Welcome to Strictly Business, Variety's weekly podcast featuring conversations with industry leaders about the business of media and entertainment. I'm Cynthia Littleton, co editor in chief of Variety. Today's guests are Sony Pictures Entertainment CEO Ravi Ahuja and a separate conversation with Mark Marshall, NBC Universal ad Sales chief, and NBC Sports host Maria Taylor. Both conversations were held on January eighth as part of Variety's annual Entertainment Summit at the Consumer Electronics Show in Las Vegas. At Variety, we love starting the year off strong with a day long event that is part of the biggest tech and media conference of the year. We were proud to land the first interview with Ahuja since he took the reins as CEO of Sony Pictures Entertainment from Tony Vincent Acquera, who is no stranger to Strictly Business. But this year everything at CEES was harder as our event happened as devastating wildfires were raging in Los Angeles County. I was born and raised in Pasadena. Fire danger is a fact of life in California. I've never seen anything like this level of destruction, pain, and anguish. Dear listeners, please hold good thoughts for the tens of thousands of fire victims out there. And as I record this on January fourteenth, it is definitely not over. The fire situation, not surprisingly, is the first thing that Ahuja and I discuss in a conversation about leadership and the studio's future. Like the pandemic a few years ago, the LA firestorm has put into sharp relief the importance of strong leadership in times of uncertainty and crisis. That conversation is coming right up after this, and we're back with a conversation from cees with Sony Pictures Entertainment CEO Rabbi A Hooja. Well, thank you Robbie for being here, and I want you to know, folks, this is Robbie's first interview as CEO of Sony Pictures Entertainment, So we are honored.

Welcome to Strictly Business, Variety's weekly podcast featuring conversations with industry leaders about the business of media and entertainment. I'm Cynthia Littleton, co editor in chief of Variety. Today's guests are Sony Pictures Entertainment CEO Ravi Ahuja and a separate conversation with Mark Marshall, NBC Universal ad Sales chief, and NBC Sports host Maria Taylor. Both conversations were held on January eighth as part of Variety's annual Entertainment Summit at the Consumer Electronics Show in Las Vegas. At Variety, we love starting the year off strong with a day long event that is part of the biggest tech and media conference of the year. We were proud to land the first interview with Ahuja since he took the reins as CEO of Sony Pictures Entertainment from Tony Vincent Acquera, who is no stranger to Strictly Business. But this year everything at CEES was harder as our event happened as devastating wildfires were raging in Los Angeles County. I was born and raised in Pasadena. Fire danger is a fact of life in California. I've never seen anything like this level of destruction, pain, and anguish. Dear listeners, please hold good thoughts for the tens of thousands of fire victims out there. And as I record this on January fourteenth, it is definitely not over. The fire situation, not surprisingly, is the first thing that Ahuja and I discuss in a conversation about leadership and the studio's future. Like the pandemic a few years ago, the LA firestorm has put into sharp relief the importance of strong leadership in times of uncertainty and crisis. That conversation is coming right up after this, and we're back with a conversation from cees with Sony Pictures Entertainment CEO Rabbi A Hooja. Well, thank you Robbie for being here, and I want you to know, folks, this is Robbie's first interview as CEO of Sony Pictures Entertainment, So we are honored.

It's true and thank you and actually my first week in this role.

It's true and thank you and actually my first week in this role.

Yes, and mother nature has thrown you some curveballs here, not to belabor it, but you know you are now and this is actually we're talking about issue, you know, leadership and you ascending to the CEO post again. You know, a tough call. Uh. You were saying to me that you made you made some decisions about the studio. Lut can you talk about what you're doing?

Yes, and mother nature has thrown you some curveballs here, not to belabor it, but you know you are now and this is actually we're talking about issue, you know, leadership and you ascending to the CEO post again. You know, a tough call. Uh. You were saying to me that you made you made some decisions about the studio. Lut can you talk about what you're doing?

I mean, obviously, this situation, which I'm sure everyone is familiar with or at least as much as you can now, is very fluid. So starting yesterday into today, our you know, thoughts were obviously with our employees in this situation. You think safety first, right, and you want everyone to be okay. Some people are not right. Some of our employees have lost homes, many are displaced. But then there are other parts of the city that are okay. You know. We find that in our case, the decision is do we close our lot? Our lot has its own power, and it actually is in some ways a refuge for some people. So we've strongly encouraged people to work from home, but are keeping a lot open as a refuge or if people are close enough and feel it's okay to come to work. I don't think we're going to get much work done today, even if people work from home. It's just too difficult of the situation. But you're right, Cynthia, it's a it's a classic decision that goes right to the top of you know, you have to pull meaning from the fog and try to figure out what to do. The good thing is, you know, ultimately a lot is made of who makes the decision. But there are a lot of very good people, and.

I mean, obviously, this situation, which I'm sure everyone is familiar with or at least as much as you can now, is very fluid. So starting yesterday into today, our you know, thoughts were obviously with our employees in this situation. You think safety first, right, and you want everyone to be okay. Some people are not right. Some of our employees have lost homes, many are displaced. But then there are other parts of the city that are okay. You know. We find that in our case, the decision is do we close our lot? Our lot has its own power, and it actually is in some ways a refuge for some people. So we've strongly encouraged people to work from home, but are keeping a lot open as a refuge or if people are close enough and feel it's okay to come to work. I don't think we're going to get much work done today, even if people work from home. It's just too difficult of the situation. But you're right, Cynthia, it's a it's a classic decision that goes right to the top of you know, you have to pull meaning from the fog and try to figure out what to do. The good thing is, you know, ultimately a lot is made of who makes the decision. But there are a lot of very good people, and.

