Explorez tous les épisodes du podcast The Media Odyssey
| Titre | Date | Durée | |
|---|---|---|---|
| THE END OF THE PARAMOUNT SAGA AND THE TECH-BROS OF THE APOCALYPSE | 01 oct. 2026 | 00:53:50 | |
An Anthropic engineer warned AI could destroy humanity, but Silicon Valley's sudden AI "safety" panic looks a lot like a marketing campaign. This episode of the Media Odyssey Podcast with Evan Shapiro and Marion Ranchet breaks down how California's attorneys general settled in the Paramount-Warner Bros Discovery merger, what the deal's mandates actually require, and why the AI industry's sudden doomsday messaging conveniently coincides with OpenAI and Anthropic's IPO troubles. Plus a look at how Europe is positioning itself in the AI race. Key Takeaways 1. The AI "Safety Panic" Marketing Campaign 2 Meta's Muse Shows the Gap Between Hype and Reality 3. Europe's AI Position: Enterprise Over Frontier Models 4. The Paramount-Warner Bros Deal's Mandates 5. Massive Layoffs Are Coming Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE AFFINITY 100: THE MOST IMPACTFUL CREATORS OF 2026 | 24 sept. 2026 | 00:20:21 | |
Blair Imani just beat MrBeast on a brand-new ranking of creator influence and and the metric behind it could change how brands spend their money on YouTube, TikTok, and Instagram. This episode of The Media Odyssey Podcast, recorded outside at IBC, features hosts Evan Shapiro and Marion Ranchet with special guest Shira Lazar. They unpack the newly released Affinity 100, a ranking of the most impactful creators of 2026 built on a new metric called the Affinity Quotient, developed with Whalar Group and Foam. Key Takeaways: 1. A New Way to Measure Influence 2. Blair Imani Tops the List, MrBeast Ranks 85th 3. Indie and Expert Creators Are Rising 4. Brands Still Chase Follower Counts Despite the Shift 5. The Creator Ecosphere Map Returns in October Thank you to Shira Lazar for joining the pod! Shira Lazar - https://www.linkedin.com/in/shiralazar/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| 80% WEEKLY REACH, SHRINKING BUDGETS: EUROPE'S PUBLIC SERVICE MEDIA | 22 sept. 2026 | 00:26:09 | |
Europe's public broadcasters are losing over 5% of their funding on average, and some budgets are being slashed by up to 70%. It's not because of economics, but ideology. This bonus episode, recorded live at SME Live 2026 in Amsterdam, features Marion Ranchet with Serge Schick (France Medias Monde), Lieven Vermaele (VRT), Christophe Chantraine (RTBF), and Bastiaan Toering (NPO), discussing the funding pressures and strategic countermeasures reshaping European public service media. Key Takeaways PSM reaches over 80% of Europeans weekly (close to 70% among 15-24 year-olds) at a cost of just €3.60 per citizen per month. At the same time, average funding fell more than 5% between 2019 and 2024, with some countries like Switzerland cutting budgets by 70% despite no public deficit, reflecting political and ideological pressure rather than economics alone. 2. Broadcasters Are Cutting Costs to Protect Content 3. SVOD and Partnerships Are New Revenue Levers 4. YouTube Strategy Varies by Broadcaster 5. Collaboration Across PSM Remains Limited Thank you to all the panelists: Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast | |||
| THE STREAMING PLATFORM RATIO | 17 sept. 2026 | 00:29:04 | |
Streaming platforms are spending anywhere from 9% to 30% of revenue just to run their tech stack and a new study finally puts real numbers behind the guesswork. Don’t miss this special episode recorded on stage at Streaming Made Easy Live with Jonas Engwall (CEO of Bedrock Streaming), Bjarne Andreas Myklebust (NRK, Norway's public broadcaster), and Rowan de Pomerai (CEO of the DPP). They unpack the new Streaming Platform Ratio study benchmarking 16 European platforms against Netflix, why public broadcasters are outperforming commercial ones on tech efficiency, and the coming wave of premium vertical video. Key Takeaways: 1. The Streaming Platform Ratio Benchmark 2. Scale Is the Biggest Cost Driver 3. Legacy Broadcasters Are Still Paying Two Bills 4. Buy, Don't Build 5. Premium Vertical Video Is the Next Wave Thank you to Jonas Engwall, Rowan de Pomerai, and Bjarne Andreas Myklebust for coming on the pod! Bedrock Streaming: https://fr.linkedin.com/company/bedrock-streaming?trk=public_profile_topcard-current-company Jonas Engwall: https://fr.linkedin.com/in/jonas-engwall Rowan de Pomerai: https://www.linkedin.com/in/rdepom/ Bjarne Andreas Myklebust: https://no.linkedin.com/in/bmyklebust Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast 00:00 Live Show Kickoff 01:08 Why Measure Platform Spend 03:21 Streaming Platform Ratio Explained 05:01 Netflix as Baseline Benchmark 06:31 Public Broadcasters and OTT Transition 08:55 Scale Drives Lower Costs 10:12 What the Results Mean 13:20 Europe vs US and Chasing Scale 16:27 Next Steps and Benchmarking Goals 18:47 Build vs Buy and CapEx to OpEx 21:09 Vertical Video and Microdramas 25:10 Premium Vertical Wave in Europe 27:51 Wrap Up and Thanks
| |||
| WE KNOW WHAT MEDIA DID THIS SUMMER | 10 sept. 2026 | 00:50:55 | |
The 2026 World Cup shattered streaming records worldwide, Paramount and Warner Bros are locked in a multi-billion-dollar antitrust standoff, and Meta just settled a landmark child-safety case for $18 billion. The Media Odyssey podcast is back and we know what you did last summer. This episode marks the Season 3 premiere with hosts Evan Shapiro and Marion Ranchet catching up after their summer break. They cover all the biggest news of the last month including the World Cup's record-breaking viewership clip culture, ESPN’s faulty sports rights math, and Disney’s stale IP. They also discuss how the Paramount-Warner Bros merger battle with 12 state attorneys general suing to block it and Meta's $18 billion child-safety settlement with state AGs. Key Takeaways 1. The World Cup's Record-Breaking, Clip-Driven Reach CazéTV in Brazil broke the world concurrent-streaming record five times, peaking at 24 million concurrent streams, while Globo drew 70 million live TV viewers. In the US, TikTok clip culture (24 billion hours watched) dwarfed YouTube's full-match viewership (2.4 billion hours), signaling that conversation and clips now outpace matches themselves. 2. Paramount-Warner Bros Heads Toward Trial Twelve state attorneys general are suing to block the merger under the Clayton Act, citing monopoly concerns in cable and film. Paramount owes a $7 million-per-day ticking fee starting October 1st and a $7 billion breakup fee if the deal collapses — and Larry Ellison's $40 billion personal backing puts the whole deal at risk. 3. Meta's $18 Billion Child-Safety Settlement Meta admitted to feeding harmful, addictive content to minors and agreed to structural changes: capped scrolling time, blocked notifications during school hours, and no app access for minors overnight. The hosts debate whether the settlement (the largest child-safety settlement in history) meaningfully changes behavior or just avoids public disclosure of internal wrongdoing. 4. Disney's Aggregation Era Under new CEO Damaro, Disney has struck a wave of deals including a TikTok content-curation partnership, 15+ European broadcaster deals, and sports rights tie-ups. The bigger challenge remains stale IP (Moana, Toy Story 5, Mandalorian and Grogu underperforming) and whether ESPN's sports-rights spending pencils out as a subscription product. 5. The Vertical Video Market Is Smaller Than Reported A widely cited $150 billion "vertical market" figure is misleading — $131 billion of it is just social-media ad revenue (Reels, TikTok, Shorts), leaving roughly $19 billion for actual vertical drama apps, none of which are public companies. Meanwhile, subscription fatigue is real: 2025 saw only 11% net subscriber retention industry-wide, down from 33% four years ago, pushing streamers toward ad-supported tiers. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| REGIFTED: MY DRAMA AND THE VERTICAL TAKEOVER | 03 sept. 2026 | 00:32:42 | |
Happy Summer Break from The Media Odyssey podcast! What if the future of entertainment fits in your pocket and a six-year-old startup from Ukraine is already building it? Welcome to the Media Odyssey Podcast, recorded live at StreamTV Europe, featuring Bogdan Nesvit, founder of HOLYWATER TECH and the microdrama platform My Drama. What started six years ago as an interactive fiction app has quietly evolved into one of the most data-sophisticated entertainment companies operating today. One that is now partnering with Fox Entertainment and eyeing a full theatrical release. If you've ever wondered how a media startup goes from zero to 7 million monthly active users without a single piece of traditional distribution, Bogdan doesn't just tell you what HOLYWATER TECH built, he gives raw data and operational transparency you almost never get from a founder. Beyond content strategy, Bogdan pulls back the curtain on the business model to detail the full transition from microtransactions to subscription, how the platform runs over 1,000 A/B tests per year, and why he believes proprietary user data (not product or AI) will be the defining competitive advantage of the AI era. He also touches on the Fox partnership, the road to ad monetization, and his personal philosophy around meditation, focus, and leadership. Key Takeaways: 1. Scale is Accelerating Fast My Drama currently has close to 300 titles on the platform, targeting 500 by the end of 2026 and 1,000 by the end of 2027. Each title contains around 90 one-minute episodes, effectively repackaging a full 90–120 minute film into bite-sized vertical content. 2. The Subscription Model Dominates The platform fully shifted away from microtransactions with more than 90% of customers subscribing. Subscription users retain at 2x the rate of in-app purchase users and consume 3x more content. Users on an ad-supported tier consume an average of 1.5 hours of content per day, a striking engagement metric. 3. AI Slashes Production Costs and Timelines Live-action microdrama costs $120K–$250K per title and takes roughly four months to produce. Netflix takes 100 weeks. AI-generated content on the MyMuse platform costs only a few thousand dollars and can be produced and tested in two weeks. Scripts, however, remain 100% human-written. 4. Paid and Organic Impressions Are Needed Together My Drama generates two billion monthly impressions across Facebook, Instagram, and YouTube using a cliffhanger-driven content preview strategy for a 70/30 paid-to-organic acquisition split. At any given month, the team runs 30,000 unique video ad creatives across Facebook, Snapchat, and TikTok. Despite heavy paid spend, the company is currently profitable and growing more than 2x year-over-year. 5. It’s a Growing Market The global microdrama market is $11–12B today, projected to reach $25B by 2030. China dominates the current market (the format originated there around 6 years ago). Outside China, the market is much smaller today but is projected to hit ~$10B, mostly driven by the US, by 2030. Holywater is betting that expanding beyond the current five core content tropes into genres like thriller, fantasy, and detective stories is essential to moving microdrama from niche to mainstream. Thank you to Bogdan Nesvit for joining the pod! Bogdan Nesvit - https://www.linkedin.com/in/bogdannesvit/ HOLYWATER TECH - https://www.linkedin.com/company/holywatertech/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| REGIFTED: HOW DISNEY KILLED BROADCAST WITH KIMMEL | 27 août 2026 | 00:51:57 | |
Happy Summer Break from The Media Odyssey podcast! Jimmy Kimmel is at the center of the conversation where politics, free speech, and billion-dollar mergers collide. In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet unpack the dramatic suspension and reinstatement of Jimmy Kimmel—a flashpoint that highlights the collision of politics, regulation, and the crumbling power of broadcast TV. Shapiro explains the FCC’s limited authority, why Chair Brendan Carr’s threats crossed constitutional lines, and how Disney’s rapid cave-in to political pressure triggered a fierce backlash. The discussion broadens to late-night’s decline, the chilling precedent for free speech in U.S. broadcasting, and the looming wave of media consolidation involving Paramount, Warner Bros Discovery, and possibly Netflix. Marion draws contrasts with Europe’s regulatory environment, where broadcasters face different pressures but free expression is protected in opposite ways. Key Takeaways:
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast | |||
| REGIFTED: INSIDE THE MIND OF A CREATOR WUNDERKIND | 20 août 2026 | 01:01:07 | |
Happy Summer Break from The Media Odyssey podcast! 244 million followers and a six-month content calendar: Jordan Schwarzenberger explains why showing up daily is the only strategy that matters. Welcome to The Media Odyssey Podcast. In this episode, Evan Shapiro and Marion Ranchet break down the Nielsen/MRC measurement crisis that rocked the US advertising industry, then sit down with Jordan Schwarzenberger, CEO and co-founder of Arcade Media and manager of the Sidemen. The conversation reveals how the entire US advertising market transacted on flawed data for a year, while simultaneously showing how creator-led media companies are building sustainable businesses by thinking like traditional media. Rather than defending old systems, Jordan makes the case for why daily content and ritualistic consistency combined with treating YouTube channels as distinct brands is the only path forward. The episode is a reality check on how broken measurement has become in traditional media, while creator-led companies are professionalizing their operations, building real media plans, and capturing budgets that were previously reserved for legacy broadcasters. Key Takeaways: 2. BBC Hired Matt Brittin, Ex-President of Google Europe 3. The Sidemen Have 244M Followers and a 55-Person Team 4. Daily Content and Ritualistic Consistency Are Essential for Success 5. YouTube Is Underserved and Users Run Out of Quality Content 6. Netflix and YouTube Combined Create the Strongest Media Strategy 7. Individual YouTube Channels Should Be Content-Specific Thank you to Jordan Schwarzenberger for joining the pod! Jordan Schwarzenberger - https://www.linkedin.com/in/jordanschwarzenberger/ Arcade - https://www.linkedin.com/company/wearearcade/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| REGIFTED: IS 2026 MEDIA'S DARK AGES | 13 août 2026 | 00:42:03 | |
Happy Summer Break from The Media Odyssey podcast! CES isn’t about gadgets anymore, but who controls the interface between audiences, data, and distribution. Welcome back to The Media Odyssey Podcast! From CES, Evan Shapiro and Alan Wolk, Co-Founder and Lead Analyst of TVREV, unpack what this year’s show revealed about the future of media, entertainment, and technology while expanding on their predictions for 2026. Beyond the hype of AI demos and hardware announcements, the conversation centers on power shifts: who owns how we get information, who controls discovery, and which companies are quietly positioning themselves as the new gatekeepers. Rather than signaling a breakout moment, CES reinforces a familiar reality. Platforms are consolidating influence, AI is moving into the background, and media companies face shrinking control over how audiences find and engage with content. Key Takeaways: 1. Media Is Entering a Prolonged Era of “Feudal Fragmentation” Alan predicts that the monoculture is gone for the foreseeable future, replaced by thousands of disconnected content bubbles with their own truths, celebrities, and norms. This fragmentation isn’t new, but it will deepen through the rest of the decade, making shared cultural moments increasingly rare. 2. There Is No Longer a Single Source of Truth and That Has Consequences The loss of mass media gatekeepers means audiences now operate from entirely different realities. News can be fully ignored, expertise is routinely dismissed, and misinformation thrives because there is no longer a common reference point for facts. 3. The End of Expertise Is Both Dangerous and Liberating Traditional experts and institutional authority are losing power, but this also enables creators and outsiders to build massive media businesses without permission. The upside is democratization, the downside is the erosion of trust in skill, craft, and knowledge. 4. Power in Media Is Decentralizing Away from Hollywood Alan predicts that media power will continue to disperse geographically and structurally. New creator-led studios are emerging in Texas, Brazil, Nigeria, and beyond, attracting talent away from traditional Hollywood centers as production costs fall. 5. Niche Audiences Will Become the Foundation of Sustainable Media Businesses The era of building new mega-brands is over. Instead, companies and creators will build profitable businesses around passionate, well-defined niche communities. Even if those audiences are invisible to the mainstream. 6. Discovery and Serendipity Are Breaking Down Algorithmic feeds increasingly show audiences more of what they already like, making it harder for genuinely new ideas to surface. Alan predicts fewer breakout cultural movements and more recycling of familiar formats, sounds, and franchises. 7. Sports Remains the Last True Monoculture Live sports still cut across bubbles and deliver shared, simultaneous experiences. Alan predicts sports will retain outsized importance for advertisers and platforms, even as niche sports slowly grow and fragment over time. Thank you, Alan Wolk for joining the pod! https://www.linkedin.com/in/alanwolk/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| REGIFTED: WHO WILL WIN 2026? | 06 août 2026 | 00:51:18 | |
