DIS Shareholders and Stock Info ONLY

https://finance.yahoo.com/news/paramount-dramatic-stock-decline-shows-234136305.html

Paramount’s ‘Dramatic’ Stock Decline Shows a Lack of Faith in Skydance’s David Ellison, Ariel Investments Founder Says

Lucas Manfredi
Mon, Apr 15, 2024, 6:41 PM CDT

As Paramount Global and Skydance Media’s exclusive talks about a potential merger continue, Ariel Investments founder and co-CEO John Rogers Jr. told TheWrap that the media conglomerate’s recent stock decline indicates a lack of faith in Skydance’s CEO David Ellison.

Watching the developments closely, the executive said that he could consider legal action in the event that a deal doesn’t appropriately benefit his clients.

The firm, which is a long-term shareholder with a 1.8% stake in Paramount as of the new year, previously told TheWrap Friday that pursuing exclusive talks with Skydance and a deal that would benefit controlling shareholder Shari Redstone at the expense of other shareholders would be “averse” to the company’s fair market value.
On Monday, he added that they are “talking to our outside counsel.”
Paramount shares have fallen 50% in the past year (Credit: NASDAQ)

Paramount shares have fallen 50% in the past year (Credit: NASDAQ)

“It’s something that we’re going to be looking at carefully because we’ve just never seen anything like this,” Rogers Jr. said. “We hate to do that, but you’ve got to do what’s right for your customers and your shareholders and Ariel mutual funds. We have a responsibility to be fighting for our customers.”

In previous conversations with Paramount management and the board, Rogers Jr. noted that they’ve been “very consistent and strong” in their commitment to upholding their fiduciary responsibilities to shareholders. But he and his firm have been puzzled by the recent developments with regard to Skydance’s offer.

“It’s a weird dichotomy when everyone’s telling you they’re doing everything the right way and then the rumors are that they’re coming to a different conclusion, which is from the very obvious that it’s better to take $26 billion from a well-established, deep-pocketed private equity firm that’s got a world class reputation than to rush into the arms of a smaller company that’s never done anything like this before,” he said.
He pointed to the stock’s recent decline as evidence that the market does not view the Skydance transaction favorably.

“The market is telling everyone that no one believes that David Ellison can do something that’s good for all shareholders in that the stock has traded so poorly, it’s gone down dramatically after all the rumors started. It’s highly, highly, highly unusual,” he explained. “Once most M&A talks start, usually the stock price finds some equilibrium between the beginning price and speculated ending price. To have the stock continue to make new lows shows there’s no appetite for this transaction.”

Skydance, which is valued at more than $4 billion, has been a coproducer with Paramount on projects such as the “Mission: Impossible” franchise and “Top Gun: Maverick.”Its deal, which CNBC reported would include raising new equity and an ownership stake of somewhere between 45% to just over 50%, would be financed with the help of a consortium of investors, including private equity firms RedBird Capital Partners and KKR, as well as Larry Ellison, Ellison’s father and Oracle’s cofounder.

The senior Ellison would reportedly put up some of the new funding and potentially provide Paramount with access to artificial intelligence software and other data technology from Oracle. David, meanwhile, would likely lead the new company, while former NBCUniversal CEO Jeff Shell would also have a major leadership role.

Additionally, management would reportedly be open to divestitures of assets, such as BET Media Group. Bloomberg separately reported that Skydance would look to merge Paramount+ with a rival, such as Peacock, Max or Prime Video, and would hold onto CBS.

Redstone’s National Amusements could receive over $2 billion in cash from the Skydance deal, according to The Wall Street Journal. Skydance would reportedly be acquired in an all-stock deal valued at around $5 billion.

In addition to Skydance, Apollo has made a $26 billion all-cash offer for Paramount, though the media conglomerate has reportedly rebuffed the deal due to concerns around financing for the bid. Meanwhile, Allen Media Group founder Byron Allen placed a $30 billion bid including debt for the company, though its unclear how that deal would be financed, and Paramount Global CEO Bob Bakish met with Warner Bros. Discovery CEO David Zaslav in December about a potential merger, though those talks have since halted.

“I just think that you would want a cash deal. The company isn’t that large and there are a lot of large companies out there that can afford to snap up Paramount easily, as well as the private equity firms that are out there,” Rogers Jr. said. “I have no problem with doing creative strategic thinking to maximize the value of all the different assets, which means possibly breaking up the company, both for financial reasons and regulatory reasons.”

Rogers Jr. believes Paramount is, at minimum, worth above $20 per share.
He touted the company’s assets, including Pluto, BET, Showtime and Paramount Studios. Additionally, he emphasized that the company has been making progress towards streaming profitability and is well positioned with valuable content whether it chooses to continue on with Paramount+, shift to selling content as an arms dealer or pursue both strategies concurrently.

“This is a case where it is still churning out extraordinary content,” he added. “These things are not deteriorating in any fundamental way, so there’s no reason to rush into the arms of the first bid. We’re patient investors here. They should take their time and do the right deal for the long term.”

Ellison and Skydance are currently in the process of conducting due diligence. In order for a deal to be consummated, it must receive approval from Paramount’s special committee of independent directors. On Thursday, Paramount confirmed that three of the members on that committee will not stand for reelection at the company’s annual meeting on June 4, though it did not provide a reason why.

“It’s disappointing because all we can do is speculate that some of these directors were directors that were willing to stand up and respect the entire process of independent directors with independent lawyers and investment bankers guiding them,” he said. “The fact that there’s a split there on the board and the committee is worrisome. Clearly, there’s different points of view on how to go forward.”

He believes that the board departures, combined with the heightened scrutiny and threat of litigation around the Skydance bid, will only make it harder for Ellison to have a successful merger.

“Mergers are hard enough in the best of circumstances, trying to fight for the synergies and go through the regulatory processes and all the things you have to do to make a deal happen and keep employees happy. If you’re spending half your time in court having to deal with the mess that’s there, it’s got to give you pause when you’re about to jump on the high wire act and have that much extra pressure. I just can’t imagine that’s good.”

If the Skydance deal doesn’t pan out, Rogers Jr. emphasized that Paramount has other options available.

“You can make the case that you can be patient and wait to see who wins the election in November and get a more regulatory friendly environment that would be very helpful to more people being willing to bid on the company. As we all know, there’s a real chill on M&A in this country under the current regulatory environment,” he said. “But at the same time, it’s hard to walk away from a certain deal with Apollo. I’m assuming you can negotiate with them and once they came in and they did their due diligence and they did their homework, you don’t have to pick their first bid. It’s always normal in a transaction you start with one price and end up somewhere higher.”

Paramount, which has a market capitalization of $7.5 billion as of Monday’s close, has seen its shares fall 50% in the past year, 27% year to date and 11% in the past six months.

