Rupert Maconick

During a conference this week, Sony Pictures Entertainment CEO Tony Vinciquerra stated that the business is trying to create more profitable, genre-specific streaming projects that are equivalent to Crunchyroll. Tony stated, "We would love to launch more genre-based targeted, passionate fan centered streaming services. We're really positive on that front. And that's what we're now working on. However, it will take some time for the market to stabilize." He added that Sony is not beset by legacy TV networks, in contrast to Disney and other broadcasters. When he began working for Sony, the business had 110 cable networks worldwide. However, all of those networks have since been sold, with the exception of three markets—Spain, Latin America, and India—where cable networks are continuously expanding. For licensing of content, Sony has "proposed structures where we'd get the show back after 4 years or 5 years as opposed to the much longer terms that are currently in place, but thus far, there hasn't been much development in that area." Tony said that when it comes to consolidation in the market, Sony plans to "sit back and watch what comes available to us because we're in a very stable, very comfortable position. And we think that there will be lots of businesses that pop out of these companies...we would be interested in taking on mainly in the IP area, and that's really where we'll be focused." #streamingmedia #sony #SVOD #AVOD #paytv #cordcutting

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Another round of excitement and rebirths to emerge from #Hollywood as #Paramount, the original producer of #thegodfather seeks to re-create itself as a creative-tech hybrid. I am curious to see what the meat on those bones, given the tendency for large companies to use technology at its edges rather than making it a core operational focus. The fact they have now referenced #directoconsumer, #AI, and even #layoffs suggests that they are looking at the right things and understand the difficult challenges for legacy companies to compete in the new era. The fact that David Ellison's father is CEO of Oracle and is part of the deal makes these claims a little more credible. Expect to see more of these #spins as those left reeling from the #streamingwars find their next footing. #innovation

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This is an interesting and insightful film industry article. I am currently producing a few feature films with international co-production partners for theatrical release. Whilst it's always very difficult due to increased costs including needing a much larger budget to include the necessary marketing funding to ensure, and improve the films chances of a successful outcome on release! It's worth mentioning that not all feature film's are suitable for a theatrical release for a variey of reasons including that the story may not be high concept enough to secure a paying audience. There is plenty of room for all feature and factual film content in the market place. The decision to whether an individual film is destined for theatrical release starts firstly by how strong the story' premise, and that the film has the ability and potential to drive a paying audience to the cinema. It's possible to negotiate with a studio to secure soft money! In my case, streamers is only a second window option once my feature films completes it's release run.

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The UPROXX newco is a smart media M&A rollup. Music and culture focus + a strong leadership team. I'm bullish on them doing well by *brands and fans*, and getting immediate revenue traction based on their WMG YouTube media sales partnership. In my newsletter tomorrow, I explain my insights on the deal, key questions I'm asking, why I think UPROXX STUDIOS is setup for success. For now, let's review the key deal details... UPROXX STUDIOS OVERVIEW • A new “brand solutions studio” that “connects brands with talent, cultural arenas, and audiences”  • Founded by media veterans Jarret Myer (CEO), Rich Antoniello (Exec Chairman), and will.i.am (Chief Visionary Officer) • Result of acquisitions of Uproxx, HipHopDX, Dime Magazine, and other Warner Music Group media assets • Reaches 170M+ monthly US visitors and generates 12B+ monthly US video views POST DEAL OPS • “Expect significant investments in our brands, team, and the experiences we offer” • Includes the excl license to represent WMG’s YouTube inventory for all US media sales  • Will integrate will.i.am’s FYI AI tech and FYI radio into ops UPROXX DIVISIONS • Uproxx – Millennial-focused culture media brand and production co (acquired by WMG in 2018) • HipHopDX – Digital mag of hip hop music criticism and news (acquired by WMG in 2020) • Dime Magazine – Digital mag of American basketball lifestyle (acquired by Uproxx in 2015) • FYI – productivity tool designed to serve Creatives. Combines messaging and collab tools with file mgmt and content pub features NEWCO VALUE PROP  • Access to A-list stars via WMG YouTube inventory + UPROXX superfan communities gives brands and advertisers new ways to participate in music culture • FYI AI tech will enable creation of AI StoryLabs, a new branded content and social media mgmt unit within UPROXX Studios  • "Merging the agility and freedom of an independent entity with the reach and resources of a major music label.” UPROXX HISTORY • f/k/a as Uproxx • Founded 2008 by Jarrett Meyer and Brian Bater (also co-founded Rawkus Records in 1996) • Acquired by male-focused media ad network Woven Digital in 2015 • Rebranded to Uproxx Media, Jarrett became GM • Bought by WMG in 2018 • Price undisclosed, but previous Uproxx Media investment was ~$43M • Value prop of acquisition was to “create engaging new experiences for young consumers, global promotional possibilities for brands, and innovative marketing opportunities for artists” • WMG exec Max Lousada and Uproxx co-founder Jarrett Myer used to work together at Rawkus Records WMG RELATED HISTORY • Announced 600 layoffs in Feb 2024, incl potential sale of Uproxx and HipHopDX • Also wound down its podcasting brand Interval Presents and social media publisher IMGN • Overall faced challenges in its O&O and digital brand sales biz -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