Happy Summer Break from The Media Odyssey podcast! The media industry isn’t heading for a clean recovery but bracing for another year of pressure, recalibration, and structural change. Welcome back to The Media Odyssey Podcast with a special thanks to Spectrum Reach! In this first part of their 2026 predictions, Evan Shapiro and Marion Ranchet lay out what the coming year will likely bring for media, technology, and entertainment. They cover ongoing layoffs, fragile ad markets, the rise of global distribution strategies, and a new phase of AI-driven discovery. 2026 will test which companies have truly adapted and which are still relying on outdated assumptions. 2026 is not a breakout year, but a proving ground, where survival depends on cost discipline, platform fluency, and the ability to monetize audiences directly rather than through legacy intermediaries. Key Takeaways: 1. 2026 Will Be Another Brutal Year for Media Economics Evan predicts that advertising markets will remain soft, public service media will continue to face funding pressure, and layoffs will persist across the industry. There will be no broad recovery, only isolated winners and many organizations forced to do more with less. 2. Discovery Will Matter More Than Content Volume Marion predicts that success in 2026 will be defined by distribution and discoverability, not by how much content companies produce. Media organizations that don’t adapt to YouTube, FAST, social, and AI-driven discovery will struggle to reach audiences at all. 3. The AI Bubble Will Pop Both predict that generative AI and large language models will reshape discovery, navigation, and search long before they meaningfully change creative workflows. The biggest short-term impact of AI will be invisible but existential for traffic-driven media, but the hype and direct-to-consumer models are unsustainable. 4. GEO Will Undermine Traditional SEO-Based Media Models Evan predicts that Generative Engine Optimization will replace classic SEO as search engines move from links to answers. Media companies built on referral traffic will see declining reach unless they rethink how their content surfaces in AI-driven environments. 5. FAST Will Become More Crowded and Less Forgiving Marion predicts continued FAST channel proliferation without equivalent ad growth. The result: more fragmentation, lower yields, and fewer viable players with success limited to brands with strong IP, live content, or true differentiation. 6. Media Companies Will Be Forced to Think Globally by Default Growth will increasingly come from international audiences, not domestic ones. Both predict that companies without global distribution strategies will hit growth ceilings faster in 2026. 7. Experimentation Will Be a Core Survival Requirement The final prediction is cultural: organizations that don’t test formats, platforms, and monetization aggressively will fall behind. In 2026, waiting for clarity will be a losing strategy. Thank you to Spectrum Reach! https://www.linkedin.com/company/spectrum-reach/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| REGIFTED: FRONTLINE PUTS PBS ON YOUTUBE | 30 juil. 2026 | 00:48:50 | |
Happy Summer Break from The Media Odyssey podcast! Public service media isn’t outdated, instead, it’s fighting for relevance, trust, and survival in a fractured global information ecosystem. Welcome back to The Media Odyssey Podcast. In this episode, Evan Shapiro and Marion Ranchet sit down with Raney Aronson-Rath, Executive Producer of Frontline and Editor-in-Chief of Documentaries at GBH, for a conversation on the future of public media. From political pressure and funding cuts to platform expansion and audience trust, the discussion explores why public broadcasters must be everywhere audiences are without sacrificing journalistic integrity. Through Frontline’s transformation into a broadcast-plus-streaming powerhouse, the episode examines how YouTube, social video, theatrical releases, and global distribution have become essential tools for sustaining factual storytelling in an era of misinformation and declining institutional trust. Key Takeaways: 1. Public Media’s Survival Depends on Platform Expansion, Not Retrenchment 2. YouTube Is Additive, Not Cannibalistic for Public Service Media 3. Streaming Requires a Long-Term Mindset Shift 4. Community and Trust Are the Core Competitive Advantages 5. Short-Form Is Editorial, Not Promotional 6. Global Distribution Is Both a Mission and a Strategy 7. Public Media Must Be Everywhere Both In Person and Online 8. The Cost of Absence Is Being Replaced by Worse Information Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast Thank you, Raney Aronson-Rath for joining the pod! Raney Aronson-Rath: https://www.linkedin.com/in/raney-aronson-0343aa8/ Frontline: https://www.linkedin.com/company/frontline-pbs/ Headshot credit: Michael Buckner/Deadline
| |||
| H1 2026 PART 2: BUBBLES, BALLS, & BIG AGGREGATION | 23 juil. 2026 | 00:28:03 | |
Two-thirds of the world watches more video on their phone than on TV, TikTok is beating Netflix in most markets under 55, and traditional media is ignoring 60% of its own audience's attention. It’s The Media Odyssey’s season two finale! Evan and Marion zoom out on the biggest trends of the year so far they haven’t covered yet: the AI investment bubble, the creator economy's growing pains, the state of kids' content, and the measurement crisis at the heart of the streaming and social media landscape. It's one of their most data-rich, openly argumentative episodes of the season. Part 2 goes deep on Evan's brand-new ESHAP Cross-Screen Attention Index, the first attempt to measure total video attention across screens in eight global markets, and what it reveals about where audiences are actually spending their time in 2025. Key Takeaways: 1. The ESHAP Cross-Screen Attention Index Key finding: 81% of the global population is under 55 and for that group, the phone, not the TV, is the center of gravity for video consumption. 2. TikTok Is Bigger Than You Think 3. The Phone, the TV, and the Whole Consumer But Marion pushes back, pointing to Channel 4, France Télévisions, and TF1 as examples of European broadcasters already making the move. She argues the platforms, not the broadcasters, are the ones failing to support the transition commercially. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| H1 2026 PART 1: BUBBLES, BALLS, & BIG AGGREGATION | 23 juil. 2026 | 00:32:43 | |
AI infrastructure is now two-thirds of US GDP with 90% of companies investing in it reporting almost no ROI, and the media industry is frozen in place waiting for a merger that may never close. Happy H1. This is the Season 2 finale of the Media Odyssey Podcast (split across two parts) with a deep dive into H1 2026. Evan and Marion zoom out on the biggest trends of the year so far they haven’t covered yet: the AI investment bubble, the creator economy's growing pains, the state of kids' content, and the measurement crisis at the heart of the streaming and social media landscape. It's one of their most data-rich, openly argumentative episodes of the season. Part 1 covers the macro forces reshaping media and the creator economy. Key Takeaways: 1. The AI Bubble AI infrastructure investment in the US has reached two-thirds of GDP, driven almost entirely by demand from two unprofitable companies: OpenAI (which lost $38 billion last year) and Anthropic. SpaceX's post-IPO valuation dropped 34%, and a subsequent $25 billion bond offering collapsed shortly after launch. 90% of companies that have made significant AI investments report negligible productivity gains, with costs far outweighing benefits. A correction is coming in the next six months, and it will ripple through the entire media industry. 2. Creators vs. Brands: A Broken Partnership Creators were the dominant conversation at Cannes Lions. Unilever even committed to having a creator in every zip code. But the economics remain broken: brands consistently undervalue and underpay creators, creator posts are declining in efficacy, and agencies are buying creator platforms (Whalar, Influential) without truly understanding how to use them. The emerging model to watch: brands acting like creators like the Kit Kat Heist and companies hiring creators in-house rather than as contractors. 3. Kids' Content: Despair With Green Shoots Streamer commissions for kids' content are down significantly from their peak, YouTube has gutted the economics of kids' content monetization due to regulatory fears, and public broadcasters now fund over 50% of kids' content worldwide. But bright spots are emerging: ToonStar just signed with Fox; Disney partnered with Lumi/Animage on a new JV; and Super Awesome has been handed advertising rights for the under-13 segment on Roblox. BBC Studios' Bluey model (owned IP, fandom-first, multi-platform) remains the clearest template. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE ART OF THE CAREER PIVOT | 22 juil. 2026 | 00:51:06 | |
We’re back with another Media Odyssey LIVE! In this episode, Evan and Marion are joined by former media executives Tony Goncalves and Ami Angelowicz to discuss how to pivot your career after corporate media. The panel shares their personal stories of navigating layoffs, “misalignment burnout”, and finding satisfying careers completely in their own control. The conversation dives into building personal intellectual property, actionable daily habits for transition, and why taking a leap of faith on yourself is the best investment you can make. Key Takeaways:
2. Optimizing for Freedom Tony Goncalves discusses his departure from Warner Brothers Discovery and the crucial realization that he needed to separate his personal identity from his corporate title. He emphasizes the importance of explicitly defining what you are optimizing for in your next move: title, money, or freedom. 3. The Creator Pivot & Personal IP Evan highlights the trap of subverting your personal brand for a corporate one. He advises professionals to start building their personal brand before they actually need it by "shipping value to the universe for free," which eventually attracts organic opportunities. 4. Treating Yourself Like a Startup Marion shares her strategy for launching her consulting business by viewing herself as a startup. By identifying a specific industry problem—US companies trying to launch in Europe—and creating specific content pillars around it, she positioned herself as the solution and bypassed traditional business development. 5. Daily Habits for Growth The panel shares actionable strategies for staying sharp during a career transition. Recommendations include waking up curious to research daily, becoming a voracious consumer of new platforms to understand algorithms, and leveraging introspection to maintain momentum and avoid isolation. Chapters 00:00 Introduction and Welcome to Media Odyssey Live 01:13 Marion and Evan’s Journeys Out of Corporate Media 03:51 Ami on Misalignment Burnout and Launching Laid Off Life 10:05 Tony on Surviving Mergers and Defining Personal Purpose 15:43 Rebuilding Your System and Establishing Personal Branding 19:44 Finding Your Authentic Voice and Editorial Filter 23:18 Marion's Strategy for Building an IP-Based Consulting Business 28:38 Daily Habits to Stay Ahead of the Industry Curve 35:32 The Importance of Introspection, Therapy, and Small Goals 45:21 Final Takeaways: Optimize for Freedom and Invest in Yourself Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast | |||
| MEDIA SHARK WEEK | 16 juil. 2026 | 00:38:45 | |
This episode of the Media Odyssey Podcast is Evan Shapiro and Marion Ranchet's deep-dive into the wave of media mergers reshaping the streaming and broadcasting landscape in real time. Recorded in early July, it covers four major deals in rapid succession: the Comcast-NBCUniversal split, the Sky acquisition of ITV, the Fox-Roku deal, and the stalled Paramount-Warner Bros. Discovery merger. Without guests (or filters), Marion and Evan are comparing notes, disagreeing openly, and calling their shots on what each deal actually means for the future of streaming media, cord-cutting, digital advertising, and the balance of power between legacy media and big tech. The throughline: vertical integration in media has repeatedly failed not because the theory is wrong, but because the execution never happens. Comcast never integrated NBCUniversal just like AT&T never integrated Warner. The companies that are winning (Fox in particular) are the ones building digital content and advertising flywheels while everyone else is digging holes and filling them back up. Key Takeaways: 1. The Comcast Three-Way Split 2. The Sky-ITV Deal 3. Fox Buys Roku for $22 Billion 4. The Paramount-Warner Merger Stall 5. Integration Is the Only Thing That Matters Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| VERTICAL PREMIUM TV: THE NEXT BILLION DOLLAR IDEA? | 09 juil. 2026 | 00:45:08 | |
The growing vertical video landscape has potential far beyond microdramas. Two TV veterans just built the studio to take vertical premium all the way with true crime, dating reality formats, scripted drama, and a 12-step AI process to get there. This episode of the Media Odyssey Podcast with Evan Shapiro and Marion Ranchet features Guy Hameiri and Lior Friedman, co-founders of RoseBerry, a vertical premium television studio built on the belief that mobile is the new cable. Guy comes from 25 years in traditional TV production (Survivor, X Factor, Shtisel on Netflix). Lior comes from Amagi and the commercial side of streaming media. Together they're building a start-to-end studio producing originals, repurposing legacy TV catalogs for vertical, and distributing through their own first-party app, Epis. The episode covers RoseBerry's full model: deals already signed with Fremantle, Banijay, All3Media, and A&E to repurpose existing catalog IP into vertical short-form; a proprietary 12-step AI-assisted conversion tool called Red Snapper; originals; and EPIS as a test-and-learn platformt. The Neighbors case study (an 18-year-old Fremantle soap reformatted for vertical featuring a young Margot Robbie) is presented live on the pod as proof of concept. Key Takeaways: 1. Beyond Microdrama 2. Red Snapper 3. Epis as a Data Engine 4. The Library Opportunity 5. Mobile as the New Cable Thank you Lior Friedman and Guy Hameiri for joining the pod! Thank you Lior Friedman and Guy Hameiri for joining the pod! Lior Frieman -https://www.linkedin.com/in/lior-friedman-94958939/ Guy Hameiri - https://www.linkedin.com/in/guy-hameiri-/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| BLUEY, LEGO, AND CROSS GENERATIONAL FANDOM | 02 juil. 2026 | 00:39:27 | |
Two nearly century-old brands. One brand-new animated series. And a first-of-its-kind partnership that's never been done before. This special episode of the Media Odyssey Podcast was recorded on the Croisette at Cannes Lions, hosted inside BBC Studios' headquarters, and features three guests across two breaking news announcements. Jasmine Dawson, SVP of Digital at BBC Studios, returns for what's become an annual tradition on the pod to unveil the Affinity advertising network. Affinity is a five-vertical, fandom-first ad sales operation expanding globally with a major push into the US. Dan McGolpin, Director of iPlayer and Channels at BBC, joins to announce a new internal BBC Group partnership that will see BBC Studios' digital sales team represent public service BBC YouTube channels outside the UK for the first time. And Anna Rafferty, SVP Digital Consumer Engagement at the LEGO Group, joins to break the news of a first-of-its-kind Bluey x LEGO co-commissioned content series dropping on YouTube the same day the episode publishes. The throughline across all three conversations is the same: fandom, trust, and the growing conviction that reaching audiences isn't enough, you have to move them. Key Takeaways: 1. Affinity's Five Verticals 2. The BBC Group YouTube Expansion
4. The Bluey x LEGO Co-Commission 5. The Fandom Measurement Model Thank you Jasmine Dawson, Dan McGolpin, and Anna Rafferty for joining the pod! Jasmine Dawson - https://www.linkedin.com/in/jasminesdawson/ Dan McGolpin - https://www.linkedin.com/in/dan-mcgolpin-093268123/ Anna Rafferty - https://www.linkedin.com/in/annarafferty/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| AI SLOP, GATEKEEPERS, AND THE KID'S MEDIA CRISIS | 25 juin 2026 | 00:31:57 | |
This live panel episode of the Media Odyssey Podcast, recorded at the Media Universe Summit, features Evan Shapiro and Jamie Shapiro alongside Andy Donner, Head of Partnerships at Common Sense Media, and Sara DeWitt, Senior Vice President & General Manager at PBS Kids. The conversation centers on Evan and Common Sense Media's joint report on the state of the kids' content industry. The picture it paints is stark with millennial and Gen Z parents demanding more high-quality, trusted kids' content than ever, while streaming platforms have cut series orders by 25%, public media is being defunded, and YouTube Kids remains under-monetized and under-curated despite being the most-watched kids' platform in the world. The panel covers co-viewing trends, the collapse of the independent kids' production ecosystem, the rise of AI slop in children's content feeds, and what it would actually take for a major streamer or YouTube to step up and fill the gap. Key Takeaways: 1. Supply vs. Demand 2. The YouTube Kids Problem 3. The Algorithm Gap 4. Co-Viewing Is Back and Underserved 5. YouTube Needs to Run Kids Like a Network Thank you Andy Donner and Sara DeWitt for joining the pod! Andy Donner - https://www.linkedin.com/in/andydonner/ Sara DeWitt - https://www.linkedin.com/in/saradewitt/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE WHOLE CONSUMER: A CARTOGRAPHER'S BLUEPRINT | 22 juin 2026 | 00:27:00 | |
