YouTube will begin streaming the Oscars globally in 2029 per a new deal with the Academy of Motion Picture Arts and Sciences. As Colin and I discuss, it’s another indicator that streaming platforms’ financial clout and distribution reach have become critical differentiators for marquee events. 

Next we discuss Netflix’s further push into video podcasts following announcements with iHeartMedia and Barstool Sports this week. Finally, we explore Google and YouTube’s return to Movies Anywhere and the ongoing WBD acquisition saga. 

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In a bold move, Disney has licensed 200 of its characters for use in OpenAI’s Sora. In today’s podcast we discuss the benefits and risks of the deal, which opens a new chapter of collaboration between rights holders and AI platforms. We like Disney’s openness to user-generated content to better compete with YouTube, but are cautious about the effectiveness of the proposed guardrails in deterring misuse of Disney’s prized characters. 

Then we shift focus to the battle to own Warner Bros. Discovery. Colin thinks Netflix is likely to prevail, while I think Paramount has the edge. We explain why. 

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This week on Inside the Stream, we start with MS NOW’s plan to evolve into a streaming and community hub for progressive activism. Given cord-cutting and the decline of linear TV news consumption by younger viewers, we see it as a positive move. Next, we discuss why data indicates engagement with Prime Video is far lower than other streaming services. Finally, microdramas continue their growth and monetization. 

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This week on Inside the Stream, Canela Media’s global president Philippe Guelton joins us to talk about how the company is tapping AI for content and character creation, user experience and monetization. Canela Media target the U.S. Hispanic market with culturally relevant content. As Philippe describes, a key initiative is Club Canela, a loyalty program which features an AI-generated virtual host named Diego. AI is also leaning into creating microdramas, and using data to better understand its audiences. 

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