fifteen years ago plus
low quality lips seing videos on YouTube or performing skits
on vine now is the dominant force in media commerce
and culture. So they talked to a couple of consultants
here in this Horror Reporter article, And first of all,
they talk to Alisa Light, who is found out of
(19:54):
Leave Your Market digital Strategy consultancy, founding member of the
American Influencer Council, that not only is ditional talent embracing
digital platforms, but writers, actors and producers who previously worked
in traditional entertainment are now working on social first content.
Creators are hiring scriptwriters, production managers, and how actors as
Hollywood pivots, and that there's been a big shift. This
(20:16):
does a writer's strike, that what people are doing. They're
embracing more of digital because they have to then be
noticed there to get more work there. All of that.
Netflix in January to be an example of those studios
looking to go and tryty something more with concent creators,
(20:37):
they hired a popular YouTube educational creator not as Missus Rachel.
Her name is Rachel Occurso they brought four episodes of
her show onto the platform, and Ted Sarando's co CEO
of Netflix, said they were actively hunting for internet talent. Quote,
we want to be in business with the best creatives
on the planet, regardless of where they come from, saying
that Netflix is also looking at a wide variety of
(20:58):
video podcasters that might be fit force and that came.
Speaker 1 (21:02):
To be.
Speaker 2 (21:03):
To b Now has to different creators where they're bringing
episode of content from influencers onto the streaming platform. And
then I have six inaugural creators including Jubilee, Rhett and
Link and Watcher and more than five hundred hours of
creator made content across the platform. On tub which is
owned by Fox owned by Disney Now. They talk to
(21:28):
Creative Logic founder Avi Gandhi, who writes about the publics
the creators that he's surprised. Why not more of the
legacy studios has sought to lean in more into influencers.
The richest trove of IP and human history is right
in front of us, and they're not mining it. But
(21:48):
the Hollywood executives have to figure things out because there's
a rising tide of companies like Chronicle Studios for their
adventures SuperOrdinary, that are going to become the new studios
that these others don't figure it out. The new class
of professionalized Hollywood ready creator talent. Wait a minute, Wait
a minute, take that back there. Professionalize Hollywood ready, Hollywood
(22:09):
ready to be recruited, does not mean Hollywood ready to
be ready to go on camera and be able to
go and perform or do whatever task is required. There's
a difference. Now, some of these content creators are also
building more media ventures. Kandi makes the point that the
(22:34):
fastest growing kind of group in the creative economy are
grown ups, adult professionals laid off or tired of working
for a company becoming creators as a way to grow
their own business at later stage. Professional creators are seeing
a boon for advertisers seeking through reach previously untapped committees
online and big brands are allocating more money, you know,
leavers incoming. CEO says the company is going to be
(22:54):
going to spend fifty percent of his media budget with
creators and multiple creators that the company works with by
twenty But the other part of people are talking about
is that while this is all going on, people need
to be aware of because AI might also throw a
wrench into this new economy being built in which has
only had a few years to go and really fester
(23:16):
and exist. So too from opening, AI is making a
big dent right now on the possibilities if AI is
able to go and catch up to a certain point
and content is able to be done where these companies
only want to do this. Listen, there's a lot of
jobs out there in AI right now for language learning
(23:36):
and a lot of jobs available in that way for
remote work, and they're figuring it out, and it's just
a matter of time before AI becomes not perfect, but
usable enough to be used in a lot of ways
where influencers will be obsolete because these influencers get older,
influencers might not be able to go and do anything
that they want. And you know, if you just go
(23:58):
and clone someone that is even similar to it influencer,
They're gonna be just fine. They're gonna be able to
going to put u whatever content they want and eventually
will happen. Alt's talk about the part of the political folks,
and I'm not gonna worry about that. There's a lot
in political content, a lot of money, and a lot
of people working in it, and they're very famous in
a notarite and notable. I just don't know if they're
(24:21):
gonna be anybody that you want to go and see
on anything that how I was doing right now. That's
a difference. We've talked about some of the influencers that
have broken out, and you know, one thing that will
help out is if you see them doing things where
you catch them and clips that really make them stand out.
(24:42):
I show Speed, Darrin, Jason Watkins, Junior Kais sinnat ages
twenty and twenty three, respectively break out years, but they've
already been breaking out for a long time anyway, last
couple of years. I show Speed on a world tour,
currently giving viewers an unfiltered look into countries like China
from his perspective as a gen Z creator, not taking
over an entire university campus now streaming streaming university, an
(25:04):
online reality show to find the next big influencer. All
these things are being done. Now what's happening next. It's
not just Hollywood. We are now seeing the branching into
other areas. So TikTok now is joined forces with iHeartRadio
or iHeartMedia. This is what really caught my attention because
(25:25):
I was like, all right, what are we doing here?
So now there's a multi platform partnership with iHeartMedia where
TikTok creators are gonna be brought into the iHeart ecosystem.
There will be the launch of the TikTok Podcast Network
with twenty five podcasts, all new, hosted by TikTok creators
at a national broadcast in digital radio station, and a
(25:47):
series of live event integrations. So TikTok getting their own
mainstream platform, you could say, via iHeartMedia, which maybe not
so much important with their own broadcast outlet, whether if
they're syndicating content out of the radio stations, probably nobody
cares really how much about that, But the digital streaming
(26:07):
side and the podcast side is very important to them.
This new network will give short form video creators a
way to expand their storytelling beyond the TikTok platform and
iHeartMedia's hosting, introducing new co branded state of the our
podcast studios in Los Angeles, New York, and Atlanta, which
(26:28):
will feature advanced audio and video infrastructure for both podcasting
and video production, with the roster creators building struggled bridges
between their video and audio content co branded study of
their podcast udo. So they're just thinking of their clusters
and probably making stroom for these podcast studios. Okay, that's
what they're doing. And these new podcasts will be widely
(26:50):
distributed by our podcasts and everywhere you can hear them,
and you can also find show highlights and clips on TikTok.
And together they're also going to create TikTok Radio, a
fast paced format pairing TikTok creators with experience high I
heeart radio personalities. It will not only feature TikTok's hottest
new songs, but also trend driven storytelling, an emotional context
(27:13):
behind the music cleaning segments like behind the Charts, new
music Fridays that on the verge, so take that. Radio
will be limited not be limited to digital, They will
be available across broadcast stations nationwide. And digitally on the
iHeart Radio app, So I can see where they're going
to try to take the pop stations that are struggling
right now, get rid of the talent that you have
right now that are voice tracking all these stations, or
(27:38):
there are anything else to go and put in that
you could just put this content and just integrate it
into these stations, whatever they might be. I can see
that happening, and of course TikTok radios will also be
integrated into their signature events like the iHeart Radio Music
Festival and the jingle Ball events that appened nationwide. They're
already start of their partnership earlier this year with Next
(28:00):
Up Live Music of Singing competition hosted exclusively on TikTok
Live with emerging artists. Massive fan engagement was generated and
proving the power of live creator driven music discovery and
iHeart and TikTok will also offer mass reach marketing across
each platform and leverage iHeartMedia and TikTok coast to coast
(28:21):
and global sales teams. So tay talk getting involved in
another platform where all these TikTok creators can go in
and do something more in the radio side. Because radio
needs something, so they're throwing a carrot, and iHeart Radio
or iHeart Media is hoping to go and monetize off
of it and hopefully bringing some of the younger listeners
(28:45):
or viewers or even some of those other people that
go and bring them back into what iHeartMedia is doing.