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Nov. 2nd—Day 2 Recap: #TPAFF brought engaging discussions, including the “Distribution & Liberation Panel,” where I was honored to speak. Together, we explored how transmedia is transforming film distribution, especially after the pandemic and industry strikes. Our panel also included the amazing Danny Torres from NBCUniversal, writer/director/producer Derek Johnson II and powerhouse producer Romaine A. Simon which delved into the “liberation” of distribution channels—how filmmakers are finding new freedom to reach global audiences directly through streaming services, VOD, SVOD, TVOD, and even social media, bypassing traditional gatekeepers. We highlighted the rise of hybrid release models, combining theatrical, streaming, and online premieres to expand viewership and profitability. Monetization was another key theme as we discussed new revenue models like subscription tiers, ad-supported content, and crowd-funded releases that give creators more options to thrive in the changing media landscape. This “Distribution & Liberation” discussion showcased the importance of adaptability and innovation in navigating the industry’s future. Shoutout & #gratitude to the amazing Cassandra Cooper CEO of OVA Media Group for inviting me onto the panel. I’m looking forward to building great things together—and as always, to my big brother Dr. Eric J. Zuley of the #ezwayfamily and his #ezwaybroadcasting #ezwaytv for setting it up, connecting us together, and providing media coverage #thankyou you guys!! Much love to ALL. 💖 #TPAFF2024 #FilmDistribution #NewMedia #PostPandemicFilm #HybridReleases #IndieFilm #FilmIndustryTrends #Streaming #DirectToAudience #FilmLiberation #ovamediagroup #IndieFilmmaking #VOD #transmedia #futureoffilm #tracedelatorre #filmgirl #tracemedia #artsharela #filmmakers #losangeles

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More Sony, Less Strategy “The plan would include auctioning off CBS, cable channels like MTV and the Paramount Plus streaming service. Paramount Pictures would be combined with Sony’s business.” So Sony’s entire strategy here is to spend $26 billion, sell off ALL the assets except the studio - not an easy task btw - all just to make Sony Pictures bigger? Seems like a LOT of squeeze for a questionable amount of juice. https://lnkd.in/eeEu8x_Z Paramount #mergersandacquisitions #movies

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The write-down of linear assets by major entertainment companies in the latest earnings cycle speaks to the end of cable television, experts agree. But as these assets continue to drive billions of dollars in revenue to these same companies, a final chapter of this decline is unfolding: Cable distributors are in a standoff with television networks that have pivoted their investments to streaming.

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An interesting update on what Disney's streaming division profit might mean for the TV industry from Guy Bisson at Ampere Analysis "Disney's results show that that transition [from linear to streaming] is now in full swing: as with other studios (and linear channel businesses around the world), Disney's linear business is in fairly sharp decline (revenues dropped 10% in the past six months against a year earlier). There is no going back from here." Could it mean an end to this cost cutting round and a cautious return to investing in new originals? "One thing that has never changed about the on-demand streaming model, though, is its voracious appetite for fresh content. Original production is a key part of that and with pressure now easing on costs, some resurgence of original production must surely follow." Let's hope this is corner turned! Read the full article below for this and other interesting insights.....