I have a lot of sound need yees to go to you who've.

I have a lot of sound need yees to go to you who've.

Been through these situations before. And then of course you talk to colleagues too, right, other studios that are close by, so you sort of in that sense crowd source a lot of the information so that you can make a good decision and hopefully you make the right one.

Been through these situations before. And then of course you talk to colleagues too, right, other studios that are close by, so you sort of in that sense crowd source a lot of the information so that you can make a good decision and hopefully you make the right one.

I have long suspected that the Hollywood studios have kind of that red phone that Commissioner Gordon used to have in Batman, where where you can all kind of if you need to communicate with each other on an emergency basis. But well, your studio a lot is about fifteen minutes from my house, so I am definitely hoping that everything stay, everything stays calm in that area.

I have long suspected that the Hollywood studios have kind of that red phone that Commissioner Gordon used to have in Batman, where where you can all kind of if you need to communicate with each other on an emergency basis. But well, your studio a lot is about fifteen minutes from my house, so I am definitely hoping that everything stay, everything stays calm in that area.

Yeah.

Yeah.

Never so happy to be in the flatlands, yes, But to that point, was there when you woke up yesterday and today and saw this magnitude of it was?

Never so happy to be in the flatlands, yes, But to that point, was there when you woke up yesterday and today and saw this magnitude of it was?

It was? It was there.

It was? It was there.

A moment of like, wow, the buck stops with me now I'm the CEO.

A moment of like, wow, the buck stops with me now I'm the CEO.

I suppose I was well prepared for it, so I kind of assumed that was the case. So, No, it wasn't surprising at all. And honestly, that happens a lot, right, It's just the question the size of the decision, whether it's a small thing or it's something like this that actually is very serious that in most people's safety. Right, it's not just money, which is very important, but it's a very different kind of decision.

I suppose I was well prepared for it, so I kind of assumed that was the case. So, No, it wasn't surprising at all. And honestly, that happens a lot, right, It's just the question the size of the decision, whether it's a small thing or it's something like this that actually is very serious that in most people's safety. Right, it's not just money, which is very important, but it's a very different kind of decision.

Yeah, and the metrics aby which those are made are different.

Yeah, and the metrics aby which those are made are different.

Yeah, exactly, exactly.

Yeah, exactly, exactly.

Well, let's talk about it sort of staying on that kind of big picture level. You have been with Sony since early ish twenty twenty one, Yes, and what would you say? You know so, and you've been a key part of real you know, Sony has really been through a transformation the last seven years under your predecessor, Tony Vincequero, who is a friend to Variety for many years. And in talking I know that you're kind of coming in with if it ain't broke, don't fix it.

Well, let's talk about it sort of staying on that kind of big picture level. You have been with Sony since early ish twenty twenty one, Yes, and what would you say? You know so, and you've been a key part of real you know, Sony has really been through a transformation the last seven years under your predecessor, Tony Vincequero, who is a friend to Variety for many years. And in talking I know that you're kind of coming in with if it ain't broke, don't fix it.

Yes too, that's correct, right, I mean we're doing very well. Right, So, there's no need to go and be revolutionary, and it's more look like every strategy needs to be refreshed, so it's more of an evolutionary thing. I think we need, right is just to continue to evolve and add to our capabilities and lean into places we're growing. Rahul was just here right Crunchy rolls a high growth, high growth business, so it's just doing much more there. He talked about some of the things that we're doing with Ghost of Tsushima with Solo leveling, So within that segment, that's what we're doing. But each of our segments has a unique strategy that we lean into.

Yes too, that's correct, right, I mean we're doing very well. Right, So, there's no need to go and be revolutionary, and it's more look like every strategy needs to be refreshed, so it's more of an evolutionary thing. I think we need, right is just to continue to evolve and add to our capabilities and lean into places we're growing. Rahul was just here right Crunchy rolls a high growth, high growth business, so it's just doing much more there. He talked about some of the things that we're doing with Ghost of Tsushima with Solo leveling, So within that segment, that's what we're doing. But each of our segments has a unique strategy that we lean into.

And you've been been a key architelp to be a key architect for that. So this is truly as many people observed, a rare, truly seamless transition of manage.

And you've been been a key architelp to be a key architect for that. So this is truly as many people observed, a rare, truly seamless transition of manage.

Yeah, I think it's good. It's a credit to Tony first of all, right in thinking about the importance of succession and doing it in a very deliberate way. Right. I spent time last year as COO, so that was a gradual process. Our parent company at Sony, this was an important thing to them and they were helpful in the transition. So it can be done right. It doesn't seem to be done done right in our town often enough, but it can be done right. So look, I think it's worked well so far.

Yeah, I think it's good. It's a credit to Tony first of all, right in thinking about the importance of succession and doing it in a very deliberate way. Right. I spent time last year as COO, so that was a gradual process. Our parent company at Sony, this was an important thing to them and they were helpful in the transition. So it can be done right. It doesn't seem to be done done right in our town often enough, but it can be done right. So look, I think it's worked well so far.

And Sony obviously Sony for you know, within the industry, it is now well known that Sony you know, very deliberately sort of staked out a strategy of you know, being a content provider, a content hub, but not going sort of full bore into into streaming services, with one big exception of crunchy Roll, which has been you know, quite a success story and sort of riding that wonderful wave of anime. Part of that is, as you are a creator of content, you know, focusing on delivering content for other platforms you really I know that that puts a lot of pressure on the studio to think about you know, the classic where's the puck going? Yes, the nature of consumption is changing. Everybody in this room knows that, the generational change in the way the audience wants to consume that. Can you talk on the high level, how do you wrap your arms around that? How do you try to you know, sort of figure out where you want to steer people where you want at your resource?