The post Paramount’s ‘Dramatic’ Stock Decline Shows a Lack of Faith in Skydance’s David Ellison, Ariel Investments Founder Says appeared first on TheWrap.
 
https://www.hollywoodreporter.com/business/digital/new-verizon-disney-bundle-deal-1235874924/

Verizon Inks Deal for Free Disney Streaming Bundle for Some Unlimited Customers
The offer comes just weeks after Disney added Hulu content to Disney+.

April 16, 2024 - 7:00am PDT
by Alex Weprin

Verizon and Disney are partnering on another bundle deal.

The telecom giant is offering select unlimited plan customers six free months of The Disney Bundle: Disney+, Hulu, and ESPN+.

The deal will give new and current Verizon customers six free months of the bundle when switching to the plans, and after that it will cost $10 per month, a $115 savings annually. Verizon previously offered the bundle as an add-on for $10 per month, a $5 discount compared to its normal price.

Verizon has been particularly aggressive about its plans to bundle streaming services (largely through its “+play” offering) in a bid to lock in customers, and has partnered with Disney before. Most notably, Verizon was a launch partner for Disney+, giving many of its customers one free year of the service, and helping Disney+ gain substantial market share early on.

The move also comes just a few weeks after Disney integrated Hulu content into Disney+ for bundle customers. By offering this deal now, Disney subscribers that haven’t subscribed to Hulu can get a taste of the content inside the app they are already familiar with.

“Our ongoing collaboration with Verizon underscores our commitment to providing their customers with exceptional offers for our unrivaled streaming content,” said Sean Breen, executive VP of platform distribution for Disney Entertainment. “With this new promotional perk, we’re thrilled that Verizon customers will have access to best-in-class entertainment from Disney+, Hulu, and ESPN+.”

And Verizon has been working to negotiate bundles with services that have been reluctant to engage with discount pricing previously.

That has included a Netflix and Paramount+ with Showtime bundle, as well as a Netflix and Max bundle.

“The offers and perks that come with being a Verizon customer gives customers incredible value and savings — all with the peace of mind of our world-class reliable network,” added Angie Klein, Verizon senior VP of growth marketing and content. “And now with the Disney Bundle on us for six months, there is something for everyone in the family to watch, all on us.”
 
https://timesofindia.indiatimes.com...viewers-on-platform/articleshow/109323662.cms

Disney may have ‘old-style TV’ plan to keep viewers on platform
TIMESOFINDIA.COM / Apr 16, 2024, 07:14 IST

Disney+ lost 1.3M subscribers post price hike. Planning channels with continuous Star Wars, Marvel, Disney, classic animations, and Pixar films. Channels may include commercials, require subscription, and focus on genres.

Disney+ lost 1.3 million subscribers in the final quarter of 2023 after it hiked prices in October, the company revealed in February this year. Since then, it has been planning to keep its viewers glued to the streaming service, and a report has now claimed that Disney is planning to resort to the old-style TV channel concept to keep its viewers.
The app could soon feature always-on channels – like the cable TV in old days – on which it will continuously play Star Wars and Marvel shows, a report from The Information has claimed.

This means that those watching these channels won’t be able to watch what they want.
“In television, what's old is new again. After more than a decade of growth in streaming services that make viewers click on shows they want to watch "on demand," a growing number of streaming services are offering new "channels" that function more like old-style TV, with a continuous, scheduled stream of shows,” the report said.

In addition to Star Wars and Marvel series, the report said that Disney+ may also add classic Disney animations or Pixar films to these channels dedicated to nonstop streams. These channels may still include commercials, similar to traditional TV, despite users needing a Disney+ subscription to access them.

“Disney is the latest to expand in this market. The company plans to create a series of such channels within its Disney+ streaming service that show programming in specific genres, including either Star Wars or Marvel-branded shows,” the report added citing people involved in the planning.

The Information also said that lots of other companies have already launched such channels, although typically as free offerings rather than within a subscription service.
I don't understand why something like this was not done sooner. With each price increase, they could have bundled a group of linear stations and say "yes the cost is going up but look at all this new stuff we added". Maybe contractual issues held them back some but it seems like a missed marketing opportunity.
 
https://variety.com/2024/tv/news/us...-fox-wbd-sports-streaming-venture-1235972866/

Apr 16, 2024 - 12:44pm PDT
by Todd Spangler

U.S. Reps Raise Concerns That Disney, Fox, WBD Sports Streaming Venture Will Be Anticompetitive

The Disney/ESPN, Fox Corp. and Warner Bros. Discovery sports-streaming joint venture has drawn congressional scrutiny.

In a letter sent Wednesday (April 16) to the CEOs of the three companies, Rep. Jerrold Nadler (D.-NY), the ranking member of the House Judiciary Committee, and Rep. Joaquin Castro (D.-Texas) requested answers about the competitive implications of the proposed sports streaming JV.

“As programmers, your companies exert tremendous influence over pricing across the live sports TV ecosystem,” Nadler and Castro wrote in the letter to Disney’s Bob Iger, Fox’s Lachlan Murdoch and Warner Bros. Discovery’s David Zaslav.

The three companies’ joint venture, the letter continued, “raises questions about how this new offering would affect access, competition and choice in the sports streaming market. Without more complete information about the pricing, intent, and organization of this new venture, we are concerned that this consolidation will result in higher prices for consumers and less fair licensing terms for upstream sports leagues and downstream video distributors.”

The reps requested answers by April 30. Among their list of 19 questions: “Will the Joint Venture Partners implement provisions to prevent anticompetitive sharing of pricing or other competitively sensitive information among each other?”

Reps for Disney, Fox and WBD did not immediately respond to requests for comment.

Disney, Fox and WBD unveiled their partnership in February and said they expected to debut their sports-streaming bundle in the fall of 2024. The joint venture will pool ESPN+ and the companies’ linear TV networks that carry sports programming (ABC, ESPN, ESPN2, ESPNU, SECN, ACCN, ESPNews, Fox, FS1, FS2, Big Ten Network, TNT, TBS and truTV). Pricing hasn’t been announced. Some have dubbed the JV “Spulu,” a portmanteau of “sports” and “Hulu” (which originally was a joint venture among broadcasters). Notably, the JV excludes NBCUniversal and Paramount Global/CBS.

The Justice Department reportedly has been planning to review the Disney-Fox-WBD venture over possible consumer harms, per Bloomberg. In addition, internet pay-TV provider Fubo filed a federal lawsuit seeking to block the JV service’s launch, alleging the venture violates antitrust laws.

Earlier this month Disney CEO Bob Iger said the JV is proceeding on the belief that it will clear regulatory scrutiny. “We think it’s actually a sports fan’s delight in terms of being able to watch all those sports in one place. Very pro-consumer,” Iger said in an appearance on CNBC.

Disney, Fox and WBD have announced former Apple TV+ exec Peter Distad as the JV’s CEO. Earlier, Fox Corp. CEO Lachlan Murdoch said the company expects the sports streaming venture to reach 5 million subscribers after five years, making the point that Fox Corp. expects the sports streaming venture to be incremental to its existing pay-TV revenue base.

