Podcast appearances and mentions of Ted Sarandos

Netflix is in a high-stakes fight to buy storied movie studio Warner Bros. The company has a $72 billion deal in hand, but rival Paramount isn't going down without a fight. At the helm of the streaming giant is co-CEO Ted Sarandos, whose strategies have helped transform the entertainment industry. WSJ's Joe Flint says that Hollywood's creatives were once enamored with Netflix's approaches but have grown more wary of what new changes could come with consolidation. WSJ's Ryan Knutson hosts. Further Listening: - Netflix's Fight for Warner Just Got Harder - Hollywood Jobs Are Disappearing Sign up for WSJ's free What's News newsletter. Learn more about your ad choices. Visit megaphone.fm/adchoices

https://bbvproductions.co.uk/products/Faction-Paradox-The-Confession-of-Brother-Signet-AUDIO-DOWNLOAD-p389922366 The first season of the American science fiction horror drama television series Stranger Things premiered worldwide on the streaming service Netflix on July 15, 2016. The series was created by the Duffer Brothers, who also serve as executive producers along with Shawn Levy and Dan Cohen. This season stars Winona Ryder, David Harbour, Finn Wolfhard, Millie Bobby Brown, Gaten Matarazzo, Caleb McLaughlin, Natalia Dyer, Charlie Heaton, Cara Buono, and Matthew Modine, with Noah Schnapp, Joe Keery, and Shannon Purser in recurring roles. The first season of Stranger Things received critical acclaim, in particular for its originality, homages to the 1980s, characterization, tone, visuals, and performances (particularly those of Ryder, Harbour, Wolfhard, Brown, Heaton and Modine). Premise The first season begins on November 6, 1983, in a small town called Hawkins. Researchers at Hawkins National Laboratory open a rift to the "Upside Down," an alternate dimension that reflects the real world. A monstrous humanoid creature escapes and abducts a boy named Will Byers and a teenage girl. Will's mother, Joyce, and the town's police chief, Jim Hopper, search for Will. At the same time, a young psychokinetic girl who goes by the name "Eleven" escapes from the laboratory and assists Will's friends, Mike Wheeler, Dustin Henderson, and Lucas Sinclair, in their efforts to find Will.[1] Cast and characters See also: List of Stranger Things characters Main cast Winona Ryder as Joyce Byers[2] David Harbour as Jim Hopper[2] Finn Wolfhard as Mike Wheeler[3] Millie Bobby Brown[3] as Eleven ("El") Gaten Matarazzo as Dustin Henderson[3] Caleb McLaughlin as Lucas Sinclair[3] Natalia Dyer as Nancy Wheeler[3] Charlie Heaton as Jonathan Byers[3][4][5] Cara Buono as Karen Wheeler[6] Matthew Modine as Martin Brenner[7] Recurring Noah Schnapp as Will Byers Joe Keery as Steve Harrington Shannon Purser as Barbara "Barb" Holland[8] Joe Chrest as Ted Wheeler Ross Partridge as Lonnie Byers[9] Rob Morgan as Officer Powell John Paul Reynolds as Officer Callahan Randy Havens as Scott Clarke Catherine Dyer as Connie Frazier Aimee Mullins as Terry Ives[10] Amy Seimetz as Becky Ives Peyton Wich as Troy[11] Tony Vaughn as Principal Coleman Charles Lawlor as Mr. Melvald Tinsley and Anniston Price as Holly Wheeler Cade Jones as James Chester Rushing as Tommy H. Chelsea Talmadge as Carol Glennellen Anderson as Nicole Cynthia Barrett as Marsha Holland Jerri Tubbs as Diane Hopper Elle Graham as Sara Hopper Chris Sullivan as Benny Hammond Tobias Jelinek as lead agent Robert Walker-Branchaud as repairman agent Susan Shalhoub Larkin as Florence ("Flo") Episodes See also: List of Stranger Things episodes No. overall No. in season Title Directed by Written by Original release date 1 1 "Chapter One: The Vanishing of Will Byers" The Duffer Brothers The Duffer Brothers July 15, 2016 On November 6, 1983, in Hawkins, Indiana, a scientist is attacked by an unseen creature at a U.S. government laboratory. 12-year-old Will Byers encounters the creature and mysteriously vanishes while cycling home from a Dungeons & Dragons session with his friends Mike Wheeler, Dustin Henderson and Lucas Sinclair. The following day, Will's single mother Joyce Byers reports his disappearance to the police chief Jim Hopper, who starts a search but assures Joyce that almost all missing children are quickly found. The lab's director, Dr. Martin Brenner, investigates an organic substance oozing from the lab's basement, claiming that "the girl" cannot have gone far. A nervous young girl wearing a hospital gown wanders into a local diner. The owner, Benny, finds a tattoo of "011" on her arm and learns that her name is Eleven. Brenner, monitoring the phone lines, sends agents to the diner after Benny calls social services. The agents kill Benny, but Eleven manages to escape using telekinetic abilities. Joyce's phone short circuits after receiving a mysterious phone call that she believes is from Will. While searching for Will in the woods, Mike, Dustin, and Lucas come across Eleven. 2 2 "Chapter Two: The Weirdo on Maple Street" The Duffer Brothers The Duffer Brothers July 15, 2016 The boys bring Eleven to Mike's house, where they disagree on what to do. Mike formulates a plan for Eleven to pretend to be a runaway and seek help from his mother, Karen. Eleven refuses, however, revealing that "bad men" are after her. Will's brother Jonathan visits his estranged father Lonnie in Indianapolis to search for Will, but Lonnie rebuffs him. Hopper's search party discovers a scrap of hospital gown near the lab. After recognizing Will in a photograph and demonstrating her telekinesis, Eleven convinces the boys to trust her, as they believe she can find Will. Using the Dungeons & Dragons board, Eleven indicates that Will is on the "Upside Down" side of the board and is being hunted by the "Demogorgon" (the creature). Mike's sister Nancy and her friend Barbara 'Barb' Holland go to a party with Nancy's boyfriend Steve Harrington. Searching for Will near Steve's house, Jonathan secretly photographs the party. Joyce receives another call from Will, hears music playing from his stereo, and sees a creature coming through the wall. Left alone by the swimming pool, Barb is attacked by the Demogorgon and vanishes. 3 3 "Chapter Three: Holly, Jolly" Shawn Levy Jessica Mecklenburg July 15, 2016 Barb awakens in the Upside Down: a decaying, overgrown alternate dimension. She attempts to escape but is attacked by the Demogorgon. Joyce believes Will is communicating through pulses in light bulbs. Hopper visits Hawkins Lab, and the staff permits him to view doctored security footage from the night Will vanished, leading Hopper to investigate Brenner and discover his involvement with Project MKUltra and that a woman named Terry Ives alleged years earlier that Brenner took her daughter. Eleven recalls Brenner, whom she calls "Papa," punishing her for refusing to hurt a cat telekinetically. Steve destroys Jonathan's camera after discovering the photos from the party. Nancy later recovers a photo of Barb, simultaneously realizing that Barb is missing. Returning to Steve's house to investigate, Nancy finds Barb's untouched Volkswagen and encounters the Demogorgon but manages to escape. Joyce paints an alphabetic board on her wall with Christmas lights, allowing Will to sign to her that he is "RIGHT HERE" and that she needs to "RUN" as the Demogorgon comes through the wall. Believing Eleven knows where Will is, the boys ask her to lead them to him. Eleven leads them, to their frustration, to Will's house. From there they follow emergency vehicles to a nearby quarry just as Will's body is recovered from the water. 4 4 "Chapter Four: The Body" Shawn Levy Justin Doble July 15, 2016 Joyce refuses to believe that the body found at the quarry is Will's. Mike feels betrayed by Eleven until she proves that Will is still alive, channeling his voice through Mike's walkie-talkie. The boys theorize that Eleven could use a ham radio at their school to communicate with Will. Nancy notices a figure behind Barb in Jonathan's photo, which Jonathan realizes matches his mother's description of the Demogorgon. Nancy tells the police about Barb's disappearance. She later fights with Steve, who only cares about not getting in trouble with his father. Hopper has suspicions regarding the authenticity of the body found in the quarry when he learns that the usual coroner was sent home. Hopper confronts the state trooper who found it and beats him until he admits he was ordered to lie. The boys sneak Eleven into their school to use the radio, while Joyce hears Will's voice through her living room wall. Tearing away the wallpaper, she sees him. Eleven uses the radio to channel Will talking to his mother. Hopper goes to the morgue and finds that the body is a fake, and, suspecting that Brenner is responsible, breaks into the lab. 5 5 "Chapter Five: The Flea and the Acrobat" The Duffer Brothers Alison Tatlock July 15, 2016 Hopper searches the lab before being knocked out by the lab's guards. The boys ask their science teacher, Mr. Clarke, if it would be possible to travel between alternate dimensions, to which he answers that there could be a theoretical "gate" between dimensions. Hopper awakens at his house and finds a hidden microphone, realizing that Joyce was right the whole time. The boys follow their compasses, searching for a gate that could disrupt the Earth's electromagnetic field. Eleven recalls memories of being placed in a sensory-deprivation tank to telepathically eavesdrop on a man speaking Russian; while listening, she came across the Demogorgon. Fearing another encounter with the Demogorgon, Eleven redirects the compasses. Lucas misinterprets this as an act of betrayal, leading Mike and Lucas to fight and Eleven to telekinetically fling Lucas away from Mike. While Dustin and Mike tend to the unconscious Lucas, Eleven runs off. Nancy and Jonathan formulate a plan to kill the Demogorgon. While searching in the woods, they come across a small gate to the Upside Down. Nancy crawls through it but inadvertently draws the Demogorgon's attention. Jonathan unsuccessfully tries to look for Nancy, as the gate to the Upside Down begins to close. 6 6 "Chapter Six: The Monster" The Duffer Brothers Jessie Nickson-Lopez July 15, 2016 Jonathan pulls Nancy back through the gate. That night, Nancy is afraid to be alone and asks Jonathan to stay in her bedroom. Steve, attempting to reconcile with Nancy, sees them together through her bedroom window and assumes they are dating. Joyce and Hopper track down Terry Ives, who is catatonic and tended by her sister Becky. Becky explains that Terry was a Project MKUltra participant while unknowingly pregnant and that Terry believes Brenner kidnapped her daughter Jane at birth due to her supposed telekinetic and telepathic abilities. Nancy and Jonathan stockpile weapons to kill the Demogorgon, theorizing that it is attracted by blood. Steve is brutally beaten up in a fistfight with Jonathan after he insults Will and calls Nancy a slut. Jonathan is arrested and held at the police station for beating up Steve and inadvertently punching one of the responding officers in the face. Eleven walks into a grocery store and shoplifts several boxes of Eggo waffles. Searching for Eleven, Mike and Dustin are ambushed by two bullies but are rescued by her, as she uses her powers to break one bully's arm after he attempts to kill Mike. Eleven collapses and recalls being asked by Brenner to contact the Demogorgon and, in her terror, inadvertently opening the gate. She tearfully admits to Mike that she is responsible for allowing the Demogorgon to enter this dimension. Lucas sees agents, who have tracked down Eleven, preparing to ambush Mike's house. 7 7 "Chapter Seven: The Bathtub" The Duffer Brothers Justin Doble July 15, 2016 Lucas warns Mike that agents are searching for Eleven. Mike, Dustin, and Eleven flee the house. Eleven telekinetically flips one of the vans that block their path as the kids escape. Lucas reconciles with Mike and Eleven, and the kids hide in the junkyard. Nancy and Jonathan reveal their knowledge of the Demogorgon to Joyce and Hopper. Hopper also learns that Eleven is with the kids. The group contacts the kids, and everyone meets at the Byers' house. Joyce and Hopper realize that Eleven is Jane Ives. The group asks Eleven to search for Will and Barb telepathically, but her earlier feats have weakened her. They break into the middle school and build a makeshift sensory deprivation tank to amplify Eleven's powers. After telepathically entering the Upside Down again, Eleven finds Barb dead and Will alive, hiding in the Upside Down version of his backyard fort. Realizing that the gate is in the basement of the lab, Hopper and Joyce break into the lab and are apprehended by security guards. Nancy and Jonathan sneak into the police station to retrieve the weapons they purchased previously, planning to lure and kill the Demogorgon. In the Upside Down, the Demogorgon breaks into Will's fort. 8 8 "Chapter Eight: The Upside Down" The Duffer Brothers Story by : Paul Dichter Teleplay by : The Duffer Brothers July 15, 2016 Hopper, haunted by the death of his daughter Sara from cancer years earlier, gives up Eleven's location to Brenner, who in exchange allows Hopper and Joyce to enter the Upside Down to rescue Will. Nancy and Jonathan cut their hands to attract the Demogorgon at the Byers' house. Steve, intending to apologize to Jonathan about their fight, arrives just as the Demogorgon appears. Steve, Nancy, and Jonathan fight the Demogorgon and light it on fire, forcing it to retreat to the Upside Down. Meanwhile, Eleven and the boys hide in the middle school when Brenner and his agents arrive to kidnap Eleven; she kills most of them before collapsing from exhaustion. As Brenner and his remaining agents pin Eleven and the boys down, the Demogorgon appears, attracted by the dead agents' blood, and attacks Brenner and the remaining agents as the boys escape with Eleven. Hopper and Joyce enter the Upside Down's version of the Hawkins library, where they encounter several corpses of the Demogorgon's victims, including Barb, and find Will unconscious with a tendril down his throat. Hopper revives him using CPR after removing the tendril. The Demogorgon corners the kids, but Eleven recovers from her exhaustion and disintegrates it, causing them both to disappear. Will recovers in the hospital, reuniting with his family and friends. One month later, it is Christmas and Nancy is back together with Steve, and both are friends with Jonathan. Will coughs up a slug-like creature and has a vision of the Upside Down, but hides this from his family. Production Development Ross (left) and Matt Duffer, the creators of the series Stranger Things was created by Matt and Ross Duffer, known professionally as the Duffer Brothers.[12] The two had completed writing and producing their 2015 film Hidden, which they had tried to emulate the style of M. Night Shyamalan, however, due to changes at Warner Bros., its distributor, the film did not see a wide release and the Duffers were unsure of their future.[13] To their surprise, television producer Donald De Line approached them, impressed with Hidden's script, and offered them the opportunity to work on episodes of Wayward Pines alongside Shyamalan. The brothers were mentored by Shyamalan during the episode's production so that when they finished, they felt they were ready to produce their own television series.[14] The Duffer Brothers prepared a script that would essentially be similar to the series' actual pilot episode, along with a 20-page pitch book to help shop the series around for a network.[15] They pitched the story to a number of cable networks, all of which rejected the script on the basis that they felt a plot centered around children as leading characters would not work, asking them to make it a children's show or to drop the children and focus on Hopper's investigation in the paranormal.[14] In early 2015, Dan Cohen, the VP of 21 Laps Entertainment, brought the script to his colleague Shawn Levy. They subsequently invited The Duffer Brothers to their office and purchased the rights for the series, giving full authorship of it to the brothers. After reading the pilot, the streaming service Netflix purchased the whole season for an undisclosed amount;[16] the show was subsequently announced for a planned 2016 release by Netflix in early April 2015.[17] The Duffer Brothers stated that at the time they had pitched to Netflix, the service had already been recognized for its original programming, such as House of Cards and Orange Is the New Black, with well-recognized producers behind them, and were ready to start giving upcoming producers like them a chance.[15] The brothers started to write out the series and brought Levy and Cohen in as executive producers to start casting and filming.[18] The series was originally known as Montauk, as the setting of the script was in Montauk, New York and nearby Long Beach locations.