Lucas Shaw on Warner Bros' Limbo, Netflix's Anxiety, and Hollywood’s Sort-of Comeback

29 Jul 2026 · 44 min · 17 chapters

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In short

Big media consolidation and what it signals for Hollywood’s future, focusing on Paramount/Warner Bros’ paused Ellison acquisition, Netflix’s growth worries after losing that deal, and Comcast’s retreat from media.

Guest backgrounds

Lucas Shaw is Bloomberg’s Managing Editor of Media and Entertainment and author of the Screen Time newsletter; he covers major media/entertainment companies.

Key claims

Paramount/Ellison deal is paused pending an imminent antitrust trial; states want structural remedies (divest/unwind), while Ellisons offer behavioral remedies (e.g., movie output targets). Netflix’s investors are concerned Netflix may be struggling to find hits and can’t sustain growth; Netflix’s engagement drop-offs and reduced transparency (less disclosed data) reinforce skepticism. Comcast is separating NBCUniversal from Comcast to regain flexibility as Wall Street dislikes the media-heavy structure.

Notable examples

Live Nation/Ticketmaster behavioral-remedy failure; proposed “sell Warner Bros to Netflix” workaround; Netflix second-season drop-off discussion; movie attendance still down 26% vs 2019; YouTube-to-movie examples (Obsession, Backrooms, Markiplier’s Iron Lung).

Written by AI. May contain mistakes. Listen to the episode to check what was said.

Chapters

Tap a time to open that second in VO

Warner Brothers Discovery Deal Update

0:34 to 1:03

Discussion on the current status of the Paramount-Warner deal.

“but choosing a snack you and your kids can both get behind doesn't have to be.”

Warner Brothers Discovery Deal Update

2:12 to 3:10

Discussion on the current status of the Paramount-Warner deal.

“What is your official title of Bloomberg, Lucas?”

Trial and Acquisition Dynamics

3:10 to 4:26

Exploring the implications of the antitrust trial on the deal.

“Aga, give us the top line of where things stand today.”

Settlement Prospects and Political Forces

4:26 to 6:18

Analyzing the likelihood of a settlement and political motivations.

“The argument for Paramount and the Ellisons for just kind of for delaying and saying, let's get on with the trial is they're trying to accelerate the process.”

Behavioral vs Structural Remedies in Mergers

6:18 to 7:46

Discussion on the types of remedies proposed in the merger.

“And I think there was a perception that at least in the case of California, that the Attorney General Rob Bonta was doing this for political reasons, because he is up for reelection.”

The Ellisons' Financial Stakes

7:46 to 11:28

Examining how the Ellison family's financial dynamics affect the deal.

“will promise to make, you know, there's a lot of discussion about how many movies you're going to make?”

Political Implications of Congressional Elections

11:28 to 14:00

Discussing potential political impacts on the deal from upcoming elections.

“Those questions are, does this matter to the Ellisons?”

Theoretical Concerns in Hollywood Deals

14:00 to 18:26

Explore the implications of political shifts and potential investigations on major Hollywood deals.

“not just hundreds of millions, but billions to the deal, it becomes more of a concern.”

Netflix's Growth Challenges

19:13 to 23:07

Discuss the challenges Netflix faces in maintaining growth and viewer engagement.

“You stirred up some shit a few weeks ago.”

Shifts in Netflix's Strategy

23:07 to 27:43

Analyze Netflix's strategic responses to competition and changing viewer habits.

“So, I mean, did you find any of their, I mean, they said when they're getting rid of the data, they're not getting rid of their data, they're just giving out twice a year, they're going to give it once a year.”
Show all 17 chapters

The Future of Movie Attendance

27:43 to 28:01

Evaluate the current state of movie attendance and changing consumer habits post-COVID.

The State of Movie Attendance

28:01 to 29:16

Explore the current trends in movie attendance and their implications.

“the movies are back and right now there's a the compelling argument for it right uh odyssey is a huge hit.”

The Rise of Diverse Genres

29:17 to 30:38

Discuss the growing diversity in successful movie genres and their impact.

“I do think that this year has been exceptional.”

IP vs. Original Content

30:39 to 33:16

Analyze the tension between intellectual property and original storytelling in film.

“They just want to watch stuff on their phones.”

YouTube's Influence on Film

33:17 to 35:38

Examine how YouTube creators are shaping the future of filmmaking.

“The Odyssey is one of the oldest stories in the world, right?”

Comcast's Media Strategy

35:39 to 37:58

Discuss Brian Roberts' strategy regarding Comcast's media assets and its implications.

“And most of the time that does not work.”

Evaluating Future Deals in Media

37:59 to 40:56

Explore potential future deals and strategic decisions for Comcast and media assets.

“as to which of those assets they want to own and which they do not.”
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Transcript

Automatic transcript. May contain errors.