And Sony obviously Sony for you know, within the industry, it is now well known that Sony you know, very deliberately sort of staked out a strategy of you know, being a content provider, a content hub, but not going sort of full bore into into streaming services, with one big exception of crunchy Roll, which has been you know, quite a success story and sort of riding that wonderful wave of anime. Part of that is, as you are a creator of content, you know, focusing on delivering content for other platforms you really I know that that puts a lot of pressure on the studio to think about you know, the classic where's the puck going? Yes, the nature of consumption is changing. Everybody in this room knows that, the generational change in the way the audience wants to consume that. Can you talk on the high level, how do you wrap your arms around that? How do you try to you know, sort of figure out where you want to steer people where you want at your resource?

Yeah, Well, the first thing is just strategically. We Arms Dealer has been used to talk about us a lot, and that's true. For part.

Yeah, Well, the first thing is just strategically. We Arms Dealer has been used to talk about us a lot, and that's true. For part.

I was trying that to be so violent.

I was trying that to be so violent.

It's true for part of our business. We're an independent studio. It is Hollywood, and we sell content to people. But the way that I think about it is each of our segments, it's they're actually the same segments every media company has. We have a film studio, we have TV studios, we have direct to consumer and crunchy role, and we have an experiences division now, so we have the same things everyone else has. The difference is we do each one uniquely and differently to what everyone else does. In film, we are theaters first. The theatrical bar is the highest bar. You know, in total we're content focused. The theatrical bar is the highest bar. So we are theatrical first and TV. We are the arms Dealer. We're an independent studio that sells to others. That's the highest bar. It's not internal sales. We've got to sell to other people, so we've got to have the highest standards in direct to consumer. Our view and this preceded me. You know, Tony did this, and when I was on the outside, I thought it was a great decision was not to do what everyone else was doing a general entertainment streaming service, but instead to focus on a particular area where we could be different. And anime is a fantastic one and crunchy Rolls been enormously successful. We've just started on experiences and there we've done some licensing of ourp to others, but we also bought Alamo Draft House, which is a dine in theater chain, which is a very different kind of theatrical experience, and from that we're going to build more IP based things. So that's the way we think about it. We're content focused. So then as part of what you just asked Cynthia is so how do you think about the big trends in the business right And you're right, some of the big trends are new platforms, YouTube and TikTok. We have the third biggest YouTube chainannel in the world with our India business because YouTube is so big in India, so big with kids, so it's really about identifying places where those platforms are particularly big. We have a kid's YouTube channel we've just launched very early days, but we'll do more there with gen Z gen Z's could consumption habits very different to older generations, right, very very different. Anime was a perfect example of that. It's primarily a gen z Jen Alpha product. There are some millennials who also get Crunchy Rol, not too many xers, but but you know that's how we lean into that. And then we're also very hard at work at building on our franchises, which you know we heard a little bit about in the prior panel, but very hard at work on that. Example there Karate Kid. We have a Karate Kid movie coming out in May. So famously Karate Kid was a movie, TV show and Cobra Kai now back to movie. So you know we're pro act actively working on franchise as well. So it's taking our mission, which is content focused, pursuing a differentiated strategy, but leaning into those trends in each of those businesses.

It's true for part of our business. We're an independent studio. It is Hollywood, and we sell content to people. But the way that I think about it is each of our segments, it's they're actually the same segments every media company has. We have a film studio, we have TV studios, we have direct to consumer and crunchy role, and we have an experiences division now, so we have the same things everyone else has. The difference is we do each one uniquely and differently to what everyone else does. In film, we are theaters first. The theatrical bar is the highest bar. You know, in total we're content focused. The theatrical bar is the highest bar. So we are theatrical first and TV. We are the arms Dealer. We're an independent studio that sells to others. That's the highest bar. It's not internal sales. We've got to sell to other people, so we've got to have the highest standards in direct to consumer. Our view and this preceded me. You know, Tony did this, and when I was on the outside, I thought it was a great decision was not to do what everyone else was doing a general entertainment streaming service, but instead to focus on a particular area where we could be different. And anime is a fantastic one and crunchy Rolls been enormously successful. We've just started on experiences and there we've done some licensing of ourp to others, but we also bought Alamo Draft House, which is a dine in theater chain, which is a very different kind of theatrical experience, and from that we're going to build more IP based things. So that's the way we think about it. We're content focused. So then as part of what you just asked Cynthia is so how do you think about the big trends in the business right And you're right, some of the big trends are new platforms, YouTube and TikTok. We have the third biggest YouTube chainannel in the world with our India business because YouTube is so big in India, so big with kids, so it's really about identifying places where those platforms are particularly big. We have a kid's YouTube channel we've just launched very early days, but we'll do more there with gen Z gen Z's could consumption habits very different to older generations, right, very very different. Anime was a perfect example of that. It's primarily a gen z Jen Alpha product. There are some millennials who also get Crunchy Rol, not too many xers, but but you know that's how we lean into that. And then we're also very hard at work at building on our franchises, which you know we heard a little bit about in the prior panel, but very hard at work on that. Example there Karate Kid. We have a Karate Kid movie coming out in May. So famously Karate Kid was a movie, TV show and Cobra Kai now back to movie. So you know we're pro act actively working on franchise as well. So it's taking our mission, which is content focused, pursuing a differentiated strategy, but leaning into those trends in each of those businesses.

Interesting that Alamo draft House, when you you know, the assumption is that you're a studio, you're buying a theatrical chain, but you're really seeing this as an experience, is in addition to enhancing your film distribution.