[17][19] The brothers had chosen Montauk as it had further Spielberg ties with the film Jaws, where Montauk was used for the fictional setting of Amity Island.[20] After deciding to change the narrative of the series to take place in the fictional town of Hawkins instead, the brothers felt they could now do things to the town, such as placing it under quarantine, that they really could not envision with a real location.[20] With the change in location, they had to come up with a new title for the series under the direction from Netflix's Ted Sarandos so that they could start marketing it to the public. The brothers started by using a copy of Stephen King's Firestarter novel to consider the title's font and appearance and came up with a long list of potential alternatives. Stranger Things came about as it sounded similar to another King novel, Needful Things, though Matt noted they still had a "lot of heated arguments" over this final title.[21] Writing The idea of Stranger Things started with how the brothers felt they could take the concept of the 2013 film Prisoners, detailing the moral struggles a father goes through when his daughter is kidnapped, and expand it out over eight or so hours in a serialized television approach. As they focused on the missing child aspect of the story, they wanted to introduce the idea of "childlike sensibilities" they could offer and toyed around with the idea of a monster that could consume humans. The brothers thought the combination of these things "was the best thing ever". To introduce this monster into the narrative, they considered "bizarre experiments we had read about taking place in the Cold War" such as Project MKUltra, which gave a way to ground the monster's existence in science rather than something spiritual. This also helped them to decide on using 1983 as the time period, as it was a year before the film Red Dawn came out, which focused on Cold War paranoia.[14] Subsequently, they were able to use all their own personal inspirations from the 1980s, the decade they were born, as elements of the series,[14][22] crafting it in the realm of science fiction and horror.[23] The Duffer Brothers have cited as influence for the show (among others): Stephen King novels; films produced by Steven Spielberg, John Carpenter, Wes Craven, Robert Zemeckis, George Lucas and Guillermo del Toro; films such as Alien and Stand by Me; Japanese anime such as Akira and Elfen Lied; and video games such as Silent Hill and The Last of Us.[21][24][25][26][27][28][29][30][31] With Netflix as the platform, The Duffer Brothers were not limited to a typical 22-episode format, opting for the eight-episode approach. They had been concerned that a 22-episode season on broadcast television would be difficult to "tell a cinematic story" with that many episodes. Eight episodes allowed them to give time to characterization in addition to narrative development; if they had less time available, they would have had to remain committed to telling a horror film as soon as the monster was introduced and abandon the characterization.[15] Within the eight episodes, the brothers aimed to make the first season "feel like a big movie" with all the major plot lines completed so that "the audience feels satisfied", but left enough unresolved to indicate "there's a bigger mythology, and there's a lot of dangling threads at the end", something that could be explored in further seasons if Netflix opted to create more.[32] While explaining their intentions for the show, the Duffers adamantly stated their intentions to not explain the mythology in the show so they could leave a mystery and lot for the audience to speculate over their lack of understanding by the season finale, which they accepted but asked to be explained about at the very least, which they found like a really good exercise as they spent quite a bit of time with their writers' room figuring out exactly what the Upside Down would actually consist for, writing a 20-page mythology document whose details wouldn't be clarified for the audience until the show's fifth and final season.[33] Regarding writing for the children characters of the series, The Duffer Brothers considered themselves as outcasts from other students while in high school and thus found it easy to write for Mike Wheeler and his friends, and particularly for Barbara "Barb" Holland.[21] Joyce Byers was fashioned after Richard Dreyfuss's character Roy Neary in Close Encounters of the Third Kind, as she appears "absolutely bonkers" to everyone else as she tries to find her son Will Byers.[34] Other characters, such as Billy in the second season, have more villainous attributes that are not necessarily obvious from the onset; Matt explained that they took further inspiration from Stephen King for these characters, as King "always has really great human villains" that may be more malicious than the supernatural evil.[35] Casting The Duffers cast David Harbour as Sheriff Hopper believing this was his opportunity to play a lead character in a work. In June 2015, it was announced that Winona Ryder and David Harbour had joined the series as Joyce and as the unnamed chief of police, respectively.[2] The brothers' casting director Carmen Cuba had suggested Ryder for the role of Joyce, which the two were immediately drawn to because of her prominence in 1980s films.[14] Levy believed Ryder could "wretch up the emotional urgency and yet find layers and nuance and different sides of [Joyce]". Ryder praised that the show's multiple storylines required her to act for Joyce as "she's out of her mind, but she's actually kind of onto something", and that the producers had faith she could pull off the difficult role.[36] Upon being offered the role, Ryder felt intrigued at being given the pilot's script due to know knowing what streaming was and finding it "terrifying", with her sole condition to the Duffers for accepting the role being that, if a Beetlejuice sequel ever materialized as she and Tim Burton had been discussing since 2000, they had to let her take a break to shoot it, a condition the Duffers agreed and ultimately proved to work out when Beetlejuice Beetlejuice was greenlighted years later.[37] The Duffer Brothers had been interested in Harbour before, who until Stranger Things primarily had smaller roles as villainous characters, and they felt that he had been "waiting too long for this opportunity" to play a lead, while Harbour himself was thrilled by the script and the chance to play "a broken, flawed, anti-hero character".[21][38] Additional casting followed two months later with Finn Wolfhard as Mike, Millie Bobby Brown in an undisclosed role, Gaten Matarazzo as Dustin Henderson, Caleb McLaughlin as Lucas Sinclair, Natalia Dyer as Nancy Wheeler, and Charlie Heaton as Jonathan Byers]].[3] In September 2015, Cara Buono joined the cast as Karen Wheeler,[6] followed by Matthew Modine as Martin Brenner a month later.[7] Additional cast who recur for the first season include Noah Schnapp as Will,[3][5] Shannon Purser as Barbara "Barb" Holland,[8] Joe Keery as Steve Harrington,[39][5] and Ross Partridge as Lonnie Byers,[9] among others. Actors auditioning for the children's roles read lines from Stand By Me.[14] The Duffer Brothers estimated they went through about a thousand different child actors for the roles. They noted that Wolfhard was already "a movie buff" of the films from the 1980s period and easily filled the role, while they found Matarazzo's audition to be much more authentic than most of the other audition tapes, and selected him after a single viewing of his audition tape.[15] As casting was started immediately after Netflix greenlit the show, and prior to the scripts being fully completed, this allowed some of the actors' takes on the roles to reflect into the script. The casting of the young actors for Will and his friends had been done just after the first script was completed, and subsequent scripts incorporated aspects from these actors.[32] The brothers said Modine provided significant input on the character of Dr. Brenner, whom they had not really fleshed out before as they considered him the hardest character to write for given his limited appearances within the narrative.[34] Filming The brothers had desired to film the series around the Long Island area to match the initial Montauk concept. However, with filming scheduled to take place in November 2015, it was difficult to shoot in Long Island in the cold weather, and the production started scouting locations in and around the Atlanta, Georgia area. The brothers, who grew up in North Carolina, found many places that reminded them of their own childhoods in that area, and felt the area would work well with the narrative shift to the fictional town of Hawkins, Indiana.[20] The filming of the first season began on September 25, 2015, and was extensively done in Atlanta, Georgia, with The Duffer Brothers and Levy handling the direction of individual episodes.[40] Jackson served as the basis of the fictional town of Hawkins, Indiana.[41][42] Other shooting locations included the Georgia Mental Health Institute as the Hawkins National Laboratory site, Bellwood Quarry, Patrick Henry High School in Stockbridge, Georgia, for the middle and high school scenes,[43] Emory University's Continuing Education Department, the former city hall in Douglasville, Georgia, Georgia International Horse Park, the probate court in Butts County, Georgia, Old East Point Library and East Point First Baptist Church in East Point, Georgia, Fayetteville, Georgia, Stone Mountain Park, Palmetto, Georgia, and Winston, Georgia.[44] Set work was done at Screen Gem Studios in Atlanta.[44] The series was filmed with a Red Dragon digital camera.[34] Filming for the first season concluded in early 2016.[41] While filming, the brothers tried to capture shots that could be seen as homages to many of the 1980s references they recalled. Their goal was not necessarily to fill the work with these references, but instead to make the series seem to the viewer like a 1980s film.[21] They spent little time reviewing those works and instead went by memory. Matt further recognized that some of their filming homages were not purposely done but were found to be very comparable, as highlighted by a fan-made video comparing the show to several 1980s works side by side.[14][45] Matt commented on the video that "Some were deliberate and some were subconscious."[14] The brothers recognized that many of the iconic scenes from these 1980s films, such as with Poltergeist, was about "taking a very ordinary object that people deal with every day, their television set, and imbuing it with something otherworldly", leading to the idea of using the Christmas light strings for Will to communicate with Joyce.[21] The brothers attributed much of the 1980s feel to set and costume designers and the soundtrack composers that helped to recreate the era for them.[14] Lynda Reiss, the head of props, had about a $220,000 budget, similar to most films, to acquire artifacts of the 1980s, using eBay and searching through flea markets and estate sales around the Atlanta area. The bulk of the props were original items from the 1980s with only a few pieces, such as the Dungeons & Dragons books made as replicas.[46] Visual effects To create the aged effect for the series, a film grain was added over the footage, which was captured by scanning in film stock from the 1980s.[34] The Duffers wanted to scare the audience, but not to necessarily make the show violent or gory, following in line with how the 1980s Amblin Entertainment films drove the creation of the PG-13 movie rating. It was "much more about mood and atmosphere and suspense and dread than they are about gore", though they were not afraid to push into more scary elements, particularly towards the end of the first season.[34] The brothers had wanted to avoid any computer-generated effects for the monster and other parts of the series and stay with practical effects. However, the six-month filming time left them little time to plan out and test practical effects rigs for some of the shots. They went with a middle ground of using constructed props including one for the monster whenever they could, but for other shots, such as when the monster bursts through a wall, they opted to use digital effects. Post-production on the first season was completed the week before it was released on Netflix.[14] The title sequence uses closeups of the letters in the Stranger Things title with a red tint against a black background as they slide into place within the title. The sequence was created by the studio Imaginary Forces, formerly part of R/GA, led by creative director Michelle Doughtey.[47] Levy introduced the studio to The Duffer Brothers, who explained their vision of the 1980s-inspired show, which helped the studio to fix the concept the producers wanted. Later, but prior to filming, the producers sent Imaginary Forces the pilot script, the synth-heavy background music for the titles, as well as the various book covers from King and other authors that they had used to establish the title and imagery, and were looking for a similar approach for the show's titles, primarily using a typographical sequence. They took inspiration from several title sequences of works from the 1980s that were previously designed by Richard Greenberg under R/GA, such as Altered States and The Dead Zone. They also got input from Dan Perri, who worked on the title credits of several 1980s films. Various iterations included having letters vanish, to reflect the "missing" theme of the show, and having letters cast shadows on others, alluding to the mysteries, before settling into the sliding letters. The studio began working on the title sequence before filming and took about a month off during the filming process to let the producers get immersed in the show and come back with more input. Initially, they had been working with various fonts for the title and used close-ups of the best features of these fonts, but near the end the producers wanted to work with ITC Benguiat, requiring them to rework those shots. The final sequence is fully computer-generated, but they took inspiration from testing some practical effects, such as using Kodalith masks as would have been done in the 1980s, to develop the appropriate filters for the rendering software. The individual episode title cards used a "fly-through" approach, similar to the film Bullitt, which the producers had suggested to the studio.[48] Music Main articles: Music of Stranger Things and Stranger Things (soundtrack) The Stranger Things original soundtrack was composed by Michael Stein and Kyle Dixon of the electronic band Survive.[49] It makes extensive use of synthesizers in homage to 1980s artists and film composers including Jean-Michel Jarre, Tangerine Dream, Vangelis, Goblin, John Carpenter, Giorgio Moroder, and Fabio Frizzi.[50] According to Stein and Dixon, The Duffer Brothers had been fans of Survive's music, and used their song "Dirge" for the mock trailer that was used to sell the show to Netflix.[49][51] Once the show was green-lit, the Duffers contacted Survive around July 2015 to ask if they were still doing music; the two provided the production team with dozens of songs from their band's past to gain their interest, helping to land them the role.[49] Once aboard, the two worked with producers to select some of their older music to rework for the show, while developing new music, principally with character motifs.[51] The two had been hired before the casting process, so their motif demos were used and played over the actors' audition tapes, aiding in the casting selection.[51][52] The show's theme is based on an unused work Stein composed much earlier that ended up in the library of work they shared with the production staff, who thought that with some reworking would be good for the opening credits.[49] The first season's original soundtrack, consisting of 75 songs from Dixon and Stein split across two volumes, was released by Lakeshore Records. Digital release and streaming options were released on August 10 and 19, 2016 for the two volumes, respectively, while retail versions were available on September 16 and 23, 2016.[53][54] In addition to original music, Stranger Things features period music from artists including The Clash, Toto, New Order, The Bangles, Foreigner, Echo and the Bunnymen, Peter Gabriel and Corey Hart, as well as excerpts from Tangerine Dream, John Carpenter and Vangelis.[54][55] In particular, The Clash's "Should I Stay or Should I Go" was specifically picked to play at pivotal moments of the story, such as when Will is trying to communicate with Joyce from the Upside Down.[54] Music supervisor Nora Felder felt the song "furthered the story" and called it an additional, unseen, main character of the season.[56]

