Global media isn’t just transforming, it’s reorganizing itself around fandom, creators, and direct-to-audience ecosystems.

Welcome back to The Media Odyssey Podcast! In this special episode from MIPCOM Cannes, Evan Shapiro sits down with Pedro Pina, VP of YouTube in Europe, the Middle East, and Africa, and Jasmine Dawson, SVP of Digital at BBC Studios, for a panel on BBC Studios’ success on YouTube and how traditional media and creator platforms are rewriting the rules of international entertainment. From YouTube’s rise as a global television network to BBC Studios’ creator-native reinvention, Pedro and Jasmine reveal why the next era of growth will be driven by companies that think and act like creators.

The conversation unpacks how YouTube fuels global fandom, how BBC Studios turned brands like Bluey, BBC Earth, and Top Gear into multi-format ecosystems, why audience-first strategy now beats commissioner-first strategy, and how experimentation is becoming the most valuable competency in modern media.

Key Takeaways:

1. Fandom Is the New Distribution Strategy

BBC Studios no longer thinks about audience in terms of reach, but in terms of fandom. YouTube has become a hub for building that fandom globally, which in turn boosts performance everywhere else: CTV, streaming partners, traditional broadcast, consumer products, and even e-commerce.

2. YouTube Isn’t Replacing TV, It’s Expanding It

The panel debunks a persistent myth: YouTube doesn’t cannibalize TV. BBC Earth and Bluey grow viewership across broadcast and streaming as their YouTube fandom grows. It’s incremental, not competitive, where YouTube acts as a widening funnel for premium IP.

3. The Audience Is the Buyer, Not the Commissioner

Evan frames the shift perfectly: the market’s new “buyer class” is the consumer themselves. Instead of pitching to gatekeepers, studios can reach fans directly, monetize them in dozens of ways, and use feedback loops to continuously experiment, refine, and grow.

4. Hiring Creators Is a Competitive Advantage And a Necessity 

BBC Studios has creators in leadership roles and runs a formal “Creators in Residence” program. Creators bring real-time instincts for platform behavior, format experimentation, and data fluency that traditional media teams simply do not have.

5. Success Requires a Mindset Shift: From Push to Pull

Legacy media is built on push distribution: make a show, send it out, wait for ratings. YouTube is a pull ecosystem driven by community, watch time, and algorithmic reinforcement. The only way to “win” the algorithm is to deeply understand and serve your audience.

6. Experimentation Beats Perfection

Both Pedro and Jasmine emphasize the same principle: experiment constantly. A/B test, try new formats, abandon what doesn’t work, scale what does. YouTube lowers the cost of experimentation and speeds up learning if companies embrace it and approach YouTube analytics as data scientists.

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

Pedro Pina - https://www.linkedin.com/in/pedro-pina-06a413/?originalSubdomain=uk 

Jasmine Dawson - https://www.linkedin.com/in/jasminesdawson/ 

• (00:00) - Welcome and Introduction

Sports fandom isn’t just evolving, it’s becoming one of the most powerful engines of modern storytelling and audience engagement. 

Welcome back to the Media Odyssey Podcast! This week, hosts Marion Ranchet and Evan Shapiro sit down with Jen Kavanaugh, SVP of Marketing and Media for the Philadelphia Eagles, for a masterclass in how today’s most successful teams build culture, narrative, and multi-generational fandom. From global expansion to creator-style content production, Jen reveals why the Eagles have become one of the most influential brands in sports and a case study for every marketer navigating the attention economy.

The conversation unpacks how the Eagles turned their locker room into a lovable ensemble cast, how they measure true fan connection, why global fandom is redefining American football, and how sports franchises are becoming full “cinematic universes” that live far beyond game day.