59% of people now watch video on their phone first. If your content strategy doesn't account for that, Evan Shapiro has a message for you: you're already losing. This keynote episode of the Media Odyssey Podcast features Evan Shapiro's live Stream TV Europe presentation. It is a fast, data-driven breakdown of where streaming media, social media, YouTube, and TikTok are headed next. Built on original research from MX8 Labs and Evan's new Cross-Screen Attention Index, the talk argues the media industry is now entirely consumer-driven, and most legacy companies haven't caught up. Through real-world case studies (Duolingo, Kit Kat, PBS, RuPaul's Drag Race, Toonstar) Evan makes the case for what he calls the "affinity economy": brands and creators win by building loyalty and fandom, not chasing scale. Key Takeaways: 1. Phone-First Is the Default 2. YouTube Leads, But Faces Pressure 3. Retention Reveals a Loyalty Gap 4. Fan Engagement Drives Real ROI 5. Vertical Video Is a White Space Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| VALERIE'S PLACE WITH VALERIE BERTINELLI | 18 juin 2026 | 00:46:31 | |
Valerie Bertinelli has been a content creator since she was 12 years old. She just stopped asking permission to make the shows she wants. This episode of the Media Odyssey Podcast features special guest co-host Valerie Bertinelli — television icon, actress, author, and Food Network — alongside Billy Cooper, CEO and co-founder of Visible Things, the direct-to-consumer platform infrastructure company behind Valerie's brand new streaming destination, Valerie's Place. The episode is equal parts media business case study and candid personal conversation. Billy walks through how Visible Things works as a white-label platform technology that gives legacy talent and creators their own streaming home that Patreon, Substack, and YouTube simply can't replicate. Valerie brings the human side of it: why she got tired of being held hostage by the algorithm on Instagram, TikTok, and YouTube, what it actually feels like to have a real social relationship with fans versus a parasocial one, and how Valerie's Place has already produced moments of genuine connection that no brand deal or Food Network season ever could. The conversation closes with a broader and surprisingly frank debate on why the economics of legacy television and streaming media are broken — and why Valerie thinks algorithmic fragmentation isn't the real culprit: it's wealth concentration at the very top of the entertainment industry. Key Takeaways: 1. Own Your Audience 2. The 1% Math 3. Legacy IP as a Launch Asset 4. Real Social vs. Parasocial 5. The Economics Are Broken at the Top, Not the Bottom Thank you Valerie Bertinelli and Billy Cooper for joining the pod! Valerie’s Place - https://valeriesplace.com/ https://www.instagram.com/itsvaleriesplace/ Billy Cooper - https://www.linkedin.com/in/wbcoop/ Visible Things - https://visible-things.com/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE CLIP ECONOMY & HOW TO COVER A WORLD CUP WITHOUT BUYING RIGHTS | 11 juin 2026 | 00:45:53 | |
1.7 million subscribers. A Global deal. Live Bundesliga rights. And a studio in Brooklyn for the World Cup. The Overlap built it all without owning a single match. This episode of the Media Odyssey Podcast features Scott Melvin, CEO of The Overlap, the multi-award winning sports channel, for the beginning of the 2026 World Cup. What started as a side hustle for a Sky Sports pundit itching to do long-form conversation has grown into one of the most-watched football content businesses in the UK, now backed by media company Global and expanding its creator network on YouTube and social media. Scott walks through how The Overlap was built from the cold-open, unscripted format of Stick to Football, to the decision to own the conversation around football rather than chase expensive live rights. He breaks down the platform's growth strategy including the acquisition of Mark Goldbridge's Man United channel (2.2 million subscribers) and That's Football (1.3 million) to shortcut years of audience-building, and the Bundesliga deal that proved social clips outperform live streams by roughly 20x in reach. The conversation also zooms out into the bigger structural questions around the World Cup and sports media more broadly: is permanently eating into live viewing, whether rights fragmentation is pushing fans toward highlights, and if the 2026 tournament can permanently shift America's relationship with the sport the rest of the world calls football. Key Takeaways 1. Own the Conversation Live rights for F1 cost Sky $200 million a year while Netflix paid $10–20 million for Drive to Survive and became the defining F1 content brand for a generation. The Overlap applied the same logic to football: if you can't own the rights, own the conversation around them. For any creator or media company priced out of live sports rights, shoulder content is the viable entry point. 2. Clips Beat Live During The Overlap's Bundesliga partnership, social clips of live games outperformed the streams themselves by approximately 20x in total reach. Live attendance figures remain strong, but viewing full matches is declining as fragmented rights force fans across multiple paid subscriptions. The World Cup's expanded format will test that tipping point at unprecedented scale. 3. Acquire Audiences, Don't Build From Scratch It took The Overlap 4.5 years to reach 1.7 million YouTube subscribers. Mark Goldbridge spent 10 years building his channel to 2.2 million. Rather than launch a Man United channel from zero, The Overlap partnered with Goldbridge and acquired his existing audience — effectively skipping 5–7 years of organic growth. 4. Platform Age Beats Talent Age The Overlap's core panel averages 50 years old, yet its biggest demographic is 18–34. Scott's explanation: YouTube is a young platform, and the platform itself attracts younger audiences — the talent keeps them there. 5. The Post-World Cup Moment The 1994 US World Cup triggered a brief soccer boom that faded within months. Scott and Evan both see 2026 as structurally different because the internet has made the world smaller, Gen Z and Gen A are more globally oriented, and the Women's World Cup in Brazil follows a year later. Whether the tournament converts casual viewers into long-term fans of MLS and the Premier League will be a closely watched audience metric in sports media over the next 18 months. Thank you Scott Melvin for joining the pod! Scott Melvin - https://www.linkedin.com/in/scott-melvin-331071a7/ The Overlap - https://www.linkedin.com/company/the-overlap/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| MEDIA M&A MANIA | 04 juin 2026 | 00:50:21 | |
Full Disclosure meets Media Odyssey in this crossover episode of The Media Odyssey podcast with Roben Farzad, host of Full Disclosure on NPR and former Wall Street reporter for BusinessWeek and Bloomberg. The episode covers a wide sweep of interconnected stories: the proposed Paramount-Warner merger, the editorial independence implications of foreign money in US media, the GameStop-eBay bid as a case study in social media-driven market manipulation, and the state of M&A activity across the Atlantic. From Roben's firsthand perspective on the lack of US media coverage of Iran and the effect of Gulf sovereign wealth funds acquiring stakes in major news organizations to a forensic breakdown of the Skydance-Paramount deal, Evan Shapiro, Marion Ranchet, and Roben Farzad discuss the 60 Minutes settlement, the Colbert cancellation, the Bari Weiss hiring, and the White House's reported role in pushing the merger through before a potential political shift in the fall. They close with a frank debate on the future of professional journalism and whether public media, billionaire backstops, or direct-to-consumer Substacks can fill the gap left by a collapsing legacy news industry. Key Takeaways 1. Foreign Money in US News Roughly 50% of the Skydance-Paramount acquisition is being funded by foreign interests, including Middle Eastern sovereign wealth funds. Roben notes that editorial independence becomes structurally compromised the moment a controlling financier has geopolitical interests that conflict with the newsroom's reporting mandate. 2. The M&A Math Doesn't Add Up Global M&A deal volume in media dropped 30% year over year, while total deal value rose 10%. This means fewer but larger bets. Warner Brothers Discovery was valued at roughly $60 billion at merger and shed close to 70% of that value before recovering, driven almost entirely by the Zaslav-engineered auction rather than operational performance. 3. Social Media as Market Manipulation GameStop CEO Ryan Cohen publicly floated a bid for eBay, a company worth roughly 5x GameStop's market cap, with no serious financing behind it. The move drove GameStop's stock up and forced eBay to respond publicly. Roben frames this as a direct extension of the meme stock playbook: social media reach, combined with extreme wealth, can now move markets in ways that previously required regulated financial instruments. 4. The Merger Approval Odds Roben puts the probability of the Paramount-Warner merger getting approved at approximately 65%, driven primarily by White House pressure to push it through before a potential political shift after the fall election. Marion is skeptical that EU regulators will independently block it if the US approves, noting that European authorities are increasingly prioritizing survival of local media players over strict competition concerns. 5. The Journalism Funding Problem The New York Times has reached a $12 billion market cap by building a subscription-driven lifestyle and news bundle. NPR, by contrast, has failed to become a digital native, still relies heavily on pledge drives targeting Boomers and late Gen Xers, and has lost significant talent to for-profit outlets. There is a small but growing tier of independent journalists going direct to consumer as the most promising emerging model, though it leaves out readers who can't afford paid subscriptions. Thank you Roben Farzad for joining the pod! Roben Farzad - https://www.linkedin.com/in/robenfarzad/ Full Disclosure Podcast - https://www.npr.org/podcasts/1062190100/full-disclosure Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE FILMTOK EFFECT: BONUS EPISODE | 02 juin 2026 | 00:20:42 | |
Eight episodes, $25,000, 2 million views. One indie creator just proved you don't need a studio, a streamer, or a greenlight to break into the fastest-growing format in streaming media. This bonus episode of the Media Odyssey Podcast features Eli Shell, founder of Sidewise Studios and creator of In-House, a vertical comedy series he wrote, funded, and launched entirely on his own. The vertical video market is almost entirely dominated by high-melodrama romantic drama and Eli saw that as a gap, not a template. In-House is a workplace comedy shot in vertical format, built on a minimum viable product mindset borrowed from his years in the Bay Area tech world: shoot a pilot season, put it in front of an audience on TikTok, Instagram, and YouTube Shorts, read the signals, and scale from there. The episode also zooms out into the broader state of the independent vertical production market from TikTok's emerging role as a serious funder to Peacock's first microdrama slate announcement, and the question of whether Netflix, Disney, and the major streamers will start acquiring independent vertical IP. Eli's answer: we're at the very beginning, the economics are still being figured out, and the creators willing to bet on themselves right now are the ones who'll be best positioned when the market matures. Key Takeaways: 1. Expand the Genre The vertical video market today is almost entirely romantic drama which means every other genre is a wide-open opportunity. Eli's workplace comedy In-House attracted talent willing to work at reduced rates specifically because it wasn't another melodrama. For creators and producers looking to enter the vertical space, the least crowded lane is everything that isn't a romance. 2. Minimum Viable Season Eli spent $25,000 across eight episodes, roughly $3,000 per episode, and treated it explicitly as a minimum viable product, not a finished show. The goal was audience signals, not perfection. 3. Bet on Distribution Diversification In-House launched simultaneously on TikTok, Instagram, and YouTube Shorts and its 2 million views are an aggregate across all three. In a format this early, no single platform has won, and the audiences don't fully overlap. Multi-platform distribution is the only way to build meaningful reach without a marketing budget. 4. Watch TikTok TikTok is the sleeping giant in the vertical video and microdrama space. If they decide to fund and distribute vertical series at scale — as the early investment in Issa Rae's Screen Time (80 million views) suggests they might — the existing microdrama apps like ReelShort and DramaBox face a serious existential threat. 5. The Acquisition Window Is Opening Peacock, Netflix, Disney, and Paramount are all starting to test vertical content, mostly as a discovery tool for now, but the direction of travel is clear. Independent producers who have built proven IP with real audience data are going to be the most attractive acquisition targets when the major streamers decide they want original vertical content at scale. Thank you Eli Shell for joining the pod! Eli Shell - https://www.linkedin.com/in/elishell/ Sidewise Studios - https://www.linkedin.com/company/sidewise-studios/ In-House Show - https://elishell.com/projects/in-house/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE NEW PRODUCTION PLAYBOOK | 28 mai 2026 | 00:33:37 | |
10 billion views. 200+ episodes. A Random House deal and a streamer announcement incoming. Toonstar built it all without asking anyone's permission. Welcome to this episode of The Media Odyssey Podcast with hosts Marion Ranchet and Evan Shapiro featuring John Attanasio and Luisa Huang, co-founders of Toonstar, a next-generation animation studio built from the ground up to produce kids' and family content at the speed of the internet. Veterans of the Warner Bros. who got an early front-row seat to the rise of YouTube and the creator economy, John and Luisa are tacking a simple but radical question: building an animation studio designed for digital-first streaming media distribution. The episode walks through how Toonstar works from their proprietary AI animation tech Ink and Pixel to their audience intelligence platform Spot, which translates real-time viewing data into storytelling decisions. Together, the two tools form what they call an "agile production loop" that lets them move from greenlight to first episode in 90 days. The centerpiece case study is Steven and Parker, a show born from a creator with a Snapchat filter and 9 million TikTok followers, now sitting at 10 billion lifetime views across five languages, with a Random House graphic novel deal and a streamer announcement imminent. Key Takeaways: 1. Greenlight Yourself The traditional development cycle doesn't just cost money, it holds your time hostage. Toonstar's model eliminates the waiting game: pilot on existing creator audiences, read the signals, and go. Find the smallest viable version of your idea, put it in front of an audience, and start there. 2. Production Meets Performance Most animation studios can't iterate because production and performance data live in separate worlds. Toonstar's agile production loop directly tethers the two with real-time audience signals that inform weekly creative decisions about episode length, character arcs, and cadence. 3. Creator IP as the New Development Pipeline The franchise IP of tomorrow isn't sitting in a writer's room — it's already in front of an audience on TikTok, YouTube, and Instagram. Parker James had 9 million followers and a character that existed only as a Snapchat filter before Toonstar turned it into a 10-billion-view animated franchise. 4. AI as Throughput, Not Replacement Toonstar's AI system accelerates every production function without replacing the human creative voice. Writers, visual direction, and character vision remain entirely human. The lesson: build AI tooling around your creative people, not around your budget. 5. The Content Flywheel YouTube ad revenue and brand sponsorships are the starting point, not the business model. Toonstar's real play is using digital-first distribution to build proven IP that extends into books, merchandise, and streaming deals. YouTube channels should be treated as an IP incubator, not just a distribution platform. Thank you John Attanasio and Luisa Huang for joining the pod! John Attanasio - https://www.linkedin.com/in/johnattanasio/ Luisa Huang - https://www.linkedin.com/in/luisahuang/ Toonstar - https://www.linkedin.com/company/toonstarhq/posts/?feedView=all Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| UPFRONT 2026: THE CROWN JEWEL OF TV ADS | 21 mai 2026 | 00:50:22 | |
Pure play digital is now capturing 75% of every US ad dollar and 60% of that goes to just three companies. What's left for everyone else? This episode of the Media Odyssey Podcast brings in Mike Shields, founder of the Next in Media newsletter and podcast and one of the sharpest voices in streaming media and advertising analysis working today. Recorded during Upfront week, this snapshot of the advertising ecosystem addresses who's winning, who's losing, and whether traditional media advertising still has a viable path forward in the era of accelerating cord-cutting and big tech dominance.