In the final FLITE CHAT of the year, we're setting the record straight about Netflix's Ted Sarandos and his actions versus his words, debating when Winter actually begins, and first reactions to the DCU's Brainiac, Lars Eidinger. Happy Holidays and Happy New Year! Contact Ray at: EMAIL: ray@theflitecast.com BLUESKY: @FliteCast THREADS: @TheFliteCast INSTAGRAM: theflitecast FACEBOOK: https://www.facebook.com/TheFliteCast/ Subscribe to The FliteCast: Apple Podcasts / YouTube / Spotify / Pandora / RSS Become a member of The FliteCast on Patreon: https://www.patreon.com/TheFliteCast

Dana and David kick things off with the big stuff: the potential Netflix–Warner Bros. merger—and the very bold text David sent Ted Sarandos about it. Then they sit down with director-producer Dan Farah to unpack his hit documentary The Age of Disclosure, the SXSW standout that went on to become Amazon Prime Video's highest-grossing documentary ever. Farah walks the guys through the filmmaking process, the questions that still linger, and which films—like Close Encounters and The Abyss—surprisingly get the phenomenon right. And don't miss the lively “Buzzing Around” segment after the interview. (You can check out Dan's doc at https://www.primevideo.com/detail/The-Age-of-Disclosure/0NVVP9AVUZEJKG9CJC4RQE9J27). To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This week, the nation tunes in to find out who will receive Donald Trump's rose: Paramount's David Ellison or Netflix's Ted Sarandos? Meanwhile, Obamacare subsidies are set to expire, Trump's poll numbers continue to plummet, and Marjorie Taylor Greene remains... on the level? What the hell? Director Cameron Crowe riffs on the gods of rock and the zoos we've bought. Tig Notaro brings the hot lesbian action, and we all look forward to the new year, taking stock of what we'd change, and what we hope will stay the same. For a transcript of this episode, please email transcripts@crooked.com and include the name of the podcast.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

For more than a century, Warner Bros has been one of Hollywood's biggest players, a legacy studio that helped define the Golden Age of cinema with iconic blockbuster movies. Now, it's at the centre of a contentious, billion-dollar bidding war between Netflix, the world's leading streaming platform, and Paramount Skydance, owned by the powerful Ellison family, which has close ties to President Trump. Whichever way this goes, the outcome isn't looking great. Contributors: Matt Craig - Reporter, Forbes Daheli Hall - Writer and director Lee Hepner - Antitrust lawyer Dominic Patten - Executive editor, Deadline On our radar This week, Australia became the first country in the world to impose a social media ban for children less than the age of 16. The Australian government says it is taking on Big Tech and safeguarding children, but some young people were able to quickly bypass the new rules. Ryan Kohls reports. The Imran Khan rumour mill Despite being in jail for more than two years, Imran Khan continues to occupy airtime in Pakistan. After the army restricted access to Khan, rumours of his death ricocheted across social media.  Pressure from his supporters and family forced the military to lift the restrictions and grant Khan's sisters access to speak to him. Meenakshi Ravi reports on the showdown between Imran Khan and powerful Field Marshal Asim Munir, and what it reveals about power, politics and narrative control in Pakistan. Featuring:  Amber Rahim Shamsi - Pakistan Editor, Nukta Moeed Pirzada - Political YouTuber Mohammed Hanif - Author and journalist

Gym locker drama. I lament and lambast the fact that Ted Sarandos and Netflix are taking over 80% of the entertainment industry, which is a really good idea for someone trying to break into the industry. (Calling him "the anti-christ of cinema" probably won't bode well for my first meeting) I went to see Blade Runner at the Million Dollar Theater (FROM the movie). I give my thoughts on that, and the abusive relationship we're all trapped in as sci fi fans. I extoll my excitement for a myriad of events this Friday, Dec 12 will be one of the most exciting days/nights of the year. (For realz) I went to one of the worst bars with the worst bartenders I've ever been to, but I also got some karma back from Floyd's Barbershop. I did my first stand up set in 5 months, and had some revelations. (The audience had one too; "this guy isn't funny.")

The fate of Hollywood rests in President Trump's hands as Netflix and Paramount fight to acquire Warner Brothers Discovery—the home of HBO Max, Harry Potter, and Superman. Will Trump back Paramount's bid by longtime loyalist Larry Ellison (with help from presidential son-in-law Jared Kushner)? Or will Netflix's Ted Sarandos be able to woo the President to his side? Jon, Tommy, and Lovett discuss Trump's involvement in the Hollywood mega-deal and all the rest of the news, including the administration's bailout for soybean farmers who have been hurt by tariffs, Congressional Republicans unwillingness to do anything about the coming ACA premium hikes, and the President's promise to sign an executive order that would sweep away state AI regulations. Then, Bloomberg's Lucas Shaw, who broke the Warner Brothers merger news, talks to Lovett about the future of Hollywood and the details of the rival bids for WBD.For a closed-captioned version of this episode, click here. For a transcript of this episode, please email transcripts@crooked.com and include the name of the podcast. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Matt is joined by Peter Supino from Wolfe Research to discuss Paramount launching a hostile takeover of Warner Bros., days after they agreed to a deal with Netflix. Peter maps out the differences in each bid and makes the case for and against each bidder. They also talk about the latest comments by David Ellison, Ted Sarandos, and Donald Trump, where the financials are coming from for Paramount-Skydance, and ultimately who has the upper hand (02:27). Matt finishes the show with a prediction about the 2026 Golden Globes (27:30).For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠click here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Email us your thoughts! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thetown@spotify.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Host: Matt Belloni Guest: Peter Supino Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Dive into the seismic Netflix-Warner Bros. Discovery deal reshaping streaming in this Analytic Dreamz segment on Notorious Mass Effect. The $72 billion acquisition merges Netflix's 300M subscribers with HBO Max's 130M, targeting 430M global users—possibly $83B including debt. Set for Q3 2026 close, it requires spinning off CNN, Discovery Channel, TBS, and TNT.Netflix scores powerhouse IPs: Batman, Superman, Wonder Woman, Harry Potter, Game of Thrones, The Sopranos, and classics like Casablanca, Citizen Kane. Columbia Business School's Kathryn Harrigan praises the unmatched library. HBO Max stays separate—no subscriber shifts yet—but co-CEO Gregory Peters signals post-close bundles, tiering, and integration amid overlap.Price hikes expected in 12-18 months. Regulatory hurdles mount: Sen. Elizabeth Warren calls it an 'anti-monopoly nightmare'; Trump administration skeptical per CNBC. Paramount-Skydance ($8.4B bid) and Comcast challenge, citing dominance risks. SAG-AFTRA warns of creative workforce threats. CEO Ted Sarandos defends: pro-consumer, pro-innovation, pro-worker, expanding choice.Warner films keep theatrical runs. Netflix also seals $1B Fort Monmouth acquisition for 12 soundstages, 500K sq ft production by 2028. Sarandos-Trump meetings add intrigue. $5.8B breakup fee if failed. Bids beat $28/share. This rivals Disney-Fox, building history's largest streaming empire. Analytic Dreamz delivers the essential analysis.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

X krijgt de langverwachte eerste boete onder de Digital Services Act (DSA), van 120 miljoen euro. Het advertentieregister is niet in orde en ook de blauwe vinkjes die te koop zijn, zorgen voor misleiding en imitatiefraude. X-baas Elon Musk zegt in zijn reactie dat de EU afgeschaft moet worden en zijn Head of Products Nikita Bier reageerde met het verwijderen van het advertentieaccount van de Europese Commissie zelf. Rosanne Peters vertelt erover in deze Tech Update. Het advertentieregister van X is niet transparant genoeg, niet goed doorzoekbaar en niet betrouwbaar. Volgens de Europese Commissie is dat wel nodig als we met z'n allen oplichting en nepadvertenties willen voorkomen. Er wordt nog onderzoek gedaan naar andere regels onder de DSA die X mogelijk overtreedt. X kan nog in beroep gaan tegen de boete. Verder in deze Tech Update: OpenAI blijft volhouden dat het geen advertenties toont aan betalende ChatGPT-gebruikers Netflix co-CEO Ted Sarandos besprak vóór de overname van Warner Bros de deal al met president Donald Trump See omnystudio.com/listener for privacy information.

Netflix is set to acquire Warner Bros Studios in a Netflix agrees to acquire Warner Bros Studios in a $125B deal including HBO Max. Netflix co-CEO Ted Sarandos has said theatrical releases will become more limited, as Netflix sees them as not 'consumer friendly'. Media commentator Duncan Greive told Ryan Bridge: "historically, Netflix has been at best tepid, probably more accurately hostile, towards movie theatres." LISTEN ABOVE See omnystudio.com/listener for privacy information.

Another major shake up is coming to the streaming sphere as Netflix agrees to acquire Warner Bros Studios. The $125B acquisition includes HBO Max - giving them the rights to shows like Game of Thrones, Succession, and Euphoria. Netflix co-CEO Ted Sarandos has said theatrical releases will become more limited, as Netflix sees them as not 'consumer friendly'. Wall Street Journal media and entertainment reporter Joe Flint told Heather du Plessis Allan, "generally Wall Street and Hollywood already felt Netflix was the king. So yes, if this goes through, not only are they the king, but they've probably extended their reign by 100 years or so." LISTEN ABOVESee omnystudio.com/listener for privacy information.