0:00Peter Kafka:Hey Chicago, class it up with Crocs. You know back to school is coming in fast. So why wait to find your new fave footwear? Step into a local Crocs store and step into your new look. Try it, style it, make it yours. Because the right pair doesn't just show up, it shows off. First day fits, handled. Walk out ready for whatever's next. Visit your nearest Crocs store today. This episode is brought to you by Welch's Fruit Snacks. Back to school season can be tough on parents, but choosing a snack you and your kids can both get behind doesn't have to be. Stock up on Welch's Fruit Snacks, made with whole fruit, and now made with no artificial dyes.

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1:02Peter Kafka:From the Vox Media Podcast Network, this is Channels with Peter Kafka. That is me. I'm also chief correspondent at Business Insider. Today we are talking about big media, big, big names like Paramount, Netflix, Comcast, and where they're all headed. So we are breaking out the big gun that is Bloomberg's Lucas Shaw, who does dynamite coverage of all these companies. On the docket, what is going to happen with a Paramount Warner Brothers deal? Or more specifically, the trial that now pits Larry and David Ellison against California's Attorney General, who wants to stop the deal. What's going on at Netflix, which wanted to buy Warner Brothers, didn't, and now has Wall Street demanding that it show growth it may not be able to deliver.

1:49Peter Kafka:And last, what's up with Comcast, which used to be a big media player, still is as we're speaking, but is effectively getting out of the media business. What does that tell us about Comcast and about media? This is a nutrient-dense conversation. I think it's also a pretty lively one. If you listen carefully, you may hear previews of future Lucas Shaw columns. Anyway, listen up. Tell me what you think. Here's me talking to Lucas Shaw.

2:16Peter Kafka:Lucas Shaw, King of All Media. What is your official title of Bloomberg, Lucas? Managing Editor of Media and Entertainment and author of the Screen Time Newsletter is usually what I go with. Okay, that's very boring. I'm going back with King of All Media. Welcome back to the show, Lucas. It's astonishing, but I haven't had you on since late December of 2025. That's just rude. Do you remember who was going to buy Warner Brothers Discovery in December 2025? That was, I think, still in the Netflix era, right? Yes. Yes. And everyone was freaking out about Netflix buying Warner Brothers Discovery. Now, now.

2:50Now everyone's freaking out about Paramount buying Warner Brothers Discovery.

2:53Peter Kafka:Yeah. Well, I want to talk to you about who's actually freaking out later. But I was worried this podcast would be overtaken by events. I think we're okay now. We're recording on Monday. This will come out Wednesday. There's been news in the Warner Brothers Paramount saga. Aga, give us the top line of where things stand today. The deal is on hold. Paramount agreed, well, Paramount and Warner Brothers Discovery, but really Paramount and the Ellison family agreed to pause their acquisition of Warner Brothers Discovery until the middle of next year, unless the court case that is now imminent gets resolved before then.

3:34And we're waiting to figure out when this antitrust trial, which was filed by a number of states will begin. The states are saying kind of sometime next year, Paramount would like it to happen later this year. And we don't know exactly when they're going to make that determination.

3:52Peter Kafka:So the deal was paused. A deal that, by the way, was supposed to be done in the next month or two? Yep. Yep. So I want to walk through just sort of practical realities of this. So there's going to be a trial, depending on how that trial works out, there might be appeals, right? The Ellisons are saying, well, we're going to close this deal now next summer, regardless with how the trial goes. Is there a version where this thing gets held up even longer than next summer? It's possible. The argument for Paramount and the Ellisons for just kind of for delaying and saying, let's get on with the trial is they're trying to accelerate the process.

4:37And they say at least that they are confident that they will win the trial on the merits. And so if that happens, then maybe they can get this done by December or February or whenever the trial is, and they can go on their merry way. Now, of course, if they lose that trial, they would then have to make a calculation as to whether one, do they want to appeal, which you assume that they do because of all the effort they're putting in to get this deal done. If they do appeal, what are the odds that they win? And yes, do they then go ahead with closing the deal anyways with everybody having to accept that there is still a possibility that a court would unwind it?

5:16Peter Kafka:If the states lose the deal, do you think they would go ahead and appeal as well? Or do you think this is sort of a one and done from them? I guess it's possible that they would appeal, but I would find it less likely than... I think the states are probably less dug in on making this not happen than the Ellisons are in making it happen. So we'll get into how dug in the Ellisons are. What are the odds that this gets settled before there's a verdict? Do you think at some point the Ellisons just say, look, we'll give you something. It's more than we wanted to give you. And then the states say, okay, this, this deal can go through.

