DIS Shareholders and Stock Info ONLY

https://deadline.com/2024/05/warner-bros-discovery-david-zaslav-disney-streaming-bundle-1235909856/

WBD Chief David Zaslav On Streaming Bundle With Disney: “It Does Feel Like This Is A Moment”
By Dade Hayes - Business Editor @dadehayes May 9, 2024 - 6:57am PDT

Warner Bros. Discovery CEO David Zaslav said the forthcoming bundle of WBD’s Max and Disney‘s Hulu and Disney+, marks a “moment” for programmers in the streaming wars.

“It does feel like this is a moment,” Zaslav said, “in terms of what the next year, two years, will bring.” A “restructuring” is under way in streaming, he added, and “the business will look a lot different in two to three years. It will be a lot better for consumers.”

JB Perrette, CEO and President of Global Streaming and Games at WBD, said the new bundle would be an “anchor tenant” in most streaming households.

The execs delivered the remarks during the company’s first-quarter earnings call with Wall Street analysts. WBD came up short of forecasts in the quarter due to comparisons with the 2023 period and a flattening of streaming revenue.

Across the industry, Zaslav said, “there’s always been this question of distribution vs. content. I’ve always felt that in the long run the best content wins. That’s why we’ve really focused on the creative side of our company, building the TV production business, the motion picture business, bringing the best talent back to Warner Bros. … The marketplace right now has looked at the great distribution companies and said it looks like the distribution companies are going to be the companies that will be the big winners.”

WBD and Disney on Wednesday unveiled the bundled offering, saying it will launch this summer. Pricing and other details have not yet been revealed. Perrette said during the earnings call that the bundle would be “priced very attractively for the consumer.”

Perrette, who was one of the architects of Hulu during his exec run at NBC in the 2000s, observed that during the 2010s, “the industry went down a very dangerous financial path of trying to invest in every type of content in every genre to try to be something for everyone. And at the end of the day, we know where that led us to. We’re now getting back to all being great at what we do and swim in the lanes that we are great at.” Disney, for example, is “incomparable” at family fare, Perrette said, while WBD is a “world leader” in scripted drama, comedy and non-fiction.

“Synthetically, these bundles allow us” to specialize and target spending on content, he continued, “while still providing the consumer with a very attractive price for the combination of products, such that they feel like they don’t need to any more do all of the switching in and out of services.”

Execs said it is unlikely that Disney and WBD would add any additional services to the bundle. The three services included at launch are a “robust” and complementary trio, Perrette said. “We don’t feel like we need anybody else in that package to make it incredibly compelling.”

Media companies “have all learned, somewhat painfully, that the expense and the amount of content from a consumer standpoint was way too much,” Perrette said.

Amazon’s Prime Video and Netflix, as stand-alone services, have come to be regarded as “utilities,” Perrette added. A majority of consumers interested in streaming could be satisfied by keeping those two and adding the WBD-Disney bundle, he maintained. “It will put more pressure on independent services, from a churn perspective, because they’ll see likely more and more serial churners, people who come in and out on a much more ad-hoc basis.”
 
https://www.hollywoodreporter.com/b.../upfronts-netflix-amazon-schedule-1235892812/
An Asteroid Is About to Hit Upfronts
Netflix and Amazon are crashing TV’s annual advertising scramble. Will the networks crater?
May 9, 2024 - 5:00 am PDT
by Alex Weprin

Netflix is planning an “immersive” experience for media buyers and Amazon is storming into upfronts only months after turning on commercials for its millions of Prime Video users.

If the 2023 upfronts were about disruption, the 2024 upfronts are about Disruption with a capital “D.”

Last year’s events were quite literally disrupted, with striking WGA writers on picket lines outside the New York City venues and the annual presentations to advertisers blunted by a noted lack of star power, as actors proved unwilling to cross those picket lines. While companies like Disney and NBCUniversal tried to make up for it by leaning on their news and sports talent, it was nonetheless a muted week.

This year, the disruption is more figurative, but in many ways much worse: Linear TV, the linchpin of the ad business for Hollywood, is rapidly eroding. At the same time, this is the year that the streaming behemoths have decided to go for the ad jugular, with Netflix planning an “immersive” experience for media buyers and Amazon storming into upfronts only months after turning on commercials for its millions of Prime Video users, both of them joining YouTube during this critical week in New York.

In other words, linear TV is on the ropes at a time when legacy media needs it most to get over that streaming chasm. “We’re not kidding ourselves thinking this is going to be some gangbusters upfront. It’s going to be challenging again,” one ad sales chief with exposure to linear TV tells The Hollywood Reporter. Another TV ad sales chief adds that they were focused on “flexibility” and “transparency” with ad partners, basically asking them what they wanted and figuring out a way to deliver.

But some analysts have been even more bearish. “Decades from now, media executives and investors will likely look back at 2023 as the year where linear TV advertising officially broke,” MoffettNathanson analyst Michael Nathanson wrote March 19. “It is now clear that outside of sports advertising there should no longer be expectations of a recovery for linear TV advertising.”

Indeed, multiple top ad sales executives say that sports will be one of the top selling points during an otherwise challenging year, with athletes and studio hosts expected on stage at multiple presentations.

But about those sports ads: A senior executive on the buyer side of the upfronts says that they think live sports could end up being north of 40 percent of this year’s upfront spend, thanks to strong demand. But there is also an asterisk. “What we’re evaluating really closely is whether or not the traditional media companies that also have sports are trying to raise prices so much in sports in order to offset the decline in entertainment,” this exec says.

Indeed, the decline in entertainment programming is the hole in linear TV’s sinking ship. “I don’t think the networks are making as much of an effort and putting quality content on these linear channels, as they had say 5-10 years ago,” says media consultant Brad Adgate. “If they didn’t have this legacy of decades behind them as an advertising platform — if this was something brand new — I think they would get very little advertiser support. It’s called legacy media for a reason.”

“We’ve seen it in the Nielsen ratings, but it’s not unexpected,” the buy-side source adds. “It’s been going on for years now, and there aren’t any media companies that are trying to change that trend. They’re not investing in traditional primetime entertainment.”

Streaming, however, is. But while the traditional entertainment companies lose collective billions on their direct-to-consumer platforms, the tech giants and the only truly profitable streaming platform — Netflix — are coming for their lunch.

