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https://www.wsj.com/business/media/...sions-with-skydance-1b81985b?mod=hp_lead_pos1

Redstone’s National Amusements Ends Discussions with Skydance
Redstone likely to pursue sale of National Amusements, the family company that controls Paramount, with other potential bidders

By Jessica Toonkel
Updated June 11, 2024 - 3:41 pm EDT

Shari Redstone isn’t ready to exit the entertainment business just yet.

The media heiress has ended discussions with David Ellison’s Skydance Media, according to people familiar with the matter, drawing to a close months of negotiations in one of the messiest deal dramas to play out in recent years
Redstone will now likely pursue a sale of just National Amusements, without trying to merge Paramount into another company, some of the people said. NAI has received interest from two potential parties—an investor consortium led by Hollywood producer Steven Paul, as well as from media executive Edgar Bronfman Jr., backed by private-equity firm Bain Capital, The Wall Street Journal previously reported.

Under Skydance’s proposed deal, the production company would have bought National Amusements for around $1.7 billion in cash. Then, in a second step of the deal, it would have merged Paramount into Skydance, in a stock deal.

That second step was subject to review by a committee of Paramount directors. The committee had approved the economic terms of the merger but continued to negotiate with Skydance about other deal points.

Those points included pushing for the transaction to be subject to a vote of all other shareholders. National Amusements was supportive of such a vote, the Journal previously reported. Skydance has said such a vote is a nonstarter, said some of the people.

The committee was scheduled to vote on the Paramount merger with Skydance Tuesday afternoon, but it is unclear if the vote happened.

Write to Jessica Toonkel at jessica.toonkel@wsj.com
 
https://www.ft.com/content/9a0da55f-dbbe-49cf-9edb-2c162515f809

Blame the Paramount fiasco on its dual-class shares
Shari Redstone’s 5% economic stake but 77% voting stake had been the rub in trying to close a deal

After months of complex negotiations, there appeared to be a deal in place this week for media conglomerate Paramount to be taken over by the upstart studio Skydance Media.

Instead, Paramount’s controlling shareholder Shari Redstone called the whole thing off, an exasperating move for all sorts of Wall Street and Hollywood players.

Redstone’s family business, National Amusements, holds a 5 per cent economic stake but a 77 per cent voting stake, which has been the rub in trying to close a deal for Paramount. The fiasco is a reminder that dual-class shares that cleave economic interests from voting interests eventually lead to ugly and perverse outcomes — generally for those at the whim of parties who have the power to call the shots.

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https://www.ft.com/content/9a0da55f-dbbe-49cf-9edb-2c162515f809

The handful of Paramount voting shares held by non-Redstone shareholders trade publicly at a 66 per cent premium to non-voting shares. The Skydance deal first called for three sets of cash payments. The Redstone voting shares, which have a current trading value of about $800mn, were to be bought out at something around twice that.

The stub voting shares held by others would only get bought out at around their current trading value, and half of non-voting shares would get bought out at a one-third premium but at a per-share price well below what Redstone and even the other voting shares received.

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https://www.ft.com/content/9a0da55f-dbbe-49cf-9edb-2c162515f809

After these contortions, the private Skydance, backed by RedBird Capital and KKR, would reverse-merge into the remaining Paramount. Ordinary shareholders would then have together received a package of cash as well as a piece of the new company.

The ownership splits, however, were not shared and just how approvals and resulting litigation would be handled were key parts of the negotiation.

The Financial Times reported that Redstone baulked when Skydance shifted some of the cash it was offering away from Redstone to ordinary shareholders. Reconciling these diverging interests became impossible even though Redstone was still getting a windfall.

Now, two other parties — Edgar Bronfman and Steven Paul — are looking to buy only the controlling shares from Redstone, who has her own personal cash flow problems to solve. Why they would want to step into Paramount’s serious strategic problems with no operating asset to offer remains unclear.