The younger demographic a possibly a money demographic because they
can't keep relying on these older formatted stations, these older
skewing stations, and a dying lister base that continues to
get get older and older every day. So there's radio
(29:10):
and iHeartMedia in the podcast roma now giving room for TikTokers.
How about YouTube, Well, we talk about YouTube shows going
more to Netflix and the streamer wants to make them bigger.
So that's something well they've already done so far. You
have Miss Rachel Prenk, Collective, d Sidemen Dating Show, Popped
the Balloon, all being brought on to Netflix. So there've
(29:33):
already been shows going on right now that YouTube is
going to get deals to be done with Netflix, that's
already happened. Now there are other shows that are going
to try to be put out there to replace programming.
The next thing that YouTube is trying to go and
do right now is if they can get New Hollywood
to rival traditional late night formats. So YouTube now pushing
(29:56):
shows like Brittany Broski's Royal Court. So here's what we
got from that. So they featured Cale McLaughlan in the story,
who was featured on the launch of season three of
Britney Browski's talk show Royal Court, streaming on YouTube, and
he appeared on the show. He has his own podcast,
(30:16):
now what are we even doing when as Bononopoa TikTok,
serving as a bridge between old Hollywood and what is
new Hollywood. According to YouTube, he was joined at the
House whereas the location for the bloody ending the Scream three,
and he was accompanied by Fortune Fie, Mister Feimster, Bob
(30:37):
the Drag Queen, and Overville Peck, as well as a
bunch of other YouTube stars and influencers such as Rhet McLaughlin,
Josh Er, Drew f Wallow, Shane Top and Brooke Averick.
So Royal Court is a medieval themed talk show seeing Broski,
who became famous for a twenty one second take on kombucha.
She's interviewing celebrities like Bree Larson, Hannah I'mbender, David cornsweat Diego,
(30:59):
Luna Coman Domino at Charlie XCS. So these are the
people that people want to go in to watch and
see if they did have anything like a late night
talk show or a talk show in general, because we
already know that there's very few talk shows that are
left that anybody's even watching, and the late night talk
(31:22):
shows continue to lose audience with a bunch of old
guys out there that people are not even getting into
or that are not even getting viral anymore, not at all.
Speaker 1 (31:32):
Now.
Speaker 2 (31:32):
Broski says that she wanted to create a show when
she created the show, like Game of Thrones and Sean
Evans hot Ones, and again hot Ones also doing very
well getting an Emmy push now this year, and when
YouTube talks about the fact about Roald Courtner saying it's
not only being embraced by fans, but nearly six million
people watching the episode featuring Cole Sprouse at creators, but
(31:55):
also advertisers such as cash App being involved in the show.
So you look at shows like Royal Court, Hot Ones
or video podcasts like Alex Cooper's Caller Daddy Theovonsa's Past
Weekend or Jason Travis Kelsey's New Heights. Can they compete
with the additional late night formats. So Nielsen reports that
(32:16):
YouTube has an average eleven point one million people tuning
in to YouTube during primetime hours. Netflix ten point seven
million viewers. That's an interesting stat and Broski also talking
about the fact of how late night shows are struggling
with the cancelation of the Late Show, the recent suspensions
to Kimble. Quote, I think we're in a new exciting
(32:37):
era of talk shows net right now. We're kind of
watching the demise of old Hollywood and the influx of
New Hollywood. Is to honor and a privilege to have
YouTube to be my kind of champions, to be to
kind of be my champion. So that's a little bit
come on, make it a little bit easier to go
and read that, please. Now, this week YouTube had created
(33:00):
their first ever creator premier showcase of the Metrograph and
it's like their own upfronts, even after the networks and
the other media outlets in the fall did their own upfronts,
the network upfronts we're getting this year from the digitals. Now,
so YouTube is launching a bunch of new titles, including
a new weekly late night show and a stand up
(33:22):
special figuring former Daily Show host Trevor Noah. Google president
Sean Downey and wrote about YouTube being the number one
streamer for the past two years, and this event was
being hosted by rising influencer Julian Shapiro Barnum, who runs
the Recess Therapy channel, has one point three million subscribers.
(33:45):
He is going to launch a new live, weekly late
night series in the spring called Outside Tonight, set in
public parks and the street corners. Outside Tonight figures interviews,
audience driven games, live music and comedy, kind of a
variety kind of thing. And then Trevor no It's going
to be hosting a Lost Essay special which will do
be w on his channel film in South Africa during
his last world tour, seeing him performing entirely local material.
(34:09):
Then you have Mark Vins, a wildlife filmmaker, and the
nextport launching Reef the Ridge on the Brave Wilderness Channel.
Channel's already has twenty one million subscribers. They will be
journeying across the Galapagos most extreme habitats, diving deep beneath
the sea and scaling the highest volcanic summit to document
rare wildlife and confront mounting threats to one of Earth's
most wildest frontiers. Then you have all seven holiday contents
(34:34):
Seven Days of Christmas from Darman which is launching and
it'll be scripted series that will feature seven to twenty
five minute episodes. You have missus Rael mssus Rachel doing
new episodes on our YouTube channel and early twenty twenty
six after getting episodes sold to Netflix those episodes earlier episodes,
(34:57):
and then the other part of course, it comes into
this place. You know, if Hollywood is getting involved in this,
if these folks are getting unionized, so Theorist media YouTube
content studio Hollywood Guilds are looking to organize one than
two dozen workers at this Los Angeles and a Raleigh
based production company which has several popty YouTube channels. Here
(35:17):
we go the Editor's Guild for the most Picture industry
in the Writer's Guild of America. The wgos are trying
to make inroads in the exploding creator economy, so looking
to unionized Theorist media. They host popatar YouTube channels like
the Game Theorists, the Food Theorists, the Film theorists and others,
according to Hollywood Reporter, and this is one of the
(35:43):
first times that either union has either sought to get
a bargaining group voluntarily recognized at a company that produces
YouTube content. But everybody's getting the selves involved. That's what
we're seeing right now more than ever. Okay, a few
more things I want to go and drop in before
we go and wrap things up. A big acquisition in
(36:04):
the area of digital audio streaming tune In, which is
a service I've been listening to for a long time.
Now here's a little bit of fun fact. What was
the name of tune in before it was tune in?
Does anybody remember what it was? Started in two thousand
and two Radio Time first starts Radio Time, they changed
(36:26):
the tune in and ever since it's been blown up
and it's really a great radio and podcasting service. And
I've always enjoyed tune In. There's various things you can
go and catch on there that there's a lot of
stations you're going to catch on. They're really wonderful to
go and catch on that particular platform. Well, Sting Ray
Group maybe you've seen their channels. They're kind of the
(36:47):
same thing like we used to have music choice back
in the day where they would have channels on all
the cable services, like in the back of the cable service,
like you have all these channels to the very last
channels on your cable channel up to nine thousand level channels.
Well there you catch Stingray which has this various digital channels.
