Steve Stoute

An interesting start / test for Netflix with B2B would be acquiring Ziff Davis (B2B, retail tech, geek culture) and/or CNET (where ever the f*ck that went). RUMORS https://lnkd.in/eYiNMVHg

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🔥💚 Every great brand (re)launch deserves a "sonic" upgrade, and we went all in with the unveiling of our new Sprite Sound. Developed in collaboration with GRAMMY® Award-winning, multi-platinum producer and artist Mustard, and GRAMMY® Award-winning super-producer Sal Dali, our Sprite Sound is designed to feel as refreshing as that first sip of a cold Sprite -- an instantly recognizable sonic expression of the brand. We formed a small team to work with our friends Ear Candy Shop Inc. and Tuney to develop this uniquely innovative and game-changing process to audio branding, which allows for infinite creativity at scale (more to come on this later.. 👀). Beyond the ad content, we partnered with Ableton to create a bespoke beat machine, pre-loaded with the Sprite sonic universe and available for anyone to use freely.. And a culture-first strategy to amplify, globally. Check out this first drop “Citrus” by breakthrough UK rapper, LeoStayTrill and look out for more on the way: https://lnkd.in/geX8kNdh Shoutout: Oana Vlad, Santiago Iturralde, Mickael Vinet, Brian Brooks, Antony Demekhin, Tim Lincoln, Filip Mitrovic, Bhavagna Bhattiprolu, Joshua Schwarber, Katie Stamp, Hanna El-amrawi, Luciana Mendes, Tere Batista, Rachel Hobbs, Elizabeth Conway, Katherina Jawaharlal, Katelyn Andrews, A.P. Chaney, Rapha Abreu, Manuel "Manolo" Arroyo #music #musicmarketing #sprite The Coca-Cola Company

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🎬 The media and entertainment world isn’t slowing down—it’s evolving. New worlds are being built. New stories are being told. Innovation is alive and well. But growth without alignment is a missed opportunity. You can’t build something meaningful in a vacuum. Studios, streamers, production teams, and manufacturers—now more than ever, success depends on the strength of your people and the power of your partnerships. The brands that will thrive are the ones that invest in their people, stay connected to the ecosystem around them, and make room at the table for the collaborators who help bring it all to life. In a time where the industry is shifting under our feet, community matters more than ever. According to Deloitte, 86% of media executives say forging new partnerships is critical to navigating industry disruption—yet only a fraction are actively expanding their networks beyond traditional silos. Creating without community is empty. Supporting that community—artists, technicians, storytellers, innovators—is the only way forward. Let’s keep pushing, building, and creating. Together. #MediaIndustry #Entertainment #ProductionCommunity #Collaboration #Partnerships #FutureOfMedia

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A Netflix × WBD Merger: The Capital Opportunity Hiding in Plain Sight From a production-company founder and capital allocator's perspective, consolidation in entertainment isn't just a creative issue—it's a shift in market structure. Yes, mergers reduce buyers. Yes, mandates narrow. Yes, risk tolerance at the corporate level drops. But that very consolidation creates a capital inefficiency—especially in mid-range production IP, which presents clear opportunities for investors seeking diversified, scalable assets. As studios consolidate, their focus tilts heavily toward mega-budget franchises and global 'event' content. This leaves a gap for mid-range IP, which, if navigated carefully, can offer significant strategic and financial advantages despite market challenges. For investors, that gap matters. Why? Because consolidated buyers still need: • Volume • Fresh IP pipelines • Talent incubation • Prestige and cultural relevance • De-risked content with proven audience signals Mid-range IP—properly structured—can meet those needs more efficiently than blockbuster bets. Lower negative cost, tighter production timelines, flexible rights packaging, and clearer recoupment pathways make these projects option-like assets in a consolidated market. From a founder's seat, the strategy isn't just to fight consolidation—it's to design for it, proactively inspiring confidence in adaptability. That means building slats where: • IP is developed with optionality (theatrical, streaming, international, AVOD) - Rights are modular, not fully surrendered upfront - Audience validation precedes greenlight - Capital is deployed across portfolios, not single bets - A package of 10 films/projects reduces the total risk, more eggs in the basket, higher chances of 1 or even two blowing up and turning into a buyer's need. In a world with fewer gatekeepers, leverage comes from being prepared, not just scale, empowering your strategic positioning. The next wave of successful independent companies won't compete head-on with consolidated studios. They'll supply them—selectively, strategically, and on better terms—using disciplined capital, repeatable production models, and IP that travels. Consolidation doesn't kill opportunity. It concentrates it. Curious how other founders, producers, and investors are structuring mid-range IP to stay relevant—and profitable—inside an increasingly consolidated ecosystem. #IndependentFilm #IndieFilmmaking #FilmIndustry #Filmmakers #FilmBusiness #StreamingWars #ContentStrategy #FilmFinance #FilmDistribution #StudioSystem #MediaTrends #EntertainmentIndustry