Interesting that Alamo draft House, when you you know, the assumption is that you're a studio, you're buying a theatrical chain, but you're really seeing this as an experience, is in addition to enhancing your film distribution.

Yes, that's right. We the two are managed separately, so the Alamo Draft hoos does not report into the theatrical division, so they work together as any theater chain would work with a film studio. But that's not how we were thinking about it, that we're just going to exhibit our own films. That wouldn't work at all.

Yes, that's right. We the two are managed separately, so the Alamo Draft hoos does not report into the theatrical division, so they work together as any theater chain would work with a film studio. But that's not how we were thinking about it, that we're just going to exhibit our own films. That wouldn't work at all.

Robbie, your background prior to coming to Sony was largely in television.

Robbie, your background prior to coming to Sony was largely in television.

Yep.

Yep.

What was you know in coming into Sony and coming into the CEO job. You know a lot of big picture thinking about about film. I know that you led the Alamo Draft House acquisition, so that was, you know, obviously a strategy. What for you was the learning curve in film? The business were less familiar with.

What was you know in coming into Sony and coming into the CEO job. You know a lot of big picture thinking about about film. I know that you led the Alamo Draft House acquisition, so that was, you know, obviously a strategy. What for you was the learning curve in film? The business were less familiar with.

It's still happening. It's uh yeah, Obviously film is close enough to television that you have some familiarity with it, moving pictures, actors, stream right, exactly, exactly. Understanding the mechanics of the business is actually not the hardest part. The people becomes the harder part, right. I think that's even true in television. If one is new to television, you can understand the business relatively quickly after a couple of years, for sure, but it's really knowing it at a much deeper level like you do. Cynthia so in film it's you know, I think that's the next part of the journey there. But I do know the business, right, and I think we've got fantastic colleagues. And Tom is the best teacher in the world.

It's still happening. It's uh yeah, Obviously film is close enough to television that you have some familiarity with it, moving pictures, actors, stream right, exactly, exactly. Understanding the mechanics of the business is actually not the hardest part. The people becomes the harder part, right. I think that's even true in television. If one is new to television, you can understand the business relatively quickly after a couple of years, for sure, but it's really knowing it at a much deeper level like you do. Cynthia so in film it's you know, I think that's the next part of the journey there. But I do know the business, right, and I think we've got fantastic colleagues. And Tom is the best teacher in the world.

Tom Rothman who runs with an iron fist. No, I mean Tom Rothman, one of the most successful and seasoned executives out there and one of the biggest champions, one of the biggest champions of the box office. But you, I mean you all. You know in the Pandemic and everything that there was a lot of experimentation, but you have very much. Sony has very much committed to the theatrical experience.

Tom Rothman who runs with an iron fist. No, I mean Tom Rothman, one of the most successful and seasoned executives out there and one of the biggest champions, one of the biggest champions of the box office. But you, I mean you all. You know in the Pandemic and everything that there was a lot of experimentation, but you have very much. Sony has very much committed to the theatrical experience.

Yes, we think there's a lot of value in it. We also think it's a good business, right, It's it's the best way to make a movie big. And when a movie is big in theaters, it's almost always big in streaming. But the opposite is not true. Some movies that are good for passing time in streaming won't work theatrically. So the theaters really provide the highest bar.

Yes, we think there's a lot of value in it. We also think it's a good business, right, It's it's the best way to make a movie big. And when a movie is big in theaters, it's almost always big in streaming. But the opposite is not true. Some movies that are good for passing time in streaming won't work theatrically. So the theaters really provide the highest bar.

Absolutely, I'm going to just another small elephant in the room that I'm going to raise here. I know that there has been a lot of a lot of press about a little matter involving a movie called It Ends with Us that was distributed by Sony, and it has been obviously, it's been the talk of Hollywood, and I just want to I just want to acknowledge that Sony was the distributor. It has it has exploded into litigation, and I understand that it's that this is a you know, a very touchy topic. I also wanted to to note that in that case, Sony was the distributor, not the producer of the problem. And so not not asking you about the specifics of It Ends with Us, but how how are you, how do you how are you thinking about navigating those kinds of relationships. There are some, you know, some cases where Sony is the bank role and the develop the very germ of the development idea starts with you. And in some cases projects come to you correct in partnerships, and you know, sometimes those can be fraught.

Absolutely, I'm going to just another small elephant in the room that I'm going to raise here. I know that there has been a lot of a lot of press about a little matter involving a movie called It Ends with Us that was distributed by Sony, and it has been obviously, it's been the talk of Hollywood, and I just want to I just want to acknowledge that Sony was the distributor. It has it has exploded into litigation, and I understand that it's that this is a you know, a very touchy topic. I also wanted to to note that in that case, Sony was the distributor, not the producer of the problem. And so not not asking you about the specifics of It Ends with Us, but how how are you, how do you how are you thinking about navigating those kinds of relationships. There are some, you know, some cases where Sony is the bank role and the develop the very germ of the development idea starts with you. And in some cases projects come to you correct in partnerships, and you know, sometimes those can be fraught.

So it's true we play a different role in each situation, more so in film than TV. Right, I think that's true in the case of It Ends with Us. I mean, for one, I wasn't personally involved with it right out. My focus was on the TV side, and I don't know any of the people on a personal level. But also correct Cyndia, the litigation and so on. I want to be respectful of the parties and not wouldn't be appropriate, I think to say anything on that. But yeah, the situations are different depending on what role we play. That's true.