5:53Well, people thought that they would likely find some settlement before this trial started, right? That was sort of the prevailing wisdom was that the states were, were, you know, fighting the deal because the Trump DOJ was not, and that, you know, they were unlikely to win or actually block the deal, but that they could garner some concessions. And I think there was a perception that at least in the case of California, that the Attorney General Rob Bonta was doing this for political reasons, because he is up for reelection. You know, the last month, or I would say has really kind of been has damaged the conventional wisdom, a lot of people myself included, who were kind of looking at this one way, I think have realized that maybe they underestimated the kind of the forces fighting against the deal.

6:49Peter Kafka:So you're part of the group, and I was in it too, that thought, well, the Ellison's are going to get this done one way or another through some combination of brute force and maybe political favors, something they want it, they are willing to spend an enormous amount of money. They were willing to outbid Netflix, a much larger, much wealthier company, they spent months fighting that deal, where at the time it sort of seemed like they were, they just had spoiled grapes, but no, they were, they just sort of, they ended up playing a very canny political game, applying a lot of pressure on both Netflix and Warner Brothers to eventually get it.

7:22And yes, I, while I thought that the states were going to fight against the deal, I and most others assumed that eventually the Ellisons would prevail, which of course they may still. In terms of what they could offer, one of the reasons why a settlement may prove difficult, and of course, this is all posturing and bargaining, so maybe it's easier than we think, is that the Ellisons have been offering what are known as behavioral remedies, where they will promise to make, you know, there's a lot of discussion about how many movies you're going to make? Is this bad for the movie business? And David Ellison is saying, we're going to make 30 movies a year, both Paramount and Warner Brothers are going to make 15 each.

8:00And the states are saying, you know, behavioral remedies don't really work. There's not enough teeth in them. You know, there were behavioral remedies in the Live Nation Ticketmaster merger and Live Nation and, you know, it didn't work, which is why the states ended up pursuing a suit to try to break up Live Nation and Ticketmaster, which is something that is still pending. They want what's known as structural remedies, the states do, which would mean, you know, Paramount and Warner Brothers agreeing to sell things or divest things as part of this deal. Now, there are things that there are assets that Paramount and Warner Brothers could divest and it wouldn't really hurt Warner.

8:34I don't think it would hurt the combined company that much, but they have not shown a willingness to get rid of things.

8:40Peter Kafka:And the core, the core thing that theoretically, I think the States would want is some unwinding of the deal to put two studios together. That seems to be the core of their argument. And it seems to be the core of why the Ellisons want to buy Warner Brothers. It doesn't seem like those two things can coexist. I, so I don't actually agree with, well, I agree with part of what you said. So the state's, the state's two primary lines of attack against this deal are studios and networks, right? It's that you'd be combining these two out of storied Hollywood studios, Warner Brothers and Paramount, and they don't pay a lot of attention to the television side.

9:20It's mostly about excessive concentration in films because those two companies would have about 30 % of the market. You combine them and Disney and suddenly you're north of 50 and that's bad. The other is cable networks where they're two of the largest owner of cable networks in the US and you combine them and suddenly they would have, I don't remember the exact numbers, but an unfair advantage or an unfair percentage of the cable network market. Nobody's doing this deal because of cable networks, right? They do generate still the majority of the profits and cash flow, but it's a dying business.

9:53Yes, they're doing it partially for the studios, but I would argue that they are doing it for ultimately for the streaming business. Because if you are these companies sitting on fallen cable networks, your life raft is supposed to be streaming. And these are two companies that have sort of mid tier streaming services, third tier streaming services, think about it however you want, right? HBO Max and Paramount Plus are much, much smaller than Netflix and Amazon and Disney. And you can get what you want in streaming without having both of the studios. Obviously having all the Warner Brothers assets helps.

10:30My favorite version of this, because these companies went at it, is that you actually, they say, okay, you know what, you don't, the problem with the Netflix deal is that Netflix was going to get too much power in streaming. And what Netflix really wanted was the studio. The power with the Paramount deal is that they'd have too much power in the studio. And what they really need is a streaming answer. Just sell Warner Brothers to Netflix as part of the deal because it solves it gives netflix what they want it gives paramount what they want and then paramount like h they still get hbo and all that stuff and i get that they don't get the ip and this is a total pie in the sky idea ellison's never going to do it but i think it would it would

11:06Peter Kafka:work i like that you're adding investment banker to your to your portfolio here um they're they're this is going to cost uh the ellison's there's this ticking fee and theoretically this could be hundreds of millions of dollars that are going to have to pay on top. Billions if it keeps going. Does that matter to the Ellisons? They'd rather pay less than more, but Larry Ellison is the richest man in the world. Yeah. I have a look. Those questions are, does this matter to the Ellisons? Questions are always hard for us to answer because it is really sort of dependent upon Larry and then David. And neither one of them is speaking to many people, frankly, about what matters to them.

11:48I think even the David-Larry dynamic is one that people don't fully understand.