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Luminate has partnered with Tencent Music Entertainment to include China’s streaming and sales data in its global metrics for the first time. This means Billboard’s Global Charts will soon reflect music consumption from platforms like QQ Music, Kugou, Kuwo, and JOOX, bringing greater representation to one of the world’s largest music markets. Luminate says the move fills a long-standing data gap and will give artists and industry professionals a clearer picture of global music trends. https://lnkd.in/g-PHrxXf #musiccharts #musicindustry #musicbusiness

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Why has film production always been done the same way? No — seriously. Why are filmmakers still juggling disconnected spreadsheets, endless email chains, outdated budgeting tools, manual breakdowns, and fragmented crew…in an industry built on creativity? For over a century, production infrastructure hasn’t evolved at the speed of storytelling. Technology transformed how we shoot, edit, distribute, and even watch films — yet behind the scenes, many productions still operate in controlled chaos. So let me ask you something: 👉 Are these processes protecting the art… or quietly limiting it? Because every hour lost to administrative drag is an hour stolen from creativity. Every budget inefficiency is a scene that never makes it to screen. Every communication breakdown is friction against your vision. What if the next evolution of filmmaking isn’t just better cameras… …but smarter infrastructure? What if filmmakers stopped accepting “this is how it’s always been done” — and started demanding tools that actually serve the story? The industry doesn’t change when we follow tradition. It changes when filmmakers decide they deserve better. If you’ve ever felt the system slows you down more than it supports you… You’re not imagining it. And you’re not alone. The question isn’t whether filmmaking will evolve. The question is — who will be bold enough to lead that shift? Tell me in the comments: What is the ONE production process you believe is overdue for disruption? #Filmmaking #IndependentFilm #FilmProduction #FutureOfFilm #FilmInnovation #CreativeRevolution

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Riff Raff Films ’s Matthew Fone announces new Global Managing Partners as company enters a bold new chapter. “As Riff Raff continues its expansion in both creative ambition and global reach, I’m proud to announce a key leadership evolution. Executive Producers Jane Tredget, Natalie Arnett, and Tracey Cooper have been appointed as Global Managing Partners. Each brings a proven track record of creative excellence, leadership, and deep dedication that has been instrumental to the company’s continued success.” “Their new roles reflect a strategic shift in how we operate and scale: while Tredget, Arnett, and Cooper lead on day-to-day operations, they will also play a critical role in shaping the development of our directors, bringing in new talent, and expanding our creative offering worldwide. Working in close partnership with our US-based Executive Producer Alanna Dillon, the Global Managing Partners will be responsible for overseeing our global operations and ambitions.” Read more https://lnkd.in/guCP_vkB

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Gap has hired former Paramount executive Pam Kaufman as its first-ever Chief Entertainment Officer, a newly created role that formalizes the company’s push into “Fashiontainment.” The hire reflects a shift in how Gap plans to drive relevance across its portfolio of brands. Rather than relying solely on product cycles and traditional retail scale, Gap is reorganizing around entertainment, licensing, and cultural storytelling as long-term brand infrastructure. Kaufman’s background in global consumer products and experiences positions her to build systems that extend Gap’s brands into culture in durable, monetizable ways. TL:DR ❏ Gap is elevating entertainment from a marketing function to a core strategic capability ❏ Cultural relevance is being treated as a lever for pricing power and long-term brand equity ❏ The success of this move hinges on execution discipline, not splashy collabs