C'est une annonce qui a fait trembler Hollywood : Netflix a proposé un chèque de 83 milliards de dollars pour s'offrir Warner Bros., ses studios de cinéma, de télévision, de jeux vidéo… et surtout sa plateforme de streaming, HBO Max. Une opération titanesque, présentée comme historique. Mais attention : à ce stade, rien n'est encore acté. Le processus pourrait s'étendre jusqu'à fin 2026, et le chemin s'annonce semé d'embûches réglementaires et politiques.Car cette acquisition devrait être passée au crible par les autorités de la concurrence dans le monde entier. En clair, Netflix devra démontrer que l'absorption de Warner et de son catalogue — de Game of Thrones à l'univers DC, en passant par Harry Potter — ne portera pas atteinte à la concurrence ni aux consommateurs. Officiellement, la plateforme le répète : « rien ne change pour l'instant ». Mais en coulisses, les tensions sont déjà très fortes. Le groupe Paramount-Skydance, candidat malheureux au rachat, conteste ouvertement le processus. Son patron, David Ellison, fils du fondateur d'Oracle, espérait l'emporter grâce à ses relations politiques, notamment avec Donald Trump. Quelques heures avant l'annonce de Netflix, Paramount dénonçait publiquement une vente « opaque et injuste ».Donald Trump, justement, est entré directement dans le jeu. Le 7 décembre 2025, sur Truth Social, il a déclaré vouloir examiner de près cette opération, évoquant un risque de « part de marché excessive ». S'il ne peut pas bloquer seul le dossier, il pèse lourdement sur la FTC, dont il a placé un proche à la tête. Le patron de Netflix, Ted Sarandos, a bien tenté d'apaiser les tensions en rencontrant Donald Trump avant l'annonce. Sans succès visible. Pire encore, selon plusieurs médias américains, Paramount-Skydance pourrait préparer une OPA hostile pour reprendre Warner à coup de surenchère boursière.Et les obstacles ne s'arrêtent pas aux États-Unis. Les régulateurs européens et britanniques, réputés plus stricts, pourraient à leur tour freiner le dossier. Le syndicat des acteurs SAG-AFTRA s'y oppose déjà, inquiet pour l'avenir du cinéma en salles. Même dans le scénario le plus optimiste, la transaction ne serait pas finalisée avant la seconde moitié de 2026. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Elaine Low, Natalie Jarvey, Sean McNulty and Lesley Goldberg all gathered Friday morning for a special live episode of Ankler Agenda to break down the repercussions of potentially the most significant piece of show business news this decade: Netflix's acquisition of Warner Bros. Top-line concerns include: The thousands of lost jobs that will worsen unemployment in the industry — already at Depression-era levels Whether movie theaters can survive the “consumer-friendly” windows Netflix co-CEO Ted Sarandos referenced in a Friday call with investors Netflix's potential new arsenal: all-star showrunners (J.J. Abrams, Greg Berlanti and Chuck Lorre, to name a few) and a gaming vertical at last Downstream effects on linear syndication The future of the peerless brand HBO “Everybody is just shell-shocked,” Elaine said of the calls and texts she fielded all day. “The main reaction that I've been getting is that people are scared. People are nervous.” Learn more about your ad choices. Visit megaphone.fm/adchoices

One studio to rule them all and in the darkness bind them: Netflix, Paramount Skydance and Comcast have submitted new bids to buy Warner Bros. Discovery, part or parcel. One's got cash (Netflix), another's got Saudi money (PSKY), but the question is: Who needs whom more? And which studio exec would be most palatable to the town as the new head of Warner Bros.' TV and film studios — Ted Sarandos, David Ellison or Donna Langley? Elaine Low, Sean McNulty and Natalie Jarvey suss out the latest (binding) bids for WBD and which combos make the most sense for the studios and for the health of Hollywood. Plus, the battle between idealistic Patreon and heavy-hitter Substack for writers and creators, and Richard Rushfield's take on why anyone but a Hollywood studio should buy WBD. Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix co-CEO Ted Sarandos joins Brad Smith for a conversation about the constant reinvention behind one of the world's most influential entertainment platforms. They explore how bold leadership and a culture of innovation keep Netflix ahead—not just as a media company, but as a force shaping industries and audiences alike. Ted shares how intuition and data combine to turn daring ideas into practical solutions—from scaling storytelling across 190 countries to relentlessly creating content that gets under the skin of viewers and makes them feel deeply connected to the stories they watch.

Rien ne semble pouvoir arrêter Netflix. Après le carton mondial de Kpop Demon Hunters et l'annonce d'une offre de jeux de société à tester en famille, le géant du streaming s'attaque à un tout nouveau format : le podcast vidéo. Et pour cela, il s'associe à un partenaire de taille — Spotify.L'annonce est tombée hier. Netflix proposera bientôt sur sa plateforme des podcasts vidéo complets, issus directement du catalogue de Spotify. Un partenariat stratégique, à la croisée de la musique, du talk-show et de la vidéo à la demande. « Alors que les podcasts vidéo continuent de gagner en popularité, cet accord nous permet d'offrir les versions intégrales d'émissions phares à nos audiences respectives », explique Lauren Smith, vice-présidente chargée des licences et de la stratégie de contenu chez Netflix. Côté Spotify, Roman Wasenmüller, vice-président en charge des podcasts, salue « une ouverture inédite pour les créateurs et de nouvelles perspectives de distribution ».La tendance est claire : le podcast ne s'écoute plus seulement, il se regarde. Déjà omniprésent sur YouTube, le format vidéo s'impose comme un levier d'engagement majeur. En avril, Ted Sarandos, co-directeur général de Netflix, évoquait déjà cette piste. C'est désormais officiel : 16 podcasts vidéo débarqueront sur la plateforme en 2026, couvrant des thèmes variés — sport, culture, lifestyle et faits divers. Le lancement se fera d'abord aux États-Unis, avant un déploiement progressif à l'international. Petite précision : les publicités déjà présentes dans les podcasts Spotify seront conservées, mais Netflix n'ajoutera pas ses propres annonces, du moins dans un premier temps. L'objectif est clair : concurrencer YouTube, qui perdra l'exclusivité de diffusion de plusieurs programmes phares après cet accord. Reste à voir si les abonnés Netflix suivront cette diversification de contenu, dans un paysage médiatique où les frontières entre vidéo, musique et streaming s'effacent chaque jour un peu plus. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Story of the Week (DR):War against women continues: Uber Not Responsible for Sex Assault, Jury Finds, as More Cases FollowEthan P. Schulman, the judge presiding over the California state court cases, told jurors that Uber would be responsible for the woman's harm if the company was negligent in using adequate safety measures and the negligence was a “substantial factor” in causing the harm.In its decision, the jury unanimously agreed that Uber had been negligent in its general safety practices when the incident occurred in 2016 — but that the negligence was not a substantial factor in causing the attack. The jury's foreman: “We felt that they could have done more back in the early days of Uber, rather than just focusing on growth,”Meet Lisa Monaco, the 57-year-old Microsoft executive Trump wants fired“Corrupt and Totally Trump Deranged Lisa Monaco (A purported pawn of Legal Lightweight Andrew Weissmann), was a senior National Security aide under Barack Hussein Obama. Monaco has been shockingly hired as the President of Global Affairs for Microsoft, in a very senior role with access to Highly Sensitive Information. Monaco's having that kind of access is unacceptable, and cannot be allowed to stand.”Monaco helped coordinate the Justice Department's response to the Jan. 6th attacks on the U.S. Capitol by Trump supporters in 2021. In January 2022, Monaco publicly announced that the Justice Department was investigating the Trump fake electors plotMilitary women fear losing 'every bit of ground' as Hegseth looks backward to the 1990sDefense Secretary Pete Hegseth said Tuesday that he wants to review Defense Department standards that have changed since the 1990s, a time when military women saw far less support for their service and met drastically lower physical standards than today: "The 1990s test is simple. What were the military standards in 1990? And if they have changed, tell me why. Was it necessary change based on the evolving landscape of combat? Or was the change due to a softening, weakening, or gender-based pursuit of other priorities? 1990s seems to be as good a place to start as any."PGA of America CEO apologizes for Ryder Cup missteps, but group's president denies problemThe Misogynistic Abuse Towards Rory McIlroy's Wife at the Ryder Cup Is Deeper Than Golf. It shows a cultural shift, one in which men feel emboldened to attack women in public without shame or consequence. The abuse and taunts were so unrelenting that Stoll was spotted with “tears streaming down her face”PGA of America President Don Rea took a different approach on Sunday in a BBC interview where he downplayed the severity of the crowd's behavior: “Well, you have 50,000 people there that are really excited, and heck, you can go to a youth soccer game and get some people who say the wrong things,” Rea said. When asked about the abuse directed at McIlroy, he responded, “I haven't heard some of that. I'm sure it's happened … Rory understands things like that are going to happen.”Fake billionaire manbaby “retirements” continue DRSpotify CEO Daniel Ek to Step Down. The Stock Is Falling.Spotify founder steps down amid controversy over defence linksIt comes after Mr Ek has faced fierce scrutiny for investing around €700m (£612m) in defence company Helsing through his venture capital fund. Munich-based Helsing sells AI software for military use and has expanded into weapons manufacturing following an investment by the founder of Spotify.Spotify has said that it is “totally separate” from HelsingSpotify founder Ek Daniel to step down as CEO; says: I will be more involved than a typical US chairmanGustav Söderström and Alex Norström under founder/former CEO/Executive Chair Daniel Ek (43%) (Ted Sarandos on this board)Spotify founder Daniel Ek once said he was the ‘least powerful person' at the company. Here's how he built it into a $145 billion music empireThe rise of the bro co-CEO: Lila MacLellanCEOs and Trump love affair continuesTrump, Pfizer agree to lower U.S. drug prices, exempt company from pharma tariffsTrump announces 'TrumpRx' drug-buying website alongside Pfizer CEOPartnering with Pfizer, beginning in 2026 the federal government will have a website, TrumpRx.gov, through which Pfizer's prescription drugs can be sold directly to consumers at discounts, without the intermediaries of pharmacy benefit managers such as CVS Health's Caremark and UnitedHealthcare-owned OptumRx46% against Say on Pay in 2025Proxy adviser ISS recommended against the compensation proposalCEO/Chair Albert BourlaOther board members include: former Vanguard CEO/Chair Mortimer J. Buckley, OpenAI (2024-) board member and former Meta (2013-2019) board member Susan Desmond-Hellmann; former Deloitte CEO Joseph J. Echevarria; Adobe CEO/Chair Shantanu Narayen; former Goldman Sachs Vice Chair Suzanne Nora Johnson; Coca-Cola CEO/Chair James Quincey; former State Street Global Advisor CEO Cyrus Taraporevala; Compensation Committee chair (James Smith, former Thomson Reuters CEO) received 93% supportOnly 23% women; 5 top NEOs all menTrump Adviser Admits Larry Ellison Is “Shadow President of the United States” Larry Ellison once predicted ‘citizens will be on their best behavior' amid constant recording. Now his company will pay a key role in social mediaElon Musk fighting for attention:Elon Musk speaks out on controversial $1 trillion Tesla pay package: 'It's not about compensation'"It's not about 'compensation,' but about me having enough influence over Tesla to ensure safety if we build millions of robots.”Elon Musk makes history as first person ever to hit $500B net worth milestoneNew Evidence Links Elon Musk to Epstein's IslandElon Musk Calls Wikipedia “Too Woke,” Announces His Own GrokipediaElon Musk implores people "Cancel Netflix" over a canceled TV show because of wokeMore Dummies from DealBook:Talking A.I. With CEO William Stone of SS&C, a major investment fund administrator and transfer agency, acquired the automation software company Blue Prism for around $1.6 billion in 2022:How do you personally use A.I.? “I'm interested in horse racing, and I own horses. I use A.I. to track how they're doing. There are all kinds of statistics, like how far can they travel before their performance starts to deteriorate: If they're in Kentucky, can they go to California? Can they go to New York?”Goodliest of the Week (MM/DR):DR: Gavin Newson [sic] Signs Law Cracking Down on AI IndustryCalifornia governor Gavin Newsom signed what proponents say is the first AI safety and transparency law in the US. The Transparency in Frontier Artificial Intelligence Act, also known as SB 53, requires AI companies with over $500 million in revenue to publicly disclose their safety and security protocols in fairly granular detailMM: F.D.A. Approves a New Generic Abortion Pill DR MMMM: Activist Investor Wants Target's Brian Cornell Completely OutMM: One line from this story about Tesla's advising sleepy drivers to stay away by enabling Full Self Driving: Tesla's cars can't actually drive themselves without close human supervision. Nonetheless, the automaker labels its most advanced driving mode “Full Self-Driving” (FSD), while its CEO and chief overpromiser Elon Musk explicitly says that they do, in fact, “drive themselves” seemingly every other week.Assholiest of the Week Biggest Loser (MM):US WomenThe rise of the bro-co-CEOMilitary women fear losing 'every bit of ground' as Hegseth looks backward to the 1990sUber Not Responsible for Sex Assault, Jury Finds, as More Cases FollowKKR Appoints Former Eaton CEO Craig Arnold to Board of Directors, Increasing Independent Seats to ElevenContinues a trend - from 29% to 26% female by adding another dude through board expansionMeanwhile…Share of female execs at major Japan firms rises to 18.4%Spineless companiesDisney's image tanks among Republicans, Democrats after Jimmy Kimmel controversyCracker Barrel Drops Firm Behind Ill-Fated Logo ChangeInvestorsU.S. States are shedding shareholder protections. That's an advantage for CanadaPreparing the board for 2026: More than half of directors want a peer replaced, survey findsFedEx shareholders elect Richard Smith, son of founder Fred Smith, to board of directorsEveryone elseGodfather of AI Says We're Barreling Straight Toward Human ExtinctionOpenAI says it's worried about ‘doomscrolling, addiction, isolation, and … sloptimized feeds' as it rolls out Sora social media appMeta won't allow users to opt out of targeted ads based on AI chatsElon Musk Calls Wikipedia “Too Woke,” Announces His Own GrokipediaLarry Ellison once predicted ‘citizens will be on their best behavior' amid constant recording. Now his company will pay a key role in social mediaThe wealth of the top 1% reaches a record $52 trillionThe climateNew BP Chair Urges Faster Pivot to Oil and GasDuke Energy backs off renewables after North Carolina cuts climate goalTrump administration cancels nearly $8 billion in climate funding to blue states: VoughtMAGA comes for the ‘woke pope' after pontiff blesses block of ice in climate change gestureOpenAI's New Data Centers Will Draw More Power Than the Entirety of New York City, Sam Altman SaysHeadliniest of the WeekDR: New Poll: 94% of Gen Z Youth Report Experiencing Regular Mental Health ChallengesMM: Police Pull Over Waymo to Check for Drunk DrivingWho Won the Week?DR: Daniel Ek: the dude who got rich by devaluing artists, then used his billionaire ego to create a vanity money-spending company with the pretentious name Prima Materia (“formless primeval substance regarded as the original material of the universe”).Prima Materia says it wants to “partner with exceptional people to build companies that leverage technology to help solve meaningful problems for society.”He set it up with Shakil Khan — a fellow Spotify investor and close personal friend with a criminal past, who was accused of hiding his real role at Spotify during its IPO.Khan doesn't appear in any of Spotify's filing documents, even though he's been publicly described as: 1) “head of special projects,” 2) “advisor to Daniel Ek,” 3) “personal advisor to the Spotify CEO,” 4) “investor in Spotify,” 5) “founder,” 6) “consigliere,” 7) “second-in-command,” and 8) “prominent public role” — apparently to avoid scaring investors.Khan cites Mark Zuckerberg as the American leader he admires most.Now their company invests (and Ek chairs) in literal weapon building (Helsing/military strike drones, etc.) and nonsense like Neko Health, the so-called “Apple of healthcare” that charges £300 for preventative screenings like mole checks — giving Daniel Ek more time to feel super important and potentially destroy the world while getting richer?MM: Ron Sugar, who TWICE has had his age limit restriction waived on the Apple board, will turn out a-okay: Dr. Ronald Sugar and Gilman Louie join Ursa Major's Board of DirectorsPredictionsDR: Daniel Ek's Prima Materia leads €600 million Series D strategic financing round for Moodify, an AI-supported app that will “end depression” by pushing algorithmically-optimized dopamine ads 24/7, think TikTok for sadnessMM: LAY UP: After reading this - Apollo Global Management director Pauline Richards resigns from board - the board is now 4 women and 10 men (Marc Rowan owns 63% of board influence, so no one really matters). I predict Pauline Richards will be replaced by a male director, going from 33% female to 27% female in one fell swoop. Side note: Apollo's fun joke was to have a “sustainability committee” on the board they take so seriously, it's the committee with 3 women and and anti-woke anti-ESG ex-Senator Patrick Toomey

