Inside The Sidemen's Netflix Deal

0:00The Colin and Samir Show is supported by Microsoft Copilot. This is something I thought I would never say, but can I share with you my favorite prompt? I mean, like when you say something like that, I have to say yes. Were you going to say no? No, but okay. Just let me hear it. So when I'm researching for a guest or I need to know a lot about a subject matter, I say, make me a podcast about. And when you do that, you're going to get a short blurb about that subject. And then in like two minutes, you're going to get a podcast. So check this out. Welcome to Co-Pilot Podcasts. Picture this, a guy working the front desk at a hotel, making lacrosse videos in his spare time, completely unaware that he's about to become one of the most influential voices in the creator economy.

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1:10Try it for your research. Try it for getting variations of your titles, your ideas. It's one of my favorite tools on the internet right now for our creativity. And now back to the show. It was really Netflix from the jump. I mean, I think they saw it as a great introduction, I think, to the creator economy for an audience that maybe doesn't know the creative economy very well. But also, I think they saw the universal themes that shone through friendship, business building, entrepreneurship. There's the opportunity for it to speak to a much broader audience than a specifically YouTube or youth audience per se.

1:48Hey, podcast listeners, it's Samir. Welcome to this special episode. I'm joined by... Hey, everybody. This is Colin. And this is Nate Graber-Lipperman, one of the writers for the Publish Press. That sounds so official. It really does. Love that. That's nice. So Nate, you're here because you put together this segment. So I'm not going to explain it. I'd love for you to explain this to the audience. Yeah, absolutely. So basically on January 30th, the British YouTube super group, The Side Men, it's seven creators who have been uploading on YouTube for the last decade or so together. They announced a Netflix documentary.

2:19So they'll be releasing a documentary on February 14th. It's kind of an inside look at how that deal came together and what it means for creators relationships with, you know, streaming platforms moving forward, I called up Jordan Schwarzenberger, the manager of the Sidema. Now, this is part of a story that Nate is writing for Friday's issue of our newsletter. Yeah. And for context, too, if you're new to the newsletter, we have these calls all the time to inform our coverage, whether it's between talking to, you know, creators, managers, other creator industry insiders. Yeah, we just thought it'd be really cool to give you a more inside look into our conversations to hear directly from Jordan himself.

2:57So if you don't subscribe to the Published Press, we're going to put the link to this issue in the description. And then after you listen to this call between Nate and Jordan, all three of us are going to chime in about what this means for creators. I mean, before getting into how this deal came together and what it means for creators, I had to ask, you know, this film is coming out on Valentine's Day. Should we expect the film to be a rom-com? Oh man yeah you know what no spoilers but there's a few moments there's a few moments it definitely like what I love about the doc and I've seen it for about three or four times now is just how it really shows a different side and you do get that that friendship coming through like the boys are ultimately seven friends and you really see that and feel that over the course of you know a 10-year story so yeah you could say there's a little bit of romance in there I think that's fair enough to say yeah I mean look diving into how this documentary came together uh really just walked me through the initial conception for it you know was it something that the Sidemen team had already been working on or was it Netflix approaching you and saying hey we want to film a documentary about the guys yeah so so the way this came together uh it was about two years ago now I think uh when we realized that it's the 10-year anniversary of the Sidemen in 2023, October 23 to October 24.