Key Takeaways:

1. Fandom as a 365-Day Relationship

Jen explains that Eagles fandom is multi-generational, emotional, and deeply cultural which gives the team both a privilege and a responsibility. Fans want access, intimacy, and storytelling year-round, not just on Sundays. The Eagles’ strategy centers on “giving fans the keys to the kingdom,” fueled by trust, organizational support, and a culture that prioritizes openness and connection.

2. Building a Global, Culturally Fluent Brand

The Eagles’ reach now extends far beyond Philadelphia, with fan-development programs across Australia, Ghana, New Zealand, and Brazil. Rather than relying on football knowledge alone, the team connects through music, fashion, food, creators, and personality-driven storytelling to reach global audiences through cultural touchpoints that transcend the sport itself.

3. The Eagles’ Locker Room as a Cinematic Universe

The Eagles’ content ecosystem rivals a scripted series: recurring characters, running jokes, ensemble dynamics, and emotionally resonant moments. Importantly, the biggest stars (like Jalen Hurts) aren’t the constant leads. Instead, the team spotlights personality-rich players who thrive on-camera. This creator-style storytelling has also spawned spin-offs like New Heights, Not Gonna Lie, and The Exciting Mics, proving how culture and chemistry generate new franchises organically.

4. Engagement, Not Vanity Metrics, Drives Success

For Jen, the key metric is time spent: a measure of depth, not just reach. With more than 1 million hours watched on YouTube this season alone, the Eagles track comments, repeat engagement, and emotional connection, using these signals to fuel new content ideas. Passion (even in losses) matters. Apathy is the real enemy.

5. The Rise of Female Fandom and Platform-Specific Storytelling

Female fans are becoming some of the sport’s most vocal superfans, reshaping what fandom looks like. Jen’s team tailors content to different communities and platforms: TikTok for optimism and personality, YouTube for longer storytelling, Instagram for cultural moments. The result: broader reach, more diverse audiences, and new fandom behaviors emerging in real time.

6. Lessons for Entertainment: Connection Over Promotion

Jen closes with a universal takeaway: whether sports, streaming, or traditional TV, fans want connection, not just marketing. Storytelling, personality, and cultural alignment matter far more than promos or tune-in messaging. The most successful brands build deep emotional ecosystems that keep fans engaged—even when the product itself (a season, a game, a show) isn’t going their way.

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 Jen Kavanaugh for joining the pod!

Jen Kavanaugh: https://www.linkedin.com/in/jenkavanagh/ 

The line between Hollywood and the creator economy is disappearing…Tubi is leading the charge.

Welcome back to the Media Odyssey Podcast! In this episode, hosts Evan Shapiro and Marion Ranchet are joined by Rich Bloom GM, Creators Program & EVP, Business Development at Tubi, to unpack how the Fox-owned streaming service is redefining the creator economy and the very meaning of “creator media.” With over 100 million monthly users, a 95% on-demand model, and a growing library of creator-driven programming, Tubi is blurring the line between traditional entertainment and creator-led storytelling.

The conversation explores how Tubi is empowering creators to become full-fledged media startups by giving them creative control, ownership, and distribution on a major ad-supported platform. From collaborations with Kevin Hart’s Hartbeat, Kinigra Deon, and Joey Graceffa, to ESHAP's own upcoming creator-led film Skit, the episode reveals how Tubi is building an entirely new bridge between Hollywood and the creator economy.

Key Takeaways:

1. Tubi’s Creator Strategy Redefines the Streaming Model
While most streamers are trimming costs, Tubi is investing in a creator-first ecosystem that values experimentation and agility over legacy production cycles. Rich Bloom’s new division sits at the center of that vision, building products and programs specifically for creators rather than simply licensing content.

2. From “Licensing Creators” to “Partnering with Creators”
Tubi’s approach goes beyond one-off deals. The company now co-develops original and exclusive content with creators, providing funding, marketing, and creative freedom without Hollywood’s notorious “rounds of notes.” Projects like SafeSpace (KevOnStage), Bald Brothers, and Escape the Night (Joey Graceffa) reflect a new hybrid of creator autonomy and professional polish.