These are the questions Nadler and Castro requested answers to from the CEOs, which requested that they also copy their responses to the Justice Department:
  • What are the relevant markets impacted by the Joint Venture?
  • How many subscribers is the Joint Venture projected to have within 1, 3, and 5 years of launch?
  • Will the Joint Venture distribute channels of non-joint venture partners?
  • How will the Joint Venture Partners determine the pricing of their own sports channels (e.g., Fox Sports, ESPN) included in the Joint Venture?
  • How do those prices compare to prices at which such channels are currently licensed to third-party MVPDs or virtual MVPDs?
  • Will the Joint Venture Partners implement provisions to prevent anti-competitive sharing of pricing or other competitively sensitive information among each other?
  • What measures will the Joint Venture Partners implement to prevent interlocking directorates?
  • When will the pricing of the Joint Venture be determined and announced?
  • What League Properties does each Joint Venture Partner currently hold the rights to, where “League Property” means a content licensing agreement with any of the following: the NFL, the NBA, the MLB, the NHL, the NCAA Basketball Tournament, NCAA Football (by major league) and NCAA Basketball (Men’s and Women’s). What League Properties to licensors other than the Joint Venture Partners hold the rights to?
  • For each of the sports channels that will be included in the new service, how many hours of live events for League Properties does the channel transmit per calendar year?
  • To what extent will customers be offered opportunities to bundle other products offered by the Joint Venture partners with the Joint Venture? Will Joint Venture customers be offered the opportunity to bundle the Joint Venture with direct-to-consumer products of third parties?
  • Will the Joint Venture Partners offer stand-alone streaming sports services? If the Joint Venture Partners decide to offer independent offerings from the Joint Venture, how will firewalls be implemented to ensure there is no collusion between the Joint Venture and their independent streaming sports offers?
  • The Joint Venture Partners currently bid against each other for sports content. However, the new venture will be pooling sports content among the Joint Venture Partners. Will the Joint Venture Partners continue to bid competitively against one another for sports rights as they become available?
  • Will the Joint Venture Partners make the channels they include in the Joint Venture available to third parties on non-discriminatory terms?
  • Will the Joint Venture partners negotiate jointly with MVPDs to license sports channels? Also, with virtual MVPDs?
  • Will the Joint Venture Partners continue to require that MVPDs and virtual MVPDs purchase other programming in addition to their sports channels as a condition of their licensing agreements? Will the Joint Venture Partners continue to require penetration minimums for their sports and other channels when negotiating with MVPDs and other virtual MVPDs?
  • The companies propose to engage in a form of vertical integration, leveraging their content assets into a virtual MVPD. In previous transactions involving vertical integration between programmers and MVPDs (e.g., Comcast-NCBU, AT&T-Time Warner), the parties made certain commitments to submit licensing negotiations to binding arbitration. Will joint venture partners make similar commitments?
  • Prior to negotiation of the Joint Venture, what standalone plans had each of the Joint Venture Partners considered for making their sports channels available via streaming, including but not limited the launch of a new virtual MVPD or inclusion in the Joint Venture Partner’s existing streaming service (e.g., Disney+ or MAX).
  • Do you anticipate the joint venture will be required to make a filing with the Department of Justice and Federal Trade Commission under the Hart-Scott-Rodino Act?
 


https://timesofindia.indiatimes.com...viewers-on-platform/articleshow/109323662.cms

Disney may have ‘old-style TV’ plan to keep viewers on platform
TIMESOFINDIA.COM / Apr 16, 2024, 07:14 IST

a report has now claimed that Disney is planning to resort to the old-style TV channel concept to keep its viewers.
The app could soon feature always-on channels – like the cable TV in old days – on which it will continuously play Star Wars and Marvel shows, a report from The Information has claimed.
So...it would basically be TNT?
 
https://www.wsj.com/finance/investing/nelson-peltz-disney-proxy-fight-586e1c5f?mod=hp_lead_pos5

Nelson Peltz Got Crushed by Disney. Can He Recover?
After his Trian Partners lost its proxy fight, a big bet on Unilever comes into focus

By Cara Lombardo and Lauren Thomas
April 17, 2024 - 5:30 am EDT

Nelson Peltz’s proxy fight at Disney had the potential to help turn around his hedge fund after a tumultuous stretch.

Instead, the activist investor’s unsuccessful quest for two seats on the media giant’s board could make a comeback even harder.

Trian Partners has been grappling with lackluster returns, an investor exodus and the acrimonious departure of one of its founders. The firm’s money under management ended last year at its lowest point since 2012, a previously unreported recent filing shows.

A Disney victory would have been a welcome win, but many of the big investors whose support Peltz needed sided with Disney Chief Executive Bob Iger instead. Trian had made roughly $300 million on its Disney investment when shareholders rejected its bid for board seats earlier this month. But that is in line with the market’s rise over the same period, a point that doesn’t go unnoticed by hedge-fund investors who pay hefty fees for outperformance.

All eyes are now on whether Trian will be able to make money on its biggest bet—on Dove-soap maker Unilever—and whether Peltz’s days as a fearsome activist are over.

Taking on another proxy fight could be harder after the 81-year-old failed to win crucial support from the big index funds, BlackRock, State Street and Vanguard, some of which had previously backed him.

He turned off some of their top decision makers while campaigning, people familiar with the matter said. Peltz raised eyebrows with an interview with the Financial Times days before voting ended in which he questioned why “woke” Disney made movies such as “The Marvels” and “Black Panther” with primarily female and Black casts, respectively.

Shrinking assets

Trian’s discretionary assets under management—those they have full control over—had been increasing steadily for years, reaching a peak of $12.5 billion in 2015. But they have declined in six of the past eight years, including each of the past four, hurt by soured bets such as a one on General Electric.

As of the end of last year, the firm managed $6.1 billion, a late-March filing with the Securities and Exchange Commission showed. (That excludes nearly $3 billion of nondiscretionary assets, primarily Disney shares owned by Ike Perlmutter, Peltz’s friend who entrusted his voting rights to Trian for the proxy fight.) Assets have since risen to about $7 billion.

The firm says it had more money come in than leave in the past two years.

Investors including California State Teachers’ Retirement System and the New York State Common Retirement Fund have been pulling out money, The Wall Street Journal reported last month. The full extent of redemption requests isn’t reflected in the latest number, people familiar with the matter said, given that money is typically returned over several quarters.

Trian typically uses investment vehicles focused on a specific stock or sector for its biggest bets.

While such vehicles offer investors lower fees than a typical hedge fund charges—often no management fee and around 10% of profits—they also lock up their money for several years.

Some haven’t lived up to Trian’s ambitions. In 2020, one such vehicle took simultaneous stakes in Janus Henderson and Invesco and unsuccessfully tried to get the asset managers to merge.