(37:10):
So Stingray has now acquired tune In for up to
one hundred and seventy five million dollars. Now Stingray owns music,
digital and advertising services worldwide, video and audio channels, subscription
video on a command content, fast channels, karaoke products, music apps,
a lot of stuff. They also owned ninety seven radio
stations in Canada. So the deal is going to have
(37:31):
it where sting Ray is paying one hundred and fifty
million dollars US at closing and up to twenty five
million dollars whether in the first you know, within twelve months,
based on forecast of sales one hundred and ten million
dollars and an adjusted EBITA of thirty million dollars for
the year ending December thirty first, So a lot of
money being put in. The idea is that the deal
(37:55):
creates a global audio leader with meaningful scale tune in
act of listeners, sting rays existing distribution, giving advertisers and
a highly engaged audience, and looking to go ahead and
make up the ain ends of four hundred million dollars
a year. Crazy. What was sort from Robin Pryor at
(38:16):
Radio insight dot com caught my attention. How AI is
transforming the future of entertainment. And one of the things
I was looking at now is that you know, how
much is AI going to get involved when it comes
to radio production. I still think it's not going to
be that much evolved, but I think some of the
music might be AI generated. We're starting to hear that
now with some of the songs that might be heard
(38:38):
on TikTok that might become viral, that might chart, that
maybe radio might play someday. So this writer here, Robin Pryor,
makes the point that radio is more than technology filling kitchens,
corner shops and car rides. They're ating local news, music
discoveries and supporting triumphs personalities, Being familiar, quirks embraced listening
(39:02):
felt like being part of something larger, even when sitting alone.
Ready never went away because even when you have Apple
car play, Android Auto Spotify playlists replacing more DJs. Still
something about radio and the golden era of radio personalities
might feel distance. It still has a place in the world,
so he says, the AI is quietly shaving what is
(39:23):
possible in the medium what a station can offer, while
raising questions about what it might lose. But apparently AI
is starting to embed itself in the music broadcasting, not
just in playlist creation, but the creation of delivery of
radio itself. So now we have radio AI software does
creating radio content automatically, from generating scripts and music playlists
(39:44):
to producing voices and digital updates, all like stations to
run shows without a fuel human team. Radio GBT, we've
talked about before, is stepping to bring AI to radio,
using advanced language models and real time content scanning to
do more than play music, but create radio entire radio
shows with minimal human input. They can monitored social media
(40:06):
news to find trending topics in the local market and
generate scripts that AI voices can deliver on air. Stations
can choose solo, door or trio formats, or even train
the AI to sound like they're existing hosts, and Radio
GBT can run a single segment or an entire broadcast day,
and work across all radio formats as a customizable software solution.
(40:28):
So think about the fact that social channels, digital platforms
can be updated automatically. Small stations in each venues can
gain access to rules once reserved for major broadcasters. Hospitals, airports,
retail spaces can run branded, professional sounding stations without full
time production teams. Places like casinos a great example. The
best sweepstakes continos can now offer continuous dealer audio that
(40:49):
entertains guests, highlights promotions, maintains atmosphere while reducing staffing, costs
and complexity. Sounds like a salespit, doesn't it, Because that's radio.
GBT actually talk about this. They're saying that radio is changing,
but not disappearing. Voices might be different, workflow might be automated,
but the need for connection for someone to talk to
ur in the morning commute or late night drive home remains.
(41:13):
So that's where they're coming from with this, and AI
is coming into space, and they're not wrong about it.
I just don't think you could do that much with it. Listen,
we have to find out I just said it again.
We have to wait and here if there are radio
stations that become popular enough once again due to a
(41:36):
result as a result of what this kind of technology
can do to help out. But I think the idea
of the TikTok format and the TikTok creators might be
able to go and do something with radio, because I
think there's something to that there, the quirkiness, the personalities
that might be out there. The most important thing would
be if any of those folks can actually translate well
(41:59):
in the radio and me find a way to be
so quirky enough and so humble themselves to be entertaining
and funny and be able to go ahead and just
do it on the cuff, off the cuff, that maybe
they can actually go and translate.
Speaker 1 (42:11):
Well.
Speaker 2 (42:12):
I'm not willing to go ahead and throw in the
towel on this. I want to give it a chance.
So once the TikTok content starts coming up on iHeart,
I want to find out what it is and see
how it does. I hope they do well. I'm not
going to go and shut that down. So Spotify is
now soon going to bring out their Supremium plan, a
(42:35):
Supremium tier which was offered at a higher price in
the premium additional user perks, and the music industry is
waiting for this and at the moment it's now in India, Indonesia,
Saudi Arabia, South Africa and UAE. It's already started over there.
(42:57):
So the new plan of offerings will be mum Light,
Premium Standard including a student version and Premium Platinum. So
it's a pilot launch and a restrict number of territories.
They're bringing on the premium subscription to Spotify and India,
which will cost one hundred and thirty nine rupees a
(43:18):
month or a dollar for the seven American. The premium
standard World now costs two dollars twenty four cents a
month of American or one hundred and ninety nine rupees.
The pilot markers are all streaming emerging streaming economies, representing
regions where Spotify sees significant growth potential, and the features
(43:43):
being exclusively available on Premium Platinum in these markets are
already currently available to standard premium subscribers like myself in
the US and the UK, and the pilot marks a
shift in the Spotify strategy for the losses audio, with
the audio parkgated behind the highest price. Here in the
five markets effective by today's change, and now Losses is
being rolled out to the standard premium subscribers in over
(44:05):
fifty markets durning in September, which will include US, UK, Australia,
Germany and Japan. Already happened. I enjoy Lossless. It really
does sound great. And what's surprising too, is that if
you have it on Wi Fi like I do, I
don't have Losses put on my data because I know
it's gonna suck my dat up if it's taking up
a gigabyte per like what hoursthing like that. Now, as
(44:33):
high as quality as I can behind Losses I have
on data but on Wi Fi as lossless, and it
sounds great in every particular way, and it does. The
quality is wonderful. They're not wrong about that. So we're
gonna wrap things up and let me just tell you
what I got come and store. For the movies. I
(44:54):
did watch Nurremberg. I gonna watch Christy. I don't know
what the whole deal with with CHRISTI have being in
such a bad movie. I will say that I was
the only person watching Christie in my theater. It was
put in a small screen and it wasn't put in
any real spot. I never saw any real promotion for
it at all. I just did what the story was
gonna be out. I knew the Sidney Sweel was in it,
so there was any marketing behind it. Never saw it. Nurremberg.
(45:16):
I saw some and there were some people that were there.
I thought Russell Crowe did a great job in his role.
Are Me Malach was great. It was quite an interesting
movie open my eyes. So a lot of things when
it comes to that, the trials atra World War Two,
and then this weekend I'll be watching On the same night,
(45:37):
I'll be watching the Running Man reboot, which I gotta
still watch the original if I can find it somewhere,
just gonna have a comparison. And then also I want
to be able to go and watch now you see it,
now you don't. I'm gonna actually catch you both of them.
I'm gonna try to watch both at the same time
like I did before. That's gonna be an interesting thing
for me to do if I can pull it off.
(45:59):
But I'll let you know how to all it works out.
And I will have more celebrity more interviews with radio
folks coming up on the program because I've been doing
some more recording, has got some more schedules. I will
keep you in touch with those, and we'll be doing
some year and collectives on what we have happened in
this year in media. We'll be doing that pretty soon,
in a couple of weeks. Remember the content is king,
(46:20):
and the control of your content is in your hands.
Talk to you next week.
Podcasting since two thousand and five. This is the King
of Podcasts, Radio Network, King of podcasts dot com.
Speaker 2 (00:07):
Hollywood doesn't care about making any one famous. They care
now more about how many followers do you got?