3. Fast Turnaround, Real Ownership
Creators at Tubi can move from greenlight to launch in as little as three months, a pace unthinkable in traditional TV. In exchange for an exclusive window, they retain IP ownership and share in revenue with a structure that incentivizes both creative and financial success.

4. Fandom and Niche Power Drive Tubi’s Growth
Tubi embraces the “rabbit holes of fandom” that others fear. Its algorithm surfaces niche genres and creator content alongside Hollywood films, encouraging viewers to flow freely between the two. The result: higher retention, younger audiences (55% Gen Z and millennial), and deeper engagement across its 300,000-title library.

5. Advertising with Authenticity
As an AVOD pioneer, Tubi combines low ad loads (4–6 minutes of advertising per hour) with precise targeting. Brands are already showing strong interest in the new “Creatorverse,” where curated creator content offers premium inventory with built-in communities and authentic engagement, a sweet spot for advertisers seeking trust and scale.

6. A New Independent Era: “Skit” and Beyond
Evan and Rich also announce the launch of Skit, a creator-led indie comedy premiering exclusively on Tubi. Made for just $65,000, it represents the new generation of creator-driven storytelling with small teams, big ideas, and direct fan relationships. Both hosts liken the movement to the independent film revolution of the 1990s, positioning Tubi as a catalyst for a new creator-powered renaissance.

Thank you Rich Bloom for joining the pod!

Rich Bloom: https://www.linkedin.com/in/ribloom/ 

Tubi: https://www.linkedin.com/company/tubi-tv/ 

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 to The Media Odyssey Podcast

The rules of media have changed and the user is now in charge.
 

Welcome back to the Media Odyssey Podcast! In this live episode presented with PreciseTV, Evan Shapiro breaks down the shift from the gatekeeper era of top-down media control to the new user-centric era, where audiences, not executives, dictate what succeeds. Using his signature “media cartographer” maps and data-driven storytelling, Evan unpacks how Big Tech overtook traditional media, how generational shifts are transforming consumption habits, and why the creator economy is now the true center of cultural power.

From the “churn apocalypse” in streaming to YouTube’s dominance on the TV screen, he shows why brands and publishers must abandon vanity metrics and embrace fandom, engagement, and community as the real measures of success. The conversation, featuring voices from Angel Studios, BBC Studios, and the PreciseTV audience, delivers both sharp insight and practical direction for anyone trying to navigate the new media landscape.

Key Takeaways:

1. Big Tech Has Taken Over Media and the User Holds the Remote
Evan traces how Apple and Alphabet have become the “remote controls of our lives,” controlling nearly 100% of the smartphone market. Yet while tech companies provide the infrastructure, the audience now makes the decisions. The power dynamic has flipped and media is no longer pushed from the top down; it’s driven from the user up.

2. The Fear of Finding Out Is Media’s Existential Crisis
Many legacy executives, Evan argues, are paralyzed by a fear of finding out — unwilling to face the data showing that audience habits and demographics have permanently shifted. Millennials and Gen Z now make up nearly 70% of the global population and the majority of the workforce. Still, many companies make decisions using outdated “farming-era” metrics like 18–49 demos that no longer reflect reality.

3. Streaming’s “Churn Apocalypse”
The streaming boom has turned into a churn crisis. In 2024, SVODs added 174 million subscribers but lost 148 million — a revolving door that Evan calls “a shitty business.” Serial churners (users who sign up and cancel three or more services a year) now represent 40% of new subscribers. Even as Pay TV collapses, streaming platforms are discovering that infinite choice creates fragile loyalty.

4. YouTube Is Television, and It’s Winning
YouTube now commands a larger share of total TV viewing than Disney, NBCUniversal, and Paramount combined. 73% of its viewing time is on content 30 minutes or longer, proving that long-form thrives on digital platforms. YouTube has become the bridge between younger and older audiences as the only platform uniting both ecosystems of media consumption.