All eyes on Unilever

The last time Trian raised money from investors for a major co-investment vehicle was in 2022, when it made a big bet on Unilever, the London-based maker of household names such as Hellmann’s mayonnaise. Its $1.5 billion-plus stake is the firm’s largest position, dwarfing Trian’s own stake in Disney and consuming about 25% of its capital.

Unilever had been underperforming rivals including Procter & Gamble, which Peltz had helped streamline after he got a seat on its board in a previous proxy fight. Unilever’s shareholders were in open revolt after then-CEO Alan Jope considered a $68 billion purchase of GlaxoSmithKline’s consumer-health business that he ultimately backed away from.

Peltz joined Unilever’s board a few months after Trian bought its shares. Investors hoped Peltz would work his magic like he had at P&G, whose stock rose more than 50% during his board tenure.

While pitching its own investors, Trian said it was targeting an annual rate of return of around 17% over four years, people familiar with the matter said.

The stock was trading around 37 pounds in London—equivalent to about $46 currently—when Trian arrived. That is roughly where it is now.

Peltz and Trian could yet achieve the success they had envisioned. Jope left last year, and Hein Schumacher, the head of a dairy cooperative who’d sat on Unilever’s board, took over. Last month, he detailed a strategic plan that is expected to eliminate some 7,500 jobs and save about $870 million over the next three years.

A centerpiece of the plan is spinning off or selling Unilever’s ice-cream business, which in addition to Ben & Jerry’s includes Breyers, Talenti and Klondike. The unit had revenue of $8.6 billion last year but was the company’s slowest-growing. Unilever shares rose 3% the day the company shared the news.

Trian 2.0

Trian has been working to steady itself after Ed Garden, one of its co-founders and Peltz’s son-in-law, left last year. Many had expected Garden to eventually take over. Instead, he is no longer speaking to Peltz after a power struggle within the firm.

At the time, Trian elevated Matt Peltz, Nelson’s son, and another partner, Josh Frank, to the roles of co-chief investment officers.

“Since the promotion of Trian’s two new co-CIOs and the new head of research, performance has improved and performance of recent positions has been particularly strong,” a spokesperson said.

Still, some on Wall Street wonder if Peltz will take on any more proxy fights.

Others say he could lay low for a bit, taking a page out of Bill Ackman’s comeback playbook, and return as fierce as ever. Carl Icahn, another activist, fell prey to a short-seller attack last year that shaved billions off the value of his firm. After spending much of the past year doing damage control, he recently struck a deal with JetBlue Airways for seats on the airline’s board.

Peltz has hinted that he has a new target in mind, saying on CNBC recently that he needed to finish buying his shares before revealing the company’s name. In the same appearance, he fawned over Elon Musk. The Tesla chief has become a close friend and gave Peltz an 11th-hour endorsement on his social-media platform, X, ahead of the Disney vote.

“I think the world of him,” Peltz said of Musk. Some read it as a sign that the two could join forces on an investment some day.

Peter Rudegeair contributed to this article.

Write to Cara Lombardo at cara.lombardo@wsj.com and Lauren Thomas at lauren.thomas@wsj.com
 
https://finance.yahoo.com/news/netflix-next-phase-growth-hinges-131500264.html

Netflix’s Next Phase of Growth Hinges on Pricing, Paid Sharing and the Ad Tier

by Lucas Manfredi
Wed, Apr 17, 2024, 8:15 AM CDT

Wall Street still feels bullish about Netflix’s growth prospects heading into the release of its first quarter earnings results on Thursday afternoon.

But while analysts agree that the company has devised the right formula of balancing global content creation with costs, while increasing profitability, much of the streamer’s growth going forward will depend on how far it can push pricing and paid sharing, and how quickly it can scale the ad tier.

“The big challenge is accepting that they aren’t going to be a high growth company. They’re going to be a low growth, extraordinarily profitable company,” Michael Pachter told TheWrap. “They still trade at a big price because they’re so profitable and we believe they can be more profitable.”
Netflix shares are up 85% in the past year and 31% year to date as of Tuesday’s close.

Netflix shares are up 85% in the past year and 31% year to date as of Tuesday’s close.
Analysts surveyed by Zacks Investment Research currently expect the streamer to report earnings of $4.49 per share for its first quarter of 2024, in line with Netflix’s guidance, and revenue of $9.26 billion, up slightly from the company’s $9.24 billion revenue guidance. Shares are up 85% in the past year and 31% year to date as of Tuesday’s close.

How much longer will the paid-sharing benefit last?​

With the paid-sharing initiative coming up on the one-year mark in the second quarter of 2024, one of the biggest questions from Wall Street will be how much longer its subscriber and revenue benefits will last.

Citigroup analyst Jason Bazinet told clients that most investors the bank has spoken with believe the benefit will remain strong in this quarter’s numbers, but will start to fade over the next two.

Out of the estimated 100 million households sharing passwords, Bloomberg Intelligence believes 60 million to 70 million could be potential Netflix subscribers.

“A lot of industry watchers as well as people tracking the stock feel that most of the low hanging fruit has been captured,” analyst Geetha Ranganathan told TheWrap. “The big concern there is if they say we’ve already captured 50% or 70% or we don’t think it’s going to go beyond a certain level. If management comes out and says ‘No, we really don’t see more than 30 million,’ I think that’s a huge problem.”

Netflix has already captured roughly 20% of the estimated 100 million households sharing passwords, Oppenheimer Research analyst Jason Helfstein estimates.

“By 2026, we think a 60% capture rate is more likely, given NFLX’s increasing content advantage and content/advertising spend pull-back by competitor streaming platforms,” Helfstein said in a note to clients. The 60% recapture rate over three years would represent an upside of around 14 million subscribers, he added.

In the fourth quarter, Netflix added 13.1 million subscribers for a total of 260.28 million globally — its second-best quarter ever for sign-ups since the COVID-19 pandemic-related surge during the fourth quarter of 2020. It expects a sequential decline in the upcoming quarter, but with additions above the 1.8 million net adds in the prior-year period.

When will the ad tier reach an inflection point?​

The ad tier is not expected to become a substantial revenue stream for the company until 2025. But analysts will be listening for any color on a potential timeline for the scaling of the offering, especially as it faces increased competition from Prime Video’s new ad tier.

Netflix’s ad tier, which is available in 12 countries, has surpassed 23 million monthly active users globally and now accounts for 40% of all sign-ups, the company says. The offering’s base grew by nearly 70% quarter over quarter in Q4, supported by product improvements and the phasing-out of its Basic plan for new and rejoining members.

“Despite the growth over the last few quarters, it appears the scale of the ad-tier is lagging expectations,” Piper Sandler analyst Matt Farrell told clients. “We continue to wait for the pivot to ‘walking’ from ‘crawling,’ but as the ad-tier competitive landscape intensifies, we suspect scale needs to happen sooner rather than later.”