So it's true we play a different role in each situation, more so in film than TV. Right, I think that's true in the case of It Ends with Us. I mean, for one, I wasn't personally involved with it right out. My focus was on the TV side, and I don't know any of the people on a personal level. But also correct Cyndia, the litigation and so on. I want to be respectful of the parties and not wouldn't be appropriate, I think to say anything on that. But yeah, the situations are different depending on what role we play. That's true.

Do you and it's an interesting question obviously film that you know there's often higher costs and other other factors global distribution, But do you and to I mean, do you know overseeing the TV business, do you anticipate a world where there might be more partnerships coming in in television? There might, certainly there are co productions, but even like investment in the same way that film sometimes a film slate, it may even a major studio film slate will bring in some outside investment. Do you see that happening?

Do you and it's an interesting question obviously film that you know there's often higher costs and other other factors global distribution, But do you and to I mean, do you know overseeing the TV business, do you anticipate a world where there might be more partnerships coming in in television? There might, certainly there are co productions, but even like investment in the same way that film sometimes a film slate, it may even a major studio film slate will bring in some outside investment. Do you see that happening?

I don't necessarily see slate financing. I mean I think of anything, it'll go farther away from that. The last panel talked about how p and ls for shows. I think Barry was saying it the p and ls for shows don't exist anymore, so that makes slate financing very difficult. Apart from if you're doing it with us, So I don't think we'll see that, but there may be a change in how it works, right. I think the traditional cost plus pricing is kind of where streamers have gone. I'm not sure that's always the best idea. With very standard terms, standard premiums, with arrange standard licensed terms of they own the show for the life of the show, plus an additional ten years.

I don't necessarily see slate financing. I mean I think of anything, it'll go farther away from that. The last panel talked about how p and ls for shows. I think Barry was saying it the p and ls for shows don't exist anymore, so that makes slate financing very difficult. Apart from if you're doing it with us, So I don't think we'll see that, but there may be a change in how it works, right. I think the traditional cost plus pricing is kind of where streamers have gone. I'm not sure that's always the best idea. With very standard terms, standard premiums, with arrange standard licensed terms of they own the show for the life of the show, plus an additional ten years.

It makes it kind of hard for us studio to make a little money on it.

It makes it kind of hard for us studio to make a little money on it.

Yeah, right, you become really a producer, right, So it becomes very difficult. And we have said to streamers will make it for less of a premium, but we want it back faster, so we'll believe in the success of the show. I think the streamers, while there's an intellectual openness to that, they haven't quite gotten there. I get asked that question all the time. Have you guys made progress with that?

Yeah, right, you become really a producer, right, So it becomes very difficult. And we have said to streamers will make it for less of a premium, but we want it back faster, so we'll believe in the success of the show. I think the streamers, while there's an intellectual openness to that, they haven't quite gotten there. I get asked that question all the time. Have you guys made progress with that?

And the internet is not really It seems that there's been sort of a dawning realization of the importance of having that those incentives aligned, and sometimes in a cost plus model where the streamer plays a pays the production costs plus a ten or twenty percent you know, profit bonus for a studio that still doesn't that that's not swinging for the fences like you know, it's when Sony distributed Seinfeld and you know, watch the Stack of Cash.

And the internet is not really It seems that there's been sort of a dawning realization of the importance of having that those incentives aligned, and sometimes in a cost plus model where the streamer plays a pays the production costs plus a ten or twenty percent you know, profit bonus for a studio that still doesn't that that's not swinging for the fences like you know, it's when Sony distributed Seinfeld and you know, watch the Stack of Cash.

Correct, I love correct. Yeah. So I do think some of those things will evolve. I think we've just been through this huge gold rush, right the peak TV thing, and a lot of the business practices got skewed, and I think some of them will be completely new and different, but some will return to normal because they just don't make sense right. So I think we'll see that over the course of the next say five years.

Correct, I love correct. Yeah. So I do think some of those things will evolve. I think we've just been through this huge gold rush, right the peak TV thing, and a lot of the business practices got skewed, and I think some of them will be completely new and different, but some will return to normal because they just don't make sense right. So I think we'll see that over the course of the next say five years.

You have taken the helm at a very interesting time.

You have taken the helm at a very interesting time.

It's always an interesting our business.

It's always an interesting our business.

Let's talk a little bit. One thing that has been very noticeable and you know, lots of on screen expressions of it. But Sony has been very focused on kind of bringing the parts of Sony together more than they had in the past, especially Sony Music, especially Sony PlayStation content. That that initiative helped produce a little show called The Last of Us, which is coming back in April. As we learned from the Sony presentation on Monday, and that was that was news that was devoured by Variety readers within seconds of it going up on our site. That is always such a measure of just how quickly people gravitate to news. So yeah, rest assured. Season two, there's a lot of antis the patient. But can you talk about how that has you know that not just around the Last of Us, but other other projects and I know there's a number of things in the hopper, How that has you know, fostered collaboration, how that has created opportunity by adding you know, one plus one plus one to equal five or six.

Let's talk a little bit. One thing that has been very noticeable and you know, lots of on screen expressions of it. But Sony has been very focused on kind of bringing the parts of Sony together more than they had in the past, especially Sony Music, especially Sony PlayStation content. That that initiative helped produce a little show called The Last of Us, which is coming back in April. As we learned from the Sony presentation on Monday, and that was that was news that was devoured by Variety readers within seconds of it going up on our site. That is always such a measure of just how quickly people gravitate to news. So yeah, rest assured. Season two, there's a lot of antis the patient. But can you talk about how that has you know that not just around the Last of Us, but other other projects and I know there's a number of things in the hopper, How that has you know, fostered collaboration, how that has created opportunity by adding you know, one plus one plus one to equal five or six.