Speaker 1 (00:17):
The King of podcasts Radio Network probably presents to the
broadcasters podcast Here is the King of podcasts.
Speaker 2 (00:27):
So I've been going down the rabbit hole of YouTube
looking at various programs of my past, my childhood. You know,
growing up, I remember watching a lot of USA Network.
If it wasn't cartoons, it was game shows. Who were
watching in all game shows? And if it wasn't, you know,
sitcoms were watching that were on either on the independent channels,
(00:50):
or movies and things like that, or talk to just whatever.
One of the things that I could tell you was
a lot of stars, whether they were in movies or television,
that they weren't immune to being on television for just
random stuff. They didn't have a problem being able to
go and be public friendly, be able to be entertaining, witting, witty, charming,
(01:18):
funny or whatever. I mean. It's one thing for in
today's culture, the one show that really does a good
job of having celebrities on and letting them be themselves.
Is Graham Norton over a BBC There's not even a
question of that. And that's the only show out there
(01:38):
I know of that really does that kind of thing.
It's not the late night shows here. Saturday Night Live.
Yeah somewhat to a point. They do give that chance,
but only certain people get to going to be on
that spot. Gotta be really famous to be there. But
those shows Graham Norton Saturday Live, that traditional sense. They're
not going to bring on influencers. I don't remember that
(02:00):
if they've had any influencers on, because you don't when
I look at sporting events, they're trying to go integrate
that you see whether with boxing, you see with football,
with other sports. Let's get some influences of vault. Now,
game shows. We still have game shows that are on primetime,
(02:21):
not that many. They're on during the day, but if
you want celebrity driven game shows, those are on in primetime.
Whether it's match Game or The Pyramid or you know,
that's it, like, there really isn't that much more. That's
all be a couple of other shows. But in the
(02:41):
days years passed by, we used to have a time
where we'd have game shows and talk shows and various
platforms for publicity purposes, and even if somebody had some
of the plug or not, there were people that knew
how to integrate themselves into the game. Think about like this,
(03:05):
Imagine now if you really wanted to try to go
and do a good version of Hollywood Scares. We've heard
that people have been doing the Hollywood Scers, trying to
bring that show back, and you have to think about
the B and C and D list stars they have
that they're trying to go and use that. You know,
they're not doing much of anything and they're just kind
of hanging on to do these shows. Same thing with
(03:27):
Match Games, same thing with the one hundred thousand dollars
Bitterer med so all that they're just not good. But
I look back at when Dick Clark hosted The Pyramid,
or want to look at Peter Marshall hosting Hollywood Scers,
or even John Davidson or Tom bergeron for that matter,
and the people they were get as celebrities on those shows,
And the same thing goes for various others. Just Match Game.
(03:49):
You know, I look at who was available as celebrities
and what they were able to do with them on
these shows if they wanted to be on on a
talk show or an award show or whatever there was
that could be on television that gave them a chance
to be a part of You had stars that were
very aera d ie. They were able to go and
get on Listen tonight, I got to quit saying listen
(04:12):
because that's becoming a crutch word. I realized that I've
been listening back to myself. But here. So there was
a Hollywood Star Hollywood Squares episode I was watching earlier tonight,
and on there you had Karen Valentine in a room
two to two fame. You had Dinah Shore, who talk show hosts, singer,
you know, a lot of entertainment behind her. Burt Reynolds was,
(04:34):
you know, just getting out on television and really making
himself into movies. This was what mid seventies. This episode
was on Eva Gabor, who was on Green Acres. And
then I'm looking at the other cast securiers to normally
have on. Tony Randills on there, who's done Broadway, who's
done television, and like, there's a whole lot behind him
(04:57):
and the career he had. There were all these people
that we're able to go ahead and be they could
metamorph into whatever was needed for what they were doing,
and they could be good for any show. We don't
have that right now, So the question is where's the
talent coming from. We don't have that kind of talent
(05:19):
that can do that. And the way that some celebrities
are being noticed now you have to find different places
to go and find them, and then you might find
clips that will be viral, but people are not actually
catching the whole thing. It's just not that way. So
there are other things that some of these magazines or
(05:39):
publications that are doing. They're taking the load and trying
to go and do something with promoting different things. Your
press junkets are only so much out there that are
gonna be usable. That's what we got left. But I
have an interview that's coming up in a couple of weeks.
I'm gonna go ahead and air it here because we're
(06:00):
going to get into the dead time of where Hollywood
doesn't have that much going on. Entertainment news will be
kind of dying down a bit as we get to
the holidays, and I'm gonna play playing back an interview
that I had of Ralph Sutton, who is hosted the Sex,
Drug and Rock and Roll podcast The SDR Show. Also
hosted The Tour Bus, a syndicated album rock show for
(06:24):
many years across radio stations across the country and done
a lot of work. Now he's very much into podcasting.
Does the Gas Digital Network, which you might heard of,
have a number of stars that come out of that realm.
And one of the things he was telling me about
the fact is, you know, there is this thing about
and I think even Neil Viglio when I had that
interview a few weeks ago, there's something about where people
(06:45):
are going to find talent. They do not want to
go and try to create someone and make them famous.
The musicians, music industry doesn't want to do the same thing.
They just want to find someone that has followers, someone
that has a following, somebody that might be caught up
because us people become famous online. Hollywood doesn't want to
do the work they might have done and create stars.
(07:09):
They don't want to do the whole thing of bringing
someone that is a complete unknown working on them getting
them ready to go and become famous, to become stars.
They don't want to do that anymore. That's all gone
because they can feel like, well, they have the gun,
they don't want to invest the money into it when
they can go and just find someone that just is
already has some kind of fame, already has some kind
(07:30):
of likability, some notoriety something about them. They have followers,
they're influencers. And since COVID, and since after COVID, we
have more people now that are becoming much more viable
for Hollywood to go ahead and bring on board to
do something with. And since twenty twenty, we've seen a
few stars that have made their way through. I mean
(07:51):
we're talking about everyone after the reality era. So the
Kardashians had their time, Gardashians, Jenners, whatever, and other somebodies
that were out there that were made either from let's
say the Bachelors let's say from other places or survivor whatever.
It's like all these talent shows like American Idol, Americans,
(08:12):
God Talent, the Voice, we have stars that come from
those and they didn't come from anywhere. They might have
some kind of notoriety or people might recognize them a
little bit, but not nationwider mainstream notoriety. But now the
thing is, let's just go and cheat, and we're going
to find these followers these influencers. See the influencers are
(08:36):
playing to the algorithm of whatever platform they're on, and
keep in mind that if they are doing something, they
might be more talented or multi talented than you would imagine.
But the problem is that they have to be stuck
to a certain algorithm that will continue to generate followers
(08:59):
and continue to gender rate hits or likes or whatever
so they can continue to monetize. They have to go
and do the same thing over and over. It's very
tough for someone to go ahead that is being made
to be one dimensional either, because that's what they have
to do to keep the platform to feed their coffers.