4:19And we need to make the most of that. We need to want an opportunity to tell the 10-year story in a way that really can capture both the existing fan base who've obviously been there for various points, some later on, some since the very beginning, but also providing a new audience with the opportunity to understand who the Sidemen are, why they do what they do, why they're so popular um and the 10-year moment is a great time to tell that story um i think anniversaries provide a bit of nostalgia of huge amounts of nostalgia for those who've been there for the 10 years but also it creates a marker where people can join and actually come on board the train so to speak so yeah it was an idea that we had together with the guys to say look like this is an opportunity to tell this story uh we had the team over at pangia so that's luke himes who was the former um emea head of youtube originals so he led that whole business over in the UK so he's very um very prolific sort of filmmaker and curator and commissioner here had a long track history doing films for a long long time um and he's somebody who uh knew the boys from when they did the Sidemen show back in 2000 and uh 2018 19 which actually when the Sidemen channel launched so the Sidemen channel actually launched off the back of that show and Luke came in as the head of YouTube Originals towards the end of that filming so he kind of understood the boys he knew them really well um from a sort of as a brand he understood their world but also came from a from a slightly older perspective right and a perspective that was was able to be objective and and translate that story for an older or not an old audience but for a broader audience than the sidemen fan base and then and then it was a case of how do we put it together so produced it with luke and his team um and then the home that we wanted the home that the boys wanted the home really i think for anything on that premium level is netflix and yeah, they loved it.

6:07So they took it on. Yeah. And I guess kind of looking across that table, right? Like put me in the room as this deal is coming together. What was the primary draw of this for Netflix as well? What were they most excited about? Yeah, I mean, I think they saw it as a great introduction, I think, to the creator economy for an audience that maybe doesn't know the creator economy very well. Obviously, our space is very well known to those within it and very unknown to those without who are away from it i find there's almost a divide in time you either get it and you know or you just have no idea and so i think they felt that it was a great a great way of introducing the space from a business perspective um to an audience to their audience but also i think they saw the universal themes that shone through the doc friendship um like business building entrepreneurship um sort of consistency the dramas the ups and the downs resilience all of those themes that kind of come through the film um they saw that and so there's the opportunity for for it to speak to a much broader broader audience um than a specifically youtube or youth audience per se um obviously netflix only want people they want people to watch their content and they want subscribers that's always their goal um but they felt they felt like this doc could hopefully help on both of those fronts um so yeah i think it would they they saw it as a they do see it as a big opportunity which is great yeah i guess too on that front uh you know you mentioned that you all saw netflix as kind of the premier destination you all were very excited to work with them were there any other streaming services or networks though who did make bids kind of along the way or was it just solely a focus on we want to work with netflix from the jump yeah it was really netflix from the jump i think the guys have a i think all of us in our generation i'm 26 right and i think the sideband us all of us right we all have a weird weirdly intimate relationship with netflix on a personal level and i think it means something so much more than than just a platform right there's so much time invested in in the content and and because of the amount of reach it has and the the feeling it gives it's just one of one and i think yes obviously the disneys the amazons etc brilliant platforms in their own right and are building incredible things but netflix is is the is the golden goose but Netflix is the special one.

8:24So to speak of the bunch, I think you can't really escape that in that space. So yeah, it was one of those where we go, right, if we're making this, that's the place we want it to go. And of course we would have been, if Netflix didn't want it, we would have had other conversations, I think. But no, the guys, I reckon they probably put it on YouTube more than give it to anyone else to premiere it because Netflix is just that special. Right. And that was a question I had as well. You know, given that sounds like, you know, you obviously filmed and produced this thing in-house it will be distributed through Netflix but um you know do you all own the rights to it with let's say one day you want to upload it to the Sidemen channel or what's kind of the relationship there yeah you know what there's there's a yeah so we do um that was part of the point as well right we wanted to do this in a way that was slightly different where we believe in the story we believe that it had the opportunity you know had the appeal and actually we wanted to fund it and build it ourselves and then ultimately have it acquired rather than go down the commission route.

9:24Reason being principally control. When you go down the commission route, obviously Netflix go, yeah, we want to make a Sidemen doc specifically or you ever want to do a Mr. Beast thing or whatever it might be, then you're working with their production teams day in, day out. You're working with their developers, their commissioners. You just lose that control because they're paying for the rights to control that, right? Whereas with this, it was the case of, right, if we're going to tell the story, if the Sidemen are going to get their story out there to the world, then it needs to be they need to be able to have that that that ability to creatively help tell the story properly um and then what's been so nice is luke and sneeta are able to bring the objectivity in where they can really come at the story from an objective perspective and see yeah but how is it from the outside looking in but the side men can have that creative freedom to actually add in and add bits and input bits to help the story come to life in a way that if somebody else is just completely dictating that it can often lose um it can often lose that that that the little nuances that you miss right um so i think um yeah it's been a really good balance of the objectivity from luke and sneed alongside the sidemen as exact producers giving it that flavor and that and that reality yeah for sure and i mean i think even zooming out a little bit and looking at the creator space right like a big conversation in our studio has been it's 2024 the year that creators become Hollywood and Hollywood becomes creators, right?