11:54Peter Kafka:Let's spell it out. David runs the company. David runs the company. Larry is the eighth richest man in the world who was bankrolling his son's acquisitions of Paramount and then theoretically Warner Brothers Discover. Correct. Neither one of these deals would have been possible without Larry's money, but Larry is not taking day-to-day interest in what is happening at Paramount. Oracle stock, which is the source of Larry Ellison's wealth, is down by half in the last, basically since they announced this bid for Warner Brothers Discovery. Larry Ellison is still the eighth richest man in the world, even after that drop.

12:28Peter Kafka:Is there any thought that Oracle's relative weakness changes his appetite for this deal? Not that I've heard. I mean, look, there is the if you are Larry Ellison or one of his advisors, you have to go to that sort of worst case scenario. I guess what happens if this like our other financing falls apart? They get tired of waiting for this. You know, a bunch of their financing comes from the Middle East, obviously not a particularly stable place right now. I don't want to be left on the hook for 100 billion dollars. Like, yes, I have all the money in the world, but I am not actually trying to devote it to this deal.

13:06Peter Kafka:This was one of the back and forth when Warner Brothers was reluctantly selling itself to, or maybe not reluctantly, but selling itself to Paramount. They insisted that Larry Ellison backstop that deal. He was never going to pay for the whole thing, like you just said. The Saudis and et cetera are going to kick in money. He's going to syndicate it. But in theory, he is responsible for the entire purchase. Everybody goes away. Larry Ellison is backstopping it. It was the argument that the Warner Brothers folks made when they had to explain why they were picking Netflix over Paramount. One of the reasons was that they were unsure of the Paramount financing.

13:41I think if you're going after a deal of this scale, having to pay an extra billion or two, especially when they made clear during the kind of the bidding war with Netflix, that they would pay more, is not a concern. You know, the only way it becomes a concern is, I don't know, maybe if it becomes a two-year saga and suddenly, you know, you're adding not just hundreds of millions, but billions to the deal, it becomes more of a concern. But at that point, I don't think it's just the ticking fee that's your worry.

14:11Peter Kafka:Speaking of worries and theoretical worries and politics, November elections likely will see Democrats take the House. The Senate seems like a toss up, something like that. Does that concern the Paramount folks that you would have Democrats and having some power in Congress and the ability to theoretically haul them up for hearings and do investigations? Yes, but a small one.

15:05Now, it will be annoying going forward, especially given, you know, there is a belief that David Ellison and the current leadership of Paramount has, you know, made changes to CBS News that have made them more friendly to the Trump administration. And they're going to get CNN as part of this deal.

15:25Peter Kafka:And so Donald Trump keeps saying that out loud. Yeah, there will be a lot of scrutiny of whatever happens with the news organizations. But that is separate, I think, from the deal itself. Um, since we're in the realm of, of theoreticals, um, I read a report a couple of weeks ago that said that, that Paramount was going to, uh, move. It was very unclear whether it was their studio or some of their executives or what they're going to move to a different state if, if California sued them. So California has sued them. Right. As have other states, but. Is Paramount leaving California? No, I, the whole notion of Paramount and the Ellisons decamping to another state, say Tennessee, which I think has raised its hand, makes no sense.

16:07David Ellison lives in Southern California, really likes living in Southern California, perhaps more importantly, or just as important, their whole argument for the deal and their rebuttal to people who are worried about jobs and consolidation and all that has been, we're going to hire more, we're going to spend more, hire more. It's good for the economy. This is good for California.

16:29Peter Kafka:And if you don't give it to us. We're going to punish California. I found to be a very difficult pitch. I kept asking Paramount if they wanted to say that on the record, they have not take that for what it's worth. Yeah. I'm sure that there are people who are, you know, Larry's advisors and even, you know, some of David's advisors who have talked about it. But actually doing it would seem counterproductive. Netflix had this deal, freaked everybody out. The folks at Netflix, I think, are the only people in Hollywood who are willing to say out loud that they don't like the the paramount warner brothers deal i think that's kind of obvious why they're the only one saying it why no one else will say other than a couple unions but yeah yep yeah anyone with power yes i guess any executive with power all says it'll be whoever wins is good because no one wants to upset their colleagues or potential buyers or partners um what do you think netflix makes of this do you think they are spinning up a hey maybe the asset becomes available again in nine months or a year?

17:27Peter Kafka:Do we hang around the hoop? Or do we assume it's never coming to us and we have to move forward accordingly? I think for now, they're just sitting there with a big bucket of popcorn. Look, is it possible that Netflix would, if this deal falls apart, would Netflix look at it again or look at the assets that they were going to buy again? Sure. And they even, Ted Sarandos, the co-CEO, even told me at the time, I think, you know, I interviewed him not long after the deal fell apart. And he's like, maybe this will come around again. But their investors hated the deal. Their stock price has only continued to go down since then, in part because their performance has not disabused investors of their concerns.