I just think we do have a lot of one
(09:20):
trick ponies out there. Somebody found something that people really
get into and like, and then they get into it
and then try to do something else. I mean, look
at a TikTok feed. I mean, look, I'm one of
those where I'm not getting that much traction on there,
but I still go out there and put on you know,
apply my trade out there and put comments out there
and put clips and see what happens. And there are
(09:42):
some things that will do better than others. But social
media doesn't work for someone like me because I'm not
playing to the algorithms, because my thing is my content
might not be for everyone. And I also rotate and
change up what I talk about, just like I do
with my podcasts. So also we'll take a risk if
I'm doing a podcast, or if I'm doing content of
(10:05):
any kind, audio or video, I'm risking myself to the
fact that if I did one predicular subject and just
kept rolling on it and milking it for all it's worth. Yeah,
I might get some more traction in the long run,
more followers, more monetization, who knows. But I'm not doing
that because to me, I just feel like, okay, it's
(10:26):
still difficult for people to go ahead and do something
with themselves, to give themselves something more. Let's put it
like this. So mister Beats a great example of okay,
because of the money he has been able to raise
from the stuff that he's been doing to do okay,
he's doing charitable work, he's becoming entrepreneur. He has a
lot of different products he does. He has the burger business,
he has chocolate bars, he has all these other things
(10:47):
that he's doing. So for his business is very multi level.
But for whatever tality has, I don't know what it is.
I don't know the appeal. And there are others out
there that supposed to have some appeal, but it's like, Okay,
they have their one lane. Somebody might be just good
at cooking, somebody might be just good at some commentaty
(11:08):
of one certain thing or pop culture, whatever they are.
But I know there are people out there that because
they're online, they're saying, well, why do I have to
be stuck in a pigeonhole of doing one particular thing,
which is for me, I don't want to do that.
I want to do radio, and podcasting is the new radio,
so I'm doing that. I'm not worried so much about content,
(11:32):
like I want good quality content that I can talk about.
But I feel like I can be knowledgeable on various
fields and I have some wisdom and I have some
things to some takeaways I can give. So I can
do a show like this and flip to a wrestling
show the next day, and flip to a show on society,
dating a culture the next day after that, and I
can do that. I can talk about the cannabis industry
(11:53):
because I do that. On another show. So there's other
things I like to talk about besides, But that's not
what people want in their content, and people want to
be able to have it where you're not necessarily programming
content that's going to be for a large audience that's
gonna be broadcasting. Every influencer is narrow casting. But then
(12:16):
Hollywood wants to go ahead and recruit some of these
folks that have been narrow casting for their entire public persona,
and then they're going to try to expand them into
doing something more. And they'd rather just go through as
many as they can to see if they seek or swim,
and then eventually find someone that will come across and say, Okay,
(12:38):
maybe we can do something with them. And has anyone
really become truly famous as a result of this, not necessarily.
But the other thing that happens is that what happens
with these influencers are brought in and they sell out
because for the most part, these influencers are driven my money,
(12:58):
not a passion for their doing. They're trying to do
this because this is a way for them to go
and make ends meet or become successful and famous and
make the money. But the money is very important. Now,
going back about three weeks ago, Hollywood Reporter put out
a story that talked about how Hollywood learned to love influencers.
Maybe about four weeks ago and Taylor Lorenz put out
(13:21):
the story and says that twenty twenty five is the
year that the power dynamics in Hollywood finally flipped. The
content creator industry is finally surpassing traditional Hollywood in terms
of cloud, cultural capital, and increasingly size. But the creator
industry is rapidly professionalizing, facing the disruption by the proliferation
(13:43):
of AI. The landscape is me up by politics and
live streaming is rewriting the nature of fame and fandom.
But no matter what, sure, influencers in certain things are
getting used to be something. More so for press junkers,
you're seeing more influencers being evolved. If there's things that
you can kind of use for say advertising, or for
(14:05):
marketing purposes, or just something that's something short, short form
content and not necessarily anything bigger that might be on
a bigger platform like television or movies, they're gonna use
them for something like that kind of throw away stuff.
YouTube is down the number one streaming platform this year.
It happened, passing Netflix and Amazon for the first time.
(14:25):
People watching YouTube now more on their sets than in
the phones or any of the device. YouTubers are becoming
some of the biggest TV stars today now, and I'm
surprised it's really like that, because yeah, YouTube has original content,
and there's a lot of original content that's not from
YouTube itself, but also just people that go on the
YouTube and they're exclusive on YouTube, and there are those
(14:47):
stars I don't even catch up on to because I mean,
it's really interesting about YouTube what you're looking for over there,
Like if you just you were able to go and
open up a new log in and then let's just
see what YouTube gives you in your recommendations. I mean,
what kind of audience is getting those recommendations of these
particular people that That's what I don't know. But YouTube,
(15:12):
just like just like other places, the algorithms will make
sure that you get content that you want to keep
you on there. So it's not as if the influencers here,
these content creators are getting seen by everybody, but there's
a large audience they get, but they're not getting exposed
to everyone like they would if people were to look
(15:33):
for on television or movies. That's the thing that comes
up with social media and comes up with streaming like this,
where you know you're getting recommendations, you're getting algorithms that
are giving you what you feel like you want, but
they're not gonna leave you just open with a platform
and say, Okay, here's the other thing we got. Because
if you get overwhelmed and in a data with content
(15:53):
you're not gonna watch, you just want to just you're
not gonna take the time to go and go looking
around because in this time of technology, no, we have
curated content for every user so that you're on the
platform as long as possible and getting those right kind
of people that you're going to benefit from them having
(16:17):
their content put in front of you so you watch
it more, and then the creators get more money. So
while there's the bulk of people that might be getting
created content that might be this larger end stuff with
both of the stuff I don't get, but I'm also
not going out of my way to go find it either.
Outside of YouTube, the creator economy is now a two
(16:38):
hundred and fifty billion dollar global force. The thing is
is that these big Hollywood powerhouses, they want to be
involved in the money that these folks are making because
they're also taking money away from themselves, so they want
to get involved with them. And we're going to go
into the whole story of where you're seeing this happening
(16:58):
so much, and of these content creators now into things
that Hollywood would normally give to someone, they're trying to
go and build because they can trust and create. We
talked plenty in the last few years after COVID, when
influencers became influencer market became really rampant, and we talked
about the fact that with guests out there on this program,
(17:20):
the folks out there would say that influencers were not
necessarily loyal or people that can rely on because the
early influencers, the pioneers, they were gonna go and buck
the system, but they were also gonna get screwed over
because the kind of offers they were going to get,
you know, hollow was going to go and use it
for whatever they can and throw them away. But now
(17:41):
the power and the cloud, as this story says, the
influencers have it. Now they now have all the chips
they want. They don't need Hollywood, Hollywood needs them. It's
turned around and with the less amount of actors and
actors out there for all these different projects to do
something to be able to make this happen. So the
(18:04):
next two years, the content creator industry should double to
four hundred and eighty billion dollars. Sixty seven million people
today are currently working as full or part time creators. Yes,
this is in the US out of three hundred and
forty billion million, excuse me. And by twenty thirty there'll
be maybe more than one hundred and five million content
(18:27):
creators in the US alone. Content creators contributed to fifty
five million dollars to the gross domestic product in twenty
twenty four, which is equivalent to five hundred thousand jobs.
That is according to Oxford Economics. So now we know
that one of the things that has helped out influencers
(18:47):
is the quality of their content. Whether it's them buying
better cameras, better phones, better equipment, better editing work, better everything.
They're polishing their product, and then the chance to go
and do content can be a little bit longer, give
people a little bit more time to go ahead and
really give something out there that Hollywood or other folks
(19:09):
can go in audition and check to see if somebody
is going to be really viable for what they're looking
to do in the project for them, whether it's an agent,
whether it's a studio, whether it's some director, producer, whatever
they might be of what they're looking to go and do.