Kim Masters speaks to Platonic co-creators Francesca Delbanco & Nicholas Stoller about what inspired their show about the comedy and complications of grown-up friendships. They talk about the challenge of writing characters—played by Rose Byrne and Seth Rogen—with none of the underlying sexual tension that has propelled so many television comedies to success. They also remember the time that Netflix boss Ted Sarandos sat through a lengthy table read of their first series, Friends from College.   Plus, as FCC Chairman Brendan Carr ramps up scrutiny of major media players, Comcast’s NBCUniversal appears to be his latest target. Is the company’s cable spinoff Versant a calculated play to dodge the Trump administration’s media witch hunt? Kim Masters and Lucas Shaw dig in.  

Steve and Cat talk about their love of animals and how it has extended to the wilder kind. Netflix founder Ted Sarandos is tough SOB this week. HBO's documentary "The Mortician" is our What Ca Watchin. Shot of the week is Alligator Piss shot. Band of the week is Slaid Cleaves.

Today the CEO of YouTube, Neal Mohan, shares some insights on how YouTube is different from Netflix, and how that's reflected in the way it's used by Creators. Additionally the Head of Instagram, Adam Mosseri, explains Trial Reels, what to do with old Trial Reels, and how to start getting brand deals. Plus I launched an email newsletter!Did you know that YouTube now claims 11% of all watch time on TVs, outpacing Netflix's 8. 5%? Join host Daniel Hill in this episode of The Instagram Stories as he delves into exclusive insights from Neil Mohan, the CEO of YouTube, who discusses the platform's remarkable performance against streaming titans and its unwavering commitment to creators.Mohan addresses the recent criticisms from Netflix co-CEO Ted Sarandos, emphasizing how YouTube's unique content model empowers creators by allowing them to retain ownership of their work. This episode highlights the significance of YouTube as a cultural epicenter, where successful creators prioritize their channels and leverage the platform to connect with their audiences. As the creator economy continues to evolve, understanding these dynamics is crucial for anyone interested in social media marketing and the latest social media trends.But that's not all! The episode also features an engaging Ask Me Anything session with the head of Instagram, who shares invaluable insights on brand deals, the latest Instagram features, and effective Instagram DM strategies. Discover tips on editing posts, trial reels, and the optimal posting times based on audience behavior, ensuring you stay ahead in the fast-paced world of social media.Whether you're a content creator looking to enhance your YouTube captions or a marketer aiming to refine your social media strategies, this episode is packed with actionable insights. Don't miss out on the latest Instagram news updates, TikTok trends, and platform updates that can elevate your social media game. Tune in to learn how to navigate the ever-changing landscape of social media, from Instagram carousels to DM automation, and get ready to transform your approach to digital content.As we wrap up the episode, remember to subscribe to our newsletter for a comprehensive recap of social media news, ensuring you never miss a beat in the world of Instagram, TikTok, and YouTube. Stay informed, stay inspired, and keep creating!Show Links:Sign Up for The Weekly Roundup: NewsletterLeave a Review: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Me on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@danielhillmedia⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: Creator Coup: CEO Neal Mohan on YouTube Beating Netflix Without Buying a Single Show (YouTube) Sign Up for The Weekly Roundup: NewsletterLeave a Review: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Me on Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@danielhillmedia⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

On the ground at Cannes Lions, Janice Min and Natalie Jarvey join Elaine Low to break down the big Rumble(s) on the Riviera. First up: YouTube CEO Neal Mohan fired back at Netflix's Ted Sarandos in Janice's newsmaking interview (come for the fight, stay for the sports, pod and AI talk); then it was all those creators stealing the thunder (and money) from traditional celebrities as they sped-dated with brands amid a historical shift in ad spend. Plus: Is “authenticity” the most overused word of the era?; a spicy moment onstage with Alex Cooper; and Amazon and Netflix go back to TV basics. Learn more about your ad choices. Visit megaphone.fm/adchoices

Live from Cannes Lions, Ankler Media CEO Janice Min hosts a rollicking, wide-ranging conversation with YouTube CEO Neal Mohan about the platform's growing dominance — both on TV screens and across culture — as ad dollars and audience swing decisively toward creators and away from traditional entertainment. Now that YouTube claims a larger share of TV viewership than Netflix, Mohan responds to Netflix co-CEO Ted Sarandos' swipe that YouTube is for “killing time” while Netflix is for “spending time.” “Who am I to say what's spending time, engaging time, quality time, killing time?” Mohan told a packed audience at ADWEEK House. “It's all of us as consumers — the 2 billion people that come to YouTube every single day — we get to decide how to spend our time.” (YouTube Originals shut down in 2022 before Mohan took the CEO seat.) Other highlights: Mohan answers whether YouTube's reported $2 billion per year NFL Sunday Ticket deal is paying off; teases plans for global sports rights expansion; and breaks down how the company has quietly captured massive podcast market share from Apple and Spotify. And stick around until the end — for his final swipe back at Netflix. Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix ha celebrado sus 10 años en España con un fiestón y con la visita de Ted Sarandos, uno de los hombres más poderosos de la industria audiovisual. En este episodio analizamos las luces y sombras de esta década en nuestro país y comentamos los estrenos en salas. Dreamworks se apunta a la acción real con la readaptación de 'Cómo entrenar a tu dragón' y a las puertas del Orgullo llegan propuestas diferentes como 'Miss Carbón', la historia de la mujer trans que abrió camino en las minas de Argentina, o la película rumana 'Tres kilómetros al fin del mundo'. También os recomendamos el drama 'Esmorza amb mi' y, en televisión, celebramos a una estrella como Sara Montiel.

Netflix ha celebrado sus 10 años en España con un fiestón y con la visita de Ted Sarandos, uno de los hombres más poderosos de la industria audiovisual. En este episodio analizamos las luces y sombras de esta década en nuestro país y comentamos los estrenos en salas. Dreamworks se apunta a la acción real con la readaptación de 'Cómo entrenar a tu dragón' y a las puertas del Orgullo llegan propuestas diferentes como 'Miss Carbón', la historia de la mujer trans que abrió camino en las minas de Argentina, o la película rumana 'Tres kilómetros al fin del mundo'. También os recomendamos el drama 'Esmorza amb mi' y, en televisión, celebramos a una estrella como Sara Montiel.

En el Radar Empresarial de hoy analizamos la inversión que hará Netflix en España en los próximos 10 años. 1.000 millones de euros. Eso es lo que destinará la compañía en nuestro país en 2028. En la celebración del décimo aniversario del servicio de streaming en España, Ted Sarandos, CEO de la compañía, destaca que la empresa ha lanzado en este tiempo más de 1.000 películas con sello de origen español, lo que le ha permitido crear más de 20.000 puestos de trabajo para la industria cinematográfica. Es la continuación de una historia que empezó el 20 de octubre de 2015. Ese día llegaba a nuestras fronteras una forma de consumir cine y series que había revolucionado el mercado estadounidense. Por 8 euros al mes, la persona que contrataba este servicio podía disfrutar de todo el catálogo sin restricciones y sin tener que alquilar ciertas películas, como pasaba, por ejemplo, con Rakuten. Conseguía mezclar el consumo de un amplío catálogo con el servicio bajo demanda: ver las películas cuando y como quieras. Después llegaron HBO, Disney Plus o Sky ShowTime, pero Netflix puso la bandera en la cima del streaming de nuestro país. Por todas estas cosas, Sarandos, resalta la importancia de España en los planes de Netflix. El acto también contó con la presencia de Pedro Sánchez. El presidente del Gobierno quiso destacar el momento de gran salud que vive la industria española y reivindicó el papel que juegan las películas en nuestra sociedad. El acto también sirvió a la compañía para reivindicar su posición de poder en nuestro país. En 2024, Netflix contó con 9 millones de suscriptores, el 3% de la cifra total en todo el mundo. Diego Ávalos, vicepresidente de contenidos para España y Portugal, afirma que la compañía ha trabajado con más de 60 productoras españolas. Además, destaca que cuatro de los diez títulos más vistos de la plataforma son españoles. Clave para el desarrollo de estas películas han sido los estudios que ha construido la compañía en Tres Cantos, que han albergado series como La casa de papel o Élite. Para Ávalos. Tal como contó en una entrevista en La Hora 25 de La Ser, son pioneros en la producción de contenido audiovisual internacional. Aunque tampoco España ha sido un camino de rosas para Netflix. El público no aceptó de primeras el plan con anuncios que lanzó la compañía en nuestro país en octubre de 2022 ni la limitación de compartir cuentas. El trimestre siguiente, el canal de streaming perdió alrededor de un millón de usuarios. Eso sí, parece que los suscriptores se han adaptado a esa nueva realidad ya que el porcentaje de usuarios con cuentas con publicidad en 2023 fue del 8%. En 2024 fue del 22.

Matt is joined by Seth Rogen and Evan Goldberg to discuss what they learned from industry executives before writing the show, choosing Netflix's Ted Sarandos over Apple CEO Tim Cook for a cameo, desperately pitching Ice Cube, how they shot in a real Las Vegas casino, and which scenes were cut before they weigh in on the state of theatrical comedy in Hollywood (01:22). For a 20 percent discount on Matt's Hollywood insider newsletter, ‘What I'm Hearing ...,' ⁠⁠⁠⁠⁠click here⁠⁠⁠⁠⁠. Email us your thoughts! ⁠⁠⁠⁠⁠thetown@spotify.com⁠⁠⁠⁠⁠ Host: Matt Belloni Guests: Seth Rogen and Evan Goldberg Producers: Craig Horlbeck and Jessie Lopez Theme Song: Devon Renaldo Learn more about your ad choices. Visit podcastchoices.com/adchoices

Tous les matins, à 6h45, un récit d'actualité, contextualisé et raconté avec toute l'expérience journalistique de Matthieu Belliard

Sinners holds on strong at the box office for week 2Toxic Avenger's Rotten Tomatoes score is promisingDiscussing 2025 horror movies yet to come Ted Sarandos says Netflix is saving cinemaDiablo trailer review40 Acres trailer reviewSmashing Machine trailer reviewFear Street: Prom Queen trailer reviewWeapons trailer reviewJoin us live each week on YouTube-  @spitball_media  Audio Podcast available overnight here and at the links below (right click and save):https://api.spreaker.com/v2/episodes/65842958/download.mp3All of our linksLinktr.ee/spitballmediaBonus content and exclusive episodes patreon.com/spitballmediaOpening title music by White Bat Audiosocials:Twitter: @Spitball_media Facebook, Instagram and YouTube: @spitballmediaJon: @iamjondraperShah: @planet.mondo @nuclearheatBrian: @bshowbrian

I explore Netflix co-CEO Ted Sarandos' recent claim that the traditional movie theater model is "outmoded" and that Netflix is "saving Hollywood" (https://variety.com/2025/film/news/netflix-ceo-ted-sarandos-movie-theaters-outdated-1236376565/).I dive into how streaming platforms have reshaped audience behavior, impacted creative sustainability, and transformed films from cultural events into disposable content.This isn't about rejecting innovation—it's about examining who benefits when disruption becomes the goal over quality.I'll reflect on why theaters still matter, the irreplaceable nature of shared experiences, and why the future of film deserves more than algorithm-driven entertainment.This episode is an exploration of what's at stake for filmmakers, audiences, and the stories that move us.