As for Paramount’s ordinary shareholders, they can only feel shell-shocked and violated after a single shareholder put her interests so clearly above everyone else’s at every moment.
 

Oh, I hadn't heard about that!

This article in Variety says that Sony will keep all 35 locations open under the original name:

https://variety.com/2024/film/news/sony-pictures-buys-alamo-drafthouse-cinemas-1236035292/

They're retaining AD's CEO and putting him in charge of a new division of Sony, so cross fingers that they'll let him keep the same spirit and policies that AD is known and loved for.
Instead of losing money in streaming, they will lose money in doing this. Lol
 
https://nypost.com/2024/06/13/business/mario-gabelli-legal-threat-affected-doomed-paramount-merger/

Legal threat from Mario Gabelli was ‘major factor’ in collapse of Paramount’s $8B deal with Skydance
By Josh Kosman and Alexandra Steigrad
Updated June 13, 2024, 2:50 p.m. EDT

A legal threat from investor Mario Gabelli was a “major factor” in this week’s implosion of Shari Redstone’s $8 billion deal to merge Paramount Global with its “Mission: Impossible” production partner Skydance Media, The Post has learned.

When Redstone made a surprise move to pull the plug on the deal this week — just before a Paramount special committee was poised to vote on it — she was looking down the barrel of a $100 million-plus lawsuit from Gabelli over the deal, according to sources close to the situation.

Nevertheless, other Paramount shareholders had ripped Redstone for seeking a premium for her stock over other that of other Paramount investors.

In an exclusive interview with The Post, the 81-year-old billionaire — a self-described “Bronx tough guy” long famous for his savvy media investments — declined to discuss any specifics around prospective litigation over Paramount.

“Like Teddy Roosevelt said, I speak softly and carry a big stick,” Gabelli said. “We have established a relationship with an attorney and are looking at all of this under a microscope.”

Gabelli, meanwhile, owns more than half of the remaining voting shares — 54% to be exact, according to securities filings.

In addition to Skydance recently slashing its proposed payment for National Amusements to $1.7 billion from more than $2 billion, sources say a sticking point in talks was whether Skydance would indemnify Redstone against potential litigation in the event she didn’t seek shareholder approval for the deal.
 
https://deadline.com/2024/06/inside-out-2-global-international-box-office-1235972688/

'Inside Out 2’ Off To Joyful Start At International Box Office; Sets Multiple Opening Day Records For Pixar
By Nancy Tartaglione - International Box Office Editor/Senior Contributor
June 13, 2024 12:29pm PDT

Disney/Pixar’s Inside Out 2 had its first full day of play at the international box office on Wednesday with No. 1 starts in each of its eight material markets, including strong debuts in majors Korea and Germany as well as the Philippines. The total through day one overseas is $4.9M. Majors joining through Friday include Australia, Mexico and the UK.

On Wednesday, the Kelsey Mann-directed sequel grossed $1.5M in the Philippines for the 3rd biggest opening day of all time, only behind Avengers: Endgame and Avengers: Infinity War. The start, falling on Independence Day in the market, was 7x higher than the original Inside Out and over 22x above Kung Fu Panda 4.

IO2 scored the biggest opening day ever for a Pixar title in Korea with an estimated $1.4M. This is 267% above the launch of the first Inside Out, 144% ahead of The Super Mario Bros Movie and 33% over Minions: The Rise of Gru. The Korea total through Thursday (not reflected in the overall cume above) is an estimated $2.35M.

Early social and audience scores are terrific in Korea with Naver: 9.20/CGV: 97% — those are higher than Inside Out, Kung Fu Panda 4 and Rise of Gru. The CGV score is just one percentage point behind that of Elemental.

In Germany, Riley are her emotions nabbed the 3rd biggest start ever for Pixar at $1M and came in 95% higher than 2015’s Inside Out. Audience scores on Moviepilot are ahead of comps at 8.0 (Inside Out: 7.8, Elemental: 6.8, Kung Fu Panda 4: 6.1, Rise of Gru: 6.1).

