Andrew retweeted
Claynosaruz Micro Episodes are now available on Roku, Amazon Fire TV, and AppleTV on Kabillion. Kabillion is a free on-demand kids network that reaches over 90M US households. Now there's even more ways to watch!
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🎯
Want one chart that explains most of Netflix’s recent moves? Here you go.
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"When you try to hit everyone, you lose the intended audience" BUT, if the market needs you to grow at a mid-teens rate every quarter.... you just throw the spaghetti at the wall don't you? Built-in audiences are scarce, and volume of content doesn't win any longer.
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Many such cases. Quality content will emerge more and more on open distribution channels like YouTube vs studio-level streamers.
This tracks. I watch something on YouTube every day. Netflix is a dormant subscription for me. YouTube has very low costs of content creation. Netflix has $14B of debt that has financed their content library. Another lesson in the halls of mismatching assets and liabilities? Time will tell.
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Fewer independent films and shows is starting to become a recognized problem in Hollywood. This isn't the approach I'd have expected, but its an interesting one. Long-term you need a real free market-based solution, imo
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Andrew retweeted
Solana Stories: More Than A Fan feat: @smokemonsterLA & @doodlifts
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Trying to solve for wider financing options through policy will only narrow and politicize original content further. “…An agreed way to evaluate whether it’s involvement serves the audience” The agreed way is the market. Let the market - the fans - decide. Pushing from one executive group to another doesn’t serve the underlying intention.
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lol
Skydance's Market Value Is Currently Less Than Half What Warner Bros. Discovery and Paramount Combined Were Worth variety.com/2026/film/news/s…
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"Three-quarters of them don't know what it's all about, but they've heard the other one-quarter fighting over your name and so now they feel they must pronounce it with respect. Of the fighting quarter, four-tenths are those who hate you, three-tenths are those who feel they must express an opinion in any contro-versy, two-tenths are those who play safe and herald any 'discov- ery, and one-tenth are those who understand.”
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The coolest part of this is how its structured. Leaning on future commercialization through strategic partnership.
Colin Jost and "The Office" writer Danny Chun are launching a new, original comedy series produced outside the Hollywood studio system. “Danny and I just wanted to make a show we thought was funny and somehow those are the hardest shows to get made,” said Jost. “So we found a new, innovative way to do it outside of the normal studio system and we feel very lucky about how the cast and the crew came together. We’re excited for everyone to see it.” Titled "6 Bed 1 Bath," the sitcom follows a group of five roommates in their 20s who share an apartment with a man who has lived there since 1982 and continued to build new bedrooms every time his rent increased, per the logline. The series recently wrapped production in New York City and will premiere across free, ad-supported video-on-demand platforms, such as Tubi, Pluto TV and the Roku Channel. wp.me/pc8uak-1lHVGs
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Government subsidizing Disney is beyond ridiculous. Government support is best placed to get businesses on their feet. Early on. Not in perpetuity. Disney (Pixar) is a 100 year old company. If they aren’t sustainable today, propping them up with subsidies is not supporting progress, it is merely slowing down the inevitable. We have a 10x issue in Canada where there are tax incentives and government grants that take many years to get, aren’t accessible to start ups, and get captured majorly by legacy studios and broadcasters. Propping up a zombie company is lazy underwriting. Some of these companies have more than 100% of their operating margin represented by subsidies. That’s not a business.
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The last frontier of power is telling the stories that set the moral standard. A single company now owns the stories of our time.
What once was the peak, is now just the beginning. Paramount and Warner Bros. shaped over a century of culture. By combining them, we aren't rewriting history — we're equipping these iconic studios with a more powerful engine. Together, we are Skydance: a creative-first home for bold, quality storytelling.
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Spending $40b on movies feels a little crazy Last year WBD and Paramount spent combined around $26b on content. Combined rev is around $66b So 60% of rev on content alone… “synergies”
Paramount's financing of this Warner Bros deal is going to require a huge return, very quickly. - $9.5b senior debt (7yr term) - $30b senior debt (up to 40yr) - $12.4b 2L debt (10yr) - $47b equity New debt, all-in, looks like it'll cost +$4b/year in interest. That's around 30% of combined EBITDA of the two entities. Paramount has an incentive in the docs to get their BB rating back up, by bringing leverage down over the next 2-3 years. Or, in other words, bring EBITDA up - FAST. None of the new capital goes towards new IP. Here's the issue: - Servicing this debt means monetizing the IP. - Monetizing the IP means degrading their library at a faster rate - There's no simple line item for impairment on this type of asset. The brands just get fatigued over time. A The strategy will be to exploit everything in their library (e.g. Harry Potter, GoT, SpongeBob, etc.) up to the hilt. They'll repay it, I don't think that's the issue. But that IP library will be hollowed out completely before the end of this decade. Levered IP library with a lot of debt, with assets that monetize in a lumpy manner and that need constant re-investment to keep alive. Sick.
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lol.
Paramount's financing of this Warner Bros deal is going to require a huge return, very quickly. - $9.5b senior debt (7yr term) - $30b senior debt (up to 40yr) - $12.4b 2L debt (10yr) - $47b equity New debt, all-in, looks like it'll cost +$4b/year in interest. That's around 30% of combined EBITDA of the two entities. Paramount has an incentive in the docs to get their BB rating back up, by bringing leverage down over the next 2-3 years. Or, in other words, bring EBITDA up - FAST. None of the new capital goes towards new IP. Here's the issue: - Servicing this debt means monetizing the IP. - Monetizing the IP means degrading their library at a faster rate - There's no simple line item for impairment on this type of asset. The brands just get fatigued over time. A The strategy will be to exploit everything in their library (e.g. Harry Potter, GoT, SpongeBob, etc.) up to the hilt. They'll repay it, I don't think that's the issue. But that IP library will be hollowed out completely before the end of this decade. Levered IP library with a lot of debt, with assets that monetize in a lumpy manner and that need constant re-investment to keep alive. Sick.
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So I gotta switch models again? Am I mid-curving this? I’ve got agents/memory/skills and ongoing dev work all with Claude Code. But every time I see one of these new models being “better” I think I’ve got to switch. There must be a better way.
Lots of discussion out there about our next model(!), so I wanted to give an early look as soon as possible. Introducing Gemini 4 Argon! It shows frontier performance in complex workflows, cyber defense and software engineering. Teams are using it extensively at Google, from coding to quantum computing, great feedback. Here’s a look at the benchmarks:
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Paramount's financing of this Warner Bros deal is going to require a huge return, very quickly. - $9.5b senior debt (7yr term) - $30b senior debt (up to 40yr) - $12.4b 2L debt (10yr) - $47b equity New debt, all-in, looks like it'll cost +$4b/year in interest. That's around 30% of combined EBITDA of the two entities. Paramount has an incentive in the docs to get their BB rating back up, by bringing leverage down over the next 2-3 years. Or, in other words, bring EBITDA up - FAST. None of the new capital goes towards new IP. Here's the issue: - Servicing this debt means monetizing the IP. - Monetizing the IP means degrading their library at a faster rate - There's no simple line item for impairment on this type of asset. The brands just get fatigued over time. A The strategy will be to exploit everything in their library (e.g. Harry Potter, GoT, SpongeBob, etc.) up to the hilt. They'll repay it, I don't think that's the issue. But that IP library will be hollowed out completely before the end of this decade. Levered IP library with a lot of debt, with assets that monetize in a lumpy manner and that need constant re-investment to keep alive. Sick.
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Just got this in my inbox from a16z. The biggest issue in Entertainment Financing is that risk has become immeasurably high and the current system has not anticipated that. Capturing, measuring, and redistributing the risk for building intellectual property is uncontested.
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Great talk as always from our founder Cab. Worth a listen.
FULL KEYNOTE: Last week, Cab was invited to headline at @solana Summit in Toronto, and talk all things @Claynosaurz, @HeebooOfficial, building with onchain collectibles & community. Here's the full recording of the session! Thanks for having us @SuperteamCAN! 03:52 From Game of Thrones animator to founder 06:11 Why Hollywood is broken 09:59 Launching 10k NFT collection on Solana 14:00 Social media as a test kitchen 19:41 Build the food truck before the restaurant 22:21 UGC and co-creation with fans 25:47 Why experiences / community are the real moat 29:03 TV show with digital booster packs 32:02 Build a city not just content 35:52 15% equity to early fans and HEEBOO overview 40:02 Entertainment is the great onboarder
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There are really three core principals to how entertainment finance will look in the future: 1. Fans add real economic value to creative properties 2. Crowd outperforms committee in determining value 3. New technology can turn human attention into measurable economic value
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