Paul and Mesh begin with a discussion of Ryan Coogler's Sinners which continues his stellar trajectory and whether his bespoke deal with WB could become a trend. Next, they discuss Ted Sarandos' comments regarding the theatre experience and shifting consumer preferences. Finally, they celebrate YouTube which turned 20 in April and look back at how it revolutionized video distribution. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Why spend your life making someone else's dreams?"TAPEDECK MONTH ends with ED WOOD! We welcomed our dear friend Kev from Austin Danger Pod and we discussed Ted Sarandos saying theaters are finished, Proto's thoughts on SINNERS, Danny watching a ton of movies on his flight to and from Tokyo, our theme for MAY, and much more. In the uncut extended version of the episode we decided to open the phone lines to speak to some of our live listeners. Yes it involved chicken but we also talked a bit about our next meetup and when we're leaving the East Coast. The post-show ran for an hour so that's like a whole entire bonus episode!Chapters:(00:00:00) Introductions + May's theme(00:08:15) What we watched(00:21:58) Ed Wood(01:11:37) Next weekSupport the 70mm Patreon to join our VHS Village Discord and access exclusive episodes in the 70mm Vault like the 1990s Batman movies, Harry Potter, The Matrix, SHIN Godzilla, and over 50 others. Signing up for the Patreon also get your own membership card, member-only discounts on merch, and the ability to vote on future episodes!Don't forget you can visit our website to shop our storefront to buy prints and merch, follow us on Letterboxd, email the show, and much more.70mm is a ⁠TAPEDECK⁠ podcast, along with our friends at ⁠BAT & SPIDER⁠,  ⁠The Letterboxd Show⁠, Austin Danger Pod, ⁠Escape Hatch⁠, ⁠Will Run For...⁠, ⁠Lost Light⁠, ⁠The Movie Mixtape⁠, and ⁠Twin Vipers⁠.(Gone but not forgotten; ⁠Cinenauts⁠ + ⁠FILM HAGS⁠.)

Welkom bij een aflevering van Nerd Culture, in aflevering #206 duiken we in en bespreken we het langverwachte tweede seizoen van Andor, Mythic Quest S4, en de klassieker Captain America: The Winter Soldier. Daarnaast praten we je bij over het laatste nieuws uit de nerdwereld: van Ted Sarandos' uitspraken over Netflix en Hollywood tot de aankomende X-Files reboot van Ryan Coogler. Ook bespreken we nieuwe trailers, figurines en alles wat binnenkort op streaming en in de bioscoop verschijnt. Let's go!Is Andor het allerbeste van Star Wars?Andor seizoen 2 is officieel het best beoordeelde live-action Star Wars-project ooit op Rotten Tomatoes, met een indrukwekkende score van 98%. Daarmee overtreft het zelfs het eerste seizoen van Andor (96%) en klassiekers als The Empire Strikes Back (95%). De volledige twaalf afleveringen zijn vooraf aan critici getoond, wat wijst op vertrouwen in de kwaliteit van het seizoen, ondanks een trage start. Critici prijzen vooral de sterke storytelling en de impact op de bredere Star Wars-wereld. De Rotten Tomatoes-score kan nog veranderen naarmate meer recensies binnenkomen, maar voorlopig lijkt Andor seizoen 2 de nieuwe standaard te zetten voor Star Wars-series. De serie loopt rechtstreeks over in de gebeurtenissen van Rogue One, wat mogelijk ook die film in een nieuw daglicht zet.Netflix is Hollywood aan het reddenTijdens de TIME100 Summit verklaarde Netflix-co-CEO Ted Sarandos dat Netflix “Hollywood redt” in plaats van vernietigt. Volgens Sarandos geeft de consument duidelijk aan liever films thuis te willen kijken, gezien de dalende bioscoopbezoeken en krimpende releasewindows. Hoewel hij zelf van bioscopen houdt, noemde hij de traditionele theaterervaring “een achterhaald idee voor de meeste mensen.” Sarandos benadrukte dat Netflix zich richt op consumentenwensen en films aanbiedt op hun voorwaarden. Daarnaast wees hij erop dat de entertainmentindustrie wereldwijd vaak met extra obstakels te maken heeft, zoals quota en coproductieverplichtingen in China, en beklaagde hij zich over het feit dat de sector soms niet als “echte business” wordt behandeld.Ryan Coogler aan de haal met X-Files rebootRyan Coogler (bekend van Black Panther) heeft bevestigd dat zijn volgende project een reboot van The X-Files wordt. In een podcast liet hij weten enorm enthousiast te zijn en te mikken op afleveringen die “echt f—ing eng” worden. Coogler heeft inmiddels gesproken met Gillian Anderson over een mogelijke terugkeer als Dana Scully. Anderson noemde Coogler “een beetje een genie” en sluit een rol in de reboot niet uit. De originele serie liep van 1993 tot 2002 en kreeg later nog twee films en een korte revival. Coogler wil The X-Files een frisse draai geven met een diverse cast, ondersteund door een deal met Disney TV. Ook originele bedenker Chris Carter staat positief tegenover het project. Fans kunnen dus uitkijken naar een nieuwe interpretatie van de iconische serie.Timestamps:00:00:00 intro00:05:13 Andor00:12:50 Mythic Quest S400:14:32 Captain America: The Winter Soldier00:19:55 The Gorge00:24:34 The Adventures of Buckaroo Banzai Across the 8th Dimension00:29:16 Ghost in the shell00:31:29 Fantastic Four Trailer00:34:52 Netflix redt Hollywood volgens CEO Ted Sarandos00:40:00 Star Wars Episode III Revenge of the Sith nu terug in de bioscoop00:43:09 Hayden Christensen promo voor Revenge of the Sith00:43:48 Andor Season 2 highest rated Star Wars TV show of film00:45:35 Sydney Sweeney in Split Fiction verfilming00:47:42 Michael Bay's Outrun heeft Sydney Sweeney in het vizier00:49:40 Ryan Coogler gaat aan de slag met X-files reboot00:53:16 Geen tekort aan Batman de komende tijd00:58:57 Predator Badlands Trailer01:02:00 Predator kills the Marvel universe01:05:09 Ryan Reynolds bezig met nieuwe Deadpool content01:09:46 Hasbro onthult Marvel Legends figurines drop01:15:39 NECA onthult Shredder figurine uit TMNT cartoon01:18:30 HIM Teaser Trailer

On this episode of THE HOT MIC, Jeff Sneider and John Rocha discuss the big entertainment news of the week including the update on Kathleen Kennedy's status at STAR WARS and why is the Shawn Levy film being rejected by so many actors? Plus, they talk all the SINNERS controversies, the new Oscars rules being DOA, Chronicles of Narnia and new Hunger Games casting, I Know What You Did Last Summer, Weapons and Predators Badlands trailers, details on M. Night Shyamalan's new movie, MI 8 is almost 3 hours long, Thunderbolts first reactions, Carlton Cuse and Nick Cuse to showrun a new Star Wars series, Ted Sarandos claims Netflix saved movies, and more!#starwars #MARVEL #Oscars #Netflix #TheHotMic #JeffSneider #JohnRocha ____________________________________________________________________________________Chapters:0:00 Intro and Rundown1:54 Kathleen Kennedy Update, Carlton Cuse to Showrun New Star Wars Series15:08 Shawn Levy Casting Issues for STAR WARS: STARFIGHTER20:12 Star Wars Celebration Thoughts and Reactions25:22 New OSCARS Rules Over Voting and AI Might Be DOA40:21 I Know What You Did Last Summer, Predators Badlands, Weapons Trailers48:35 New Mission Impossible Movie is 3 Hours Long50:12 M Night Shyamalan and Nicholas Sparks Collaborating on New Movie53:44 THUNDERBOLTS* First Reactions56:24 Ted Sarandos Claims NETFLIX Saves Hollywood1:00:35 SINNERS Debate Over Controversies, Reviews and Variety's Article1:31:13 UPDATES on White Queen Narnia Casting, Hunger Games Casting1:35:25 Streamlabs and Superchat QuestionsFollow John Rocha: @therochasays Follow Jeff Sneider: @TheInSneider  PATREON: https://patreon.com/JohnRocha Become a supporter of this podcast: https://www.spreaker.com/podcast/the-hot-mic-with-jeff-sneider-and-john-rocha--5632767/support.

Netflix's Ted Sarandos reveals his strategy for AI in filmmaking, suggesting a focus on making movies "10% better" rather than just cheaper. Hosts Addy Ghani and Joey Daoud dig into what this means for production costs and Hollywood's future. Plus, surprising findings about audience perception of AI-generated stories, and the deal that gives Ryan Coogler copyright ownership of 'Sinners' after 25 years - a potential shift in studio-filmmaker power dynamics.

Johnny Mac discusses the recent petition to remove the controversial comedy show Kill Tony from Netflix, with over 20,000 signatures. Netflix's Ted Sarandos defends comedic experimentation and free speech. The show also covers various comedy and entertainment news, including Bill Burr's amusing interaction with Eddie Vedder of Pearl Jam, Conan O'Brien's thoughts on his Mark Twain Prize acceptance, Nate Bargatze's upcoming film debut, and speculation about Colin Jost potentially hosting Jeopardy. Other topics include Jeff Ross's allergic reaction, Amber Ruffin's comments on the White House Correspondents' Dinner, and upcoming comedy events in Nashville. The episode wraps up with reviews from the Melbourne Comedy Festival.00:00 Introduction and Petition Against Kill Tony00:35 Ted Sarandos on Comedy and Culture01:51 Tony Hinchcliffe and WWE Collaboration03:12 Bill Burr's Encounter with Eddie Vedder04:32 Conan O'Brien's Mark Twain Prize05:19 Nate Bargatze's Film Debut06:01 Colin Jost and Jeopardy Rumors08:25 Phil Wang Hosts BAFTA Game Awards09:45 Meghan Markle's New Podcast11:51 Jeff Ross's Allergic Reaction13:46 Comedy Festival HighlightsUnlock an ad-free podcast experience with Caloroga Shark Media! Get all our shows on any player you love, hassle free! For Apple users, hit the banner on your Apple podcasts app which says UNITERRUPTED LISTENING. For Spotify or other players, visit caloroga.com/plus. No plug-ins needed!  You also get 20+ other shows on the network ad-free!    This podcast supports Podcasting 2.0 if you'd like to support the show via value for value and stream some sats! https://linktr.ee/dailycomedynews Contact John at john@thesharkdeck dot com  John's free substack about the media:  Media Thoughts  is mcdpod.substack.com DCN on Threads: https://www.threads.net/@dailycomedynews You can also support the show at www.buymeacoffee.com/dailycomedynews  Become a supporter of this podcast: https://www.spreaker.com/podcast/daily-comedy-news--4522158/support.