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Free streaming is growing fast. Will it catch up with paid streaming in share of US time spent? YouTube, Roku, and Tubi have grown their collective share of viewing time from 10.9% to 17.2% in just two years. Paid streaming grew too, from 18% to 21.3%. But it's undeniable that free is paying off. YouTube's growth and its algorithmic flywheel have been covered a lot. Less so are Roku and Tubi, both of which doubled their viewership with extensive libraries, super-serving passionate communities, lean-back and lean-forward television. Most importantly, they don't have to convince people to become or remain subscribers. All they have to do convince them to create an account and log-in, which delivers far better monetization, and keep coming back. (I say "all" in jest, but acknowledge all of these things are incredibly difficult to do in practice). As Streamonomics® readers know, the Freemium Tightrope makes it difficult for streamers to offer free and paid under the same brand. Give away too much free content, it's hard to get people to pay. Hulu and Peacock once have free tiers, but discontinued them primarily for this reason. But as competition against AI-driven hyperscalers gets more intense, I've argued streamers will need multiple moats: 1. Content/UX/brand that drives frequency, duration, and willingness to pay 2. A self-funding, integrated upper funnel By self-funding, I mean profitable on its own (YouTube, Spotify). By integrated, I mean one app, one brand, easy upgrade path (the above plus Vix for Spanish-speaking audiences and JioStar in India) Free funnels can come in different forms. Netflix's original free upper funnel was password sharing. One of Amazon's is their constant inflow of people searching for single TV shows or movies, since they know they will always find them in the Amazon ecosystem. THE BIGGER PICTURE: → Free streaming's 58% growth vs paid's 18% signals a macro trend → Paramount is the only premium streamer that owns a free one (Pluto). Will the brands merge? → Roku and Tubi prove there's more than one way to win free streaming Which paid streamer cracks the freemium code first, and how?

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The news of Warner Bros. Discovery's planned split into two public companies isn't a surprise, but a crucial question remains: what's the real benefit of this strategic separation? The biggest takeaway in splitting the company is the remaining WBD can focus on the growth business - streaming - versus having time and attention drawn to managing decline - the legacy media business. Investors can then evaluate the growth strategy and business on its own merits. It also makes it more attractive from an acquisition standpoint, as the growth business seeks more scale (and the legacy business likely seeks the same). There is precedent for this type of transaction, specifically when Fox split the company and sold the studio business to Disney. The remaining low growth businesses were left under Murdoch's control as Fox Corporation. While the transaction was driven by Disney looking for depth and scale in the content business, there was some parallel thinking: leave the low growth assets to themselves as they are a distraction. Fox Corporation has maintained its enterprise value since listing in 2019. On the other hand, Warner Bros. Discovery has seen nearly a 60% loss in value since its merger in April 2022. So while Fox Corp. was not a great investment, the strategy was better than most in its class, in securing the value of its studio through the sale, while it has managed to maintain value in its separate low growth company. But there is a big footnote on how Fox Corp maintained its value – it has risen by 40% in the last 12 months, when, wait for it . . . they announced they are investing in streaming, initially with the Hulu Sports JV and now with Fox One. And Tubi has been on a tear! The slow growth legacy business had no choice but to innovate. I think we will see this playbook again as these spinoffs seek growth. Separating companies, M&A and scale driven strategies can drive some value, but not enough to overcome medium-to-long term tends. So how do these businesses protect themselves against a slow down in growth? I have a few ideas and they include tapping into the creator economy and, wait for it: SHORTS. A few last thoughts: maybe a better split for WBD would be to sell off the Discovery / Scripps assets. As just covered in NYT yesterday, there is very little audience overlap in Max. When I was previously at Discovery, the research suggested that Fox News has the highest overlap with Discovery audiences. Perhaps there is a scale play there for these two parties? I suggested as much while I worked at Discovery, only to be shot down. Perhaps a revisit? And lastly, it will do us well to remember the famously failed split of Paramount CBS, when separating the companies led to significant value destruction due to lack of scale for both companies. That said, the corporate structure, and family and board drama, likely led to missed acquisition / merger opportunities during the first wave of streaming consolidation. Thoughts?