5. From the Creator Economy to the “Affinity Economy”
Evan introduces the concept of the Affinity Economy: a world where success is measured not by scale but by passion, community, and fandom. Examples include Angel, where 1.5 million members greenlight projects, and BBC Studios, which redefined KPIs to measure engagement, and loyalty instead of raw views. In this model where fandom is the new currency, the Key Passion Index replaces the outdated Key Performance Indicator.

6. Why Brands Must Follow the Fans
 In a closing exchange with the audience and PreciseTV, Evan emphasizes that brands must “go where the hearts are.” YouTube and creator-led ecosystems provide better data, transparency, and engagement than traditional CTV. Fear, generational and institutional, remains the main barrier. The solution: invest in platforms where the audience actually lives, build communities, and stop chasing metrics that only make quarterly reports look good.

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 Audience Engagement

When billion-dollar deals make more noise than sense, who really wins?

In this episode of The Media Odyssey podcast, hosts Marion Ranchet and Evan Shapiro pull back the curtain on the relentless cycle of media mergers and acquisitions where massive buyouts, strategy, and political agendas collide. With characteristic humor and precision, they trace how decades of dealmaking have reshaped, and even broken, the entertainment business, from Hollywood to Europe.

The conversation spans the latest shake-ups at Warner Bros. Discovery, Paramount, Netflix, and Apple, while examining Media For Europe’s pan-European expansion and Canal+’s global ambitions following its merger with MultiChoice. Marion and Evan unpack who’s really benefiting from consolidation, who’s losing creative control, and why the next phase of M&A might look very different — with tech platforms turning into studios.

It’s a look at how Wall Street, ego, and geopolitics are driving an industry that’s learning, the hard way, that scale doesn’t always mean success.

Key Takeaways:

1. Wall Street Keeps Breaking Media
Decades of consolidation, from Fox–Disney to Warner Bros.–Discovery, have destroyed more value than they’ve created. “Growth through merger” remains a Wall Street fantasy, enriching executives and bankers while hollowing out creative culture and long-term strategy.

2. Warner Bros. Discovery May Be Next on the Block
Reports suggest Warner Bros. Discovery could split its assets, separating HBO Max and the studio from legacy cable channels. Potential buyers include Paramount, Netflix, and Apple. Netflix could be the best cultural fit, but Apple has the money and global intent to make the boldest move.

3. The Ellisons’ Expanding Power Raises New Questions
With Skydance now owning Paramount, Evan warns that David and Larry Ellison are amassing outsized influence. If future acquisitions extend to TikTok or CNN, their reach could reshape how global audiences receive news and entertainment, a sign of how family dynasties are replacing traditional media conglomerates.

4. Europe’s Consolidation Wave Gains Steam
Marion highlights Media for Europe’s (MFE) takeover of ProSiebenSat.1 and its bid to form a pan-European broadcast giant spanning Italy, Spain, and Germany. The ambition: to counterbalance U.S. streamers with continental scale. But both hosts warn that the cultural cost will be a more uniform, less diverse creative market.

5. Canal+ and MultiChoice Signal Global Ambition
Canal+’s purchase of MultiChoice expands its footprint into 70 countries, blending African and European pay-TV operations. Beyond the operational complexity, Canal+’s digital strategy of streaming-first, global in scope is a rare model of smart transformation amid the M&A chaos.

6. The Next Wave: Platforms Buying Studios
Evan predicts the next M&A era will flip the script: platforms acquiring studios. Streamers like Netflix or Apple may target production powerhouses such as Banijay or Lionsgate to control their own pipelines. After years of financial engineering, this could mark a shift toward owning creativity instead of just distributing it.

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 Opening Remarks

The new buyer isn’t Netflix, it’s the audience. 