Join Patty and Jessica as they look back on the year and some of their favorite episodes.Featuring: Innovation at the Largest Scale with Donna MorrisThe Company You Keep with Ted SarandosTransparency in Practice with Kara SwisherSelf-Reflections On Growth with Nirav ToliaAI: The Secret to Skill Building with Matt BeaneInvesting In The Next Generation with Sachin ShivaramMinimize Distraction and Maximize Results with Richard E. CytowicBeing a Power Mom with Joann LublinWhat's been your favourite episode? If there's a guest you'd love us to chat to, a topic you want covered, or you have a career confession of your own to submit, get in touch with the show here.TruthWorks is hosted by Jessica Neal and Patty McCord. The show is edited, mixed and produced by Megan Hayward. Our Production Manager is Kathleen Speckert. TruthWorks is an editaudio production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Starlink is in the White House, Siri is still bad, Pebble is back, up is down, everything is chaos. In this episode, Nilay and David start the show by running through some big gadget news, from a Siri-related shakeup at Apple to the new Google Pixel 9A. After that, The Verge's Lauren Feiner talks us through some of the latest in tech regulation: Trump's illegal firings at the FTC, the confusing state of the TikTok ban, OpenAI and Google arguing their case for free-for-all AI, and more. Finally, in the lightning round, Nilay and David talk about the latest Tesla recall, the hugely popular book about Meta, some exciting ActivityPub news, and Netflix co-CEO Ted Sarandos gently zinging Apple TV Plus. Further reading: From Bloomberg: Apple Shuffles AI Executive Ranks in Bid to Turn Around Siri The first new Pebble smartwatches are coming later this year Europe is trying to get non-Apple smartwatches to work better with iPhones Google's Pixel 9A gets a bigger screen and beefier water resistance Google briefly delays Pixel 9A release to investigate ‘component quality issue'  Huawei's new flip phone is weirdly wide Nvidia says ‘the age of generalist robotics is here' Nvidia's cute ‘Digits' AI desktop is coming this summer with a new name and a big brother Nvidia announces Blackwell Ultra GB300 and Vera Rubin, its next AI ‘superchips' Musk's Starlink gets deployed at the White House Federal rural broadband program loses head Oracle is reportedly in the lead to save TikTok from US ban A”high-level” deal to save TikTok can probably happen by the April 5th deadline, Vance says. Democratic FTC commissioners say they were ‘illegally fired' by Trump Fired FTC commissioner warns of the ‘corrupting influence of billionaires' Democratic FCC Commissioner Geoffrey Starks will resign this spring WBEZ, 12 other public media stations under investigation  CTIA Announces Ajit Pai as New CEO and President OpenAI and Google ask the government to let them train AI on content they don't own Hundreds of celebrities warn against letting OpenAI and Google ‘freely exploit' Hollywood Google Search charged with breaking EU antitrust rules DHS's airport panopticon is getting people deported and detained Space science is under threat from the anti-DEI purge DOGE stranded USAID workers with laptops full of sensitive data They're removing webpages about Black soldiers by adding ‘DEI' to the URL. ‘Tesla Takedown' protesters planning ‘biggest day of action'  Tesla recalls more than 46,000 Cybertrucks after trim starts falling off From NYMag: Elon Musk Has Become Too Toxic for YouTube ‘Careless People' debuts at the top of the NYT best sellers list. Threads finally lets you set the following feed as default Ghost connects its newsletters to the open web Netflix's CEO talks Apple TV, Amazon, and the NFL Email us at vergecast@theverge.com or call us at 866-VERGE11, we love hearing from you. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Goalhanger's Tony Pastor explores building the U.K.'s leading independent podcast production company which includes shows like The Rest is History, The Rest is Politics and The Rest is Football. Episode TranscriptPlease note, this transcript  may contain minor inconsistencies compared to the episode audio.Damian: I'm Damian Fowler and welcome to this edition of The Current Podcast. This week we sit down with Tony Pastor, the co-founder of Goalhanger, the UK's leading independent podcast production company. After a career as a TV producer, first at the BBC and then at ITV in the sports department, Tony teamed up with Gary Lineker, the former international football star turned broadcaster, to create the company. It launched its podcast hub in 2019. In just a few years, Goal Hanger has gone from strength to strength with hit podcast shows like The Rest is Football and The Rest is History, which apparently clock up 42 million downloads a month and counting. We'll get into the creative process in a minute about what makes these shows so successful. But first, I wanted to ask Tony about how Goalhanger was created.  Tony: I set up Goal Hanger with my co host Gary Lineker, who in the UK is a well known media figure and former [00:01:00] footballer back in 2014. I'd been, a producer at ITV, a big TV company in the UK, and then left to set up my own production company. We concentrated largely on making sports documentaries, and then slowly the business changed, and, by 2019, we were launching our own podcasts, and in the last couple of years, it's become the main part of our business.  Damian: You know, the podcast hub was launched, I know more recently than the actual whole production company and it's now like hosting some of the UK's most popular podcasts. I know that the company's just reported record audience figures for the May, July period this 2024. Big hit shows like the rest is football, which is co hosted by Gary Lineker. And the rest is politics and several others, you know, I'm kind of curious to how you achieved this in a world with, let's say, tens of thousands of podcasts.  Tony: Well, it's a good question. [00:02:00] And the big challenge in the world of podcasting is discoverability. It's not easy for audiences, listeners to find new content. There's an awful lot of really good podcasts out there, but unfortunately they're not easy to find. We have had a bit of luck on that front because once you build a successful podcast, you can then tell people about anything new that you do. And there's no doubt that the number one way you can make sure that people know about a new podcast is if they're already listening to a podcast because they're on the right platform there, then they're enjoying the right form of medium. Once we had the rest is history at a super successful level, it made the launch of political shows and our entertainment shows and our sports shows that bit easier . Damian: So the rest is history was the kind of vehicle was the kind of prototype as it were. Is that fair?  Tony: Well, actually we launched a podcast, that was a real niche podcast, in 2019. It's called we have ways of making you talk and [00:03:00] it's all about the history of the second world war and I did it really almost as a hobby. It was great fun. I launched it with a great historian called James Holland and a comedian called Al Murray, both of whom are real aficionados of the period. It quite quickly became a bit of a cult. No doubt lockdown during the COVID period helped in a way because it meant people were stuck at home seeking content. Podcasts are, producible remotely, we were able to really up the amount of content we produced. Suddenly it went from being very niche to some, to having quite a significant audience. And then the next iteration really was to say, we've got a successful podcaster that is, doing north of a million downloads a month, it's making some money and what would happen if we, did a podcast about more than just six years of history? In fact, let's do the whole of history. And that's how the rest is history was born and it broke out, became a super success and it really showed us that the format of intelligent people talking in an entertaining way about something they know a great deal about [00:04:00] really could work.  Damian: That's pretty ambitious. I've got to say, the idea of doing the whole of history. And I've got to say, I am an avid listener to the rest is history. Absolutely fantastic show with the two co-hosts, Dominic Sandbrook and Tom Holland, who've got this got this brilliant rapport. Between them, I'm wondering if you could sort of like for people who haven't heard it  just give a kind of distillation of the kind of tone and style of that podcast.  Tony: Sure, it's a history podcast. It tells narrative stories, fabulous stories from history. Be that the story of Napoleon or the French revolution or the sinking of the Titanic, the rise of the Nazis. These are all subjects that have been covered extensively in the last 12 months, for example. But what it really does is it's two, people who know an awful lot about the subject, who research it really, really well, but then have a fantastic conversation. Fairly light conversation in a very entertaining, witty, well informed way. The best way I can [00:05:00] describe the tone of voice of The Rest is History is if you could imagine being sat in a bar or a cafe and hearing two people who know each other really well and are good mates chatting about something they're fascinated by in a very entertaining way. That's The Rest is History.  Damian: And that formula also kind of carries over into the other podcasts, like for instance, the rest is football similarly, it's like, three guys having a kind of elevated, smart, funny conversation about what's just happened in the week, the week in, whether it be the Premier League or international football or what have you, is that fair?  Tony: Yes, I think that is fair. I mean, we don't, create relationships on air with our podcasters. We basically, listen in on relationships that already exist. So Gary Lineker, Micah Richards and Alan Shearer, all great soccer players in their own right. But more important than that, their mates, and you get a real strong sense of that when you listen to them talking, they love their football, they watch it endlessly, they [00:06:00] have a WhatsApp group that frankly you could publish and probably get 100,000 subscribers to, it's so entertaining, it's all about what's going on in football constantly, and they basically bring that conversational style, that very matey friendly, but intelligent and analytical style to their conversations three times a week on a Monday, they look back over the weekend's action on a Wednesday. They try and answer as many of the audience's questions as they can. And on Friday they review the midweek and look forward to the weekend. So it's an ongoing conversation, between three guys who frankly. If we weren't recording it, would be having the same conversations anyway. Damian: I love that, insight. Damian: So I want to shift a little bit to ask you about the, business perspective. And what need, as it were, did you tap in the UK market? Which, obviously has a wide variety and diversity of broadcast options because the BBC is there. So, how did you get that market?  Tony: Well, I think first of all, I would say that the BBC does a brilliant, brilliant [00:07:00] job. It's a wonderful broadcast that makes an incredible amount of diverse content, but it has to, it has to serve an awful lot of people so it can, find itself spread a little thin. One of the great attributes of podcasting as we discovered with our second world war history pod is that you can super serve a group of people who want something very specific. So the second world war pod is listened to by about 80 to 100,000 people. But it's listened to by them religiously twice a week and that means we get 1. 2 million downloads a month. That audience is not being served anywhere else. So that was our first insight. We then looked at kind of the broader history offering in traditional radio and it was all slightly stale. It had been the same for a long time when we wanted to have a slightly fresher, newer, more entertainment focused approach and, I'd like to tell you it was super planned, but in fact, it was about getting too [00:08:00] great talent to have good conversations. And, we spent nothing on marketing the entire growth of that podcast. The question I get asked most, which is really insightful in many ways, I think was it, why wasn't history taught like this at school? If it had been taught like this at school, I would never have dropped it as a subject. I've always loved history, but it was always done in such a dry way. Why couldn't it have been taught in this entertaining fashion at school? And I hope that's what we're actually providing for those for all those millions of people who love their history. We're giving them a new access point to it. Damian: Yeah, absolutely. I just listened to the five part series on Martin Luther and I remember going back to my history A level where I had, you know, hopefully she's not listening, but a pretty dull history teacher, but I learned everything about Martin Luther now, all these years later from that podcast. Absolutely brilliant with all its references.  Tony: Absolutely, so there's one other thing I'm going to say to you which is, I think the commissioning model is slightly broken. I think the traditional model whereby somebody in their [00:09:00] broadcast ivory tower decides whether or not a pitch, a content pitch, will be the right thing for their audience. I think it just doesn't work anymore. There's, it's too, we've got to a point now where commissioners are trying to satisfy too many things at once. Whereas we can just say, this is what we want to do. We don't need a commissioner. We don't need, the finances of a traditional broadcaster. We'll self fund this. We believe in it. We can experiment. We can try stuff and it's been liberating for us creatively because we can, we can decide we want to do a podcast on Martin Luther which frankly nobody would ever commission and we can do it. And lo and behold it found a terrific audience,  likewise we did, you know we did four parts on the falklands war. We did an extended season on custer. We did a long series on the nazis now the nazis will always get covered  in traditional media. But,  we were able to do, for example, this year, we took the guys to Sarajevo to talk about the start [00:10:00] of the first world war and the first shot that was fired, the assassination of our shoot, Franz ferdinand, you know, that's the kind of thing I just don't think traditional broadcasters are going to commission, but we're able to do it and find an audience with it. Damian: Yeah, I want to ask you a little bit about the revenue model from a business perspective. you know, um, a little bit, we, we keep hearing in the U S about the ad opportunity, especially in podcasts. I'm curious from your perspective, what's that opportunity like in the UK?  Tony: Well, the ad part of it is challenging. The UK is not a very big market. It is nothing like the US market. For example, the advertising slash sponsorship market in the US around podcasting is something like $4 billion a year. In the UK it's more like a hundred million. Dollars a year. It's a pretty small pizza in terms of, that needs slicing up between, all the commercial players in the UK and frankly, if the BBC enter into this market as they're [00:11:00] threatening to do, it will be even more challenging for us. We've had to be pretty creative around the commercial side of it. So yes, we're absolutely fishing in the advertising and sponsorship pond, but we're also looking at subscription models. In fact, we've got six very successful subscription clubs for our podcasts. This is where audiences, super fans who really love the pod can get access early, can get it ad free, can get bonus content, can get live show tickets early, et cetera. And that's proved very successful. We also do live shows and the live shows, do very well. You know, the rest is history last night we did it live in Cambridge, in the university center, Cambridge in front of more than a thousand people. The rest is politics is going on a nationwide tour. We're doing seven cities. We've sold 30, 000 tickets across that tour. So yes, we've had to be quite. Smart, frankly, and see disparate potential,  financial models for our podcasts so that they can really function.  Damian: Yeah, it makes [00:12:00] sense. I know,  people talk a lot about the kind of, the special relationship that, Podcast hosts have with their audience and sort of ipso facto that kind of translates a little bit into advertising and how advertising works, whether it be host read or ~whether it comes in, Tony: programmaticly Damian: programmatically. yeah. that's the word. I'm kind of curious to hear what response you've had from advertisers, in terms of what's your pitch to them?  Tony: Yeah. I mean, our pitch to them is really relatively straightforward unlike nearly all other forms of media currently we're growing, the traditional TV and radio commercial radio models are shrinking. They're struggling. It's not easy for them. The streamers, Netflix and Apple And all the usual customers are now. Causing traditional TV to have to be very inventive and work with smaller budgets. We're the opposite. We know the, the podcast market is growing. every year. Our audience is very [00:13:00] young, so we skew much younger than all of the other mediums. So, 48 percent of our listeners are under 34. So half of our audience is effectively in their teens, twenties and early thirties, which is,  attractive to commercial partners. And, we have very, very long listen times. People are fine, find the content compelling and engaging. So,  the rest of history's average listen time is 41 minutes. Now,  this is great news. I'm always very reassured by this because people have told me for a long time that young audiences want only bite sized content that they can swipe through and everything has to be a minute or less. What we might call the tick tock generation. Well, we're discovering that's not true  People in their twenties and thirties want long form, intelligent, entertaining conversations. They want, they want to hear content that entertains them, that informs them, that educates them. I'm starting to sound positively BBC wreathian, but you know, they basically They basically do want [00:14:00] long form. People are commuting, they're exercising, they're walking dogs, they're cooking. They want to have something that entertains them, that, that informs them and a lot of people we know listen to our podcasts while they're doing something else. So I think the sell to commercial partners really is that, our listeners are super engaged. They're young, they're highly educated and by and large,  we've done surveys, by the way, large scale surveys of over 20, 000 of our listeners, they earn really good salaries. They usually are executive and managerial levels in their businesses. These are the movers and shakers, the people who inform the way that,  that our nations are moving. So there are really, really interesting and valuable audience.  Damian: Yeah, it's, such a cliche now to say that young people have no attention. Clearly that's, that's not the case.  Tony: It's, it's, it's absolute nonsense. It's not true.  Damian: Yeah, it really is. And It's reassuring to hear that too. You know, in terms of the,  you mentioned it's growing. How far can it grow? What's the sort of [00:15:00] scale you can, when you think about I think the statistic I read was that 20 percent of UK listeners listen to a podcast every week. That's a lot of headroom, right? You've got left.  Tony: Oh, it's super exciting on that score. We are definitely nowhere near peak podcasting. I can tell you why, because nobody over about 55 is listening to podcasts because they, they never did. They didn't do growing up with it. The older generations, the people who are perhaps retired and who would enjoy our podcast most are just not listening. , They're perhaps didn't grow up with the technology. They're not quite as comfortable, opening an app and downloading audio content. I think that as people age with that native ability to use the technology and enjoy the content, there's a whole generation of people we will add between say 55 and 80, whatever, who will suddenly become listeners. There's probably 30 percent upside just when we start being listened to and enjoyed by an older generation, which is not happening at the moment. Damian: [00:16:00] That's a great point. Yeah, I think as people, get used to the tech, that's it. And then I don't, who knows what's coming up. You also have talked about, pushing podcasts into video as well.  And I are talking right now on zoom, but people listening are just listening to this, with their air pods or what have you, what's the benefit in a way of, pushing podcasts, onto video, is it to see those hosts sparring with each other, people are curious. Tony: This is the area that intrigues us most about what we do. The advent of video really came from the US. We started to hear Prominent podcasters talk about watching podcasts rather than listening to podcasts. And we started to ask ourselves, why are they doing that? What is the gain? Surely it's not just for the programmatic ads on YouTube or Facebook. We were determined to trial it and see what the benefits were by practice, by actually trying it out.  And what we discovered was, This was [00:17:00] an entirely different audience. So for example, during the euros, as I mentioned, 9. 7 million audio downloads and 10 million video downloads. They're not the same people with that. This was entirely additional audience. The other thing about it is, but there's a couple of things. One is that it helps with cross promotion. We can cut this content up, put a push it out on social, on Insta and Tik TOK and Twitter, et cetera. But also when it comes to having partnerships, you know, with some of the bigger brands, there's that, that hundred million dollar UK podcast market is suddenly much greater. If you're talking to brands about partnerships that include video and social, there's a whole extra set of people you're in conversation with. And so you can effectively turn a podcast back into a show, a 360 show, which. Frankly, we don't mind where people encounter. We don't mind whether you watch, you listen, you see the clips on your social media feeds. As long as you're encountering our [00:18:00] content, we're happy. And that's really why we've pushed so heavily into video. So we take the opposite position of the walled garden. We're not a walled garden. We're not going to tell you to come over to our place and enjoy our content. We're going to say, Where are you comfortable? Where do you want to be? Damian: Yeah, love that. Love that thought. Is podcast growth dependent to a certain extent on those different platforms and platform growth? You know, if people listen through Spotify or Apple, what have you?  Tony: Well, I don't know whether it's dependent on that growth. It's an interesting question. What I can say is that we're agnostic. We don't mind where you are. We have a really good relationship with Spotify who are our, ad and sponsorship sales partner. But similarly, you know, we have a great relationship with Apple too, who handle a lot of our subscription clubs. And frankly, as I say, you know if you're there on YouTube or if you're there on Apple or Spotify, that's all fine. Yes, it does require people to be digitally native and comfortable with the digital platforms, but increasingly, as I say, apart from [00:19:00] perhaps my father's generation, who I still have to download podcasts for, you know apart from his generation,  I think most people now are pretty comfortable with the media.  Damian: So one of the great advantages of podcast production is that you, have a very close relationship with your audience. Could you give me some insight into how that breaks down in terms of subscribers and people who listen for free? What are you seeing? Tony: Sure. What we're seeing is that unlike the traditional, media relationship whereby a production company like us, we're Goalhanger. We would go in to see the commissioner at the BBC or channel four or ITV or NBC and we pitched them our idea and they would either say yes or no, usually no. But if they did commission it, we'd make it for them. We'd hopefully keep doing it. 10 percent production fee, they would then put it out. They would sell the ad slots to,  commercial partners and ultimately the relationship between the production company and the final audience is really remote. So ours is [00:20:00] really close. When we put our pods out free to air,  the audience listens to them. They contact us. We incorporate their questions. We have a very good relationship, very close relationship, but not nearly as close as we do with our subscribers. We've got about 90, 000 subscribers across our various podcasts. And what they get is a direct personal relationship with us. There's no, advertising. There's no sponsorship.  They don't have to wait for a podcast. So for example,  we'll, do a, six part series on the sinking of the Titanic. You can listen to that content spread out over three weeks for free with ads, Monday, Thursday, Monday, Thursday, Monday, Thursday, or if you're a subscriber on that first Monday, you can have all six episodes immediately as a box set. That kind of a relationship is, I think, unique to podcasting where you love the content. You decide that for the Cost of an oat milk latte. You can basically get all six episodes immediately. And many of our listeners now are just saying, you know what? I want my content clean. I'd like to just come to you direct. I'll have it [00:21:00] immediately. By the way, I'd love to get prioritized for the live tickets for the show in New York. I'd like to get them ahead of the rest of the public. And so you develop this fantastic relationship with your listeners and your fans.  Damian: There seems to be a kind of recognition that staying authentic, is the way to scale. I was just, I was reading some comments by, Netflix boss Ted Sarandos at the RTS conference, Royal Television Society conference, who was saying, one of the big hits this year for them was Baby Reindeer, which is a very UK, British sensibility, but yet it's done really well. They didn't pander to a global audience. They kept it authentic. It seems like that is the same formula that's having success for you.  Tony: Well, it's really interesting this, isn't it? Because,  I've got three, I've got three, sons, two teenagers and a 20 year old, and they're watching tons of content on Netflix and, uh, and the variety of the streamers, and they're very happy watching, for example, Korean TV with subtitles. They'll watch dramas from Scandinavia with subtitles. They're very comfortable. [00:22:00] Watching authentic drama and cultural content from other nations. I don't know whether the kind of globalization of content has finally happened, the days when, if it didn't, when, if a movie didn't have a, an American star, it could never be watched around the world. I think it's gone. I think people are much more comfortable enjoying content from a variety of nations. Damian: Well, Tony, thank you so much for these insights. Great talking with you.  Tony: An absolute pleasure. Thanks very much for having me on. Damian: And that's it for this edition of The Current Podcast. We'll be back next week, so stay tuned. The current podcast theme is by Love Caliber. The current team includes Kat Vesey and Sydney Kearns. And remember, Tony: We're not a walled garden. We're not going to tell you to come over to our place and enjoy our content. We're going to say, Where are you comfortable? Where do you want to be. Damian: I'm Damian and we'll see you next time. And if you like what you hear, please subscribe and leave us a review. Also tune into our other podcast, The Current Report.