18:06So I just think the threshold to reengaging on any deal like that would be really high. And also, if we're being honest about what's happening with Paramount and the Ellisons, unless there's some dramatic change of heart for David Ellison, he's not given up on this deal very easily. And so we're talking about something that is in two or three years. And who knows where the heck Netflix is at that point.

18:26Peter Kafka:We'll be right back with Bloomberg's Lucas Shaw. But first, a word from a sponsor.

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19:13Peter Kafka:And we're back. Let's talk more about Netflix. Like you alluded to, one of the concerns Wall Street has had is, hey, if Netflix, which has never done any large scale M &A, is willing to spend$83 billion on a studio and a streamer, that maybe seems like Netflix doesn't feel great about its growth prospects. It is trying to buy growth. And so that deal has gone away. The concerns have not gone away. You stirred up some shit a few weeks ago. You had a story talking about how difficult Netflix is finding new hits to come up with. And just as worrisome that their second seasons of hit shows are seeing a steep drop off.

19:50Peter Kafka:Why did that story create a problem for Netflix? Why do you think it created a problem for Netflix? I think that it, well, one, I think there are a lot of people who are looking for Netflix to fail, right? It has been this remarkably successful company that came, the rare outsider that sort of came into Hollywood said, we think we have a better way of doing this and was in fact correct and sort of changed the whole business, right? One of the reasons why we've seen this parade of big media mergers is because Netflix and in a different way, YouTube sort of changed the paradigm of entertainment.

20:26Peter Kafka:And so Netflix is used as the reason why these companies have to merge when they're telling antitrust people that not to worry about this because Netflix is much bigger. and that sort of upheaval that they caused engendered a lot of resentment towards them. I also think, so that's one. Two is what you were already talking about, which is, you know, there are these concerns about Netflix because, oh, they must go after Warner Brothers because they need it. There's a problem in the underlying business. And so anything in the underlying business and anything like that that suggests a problem in the underlying business, there's confirmation bias.

20:59And then I also just think that there's, like among customers and people and sort of in particular, like members of the media, there's a belief that some of the ways that Netflix does things are kind of bad. And so anytime there's a report that, you know, things aren't working, it becomes an opportunity for everyone to sort of re-litigate all of these things.

21:24Peter Kafka:And to restate their priors. Oh, if they got rid of binge viewing, that'd be better. And these are often said by people who have a vested interest in Netflix rolling out shows once a week so they can podcast about it. But I do look, there is there are very real questions around Netflix right now just because they got they're so big. At a certain point, you're such a mature business. Like, what is the question, the animating question for me, the last kind of ever since this, this deal fell apart is okay. So what's next for Netflix, they can say that it's just we're going to stay the course, and things are good and there's a lot of growth ahead in streaming.

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21:59And that may well be true, but they are big enough that it's just very hard for them in streaming alone to grow at the rate that they have been, right? There's been a pretty steady decline in growth over the last few years.

22:12Peter Kafka:Which you would think would be expected. They have 325 million subscribers. I mean, each new subscriber is that much harder to get these days. Yeah. And they have followed the trajectory of a mature company or because of the topic of our conversation, a mature media company where right there, they're fast growth, but no profit for a long time. And now they're slower growth, but really, really high profit. And they're and, you know, they're doing all the mature media company things. They're doing stock buybacks. And, you know, and so. So we're going to extract more revenue from each customer, either by raising prices or introducing ads or both.

22:52And so I think the piece that I wrote sort of tapped into this reserve of concern and kind of it definitely blew up in a way that I don't think that the leadership of the company was quite prepared for.

23:07Peter Kafka:a couple weeks later they had earnings they were asked about your reporting and they bristled at it and said actually we don't have an engagement problem and whatever drop-offs we have are better than everybody else's drop-offs um and then they also said by the way we're going to give you less data um so they didn't say this part out loud it'll be harder for lucas shaw to write this story again because we're only going to give him a data once a year um well they also said that a second season like don't worry about the second season drop-off you know the average is 50 which which would seem not great to most people.

23:39Peter Kafka:Yeah. So, I mean, did you find any of their, I mean, they said when they're getting rid of the data, they're not getting rid of their data, they're just giving out twice a year, they're going to give it once a year. And they said, we want you to focus on other metrics. Is that a fair argument from them? Well, look, they can try to get people to focus on whatever metrics they want, right? They stopped disclosing subscriber numbers, which was, I think, unfortunate for all of us and was assigned to people that they weren't growing as quickly. And so they wanted people to pay less attention to that.