Elsewhere, Israel gave the film the biggest Pixar opening day ever with $414K and Poland bowed with a $244K start that was 215% ahead of Inside Out.

In Thailand, IO2 landed the biggest animated opening of the year and the biggest Hollywood animated opening day post-pandemic at $117K which is 131% ahead of Super Mario Bros, 110% ahead of Rise of Gru and 31% below Inside Out.


Through Friday, the Amy Poehler-starrer will be out in 62% of the international landscape. Australia and Mexico open today with the UK kicking off tomorrow. Domestic previews begin today. Sitting out this session and going next weekend are France, Italy, Spain, Brazil and China. Japan goes August 1.
 
This is an important read, as it describes what is happening to TV advertising.

https://variety.com/2024/tv/news/tv...-fewer-dollars-pressure-rollbacks-1236036794/

Jun 13, 2024 1:23pm PDT
TV Networks Fight for Fewer Dollars in Upfront Amid Big Streaming ‘Rollbacks’
by Brian Steinberg

If you want to see the latest fire sale, just turn on your TV.

The nation’s big media companies are facing significant headwinds in the industry’s current “upfront” market, when TV networks try to sell the bulk of their commercial inventory for their next cycle of programming. Advertisers are pulling back on the amount of money they wish to commit to TV overall, according to five executives with knowledge of recent discussions, and they are in many cases pressing the networks for significant “rollbacks” on rates, particularly for streaming inventory that is supposed to represent the future of the medium.

Advertisers have been able to snatch up streaming ad inventory and linear commercial time in deals that call for what is known as “rollbacks,” or reductions in CPMs, a measure of the cost of reaching 1,000 viewers that is central in these annual discussions between TV networks and Madison Avenue. Rollbacks for streaming CPMs have come in at as much as a decrease in the double-digit percentage range, according to these people, while CPMs for some traditional broadcast and cable are off by as much as 4%. Linear TV is commanding some CPM increases, these people say, for sports and tentpole events, that may go up as much as in the mid-single-percentage range.

A glut of new streaming inventory from the ad-supported tiers of Amazon Prime Video, Netflix and Disney+ has goosed supply at a time when demand is not at its most robust, according to the executives. There’s little impetus to rush to buy, these people say, unless the terms are extremely favorable. “It’s my party,” says one media buyer. “I’m not late to anything.”

Disney, NBCUniversal, Paramount and Fox have written significant piece of business, these people say, with Disney being particularly aggressive by offering favorable rates for streaming ads in Hulu and Disney+. Amazon Prime Video and Netflix, however, have not written as much business, as they wait to see if the market will accept what are seen as aggressive CPMs and pricing. Warner Bros. Discovery is said to be a little behind its contemporaries in terms of notching commitments. Publics Groupe’s PMX. Omnicom Group’s OMG and Interpublic Group’s Magna have all written some upfront deals with the networks, these people say, while WPP’s GroupM has in some cases not registered client budgets, researching opportunities more methodically before committing any ad dollars.

Disney, Fox, Netflix and Warner Bros. Discovery declined to make executives available for comment. Spokespersons for NBCUniversal, Paramount, GroupM, OMG and Magna declined to discuss the companies’ upfront negotiations. Amazon was not able to offer immediate comment.

TV sales executives must also contend with some unique challenges from potential sponsors — including themselves. Last year’s Hollywood labor strike has crimped the industry’s pipeline of new material, which means one of the industry’s frothiest ad categories — movies and TV shows from streamers — is less bubbly. Pharmaceutical manufacturers, one of TV’s most stalwart supporters in recent years, owing to the older demographics of current linear TV viewers, are being more cagey in negotiations, according to people familiar with the talks. They are putting more pressure on pricing, these people said, because they are in many cases mandated to run longer commercials — as much as 75 seconds to 90 seconds in length — so they can fully disclose side effects of their various medications. Many companies that make weight-loss drugs are particularly active in this year’s market, according to people with knowledge of talks.