In order to scale the offering, Netflix has said it plans to retire its ad-free basic plan in countries where the ad-supported offering is available, starting with the United Kingdom and Canada in the second quarter. The company also partnered with T-Mobile in January to offer the Standard with Ads plan in the mobile provider’s packages.

Wedbush estimates that Netflix needs the ad tier to reach at least $9.66 monthly per user in ad revenue to be accretive and that it expects the offering to do so in the back half of 2024. They estimate that the United States and Canada make up at least 9% of global ad subscriptions and that raising the domestic percentage where the ad market is strongest is the key to reaching accretion.

“We think the average ad-based subscriber watches less than Netflix’s average premium subscriber, so at optimum, we think it will reach a steady state of [about] 55 hours on the ad tier,” analysts Alicia Reese and Michael Pachter wrote in a note to clients. “The more content and features that Netflix adds to this tier, the faster it can achieve this.”
Deutsche Bank analysts Bryan Kraft and Benjamin Soff said Netflix’s WWE deal also represents a “potential jump start” for the ad business in 2025. They estimate Raw could provide roughly $225 million in advertising revenue, based on its average linear TV audience of roughly 2 million, combined with an assumed $35 cost per thousand impressions (CPM) and roughly 3.2 billion impressions per week in 2023.

How much pricing power does Netflix have left to bolster growth?​

In October, Netflix hiked its U.S. Basic plan to $11.99 a month — an increase of $2 a month — and its Premium plan to $22.99 a month — an increase of $3 a month. It also raised prices in the U.K. and France to £7.99 and €10.99 for Basic and £17.99 and €19.99 for Premium, respectively.

Barclays analyst Kannan Venkateshwar said Netflix’s revenue growth will likely drift into the “high single to low double digit range” in the next year and beyond, citing 2023 as being a slow year for revenue growth despite being one of the best years for subscriber growth.

As a result, more than half of Netflix revenue growth will need to come from price increases if it remains in the low-to-mid teens range, Venkateshwar wrote. “This is likely to be difficult without unit growth trade-offs, which will make pricing even more important.”

Licensed content from both Disney and Warner Bros Discovery will allow Netflix to continue to command pricing power, Macquarie Research analyst Tim Nollen said, while Ranganathan sees the ad tier as a “backstop” that prevents churn and offers “substantial pricing leverage.”

“They obviously can increase prices, because they have a very, very compelling content slate. They’ve hit their stride in terms of having a lot of the originals perform really well,” she added, noting that “Fool Me Once,” “Avatar: The Last Airbender,” “Griselda,” “Berlin,” “Love is Blind,” “One Day” and “The Gentlemen” have posted over 200 million hours of viewership.

With its ad tier and paid sharing initiatives rolled out, Nollen believes a price increase on its standard plan may be imminent.

Netflix’s mid-tier ad-free price in the U.S. of $15.49 lags Hulu and Max now, and its base of ad tier users is growing, “which provides more volume and pricing power in a generally improving ad market,” Nollen wrote in a note to clients.

Will Netflix invest more in sports?​

Despite Netflix’s longtime stance that it has “not seen a profit path to renting big sports,” the company has recently been dipping its toes into shoulder programming, such as the docuseries “Formula 1: Drive to Survive” and live events like the Netflix Cup, a golfing tournament, and Netflix Slam, a tennis match.

Ranganathan argues that if Netflix wants to scale its ad tier, it’s going to have to continue to invest in different types of content – including sports.

“There is this anticipation that Netflix will be a dark horse and come in a bid for maybe one or multiple NBA packages,” she said.

Deutsche Bank envisions Netflix licensing the NBA’s in-season tournament, which would be a smaller package that requires less of a commitment than the traditional national package that spans the entire season. They noted it would have to wait for current international media rights contracts to expire before the IST would shift to them.

“It plays very well with Netflix’s strategy of going after a global, younger audience and would really help them scale their advertising business very, very substantially,” Ranganathan added.

Where does Netflix plan on allocating its capital moving forward?​

Lastly, investors will be focused on how Netflix allocates its capital as the streamer anticipates roughly $6 billion in free cash flow in 2024. It plans to spend around $17 billion on content in 2024, compared to $12.6 billion in 2023.

Macquarie Research argued a key question will be whether Netflix chooses to extend its ad tech partnership with Microsoft, which expires in October 2024, or if it will build its own ad-tech capabilities. Ranganathan anticipates that Netflix will balance content investment with investments in its advertising technology capital returns in the form of share buybacks.

“We expect share repurchases to continue throughout 2024 but also would not be surprised if the firm considered incremental M&A to either bolster its IP portfolio or move deeper into video games,” Bazinet added.

When asked about M&A on the Q4 call, Netflix chief financial officer Spencer Neumann reiterated that the company is focused on building rather than buying. The company also emphasized it’s not interested in acquiring linear assets, nor does it believe that M&A among traditional media companies will “materially change” the competitive environment.

Deutsche Bank believes that Netflix has an opportunity to continue to “optimize its content spend” and drive higher returns on content investment over time through its licensing efforts as well as the recent reorganization of its film division.

Looking ahead, Netflix said it would continue to invest in its content slate with a “high single digit percentage” year-over-year increase in non-cash content costs.

The post Netflix’s Next Phase of Growth Hinges on Pricing, Paid Sharing and the Ad Tier appeared first on TheWrap.
 


https://finance.yahoo.com/news/disneyland-performers-file-petition-form-161315229.html

Disneyland performers file petition to form labor union

by AMY TAXIN
Wed, Apr 17, 2024, 11:13 AM CDT

ANAHEIM, Calif. (AP) — Workers who help bring Disneyland’s beloved characters to life said Wednesday they collected enough signatures to support their push for a union.
A group of 1,700 performers, including those who represent characters and dance in parades at Disney's Southern California theme parks, said they filed an election petition with the National Labor Relations Board. A vote would likely be held in May or June.

The workers said they also asked The Walt Disney Co. to recognize their union, which they are calling “Magic United.”

In a statement Wednesday, Disney officials said: “We support our cast members’ right to a confidential vote that recognizes their individual choices.”

Most of the more than 35,000 workers at the Disneyland Resort already have unions. Parade and character workers announced their plans to unionize in February to address safety concerns and scheduling, among other issues.

The union would be formed under Actors’ Equity Association, which already represents theatrical performers at Disney's Florida theme parks.

Union membership has been on a decades-long decline in the United States, but organizations have seen growing public support in recent years amid high-profile contract negotiations involving Hollywood studios and Las Vegas hotels. The National Labor Relations Board, which protects workers’ right to organize, reported more than 2,500 filings for union representation during the 2023 fiscal year, which was the highest number in eight years.