Sponsor content deals expected to surpass ten billion dollars this year.
More advertisers comming back on traditional media advertising diving headfirst
(19:32):
into influencer marketing. So what was fifteen years ago plus
low quality lips seing videos on YouTube or performing skits
on vine now is the dominant force in media commerce
and culture. So they talked to a couple of consultants
here in this Horror Reporter article, And first of all,
they talk to Alisa Light, who is found out of
(19:54):
Leave Your Market digital Strategy consultancy, founding member of the
American Influencer Council, that not only is ditional talent embracing
digital platforms, but writers, actors and producers who previously worked
in traditional entertainment are now working on social first content.
Creators are hiring scriptwriters, production managers, and how actors as
Hollywood pivots, and that there's been a big shift. This
(20:16):
does a writer's strike, that what people are doing. They're
embracing more of digital because they have to then be
noticed there to get more work there. All of that.
Netflix in January to be an example of those studios
looking to go and tryty something more with concent creators,
(20:37):
they hired a popular YouTube educational creator not as Missus Rachel.
Her name is Rachel Occurso they brought four episodes of
her show onto the platform, and Ted Sarando's co CEO
of Netflix, said they were actively hunting for internet talent. Quote,
we want to be in business with the best creatives
on the planet, regardless of where they come from, saying
that Netflix is also looking at a wide variety of
(20:58):
video podcasters that might be fit force and that came.
Speaker 1 (21:02):
To be.
Speaker 2 (21:03):
To b Now has to different creators where they're bringing
episode of content from influencers onto the streaming platform. And
then I have six inaugural creators including Jubilee, Rhett and
Link and Watcher and more than five hundred hours of
creator made content across the platform. On tub which is
owned by Fox owned by Disney Now. They talk to
(21:28):
Creative Logic founder Avi Gandhi, who writes about the publics
the creators that he's surprised. Why not more of the
legacy studios has sought to lean in more into influencers.
The richest trove of IP and human history is right
in front of us, and they're not mining it. But
(21:48):
the Hollywood executives have to figure things out because there's
a rising tide of companies like Chronicle Studios for their
adventures SuperOrdinary, that are going to become the new studios
that these others don't figure it out. The new class
of professionalized Hollywood ready creator talent. Wait a minute, Wait
a minute, take that back there. Professionalize Hollywood ready, Hollywood
(22:09):
ready to be recruited, does not mean Hollywood ready to
be ready to go on camera and be able to
go and perform or do whatever task is required. There's
a difference. Now, some of these content creators are also
building more media ventures. Kandi makes the point that the
(22:34):
fastest growing kind of group in the creative economy are
grown ups, adult professionals laid off or tired of working
for a company becoming creators as a way to grow
their own business at later stage. Professional creators are seeing
a boon for advertisers seeking through reach previously untapped committees
online and big brands are allocating more money, you know,
leavers incoming. CEO says the company is going to be
(22:54):
going to spend fifty percent of his media budget with
creators and multiple creators that the company works with by
twenty But the other part of people are talking about
is that while this is all going on, people need
to be aware of because AI might also throw a
wrench into this new economy being built in which has
only had a few years to go and really fester
(23:16):
and exist. So too from opening, AI is making a
big dent right now on the possibilities if AI is
able to go and catch up to a certain point
and content is able to be done where these companies
only want to do this. Listen, there's a lot of
jobs out there in AI right now for language learning
(23:36):
and a lot of jobs available in that way for
remote work, and they're figuring it out, and it's just
a matter of time before AI becomes not perfect, but
usable enough to be used in a lot of ways
where influencers will be obsolete because these influencers get older,
influencers might not be able to go and do anything
that they want. And you know, if you just go
(23:58):
and clone someone that is even similar to it influencer,
They're gonna be just fine. They're gonna be able to
going to put u whatever content they want and eventually
will happen. Alt's talk about the part of the political folks,
and I'm not gonna worry about that. There's a lot
in political content, a lot of money, and a lot
of people working in it, and they're very famous in
a notarite and notable. I just don't know if they're
(24:21):
gonna be anybody that you want to go and see
on anything that how I was doing right now. That's
a difference. We've talked about some of the influencers that
have broken out, and you know, one thing that will
help out is if you see them doing things where
you catch them and clips that really make them stand out.
(24:42):
I show Speed, Darrin, Jason Watkins, Junior Kais sinnat ages
twenty and twenty three, respectively break out years, but they've
already been breaking out for a long time anyway, last
couple of years. I show Speed on a world tour,
currently giving viewers an unfiltered look into countries like China
from his perspective as a gen Z creator, not taking
over an entire university campus now streaming streaming university, an
(25:04):
online reality show to find the next big influencer. All
these things are being done. Now what's happening next. It's
not just Hollywood. We are now seeing the branching into
other areas. So TikTok now is joined forces with iHeartRadio
or iHeartMedia. This is what really caught my attention because
(25:25):
I was like, all right, what are we doing here?
So now there's a multi platform partnership with iHeartMedia where
TikTok creators are gonna be brought into the iHeart ecosystem.
There will be the launch of the TikTok Podcast Network
with twenty five podcasts, all new, hosted by TikTok creators
at a national broadcast in digital radio station, and a
(25:47):
series of live event integrations. So TikTok getting their own
mainstream platform, you could say, via iHeartMedia, which maybe not
so much important with their own broadcast outlet, whether if
they're syndicating content out of the radio stations, probably nobody
cares really how much about that, But the digital streaming
(26:07):
side and the podcast side is very important to them.
This new network will give short form video creators a
way to expand their storytelling beyond the TikTok platform and
iHeartMedia's hosting, introducing new co branded state of the our
podcast studios in Los Angeles, New York, and Atlanta, which
(26:28):
will feature advanced audio and video infrastructure for both podcasting
and video production, with the roster creators building struggled bridges
between their video and audio content co branded study of
their podcast udo. So they're just thinking of their clusters
and probably making stroom for these podcast studios. Okay, that's
what they're doing. And these new podcasts will be widely
(26:50):
distributed by our podcasts and everywhere you can hear them,
and you can also find show highlights and clips on TikTok.
And together they're also going to create TikTok Radio, a
fast paced format pairing TikTok creators with experience high I
heeart radio personalities. It will not only feature TikTok's hottest
new songs, but also trend driven storytelling, an emotional context
(27:13):
behind the music cleaning segments like behind the Charts, new
music Fridays that on the verge, so take that. Radio
will be limited not be limited to digital, They will
be available across broadcast stations nationwide. And digitally on the
iHeart Radio app, So I can see where they're going
to try to take the pop stations that are struggling
right now, get rid of the talent that you have
right now that are voice tracking all these stations, or
(27:38):
there are anything else to go and put in that
you could just put this content and just integrate it
into these stations, whatever they might be. I can see
that happening, and of course TikTok radios will also be
integrated into their signature events like the iHeart Radio Music
Festival and the jingle Ball events that appened nationwide. They're
already start of their partnership earlier this year with Next
(28:00):
Up Live Music of Singing competition hosted exclusively on TikTok
Live with emerging artists. Massive fan engagement was generated and
proving the power of live creator driven music discovery and
iHeart and TikTok will also offer mass reach marketing across
each platform and leverage iHeartMedia and TikTok coast to coast
(28:21):
and global sales teams. So tay talk getting involved in
another platform where all these TikTok creators can go in
and do something more in the radio side. Because radio
needs something, so they're throwing a carrot, and iHeart Radio
or iHeart Media is hoping to go and monetize off
of it and hopefully bringing some of the younger listeners
(28:45):
or viewers or even some of those other people that
go and bring them back into what iHeartMedia is doing.