10:45In the sense of Hollywood's moving more towards digital platforms, creators are moving towards making bigger and more ambitious projects. And, you know, look, this is obviously a big moment for the creator space, right? Just you all announcing this movie with Netflix are coming out next week. And I'm sure you heard the report that Amazon is set to pay Mr. Beast$100 million on the show for their prime video platform. I guess, you know, what do you make of hearing that news in terms of what was your kind of initial reaction to it? Yeah, I mean, I think it's about time, right? Like, it's about time that these platforms started working with creators and really took it seriously.

11:25I think always in the UK especially, right, there's been a real kind of arrogance from traditional TV and broadcasters to creators. I think the streamers play more in the creator space. So there's a natural understanding and overlap there that doesn't really translate with traditional linear broadcasters. Right. And I think they get it that there's, there's more of a need to bring audiences in, but also to engage with people with huge influence and creativity. And I think the bit that I'm most interested in more than just the, the opportunity for these guys to get audience, which often I think blindsides these things and like, Oh yeah, but how much can we bring over?

11:58How many people can we bring across? the creativity that someone like a jimmy can bring to amazon that's the bit that hopefully will will transcend just his audience right because his audience is obviously huge but it's one thing his creativity is completely unique same with the sidemen like it'd be amazing one day if the sidemen could do more executive produce producing on shows where they can actually help creatively build these things at scale um as well as just leveraging their audience i think there's a twofold piece but yeah it feels like the tide's turning in a really healthy way and And yeah, I'm excited that we get to be a part of that, really.

12:30Kind of last question I had for you, as you all have obviously been trailblazers in the space, especially in Europe and in England. How do you think this doc might impact creators' opportunities to collaborate with streaming platforms moving forward? Yeah, well, I think if it goes well, which hopefully it will, then, you know, I think it could hopefully be a good case study of what's possible. I think JJ did that on his own with KSI and real life for Amazon Prime. Obviously, Amazon's a different brand to Netflix. And I don't think Netflix have really done something like this before in the space.

13:03So if this can be a Netflix case study, then we'll have two big success stories, hopefully, to take out and say, look at what's possible. And that's really exciting. So, yeah, we'll see. It all comes down to Wednesday, really. So hopefully everyone enjoys it. The Jack Welch Management Institute at Strayer University helps you go from I know the way to I've arrived with our top 10 ranked online MBA. Gain skills you can learn today and apply tomorrow. Get ready to go from make it happen to made it happen and keep striving. Visit Strayer.edu slash Jack Welch MBA to learn more. Strayer University is certified to operate in Virginia by Shev and as many campuses, including at 2121 15th Street North in Arlington, Virginia.

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14:21EBCLIS can be used with or without topical corticosteroids. Don't use if you're allergic to EBCLIS. Allergic reactions can occur that can be severe. Eye problems can occur. Tell your doctor if you have new or worsening eye problems. You should not receive a live vaccine when treated with EBCLIS. Before starting EBCLIS, tell your doctor if you have a parasitic infection. Searching for real relief? Ask your doctor about EBCLIS and visit ebglis.lily.com or call Call 1-800-LILY-RX or 1-800-545-5979. Yeah. Look, obviously ran through a lot of questions real quick. Did you have any last thoughts or comments on your end?