Disney has a major presence in Anaheim, where it operates two theme parks — Disneyland and Disney California Adventure — as well as a shopping and entertainment area called Downtown Disney. Disneyland, the company’s oldest park, was the world's second-most visited theme park in 2022, hosting 16.8 million people, according to a report by the Themed Entertainment Association and AECOM.
 
https://www.hollywoodreporter.com/m...hall-weinbaum-netflix-awards-team-1235876923/

Disney Publicist Marshall Weinbaum Departs for Netflix’s Awards Team (Exclusive)

Weinbaum, who was voted Publicist of the Year by the ICG Publicists Guild in 2022 and spent 17 years at the Mouse House, will now work on awards campaigns for animated films under Julie Tustin.

April 18, 2024 10:55am
by Scott Feiberg

Marshall Weinbaum, an admired publicist who has been a principal intermediary between The Walt Disney Studios and the press for the past 17 years, including on virtually every Disney Animation and Pixar project, is leaving the Mouse House to join Netflix’s awards team, The Hollywood Reporter has learned.

He will be a manager of awards (animation), working under veteran Julie Tustin on awards campaigns for the streamer’s animated films, which have increasingly factored into the Oscar race. Indeed, over the last five years, Netflix has landed seven best animated feature Oscar nominations (including at least one every year), winning for Guillermo del Toro’s Pinocchio in 2022, and two best animated short Oscar nominations, winning for If Anything Happens I Love You in 2021.

Weinbaum came to Disney almost directly after graduating from Michigan State University. As a senior publicist, he became a fixture at the company’s large-scale premieres, screenings and junkets, as well as other industry events, conventions and award shows, and also oversaw interactions with most leading industry publications. He worked on more than 25 films that grossed over $1 billion worldwide, and 13 of the 15 films with the highest-grossing opening weekends at the domestic box office.

Widely admired by his peers, he was voted Publicist of the Year in 2022 by the ICG Publicists Guild, and was also part of the teams behind a handful of campaigns that were recognized by the guild as the best of their respective years: the films The Help and Star Wars: The Force Awakens and the TV series The Mandalorian and, earlier this year, Ahsoka.

“I’ve loved my time at Disney over the past 17 years,” Weinbaum tells THR, “and I’m really excited about this new opportunity at Netflix. I’ve always loved animation and awards, so this is a dream come true.”
 
https://www.hollywoodreporter.com/m...hall-weinbaum-netflix-awards-team-1235876923/

Disney Publicist Marshall Weinbaum Departs for Netflix’s Awards Team (Exclusive)

Weinbaum, who was voted Publicist of the Year by the ICG Publicists Guild in 2022 and spent 17 years at the Mouse House, will now work on awards campaigns for animated films under Julie Tustin.

April 18, 2024 10:55am
by Scott Feiberg

Marshall Weinbaum, an admired publicist who has been a principal intermediary between The Walt Disney Studios and the press for the past 17 years, including on virtually every Disney Animation and Pixar project, is leaving the Mouse House to join Netflix’s awards team, The Hollywood Reporter has learned.

He will be a manager of awards (animation), working under veteran Julie Tustin on awards campaigns for the streamer’s animated films, which have increasingly factored into the Oscar race. Indeed, over the last five years, Netflix has landed seven best animated feature Oscar nominations (including at least one every year), winning for Guillermo del Toro’s Pinocchio in 2022, and two best animated short Oscar nominations, winning for If Anything Happens I Love You in 2021.

Weinbaum came to Disney almost directly after graduating from Michigan State University. As a senior publicist, he became a fixture at the company’s large-scale premieres, screenings and junkets, as well as other industry events, conventions and award shows, and also oversaw interactions with most leading industry publications. He worked on more than 25 films that grossed over $1 billion worldwide, and 13 of the 15 films with the highest-grossing opening weekends at the domestic box office.

Widely admired by his peers, he was voted Publicist of the Year in 2022 by the ICG Publicists Guild, and was also part of the teams behind a handful of campaigns that were recognized by the guild as the best of their respective years: the films The Help and Star Wars: The Force Awakens and the TV series The Mandalorian and, earlier this year, Ahsoka.

“I’ve loved my time at Disney over the past 17 years,” Weinbaum tells THR, “and I’m really excited about this new opportunity at Netflix. I’ve always loved animation and awards, so this is a dream come true.”
Ooooooor they could just make better movies and shows? Lol
 
Netflix just had a record quarter in Net Income ($2.3B) and margin (24.9%).

-> 9.37m subs added worldwide
-> ARPU up to $11.79/mo

-> 2.5m subs added to N. America
-> ARPU up to $17.30/mo
 
On the news they will stop reporting subs and all membership related info the stock is down $24+ after hours.
 
https://finance.yahoo.com/news/netf...2-revenue-forecast-disappoints-202226984.html

Netflix reports strong subscriber gains but Q2 revenue forecast disappoints

by Alexandra Canal · Senior Reporter
Updated Thu, Apr 18, 2024, 3:27 PM CDT

Netflix (NFLX) reported first quarter earnings that beat across the board on Thursday with another 9 million-plus subscribers added in the quarter. However, disappointing second quarter revenue guidance dragged the stock more than 3% lower in after-hours trading.

Subscriber additions of 9.3 million beat expectations of 4.8 million and follows the 13 million net additions the streamer added in the fourth quarter. The company had added 1.7 million paying users in Q1 2023.

Notably, the company said it will stop reporting quarterly membership numbers starting next year, along with average revenue per member, or ARM.

"As we’ve evolved our pricing and plans from a single to multiple tiers with different price points depending on the country, each incremental paid membership has a very different business impact," the company said.

Netflix, Inc. (NFLX)
NasdaqGS - Nasdaq Real Time Price (USD) 610.56 -3.13(-0.51%) At close:4:00PM EDT
586.38-24.18 (-3.96%) After hours: 5:47PM EDT

Revenue beat Bloomberg consensus estimates of $9.27 billion to hit $9.37 billion in the quarter, an increase of 14.8% compared to the same period last year, as the streamer leaned on revenue initiatives like its crackdown on password sharing and ad-supported tier, in addition to the recent price hikes on certain subscription plans.

Netflix guided to second quarter revenue of $9.49 billion, a miss compared to consensus estimates of $9.51 billion.

Netflix's stock has been on a tear in recent months with shares currently trading near the high end of its 52-week range. Wall Street analysts had warned how high expectations heading into the print could serve as an inherent risk to the stock price.

Earnings per share (EPS) beat estimates in the quarter with the company reporting EPS of $5.28, well above consensus expectations of $4.52 and nearly double the $2.88 EPS figure it reported in the year-ago period. Netflix guided to second quarter EPS of $4.68, ahead of consensus calls for $4.54.

Profitability metrics also came in strong with operating margins sitting at 28.1% for the first quarter compared to 21% in the same period last year.

The company previously guided to full-year 2024 operating margins of 24% after the metric grew to 21% from 18% in 2023. Netflix expects margins to tick down slightly in Q2 to 26.6%.