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Range Media Partners just raised big $$ from Liberty Global, Wildcat Capital Management. It's an M&A warchest so they don’t fall behind their peers.  Let’s break it down… BACKGROUND ON RANGE • Mgmt and prod co founded in 2020 by Peter Micelli and other top agents from CAA / WME / UTA • Goal = extend beyond trad film / TV representation • Has expanded into music, sports, gaming, digital, music pub M&A + CAP MARKETS HISTORY • Merged with film / TV prod co Automatik in Jan 2023 • Bought upstart athlete mgmt co Stoked Management Group in Sep 2023 • Existing investors incl Steve Cohen’s Point72 Ventures and A+E Networks (also has prod deal) NEW INVESTMENT • Last week closed significant minority investment by John Malone’s Liberty Global, TPG founder’s Wildcat Capital, and family entertainment co Playground Productions • Former CAA film finance exec Rick Hess, and The Forest Road Company were also involved (either as investors or advisors, can’t tell exactly from press release) • Use of Funds: M&A, scale in US, int’l growth, add more talent rep and prod services What you need to know about this deal 👇... It's not surprising when you consider all the other fundraising and M&A amongst Range’s peers in talent representation.  The influx of capital and high dealmaking volume is driven by a belief that outsized returns will go to rep firms who are fastest to scale, in a winner-take-most market. Because scale makes it easier to sign more talent clients, work with the largest brand marketers, hire the best talent agents and managers, package up the largest Hollywood projects, and launch the most exciting new talent-led ventures. Particularly in a world where scaled access to audience (which talent and influencers bring in a post ATT world) is the top driver in capturing share of high-growth IM spend, which is est at $7B in 2024, up 15% YoY. So it’s a race to the top. And that race is being fueled by large M&A war chests from big investor backers… Companies to watch here are: - Crestview-backed Gersh (just bought A3’s digital team) - Coral Tree-backed Loaded (just bought GG Talent) - Providence-backed Wasserman (13 deals in 2 years) - TCG-backed Night (just bought LFM and Roost Podcast Network) - The big 3: CAA, UTA, Endeavor And after last week, I expect Range Media to ramp up its acquisition activity. Particularly in athlete and digital-native representation. Curious to see what they do next with the $$. Will definitely add them to our buyers list as we bring more deals to market. —- I’m the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open. #media #agency #creatoreconomy

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UTA just promoted 24 new partners. What's driving this? Promotions can be part of a retention strategy as competition for talent, and their reps, heats up. Particularly when new firms like Range Media Partners, which was the result top agent defections from the Big 3 Hollywood agencies in 2020, are growing fast and raising growth capital (see my analysis 👇). Some questions worth asking... - How is the agency's employee retention rate trending? - How does the % of promotions compare to prior years? - What agency depts are seeing more promotions? e.g. fast-growing areas like digital? - What are the benefits of being a partner? - What type of commitment is required from partners, if any? - How does all this compare to peer agencies? Many talent reps are thinking through decisions about staying VS leaving at bigger co's, starting their own firms, staying independent, and more. This is important info to track. For both those starting out their agency careers, and more seasoned agency execs thinking about their next career step. #media #agency #creatoreconomy

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BBC AMCerica I’ve gotten a LOT of questions on this website about this transaction. “AMC Networks has acquired full control of BBC America, its joint venture with BBC Studios.” https://lnkd.in/eh8nvSWy This is a pretty easy one to suss - and a crystal clear indication of two companies going in two VERY different directions… AMC is still controlled by OG Cable TV royalty, the Dolan family. Their CEO is Kristin Dolan. They are tripling down on what they know: Cable TV. Yes, it’s a dying business, but BBCA still spins off cash from affiliate fees and advertising, and, up until now AMCN only got 49.9% of the fruits of their labor. Additionally, this deal eliminates substantial long term contractual and financial obligations AMC has had to BBC Studios. Considering the immediate upside, and what they paid for the first half ($200 mil), $42 mil ain’t a bad price to pay. BBC Studios is the for-profit arm of BBC. They recently acquired BritBox International. As BBC Studios Media CEO Rebecca Glashow said, they are “expanding and diversifying our market presence in the U.S,” aka focusing on content arms-dealing and solidifying their streaming business. Thus, the influx of cash, as well as the divorce of exclusivity to BBCA, makes a ton of dollars and cents. Happy to answer more questions in the chat. But this one is not a complicated puzzle to piece together.

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Manori Ravindran recently wrote about the “buy, sell or die” M&A climate for producers, producers’ pivot to YouTube for money, how to get a TV buyer to yes (when budget is the problem) and why brands are now funding unscripted shows. #copros #tvproduction #coproudctions #streamers #internationalproudctions

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Direct to consumer... Another concept sometimes seen by rights owners as either a newly found golden goose or even worse.... a lifejacket to be used in case of emergency... a big mistake in both cases. Any D2C endeavor should be seen as a long term investment into your relationship with your fans through the power of content. It's not a quick fix in case some media rights deal didn't go through, it's not a magical recipe to extract value from data, it's not a cheap way to attack a new market, it's never a quick win to make money and it should never be build against traditional media partners but next to them or even better in some cases along with them. In a new sports media world where exclusivity doesn't command the same premium as before, in such a disrupted period where new competition can emerge at every corner and partners disapear just as quickly, it's even more important to take matter into your own hands and build a long term plan for a global platform with the proper partners on tech, commercial and distribution sides. Oh and one last thing, having your own platform shouldn't stop you from having a open minded social media strategy, it's about getting your fans where they are and maximizing your footprint, it will not cannibalize your platform.