FBI agents were ordered to fill out a questionnaire by Monday detailing the work they conducted into the Jan. 6 U.S. Capitol attack, including whether they made any arrests or executed any searches. CBS News' Scott MacFarlane has more. Most Americans have until April 15 to file their 2024 tax returns, pay any taxes owed or request and extension to file. CBS News business analyst Jill Schlesinger breaks down what to know. Clinical psychologist Lisa Damour, who consulted on the movie "Inside Out 2," talks about tips for raising teen girls. Damour is out with an updated version of her book, "Untangled: Guiding Teenage Girls Through the Seven Transitions into Adulthood." Former diplomat, entrepreneur and film producer Nicole Avant talks about her best-selling memoir, "Think You'll Be Happy," which recounts the night when her mother was fatally shot during a 2021 home invasion. Avant's husband, Netflix co-CEO Ted Sarandos, who wrote a new forward to the book, joins Avant on "CBS Mornings." Alton Brown, host of the popular cooking show "Good Eats" joins "CBS Mornings" to talk about his professional journey and new book, "Food for Thought." It's a collection of essays that blend Alton's personal and professional experiences with his unique insights into the culinary world. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, I'm talking with Matt Garman, the CEO of Amazon Web Services. Matt took over as CEO last June — you might recall that we had his predecessor Adam Selipsky on the show just over a year ago. That makes this episode terrific Decoder bait, since I love hearing how new CEOs will decide what to change and what to keep going after they've settled into their role. Links:  There's no AI without the cloud, says AWS CEO Adam Selipsky | Decoder Amazon's AWS to invest $11 bln in Georgia to boost AI infrastructure | Reuters Netflix's Ted Sarandos responds to Jake Paul-Mike Tyson glitches | THR The furious contest to unseat Nvidia as king of AI chips | NYT Amazon's moonshot plan to rival Nvidia in AI chips | Bloomberg Amazon invests another $4 billion in Anthropic | The Verge Why Netflix never goes down | The Verge Sam Altman lowers the bar for AGI | The Verge Transcript: https://www.theverge.com/e/24102212 Credits: Decoder is a production of The Verge and part of the Vox Media Podcast Network. Our producers are Kate Cox and Nick Statt. Our editor is Callie Wright. Our supervising producer is Liam James. The Decoder music is by Breakmaster Cylinder. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Long before Ted Sarandos’s company turned “binge watching” into a national pastime, the co-C.E.O. of Netflix stayed up long past his bedtime in order to catch The Jack Benny Program and I Love Lucy, developing a passion for film and television that has guided him ever since. After spending his early career rising through the ranks of the video distribution industry, Sarandos’s acumen caught the attention of Netflix founder Reed Hastings, who pitched Sarandos on his company: what if renting movies and television shows could be done from the couch? Over the following decades, Netflix evolved into the streaming service we know today. And all the while, Sarandos’s keen eye for potential smash-hits such as House of Cards continues to help deliver unforgettable plotlines to homes around the world. On this week’s episode of Table for Two, Sarandos joins host Bruce Bozzi to discuss his early life in Arizona, meeting his wife, Nicole Avant, and the process of writing the prologue to a new edition of her book, Think You’ll Be Happy.See omnystudio.com/listener for privacy information.

Ted Sarandos may be the co-C.E.O. of Netflix, but that doesn't mean he skimps on reading—especially not when Robert Caro or Walter Isaacson's names are on the cover. On this week's bonus episode of Table for Two, the streaming tycoon joins host Bruce Bozzi and discusses the movie that most influenced him, his pet peeve, and the best advice he's ever received.See omnystudio.com/listener for privacy information.

In today's video, Kristian Harloff reacts to the latest drama surrounding Amazon and YouTube superstar MrBeast, who are both involved in a class action lawsuit. Five contestants from the “Beast Games” reality competition series on Amazon have come forward with various claims, sparking a heated debate. Is this lawsuit justified, or is it just a cash grab? We dive into the mrbeast controversy, discussing the beast games, potential injuries, and claims of mistreatment. Plus, we discuss Netflix's Ted Sarandos and his statement that cinema releases are inefficient—do you agree? We also take a first look at the trailer for Mickey 17, the Jedi Survivor trilogy's final game, and the news of a live-action The Sims movie. Join Kristian Harloff and Steph Sabraw as they break down the mrbeast gameshow, mrbeast challenge, and mr beast scandal in the beast games controversy. Tune in for all the latest on beast games Amazon Prime and more! #youtube #mrbeast #amazon #lawsuit #drama #thesims #starwars #games #trailers OUR SPONSORS AG1: Try AG1 and get a FREE bottle of Vitamin D3K2 AND 5 free AG1 Travel Packs with your first purchase at http://www.drinkAG1.com/BIGTHING. That's a $48 value for FREE if you go to drinkAG1.com/BIGTHING JOYMODE: http://www.tryjoymode.com CODE BIG THING BETTERHELP: Http://www.betterhelp.com/bigthing BILT: http://www.joinbilt.com/BIGTHING  

We're off for the Fourth of July, but what's a better tribute to America than a conversation about the technology that enables us to endlessly stream TV from the couch? This week, we're bringing you an episode we enjoyed from the recently debuted New York Times podcast The Interview. Lulu Garcia-Navarro interviews Ted Sarandos, co-chief executive of Netflix, about his early days working in a video store, shows to fold your laundry to and the future of the entertainment industry.Guest:Ted Sarandos, Co-CEO of NetflixAdditional Reading: “The Interview”: Ted Sarandos's Plan to Get You to Binge Even More NetflixCan Japan's First Same-Sex Dating Reality Show Change Hearts and Minds?We want to hear from you. Email us at hardfork@nytimes.com.Find “Hard Fork” on YouTube and TikTok.

Netflix won the streaming battle, but the war for your attention isn't over.

Rob Lowe and Ted Sarandos love to quote their favorite movies together! Co-CEO of Netflix (and film fanatic) Ted Sarandos joins Rob Lowe to discuss his early days as a video store manager in Arizona, the little-seen Netflix comedy series that he is obsessed with, how the Netflix algorithm and his own fandom led to the company's deal with Adam Sandler, what AI could mean for the entertainment industry, and much more. Plus, Rob shares one of his favorite golf memories! Got a question for Rob? Call our voicemail at (323) 570-4551. Your question could get featured on the show!

The state of comedy, the Netflix journey, and Chappelle on SNL with Ted Sarandos. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices