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/ 

V - https://v-home.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

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

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

00:00 Gen Z Streaming Struggle

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

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

• (00:00) - Cancel Culture Cold Open

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

• (00:00) - Netflix Trailer Explosion

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:
1. Nielsen and MRC Hid Flawed Measurement Data for Nearly a Year 
The Media Rating Council discovered problems in Nielsen's methodology almost a year ago but said nothing to the industry. The entire US advertising industry transacted in the Upfront on data they knew was not properly vetted. Sean Cunningham from VAB stated this cost the industry hundreds of millions of dollars.

2. BBC Hired Matt Brittin, Ex-President of Google Europe 
The BBC hired Matt Brittin, former president of Google in Europe, as their new CEO. This represents a shift toward hiring digital natives to lead public service media organizations. Brittin previously worked in traditional broadcasting before a successful career at Google, making him someone who understands both the BBC culture and big tech. 

3. The Sidemen Have 244M Followers and a 55-Person Team 
The Sidemen have 244 million followers across all platforms and employ 55 people in their entertainment team. They plan content six months in advance, which allows them to sell to brand planners who set budgets quarters ahead. Their goal is to be bought like LabBible and Vice were—on media plans with CPMs and economies of scale. Most creators can't access major advertiser budgets because they lack the planning, consistency, and inventory that media planners require.

4. Daily Content and Ritualistic Consistency Are Essential for Success 
Weekly podcasts are no longer enough. Audiences now expect daily content to build ritualistic habits. The Daily Wire built 900,000 paid subscribers at their peak by showing up every day with 20-40 minute shows since 2013-2014. Streamers on Twitch and Kick are "winning the most out of anyone." Getting into people's daily habits is the key to building connection in a decentralized, saturated world.

5. YouTube Is Underserved and Users Run Out of Quality Content
YouTube production is hard, time-intensive, and resource-heavy compared to podcasts, so creators default to lower-effort formats. There's a massive lack of consistent, regular, high-quality programming that becomes part of users' daily rituals.

6. Netflix and YouTube Combined Create the Strongest Media Strategy
Jordan states that the combination of Netflix and YouTube together represents the best media strategy. Netflix provides the premium, appointment-viewing content while YouTube delivers daily touchpoints and ritualistic engagement. 

7. Individual YouTube Channels Should Be Content-Specific 
Channel 4's 4.0 made the mistake of aggregating all content on one channel instead of spinning out individual format channels. YouTube wants to find specific audiences over time, so when a viewer watches one video and doesn't watch the next 10 on an aggregated channel, it signals disinterest to YouTube and hurts the entire channel's performance.

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

• (00:00) - Dropping Out for Vice

Get The Stream by Tubi!
US: https://tubitv.com/thestream?utm_campaign=262713069-The%20Stream%202026&utm_source=influencer&utm_medium=thought%20leader&utm_content=evan%20shapiro
International: https://app.box.com/shared/static/h0cfoaqw4paub3hoi65pv0qxwdmhexf9.pdf

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

• (00:00) - Welcome and Episode Setup

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

• (00:00) - Live Show Kickoff

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

• (00:00) - Welcome and Introductions

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:

• What happens to SkyShowtime (the Paramount–Comcast JV)?
• Could Max, Channel 5, and Pluto TV consolidate further?
• Does this create a stronger #3 player — or just a bigger struggling one?

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
03:55 Warner Brothers Discovery's Performance
17:07 The Impact of Mergers on the Industry
22:43 The Future of Netflix and Strategic Acquisitions
27:08 Question #1 - Will Oracle become the backbone of WBD/Paramount?
28:22 The Impact of Sports Rights on Streaming
32:02 The State of Streaming in Europe
34:37 Challenges in Monetizing Streaming and FAST Services
37:56 Branding and Identity in Mergers
42:30 The Future of SkyShowtime
44:28 Placing Bets on the Merger
45:59 Upcoming Events; Marion and Evan at Stream TV Libson

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

• (00:00) - Welcome & Live Check-In (Oman, Ramadan, construction chaos)