Key Takeaways: 1. The Sports Trap Sports rights are growing at 4–5x the rate of television revenue, with big tech projected to account for $30 billion of the $34 billion increase in rights costs over the next five years. Traditional media companies are overpaying for rights they can't fully monetize through advertising alone. Trad media will have to question whether their sports strategy is a growth play or a slow bleed. Big tech can hide the ROI inside a flywheel, but trad media cannot. 2. Performance or Perish The ad industry has become addicted to outcome-based, performance-driven buying modeled on Amazon's retail media business, where an ad impression and a purchase can be directly connected. TV is structurally a brand-building medium, which puts it at a disadvantage with CFOs who want spreadsheet-provable results. Networks that haven't built credible outcome measurement platforms are increasingly losing SME budgets to Meta and Google by default. The OpenAP partnership between major networks is a step in the right direction, but cross-competitor joint ventures are notoriously hard to execute. 3. The Measurement Gap Every major streaming platform (Disney's Compass, NBCU's Performance platform, etc.) is building proprietary measurement and identity infrastructure. The problem is brands don't live in one network's universe. Until there's a neutral, cross-platform layer that lets advertisers buy and optimize across the entire TV ecosystem, trad media will continue to lose ground to walled gardens that can at least show results within their own ecosystem. There's a real business opportunity here for whoever can build that neutral layer credibly. 4. Eventize Everything Traditional TV's most defensible advantage is not its library or its streaming, rather its ability to aggregate massive audiences around a single moment. NBC's Super Bowl + Olympics + NBA All-Star February generated $2 billion in incremental ad revenue. The lesson: stop competing on daily ratings and double down on cultural events, appointment television, and live moments that brands are willing to pay a premium to be part of. 5. Stop Fighting the Flywheel Trad media must stop resenting big tech and start building partnerships with it. Google owns the most popular TV OS on the planet. Amazon has identity and attribution data no broadcaster can replicate. YouTube is the most-watched channel in the US. The companies that are quietly winning — Fox with Tubi, French broadcasters partnering with Netflix and Amazon — are the ones that accepted their place in the ecosystem and found ways to draft off the platforms rather than fight them. The era of unexpected partnerships isn't a sign of weakness, it is the only viable strategy left. Thank you Mike Shields for joining the pod! Mike Shields - https://www.linkedin.com/in/michael-shields-78150b5/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE FAN-FUNDED FILM REVOLUTION | 14 mai 2026 | 00:40:49 | |
What if fans could own a piece of the films they love and get paid when they hit? One company is making it happen, and Hollywood gatekeepers are not invited. Welcome to The Media Odyssey podcast featuring Marc Iserlis, Head of Film at Republic, a platform built one simple but radical idea: fans should be able to invest in the films and studios they care about. Evan and Marion have spent the season exploring what they call the "affinity economy," and in a streaming media landscape where independent voices are increasingly squeezed out, Marc's model sits squarely at the center of where the industry is heading. Marc explains the legal and structural architecture making Republic Film possible, specifically the 2016 JOBS Act that created exemptions to century-old securities laws blocking non-millionaires from investing in private ventures. Republic has 3 million members and $2.6 billion deployed across industries, built the licensing infrastructure to take advantage of those exemptions and applied them to film. The result is a platform where independent filmmakers, studios, and creators can raise development or production capital from fans with real equity, real revenue sharing, and even a secondary market for trading shares. The conversation moves through concrete case studies: Pressman Film raised $2 million from roughly 380 investors, Robert Rodriguez built a community of "Brass Knuckle Warriors" who sold out a raise in days, Eli Roth raised $6 million from 2,500 fans for his new horror studio, and Skybound (The Walking Dead, Invincible) pulling in $18 million from over 5,000 retail investors. Plus a look at Republic's partnership with XPRIZE, Google, and Range Media Partners on a $3.5 million sci-fi filmmaking competition designed to inspire the next Star Trek. Key Takeaways: 1. The Audience Equity Model Republic Film's approach gives fans actual equity and revenue sharing in the projects they back, transforming them from passive donors into active stakeholders with financial incentive to promote the film. Republic was built specifically to serve everyday people with a net worth under $1 million who were previously barred from participating in private market opportunities. For producers and studios, that's not just capital, it's a built-in marketing army. 2. Fan Base Democratized The 2016 JOBS Act cracked open private market investing to everyone, but the industry hasn't caught up to what that means. If you're an independent filmmaker, studio, or even a creator-led brand, you now have legal pathways to raise meaningful capital. Skybound raised $18 million from 5,000+ investors, making it the largest raise on the platform to date. Republic has sold out every single film raise it has ever run. 3. The Key is Actual Equity and Revenue Sharing The distinction between crowd investing and crowdfunding is equity and revenue sharing, not just perks and donations. Investors receive real ownership stake, revenue distributions when films sell or stream, and secondary market trading rights. Republic uses blockchain infrastructure to pay out thousands of investors in real time across theatrical, streaming, and merchandise revenue without expensive bank fees. 4. The Payout is More Than a Passion Project Republic’s first-ever investor payout happened within six months of launch. The Pressman Film raise, focused on a slate that included new IP from the producers of American Psycho and Wall Street, paid out investors following the sale of Bad Lieutenant Tokyo to Neon, making it the first investable development slate in film history to return capital to retail investors at this scale. 5. $3.5 Million For the Next Star Trek The XPRIZE partnership, with Google, a16z, and the Roddenberry Foundation to crowdsource the "next Star Trek," is a playbook for how studios and platforms can use open competition to surface new IP, build community ownership before a single frame is shot, and attract institutional backing. For content companies thinking about franchise development, this model is worth studying. Thank you Marc Iserlis for joining the pod! Marc Iserlis - https://www.linkedin.com/in/marc-iserlis-02848a13/ Republic - https://www.linkedin.com/company/republic.co/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| WHAT’S THE MATTER WITH KIDS…CONTENT, THE AI LOOP, AND FRANCE TV UNDER THREAT | 07 mai 2026 | 00:45:10 | |
Five companies just committed $725 billion to AI in a single year. Meanwhile, kids content is in freefall and the people who can least afford it are paying the price. Welcome to the Media Odyssey Podcast! Evan, fresh off a surprise Webby Award win for Best Creator Thought Leadership, breaks down Q1 earnings from the five biggest tech companies (Alphabet, Amazon, Meta, Microsoft, and Apple) and the AI Loop. Big tech’s collective $725 billion AI spending commitment is less a sign of innovation than a circular, self-reinforcing economy with dot-com bubble written all over it. Marion brings the European lens, walking through the political assault on France Télévisions and the France Télévisions-YouTube partnership that followed. And then a deep dive on Evan's newly released Kids Content Landscape Report, co-produced with Common Sense Media, which draws on over a dozen data sources to paint a sobering picture of an industry in retreat with fewer commissions, broken YouTube economics, gutted public media funding, and a generation of producers caught in the middle. Key Takeaways: 1. Big Tech Companies Committed $725 Billion in the “AI Loop” Alphabet, Amazon, Meta, Microsoft, and Apple collectively pledged $725 billion, more than the Apollo program, the Marshall Plan, and the Manhattan Project combined. This “AI Loop” is a deeply circular economy, with companies essentially contracting with and investing in each other, raising serious dot-com bubble parallels. 2. Kids Content Has No Way to Monetize Kids content commissioning is down 25% from its 2022 peak and public broadcasters are now funding more than 50% of kids content worldwide. The big streamers have pulled back dramatically, shifting from treating kids content as an acquisition tool to a retention tool and largely stopping wholly-owned commissions. At the same time, YouTube ad CPMs for kids content have bottomed out, leaving independent producers stranded between two broken revenue models. 3. Public Funding for Kids Media is At Risk The US spends just $3 per capita on public media, compared to roughly $60 per capita in France, and a significant portion of that was just cut. The current US administration removed roughly $1 billion in public media funding, hitting local PBS affiliates hardest and most adversely affecting lower-income families who rely on free kids programming. Marion draws a direct parallel to right-wing efforts in France to cut €1 billion from France Télévisions. 4. Kids Prefer YouTube, But Producers Don’t 88% of US parents say kids under five prefer YouTube over any other platform, but YouTube Kids remains under-monetized and poorly curated. Despite YouTube's dominance as a kids platform, the economics for producers are broken: low CPMs, poor fill rates, and a curation system that has not been meaningfully updated in years. YouTube needs to rethink how it curates and shares revenue within YouTube Kids before the next generation of Cocomelons and Blueys never gets made. 5. Co-Viewing in Generational Co-viewing is rising sharply, and Millennial and Gen Z parents are substantially more engaged in what their kids watch. Data from multiple sources, including Common Sense Media, Ampere Analysis, and Precisify, show a notable uptick in family co-viewing, particularly on YouTube watched via the TV set. Evan and Marion both see this as one of the few genuinely bright spots in an otherwise bleak kids content landscape, and a real commercial opportunity that platforms are currently underserving.