The current market represents the second consecutive upfront in which the traditional media companies have accepted “rollbacks,” typically a dynamic of last resort that only comes into play during severe market recessions. The risk of doing deals at reduced terms is that the better CPMs will never come back — or take years to put into practice once again.

The new tonnage of streaming inventory is crimping the companies’ ability to monetize advertising on them further. “The introduction of ads to Amazon Prime Video — where the ad-tier is now the default option – has led to an explosion in CTV ad inventory, exerting deflationary pressure on CPM across the sector,” said media analyst Michael Nathanson, in a recent research note, adding: “Platforms with the most inventory, least must-have content, and worst targeting capabilities are most at risk.”

Many advertisers want to follow consumers to new streaming venues, but hubs like Max and Hulu are built on the premise that viewers won’t have to wade through the sheer number of commercials they see on traditional TV. Even the ad-supported tiers offered by Netflix, Peacock and others take pains not to run more than a few minutes of commercials per hour, and typically keep ad breaks under lengths of 90 seconds.

All of that has helped boost streaming CPMs in the past. Some buyers have vowed to get streaming CPMs more in line with their linear counterparts — and the companies may have little recourse.

With upfront volume seen eroding, the TV networks will have to rely more heavily on so-called “scatter,'” o ad inventory that is purchased more closely to actual air. Ad commitments in last year’s upfront market for primetime broadcast TV fell 3%, to $9.595 billion, compared with $9.91 billion in 2022, according to Media Dynamics Inc., an advertising consultancy that tracks the market. Cable TV saw even worse erosion, with advertisers committing $9.52 billion for primetime, down 7% compared to the $10.23 billion in commitments secured in 2022.
 
https://www.wsj.com/business/media/...is-paying-the-price-260c1b26?mod=hp_lead_pos5

Amazon Has Upended the Streaming Ad Market, and Netflix Is Paying the Price
Netflix embraces product placement and cuts ad rates significantly as Prime Video helps drive prices down

By Suzanne Vranica
June 14, 2024 - 5:30 am EDT

Amazon.com has thrown a wrench into Netflix’s advertising plans.

Netflix is charging less for ads and embracing new offerings such as product placement, according to ad buyers, as the streaming company looks to keep expanding an ad business that faces growing competition.

The streaming ad market was upended earlier this year when Amazon converted its entire Prime Video subscriber base to a new ad-supported version, giving customers a chance to switch back to ad-free streaming for an extra $2.99 a month.

Prime Video’s large ad-supported subscriber base means it has a significant amount of ad inventory that is affecting the negotiations that Netflix, YouTube, TV networks and other streamers are having with advertisers as they commit to buying billions of dollars in commercial time for the coming TV season—a process known as the “upfronts.”

The e-commerce company is driving down ad prices for everyone, analysts and ad buyers said.

“Earlier this year, a whale named Amazon Prime Video was introduced into the ctv pond,” the media analyst Michael Nathanson wrote in a report to investors Wednesday, referring to connected TV. “Nearly six months later, we are beginning to find out the impact of this disruption.”

Netflix is asking some brands to pay roughly $29 to $35 for reaching 1,000 viewers, according to advertisers and ad buyers, a significant decrease from the $39 to $45 that it charged some advertisers last summer.

Netflix’s reduced ad rates are closer to what Prime Video is looking to charge, according to ad buyers, who are pressuring Prime for even cheaper pricing.

Negotiations are ongoing, and pricing could change, ad buyers said. Advertisers pay different rates depending on the types of ads they are buying and how much ad time they purchase.

During its upfront negotiations, Netflix is offering larger premium-price ad packages that include allowing advertisers to integrate their products and services into certain programs, some of the advertisers said. These programs include a coming drama series about the world of bull riding featuring Tim McGraw, one of them said.

Netflix is also offering larger sponsorships of live events and in-person events tied to some of its programming, they said.

Brands have long salivated over the possibility of having their products and services integrated into programs running on Netflix. Since its inception, Netflix has done little paid product integration.

Ad executives say that advertising is even more effective when viewers see a product within a show and then see a commercial for that very product shortly afterward.

While Amazon doesn’t disclose subscriber numbers, it has said the ad-supported tier of Prime Video has an average reach of 115 million monthly viewers in the U.S. By contrast, Netflix told advertisers at its star-studded presentation last month in New York City that its ad tier reaches 40 million global monthly active users—a significant jump from the 23 million users the company disclosed in January.

“Amazon in many ways is building the killer app,” said John Terrana, chief media officer at the ad firm VaynerMedia. It has “premium content, live sports, immense scale,” and advertisers can target ads to their customers and can often see if a viewer bought the product on the platform, he added.

Although Amazon has plenty of reach, ad buyers said Netflix programming is attractive because it tends to be more popular and often generates more buzz in the marketplace. Netflix consistently ranks as the second most watched streaming option behind Alphabet’s YouTube, according to Nielsen.

Netflix’s pitch for upfront ad dollars comes at an inopportune time.

Several ad-holding companies, which spend billions of ad dollars across different media players annually on behalf of their advertising clients, are currently competing to win Amazon’s lucrative ad-buying account. As part of that contest, many of the agencies might promise to commit to buying a significant amount of ad time from Amazon on behalf of their clients to curry favor during the pitch, according to ad buyers.

“There’s always an expectation in reviews like this that agencies will create a ‘most favored nation’ approach for their soon-to-be media client,” said Greg Paull, co-founder of R3, a consulting firm that helps match advertisers with agencies.

Amazon is one of the biggest advertisers in the world. It spent $20.3 billion on advertising and other promotional costs last year, according to the company’s annual report.

Jessica Toonkel contributed to this article.
Write to Suzanne Vranica at Suzanne.Vranica@wsj.com
 
Between Inside Out 2 and Deadpool 3, I think Disney has a good shot at a good year....

I still wish they would start divesting some of the FOX assets... like the movie studio.... I just think owning 1 movie studio should be enough for them in a world where super long form is kind of dated and a relic....
 
I just got back from Inside Out 2 and the theater was packed. It was busier than I have seen it in a while! Between Inside Out 2 and Bad Boys still holding nicely, exhibition is getting a much-needed boost.

This is why all the sequels, people!
 
I just got back from Inside Out 2 and the theater was packed. It was busier than I have seen it in a while! Between Inside Out 2 and Bad Boys still holding nicely, exhibition is getting a much-needed boost.

This is why all the sequels, people!

Good, because Iger darn sure needs some good news about now!
 
I still wish they would start divesting some of the FOX assets... like the movie studio.... I just think owning 1 movie studio should be enough for them in a world where super long form is kind of dated and a relic....
I agree with ya. I prefer that happening once Iger is succeeded by the next Disney CEO in 2026. Then, Disney can launch a revived Touchstone Pictures. Even though it was just a label, Touchstone did give us classics like Splash, Down and Out in Beverly Hills, Dead Poets Society, Good Morning Vietnam, Who Framed Roger Rabbit (the GOAT!), Adventures in Babysitting, Tim Burton's The Nightmare Before Christmas, Pearl Harbor, O Brother Where Art Thou, Armageddon, and Sister Act.
 
Last edited:
https://deadline.com/2024/06/box-office-inside-out-2-1235973432/

Sweet Emotion: Pixar’s ‘Inside Out 2’ Eyes Third Best Animated Pic Opening Of All-Time With $140M-$145M – Late Friday Night Box Office Update
By Anthony D'Alessandro - Editorial Director/Box Office Editor
June 14, 2024 - 9:57pm PDT
Wow. Did not see this coming. I am very happy to be wrong.

With Deadpool to come as well, Disney’s studios finishing the fiscal year at the box office strong is nice to see.
 





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