14:53No. The only thing I'd say or caveat is that, well, so part of the whole structure at the minute is that Netflix have it in the UK, but it's not available in other countries yet, but that will hopefully come in time. But just, and we'll have information on that soon, basically. But just so that if, unless you're saying, or go watch it or point people they won't be able to unless they're in the uk for a period of time until other territories start opening up um that's just the only thing to be aware of but yeah hopefully that won't be long yeah gotcha and i mean i guess one last quick question uh bob and i know you have to run but um what has the initial like reaction been as well in commentary from just uh since you all have announced it what's the feedback been like it's been amazing like it's been so it's been everything we wanted like we wanted this opportunity we wanted this um we wanted this announcement to be a real moment for the boys, for the space, for the fans, for everyone.

15:44And I think it has done that. It's opened up a whole ton of conversations that maybe weren't being had before. It's given a credibility to the brand and to all of the things we're trying to do. Even from a 30-second teaser, we haven't even launched a full trailer yet, right? But I think it's been an amazing moment already. So I'm excited to see the reaction once it's out, because I think that's going to be the bit where people see what we've been working on. And I'm really proud of it. I think the team are really proud of it. The Sidemen are really proud of it. Everyone's so happy with the finished product that we've got hopefully a good chance of having something that people really like.

16:14So yeah. Yeah. Well, look, Jordan, appreciate you taking the time, uh, chat as always. Uh, can't wait to watch the doc when it's available in the U S uh, hopefully soon enough, but, uh, good luck with the rollout and everything. And, uh, yeah. Amazing what you all are doing and just really blazing such a unique, uh, trail in this space. Thank you, bro. I really appreciate it. So Nate, coming off that call, first I want to acknowledge I love that at the end there, he's like getting out of a cab and he's rushed to head to some sort of meeting. It's just so fun to hear him like actually at work in transit.

16:48I love that. What to you sort of stuck out from what he said on the call? Look, I think around the studio right now, right? A big conversation we've been having a lot. It's just this idea of YouTubers becoming Hollywood faster than Hollywood becoming YouTubers, right? And I mean, I think the key sticking point we're continuing to see or at least hear about in a lot of these negotiations is really just the leverage creators have in these deals with streamers. Because a lot of creators have gotten to the point where they have legitimate production companies. They have the ability and capacity to make things out of content at a very high level.

17:26right? And when they're bringing that to these deals, you heard Jordan talk about down the line, if they want to release this documentary on the Sidemen channel, they have those rights. And I think that's a super unique moment in both Hollywood, but also, you know, creator world. Yeah, I think that premise is what really stuck out to me that the Sidemen own this piece. Because, you know, actually how we operate as creators is we are production companies and studios that are licensing our content, right? Like what we do on YouTube is actually license our content to YouTube in exchange for revenue share.

18:01So when you start to look at our engagement with streaming platforms, it operates in the same way. We can be producing content and licensing it. And I started to see a few other things pop up this week, like Yes Theory's content is now on United Airlines, right? And I don't know that that's like a dramatically lucrative deal, but it's really cool to see like this syndicated opportunity of we produce content, we license it to these big players. For certain creators, there really is leverage. And I agree with you that that was one of the most interesting takeaways. It made me think about a conversation we had with Mark Rober, when Mark was talking with Jimmy Kimmel about potentially doing some sort of traditional media deal.

18:44And at the beginning of those talks, you know, Mark was saying to Jimmy Kimmel saying, okay so if I do this I have less viewership I have less creative I have less creative control and I will make less money and that's probably the best place you can be going into one of these studios if you're pitching them now obviously there's that cachet of being on Netflix and there is added distribution but when you can go into a negotiating room and you know that you have more viewership you can make more money potentially on your own and you know what it means to take creative control to make the best product, that puts you in a pretty good spot.

19:23Yeah. And it honestly makes me curious too, like for you guys, if you were in that spot, in that room negotiating table with several streamers, what would be your priorities, right? How would you guys really go about that conversation? Well, I think we have to take a step back and say like, what's a win here for the sidemen? What's a win for the creator economy? What would be a win for us? If I'm sitting in that room, one of the biggest wins is validation. We can't argue that the Netflix logo next to your piece of content brings an extreme sense of credibility to your brand. And I don't know if the Sidemen are making significant cash here.