The younger demographic a possibly a money demographic because they
can't keep relying on these older formatted stations, these older
skewing stations, and a dying lister base that continues to
get get older and older every day. So there's radio
(29:10):
and iHeartMedia in the podcast roma now giving room for TikTokers.
How about YouTube, Well, we talk about YouTube shows going
more to Netflix and the streamer wants to make them bigger.
So that's something well they've already done so far. You
have Miss Rachel Prenk, Collective, d Sidemen Dating Show, Popped
the Balloon, all being brought on to Netflix. So there've
(29:33):
already been shows going on right now that YouTube is
going to get deals to be done with Netflix, that's
already happened. Now there are other shows that are going
to try to be put out there to replace programming.
The next thing that YouTube is trying to go and
do right now is if they can get New Hollywood
to rival traditional late night formats. So YouTube now pushing
(29:56):
shows like Brittany Broski's Royal Court. So here's what we
got from that. So they featured Cale McLaughlan in the story,
who was featured on the launch of season three of
Britney Browski's talk show Royal Court, streaming on YouTube, and
he appeared on the show. He has his own podcast,
(30:16):
now what are we even doing when as Bononopoa TikTok,
serving as a bridge between old Hollywood and what is
new Hollywood. According to YouTube, he was joined at the
House whereas the location for the bloody ending the Scream three,
and he was accompanied by Fortune Fie, Mister Feimster, Bob
(30:37):
the Drag Queen, and Overville Peck, as well as a
bunch of other YouTube stars and influencers such as Rhet McLaughlin,
Josh Er, Drew f Wallow, Shane Top and Brooke Averick.
So Royal Court is a medieval themed talk show seeing Broski,
who became famous for a twenty one second take on kombucha.
She's interviewing celebrities like Bree Larson, Hannah I'mbender, David cornsweat Diego,
(30:59):
Luna Coman Domino at Charlie XCS. So these are the
people that people want to go in to watch and
see if they did have anything like a late night
talk show or a talk show in general, because we
already know that there's very few talk shows that are
left that anybody's even watching, and the late night talk
(31:22):
shows continue to lose audience with a bunch of old
guys out there that people are not even getting into
or that are not even getting viral anymore, not at all.
Speaker 1 (31:32):
Now.
Speaker 2 (31:32):
Broski says that she wanted to create a show when
she created the show, like Game of Thrones and Sean
Evans hot Ones, and again hot Ones also doing very
well getting an Emmy push now this year, and when
YouTube talks about the fact about Roald Courtner saying it's
not only being embraced by fans, but nearly six million
people watching the episode featuring Cole Sprouse at creators, but
(31:55):
also advertisers such as cash App being involved in the show.
So you look at shows like Royal Court, Hot Ones
or video podcasts like Alex Cooper's Caller Daddy Theovonsa's Past
Weekend or Jason Travis Kelsey's New Heights. Can they compete
with the additional late night formats. So Nielsen reports that
(32:16):
YouTube has an average eleven point one million people tuning
in to YouTube during primetime hours. Netflix ten point seven
million viewers. That's an interesting stat and Broski also talking
about the fact of how late night shows are struggling
with the cancelation of the Late Show, the recent suspensions
to Kimble. Quote, I think we're in a new exciting
(32:37):
era of talk shows net right now. We're kind of
watching the demise of old Hollywood and the influx of
New Hollywood. Is to honor and a privilege to have
YouTube to be my kind of champions, to be to
kind of be my champion. So that's a little bit
come on, make it a little bit easier to go
and read that, please. Now, this week YouTube had created
(33:00):
their first ever creator premier showcase of the Metrograph and
it's like their own upfronts, even after the networks and
the other media outlets in the fall did their own upfronts,
the network upfronts we're getting this year from the digitals. Now,
so YouTube is launching a bunch of new titles, including
a new weekly late night show and a stand up
(33:22):
special figuring former Daily Show host Trevor Noah. Google president
Sean Downey and wrote about YouTube being the number one
streamer for the past two years, and this event was
being hosted by rising influencer Julian Shapiro Barnum, who runs
the Recess Therapy channel, has one point three million subscribers.
(33:45):
He is going to launch a new live, weekly late
night series in the spring called Outside Tonight, set in
public parks and the street corners. Outside Tonight figures interviews,
audience driven games, live music and comedy, kind of a
variety kind of thing. And then Trevor no It's going
to be hosting a Lost Essay special which will do
be w on his channel film in South Africa during
his last world tour, seeing him performing entirely local material.
(34:09):
Then you have Mark Vins, a wildlife filmmaker, and the
nextport launching Reef the Ridge on the Brave Wilderness Channel.
Channel's already has twenty one million subscribers. They will be
journeying across the Galapagos most extreme habitats, diving deep beneath
the sea and scaling the highest volcanic summit to document
rare wildlife and confront mounting threats to one of Earth's
most wildest frontiers. Then you have all seven holiday contents
(34:34):
Seven Days of Christmas from Darman which is launching and
it'll be scripted series that will feature seven to twenty
five minute episodes. You have missus Rael mssus Rachel doing
new episodes on our YouTube channel and early twenty twenty
six after getting episodes sold to Netflix those episodes earlier episodes,
(34:57):
and then the other part of course, it comes into
this place. You know, if Hollywood is getting involved in this,
if these folks are getting unionized, so Theorist media YouTube
content studio Hollywood Guilds are looking to organize one than
two dozen workers at this Los Angeles and a Raleigh
based production company which has several popty YouTube channels. Here
(35:17):
we go the Editor's Guild for the most Picture industry
in the Writer's Guild of America. The wgos are trying
to make inroads in the exploding creator economy, so looking
to unionized Theorist media. They host popatar YouTube channels like
the Game Theorists, the Food Theorists, the Film theorists and others,
according to Hollywood Reporter, and this is one of the
(35:43):
first times that either union has either sought to get
a bargaining group voluntarily recognized at a company that produces
YouTube content. But everybody's getting the selves involved. That's what
we're seeing right now more than ever. Okay, a few
more things I want to go and drop in before
we go and wrap things up. A big acquisition in
(36:04):
the area of digital audio streaming tune In, which is
a service I've been listening to for a long time.
Now here's a little bit of fun fact. What was
the name of tune in before it was tune in?
Does anybody remember what it was? Started in two thousand
and two Radio Time first starts Radio Time, they changed
(36:26):
the tune in and ever since it's been blown up
and it's really a great radio and podcasting service. And
I've always enjoyed tune In. There's various things you can
go and catch on there that there's a lot of
stations you're going to catch on. They're really wonderful to
go and catch on that particular platform. Well, Sting Ray
Group maybe you've seen their channels. They're kind of the
(36:47):
same thing like we used to have music choice back
in the day where they would have channels on all
the cable services, like in the back of the cable service,
like you have all these channels to the very last
channels on your cable channel up to nine thousand level channels.
Well there you catch Stingray which has this various digital channels.