Live from MIPCOM 2025, Evan Shapiro and Marion Ranchet sit down with Filmhub CEO Alan d’Escragnolle and Vortex Media CEO Justin Rebelo to unpack how independent producers and distributors are reinventing the film business for the creator economy.

Recorded at the first-ever The Media Odyssey Podcast live show at MIPCOM, this episode explores how companies like Filmhub are helping producers reach global audiences across AVOD, TVOD, and YouTube “Free with Ads;” and why the future of indie film depends on creators learning to sell directly to viewers, not just to buyers.

Key Takeaways:

1. A New Kind of Buyer: The Audience
YouTube’s first major presence at MIPCOM signaled a seismic shift: it’s no longer about pitching to networks or streamers, but learning to engage audiences directly. Evan calls this the “B2C revolution” of entertainment, and Filmhub is one of the companies enabling it by connecting rights holders directly to millions of viewers on platforms like Tubi and YouTube.

2. Filmhub’s Distribution Revolution
Alan d’Escragnolle breaks down how Filmhub helps creators and distributors license hundreds of films per month through automation, encoding, and royalty tech — cutting out the old, slow, one-deal-at-a-time system. By managing AVOD, TVOD, and FAST distribution at scale, Filmhub gives small producers global reach without the middlemen.

3. The YouTube “Free with Ads” Opportunity
YouTube’s Free with Ads tier, available in select countries, has become a powerful new home for premium films and TV. Filmhub is one of just a few distributors authorized to place titles there, where CPMs are higher and content appears in a dedicated “Film & TV” section. It’s a way for indie titles to live alongside, and compete with, traditional TV content.

4. The Indie Film Playbook Is Changing
Justin Rebelo shares firsthand examples, including his own collaboration with Evan A 90s Christmas and Shapiro’s new microbudget feature Skit, proving that small films can now thrive through smart digital distribution. With lower costs and creator-style marketing, it’s possible to make and monetize films again without waiting for a streamer’s greenlight.

5. Power to the Creators
Both guests agree: the days of waiting for gatekeepers are over. Whether it’s a $50,000 horror hit (Dream Eater) or a YouTube discovery, creators who control their IP, budgets, and release strategy have the real leverage. As d’Escragnolle puts it: “You don’t entertain anyone by leaving content on a shelf.”

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

Alan d’Escragnolle - https://www.linkedin.com/in/alandescragnolle/ 

Filmhub - https://www.linkedin.com/company/filmhub/ 

Justin Rebelo - https://www.linkedin.com/in/justin-rebelo-8553bb142/ 

Vortex Media -  https://www.linkedin.com/company/vortexmediainc/ 

The new buyer isn’t Netflix, it’s the audience. 

Live from MIPCOM 2025, Evan Shapiro and Marion Ranchet sit down with Filmhub CEO Alan d’Escragnolle and Vortex Media CEO Justin Rebelo to unpack how independent producers and distributors are reinventing the film business for the creator economy.

Recorded at the first-ever The Media Odyssey Podcast live show at MIPCOM, this episode explores how companies like Filmhub are helping producers reach global audiences across AVOD, TVOD, and YouTube “Free with Ads;” and why the future of indie film depends on creators learning to sell directly to viewers, not just to buyers.

Key Takeaways:

1. A New Kind of Buyer: The Audience
YouTube’s first major presence at MIPCOM signaled a seismic shift: it’s no longer about pitching to networks or streamers, but learning to engage audiences directly. Evan calls this the “B2C revolution” of entertainment, and Filmhub is one of the companies enabling it by connecting rights holders directly to millions of viewers on platforms like Tubi and YouTube.

2. Filmhub’s Distribution Revolution
Alan d’Escragnolle breaks down how Filmhub helps creators and distributors license hundreds of films per month through automation, encoding, and royalty tech — cutting out the old, slow, one-deal-at-a-time system. By managing AVOD, TVOD, and FAST distribution at scale, Filmhub gives small producers global reach without the middlemen.