Yeah, it's interesting because it's maybe people won't believe this, it's really organic. It truly is, right. I mean, there's some something of a push in the sense that we put people together so they meet each other.

Yeah, it's interesting because it's maybe people won't believe this, it's really organic. It truly is, right. I mean, there's some something of a push in the sense that we put people together so they meet each other.

Buy them lunch.

Buy them lunch.

Yes, we feed people and put them in a room.

Yes, we feed people and put them in a room.

So there is that.

So there is that.

And then in the case bless you, and then in the case of in the case of PlayStation there is a group called PlayStation Productions that focuses specifically on that. So there are people who follow up continually. So there is a little bit of a push, but it is organic. Right at the parent company level. There isn't a you must work with each.

And then in the case bless you, and then in the case of in the case of PlayStation there is a group called PlayStation Productions that focuses specifically on that. So there are people who follow up continually. So there is a little bit of a push, but it is organic. Right at the parent company level. There isn't a you must work with each.

Other, nobody's picking okay this title this time.

Other, nobody's picking okay this title this time.

No no, and what's good. The only way it really does work I think, I think very strongly is the creator has to be deeply involved. So you know, when we were talking about Ghost of Sushima and working across the company, it's you really have to have in that case Aniplex be the guiding light on the creation, or in the case of Last of Us Naughty Dog and Neil being deeply involved, because you have to have somebody who really lives it and feels it. Otherwise, if each group is kind of doing their own thing, it can be a bit of a mess. So you know, we work that way, but we don't have like a committee that you know, forces people to do things and says there must be four collaborations this year. We don't do any of that. So it's it. You know, this is good. It's collaboration without bureaucracy. So everybody feels good about it and leans into it.

No no, and what's good. The only way it really does work I think, I think very strongly is the creator has to be deeply involved. So you know, when we were talking about Ghost of Sushima and working across the company, it's you really have to have in that case Aniplex be the guiding light on the creation, or in the case of Last of Us Naughty Dog and Neil being deeply involved, because you have to have somebody who really lives it and feels it. Otherwise, if each group is kind of doing their own thing, it can be a bit of a mess. So you know, we work that way, but we don't have like a committee that you know, forces people to do things and says there must be four collaborations this year. We don't do any of that. So it's it. You know, this is good. It's collaboration without bureaucracy. So everybody feels good about it and leans into it.

And you know, the proof is definitely on screen.

And you know, the proof is definitely on screen.

Yeah, do you uh?

Yeah, do you uh?

Has there been sort of just general benefits and people kind of even just getting to know their colleagues and people at Sony Pictures knowing a little bit more how things are the priorities of Sony Music. I would imagine in any organization. I've always found communication gaps are the biggest are usually the source of all problems. Is that communication gap? So if you're fostering a lot more communication.

Has there been sort of just general benefits and people kind of even just getting to know their colleagues and people at Sony Pictures knowing a little bit more how things are the priorities of Sony Music. I would imagine in any organization. I've always found communication gaps are the biggest are usually the source of all problems. Is that communication gap? So if you're fostering a lot more communication.

Yeah, absolutely so people also understand your business. What matters to you? What do you care about? You know? For our music colleagues, for our PlayStation colleagues, it's if we do a TV show and it features you know, your talent, or it features your IP, how does it help you? You know, we don't really know. So should we go fight for a bigger premium on a smaller platform, for example with PlayStation, or do we go to the biggest platform and not care so much about that? To be honest, we're still learning a lot of that, right, We're still relatively early in a lot of this. But by having that open dialogue we figure that out and then you know, competitively we're ahead of people. It becomes our unfair advantage that for us is you know, is a real positive from a business point of view.

Yeah, absolutely so people also understand your business. What matters to you? What do you care about? You know? For our music colleagues, for our PlayStation colleagues, it's if we do a TV show and it features you know, your talent, or it features your IP, how does it help you? You know, we don't really know. So should we go fight for a bigger premium on a smaller platform, for example with PlayStation, or do we go to the biggest platform and not care so much about that? To be honest, we're still learning a lot of that, right, We're still relatively early in a lot of this. But by having that open dialogue we figure that out and then you know, competitively we're ahead of people. It becomes our unfair advantage that for us is you know, is a real positive from a business point of view.

I mean, the amount you know, Hollywood has I think, especially in the last couple of years with the Last of Us and other things, become aware of just the amount of time that people spend playing video games. There is such a love and connection to that content that can be tapped.

I mean, the amount you know, Hollywood has I think, especially in the last couple of years with the Last of Us and other things, become aware of just the amount of time that people spend playing video games. There is such a love and connection to that content that can be tapped.

Isn't it. It's funny, Cynthia, because five years ago people would have said there's no way, right, is.

Isn't it. It's funny, Cynthia, because five years ago people would have said there's no way, right, is.

Every video game adapt takee Yeah, most of them have been really poor and they didn't satisfy the TV or film viewer, and they and they only upset usually upset the gaming So the worst.

Every video game adapt takee Yeah, most of them have been really poor and they didn't satisfy the TV or film viewer, and they and they only upset usually upset the gaming So the worst.

Of all worlds exactly exactly, but now it works. It's the thing in our business is so execution dependent. Right when we talk about strategy and we throw around return on investment and economies of scale, it's just it's really how you execute the product, and that's primarily driven by the people who are working on it, right, It's the creators who work on it, and it's really having a clear vision around it and what is this is going to add for the viewer. It's a kind of delight viewers. So it's making sure that we allow people the freedom to do that.

Of all worlds exactly exactly, but now it works. It's the thing in our business is so execution dependent. Right when we talk about strategy and we throw around return on investment and economies of scale, it's just it's really how you execute the product, and that's primarily driven by the people who are working on it, right, It's the creators who work on it, and it's really having a clear vision around it and what is this is going to add for the viewer. It's a kind of delight viewers. So it's making sure that we allow people the freedom to do that.

Would you say, is there an emphasis on trying to kind of thread things together? So the Last of Us Season two is coming out, we have new gaming content that will complement that or is that more just you let those things happen organically.

Would you say, is there an emphasis on trying to kind of thread things together? So the Last of Us Season two is coming out, we have new gaming content that will complement that or is that more just you let those things happen organically.

That's aspirational, so that would we always say things like, oh, that would be great, we should really do that. But you know, sometimes things are ready when they're ready, So it's hard to do that really really well, to do that perfectly. Disney. I spent a couple of years at Disney. They do that really well. It's amazing. Well they do that. We're not that good, but we're you know, we're getting better.

That's aspirational, so that would we always say things like, oh, that would be great, we should really do that. But you know, sometimes things are ready when they're ready, So it's hard to do that really really well, to do that perfectly. Disney. I spent a couple of years at Disney. They do that really well. It's amazing. Well they do that. We're not that good, but we're you know, we're getting better.

You spent those couple of years at Disney, were a really interesting time for Disney.

You spent those couple of years at Disney, were a really interesting time for Disney.

Right after keep doing interesting things.

Right after keep doing interesting things.

Right right after the Box acquisition. That must have just been a masterclass in corporate integration and how you brought two formidable organizations together and figured out that must have been that was boot camp for.

Right right after the Box acquisition. That must have just been a masterclass in corporate integration and how you brought two formidable organizations together and figured out that must have been that was boot camp for.

That Hulu, right, And the company went through a lot and changed its strategy at the same time. So that's taking on a lot. And then the pandemic happened too, and the CEO transition, so it was like the most complicated thing you could ever do.

That Hulu, right, And the company went through a lot and changed its strategy at the same time. So that's taking on a lot. And then the pandemic happened too, and the CEO transition, so it was like the most complicated thing you could ever do.

And a six month strike, you know, just yeah, and then that later right, let me ask you one of my favorite one of my new favorite shows is Pop Culture Jeopardy. Oh good, that's fine, but that is I know that's been one of the things that you were tasked with was really looking at existing franchises that the institutions that are will fortunately Jeopardy. And that's also you know, that's also fraught because there's a lot of there's a lot of people that you know that a mediocre version of pop culture Jeopardy would not reflect well on the brand. How did you go about sort of figuring out Okay, here's the iteration that makes sense for Jeopardy. Yeah, that's the Jeopardy expansion.

And a six month strike, you know, just yeah, and then that later right, let me ask you one of my favorite one of my new favorite shows is Pop Culture Jeopardy. Oh good, that's fine, but that is I know that's been one of the things that you were tasked with was really looking at existing franchises that the institutions that are will fortunately Jeopardy. And that's also you know, that's also fraught because there's a lot of there's a lot of people that you know that a mediocre version of pop culture Jeopardy would not reflect well on the brand. How did you go about sort of figuring out Okay, here's the iteration that makes sense for Jeopardy. Yeah, that's the Jeopardy expansion.

Yeah, that's right. I mean Jeopardy had had spin offs in the past, right, So there was a sports Jeopardy.

Yeah, that's right. I mean Jeopardy had had spin offs in the past, right, So there was a sports Jeopardy.

Rock and Roll Jeopardy. A friend of mine was on.

Rock and Roll Jeopardy. A friend of mine was on.

Yeah, and they weren't very good. So you know, one requirement I've had in Suzanne Pretty and the game show group do this is it has to be really good, and we're not doing it. Honestly, we could sell eight spin offs of Jeopardy tomorrow, tomorrow, today, today, Yeah, I could do it here if there are any buyers here, but we're not doing that because our team can't execute, and we have to make sure because it's too much and we have to make sure that we that it's additive, that it brings something new pop culture. Jeopardy has much younger viewers. Obviously the category there is pop culture. We do it in a team format because not everyone knows everything if people are experts at music movies, so we put together teams so we're doing something different, different host, same stage, but adapted, right, So we really feel we can do it well. But it's also the same team. It's Michael Davies producing, so it's the same team. So you know, our view has been We've got to do these things and do them extremely well. Streaming for us with Jeopardy and Will is a big priority, right they those shows are in the main shows are in syndication, and syndication is declining right in terms of the number of people it gets to. Interestingly, those shows are not declining. Will's ratings are up this year.

Yeah, and they weren't very good. So you know, one requirement I've had in Suzanne Pretty and the game show group do this is it has to be really good, and we're not doing it. Honestly, we could sell eight spin offs of Jeopardy tomorrow, tomorrow, today, today, Yeah, I could do it here if there are any buyers here, but we're not doing that because our team can't execute, and we have to make sure because it's too much and we have to make sure that we that it's additive, that it brings something new pop culture. Jeopardy has much younger viewers. Obviously the category there is pop culture. We do it in a team format because not everyone knows everything if people are experts at music movies, so we put together teams so we're doing something different, different host, same stage, but adapted, right, So we really feel we can do it well. But it's also the same team. It's Michael Davies producing, so it's the same team. So you know, our view has been We've got to do these things and do them extremely well. Streaming for us with Jeopardy and Will is a big priority, right they those shows are in the main shows are in syndication, and syndication is declining right in terms of the number of people it gets to. Interestingly, those shows are not declining. Will's ratings are up this year.