“It’s not surprising to me that they’re doing this, I mean, look, they’re sitting there and they’re seeing $20 billion being transacted and they have better content and a better story to tell in often cases to the advertising community,” Adgate says. “Why shouldn’t you be there?”

One year after hosting a (strike-induced) virtual upfront, Netflix is planning a massive “immersive” experience in the Chelsea Piers complex, with co-CEO Ted Sarandos promising on the company’s last earnings call “a lot of entertainment in store” for the upfront event.

And for the first time, Amazon is pushing into upfront week, hoping to leverage the Prime Video audience (now ad-supported) to steal market share from linear.

And then there’s YouTube. The video platform is already a behemoth (it had more than $31 billion in advertising revenue last year), but it wants a bigger piece of the upfront pie. It has secured the closing night spot during upfront week, where executives will gladly tout its reach on living room TV sets by noting it has more viewing time than Netflix. Multiple media buyers quizzed by THR after last year’s strike-impacted upfronts cited YouTube as having the most successful presentation, in which it leaned on its top creators and a surprise appearance from NFL commissioner Roger Goodell.

But the traditional players will roar back, with a ton of star power expected, multiple executives say, which means that media buyers seeking selfies at the afterparties may get their chance this year. Whether that will be enough to pry away the digital encroachers remains to be seen. “The launch and growth of new ad-supported tiers at Amazon Prime Video, Netflix and Disney+ should pull an even greater share of dollars away from linear TV,” Nathanson argues, adding that services like Fox’s Tubi or Paramount’s Pluto are also at risk. “These new entrants may also, however, pull dollars away from what have been, to date, among the largest beneficiaries of the outflow of dollars from linear: legacy AVOD services and FAST channels.”

Or, as a top television executive worries: “There’s too much supply and not enough demand.”

And on the horizon, deeper concerns persist.

As scary as the ad market is now, it could always get worse. Further war in the Middle East or Europe? Disruptions during the 2024 election? More surprise interest rate hikes? Any of those things could cause further advertiser pullback, given their propensity for caution.

“I never thought I’d be in a job where I was so connected to Jerome Powell,” quips the buy-side executive.

Upfronts Schedule: A Cheat Sheet

Fox Corp.
May 13, Manhattan Center
Key IP The NFL, MLB, Fox News, Tubi, Gordon Ramsay
What to expect Touting of Tom Brady, who is set to join the Fox NFL booth; the growth of Tubi; more unscripted and scripted fare.
NBCUniversal
May 13, Radio City Music Hall
Key IP Paris Olympics, the NFL, The Tonight Show, Dick Wolf
What to expect Plenty of sports, touting the NBCU News Group, and some Peacock promotion.
Telemundo
May 13, The Shed
Key IP Soccer, NFL, its slate of telenovelas
What to expect A party with performances by SNL’s Marcello Hernández and music star Manuel Turizo.
Amazon/Prime Video
May 14, Pier 36
Key IP The NFL, Fallout, Reacher
What to expect Boasting about Prime Video’s advertising scale and reach, live sports rights, and deals with the likes of MrBeast and Travis Kelce.
Disney
May 14, Javits Center North
Key IP Marvel, ESPN, Abbott Elementary, Grey’s Anatomy
What to expect A cavalcade of high-profile talent (including, fingers crossed, the return of Jimmy Kimmel); sneak peeks at upcoming film, TV and streaming projects; an afterparty overlooking the Hudson River.
TelevisaUnivision
May 14, HK Hall
Key IP Its slate of telenovelas, Liga MX, its Vix streaming service
What to expect A “Casa Cultura,” with food from across Latin America and live music.
Warner Bros. Discovery
May 15, The Theater at Madison Square Garden
Key IP HBO hits like the Game of Thrones universe and The Last of Us, CNN, TNT Sports, Cartoon Network
What to expect Previews of HBO and Max series, appearances by CNN and TNT Sports talent.
YouTube
May 15, David Geffen Hall at Lincoln Center
Key IP NFL Sunday Ticket, the platform’s vast lineup of creators
What to expect Creators touting their success and reach on YouTube, a surprise musical performance or two (last year, Doja Cat performed).
Netflix
May 16, Pier59 Studios
Key IP Bridgerton, Squid Game, WWE, Baby Reindeer
What to expect Clips from new seasons of Bridgerton and Squid Game, an “experiential” environment, perhaps teas
 
Huh? That was a very positive review of a Disney movie.
But it comes after a column where he dogs Disney over sequels, I'm not going to take him seriously if he raves about a different sequel in the same week (and most people don't see Apes as a "Disney" movie anyway). NYP has been aggressive about Disney coverage in general so I assume Johnny has less of a problem with sequels and is just trying to fill his article quotas.

Sorry, not fond of the Post at all and I'm kinda grossed out with how they've been drawing their attention to Gene Hackman in the last month. Seems like Johnny has been part of that coverage too.
 
https://www.wsj.com/business/media/...can-keep-nba-rights-db38f5df?mod=hp_lead_pos6

Warner Bros. Discovery Remains ‘Hopeful’ It Can Keep NBA Rights
Entertainment giant has the right to match third-party offers, CEO Zaslav says

By Joe Flint
May 9, 2024 - 10:04 am EDT

Warner Bros. Discovery Chief Executive David Zaslav said the company has the ability to match third-party offers for NBA packages that could keep the league on its TNT cable network and Max streaming service.

Both Comcast’s NBCUniversal and Amazon’s Prime Video streaming service are aggressively pursuing NBA rights, challenging the parent of TNT, which has carried NBA games for almost four decades.

Speaking to analysts Thursday morning to discuss the company’s quarterly results, Zaslav said Warner Bros. Discovery is in continuing conversations with the league now and is “hopeful we will be able to reach an agreement that makes sense for both sides.”

TNT will face a significant increase in rights fees if it succeeds in keeping a package of NBA regular and postseason games. The Wall Street Journal previously reported that Comcast’s NBCUniversal is prepared to pay an average fee of about $2.5 billion to carry NBA games on its NBC broadcast network and Peacock streaming service.

That is more than double TNT’s current average fee of $1.2 billion per season.

In addition, Amazon’s Prime Video streaming platform has the outline of a deal for a new package of games that the league is creating.

Disney’s ESPN is near a deal that would keep the NBA on its cable channel as well as sister broadcast network ABC at an average per-year fee of about $2.6 billion annually, people familiar with the matter have said, up from roughly $1.5 billion a year now.