3. The YouTube “Free with Ads” Opportunity
YouTube’s Free with Ads tier, available in select countries, has become a powerful new home for premium films and TV. Filmhub is one of just a few distributors authorized to place titles there, where CPMs are higher and content appears in a dedicated “Film & TV” section. It’s a way for indie titles to live alongside, and compete with, traditional TV content.

4. The Indie Film Playbook Is Changing
Justin Rebelo shares firsthand examples, including his own collaboration with Evan A 90s Christmas and Shapiro’s new microbudget feature Skit, proving that small films can now thrive through smart digital distribution. With lower costs and creator-style marketing, it’s possible to make and monetize films again without waiting for a streamer’s greenlight.

5. Power to the Creators
Both guests agree: the days of waiting for gatekeepers are over. Whether it’s a $50,000 horror hit (Dream Eater) or a YouTube discovery, creators who control their IP, budgets, and release strategy have the real leverage. As d’Escragnolle puts it: “You don’t entertain anyone by leaving content on a shelf.”

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

Alan d’Escragnolle - https://www.linkedin.com/in/alandescragnolle/ 

Filmhub - https://www.linkedin.com/company/filmhub/ 

Justin Rebelo - https://www.linkedin.com/in/justin-rebelo-8553bb142/ 

Vortex Media -  https://www.linkedin.com/company/vortexmediainc/ 

• (00:00) - Welcome to Pod Media Odyssey

Who really runs the media world now — creators, corporations, or algorithms?

In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet unpack the newly released Creator Ecosphere Map, a first-of-its-kind visual of the entire creator economy, created in partnership with Shira Lazar (What’s Trending) and InfluencerMarketing.Ai. 

Recorded just after MIPCOM, they explore how creators, brands, and traditional media now share the same ecosystem — and what the data reveals about who actually drives engagement, fandom, and revenue online.

From TikTok to Substack, YouTube to Patreon, the hosts break down what EQ (Engagement Quality) really means, why followers don’t equal fans, and how new creator-led studios like Whalar, Filmhub, and Dropout are quietly building the next generation of media companies.

 Key Takeaways

1. Mapping the Creator Universe
   The Creator Ecosphere Map charts the full scope of the creator economy, from platforms, to studios, agencies, and tools, for the first time in one place. The Creator Ecosphere Map tracks not only follower counts but EQ (Engagement Quality), revealing who actually moves audiences to act.

2. Followers do not equal Fans
   The data shows a massive gap between reach and resonance. While megastars like Khaby Lame boast billions of views, creators like Billie Eilish drive exponentially higher engagement. Shapiro calls EQ “the difference between followers and fandom” — a key metric for understanding real influence and avoiding wasted ad spend.

3. The Platform Paradox
   TikTok and YouTube dominate scale, but engagement varies wildly. YouTube’s average EQ sits around 0.1%, while creators like MrBeast outperform entire media conglomerates thanks to community-driven engagement. Meanwhile, legacy brands like ESPN or Nike still treat social as marketing, not programming and it shows in their red (low-EQ) metrics.

4. The Creator Economy Goes Corporate
   The line between creator and company is vanishing. Platforms like Patreon and Substack prove that creator media can sustain real businesses, while independent studios like Dropout and First We Feast rival Hollywood models with strong IP and loyal communities. Even legacy broadcasters must eventually “lean in” or risk irrelevance.

5. No One-Size-Fits-All Strategy
   The map underscores that there’s no single best platform. Every creator or brand must build where their audience already lives. Marion suggests a “rule of three” strategy (LinkedIn, Substack, YouTube/Podcast) as a sustainable model, while Shapiro stresses that success in media now means asking better questions, not chasing every trend.

View the full Creator Ecosphere: https://open.substack.com/pub/eshap/p/the-ecosphere-is-here?r=10qe8j&utm_campaign=post&utm_medium=web&showWelcomeOnShare=false

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 Hosts

What happens when a niche fandom becomes a global streaming powerhouse?