20:04Because we also have to think about when we talked to Jordan on our show, he mentioned that Side Plus, their own streaming platform, was the largest piece of their revenue at the Sidemen. So you'd have to imagine if they released this documentary on Side Plus and drive more subscribers to Side Plus, that actually maybe would be more lucrative for them in the long term than this deal with Netflix. But what this does is legitimize them at a pretty big scale. And when you're an empire like the Sidemen and you have sides, the restaurant, you have the charity match, you're starting to get credibility in mass entertainment.

20:37And the Netflix logo multiplies that times 10. For me, I would be most interested in creative control and ownership. I think those two are really important. Even if the dollars were less than maybe I had anticipated, I would want to know that I own the documentary so that maybe one day I can put it on my own platforms and that when I make this documentary, it's exactly the way I want to make it. I think a win for the space here would be significant viewership on Netflix is important because for all of us to get opportunities here, these things have to go well. The streamer times YouTuber thing has to go well for us to get opportunities.

21:17Now, I think a win for the Sidemen is credibility and maybe new audience. I struggle to believe that that's, you know, a true, true possibility. Maybe it's like a bit of introduction. But Netflix is also starting to move into an ad supported model. And I think courting YouTubers is pretty smart right now as Netflix is starting to explore what does it mean to be in an ad supported environment? it. Yeah, I guess glass half full outlook as well. Like, let's say that success story comes to pass, right? Let's say I'm an aspiring creator, either reading the press or listening to this podcast, you know, am I looking at this deal and saying, great, another huge creator getting an opportunity that I'll never have?

21:58Or am I looking at this deal and saying, oh, if this is a success, this will open up so many more opportunities for creators like me. That's a good point. My hope for the documentary is that the majority of it is not just contextualizing who the sidemen are in terms of them being YouTube creators, trying to over-explain what it means to be a digital creator. That, to me, is one of my pet peeves when it comes to these types of documentaries. And I think it's the biggest missed opportunity. Samir and I spoke at length about Jake Paul's episode of Untold, which was on Netflix. And if you watch that, there could have been this great opportunity to truly tell his boxing story and show real-time footage of him training.

22:42And that type of footage doesn't come till the very end. Like they spend so much time worried that I think people won't understand what it means to grow as a digital creator. And I think the real opportunity is to just show them as people and the problems they're dealing with in their everyday life right now. And that's what like Drive to Survive and Breakpoint and all of these sports driven shows do so well. They connect you to the people, not necessarily, you know, spending tons of time on context. So my closing thought here is that I think one thing that I thought was kind of interesting was that it's only available in the UK.

23:24I didn't really understand that. I'd be curious to double click into that and learn more about why it's initially only available in the UK and then it'll be more widely available. But for the Sidemen group, I think, and for us, when I'm thinking about it from a creator economy perspective, even more mass acceptance that creators are great places to spend ad dollars, that's still where we are as an economy. If advertisers can continue to accept that we are a legitimate place and a better place to spend ad dollars than a billboard or another environment, that's an overall win for the economy. And I think big plays like this legitimize our space or have the opportunity to legitimize our space to the entire advertising industry.

24:11And that's a win. Overall, just a super interesting experience, even for Samir and I to listen to this conversation between you two for the first time. So I hope everyone listening right now got to enjoy that as well. And if you have a story that you want to tell or you think is interesting, I do want to offer that, you know, Nate, you and Hannah and the team at The Published Press are available and actively looking for stories. So if you do have one, you can reach out to hi at thepublishedpress.com. Yeah, drop me a line. We're always interested in new story leads and just chatting with everyone reading and listening to what we put out.

24:49And if you're not yet a subscriber to The Published Press, the link is in our description, thepublishedpress.com. You'll get coverage like this three times a week into your inbox, and you can reply to that email and say hi to Nate. All right. Thank you, Nate, for joining us. Thanks, guys.

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