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| MY DRAMA AND THE VERTICAL TAKEOVER | 30 avr. 2026 | 00:32:42 | |
What if the future of entertainment fits in your pocket and a six-year-old startup from Ukraine is already building it? Welcome to the Media Odyssey Podcast, recorded live at StreamTV Europe, featuring Bogdan Nesvit, founder of HOLYWATER TECH and the microdrama platform My Drama. What started six years ago as an interactive fiction app has quietly evolved into one of the most data-sophisticated entertainment companies operating today. One that is now partnering with Fox Entertainment and eyeing a full theatrical release. If you've ever wondered how a media startup goes from zero to 7 million monthly active users without a single piece of traditional distribution, Bogdan doesn't just tell you what HOLYWATER TECH built, he gives raw data and operational transparency you almost never get from a founder. Beyond content strategy, Bogdan pulls back the curtain on the business model to detail the full transition from microtransactions to subscription, how the platform runs over 1,000 A/B tests per year, and why he believes proprietary user data (not product or AI) will be the defining competitive advantage of the AI era. He also touches on the Fox partnership, the road to ad monetization, and his personal philosophy around meditation, focus, and leadership. Key Takeaways: 1. Scale is Accelerating Fast My Drama currently has close to 300 titles on the platform, targeting 500 by the end of 2026 and 1,000 by the end of 2027. Each title contains around 90 one-minute episodes, effectively repackaging a full 90–120 minute film into bite-sized vertical content. 2. The Subscription Model Dominates The platform fully shifted away from microtransactions with more than 90% of customers subscribing. Subscription users retain at 2x the rate of in-app purchase users and consume 3x more content. Users on an ad-supported tier consume an average of 1.5 hours of content per day, a striking engagement metric. 3. AI Slashes Production Costs and Timelines Live-action microdrama costs $120K–$250K per title and takes roughly four months to produce. Netflix takes 100 weeks. AI-generated content on the MyMuse platform costs only a few thousand dollars and can be produced and tested in two weeks. Scripts, however, remain 100% human-written. 4. Paid and Organic Impressions Are Needed Together My Drama generates two billion monthly impressions across Facebook, Instagram, and YouTube using a cliffhanger-driven content preview strategy for a 70/30 paid-to-organic acquisition split. At any given month, the team runs 30,000 unique video ad creatives across Facebook, Snapchat, and TikTok. Despite heavy paid spend, the company is currently profitable and growing more than 2x year-over-year. 5. It’s a Growing Market The global microdrama market is $11–12B today, projected to reach $25B by 2030. China dominates the current market (the format originated there around 6 years ago). Outside China, the market is much smaller today but is projected to hit ~$10B, mostly driven by the US, by 2030. Holywater is betting that expanding beyond the current five core content tropes into genres like thriller, fantasy, and detective stories is essential to moving microdrama from niche to mainstream. Thank you to Bogdan Nesvit for joining the pod! Bogdan Nesvit - https://www.linkedin.com/in/bogdannesvit/ HOLYWATER TECH - https://www.linkedin.com/company/holywatertech/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| STREAM TV EUROPE UNPLUGGED | 23 avr. 2026 | 00:35:29 | |
Europe’s media industry leaders gathered in Lisbon this past week for the inaugural Stream TV Europe, and the prognosis is—to everyone’s surprise—refreshingly optimistic. Welcome to The Media Odyssey podcast! In this episode, Evan and Marion break down the biggest moments from Stream TV including: the "renaissance" of the living room and the shift in digital strategy by global players. They are later joined by Denis Oštir to discuss V’s ambitious new V Index, a unified measurement tool designed to bridge the gap between traditional broadcast and digital streaming. 1. The Power of the Living Room Sofa Marion shares insights from her workshop including a survey of 15,000 people across Europe, the US, and China, conducted in partnership with RTL AdAlliance. The findings highlight the continued dominance of the big screen, with 83% of Europeans prioritizing video content in the living room. The research reveals an ecosystem where different platforms serve distinct social needs: Netflix primarily caters to couples, VOD brings together larger family groups of five or more, and YouTube remains a hub for solo viewing. 2. The Optimistic Outlook The duo discusses how the digital evolution of legacy media is fueling a surprisingly positive outlook across the sector. Evan highlights his panel featuring TF1, France’s largest broadcaster, and news creator Gaspard G to illustrate this shift. This collaboration serves as a strategic blueprint for how legacy brands can think and act like creators to maintain relevance in a fragmented market. 3. Deep Dive: The V Index & CTV Strategy Denis Oštir joins the conversation to explain V’s role as a top-three smart TV platform in Europe with a global footprint of 50 million connected TVs. Given their reach, V aims to solve a major measurement discrepancy where the same "eyeballs" are valued differently based on signal delivery (CPMs for digital vs. GRPs for broadcast). Oštir is inviting other OEMs and industry players to join an open standard to ensure content creators are fairly compensated as money shifts toward digital. Additionally, as Editor-in-Chief, he oversaw a "quality over quantity" shift that reduced their channel count from 100 to 80, which paradoxically led to a 20% increase in viewing time and engagement. 4. Vertical Video: Couch vs. Toilet The group debates the viability of vertical video on the big screen. Denis’ take: Vertical content is highly personalized, making it a poor fit for the social, shared environment of the living room. Evan's take: Premium vertical video has a future, but it’s for "the between times"—the bus, the doctor’s office, or the bathroom—not for the couch. Thank you to Denis Oštir for joining the pod! Denis Oštir - http://linkedin.com/in/denisostir/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ 00:00 StreamTV Europe Vibes 02:04 Living Room Viewing Data with RTL AdAlliance 04:25 Fragmentation and Partnerships 05:29 Marion’s Favorite Panel: Super Aggregation or Super Fragmentation? 06:38 Evan’s Favorite Panel: TF1 & Gaspard G Transforming Journalism on YouTube with a Creator Mindset 08:19 Live Sports Becoming a Creator 10:39 Industry Mood Shift 14:58 Meet Denis Oštir, Editor-in-Chief of V 17:03 V Index Measurement Fix 22:57 Fixing FAST Data 24:58 Trends in Viewing 28:15 Editor in Chief Role 29:23 Platform Monetization Model 31:28 Vertical Video Debate 34:58 Closing Thoughts | |||
| THE SUBSCRIPTION GAP | 16 avr. 2026 | 00:44:41 | |
You have six subscriptions, can't remember what's on any of them, and still can't find something to watch. Welcome to the subscription economy in 2026. Get the full Subscription Signals 2026 report here: https://bango.com/reports/reserve-report/?utm_campaign=2026_Campaigns_SubscriberReport_ReserveReportMO In this episode, Evan and Marion dig into Bango's Subscription Signals 2026 report: an annual study of subscription attitudes and behaviors across the US and UK. Then they are joined by Giles Tongue, VP of Marketing at Bango, to break down the findings. Bango is a white-label subscription bundling platform that powers the backend infrastructure behind multi-service bundles, allowing mobile operators, retailers, and pay TV providers to offer multiple subscriptions under one bill. The report paints a picture of a subscription economy under real strain: consumers feel they're overspending, they can't remember what they subscribe to or which platform holds what content, and discovery is broken. At the same time, the shift toward third-party bundling is accelerating, and a new generation of "savvy subscribers" is rethinking the entire relationship between cost, ads, and access. Key Takeaways: 1. UK Subscribers Spend More Despite Fewer Bundling Traditions UK consumers average 5.7 subscriptions, spending roughly £68 ($90) a month, compared to 5.2 subscriptions and $69 a month in the US. The gap is partly because US pay TV providers like Comcast and Charter bundle broadband, mobile, and TV into a single household bill, making it appear as one subscription rather than several. The UK is catching up, with Sky recently launching a master bundle including Disney, HBO, and Netflix for around £24 a month. 2. Consumers Feel Overcharged and Gen Z Is Reaching a Breaking Point Almost 25% of US consumers and nearly a third of UK consumers say they spend more on subscriptions than they can afford. Among Gen Z in the US, that number jumps to 41%. At the same time, attitudes toward ads have shifted dramatically: in 2024, 78% of subscribers strongly opposed ads on paid tiers, but now 36% of Americans say they'd accept double the ad load in exchange for a lower price. Among Gen Z and Millennials, that figure climbs to roughly half. The era of the ad-free subscriber is ending. 3. Viewers Are Loyal to Shows and Talent, Not Platforms Nearly 60% of consumers in both the US and UK say they are more loyal to an individual show than to the platform delivering it. The data reinforces this: only 13% of people who watch Severance know it's on Apple TV+, and only 18% correctly identified Game of Thrones as an HBO show. Instead, most attributed it to Netflix. This makes a free tier essential for every streamer: if consumers are going to serial churn, a free ad-supported front porch keeps them in the ecosystem. 4. Content Discovery Is Broken and the Industry Is Profiting From the Problem In the US, 30% of subscribers spend 30 minutes or more searching for something to watch. In the UK it's 41%, and among Gen Z it rises to 48% in the US and 56% in the UK. Platforms are actively monetizing this search friction through home screen advertising rather than fixing it. And that will cost them in acquisition, retention, and time spent over the long run. Giles points to AI-powered discovery tools like Liberty Group's Super Search as a glimpse of what the solution could look like. 5. Bundling Is the Future Over a third of US subscribers and 39% of UK subscribers now get their subscriptions through third-party bundles via banks, mobile operators, or retailers rather than subscribing directly. That number is only growing year on year. Consumers say they trust mobile operators most to deliver their bundles ahead of pay TV providers. Giles' headline warning for the industry: telcos that don't keep delivering excellent bundled experiences risk having their own customers bundled inside someone else's platform. As he puts it, "bundle or be bundled." Thank you to Giles Tongue for joining the pod! Giles Tongue - https://www.linkedin.com/in/gilestongue/ Bango - https://www.linkedin.com/company/bango/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
00:37 Report Drop and StreamTV Buzz 01:10 What Bango Actually Does 02:50 UK vs US Subscription Math 06:23 Bundles and Price Pressure 08:30 What People Subscribe To Now 15:41 Churn, Ads, and Show Loyalty 23:15 Netflix Over Attribution 24:17 Talent Follows Platforms 24:57 Discovery Friction Crisis 26:17 Ads Invade Home Screens 27:42 Bundles Shift To Telcos 31:32 Meet Bango And Giles 36:40 AI Agents And Takeaways | |||
| THE MAKING OF A HIT PODCAST | 09 avr. 2026 | 00:58:46 | |
He helped create the most listened-to podcasts in history and then walked away from the New York Times to start over from scratch. Welcome to The Media Odyssey Podcast! In this episode, Evan and Marion sit down with Brian Reed, documentary podcaster and co-founder of Placement Theory, whose career spans documentary podcasts This American Life, S-Town, and now Question Everything. The conversation traces the origin story of Serial, which was expected to get a few hundred thousand downloads and ended up with hundreds of millions, all the way through to Brian's decision to leave the New York Times and build something new: Placement Theory, a audio production company built to support journalists and creators. Along the way, the episode digs into a question that runs underneath everything Brian makes: can quality, independent journalism survive? As local newsrooms collapse, public media gets defunded, and audiences feel overwhelmed and burned out, Brian makes the case that the desire for truth is still very much there as a market problem waiting for the right solution. Key Takeaways: 1. Serial Was Expected to Get "a Few Hundred Thousand Downloads” Before It Got Hundreds of Millions When Sarah Koenig pitched Serial at This American Life, the team budgeted for a few hundred thousand downloads. It became the most listened-to podcast in the history of the format, redefining audio documentary as a medium, with hundreds of millions of downloads for the first season alone. Brian attributes much of this to the fact that they were reporting the Adnan Syed story in real time, week by week so it was breaking news every episode. It is clear the podcast played a direct role in Adnan's eventual release from prison. 2. S-Town Was Designed as an Audio Novel and Released All at Once Brian started reporting S-Town before Serial even existed, after receiving a listener email with the subject line "John B. Macklemore lives in Shit Town, Alabama." When the subject died by suicide in 2015, the story transformed. Brian and editor Julie Snyder used novels as their creative model, labeling the installments chapters instead of episodes and releasing all seven at once. It was one of the first times that had ever happened in podcasting. S-Town now has hundreds of millions of downloads and is in development as a TV show at Apple TV+. 3. The Economics of Serious Independent Journalism Are Hard, but People Want Truth Brian is direct about the financial reality of running an independent audio production company: they're still figuring out how to make the show profitable. Their current model blends bespoke sponsorships, listener support through KCRW's public radio fundraising, and eventual subscription offerings. The broader state of journalism is rough with thousands of local newspapers diappearing, public trust in journalists is at historic lows, and signs of media capture happening in the US. But there’s an optimistic conclusion from Brian’s on-the-ground reporting across the country: people do want reliable information. The problem isn't demand, it's discoverability and trust. This as a classic market problem that a journalism business should be positioned to solve. 4. Audio Is More Intimate Than Video and That's a Strategic Advantage Worth Protecting Brian's company Placement Theory is an audio-first production company, and that’s deliberate. Creating video versions of their work would essentially require making a documentary — a completely different and far more expensive enterprise. They experimented with video, found that they weren't posting frequently enough to build a YouTube audience, and redirected their energy to where their audience actually was: Apple Podcasts and NPR. He still sees potential in short-form video as a discovery tool, but doesn't want to sacrifice the intimacy that makes audio narrative work. Thank you to Brian Reed for joining the pod! Brian Reed - https://www.linkedin.com/in/brian-reed-887411166/ Placement Theory - https://www.placementtheory.com/ Question Everything - https://www.kcrw.com/shows/question-everything/all-episodes S-Town - https://podcasts.apple.com/us/podcast/s-town/id1212558767 Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| AIVE: EVERYTHING, EVERYWHERE, ALL AT ONCE | 02 avr. 2026 | 00:43:11 | |