(37:10):
So Stingray has now acquired tune In for up to
one hundred and seventy five million dollars. Now Stingray owns music,
digital and advertising services worldwide, video and audio channels, subscription
video on a command content, fast channels, karaoke products, music apps,
a lot of stuff. They also owned ninety seven radio
stations in Canada. So the deal is going to have
(37:31):
it where sting Ray is paying one hundred and fifty
million dollars US at closing and up to twenty five
million dollars whether in the first you know, within twelve months,
based on forecast of sales one hundred and ten million
dollars and an adjusted EBITA of thirty million dollars for
the year ending December thirty first, So a lot of
money being put in. The idea is that the deal
(37:55):
creates a global audio leader with meaningful scale tune in
act of listeners, sting rays existing distribution, giving advertisers and
a highly engaged audience, and looking to go ahead and
make up the ain ends of four hundred million dollars
a year. Crazy. What was sort from Robin Pryor at
(38:16):
Radio insight dot com caught my attention. How AI is
transforming the future of entertainment. And one of the things
I was looking at now is that you know, how
much is AI going to get involved when it comes
to radio production. I still think it's not going to
be that much evolved, but I think some of the
music might be AI generated. We're starting to hear that
now with some of the songs that might be heard
(38:38):
on TikTok that might become viral, that might chart, that
maybe radio might play someday. So this writer here, Robin Pryor,
makes the point that radio is more than technology filling kitchens,
corner shops and car rides. They're ating local news, music
discoveries and supporting triumphs personalities, Being familiar, quirks embraced listening
(39:02):
felt like being part of something larger, even when sitting alone.
Ready never went away because even when you have Apple
car play, Android Auto Spotify playlists replacing more DJs. Still
something about radio and the golden era of radio personalities
might feel distance. It still has a place in the world,
so he says, the AI is quietly shaving what is
(39:23):
possible in the medium what a station can offer, while
raising questions about what it might lose. But apparently AI
is starting to embed itself in the music broadcasting, not
just in playlist creation, but the creation of delivery of
radio itself. So now we have radio AI software does
creating radio content automatically, from generating scripts and music playlists
(39:44):
to producing voices and digital updates, all like stations to
run shows without a fuel human team. Radio GBT, we've
talked about before, is stepping to bring AI to radio,
using advanced language models and real time content scanning to
do more than play music, but create radio entire radio
shows with minimal human input. They can monitored social media
(40:06):
news to find trending topics in the local market and
generate scripts that AI voices can deliver on air. Stations
can choose solo, door or trio formats, or even train
the AI to sound like they're existing hosts, and Radio
GBT can run a single segment or an entire broadcast day,
and work across all radio formats as a customizable software solution.
(40:28):
So think about the fact that social channels, digital platforms
can be updated automatically. Small stations in each venues can
gain access to rules once reserved for major broadcasters. Hospitals, airports,
retail spaces can run branded, professional sounding stations without full
time production teams. Places like casinos a great example. The
best sweepstakes continos can now offer continuous dealer audio that
(40:49):
entertains guests, highlights promotions, maintains atmosphere while reducing staffing, costs
and complexity. Sounds like a salespit, doesn't it, Because that's radio.
GBT actually talk about this. They're saying that radio is changing,
but not disappearing. Voices might be different, workflow might be automated,
but the need for connection for someone to talk to
ur in the morning commute or late night drive home remains.
(41:13):
So that's where they're coming from with this, and AI
is coming into space, and they're not wrong about it.
I just don't think you could do that much with it. Listen,
we have to find out I just said it again.
We have to wait and here if there are radio
stations that become popular enough once again due to a
(41:36):
result as a result of what this kind of technology
can do to help out. But I think the idea
of the TikTok format and the TikTok creators might be
able to go and do something with radio, because I
think there's something to that there, the quirkiness, the personalities
that might be out there. The most important thing would
be if any of those folks can actually translate well
(41:59):
in the radio and me find a way to be
so quirky enough and so humble themselves to be entertaining
and funny and be able to go ahead and just
do it on the cuff, off the cuff, that maybe
they can actually go and translate.
Speaker 1 (42:11):
Well.
Speaker 2 (42:12):
I'm not willing to go ahead and throw in the
towel on this. I want to give it a chance.
So once the TikTok content starts coming up on iHeart,
I want to find out what it is and see
how it does. I hope they do well. I'm not
going to go and shut that down. So Spotify is
now soon going to bring out their Supremium plan, a
(42:35):
Supremium tier which was offered at a higher price in
the premium additional user perks, and the music industry is
waiting for this and at the moment it's now in India, Indonesia,
Saudi Arabia, South Africa and UAE. It's already started over there.
(42:57):
So the new plan of offerings will be mum Light,
Premium Standard including a student version and Premium Platinum. So
it's a pilot launch and a restrict number of territories.
They're bringing on the premium subscription to Spotify and India,
which will cost one hundred and thirty nine rupees a
(43:18):
month or a dollar for the seven American. The premium
standard World now costs two dollars twenty four cents a
month of American or one hundred and ninety nine rupees.
The pilot markers are all streaming emerging streaming economies, representing
regions where Spotify sees significant growth potential, and the features
(43:43):
being exclusively available on Premium Platinum in these markets are
already currently available to standard premium subscribers like myself in
the US and the UK, and the pilot marks a
shift in the Spotify strategy for the losses audio, with
the audio parkgated behind the highest price. Here in the
five markets effective by today's change, and now Losses is
being rolled out to the standard premium subscribers in over
(44:05):
fifty markets durning in September, which will include US, UK, Australia,
Germany and Japan. Already happened. I enjoy Lossless. It really
does sound great. And what's surprising too, is that if
you have it on Wi Fi like I do, I
don't have Losses put on my data because I know
it's gonna suck my dat up if it's taking up
a gigabyte per like what hoursthing like that. Now, as
(44:33):
high as quality as I can behind Losses I have
on data but on Wi Fi as lossless, and it
sounds great in every particular way, and it does. The
quality is wonderful. They're not wrong about that. So we're
gonna wrap things up and let me just tell you
what I got come and store. For the movies. I
(44:54):
did watch Nurremberg. I gonna watch Christy. I don't know
what the whole deal with with CHRISTI have being in
such a bad movie. I will say that I was
the only person watching Christie in my theater. It was
put in a small screen and it wasn't put in
any real spot. I never saw any real promotion for
it at all. I just did what the story was
gonna be out. I knew the Sidney Sweel was in it,
so there was any marketing behind it. Never saw it. Nurremberg.
(45:16):
I saw some and there were some people that were there.
I thought Russell Crowe did a great job in his role.
Are Me Malach was great. It was quite an interesting
movie open my eyes. So a lot of things when
it comes to that, the trials atra World War Two,
and then this weekend I'll be watching On the same night,
(45:37):
I'll be watching the Running Man reboot, which I gotta
still watch the original if I can find it somewhere,
just gonna have a comparison. And then also I want
to be able to go and watch now you see it,
now you don't. I'm gonna actually catch you both of them.
I'm gonna try to watch both at the same time
like I did before. That's gonna be an interesting thing
for me to do if I can pull it off.
(45:59):
But I'll let you know how to all it works out.
And I will have more celebrity more interviews with radio
folks coming up on the program because I've been doing
some more recording, has got some more schedules. I will
keep you in touch with those, and we'll be doing
some year and collectives on what we have happened in
this year in media. We'll be doing that pretty soon,
in a couple of weeks. Remember the content is king,
(46:20):
and the control of your content is in your hands.
Talk to you next week.
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