Both Disney and Warner will be paying more for fewer games as the NBA is taking some games away from its TV partners to create a package for a new streaming partner.

For Warner, the NBA rights are a double-edged sword. An expensive deal to keep the sport will likely put great pressure on the media giant to cut costs elsewhere at its media empire whose assets include the Warner Bros. TV and movie studios, the streaming service Max and cable networks HBO and CNN, as well as TNT and TBS.

Losing the NBA though would make it challenging to maintain the high subscriber fees TNT commands from pay-TV distributors to carry the channel. Even if TNT were to end up with the package Amazon is seeking, it would likely face pushback from distributors who pay about $3 a month per subscriber, the Journal previously reported.

TNT and Warner executives are confident that even without the NBA its roster of sports including the NCAA March Madness college-basketball tournament, the NHL and Nascar would continue to give it leverage to charge a premium to carry the network, company executives have said.

Results for the quarter were lackluster. The company said it had a net loss of $966 million and total revenues were down 6.9% to $9.96 billion. Free cash flow increased to $390 million, a $1.3 billion improvement from the same quarter a year ago.

Warner Bros. Discovery shares were up about 1% in early trading Thursday.

Results were adversely affected by the disappointing performance of the new videogame “Suicide Squad: Kill the Justice League.” Advertising at the company’s cable networks continued to face strong headwinds and was down 11%. Revenue at its TV studio was down significantly as a result of last year’s actor and writer strikes, which have led to a slowdown in production.

The company said revenue at its direct-to-consumer unit was essentially flat at $2.46 billion. The company launched Max in Latin America and a European rollout is starting this year.

On the call, Zaslav spoke enthusiastically about the company’s just-announced partnership with Disney to bundle their entertainment streaming services into one offering to sell to consumers. The bundle of Disney+ and Hulu with Warner’s Max is expected to launch this summer.

“There is more strength together,” Zaslav said.

No price details have been announced, but it is expected to be cheaper than the current stand-alone prices. Currently, Disney+ and Hulu with ads are sold together for $9.99 a month. Max with ads is also sold at $9.99 a month. The ad-free services are more expensive.

“It will be priced very attractively for the consumer,” said JB Perrette, CEO and president of global streaming and games.

Zaslav also touted the company’s use of artificial intelligence to both boost content creativity as well as lead to greater efficiencies.

“We intend to take full advantage to enhance the products we deliver to consumers and greater efficiencies at the company,” Zaslav said. But great storytelling can “only be found in people, not systems,” he added.

Write to Joe Flint at Joe.Flint@wsj.com
 
https://finance.yahoo.com/news/nba-76-billion-tv-rights-130000887.html

NBA’s $76 Billion TV Rights Deal Is Setting the Future for Live Sports | Analysis

by Kayla Cobb
Thu, May 9, 2024, 8:00 AM CDT

The scramble for the NBA TV rights was always destined to be one of the biggest sports stories of 2024. But no one was prepared for exactly how big it would get. As the basketball league expands its number of broadcast partners from two to three, the deal is rumored to pay out $76 billion over 11 years — a package that would be worth more than 2.5 times the league’s current deal.

Disney, Amazon, Warner Bros. Discovery and Comcast are all reportedly circling to get a piece of the brand. Amazon and Disney are all but locked in with offers worth $2.6 billion a year and $1.8 billion a year, respectively, Bloomberg reported. Last week, Comcast threw its hat in the ring, offering the league $2.5 billion a year to steal the rights away from Warner Bros. Discovery-owned TNT. Losing them could be devastating for WBD: Following recent reports that Comcast was close to securing them, WBD’s stock slid 9%.

CEO David Zaslav addressed the issue early Thursday during WBD’s first quarter earnings call, saying conversations were ongoing and noting that WBD had “matching rights that allow us to match third party offers before the NBA enters into an agreement with them.”
In the end, the NBA will be the big winner. “It’s kind of like conquer and divide,” Ken Leon, director of equity research at CFRA Research, told TheWrap. “They’ll get a slice here, a slice there, and they probably will get their $76 billion over 11 years.”

But the battle over the NBA is about more than consistent viewership. As streamers and broadcasters become increasingly desperate for flagship content, the league is pushing to become a global brand and the old, broadcast-centric way of viewing the sport is in the way. The NBA is the latest major sports brand to renegotiate its TV rights for major dollars, a trend of live sports becoming valuable in a landscape with scarce must-see live events. And the data, social media impact and content through commentary that these sports provide are becoming just as important as live games.

“Sports are in such high demand because they deliver things both streamers and networks need more than ever,” Jon Giegengack, Hub founder and principal, told TheWrap. “For one, they’re unique: every platform now has ‘buzzy’ scripted originals, but there’s only one NBA, one NFL, one Premier League.”

In a recent Hub sports survey, 79% of fans said they care more about their favorite sport than other things on TV. And 81% said they would sign up for a new subscription if they needed it to watch a sport they follow.

“Sports are one of the last types of event-driven, must-watch TV, and they’re definitely really desirable and can command those audiences consistently, which is increasingly challenging in the fractured media landscape,” Jamie Lumley, senior analyst at Third Bridge, told TheWrap.

The NBA is far from the only league that’s seen notable growth in TV distribution rights. Earlier this year, Netflix closed in on a 10-year deal for the WWE’s “Monday Night Raw” valued at $5 billion. In addition to Amazon’s commitment to Thursday Night Football, Apple TV+ acquired the rights to “Friday Night Baseball” and “Major League Soccer” and YouTube TV acquired the NFL Sunday Ticket, all of which were multi-billion-dollar deals.

This isn’t the first time the NBA has made history with its TV rights agreement. From 2002 to 2016, the league partnered with the Disney-owned ABC and ESPN as well as Turner Sports for a deal that was worth $766 million a year for its first seven years and $930 million a year for its last eight. That deal was nearly tripled in 2016 when Disney and Turner Sports signed a nine-year extension with a $24 billion payout.

Now history is about to be made again.

The last sure bet on TV, live sports​

The NBA isn’t the biggest live sports league in town. That honor belongs to the NFL, which in 2023 averaged 9.2 million viewing minutes per game, according to Nielsen data. In fact, the NFL was responsible for 55% of the total time spent watching live sports.
The NBA has long been a solid second place contender when it comes to widely watched U.S. sporting leagues. Nielsen also found that the NBA averaged 711,000 viewing minutes per game, putting the league ahead of the MLB (378,000 viewing minutes) and NHL (398,000 viewing minutes). Four of the top 10 most valuable sports sponsorships of 2023 were for NBA teams. The other six were MLB teams.