AI can't replace your editors, but it can do 80% of their most tedious, repetitive work in a fraction of the time. Welcome to The Media Odyssey Podcast! In this episode, Evan and Marion open with the news that OpenAI is shutting down Sora's B2C offering, unpacking what it signals for the AI and media landscape. They welcome Olivier Reynaud, Co-founder and CEO at Aive, a platform Aive built around the central challenge facing every creator and media company today: how do you produce enough high-quality, platform-tailored video content to keep pace with the demands of social video without burning out your team or blowing your budget? Olivier draws on his background co-founding Teads, where the team broadcast billions of videos daily, to explain how the bottleneck was never video creation itself, but large-scale personalization. The conversation explores how Aive is solving that problem through proprietary meta-learning technology, and what that means for the future of creative work. Key Takeaways: 1. OpenAI Shutting Down Sora Signals a B2C Dead End OpenAI announced it is closing down Sora and stepping back from its deal with Disney to refocus on enterprise. The hosts argue that selling AI tools directly to consumers was never a sound business model. As Evan puts it, AI is best understood as "an arrow in your quiver, not the bow." 2. The Real Problem Isn't Making Video, It's Personalizing It at Scale Olivier, who co-founded Teads and has spent 20 years in video, argues the hard problem isn't producing video content; it's tailoring that content for every platform and audience at meaningful scale. Aive is built specifically to solve this: taking a long-form master and generating hundreds of format-adapted clips in days rather than months. Aive Eliminates ~80% of Repetitive Production Tasks 3. Using Match Group's Meetic as a case study Olivier explains that Aive helped produce nearly 300 campaign variants across a full quarter, cutting production costs by roughly 80%, reducing time-to-market from two months to days, and delivering a 50% performance uplift on paid Facebook and Instagram campaigns. The savings were reinvested into more content, bigger media buys, and team training. 4. The Technology Is Proprietary and Built for Enterprise Security Aive runs on in-house meta-learning and is not trained on OpenAI, Google, or Amazon models. For clients sending unreleased films or large campaign assets, data stays within the platform and never trains outside systems. The platform is SOC 2 certified and currently designed for enterprise and mid-size agencies, not individual creators at a consumer price point. 5. Netflix's 1.5 Million Trailer Versions Prove Human Editors Can't Keep Up Alone Evan opens with a striking data point: for the final season of Stranger Things, Netflix created 1.5 million different versions of their trailer for YouTube and social — a volume impossible to achieve through human editing alone. This frames the episode's central question: how do media companies and creators scale social video output to the level the market now demands, without AI doing the heavy lifting? Book a meeting with Aive: https://0icjqan647l.typeform.com/AivexTMOpodcast Use Aive’s exclusive code (NS015504) for a FREE Show Floor Pass and join them at NAB, the event redefining the future of media and entertainment: https://invt.io/1exbuo45cd4 Thank you to Olivier Reynaud for joining the pod! Olivier Reynaud - https://www.linkedin.com/in/olivierreynaud/ Aive - https://www.linkedin.com/company/aive/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| INSIDE THE MIND OF A CREATOR WUNDERKIND | 27 mars 2026 | 01:01:07 | |
244 million followers and a six-month content calendar: Jordan Schwarzenberger explains why showing up daily is the only strategy that matters. Welcome to The Media Odyssey Podcast! In this episode, Evan Shapiro and Marion Ranchet break down the Nielsen/MRC measurement crisis that rocked the US advertising industry, then sit down with Jordan Schwarzenberger, CEO and co-founder of Arcade Media and manager of the Sidemen. The conversation reveals how the entire US advertising market transacted on flawed data for a year, while simultaneously showing how creator-led media companies are building sustainable businesses by thinking like traditional media. Rather than defending old systems, Jordan makes the case for why daily content and ritualistic consistency combined with treating YouTube channels as distinct brands is the only path forward. The episode is a reality check on how broken measurement has become in traditional media, while creator-led companies are professionalizing their operations, building real media plans, and capturing budgets that were previously reserved for legacy broadcasters. Key Takeaways: 2. BBC Hired Matt Brittin, Ex-President of Google Europe 3. The Sidemen Have 244M Followers and a 55-Person Team 4. Daily Content and Ritualistic Consistency Are Essential for Success 5. YouTube Is Underserved and Users Run Out of Quality Content 6. Netflix and YouTube Combined Create the Strongest Media Strategy 7. Individual YouTube Channels Should Be Content-Specific Thank you to Jordan Schwarzenberger for joining the pod! Jordan Schwarzenberger - https://www.linkedin.com/in/jordanschwarzenberger/ Arcade - https://www.linkedin.com/company/wearearcade/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| TWO REPORTS, ONE EPISODE: THE PARAMOUNT INVESTOR DECK & THE STREAM | 19 mars 2026 | 00:40:47 | |
Get The Stream by Tubi! Paramount's $110B acquisition projects impossible growth, while Tubi data shows 80% canceling paid services. Welcome to The Media Odyssey Podcast presented by The Stream by Tubi! In this episode, Evan Shapiro and Marion Ranchet dissect two reports: the Paramount investor deck projecting their Warner Brothers Discovery acquisition, and Tubi's "The Stream" report on consumer streaming behavior. The conversation reveals how Paramount's financial projections defy their own recent performance trends, while simultaneously showing why consumers are abandoning paid streaming for free ad-supported options. Rather than finding synergies that make business sense, the hosts expose a deal driven by ego and questionable foreign investment sources, even as consumer data proves the market is moving away from premium paid services. The episode is a reality check on how corporate consolidation in media is disconnected from actual consumer behavior, with streaming fatigue driving audiences toward free platforms at the exact moment media companies are doubling down on expensive acquisitions and debt-heavy strategies. Key Takeaways: 1. Paramount's Investor Deck Projects Revenue Growth Despite Years of Decline The investor deck projects combined revenue growing from $66 billion in 2025 to $84 billion by 2030. However, from 2023-2025, combined company revenue actually declined from $71 billion to $66 billion. EBITDA has been flat or down over the last three years, but the deck projects growth starting immediately. The deal includes $8 billion in tech cuts, $6 billion in business services cuts, $4 billion in real estate sales, and $3 billion in enterprise resource planning optimization over five years—yet claims no massive layoffs. Bank of America downgraded Paramount stock from buy at $13 to sell at $11, stating integration will take years and projected synergies won't materialize quickly. 2. The Deal Will Create $80+ Billion in Debt With Questionable Funding Sources The $110 billion acquisition will saddle the combined company with over $80 billion in debt. David Ellison claims they'll double motion picture output to 30 films per year, which the hosts note is not logistically possible given film development timelines. For comparison, Disney and Fox combined produced only 19 movies last year (down from Fox's 25 pre-acquisition and Disney's ~15). 3. Consumer Data Shows Massive Shift From Paid to Free Streaming According to Tubi's "The Stream" report with Harris Poll: 77% prefer on-demand over scheduled linear streaming (3-to-1 preference). 84% of all audiences and 90% of Gen Z would watch ads for free streaming services. 80% are canceling paid services and signing up for free services to fight rising costs. 76% would rather watch a free platform with ads than pay for a premium platform with an ad tier. 4. European Box Office Is 70% Dependent on US Films, Creating Vulnerability Close to 70% of European box office revenue comes from US movies (in 2024 it was 63% US, 33% European, the rest global). European ticket sales are down 5.5% but revenue is stable due to ticket price increases. The European box office is estimated to generate $10 billion in 2026, a 7% increase. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE SIGNAL FROM EUROPE: Q4 EARNINGS | 12 mars 2026 | 00:42:04 | |
Versant spins out with $2B free cash flow, ITV faces Sky acquisition, Banijay grows experiential 18%, and Canal+ hits 42.3M subscribers. Welcome to The Media Odyssey Podcast live! In this earnings coverage episode, Marion Ranchet and Evan Shapiro break down results from four companies undergoing major transformations: Versant's spinout from Comcast, ITV's potential acquisition by Sky/Comcast, Banijay's post-Endemol Shine merger performance, and Canal+'s global expansion strategy. The conversation reveals the challenges traditional media companies face as cable declines, the strategic missteps in corporate separations, and how European companies are diversifying revenue streams to survive. Rather than celebrating growth, the hosts examine whether these transformations make strategic sense or simply expose dying businesses. The episode is a reality check on how media consolidation and spinouts are reshaping the industry, with some companies finding success through diversification while others struggle to justify their existence as standalone entities. Key Takeaways: 1. Versant (spun out from Comcast) Versant generated $2 billion in free cash flow despite total revenue down 5% and net income down 32% year-over-year in 2025. Overall, distribution was down, advertising down, licensing business down but growth came from platforms (Fandango, Rotten Tomatoes, Golf Now, CNBC streaming). Interestingly, Comcast kept Bravo (the most valuable programming brand) with Peacock instead of spinning it out with Versant, showing a lack of strategic thinking. 2. ITV ITV saw subscriptions flat year-over-year with no growth, but digital ad revenue up 12% year-over-year, preventing a worse outcome. Sky + ITV combined would become the #2 TV outlet in the UK, second only to BBC, jumping over YouTube and far surpassing Netflix as the largest ad platform. ITV Studios is a profitable powerhouse with Love Island (the #1 streamed show last year on Peacock) and a growing US arm, yet the acquisition would potentially leave Studios behind. 3. Banijay Experiential business grew 18%+ (still under €400 million but growing fast) and the gaming/sports betting business generated €1.6 billion out of €4.9 billion total revenue (nearly one-third of total revenue), growing 9.5% year-over-year and surprising the hosts. Banijay is now planning €50 million in cost synergies through integration, which means layoffs that will take time in European markets due to labor regulations 4. Canal+ Where other platforms saw flat subscriptions, Canal+ grew total subscribers by 8% year-over-year to 42.3 million subscribers with the Multichoice acquisition. Now, the company operates in close to 50 countries across Africa, Asia, and multiple European territories. Their strategy paid off when subscribers under the age of 26 grew 17x since 2019 by building a €20/month package (half the typical price) with no commitment to address the "too expensive" problem. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE TRANSFORMATION OF ITV STUDIOS | 05 mars 2026 | 00:30:52 | |
Archive content finds new life on YouTube while broadcast TV is officially "a blip in history." Welcome to The Media Odyssey Podcast live from MIP London! In this special live episode from MIP London, Evan Shapiro sits down with Martin Trickey, who runs Zoo 55, ITV Studios' digital distribution arm that launched just over a year ago. The conversation reveals how traditional broadcasters are finally waking up to the massive untapped value in their archives, how YouTube is television for older demographics as well as younger people, and why the broadcast era was just a temporary moment in human storytelling. Rather than defending the traditional TV model, Martin makes a compelling case for why broadcasters must radically transform or become irrelevant. The episode is a reality check on how quickly the media landscape is changing, with 55% of the British population now millennials and younger who never developed traditional broadcast habits. Success now requires mastering social video alongside streaming not instead of it. Key Takeaways: 1. Archive Content Unlocks New Value on YouTube ITV's Zoo 55 is finding massive value in archive content that was gathering dust on shelves. Old episodes of shows like Hell's Kitchen and River Monsters are discovering entirely new audiences on YouTube who never saw them during their original broadcast runs. This represents a significant new revenue stream from content that had no previous monetization path. 2. YouTube Audiences Span All Demographics, Not Just Young People The biggest demographic watching full episodes of Coronation Street on YouTube is 65+, and they're watching mostly on TV devices. Everybody is watching content on YouTube regardless of age. The assumption that it's only for younger audiences is false. Archive content attracts both younger viewers discovering shows for the first time and older viewers who are now consuming familiar content on YouTube instead of traditional broadcast. 3. Broadcast Television Was "A Blip in History" The monopolies that free-to-air broadcasters had in the 1960s-1980s are gone and never coming back. Peer-to-peer and social communication is how people have told stories since cave painting, and we've returned to that model. In 1985, shows on BBC One or ITV at 8pm guaranteed audiences because there was nothing else on. That era is over. 4. No Traditional Viewing Habits Means Streaming Will Not Fully Replace Broadcast 55% of the British population are millennials and younger who did not grow up with the same broadcast habits as their parents and grandparents. The time previous generations spent on television has been replaced by a combination of streaming AND social video—not just streaming. Younger generations actually watch less streaming than older generations. The idea that 100% of the TV audience will migrate to streaming alone is false. 5. Building Communities on Social Video Requires Significantly More Work Cutting through on social platforms is incredibly difficult compared to traditional broadcast. It requires great content plus discoverability work (thumbnails, titles, metadata), engagement with super fans and influencers, and constant optimization. Broadcasters must work far harder to build communities on social video than they ever did building TV audiences, but it's essential for survival. 6. 2026 Is the Year for Brand Direct Deals on YouTube ITV expects 2026 to be the year they move significantly into brand direct deals beyond programmatic advertising. YouTube is expected to launch dynamic brand insertion in the second half of 2026, allowing creators to swap out sponsored segments without taking down and re-uploading entire videos. This will allow creators and partners to keep a larger share of revenue, and ITV plans to offer brands the ability to co-create content and distribute it across their network of social channels. Thank you to Martin Trickey for joining the pod! Martin Trickey - https://www.linkedin.com/in/martintrickey/ Zoo 55 - https://www.linkedin.com/company/zoo-55/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| DISCO BROS AND NEPO BABIES: Q4 EARNINGS | 28 févr. 2026 | 00:52:50 | |
Netflix backs out of the bid for Warner Bros. Discovery (aka “Disco Bros”), leaving Paramount Global — sorry, “Nepomount” — as the likely merger partner. Welcome to another live earnings edition of The Media Odyssey. In this episode, Evan Shapiro and Marion Ranchet break down the bombshell developments between Warner Bros. Discovery and Paramount. Is this smart consolidation… or a true “Titanic meets the iceberg” moment? Key Takeaways: 1. Netflix Walks Away — Political Pressure? The timing raises eyebrows: Ted Sarandos’ White House visit came just days before Netflix exited the bid. Was there political pressure? Possibly. Regardless, the $2.8B breakup fee gives Netflix fresh optionality — whether that means acquiring Lionsgate, Xbox, Roku… or choosing disciplined restraint. 2. Two Sides of the Same Coin Warner Bros. Discovery and Paramount share strikingly similar business challenges: linear decline, streaming plateau, advertising pressure. Can merging two structurally similar companies create real transformation? We predict significant layoffs and a battle over which brand identity survives — HBO or Paramount. 3. U.S. Political Risk in 2026 With midterm elections approaching, regulatory and political pressure could intensify. Evan suggests Attorneys General in film- and TV-heavy states may resist the merger to protect jobs and local economies. The political calendar could directly impact whether this deal closes. 4. European Market Fallout Much like the Disney–Fox merger, Europe could see substantial layoffs and market recalibration — especially around sports rights. Marion raises key questions:
5. The Bigger Issue: Streaming’s Plateau While mega-mergers dominate headlines, the core business is slowing. Streaming growth is flattening, churn remains high, and by the end of the decade the model may resemble today’s cable ecosystem. Advertising helps — but it cannot fully offset structural decline. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast 00:00 Introduction and Naming the Disaster | |||