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Apple TV+ is scaling back on Animation but it ain’t about demand, it’s about cost. Over the last 5 years, the cost of producing premium animation has surged anywhere from 20% to 40% depending on style, location, and complexity. At the same time, studios want theatrical quality animation on a streaming budget, and they want it fast. But animation is a production beast…labor-intensive pipelines, rising global talent costs, heavy rendering infrastructure, and long lead times, especially for hand-crafted or hybrid formats. So, when Apple TV+ cancels almost its entire kids’ animation slate (Central Park, Doug Unplugs, Slumberkins, Snoopy Show, etc.) after a 2-year run where they outpaced Disney+ in series orders, it's more of a cost correction vs. a creative decision. Animation is expensive. But global demand makes it a necessity. It’s sticky, inclusive, and evergreen when done right. Studios that treat animation like live action with extra steps are gonna keep getting burned. But those who rethink the model are going to own the next wave. So, no shame in Apple’s move, just a reminder that the ones who can make it work in this climate… will be the ones who shape the future of animation. https://lnkd.in/gTyqnnF5 #AnimationEconomics #AppleTV #StreamingStrategy #CostCurve #ContentIsCurrency

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44% of fans find content on social media — then leave to watch, listen, or buy it somewhere else. That's a significant blind spot. Media companies lose visibility into fan intent at the exact moment it converts — and with it, the data and revenue opportunities that follow. Deloitte's 2026 Digital Media Trends report explores what it takes to close that gap. How are you keeping fans engaged once they leave social? 📱 https://lnkd.in/eMYBn3xc #digitalmediatrends #media #entertainment #streaming #social

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Why do studios sometimes reveal too much in trailers? The appearance of Red Hulk in a Captain America trailer spoiled what should have been a major surprise, driven by concerns about box office success. Considering the upcoming Frankenstein adaptation by Guillermo del Toro, starring Oscar Isaac, it raises questions about balancing suspense and audience expectations. It’s a reminder of the power of emotional storytelling over relying solely on jump scares. What is the best way to respect the audience, while still delivering a blockbuster film? Curious to hear if you have any thoughts on the balance of emotion vs. jump scares? #MovieTrailers #FilmIndustry #Frankenstein #GuillermoDelToro #OscarIsaac #MovieAdaptations

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Does independent film point the way forward for AA game development? T-Minus Zero Entertainment is betting yes. The CEO, Zachary Beaudoin, announced that the company is transitioning to an independent, film-inspired financing mode where they take on different investors for specific projects at specific phases. By breaking up the financing, it de-risks the project for the investor while also leaving the IP in the hands of T-Minus Zero. I’m curious to see how this affects distribution and marketing of the title (if at all). We’ve seen this before, where a specific publisher will help out in a region (like the U.S.). The key will be orchestrating the various partners to ensure the marketing is localized - not fragmented. The key will be the creative and the game they create ultimately.

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Great conversation with EARMILK about the state of live music, and how fan expectations are changing the industry. The headline is this: live entertainment isn’t slowing down, it’s evolving. Fans are becoming more selective about which shows they attend, which means every production has to deliver something memorable enough to justify the investment of time, money, and attention. Every show has to count, and that changes everything about how we approach our work at Concert Stuff Group. Fans can tell when a production has been thought through versus thrown together. That feeling lives in the details — the audio, the flow of the crowd, the sightlines. Most of them never know why it feels different. They just know that it does. That’s what drives us. Read the full interview here: https://lnkd.in/eamChvER

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Well this is huge news. Netflix is out of the bidding war for Warner Bros Discovery. WBD’s board determined Paramount Skydance’s revised $31-per-share bid is superior to Netflix’s $27.75 offer, giving the streaming giant four days to counter. With Paramount’s counter offer accepted, Skydance will claim the prize creating another media giant. And then there were three big media conglomerates - Netflix, Disney, and Skydance. https://lnkd.in/gMFK_G6h

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