This disparity largely has to do with rules around the various leagues as the NBA and MLB allow for more on-the-field signage than the NFL. The most valuable sports sponsorship was the Los Angeles Lakers’ deal with Crypto.com Arena, which generated an estimated 2.9 million impressions and was valued at over $36 million, based on quality index media value.

While the NFL has historically been the revenue leader, NBA players have much higher social media followings than athletes from other U.S. sports leagues, Bob Lynch, founder and CEO of SponsorUnited, told TheWrap. And since the NBA has a more global audience, any time one of those social impressions blows up it’s an extra boost for brands.

The global and digital appeal of Amazon​

The NFL hasn’t just been the leader in viewership and revenue. It was also the first major league to heavily diversify its TV rights contracts. Currently, the league has agreements with Amazon, CBS, ESPN and ABC, Fox and NBC. It would only make sense that the NBA would follow the leader in another way: Partnering with Amazon.

In 2021, Amazon paid $11 billion to secure the rights to Thursday Night Football over 11 seasons. It marked the first time a streaming company had ever secured the exclusive TV rights to the league.

Partnering with the NBA is just another way Amazon is signaling it’s serious about live sports. “If they’re going to deepen their relationship with Prime subscribers, it’s a no brainer for them,” Leon said.

“This could be a loss leader for [Amazon] to get these audiences to continue to be on their platforms more often, which allows them to ultimately convert more customers for all the other things that they can do with those customers,” Lynch said.

The partnership could work both ways. Amazon could help the NBA achieve its global aspirations as well as offer new revenue opportunities.

The NBA has been chasing its dream of being a global league since a 1978 exhibition matchup between the Washington Bullets and Maccabi Tel Aviv. In 2013, the league united its overseas tours under the banner the “NBA Global Games.” In the decade since, it has focused on building bases for the sport in China, India, Australia, Senegal and Mexico, sometimes with mixed results.

During an interview with Goldman Sachs last year, NBA commissioner Adam Silver said that around 1 billion people will watch a portion of a game this season thanks to its reach on social media. Soccer and basketball, he said, “are the two truly global sports.”

There have been some notable setbacks. An academy in India, which offered coaching clinics and visits from NBA stars, changed its model to reach more prospective players. The new model will focus on several smaller centers rather than one large center in Greater Noida. A more complicated matter was the academy in Xinjiang, China, which closed in 2020 following an ESPN investigation. The league declined to say whether or not human rights were a factor when it came to the shuttering but noted that the expansion taught the NBA it needs “more direct oversight” and the ability to make “staffing changes when appropriate.”

Amazon Prime Video, which is currently available in more than 240 countries and territories, could help the NBA with its international aspirations. Most recently, Amazon reached 200 million monthly viewers. “While certainly Warner does have some presence overseas — some of these other players do — it’s not quite at that same scale,” Lumley said.

Beyond globalization, there’s also Amazon’s use of data to consider. The company may not be able to provide a traditional broadcast offering, but it could offer brand information about the buying patterns of its viewers — an “unlock of value beyond the audience that’s actually watching the game,” as Lynch put it.

What Warner Bros. Discovery may lose​

Disney has been outspoken about cementing a deal with the NBA. During the company’s earnings call this week, Disney CEO Bob Iger said, “We’re confident and optimistic we’re going to end up with an NBA deal that will be long term and that’s in our best interest and the best interest of our subscribers.”

But Warner Bros. Discovery and Comcast won’t give up easily.

WBD is still working off its debt load from the merger between AT&T spin-off WarnerMedia and Discovery in 2022. From an ad standpoint, WBD trails Disney in year-over-year ad sales by about 50 to 60%, Lynch said. If WBD were to lose the rights, “where do they go from there if they’re not going to be in this space?” he asked.

Zaslav addressed the NBA negotiations on Thursday when he noted WBD’s matching rights. “We’re in continuing conversations with them now, and we’re hopeful that we’ll be able to reach an agreement that makes sense for both sides,” he said. “We’ve had a lot of time to prepare for this negotiation, and we have strategies in place for the various potential outcomes. However, now’s not the time to discuss any of this, since we are in active negotiations with the league.”

If Warner Bros. Discovery were to lose the NBA, it would benefit from a short-term windfall of cash from no longer having to pay the rights fees. Before Netflix swept in and took the rights with a $5 billion deal, WBD was reportedly looking to acquire WWE’s Monday Night Raw.

But “there might not actually be as many dollars left to invest in any other serious properties,” Lumley said. “Again, the top tier sports are certainly doing quite well. It’s a tough market out there.”

After the Hulu sale to Disney, Comcast may have more capital to invest in sports rights. Comcast also owns Peacock, a streamer that has aired games from the NFL, the Premier League and Big Ten football. It will also be home to the 2024 Paris Olympics, which will be the first major live sports test for the streamer. (Due to the time difference, the Beijing Olympics wasn’t as widely watched in the U.S. compared to other years.)

Peacock is “still hovering around that 30 million mark, which for comparison is just over the number of subscribers that Netflix added in the last year,” Lumley said.

The X factor may be how much the streaming players want in on the NBA. Aside from Netflix, all of the major platforms are still struggling with profitability. Disney reported on Tuesday that Disney+ and Hulu — but not ESPN+ — jointly crossed the profitability rubicon this past quarter, with the company quickly warning it couldn’t repeat the feat next quarter.

There’s also the joint streaming app in the works with WBD, Fox and ESPN — which is aimed at “cord-nevers”— a venture that still has many unknowns but may have the ability to disrupt the ecosystem.

“The question is, ultimately, what will sports viewership look like five or 10 years from now?” Lumley asked. “Is the norm going to be that consumers really want to watch it on streaming? Are they going to be willing to pay for it?”

The post NBA’s $76 Billion TV Rights Deal Is Setting the Future for Live Sports | Analysis appeared first on TheWrap.
 
Any deal by Sony would face regulatory hurdles. Regulations restrict foreign owners from holding licenses for U.S. broadcast stations, which could prevent Sony — which is owned by the Japanese-based Sony Group — from owning CBS-affiliated TV stations. But they could divest the stations immediately, or have Apollo apply for the license. They are also considering other options for the stations.
The deal would also most likely require clearance from the Committee on Foreign Investment in the United States, the panel in Washington that scrutinizes acquisitions by foreign owners.

Amazing. We wouldn't want to let a Japanese company run a dying network of broadcast stations due to hypothetical propaganda concerns, yet we amend FCC rules so Sinclair or Nexstar can acquire as many stations as they want and pump out whatever they choose to promote everyday on a national level. 🤣

Somehow I trust Sony more.

And I don't understand what value a P+ has if Sony where to put it out to bid. Isn't it nothing more than a distribution system without the studio and CBS/other networks feeding it content?

Paramount's 60+ million subscribers, that's it.
 
And in related news - We talk about Disney's main competitors a lot here but not some of the adjacent companies like Sinclair. Just saw today that Sinclair is looking to sell 30% of it's stations and has lost over 70% of it's market cap! We are living thru a seismic shift in the industry and very few companies will survive and thrive. Fortunately for us, i think we can be certain that Disney will be one of the survivors.
 
And in related news - We talk about Disney's main competitors a lot here but not some of the adjacent companies like Sinclair. Just saw today that Sinclair is looking to sell 30% of it's stations and has lost over 70% of it's market cap! We are living thru a seismic shift in the industry and very few companies will survive and thrive. Fortunately for us, i think we can be certain that Disney will be one of the survivors.
@clarker99 and me banter back and forth about "moving the goalposts" often, but it appears goalpost movement is the least of the issues facing the industry. It's a new playing field with no rules, and that no one has ever played before.
 
https://variety.com/2024/tv/news/amc-networks-q1-earnings-ad-sales-streaming-subscribers-1235998491/

May 10, 2024 4:09am PDT
AMC Networks’ U.S. Ad Sales Fall 13% as Paid Streaming Subscribers Reach 11.5 Million in Q1
by Jennifer Maas

AMC Networks reported its first-quarter 2024 earnings Friday, revealing U.S. TV ad sales dropped by 13% during the January-March period and streaming revenues ticked up 3%.

The company reports it has reached 11.5 million total streaming subscribers across its offerings, including AMC+, which this quarter added “The Walking Dead: The Ones Who Live” starring Andrew Lincoln and Danai Gurira reprising their iconic “TWD” roles as Rick and Michonne. That’s a 3% year-over-year subscriber increase from the 11.2 million the company reported at the end of March 2023, and an uptick from the 11.4 million streaming subs AMC Networks had at the end of 2023.

AMC Networks’ streaming platforms include AMC+, Acorn TV, Shudder, Sundance Now, ALLBLK and HIDIVE. Those digital offerings are in addition to the company’s linear channels AMC, BBC America (a joint venture with BBC Studios), IFC, SundanceTV, WE tv and IFC Films.

Domestic revenue decreased 14% overall compared to Q1 2023, with ad sales down the above-mentioned 13%. Distribution sales dropped 15% year over year with subscription sales down 7%, streaming sales up 3%, affiliate revenue decreasing 14% and content licensing down 40%.

For AMC Networks’ international division revenue decreased 30% for the quarter. Distribution and other revenues were down 40% due to the year-ago sale of the company’s stake in 25/7 Media. Sub sales were down 10% and content licensing plummeted 90% due to the ale of 25/7 Media. Ad sales were up 16% on increased ratings and growth in European ad markets.

Wall Street forecast earnings per share (EPS) of $1.67 on $602.6 million in revenue for AMC Networks’ Q1, according to analyst consensus data provided by LSEG, formerly Refinitiv. AMC Networks reported diluted EPS of $1.03 and adjusted EPS of $1.16 on $596 million in revenue, which is a 17% drop from Q1 2023 revenue.

Free cash flow stood at $144 million for the quarter. Net debt was $1.67 billion.

AMC Networks reported a Q1 profit of $45.8 million.

“In the first quarter, we continued to execute on our strategic priorities, including the ongoing delivery of healthy free cash flow,” AMC Networks CEO Kristin Dolan said in a letter to shareholders Friday. “As new technologies transform the way media is consumed, we continue to produce great content and make it available to viewers whenever and wherever they want to watch. We recently strengthened our balance sheet by completing a series of financing transactions that meaningfully extended our debt maturities. This creates substantial flexibility for us as we continue to leverage our core strengths and reorient our business around the consumer-driven changes that are happening across the industry.”

AMC Networks stock closed Thursday at $13.73 per share. The regular U.S. stock markets will reopen at 9:30 a.m. ET.

Dolan and other AMC Networks executives will host a conference call at 8:30 a.m. ET to discuss the quarter in greater detail.
 
The Future of TV?

https://www.hollywoodreporter.com/b...utubes-secret-weapon-top-creators-1235894945/

YouTube’s Secret Weapon to Win the TV Streaming Wars: Its Top Creators

As YouTube hits one year atop the Nielsen Gauge charts, some of its top creators weigh in on why the platform has become bigger than Netflix on TV sets.
by Alex Weprin
May 10, 2024 - 5:05am PDT

The stunt took weeks of preparation. Building a tank. Training with freedivers and magicians. Developing the filming schedule.

The end result of the effort, a new episode of YouTube star Michelle Khare’s series Challenge Accepted in which she attempted to recreate Harry Houdini’s deadliest trick, has since garnered more than 4.5 million views on YouTube.

The final product has a production quality that would rival what’s on “traditional” TV (in fact, magician David Blaine attempted a similar stunt for a 2006 primetime ABC special), but Khare produced the episode herself, for her YouTube audience.

“For Challenge Accepted because we release very infrequently — unlike a normal season of television, it’s about 10 to 15 episodes a year — and within each of those episodes, we are representing a unique community,” Khare says in an interview. “So for example, in the video where I attempted Harry Houdini’s deadliest magic trick, we’re entering into the community of magic. And so as creators, we have the commonality of me as the host and our team and the amazing artists working on the project. But also we loved experimenting with magic-themed music. How can we refer to, you know, various big events in magic that have happened over history? So each episode that we do, we want to lean into that community and hear from that community how they want to be represented, and that really heavily informs my participation, the production, the hosting, post, etc.”

It’s a level of care that Khare, and other top YouTube creators, believes warrants a closer look from The Powers That Be, be it from the advertising world, or from the awards world, with YouTube shows not eligible for Emmy Awards or other honors. Khare notes that each episode of Challenge Accepted can take about a year from ideation to hitting upload, with other challenges including training like a NASA astronaut, or a chess grandmaster, or learning how to be a runway model, or most recently learning to become a treasure hunter.

There is one group that seems to have bought in: Viewers. YouTube is marking one year as the most-watched streaming platform on Nielsen’s Gauge chart, which tracks what consumers are watching on TV, and the platform says that in the U.S. alone, 150 million people are watching on TV sets each month, totaling 1 billion hours daily.

It’s a stunning number, and it is owing to the breadth and depth of the platform’s creators, which span genres like Khare’s action and adventure, children’s programming like Ms. Rachel, and talk and comedy shows like Hot Ones or the long-running Good Mythical Morning.

When Conan O’Brien wanted to promote his new Max show Conan Must Go, he ventured to Hot Ones, where host Sean Evans grilled him as they chowed down on increasingly spicy wings (O’Brien subsequently expressed some regret, saying that his mouth “really hurt” afterward); and GMM hosts Rhett McLaughlin and Link Neal are frequent guests on NBC’s Tonight Show.

“There’s an interesting thing that is happening with this: The long talked about merger of what we would traditionally call user-generated-content and then the traditional media space. And the evolution of technology has been the thing that has really driven it,” McLaughlin says. “It becomes this situation where the consumer is faced with two choices and in the interface that they’re interacting with on a television, there’s no fundamental difference between the Amazon Prime logo and the YouTube logo. They’re just right there, two choices, but that content is generated in a much different way. Now that we’ve seen that merger in the tech, we’re in this place where we’re trying to sort out how do we treat this?”

“We’re not making user generated content. We’re making independent television,” Neal adds.

To McLaughlin, Neal, and Khare, if the content is connecting with consumers, and they are watching it on their TV sets, maybe it should be in the mix for things like Emmys, or other high-profile honors.

“Those award shows really are one of the ways that we collectively, as a culture, agree to celebrate the things that are really connecting. And we’re like, hey, this content is connecting,” McLaughlin says. “If you really look at the amount of engagement and the amount of cultural influence that what is happening on YouTube and how it’s influencing culture, well, this is where it’s at. This is where it’s moving and this is where it’s been for a while. And we feel like that should be celebrated.”

“What I think is really cool about this is when you open Apple TV or Roku or whatever, you see Disney+, you see Hulu, you see Netflix and YouTube, the app is right there,” Khare adds. “We’re right next to all of the major streaming services, and so that’s I think, how we view a lot of the work that we do for Challenge Accepted is that traditional TV has always had act based ad breaks and tension before an ad break and whatnot. And to me, it’s also just good storytelling to constantly have cliffhangers and moments to keep the audience engaged.”

At GMM, McLaughlin and Neal (sometimes joined by members of the Mythical crew or surprise guests) play games or take on wacky challenges, asking “Will It Enchilada?” one day (in which the Mythical chefs try to turn unexpected ingredients into enchiladas) or trying to cut objects perfectly in half with crazy tools another day. They release new episodes each Monday through Friday, with an after-show (Good Mythical More) every day on another channel.

They also have used their main channel to launch others, like the Mythical Kitchen, led by chef Josh Scherer. And the duo say they plan to launch a new six-episode series on their original Rhett and Link channel later this year “that is us really kind of leaning into the most creative things that we want to do, basically making a TV show for YouTube directly,” McLaughlin says.

“We were making videos for arguably a decade before YouTube existed, right? So we were always looking for an audience, and we didn’t know we were waiting for YouTube to be invented,” Neal says. “We didn’t have opportunities to be put in front of an audience. You know, we didn’t have any understanding of any of the the traditional routes. So we created our own opportunity and saw that YouTube gave us the ability to connect with an audience and iterate very quickly.”

YouTube has created scale, both in audience and in business. The video platform says that it has paid out more than $70 billion to its creators between 2021-2023, helping to create real-world businesses, from GMM’s Mythical Entertainment, to Mr. Beast’s North Carolina campus.

“[We are] making something that has a reliable point of contact in the same way that a TV show is, it’s like, hey, this thing comes out at the same time every single day. It’s very reliable programming. You can depend on it, you can incorporate it into your routine, you know,” McLaughlin says.

“We play by the TV rules that work to our advantage. So scheduling and consistency and daily content was something that we wanted to get into,” Neal adds.

“And then once we had that stream of content that was really working and connecting, then we started building out a team that, you know, 12 years later, really looks a lot more like a TV broadcast team,” McLaughlin continued. “Now at Mythical, there’s about 100 people working on everything that we make, and probably when we’re shooting GMM, there’s probably 40 or so people in that room with us that you can kind of hear laughing but they’re also doing their jobs.”

But the platform also allows for real-time feedback, something that Khare, McLaughlin, Neal and others like Mr. Beast have said helps them hone their own creative output.

“YouTube is unlike a TV show, where maybe you do a pilot and then they greenlight a whole season, and then the season is shipped out to the audience,” Khare says. “On YouTube, we get live feedback with every single episode. So if we release one episode and people like or don’t like something about episode one we can make that adjustment to episode two, which makes it a much more nimble and participatory environment. And we’re fortunate that we can marry that with the television quality of it all.”

“I think there’s this level of connection and its not just the fact that they’re interacting with it real time,” McLaughlin adds. “When you take a look at Michelle’s show, like, yes, this looks and feels like something that you would see on television, but you feel differently about it, because she’s not just some host that got cast into the show that some network is making.

“This is her world that she’s made, she’s got an incredible team but like she’s made all of this, this is her, not just somebody on the screen, you’re actually interacting with this product that she made,” he adds. “So when people see us on the street, they’re like, I’m interacting with the thing. I’m interacting with you but I’m interacting with this thing that you make, whereas when you go up to somebody that was in a movie, that’s a person that was in a movie made by somebody else.”

Next week, YouTube will host its annual Brandcast upfront event at Lincoln Center. Last year’s event, with many competitors forced to pivot amid the WGA strike, multiple media buyers said that YouTube had the most successful presentation, in large part by leaning on its creators, who span food and fashion, sports and entertainment.

This year the platform will pursue a similar agenda, though it will do so with a year atop the Nielsen Gauge.

“I think the beauty of what we do is that the only barrier to entry is the Upload button,” Khare says. “And when that is the only barrier, it allows for a level of honesty and intimacy that might not be achievable in the traditional methods.”