24:10I think if you look at engagement, and they want you to stop looking at it, it's a sign, yeah, they're growing, you know, one to 2 % a year, that's not great. You know, considering how much viewership has been shifting over from linear to streaming, they're just not capturing majority of that, which I think Reed Hastings, the founder, would have wanted them to. You know, revenue is sort of tied to subscriber growth and to engagement. So they can have people look at whatever metrics they want. Like my feeling, I think their feeling on engagement specifically is we started disclosing a bunch of stuff.

24:50In the realm of streaming, they are the only company that discloses to the level that they do. It is less, it is different from what we had in the pay TV days, but it is still disclosure. Why should we be the only ones who are being judged by this? And that is the one argument that they make that I consider fair, right? Look at HBO Max or Peacock or Paramount Plus or Disney. If these folks disclosed the viewership for all their shows, it would be pretty embarrassing for them on most of these titles. And so I think it's unfortunate for all of us that there will be less transparency, but I sort of understand it strategically for Netflix.

25:26Peter Kafka:And if they're not buying Warner Brothers and they're in this slow growth era, do you think they think they have other levers to pull? Do you think they have this games business, which they've been poking at for years? I don't think anything meaningful has come of it yet, but they keep saying one day it will. Do you think they think this is something we can solve by changing how we make content? Maybe we swap out the executives in charge of content. Is that on the table? The strength of Netflix for the longest time, and you know this as someone who's covered them even longer than I have, is that it was focus, right?

26:04Like, Reed Hastings' great attribute was like, we don't need to think about these five other things. Let's stay focused on the one thing or the two things that are materially going to move our business and be the biggest opportunities, right? And that worked. And now they're the biggest player in paid streaming. And in terms of trying to figure out what to do next, it's a little bit of a different era there where they have five or six different experiments and they're sort of seeing what's going to bubble up, right? They're doing video games, like you mentioned. They're doing live sports. They're now doing sort of podcasts and creators and YouTube-y type things.

26:41and they're trying to get a little bit bigger in toys and experiences and other lines of business. Who knows, maybe they will eventually get into syndication. I don't know which of those is going to, and obviously advertising is sort of underpins a lot of it. Like, I don't know if any of those is the answer for them. You know, gaming, you're right, they haven't had a ton of success yet. They're having some success in the kind of experiences and consumer products, that's not as big a business or a game changer as, even for Disney, it's a relatively small part of the pie, and there's sort of the king of that.

27:18You know, getting back to the question that you asked about kind of changes in leadership and programming, it's certainly possible, Netflix is a company that, you know, when things aren't going, they will fire someone at the drop of a hat. But I don't know that that makes the most sense i i've heard rumors but nothing strong enough that i feel comfortable like

27:43Peter Kafka:bullshitting about it on a podcast yeah we're right back with lucas shaw but first this

27:55Peter Kafka:and we're back let's talk some more about uh hollywood and movies um i keep hearing that the movies are back and right now there's a the compelling argument for it right uh odyssey is a huge hit. Spider-Man coming out this week is going to be a huge hit. Two surprise huge hits with Backroom and Obsessions earlier this year. And I like movies to succeed as well. But as Matt Bellany noted last week, AMC saw their total attendance in the second quarter of this year is down 26 % from 2019, from the pre-COVID era. That suggests to me that movies are not back, that people have fundamentally changed their movie-going habits and they just go to less movies than they used to.

28:46Peter Kafka:And I think the reason why is pretty obvious. But I've written about this several times, that if you basically go back to 2002, the number of movies per capita has shrunk year after year after year. It got very bad during the COVID era for obvious reasons, but it continues to decline. Does anything move that needle back? So it's funny. I'm in the middle of writing an essay on the summer we went back to the movies and what kind of what lessons we should and should not learn from it. Okay. Because I'm writing a short piece about it too. So I won't steal any of your ideas. I guess I land somewhere in the middle.

29:24I do think that this year has been exceptional. We're going to have the highest grossest since 2019. We'll have the most number of billion dollar movies since 2019. One of the highest numbers of billion dollar movies ever. and it feels like you know it's it's a broad range of genres right it's not just like yeah we had some big superhero movies you've got you know a music biopic that's crossed a billion dollars you've got a couple kids movies you're going to have this homeric epic you're going to have another comic book movie who knows what dune will do and then you've got sort of the more the mid the mid-sized hits project hail mary obsession backrooms they're all a little different And so I take that as a good sign.

30:12I think it is indisputable that sort of attendance has been on a downward trajectory and we're not going to get to a world where suddenly attendance in 2028 is going to be back where it was in the early aughts or the late 90s. There's just more ways for people to entertain themselves. But I think at the same time, there was this belief, one of the arguments kind of underpinning the movies are dead point of view was that young people don't really care about movies. They just want to watch stuff on their phones. They just want to play games. And I think that has also been proven to be false, right?