| EARNINGS SEASON: PINTEREST, TF1, & ROKU | 19 févr. 2026 | 00:38:34 | |
Pinterest loses 14% in five days, Roku posts its first profitable year, and Netflix's market cap drops $200 billion. Welcome to The Media Odyssey Live! In this live earnings coverage episode, Evan Shapiro and Marion Ranchet break down results from Pinterest, Roku, and TF1, while also discussing the ongoing Netflix-Warner Brothers Discover-Paramount saga. The conversation reveals how mobile-first platforms like Meta and TikTok are crushing traditional social media, how Roku finally achieved full-year profitability after pivoting from hardware to platform, and how European broadcasters are making deals with streamers to survive. Rather than celebrating growth, the hosts examine what's really driving (or killing) these businesses and how consolidation fears are freezing the entire media industry. The episode is a reality check on how companies that seemed invincible just a few years ago are now struggling to compete, while the bidding war for Warner Brothers Discovery is creating dangerous industry-wide paralysis. Key Takeaways: 1. Pinterest Is Losing the Social Media Battle Despite User Growth Pinterest reported 16% revenue growth for 2025 and monthly average users up 12% year-over-year in Q4. However, their stock dropped 14% in five days following earnings. The company cannot close direct transactions because users shop on Pinterest then complete purchases on Amazon, Meta, or TikTok. Pinterest acquired TV Scientific, a CTV advertising company, to try to activate their shoppable e-commerce data on the big screen. The fundamental problem is that Pinterest is losing advertising share to Meta, TikTok, YouTube, and Amazon, particularly on mobile where those platforms dominate. 2. Roku Achieves First Full-Year Profitability After Platform Pivot Roku posted their first profitable full calendar and fiscal year in 2025 after pivoting from hardware-first to platform-first in 2014. Their market valuation dropped from $50 billion (at $500 per stock) in 2021 to $13 billion today. Platform revenue is now over $4.5 billion compared to hardware revenue of half a billion, making hardware only 12-13% of the overall business. The Roku Channel now includes 70,000 AVOD titles, over 400 FAST channels, and 72 premium subscriptions (similar to Amazon Channels). Subscription revenue, not just advertising, drove them to profitability with a dual revenue stream model. 3. TF1 and Netflix Strike Partnership Deal for French Market TF1, France's largest broadcaster, struck a deal with Netflix to bring their entire programming suite to Netflix users in France. The deal launches in June 2026, with TF1 handling ad sales for Netflix inventory. TF1's streaming revenue grew 36% (a combination of subscription and advertising). When combined, TF1 and Netflix become extremely attractive to advertisers by reaching both TF1's older broadcast audience and Netflix's younger streaming demographic. Across Europe, new players like Samsung TV Plus use TF1 as their ad sales house, while HBO Max uses Canal+, because selling advertising at scale requires local expertise. 4. Netflix's Warner Brothers Discovery Bid Creates Industry-Wide Freeze Netflix's market capitalization has dropped $200 billion (approximately) since they started bidding on Warner Brothers Discovery. The bid would cost $82-84 billion and put Netflix $85 billion in debt. Ted Sarandos called it "an accelerator" and said "we don't need Warner Bros," despite the company previously saying they'd never do ads (now they do), never do sports (now they do), and that YouTube is "just for wasting time" (while signing Jake Paul, Ms. Rachel, and Sidemen). The bidding war has frozen Netflix, Paramount, and Warner Brothers Discovery in place—affecting hiring, programming purchases, and business development. Global film and TV purchases were down 15% last year, partly due to this freeze effect. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| EARNINGS SEASON: AMAZON, ROBLOX, & MORE | 12 févr. 2026 | 00:38:50 | |
Amazon invests $200 billion in AI, Roblox pays out $1 billion to creators, and Spotify's ad sales decline. Welcome to another episode of The Media Odyssey Live! In this live earnings coverage episode, Evan Shapiro and Marion Ranchet break down results from Amazon, Roblox, Sony, and Spotify. The conversation reveals a massive AI spending race across Big Tech, the dramatic shifts happening in gaming away from traditional consoles, and the ongoing struggles of audio advertising. Rather than celebrating growth numbers, the hosts examine what the investments and losses actually mean for each company's long-term strategy and whether the spending will pay off. The episode is a reality check on how companies are pouring unprecedented amounts into AI infrastructure while some core businesses struggle, and how the gaming industry is splitting between platform-first models and traditional console-dependent approaches. Key Takeaways: 1. Amazon Hits $200 Billion in AI Investment With Mixed Results Amazon announced a $200 billion AI infrastructure investment for next year, the highest among Big Tech companies covered in recent earnings (compared to Apple's $15 billion, Microsoft's over $100 billion, and Meta's close to $140 billion). 2. AWS is growing, but the Stock Response is Muted AWS grew 24% and advertising continued at 20%+ growth, but net income only grew 6%. Amazon reported 315 million Prime viewers, their first subscriber disclosure in two years. Amazon's stock response was muted despite strong AWS and e-commerce performance, signaling market concern about whether the massive AI investment will show returns. 3. Roblox Stands Apart from Console-Dependent Models Sony and Microsoft's gaming divisions both had bad fourth quarters, with Sony reporting minus 4% in gaming sales. Meanwhile, Roblox had a massive year and fourth quarter, reporting 144 million daily active users (35% under 13, 38% ages 13-17, and 27% over 18). Roblox paid out over $1 billion to creators in 2025 but has never been profitable. Most profitable gaming is either mobile or live gaming, and 65% of all in-game advertising is generated by Roblox. Microsoft's $70 billion Activision acquisition is 75% live gaming, not console business. 4. Spotify's Ad Sales Declined 4% Despite Subscription Growth Spotify's ad sales were down 4% in Q4 year-over-year, despite Q4 being the best ad sales quarter of the year. However, subscription revenue grew 14% and Spotify has the least churnable subscription in all media. 5. Video Podcast Consumption is being Vital Video podcast consumption grew over 90%. The number one podcasting platform on Earth is YouTube, with a billion people watching YouTube podcasts on TV every month. Overall, about a third of total podcast consumption is split between Spotify, Apple, and YouTube, with YouTube leading. 6. Netflix and Spotify Strike Video Podcast Deal Spotify announced a deal with Netflix to distribute video podcasts, including The Ringer and Bill Simmons content. The deal makes Spotify's entire video strategy potentially break even or profitable immediately. However, the exclusivity nature of the deal means podcasts on Netflix cannot be on YouTube, which some view as shortsighted given YouTube's dominance in video podcasting. The deal reflects Netflix's attempt to become a daily touchpoint and steal the podcasting crown from YouTube. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| GOOGLE & DISNEY EARNINGS BREAKDOWN | 05 févr. 2026 | 00:32:47 | |
Google crushes expectations even as YouTube slows, and Disney names a CEO to distract from its numbers. Welcome to The Media Odyssey Live! In this live earnings coverage episode, Evan Shapiro and Marion Ranchet break down Google and Alphabet’s Q4 2025 wins and Disney's less positive performance. The conversation reveals surprising shifts in where advertising dollars are flowing, with mobile and social platforms capturing growth that once went to traditional video platforms. Rather than celebrating wins, the hosts dig into what the numbers actually reveal about maturing products, shifting consumer behavior, and the growing challenge of competing across multiple devices and formats. The episode is a reality check on how even dominant players like YouTube are facing headwinds, while free ad-supported platforms are quietly gaining massive ground against premium subscription services. Key Takeaways: 1. Google Beat Expectations But YouTube Growth Is Slowing Google beat expectations on both top and bottom line, with cloud revenue growing 48%. However, YouTube revenue growth in Q4 was less than 10%, missing expectations for the first time in recent memory. This signals YouTube is becoming a maturing product, with the majority of Q4 advertising upside going to TikTok and Meta instead. Despite the slowdown, YouTube's full-year revenue outpaced Netflix's total revenue, and Google now has the same number of subscribers across Premium, Music, and Red as Netflix has total subscribers. 2. Mobile and Social Are Outpacing TV in Ad Spending A record $13 billion in midterm political advertising is coming in 2026, with the majority of growth going to mobile-first, targeted advertising on platforms like Instagram and TikTok rather than traditional TV or even Connected TV. The money that used to flow to cable is now moving to Instagram and TikTok, signaling that mobile and social will outpace even connected television growth in 2026. YouTube needs to refocus on mobile and shorts to compete, as their heavy focus on TV has left mobile vulnerable. 3. Disney's Streaming Strategy Faces Challenges Disney's revenue was up only 5% in Q4, with net income down 9% for the quarter. However, net income grew 140% year-over-year, driven entirely by streaming services bouncing back toward profitability. The sports business (ESPN) was not profitable in Q4, mostly because of rights fees, with only 1% revenue growth but a 23% drop in operating income. Disney is positioned to add vertical video to their streaming platform as a way to embrace social-first experiences and the creator economy. 4. FAST Surpassed Netflix in Q4 Engagement Free Ad-supported TV platforms collectively surpassed Netflix in Q4 2025 television engagement in the United States according to Nielsen's Gauge. Tubi grew revenue 19% year-over-year and had its second profitable quarter, reaching 3% on the Gauge. Roku Channel hit 2.5%, and when combined with other FAST platforms not measured by Nielsen (like Samsung TV Plus), FAST collectively exceeded Netflix's share even with Netflix's massive December performance. This represents the biggest competitive threat to both YouTube and Netflix going forward. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| APPLE, META, & MICROSOFT EARNINGS BREAKDOWN | 30 janv. 2026 | 00:45:51 | |
Apple, Microsoft, and Meta — with a quick detour into Comcast — have all reported earnings, and we’re breaking it down. Welcome back to The Media Odyssey podcast. In this episode, Evan and Marion ask the big question: why did the market cheer some results and punish others, even when the numbers looked strong?
Key Takeaways: 1. Apple: iPhone to the Rescue (Again) 2. Microsoft: Great Numbers, Nervous Investors 3. Meta: Ads Win, Spending Shrugs 4. Comcast & Peacock: Scale Matters 5. The Bigger Picture Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| THE CREATOR BILL OF RIGHTS | 29 janv. 2026 | 00:54:41 | |
The Creator Economy has 1.5 million creators, billions in revenue, and… zero worker protections. Welcome back to The Media Odyssey Podcast! In this episode, Evan Shapiro and Marion Ranchet sit down with Shira Lazar, founder of What's Trending and a pioneer in the creator economy. The conversation covers Shira's journey from early vlogger at CBS News to building a digital media brand covering internet culture, and dives deep into her current work on the Creator Bill of Rights and mental health advocacy for creators through her organization Creators 4 Mental Health. Rather than focusing on growth metrics or platform strategies, Shira, Marion, and Evan tackle the human side of content creation including the mental health challenges, lack of industry protections, and systemic issues facing the millions of people who make up the creator economy. The episode is a reality check on how the creator economy, despite generating billions in revenue for platforms and brands, still lacks basic worker protections and the mental health support structures that exist in traditional industries. Key Takeaways: 1. The Creator Economy Is a Real Industry That Lacks Basic Protections There are 1.5 to 10 million creators in the US (compared to 83,000 steel workers) yet creators operate in what's described as the "Wild West" without established worker protections. The creator economy generates enormous revenue, with Meta alone generating more than all television on Earth, and Unilever putting half their marketing budget into creator partnerships. Despite this scale, creators lack the fundamental protections, unions, and support systems that exist in traditional industries. 2. Mental Health Crises in the Creator Economy Need Systemic Solutions Creators face unique mental health challenges from constant platform algorithm changes, metrics obsession, isolation, and financial instability. While awareness of mental health issues exists, there's no clear infrastructure or accessible resources for creators to get help. The Creator Bill of Rights initiative aims to establish mental health support as a foundational element of the industry rather than an afterthought, making resources tangible and accessible. 3. The Industry Was Built by Accident, Not Design Unlike traditional industries that were planned and structured over time, the creator economy emerged through happenstance without intentional design or worker protections built in. The automotive industry had headquarters, roads, and eventually unions, but the creator economy is asymmetrical with no central structure. This requires building frameworks from scratch, including state and federal level recognition, rather than trying to retrofit traditional models. 4. Corporate Media Faces Similar Mental Health Issues Without the Awareness The mental health challenges aren't unique to creators, corporate media employees struggle with burnout, loneliness, and shame around mental health, but without the same level of awareness or conversation. In corporate environments, mental health struggles are often seen as a disgrace despite theoretical access to company resources. The creator economy has an advantage in that there's at least recognition that something is wrong and needs to be fixed, creating an opportunity to build support systems into the foundation of the industry. Thank you Shira Lazar for joining the pod! Shira Lazar: https://www.linkedin.com/in/shiralazar/ What’s Trending: https://www.linkedin.com/company/what's-trending/ Creators 4 Mental Health: https://www.creators4mentalhealth.com/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| GOOGLE, APPLE, HBO MAX, NETFLIX, RTL & SKY: NEW YEAR, BIG CHANGES! | 22 janv. 2026 | 00:48:06 | |
Google officially beat Apple and HBO Max is conquering Europe. Welcome back to The Media Odyssey Podcast! In this episode, Evan Shapiro and Marion Ranchet focus on two media milestones that didn’t get the attention you expect: Google officially surpassing Apple in scale, and HBO Max’s long-awaited launch across key European markets. Rather than treating these as isolated news items, the conversation explains why both moments matter and what they reveal about platform economics, global strategy, and competitive positioning. The episode is a reality check on how quickly the hierarchy is changing, and how even long-anticipated launches now arrive in a far more crowded, expensive, and competitive environment. Key Takeaways: 1. Google Has Officially Passed Apple in Size Google, along with the rest of Alphabet, beat out Apple with a higher annual revenue and faster top-line growth. What once looked unthinkable now reflects Google’s dominance across advertising, platforms, and global scale. Apple’s business remains strong, but it’s reliance on hardware and services tied closely to its ecosystem have kept growth down it is missing out on a core two thirds of consumers. 2. HBO Max Is Finally Launching Across Europe HBO Max’s rollout into major European markets, a move years in the making, finally began. The launch represents a major operational and branding milestone for Warner Bros. Discovery. Timing is a strategic Risk for HBO Max, arriving in Europe after Netflix, Prime Video, and Disney+, making customer acquisition more difficult and more expensive than it would have been earlier. Launching now means competing in a market where consumer budgets are tighter and subscription fatigue is real. 3. Scale Is Now the Deciding Factor Whether it’s Google surpassing Apple or HBO Max expanding internationally, the episode reinforces that scale is increasingly what determines who can compete effectively. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| BREAKING DOWN NETFLIX Q4 | 21 janv. 2026 | 00:35:35 | |