Free cash flow came in at $2.14 billion in the quarter, above consensus calls of $1.9 billion.

Meanwhile, ARM ticked up 1% year over year — matching the fourth quarter results. Wall Street analysts expect ARM to pick up later this year as both the ad tier impact and price hike effects take hold.

On the ads front, ad-tier memberships increased 65% quarter over quarter after rising nearly 70% sequentially in Q3’23 and Q4’23. The ads plan now accounts for over 40% of all Netflix sign-ups in the markets it's offered in.

Alexandra Canal is a Senior Reporter at Yahoo Finance. Follow her on X @allie_canal, LinkedIn, and email her at alexandra.canal@yahoofinance.com.
 
https://finance.yahoo.com/news/1-nbas-exclusive-tv-rights-190053896.html

NBA's TV rights talks with Disney, Warner likely to end without deal, CNBC reports

Reuters
Thu, Apr 18, 2024, 2:00 PM CDT

April 18 (Reuters) - The National Basketball Association's exclusive media rights negotiating period with current partners Walt Disney and Warner Bros Discovery is likely to expire without a new deal on Monday, CNBC reported on Thursday.

NBA will be able to engage with new partners to show packages of games from the start of next week, the report said, citing people familiar with the matter.

Warner began airing the games in 1984, while Disney's ESPN sport network began broadcasting NBA in 2002.

"We continue to have productive discussions with Disney and Warner Bros Discovery on a renewal of our media deals," an NBA spokesperson said in an email to Reuters.

NBA could sell its new in-season tournament package of games to a separate media company than its primary new streaming partner, the report said.

The league is looking for a large increase in fees, and Disney and Warner do not want to carry the full burden of paying significantly more for what they already have, CNBC reported, citing the sources.

Amazon, Apple, YouTube TV, Comcast's NBCUniversal/Peacock and Netflix have all had preliminary talks with the league expressing potential interest, CNBC reported last year.
Disney and Warner Bros Discovery declined to comment, when contacted by Reuters.
NBA is looking to double the $24 billion it generated from its previous media rights deal with Disney and Warner Bros. Discovery by adding new partners and charging more for rights, CNBC reported last year.

(Reporting by Harshita Mary Varghese; Editing by Shailesh Kuber)
 
https://finance.yahoo.com/news/paramount-skydance-deal-unlikely-close-210552560.html

Paramount-Skydance Deal Unlikely to Close in 30-Day Window, Due Diligence Continues by Lucas Manfredi
Thu, Apr 18, 2024, 4:05 PM CDT

A deal to merge Paramount Global and David Ellison’s Skydance Media is unlikely to conclude by May 3 — the end of a 30-day exclusivity window — but is moving forward despite pressure from shareholders eager to consider other bids, TheWrap has learned.
According to an individual with knowledge of the negotiations, Skydance’s due diligence on Paramount began this week and will not be complete within two weeks. The individual said the process to hammer out details could take up to 60 days, and in that case the window of exclusivity could be extended.

The deal, which would be backed by fresh capital from a consortium of investors including Oracle cofounder Larry Ellison, RedBird Capital Partners and KKR, would see Skydance acquire control of the company through Shari Redstone’s National Amusements, which currently owns 77.3% of Paramount Global’s Class A (voting) common stock and 5.2% of its Class B common stock.

But shareholders have threatened to sue Paramount if Redstone fails to consider a competing bid from private equity giant Apollo.

The individual described the deal as a recapitalization of Paramount, in which the media conglomerate would be able to continue as a public company with the goal of eventually trading between $30 to $40 per share.

The stock is currently trading below $11 per share.

The Wall Street Journal has previously reported that Redstone’s National Amusements could receive over $2 billion in cash from the Skydance deal, some of which would be rolled over, according to the individual. Skydance would then be acquired by Paramount in an all-stock deal valued at around $5 billion.

The Ellisons would bring in technological and creative expertise from Skydance’s own existing management team, as well as Jeff Shell, who joined RedBird following his ouster as NBCUniversal CEO.

In addition to Skydance, Apollo has made a $26 billion all-cash offer for Paramount, though the media conglomerate has reportedly rebuffed the deal due to concerns around financing for the bid.

Meanwhile, Allen Media Group founder Byron Allen placed a $30 billion bid including debt for the company, though it’s unclear how that deal would be financed, and Paramount Global CEO Bob Bakish met with Warner Bros. Discovery CEO David Zaslav in December about a potential merger, though those talks have since halted.

Any deal for Paramount would have to be approved by Paramount Global’s special committee of independent directors. Ellison would also have to sell the deal to Paramount’s minority shareholders, including notable investors like Mario Gabelli and Ariel Investments’ John Rogers Jr., who have emphasized they’d consider litigation if a deal does not fairly benefit their clients.

Paramount stock, which currently has a market capitalization of about $7.6 billion, has seen its shares fall 49% in the past year and 23% year to date.

The post Paramount-Skydance Deal Unlikely to Close in 30-Day Window, Due Diligence Continues | Exclusive appeared first on TheWrap.
 
https://www.nytimes.com/2024/04/18/business/paramount-sony-apollo-bid.html

Sony in Talks to Join a Bid to Buy Paramount

The company and Apollo Global Management are discussing a joint effort, even as Paramount conducts exclusive merger negotiations with Skydance.

By Benjamin Mullin and Lauren Hirsch
April 18, 2024

Even as Paramount, the home of the “Top Gun” movie franchise and “SpongeBob SquarePants,” continues its talks to merge with another media company, Skydance, a new suitor has emerged.

Sony Pictures Entertainment and Apollo Global Management, an investment firm, have been in discussions about teaming up for a joint bid to acquire Paramount, two people familiar with the situation said Thursday.

The two companies have not submitted an official bid, as Paramount is still in exclusive conversations with Skydance, said the people, who were granted anonymity to discuss delicate negotiations. But the potential deal with Skydance has generated significant investor pushback.

Apollo previously reached out to Paramount about buying the company for at least $26 billion, including debt. But Paramount’s board proceeded with its more advanced conversations with Skydance, amid questions about Apollo’s financing. A joint bid with Sony would almost certainly reduce those concerns, adding operational experience and additional capital to Apollo’s already significant war chest.

Tony Vinciquerra, the chief executive of Sony Pictures Entertainment, has held conversations in the last week with Apollo about teaming up on a bid, the people said.
The bid would be an all-cash offer for the outstanding stock in Paramount, in effect taking the company private through a joint venture.

The terms of the joint bid are still being worked out, and it’s possible that Sony and Apollo may not make an offer for Paramount, one of the people said. One structure could have Apollo take a minority stake in the joint venture, with Sony becoming the majority owner and operating the company. At some point, Apollo could cash out its investment, possibly by selling its stake back to Sony.