30:49That they are clearly going to movies that, you know, backrooms did not work because of a bunch of 50 year olds that work because of young people. There are young people who care about the Odyssey and Spider-Man and Toy Story and Super Mario. And so I think it's harder to get people to the movies. And so there are going to be fewer out of it's not a habit anymore. It's you're trying to create events. It's no different from a lot of other. It's the same way to tie it to the Netflix conversation that sort of Netflix thinks about sports. Right. You know, for most TV networks, sports are something you just sort of have all the time.

31:25It's a way to keep people coming in. Netflix is trying to build these tentpole events because you want things that are buzzy and that feel urgent. And that's how the movie business, for the most part, is thinking about what it is. It's like the Odyssey feels like something you have to go see in a theater right now, right? Whereas a lot of other movies just don't have that urgency.

31:47Peter Kafka:Some of the conversation also veers into this is a either rejection of Marvel and what we were what we had to watch before and sequels and IP or more positive way of framing it as people are responding to original stuff. and that to me seems a little romantic because then you have to pretend that no one saw Mario Brothers or other giant hit movies based on comic books and cartoons and lots of them are not particularly good but people went to go see them anyway. Yeah, I think there, you have to think about the word, I've been struggling with this too because I think there is this argument that we'd all love or this belief that we'd all love to see kind of come to fruition that, you know, folks just want original stories.

32:35And the data doesn't back it up. The highest grossing movies of the year are for the most part going to be kind of sequels, reboots, adaptations of books. You know, just not a lot. You know, people want to call something like Project Hail Mary original. It's based on a book by an author whose other book got turned into a huge movie. But I do think there's something, the idea that like while IP is still king, people do want a movie, whether it's IP or not, that feels fresh, original something. There's a lot of characters and IP and ideas that now feel stale to people, and they are not interested in it, right?

33:16Backrooms is IP, but it feels fresh and interesting and different. The Odyssey is one of the oldest stories in the world, right? But in the hands of Christopher Nolan, it feels different. and I think

33:28Peter Kafka:it's also new for a lot of people because most people aren't readers anymore it's also like it's also true in sort of the some of the movies that are getting rebooted or like okay sure Devil Wears Prada is a sequel but there hadn't been one of those movies in 20 plus years right there's going to be a new meet the Fockers movie around Thanksgiving I think it's the fourth movie in the franchise but we haven't seen one in a while and so it doesn't feel as tired as oh this is the seventh Minions movie in 15 years Obsessions and Backrooms are both considered YouTube movies for various reasons. I think a third one to pay attention to if we're talking about YouTube and the movies is Markiplier's Iron Lung, which to me is almost more interesting because Obsession and Backroom were made with the help and distributed by major movie studios.

34:15Peter Kafka:This Markiplier movie, Iron Lung, is self-financed, basically self-distributed. If you weren't paying attention to this guy's YouTube channel, you probably wouldn't even know about it. So winding this all up to say, what do we think about the YouTube era of movies? Is this meaningful that we have people who put stuff on YouTube and are now making movies? Or is it just sort of what you would expect young filmmakers to be doing is using YouTube as sort of a proving ground? this is another one where it's like i i've been i think there are lessons to be learned but i've i'm reluctant to kind of overstate the lesson right there has been a steady drumbeat of sort of filmmakers who were started on youtube and made movies for hollywood studios they just don't all roll off the tongue you may not think of them um but having these three movies in close succession to one another, especially when two of them came out at the same time that a Star Wars movie was bombing, I think sort of created this.

35:17It was a little bit of a wake up call for people who weren't paying attention that, yes, there are there's talent on YouTube that we should be paying attention to. And perhaps just as important, if not more important, that there's sort of characters and IP. An audience. An audience from what from YouTube and Reddit and other places that we should look at. Now, the audience one is tricky. You know, I think Hollywood has tried many times of the last decade to do the audience transfer where they're like, we're going to cast a YouTube star or a TikTok star in this movie and they're going to bring their viewers.

35:50And most of the time that does not work.

35:52Peter Kafka:That's why Iron Lug was so interesting because that was a straight transfer. And that guy was saying to his fans, come to the movies, come buy a ticket at an actual theater, leave your house, come do that. And they did. I think that is harder than saying, hey, Curry Barker or Kane Parsons, we've seen what you're doing on YouTube. You're talented. Let's sort of marry your special sauce, knowing how to speak to this generation, having talent with the system and produce something. That latter one to me feels like a more sustainable model. The iron lung, other people have tried that over the last few years, and they mostly haven't worked.

36:27Peter Kafka:So YouTube is farm team, a way to source talent. if you were someone, you know, in the old days, you'd max out all your credit cards and make your indie movie and hope to get to Sundance. And so now this is a different route. Or you go to film school or you, yes. Yes. I think that's it. This is, YouTube is akin to the Sundance Film Festival in 1992 or to making music videos for MTV in the 90s or any of these other examples from the past. Two years ago at your excellent screen time conference, nearly two years ago at your excellent screen time conference. You interviewed Brian Roberts from Comcast.