Netflix’s earnings beat expectations, but the numbers reveal a business increasingly reliant on optics, pricing, and financial engineering rather than underlying engagement growth. In this live earnings breakdown episode of The Media Odyssey Podcast, Evan Shapiro and Marion Ranchet analyze Netflix’s latest quarterly results, separating headline wins from structural concerns. While revenue, profit, and subscriber figures all came in strong, deeper engagement metrics tell a more cautious story. The conversation focuses on growth rates, viewing hours, ad revenue contribution, and the financial implications of Netflix’s proposed Warner Bros. Discovery acquisition. The Numbers: 1. Netflix Reported 325 Million Subscribers (After Saying It Would Stop) Despite previously stating it would no longer report subscribers, Netflix disclosed a global total of 325M, reframing what likely ~23M net adds without explicitly saying so. 2. Revenue and Profit Growth Remain Strong Netflix reported +15% revenue growth in Q4 and +16% for the full year, with net income up ~25% in Q4 and ~26% year over year, comfortably beating Wall Street expectations. 3. Engagement Growth Is Essentially Flat Total viewing reached 191B hours annually, up only ~1B hours half-over-half. Average viewing now sits at roughly 1.7 hours per subscriber per day, down from ~2 hours a few years ago. 4. Netflix’s Share of Total TV Viewing Remains Under 10% Even during an all-time high month driven by Christmas Day, Netflix accounted for ~9% of total TV usage per Nielsen Gauge data. 5. Advertising Generated ~$1.5B, Still Only ~3% of Revenue Netflix disclosed $1.5B in ad revenue, representing roughly 2–3% of total revenue, with management signaling plans to double and eventually triple that figure. 6. Roughly 40% of New Subscribers Are on the Ad Tier Third-party estimates suggest ~40% of recent subs are ad-supported, but Netflix provided no ARPU, churn, or engagement data tied to those users. 7. Guidance Was Lowered Despite the Earnings Beat Netflix reduced forward guidance, contributing to a ~7% stock drop overnight, highlighting investor concern despite strong backward-looking results. 8. The Proposed Warner Bros. Deal Would Push Debt to ~$85B If completed, Netflix would take on roughly $50–54B in new debt, bringing total obligations close to $85B, a key factor behind market skepticism. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| IS 2026 MEDIA'S DARK AGES? | 15 janv. 2026 | 00:42:03 | |
CES isn’t about gadgets anymore, but who controls the interface between audiences, data, and distribution. Welcome back to The Media Odyssey Podcast! From CES, Evan Shapiro and Alan Wolk, Co-Founder and Lead Analyst of TVREV, unpack what this year’s show revealed about the future of media, entertainment, and technology while expanding on their predictions for 2026. Beyond the hype of AI demos and hardware announcements, the conversation centers on power shifts: who owns how we get information, who controls discovery, and which companies are quietly positioning themselves as the new gatekeepers. Rather than signaling a breakout moment, CES reinforces a familiar reality. Platforms are consolidating influence, AI is moving into the background, and media companies face shrinking control over how audiences find and engage with content. Key Takeaways: 1. Media Is Entering a Prolonged Era of “Feudal Fragmentation” Alan predicts that the monoculture is gone for the foreseeable future, replaced by thousands of disconnected content bubbles with their own truths, celebrities, and norms. This fragmentation isn’t new, but it will deepen through the rest of the decade, making shared cultural moments increasingly rare. 2. There Is No Longer a Single Source of Truth and That Has Consequences The loss of mass media gatekeepers means audiences now operate from entirely different realities. News can be fully ignored, expertise is routinely dismissed, and misinformation thrives because there is no longer a common reference point for facts. 3. The End of Expertise Is Both Dangerous and Liberating Traditional experts and institutional authority are losing power, but this also enables creators and outsiders to build massive media businesses without permission. The upside is democratization, the downside is the erosion of trust in skill, craft, and knowledge. 4. Power in Media Is Decentralizing Away from Hollywood Alan predicts that media power will continue to disperse geographically and structurally. New creator-led studios are emerging in Texas, Brazil, Nigeria, and beyond, attracting talent away from traditional Hollywood centers as production costs fall. 5. Niche Audiences Will Become the Foundation of Sustainable Media Businesses The era of building new mega-brands is over. Instead, companies and creators will build profitable businesses around passionate, well-defined niche communities. Even if those audiences are invisible to the mainstream. 6. Discovery and Serendipity Are Breaking Down Algorithmic feeds increasingly show audiences more of what they already like, making it harder for genuinely new ideas to surface. Alan predicts fewer breakout cultural movements and more recycling of familiar formats, sounds, and franchises. 7. Sports Remains the Last True Monoculture Live sports still cut across bubbles and deliver shared, simultaneous experiences. Alan predicts sports will retain outsized importance for advertisers and platforms, even as niche sports slowly grow and fragment over time. Thank you, Alan Wolk for joining the pod! https://www.linkedin.com/in/alanwolk/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| WHO WILL WIN 2026? | 08 janv. 2026 | 00:51:18 | |
The media industry isn’t heading for a clean recovery but bracing for another year of pressure, recalibration, and structural change. Welcome back to The Media Odyssey Podcast with a special thanks to Spectrum Reach! In this first part of their 2026 predictions, Evan Shapiro and Marion Ranchet lay out what the coming year will likely bring for media, technology, and entertainment. They cover ongoing layoffs, fragile ad markets, the rise of global distribution strategies, and a new phase of AI-driven discovery. 2026 will test which companies have truly adapted and which are still relying on outdated assumptions. 2026 is not a breakout year, but a proving ground, where survival depends on cost discipline, platform fluency, and the ability to monetize audiences directly rather than through legacy intermediaries. Key Takeaways: 1. 2026 Will Be Another Brutal Year for Media Economics Evan predicts that advertising markets will remain soft, public service media will continue to face funding pressure, and layoffs will persist across the industry. There will be no broad recovery, only isolated winners and many organizations forced to do more with less. 2. Discovery Will Matter More Than Content Volume Marion predicts that success in 2026 will be defined by distribution and discoverability, not by how much content companies produce. Media organizations that don’t adapt to YouTube, FAST, social, and AI-driven discovery will struggle to reach audiences at all. 3. The AI Bubble Will Pop Both predict that generative AI and large language models will reshape discovery, navigation, and search long before they meaningfully change creative workflows. The biggest short-term impact of AI will be invisible but existential for traffic-driven media, but the hype and direct-to-consumer models are unsustainable. 4. GEO Will Undermine Traditional SEO-Based Media Models Evan predicts that Generative Engine Optimization will replace classic SEO as search engines move from links to answers. Media companies built on referral traffic will see declining reach unless they rethink how their content surfaces in AI-driven environments. 5. FAST Will Become More Crowded and Less Forgiving Marion predicts continued FAST channel proliferation without equivalent ad growth. The result: more fragmentation, lower yields, and fewer viable players with success limited to brands with strong IP, live content, or true differentiation. 6. Media Companies Will Be Forced to Think Globally by Default Growth will increasingly come from international audiences, not domestic ones. Both predict that companies without global distribution strategies will hit growth ceilings faster in 2026. 7. Experimentation Will Be a Core Survival Requirement The final prediction is cultural: organizations that don’t test formats, platforms, and monetization aggressively will fall behind. In 2026, waiting for clarity will be a losing strategy. Thank you to Spectrum Reach! https://www.linkedin.com/company/spectrum-reach/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||
| REGIFTED: THE CTO PLAYBOOK FOR SURVIVING FRAGMENTATION | 01 janv. 2026 | 00:45:56 | |
Happy New Year from The Media Odyssey podcast! We're regifting this episode hosts Evan Shapiro and Marion Ranchet recorded live from IBC with Simon Farnsworth (ITV) and Adde Granberg (SVT), two CTOs (or as they call it, “Chief Transformation Officers”) reshaping European public broadcasting. The conversation explores how legacy broadcasters can adapt to a digital-first, fragmented world while facing off against trillion-dollar tech giants. They discuss the shift from “doing digital” to “being digital,” how generative AI and cloud-based workflows can unlock beyond-human-scale production, and the biggest challenge broadcast is facing is mindset. Both guests stress that the real battle is cultural, not technical: broadcasters must abandon outdated standards, embrace platforms like YouTube and TikTok, and put audience needs, not legacy processes, at the center. Key Takeaways:
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast Simon Farnsworth: https://www.linkedin.com/in/simon-farnsworth-26521253/ Adde Granberg: https://www.linkedin.com/in/addegranberg/?originalSubdomain=se
| |||
| REGIFTED: TURNING STRUGGLE INTO SCALE WITH DHAR MANN | 25 déc. 2025 | 00:47:24 | |
Happy holidays from The Media Odyssey podcast! We're regifting this episode where hosts Marion Ranchet and Evan Shapiro sit down with Dhar Mann, one of the most successful independent creators in the world, to unpack what it really means to build an owned-and-operated media empire in the age of platforms. With over 70 billion views across social media, Dhar has mastered the art of storytelling at scale without relying on traditional Hollywood systems. In a sharp, insightful conversation, Dhar shares the mechanics behind his studio’s meteoric rise, the values that drive his content, and why creators should think like CEOs. From data-driven production to brand-safe storytelling, this episode offers a rare look into what it takes to succeed at the intersection of commerce, creativity, and community.
2. Storytelling is Engineered for Impact 3. Brand Safety Doesn’t Mean Boring 4. Platform Diversification is Strategic
Thank you Dhar Mann for joining the pod! LinkedIn: https://www.linkedin.com/in/dharmann/ Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ Newsletters: Marion Ranchet - https://marionranchet.substack.com/ Evan Shapiro - https://eshap.substack.com/
| |||
| FRONTLINE PUTS PBS ON YOUTUBE | 18 déc. 2025 | 00:48:50 | |
Public service media isn’t outdated, instead, it’s fighting for relevance, trust, and survival in a fractured global information ecosystem. Welcome back to The Media Odyssey Podcast. In this episode, Evan Shapiro and Marion Ranchet sit down with Raney Aronson-Rath, Executive Producer of Frontline and Editor-in-Chief of Documentaries at GBH, for a conversation on the future of public media. From political pressure and funding cuts to platform expansion and audience trust, the discussion explores why public broadcasters must be everywhere audiences are without sacrificing journalistic integrity. Through Frontline’s transformation into a broadcast-plus-streaming powerhouse, the episode examines how YouTube, social video, theatrical releases, and global distribution have become essential tools for sustaining factual storytelling in an era of misinformation and declining institutional trust. Key Takeaways: 1. Public Media’s Survival Depends on Platform Expansion, Not Retrenchment 2. YouTube Is Additive, Not Cannibalistic for Public Service Media 3. Streaming Requires a Long-Term Mindset Shift 4. Community and Trust Are the Core Competitive Advantages 5. Short-Form Is Editorial, Not Promotional 6. Global Distribution Is Both a Mission and a Strategy 7. Public Media Must Be Everywhere Both In Person and Online 8. The Cost of Absence Is Being Replaced by Worse Information Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Connect with us on Linkedin: Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/ Marion Ranchet - https://www.linkedin.com/in/marionranchet/ The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast Thank you, Raney Aronson-Rath for joining the pod! Raney Aronson-Rath: https://www.linkedin.com/in/raney-aronson-0343aa8/ Frontline: https://www.linkedin.com/company/frontline-pbs/ Headshot credit: Michael Buckner/Deadline
| |||
| GRADING 2025: WERE WE RIGHT? | 11 déc. 2025 | 00:57:13 | |
Media is not shifting, it’s revealing which predictions actually mapped the year and which trends will define what comes next. Welcome back to The Media Odyssey Podcast! In this special “Predictions Wrapped” episode, Evan Shapiro and Marion Ranchet revisit the forecasts they made a year ago and grade themselves on accuracy. They discuss YouTube’s explosive rise on CTV, Netflix’s unexpected innovation, creator-driven cultural dominance, the slow grind of CTV fragmentation and more. They break down the bets they nailed and the ones that missed the mark. The conversation also surfaces the biggest forces shaping 2025: global broadcaster collaboration, a reshaped M&A landscape, a creator economy that has become central to mainstream media, and an AI boom that is both overhyped and quietly transformative behind the scenes. Key Takeaways: 1. YouTube’s Transformation Into the No. 1 TV Channel Was the Prediction of the Year Evan’s call that YouTube would finally be recognized as true television proved spot-on: it became the #1 TV channel in the U.S. for months, dominated industry conversation, and strengthened global partnerships. Lean-back YouTube viewing is now mainstream. 2. Netflix Proved More Open and Innovative Than Expected Marion’s prediction that Netflix needed to evolve beyond its walled garden came true through major deals with TF1, Spotify, creators, and new M&A exploration. The company is clearly signaling a shift toward becoming a broader entertainment hub. 3. 2025 Really Was the Year of the Creator Creator-led programming defined industry conversations everywhere from MIPCOM to Cannes Lions. Big media invested heavily in creator partnerships and creators like MrBeast built full-blown media empires. Creators are sitting at the center of the cultural and business agenda. 4. Some Big Bets Didn’t Materialize Marion’s expectation of an aggressive, high-stakes fight among CTV operating systems didn’t happen. Instead, the space stagnated: incremental partnerships, UI improvements, and slow expansion replaced the “vicious competition” anticipated. 5. AI Was Both Boringly Effective and Wildly Overhyped Evan’s call that AI would be simultaneously underwhelming and inflated proved true. The real impact was invisible backend optimization at major tech companies, while valuations, hype cycles, and consumer expectations outpaced real-world product maturity. 6. Broadcasters in Europe Became More Collaborative Than Ever Marion’s prediction about unprecedented cooperation among European broadcasters wasn’t just correct, it overperformed. With TF1 and Netflix, FranceTV and Prime Video, Sky and ITV, and MFE’s acquisitions, 2025 became a landmark year for cross-border, cross-platform partnerships. 7. M&A Defined the Year and Will Shape 2025 Even More Evan’s expectation of massive consolidation was validated by Paramount and Skydance, NBCUniversal and Omnicom Media Group, MFE, the WBD bidding saga, and political forces now influencing dealmaking. The industry’s next chapter will be written through mergers rather than standalone growth. 8. The Job Market Was Worse Than Expected and Still Getting Tougher The darkest but most accurate prediction: 2025 saw more media layoffs by October than all of 2024. With more M&A ahead, layoffs are expected to continue, making reinvention, networking, and career resilience essential for 2025. Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8 Check out the full Substacks grading all of last year's predictions: Evan Shapiro - https://eshap.substack.com/p/youtube-is-tv Marion Ranchet - https://www.streamingmadeeasy.com/p/my-2025-predictions-the-mbappe-report The Media Odyssey Podcast - https://www.linkedin.com/company/the-media-odyssey-podcast
| |||