In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet sit down with World of Wonder co-founders Fenton Bailey and Randy Barbato, the creative minds behind RuPaul’s Drag Race, and a streaming empire built on fandom. They explore how World of Wonder transformed drag culture into an international media brand spanning 17 territories, while redefining what “community-first” streaming looks like in the era of algorithmic sameness.

The conversation dives into how WOW thrives outside traditional Hollywood logic through owning its IP, embracing global fandoms, and turning social engagement into subscription loyalty. The founders share how RuPaul’s Drag Race became a template for modern, participatory media and how WOW’s next frontier lies in audience-driven global storytelling that stays defiantly weird.

Key Takeaways:

1. From Subculture to Global Brand
World of Wonder built its empire by championing authenticity over mass appeal. Instead of chasing algorithms, they built a streaming platform for passionate fans—and let those fans drive expansion into over a dozen localized Drag Race editions worldwide.

2. DTC Before DTC Was Cool

Long before YouTube or Netflix, WOW pioneered a direct-to-consumer model on Manhattan Cable in the early 1990s—building a loyal audience through raw, participatory storytelling that bypassed traditional TV gatekeepers. That same spirit lives on in WOW Presents Plus, which now connects millions of subscribers directly to the creators and culture they love.

3. The Power of Ownership and Community
 WOW’s success comes from owning its IP and nurturing a direct-to-fan relationship. By combining strong brand identity, event culture, and social storytelling, the company has created a flywheel that sustains both fandom and revenue across platforms and formats.

4. Streaming Against the Grain
 While major platforms chase scale, WOW proves that specificity is the new mainstream. Their model rooted in community, creativity, and unapologetic individuality shows how small, focused streamers can thrive even as the broader industry consolidates.

5. A Blueprint for Creator-Led Media
Bailey and Barbato’s approach blurs the line between creator and audience. By empowering talent and fans alike, WOW Presents Plus anticipates a media future where participation, not programming, drives value.

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

Fenton Bailey - https://www.linkedin.com/in/fenton-bailey-4270204/

Randy Barbato - https://www.linkedin.com/in/randy-barbato-866a1146/

World of Wonder - https://www.linkedin.com/company/world-of-wonder/

• (00:00) - Chapter 1

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:

1. The Kimmel Affair and FCC Overreach
   Kimmel was suspended after discussing how MAGA has used activist Charlie Kirk’s killing for political gain, despite committing no FCC violation. Shapiro details how FCC Chair Brendan Carr, who is aligned with Project 2025 and pending affiliate mergers, used threats to coerce Disney and affiliates into action. The result: a blatant clash between politics and the First Amendment, costing Disney billions in market value before Kimmel’s reinstatement.

2. Broadcast’s Dying Grip
   The controversy underscored how fragile broadcast TV has become. Kimmel’s late-night audience is under 2 million, dwarfed by his YouTube reach—and by Joe Rogan’s podcast empire. Shapiro argues that Kimmel and others should abandon dying formats and embrace direct-to-consumer platforms where free speech and financial upside are greater. Marion warns that it is not an easy, overnight transition. 

3. Media Oligarchs and Consolidation
   The hosts connect Kimmel’s ordeal to broader maneuvers by billionaires like Larry and David Ellison, whose influence over FCC approvals and mergers (Paramount-Skydance, Warner Bros Discovery) shows how free speech is increasingly transactional. Late-night hosts like Colbert and Oliver may be next in line as consolidation reshapes who controls the cultural narrative.

4. Europe’s Contrasting Path
   Marion highlights how European regulators tackle misconduct differently—punishing hosts who spread disinformation or incite harm, rather than silencing dissent. The comparison underscores a widening gap: in the U.S., politics is shrinking the space for speech on broadcast, while in Europe, regulation is trying to protect it.

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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 Episode Overview