37:03Peter Kafka:You asked him, hey, why do you own media assets? You're this cable, you're this broadband company. Why do you own media assets? I thought Brian Roberts kind of didn't have a super compelling answer. He's been asked that question for 15 years since he bought NBC Universal. And in the last year, he has basically unwound that deal. He first spun off the Versant cable channels, and now he's just splitting NBC Universal off from Comcast. So he's basically saying, we're going back to where we were 15 years ago. I know that the stock was not performing well. Is it just that simple that after years of investors saying, we don't like this, he just said, okay?

37:42Peter Kafka:Or was there some other trigger that made him unwind this monstrous deal he'd done? When I say monstrous, I mean very big deal, not bad. Yeah. Well, and it's important to note that while he is unwinding them in terms of making them separate companies, he is not giving up control. and that many of the same share, like, I guess he's giving some of his other shareholders options as to which of those assets they want to own and which they do not. He's saying, Wall Street, if you don't like us owning NBC Universal, guess what? Here's your opportunity. You can sell the stock. Right. I'm going to hold on to it, but you don't have to.

38:17I think it's the continued erosion of the stock because it's gone in the wrong direction for a long time now. Plus, there being some deals out there that, you know, Brian, the Roberts family has always they've been dealmakers, right? They've kind of gotten to this position by by buying things and squishing them together. And he has found it harder to do deals, both because the stock is down. And so the currency that he has is weaker, but also because his investors sort of want different things, right? And so if you're an investor who's in Comcast for the cable network, for the kind of connectivity, for selling pay TV, for selling internet.

38:55Like, do you really want Comcast going after Warner Brothers Discovery as Brian Roberts did a little bit last year? Do you want Brian Roberts exploring a deal for Electronic Arts as they did a couple of years ago, the video game publisher? Probably not, because you just want him to figure out how to stop getting losing customers in broadband, right? You want to have him have a response to these wireless companies. By the same token, if you're interested in NBC Universal, you're not that, you know, that's not your issue. You need them to figure out Peacock. So I just think he went through a few years of sort of not being able to execute on some of the possible answers and is hoping that maybe doing this creates the flexibility.

39:35Peter Kafka:The line from Comcast is when NBC Universal gets split off and it's a standalone company, it is going to go out and try to do deals and buy other stuff. and the conventional wisdom sort of takes that at face value. Maybe that'll be true. I look at it and go, oh, wait, there's now a studio and a subscale streamer as a standalone company. That seems like something someone might want to buy. Do you think they're a seller or a buyer? I don't even know if they know. They're telling everyone that they're a buyer. And look, nothing in Brian Roberts history has told you that he's a seller. At the same time, nothing in Rupert Murdoch's history told you that he was a seller.

40:18And then when he got the right deal, and in his case, he actually had a son who was ready to succeed him. Brian Roberts doesn't really have the familial line in place in that way. So I think if they found the right deal, you know, if Netflix is the name that comes up the most because they went after Warner Brothers and NBC Universal would seem to kind of fit them nicely as well. Like if Netflix decided to come around and say, here's$100 billion for your company, doesn't that sound grand? Brian Roberts and the board have to have the conversation. But I think now, for now, they're just sort of trying to create options for themselves.

40:57And so, yes, they could go and buy things, but I don't know what they're buying that is really moving the needle for them. Okay.

41:06Peter Kafka:Lucas, my bad for waiting six months to have you on. I will find a way to have you on before the end of the year. We always do an end of the year wrap up, but we'll figure it out. There'll be some news. I'll see you at screen time. We'll see you around. Thank you for coming. Thanks, Peter. Thanks again to Lucas Shaw. Thanks again to Charlotte Silver, my excellent producer, editor, does all the things. She's great. Thanks to our sponsors. Thanks to you guys for listening. See you soon.

41:56No messy integrations, no bouncing between tabs, and best of all, no spreadsheets. Stop managing software and start managing your business with one unified system. Try for free today at odoo.com slash vox. That's odoo.com slash vox.

From the publisher

When I last talked to Bloomberg’s Lucas Shaw, Netflix was buying Warner Bros. Discovery. Six months later, Paramount has the deal — but, surprisingly, it’s on hold while a group of states tries to block it in court.Lucas and I talk about whether Larry and David Ellison can still muscle the acquisition through, how long the fight could drag on, and what this fall’s elections could mean for the would-be deal.Then: Netflix says it doesn’t have an engagement problem, even as it gives investors less data and searches for its next big source of growth. And Hollywood is celebrating a blockbuster summer — but moviegoing remains far below its historic peak. Are the movies actually back?Also discussed: YouTube’s emergence as Hollywood’s new farm system, and why Comcast decided to get out of the media business.
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