YouTube is betting that it was translate to its advertising business accordingly, and it has its creators to thank.
 
https://finance.yahoo.com/news/disney-bundle-max-first-streamer-130000171.html

With Disney+ Bundle, Max Is the First Streamer to Get Out of the ‘Everything for Everyone’ Game | Analysis
by Alexei Barrionuevo
Fri, May 10, 2024, 8:00 AM CDT

Warner Bros. Discovery has decided it can’t be all things to all of the consumers that touch its many film, television and streaming brands. So the company is partnering with rival Disney on a streaming bundle to combat the issue bedeviling Hollywood: subscriber churn.

“Churn is just the killer in this business,” Warner CEO David Zaslav said on the earnings call Thursday, when the media and entertainment giant reported yet another quarter dripping with red ink.

WBD missed most Wall Street estimates on Thursday. But analysts shrugged off the poor results, choosing instead to press executives for more clarity on the joint Disney+-Hulu-Max bundle that Disney and Warner announced Wednesday.

Zaslav and other WBD executives touted the new bundle, due to launch this summer, as a way for Hollywood studios — who aren’t Netflix — to “swim in the lanes” where they perform best. As Hollywood’s ongoing contraction puts pressure on the streamers and shows that exploded out of the streaming boom of the late 2010s, Warner Bros. Discovery sees the bundling as a strategic move to ensure Max survives whatever culling is on the horizon.

While WBD excels at premium drama, scripted drama and comedy, Disney is “incomparable and a world leader” in kids and family entertainment, said JB Perrette, WBD’s CEO and president of global streaming and games.

The idea isn’t altogether new. Max and Netflix did an ad-supported bundle together through Verizon. Zaslav then touted the “super bundle” concept because bundles tend to limit subscriber cancellations, as The Wrap reported. But Warner partnering with its longtime competitor Disney shows how traditional Hollywood studios are opening up the playbook to survive against Netflix, the only streamer currently turning a profit.

On Thursday, WBD, whose stock has been languishing after a series of money-losing quarters, said it suffered yet another net loss of nearly $1 billion on revenues of $9.96 billion, down 7%. Its film studio, with a dearth of big hits, saw Q1 profits plummet 70% in the quarter. But once again it was linear television, suffering through a tough ad climate and the effects of the protracted labor strikes, that was mostly to blame for the company’s overall lackluster performance.

Still, Warner Bros. Discovery did make progress with its streaming business, boosting profit by 72% in the quarter year over year to $86 million, on flat revenues, while adding 2 million subscribers for a total of 99.6 million globally.

“The current media landscape is increasingly dynamic,” Zaslav told analysts. “And in response we’ve had to make some tough and at times unpopular decisions. But we are doing what we believe is necessary to best position the company for the future.”

The kids and family question​

When HBO Max and Discovery+ combined to form Max last May, WBD executives touted the potential for the new streamer to appeal to kids and family, pointing to the HBO brand as being “in the way.” In November, Zaslav acknowledged the streamer had yet to successfully become a destination for that consumer subset.

“We haven’t really been able to crack the kids,” the CEO said on the company’s November earnings call, promising WBD would “attack that” as a selling point that differentiated it from other streamers.

What a difference six months makes.

As Max bundles with Disney+ and Hulu, subscribers to that particular bundle don’t need to worry about going to Max for kids and family content – they already have Disney+ – and Warner Bros. Discovery can relieve the pressure of trying to compete so heavily in that space.

“We can get back to investing in prioritizing our lanes and our key content, they can do theirs,” Perrette said. “Synthetically, these bundles allow us to do that while still providing the consumer with a very attractive price for the combination of products. Even if [the consumers] don’t use a service in one month, they still feel like they get great value, and they might use it the next month.”

In practice, that could mean WBD leans into what’s working best on Max — namely prestige HBO shows like “House of the Dragon,” “The White Lotus” and “The Last of Us” — while allowing Disney+ and Hulu content to complement each other.

As Perrette described it, the bundle is “the greatest offering of kids and family content, the greatest offering of adult fare, the greatest offering of scripted and non scripted content.”

Disney+ and Hulu combo app bearing fruit​

News of the bundling comes on the heels of Disney+’s successful integration of Hulu into its app, which allowed subscribers to both streamers to access their respective content in one place. The Max/Disney+/Hulu offering is a bundle not an app — it’s one subscription, but there won’t be a Max tile on Disney+.

Already Disney is seeing results from the combo as FX’s acclaimed drama series “Shogun,” which started rolling out weekly installments a month before Hulu on Disney+ launched, drove the largest number of signups to their streaming services since 2022’s “Black Panther: Wakanda Forever.”

Perette acknowledged that given “the dynamics of the existing landscape, obviously Amazon and Netflix are both incredibly compelling, have great offerings and have become sort of utilities.” But the Disney-WBD bundle “plus one or two of those other services pretty much can make up the entertainment experience for most consumers, very happily.”

Max has found its dance partner, but that leaves Peacock and Paramount+ further in the dust. NBCU’s streamer is hiking its prices ahead of the Olympics in a bid to narrow its streaming losses, but it’s still trailing its competitors at 34 million paid subscribers.
Paramount+ is closer to the big dogs with over 71 million subscribers. The company narrowed its streaming losses to $286 million in the first quarter of 2024, but compared to Disney+ (150 million subscribers) and Netflix (260 million subscribers) it lags behind.
In assessing the landscape, Zaslav said Thursday the marketplace has decided that tech companies like Apple and Amazon, which are skilled at delivering content with their existing distribution ecosystems, are winning out, so the move to bundle and create a greater market force is necessary to survive.

“There’s this question of distribution vs. content. I’ve always felt that in the long run, the best content wins, and that’s why we’ve really focused on the creative side of our company,” he said.

“The marketplace right now has looked at the great distribution companies and has assessed that the distribution companies are the companies that are going to be the big winners. But I believe that distribution companies and great content companies will be the winners.”

The post With Disney+ Bundle, Max Is the First Streamer to Get Out of the ‘Everything for Everyone’ Game | Analysis appeared first on TheWrap.
 
https://www.wsj.com/business/media/...-new-show-in-streaming-107bfb7c?siteid=yhoof2

Bundles Are the Hottest New Show in Streaming
Warner and Disney’s push for bundling makes sense with mergers off the table, but old rivalries will need to be curbed to make deals work

ByDan Gallagher
May 10, 2024 - 5:30 am EDT

Can old enemies make for good friends? The future of streaming media might depend on the answer.