If Sony prevailed in its bid, the company would most likely operate the Paramount studio as a label within its own media empire, fusing the studio’s marketing and distribution arm with its own. It remains to be seen how CBS, one of Paramount’s crown jewels, would fit into the combined company along with Paramount’s fading cable channels.

National Amusements, the company that controls Paramount, has already signed off on a potential deal with Skydance, which is controlled by David Ellison, the tech scion and Hollywood executive. National Amusements is controlled by Shari Redstone, who has appointed a special committee of independent board advisers to weigh Skydance’s offer. Because Skydance’s proposal would give Ms. Redstone cash and Paramount shareholders stock in a new company, several investors have objected.

Unlike Skydance, Sony and Apollo would not be seeking to buy out National Amusements.

Skydance’s deal for Paramount would bring expertise to Paramount, including tech and animation know-how from Mr. Ellison’s management team, which includes John Lasseter, a former Pixar executive. The plan calls for operational efficiencies and for Skydance to supercharge Paramount’s streaming abilities.

Shares in Paramount rose 11 percent in aftermarket trading.

The fusion of Paramount and Sony would create a media colossus that would put a collection of TV channels and movie studios under the same corporate umbrella. But Mr. Vinciquerra has experience managing both TV and studio properties, having worked at both Fox and CBS.

Benjamin Mullin reports on the major companies behind news and entertainment. Contact Ben securely on Signal at +1 530-961-3223 or email at benjamin.mullin@nytimes.com. More about Benjamin Mullin

Lauren Hirsch joined The Times from CNBC in 2020, covering deals and the biggest stories on Wall Street. More about Lauren Hirsch
 
https://www.msn.com/en-us/money/com...ders-its-next-act-will-be-tougher/ar-AA1niiLn

Netflix Dealt With the Freeloaders. Its Next Act Will Be Tougher.

Decision to stop reporting subscriber numbers will put greater focus on revenue growth—and advertising

By Dan Gallagher
April 19, 2024 - 5:30 am EDT

Netflix’s life on top won’t always be an easy one.

The streaming pioneer managed to deliver another quarter of blockbuster subscriber growth. Net new paid subscribers of 9.3 million in the first quarter were nearly double the official 4.8 million analysts expected, according to consensus estimates from Visible Alpha. They were even above the sky-high whisper number range that several analysts pegged as the real target among large investors tracking the company’s performance. It was yet another sign that the password-sharing crackdown that Netflix began last year still has legs. Netflix has added more than 31 million subscribers over the past three quarters since that program began—more than double what was added in the three quarters prior.

Still, revenue of nearly $9.4 billion for the quarter only barely exceeded Wall Street’s forecast. Netflix also gave its first-ever annual revenue forecast—projecting growth of 13% to 15% for the year—that was only in line with analysts’ views. And in another change, the company announced that it would no longer report subscriber data at all starting next year.

That threw a bit of a wet blanket on a stock that has surged 76% over the past six months—the fourth-best performance on the S&P 500 in that time. Netflix shares slipped nearly 5% in after-hours trading Thursday. “We suspect reduced disclosures may disappoint the Street,” Citigroup’s Jason Bazinet noted following the results.

Netflix has been trying to get investors to focus less on subscriber growth for a while now—and not without some justification. It is a wildly unpredictable number that even the company has struggled to forecast well. It announced in late 2022 that it would no longer provide quarterly subscriber projections, which followed a three-year period where those projections fell short of Wall Street’s consensus forecast in every quarter but one, according to FactSet data. That was also a recipe for a volatile stock; Netflix shares tumbled following most of those reports.

Revenue growth has typically been more steady. It is also—according to Netflix—a better way to measure the performance of a business that now includes several pricing tiers, paid-sharing accounts and advertising. Left unsaid is the idea that a streaming service with nearly 270 million paying members now may struggle to find the same number of untapped viewers in the future. Netflix added more than 100 million new subscribers over the past four years. Are there 100 million left who have so far avoided “Stranger Things,” “Bridgerton” and “Squid Game?”

Still, this shift in emphasis will put new onus on Netflix’s ability to raise prices—or get more viewers into its cheaper but potentially more lucrative advertising tier, which offers higher average revenue per member than many of its ad-free plans. The latter is still a relatively small business; analysts project advertising will make up just 4% of Netflix’s total revenue this year and 7% next year, according to current projections from Visible Alpha.

Fortunately, the company has what still looks like an insurmountable lead among its big media streaming peers, whether in terms of subscribers, earnings or cash flow. Netflix projected an operating margin of 25% this year—a year in which Disney expects to barely get its own streaming operation profitable.

And it is even getting a little help from its foes, as those same media rivals are back to licensing some of their most popular content to Netflix, in return for much-needed cash. The HBO hit series “Sex and the City” hit Netflix this month, and co-Chief Executive Ted Sarandos said on Thursday’s call that “the floodgates have opened a little more on licensing for sure.” Netflix will be the most popular act in streaming for a long while, even if it becomes less clear just how many are watching.

Write to Dan Gallagher at dan.gallagher@wsj.com
 
https://www.nytimes.com/2024/04/19/business/media/david-zaslav-pay-package.html

Zaslav Receives $50 Million for Leading Struggling Warner Bros. Discovery
The chief executive’s 2023 pay package rose 26 percent from the year before, while the company’s losses totaled $3 billion.

By Brooks Barnes
Reporting from Los Angeles
April 19, 2024 - Updated 9:31 a.m. EDT

David Zaslav, the chief executive of Warner Bros. Discovery, received $49.7 million in compensation last year, a 26 percent increase from the previous year, according to a proxy statement filed on Friday with the Securities and Exchange Commission.

It is common for chief executives in media to receive lavish pay packages. Mr. Zaslav’s compensation for 2023 is notable, however, because Warner Bros. Discovery is not exactly a portrait of health. Losses totaled $3 billion in 2023, which was actually an improvement from $7 billion in losses the year before. Revenue fell 4 percent, largely because of the company’s atrophying cable television business, which includes CNN.

In addition, Warner Bros. Discovery shareholders sent a clear message about Mr. Zaslav’s pay at the company’s most recent annual meeting: It’s too high.

In a nonbinding “say on pay” vote, only 50.8 percent of shareholders approved of the $39.3 million he was paid in 2022. Approval by less than 70 percent is considered “low support” by ISS, a leading corporate governance firm.

For 2023, the Warner Bros. Discovery board adjusted compensation formulas for its top executives. The adjustment involved certain bonuses — tying them more to the generation of free cash flow, which is helpful in paying down debt, and less to the company’s stock price. (Shares have lately traded at about $8, down from $24 two years ago.)

In terms of free cash flow, Warner Bros. Discovery had a spectacular 2023. Free cash flow totaled $6.2 billion, an 86 percent increase from the year before, vastly more than Wall Street had expected. That was partly a result of improved financials at the company’s streaming division, which became profitable. The union strikes that shut down Hollywood for six months also contributed, saving on production costs.
 

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