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#UnHollywood: The Golden Age of Indie Film The Indie Film Revolution has begun! We are all captivated by the glitz and glamour of Hollywood. As aspiring filmmakers and theater artists, we've grown up dreaming of reaching the major studio levels, Broadway, and fantasizing about leaving our mark on the stage and screen. However, as much as we adore and admire Hollywood, it's crucial to recognize that the movie industry has increasingly prioritized commercial success over story and creativity, forcing many of us to reevaluate our paths. This reality has led to the rise of a new era – the Golden Age of Indie Film! An electrifying period that celebrates authentic storytelling, diverse perspectives, and creative freedom. The Indie Film Revolution champions the artists who dare to challenge the major studio system and redefine the future of filmmaking. While Hollywood may not always open its doors to the incredible talent that exists beyond its gates, the Golden Age of Indie Film reminds us that there's another way to make our dreams come true. By joining forces and embracing the power of independent artistry, we can create opportunities and forge a path that values creativity and originality above all else. Together, we can build a world where independent filmmakers and theater artists thrive and push the boundaries of storytelling in ways never seen before. We believe in the power of authentic storytelling and its ability to connect us on a deeper level. IFT Network's infrastructure is designed to support the entire journey of independent film and theater production: • The IFT Network Writing Room: A dedicated virtual space for script development and collaboration. • Producer Community: A network of talented producers ready to bring projects to life. • Streaming Platform: A global stage that offers independent filmmakers and theater artists an opportunity to showcase their work to audiences worldwide. • Marketing and Promotion: A comprehensive support system, including the IFT Network Marketing Agency, that assists independent artists in amplifying their projects' visibility and connecting with their target audiences. • Community Share Program: A system that shares revenue with each film and show on the platform, ensuring mutual success within the IFT Network community. Our long-term vision includes expanding our infrastructure even further: • Indie FIlm Theater Fund: A future venture fund tailored specifically for indie film and theater projects within our ecosystem. • Physical Studio: A dedicated space for production and collaboration, fostering innovation and growth. • Theater Partnerships: Partnering with or owning theater venues to provide opportunities for live performances. Join us as we redefine the future of storytelling and prove that the power of authentic, independent artistry cannot be ignored.

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You know, I have a lot of respect for #WarnerBros Chief Executive Zaslav; because really, he took a big step in unification of the forces beneath him (especially and particularly when it comes to the #DC brand). With certain fandoms and fanbases; if you listen closely and long enough, you start to hear the same refrain from the choir... "I don't trust (insert name of the studio) with these characters"... and you hear it from the fanbase again...and again...and again... Because really, the executive-investor class whom is in charge of the who-what-where-how of the studios are typically met with contempt, distrust, and even hostility, when the fanbase reacts to choices that they're at the center of (because to the fans; how much can someone care about something if they didn't grow up breathing, eating, and thinking this particular content vertical...and it comes down to a personality matrix that they *suspect* is at play (namely and plainly; the guy who owns the comic book shop up the street who knows the characters isn't the type to get an MBA and go work at the studio; but the person who did get the MBA who works at a studio has never stepped foot in a comic shop...again...the suspicion by the fanbase, not necessarily reality...); which leads to things like the fanbase supporting the filmmakers over the studio (because of the perception that they're not aligned in anything that they do...) So, to counteract this greek chorus online; David Zaslav takes heed of something fellow industry CEO Bob Iger (of #Disney) talks about in his book : *simplification*. To do this, Mr. Zaslav eliminates the issue of trust to the fanbase entirely...he literally makes the filmmaker the studio (hiring James Gunn to run the comic book film division, and meaning all their choices by definition become canon...). That immediately and instantly aligns the creative and business entities in a singular way (and simplifies his relationship with that audience block completely; now that the creative is now the studio head); and in addition to the fanbase; it also allays the chorus of : The Creative Class (who immediately gush over your executive choices to truly empower a creative class member; and not just talk about it in an earnings call or press release) The Investor-Shareholder Class (who can google this person and see both box office success and the added perk of critical acclaim and cultural relevance) The Promotional Partner Entities (who now see a steady hand at the helm that also has the talent they really want to see in retail sales; you can control the conversation of the product to the people who are the biggest buyers : the fanbase). *Cont'd in Comments*

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