Disney and Warner Bros. Discovery surprised investors this week with plans to launch a new streaming bundle that will combine Disney+, Hulu and Warner’s Max service. The bundle will make all ad-supported and ad-free options of the three streamers available for one price that will be announced later this year when the bundles are launched.

The two companies are also teaming up with Fox to offer a joint-venture sports streamer. That initiative, which some have nicknamed Spulu, will also be launched later this year and combine some of the various sports rights held by Disney, Warner and Fox into one new app. Details are still being ironed out, though the companies did note that the new app also will be available as a bundle with the Disney+, Hulu and Max offerings. Bundling has also been a subject of interest at Paramount, which has discussed possibilities with Peacock owner Comcast as well as Apple as the storied Hollywood player navigates its own merger drama, according to reporting by The Wall Street Journal.

Those might seem odd moves for traditional Hollywood giants that have long competed vigorously over things such as talent, book options and sports rights. But they all face a common problem: Cord-cutting has decimated the affiliate fees and advertising that once fed their lucrative cable-television empires, while the shift to streaming has brought in lower revenues, higher costs and viewers who can unsubscribe with a mouse click. Exacerbating the problem is growing competition from Netflix, which has no legacy business to protect, and the streaming services backed by the very deep pockets of Apple and Amazon, which don’t face the same pressure from investors to maximize profits from those services.

Recent financial reports have driven that point home further. Warner reported a 7% year-over-year drop in first-quarter revenue on Thursday—worse than the 4% decline expected by Wall Street—as advertising, distribution and studio revenue all slipped. Earlier in the week, Disney reported an 8% drop in linear-network revenue for the same period. It was also the sixth consecutive decline for the segment that includes the company’s legacy TV business, according to Disney’s new segment reporting. Paramount got a nice bump from the Super Bowl, but the company said on its call with analysts last week that ad revenue would have declined in the March quarter if not for the big game.

The proliferation of streaming services that are mostly losing money has long had many expecting consolidation. But mergers are an increasingly unlikely prospect these days given the federal government’s growing resistance to big companies getting bigger.

Bundling is therefore becoming a more appealing option to accomplish similar goals. Doug Creutz of TD Cowen says bundling can help streamers reduce churn, which refers to the rate at which subscribers cancel their subscriptions, requiring the expenditure of marketing dollars to get them back. In a report last month, he went even further and suggested that traditional media companies “abandon plans to retail their product to consumers” and instead become wholesalers of content to distributors such as Apple and Amazon. He called bundling “the best path out of equity purgatory.” Disney, Warner, Paramount, Fox and Comcast shares have all significantly underperformed the S&P 500 over the past 12 months.

Warner in particular stands to benefit from bundling. Company executives told analysts during Thursday’s earnings call that they expected average revenue per user, or ARPU, to improve with the Disney bundle. Bernstein analyst Laurent Yoon says that is because about half of Warner’s domestic Max subscribers are signed up through wholesale plans that generate lower ARPU, in part because of revenue splits with intermediaries such as Amazon. Converting a large number of those to a bundle with a fellow streamer that isn’t taking a cut should result in better economics all around. “It’s going to be a pretty meaningful benefit,” Yoon said in an interview.

Still, much remains to be seen as to how the bundles are actually implemented—and at what price. Consumers are growing exhausted by rising prices for everything and the evermore confusing array of streaming options. Success might ultimately hinge on how well Hollywood rivals can actually work together in ways that ultimately would promote each other’s content.

With everyone racing to keep up with Netflix, stranger things could happen.

Write to Dan Gallagher at dan.gallagher@wsj.com
 
@clarker99 and me banter back and forth about "moving the goalposts" often, but it appears goalpost movement is the least of the issues facing the industry. It's a new playing field with no rules, and that no one has ever played before.
Oh, for sure. It isn't just traditional cable, the Studios/Box Office are also seeing a paradigm shift.
 
Oh, for sure. It isn't just traditional cable, the Studios/Box Office are also seeing a paradigm shift.
That story about YouTube is fascinating. Lots and lots of competition for the industry by just ordinary folks who now can become TV and movie stars without going through the industry hierarchy.
 
Worried about our theater, beautiful stand alone XDX heated cooled recliners etc. Wasn't 10 of last night for Apes Kingdom.

I know it was thurs but still. Maybe not the best movie to compare I guess.

Movie was pretty good .
 
Worried about our theater, beautiful stand alone XDX heated cooled recliners etc. Wasn't 10 of last night for Apes Kingdom.

I know it was thurs but still. Maybe not the best movie to compare I guess.

Movie was pretty good .
That is too bad. Previews did well though:

Planet of the Apes with a nice $6.6m preview. 2017 preview did $5m. 2014 did $4.1m.

Good start.
 
Worried about our theater, beautiful stand alone XDX heated cooled recliners etc. Wasn't 10 of last night for Apes Kingdom.

I know it was thurs but still. Maybe not the best movie to compare I guess.

Movie was pretty good .
CNBC just had a story about how this summer may be slow for all movies. I'll post it when it shows up on YouTube.
 
That is too bad. Previews did well though:

Planet of the Apes with a nice $6.6m preview. 2017 preview did $5m. 2014 did $4.1m.

Good start.
While $6.6M is a very good start, I wouldn't compare it to anything pre Covid, even movies from the same franchise.

War in 2017 did $5M previews but previews during that time only started at 7:00pm.

Kingdom did $6.6M but $1.6M was done on Wednesday during early access and the $5M done on Thursday was done starting at 3:00pm.

Still a solid number and what hopefully will be a Disney win at the box office for the first time in what feels like forever.
 
While $6.6M is a very good start, I wouldn't compare it to anything pre Covid, even movies from the same franchise.

War in 2017 did $5M previews but previews during that time only started at 7:00pm.

Kingdom did $6.6M but $1.6M was done on Wednesday during early access and the $5M done on Thursday was done starting at 3:00pm.

Still a solid number and what hopefully will be a Disney win at the box office for the first time in what feels like forever.
I am as pessimistic as it gets on box office :) 'The Marvels' did $6.6m in previews so... yeah. This one seems to be well rec'd so hoping for a win on the balance sheet.
 

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