I could pull I could pull a ratings report from fifteen years ago and they would be, you know, in a zone of or maybe ten years ago, they would be in a zone of they are amazing stallwarts of times.

I could pull I could pull a ratings report from fifteen years ago and they would be, you know, in a zone of or maybe ten years ago, they would be in a zone of they are amazing stallwarts of times.

Yeah, they're amazing. I mean the shows on a nightly basis rate the same as the NBA Finals, right, So it's nine ten million people viewing them every night. So we but we're missing a lot of the audience. So we are, you know, out talking to people about potential streaming solutions for those shows. So I think that'll help reintroduce them to younger people who actually encounter Wheel and Jeopardy through TikTok where we're very active, or YouTube. So you know, we're very optimistic that those franchises have a very long life. I mean, they're fifty and sixty years old, and we don't view them as they're past their prime. We think these things are perennials somewhere.

Yeah, they're amazing. I mean the shows on a nightly basis rate the same as the NBA Finals, right, So it's nine ten million people viewing them every night. So we but we're missing a lot of the audience. So we are, you know, out talking to people about potential streaming solutions for those shows. So I think that'll help reintroduce them to younger people who actually encounter Wheel and Jeopardy through TikTok where we're very active, or YouTube. So you know, we're very optimistic that those franchises have a very long life. I mean, they're fifty and sixty years old, and we don't view them as they're past their prime. We think these things are perennials somewhere.

MERV Griffin, who created Beehows, is smiling, Yes, smiling. We are out of time. But I can't put so many more questions. But I got to ask you the thirty forty five second version, how does the boy from Ohio come to be a CEO in Hollywood?

MERV Griffin, who created Beehows, is smiling, Yes, smiling. We are out of time. But I can't put so many more questions. But I got to ask you the thirty forty five second version, how does the boy from Ohio come to be a CEO in Hollywood?

That's a good question.

That's a good question.

You know.

You know.

For me, the focus has always been I didn't start out saying that's what I'm going to do the way that I've always guided my experience is just trying to add new skills, and I have an enormous amount of curiosity I suppose about everything that we do about the media business and about leading people and about trying to create a winning business that will last over time. So it's really just building skills along the way there. I mean, I suppose before the Fox Disney deal, I had viewed it as I was going to stay at Fox forever. But then things happen too, and you just try to keep growing and you try to keep learning, and then you find the right thing, like the place that I'm in now, and you, you know, you do your best. I suppose, I don't know, I'll come up with a better answer for you, Cynthia, but that's the best.

For me, the focus has always been I didn't start out saying that's what I'm going to do the way that I've always guided my experience is just trying to add new skills, and I have an enormous amount of curiosity I suppose about everything that we do about the media business and about leading people and about trying to create a winning business that will last over time. So it's really just building skills along the way there. I mean, I suppose before the Fox Disney deal, I had viewed it as I was going to stay at Fox forever. But then things happen too, and you just try to keep growing and you try to keep learning, and then you find the right thing, like the place that I'm in now, and you, you know, you do your best. I suppose, I don't know, I'll come up with a better answer for you, Cynthia, but that's the best.

You know what, Honesty is always the best policy. Thank you, Robbie. We so appreciate your time. Thanks for giving us your first interview.

You know what, Honesty is always the best policy. Thank you, Robbie. We so appreciate your time. Thanks for giving us your first interview.

Don't go anywhere. We'll be right back with a conversation between NBC Universal ad sales chief Mark Marshall and NBC Sports host Maria Taylor. And we're back with a rollicking session with NBC Universal ad sales chief Mark Marshall and Football Night in America host Maria Taylor. Marshall is also no stranger to strictly business. We had a terrific interview in twenty twenty three, just before the May upfronts. Marshall is an advertising guy through and through. He's smart, innovative, and he has a really good sense of humor about himself. As you'll hear, Taylor teases him more than once about his chrome dome, and he takes it in the playful spirit in which she meant it. Their camaraderie is palpable through this audio. Taylor really impressed me with her sharp questions about NBC Universal's business future, and folks, let me tell you, she is even taller than she looks. On football Night in America, we were grateful that this buddy act brought our conference some laughs when we really needed them.

Don't go anywhere. We'll be right back with a conversation between NBC Universal ad sales chief Mark Marshall and NBC Sports host Maria Taylor. And we're back with a rollicking session with NBC Universal ad sales chief Mark Marshall and Football Night in America host Maria Taylor. Marshall is also no stranger to strictly business. We had a terrific interview in twenty twenty three, just before the May upfronts. Marshall is an advertising guy through and through. He's smart, innovative, and he has a really good sense of humor about himself. As you'll hear, Taylor teases him more than once about his chrome dome, and he takes it in the playful spirit in which she meant it. Their camaraderie is palpable through this audio. Taylor really impressed me with her sharp questions about NBC Universal's business future, and folks, let me tell you, she is even taller than she looks. On football Night in America, we were grateful that this buddy act brought our conference some laughs when we really needed them.

NBC is turning one hundred and the one hundredth anniversary is something that's going to be celebrated, just like we've been celebrating SNL's fiftieth and so content is coming down the pipe that we don't know anything about.

NBC is turning one hundred and the one hundredth anniversary is something that's going to be celebrated, just like we've been celebrating SNL's fiftieth and so content is coming down the pipe that we don't know anything about.

But you do.

But you do.

So can you give us a glimpse into what's to come as we continue to celebrate the growth of this company.

So can you give us a glimpse into what's to come as we continue to celebrate the growth of this company.

Yeah, I think it's been fun. We've known we've had this great lineup that's going to happen in twenty five, twenty six, and then last year we added to that with partnering with the NBA and bringing the NBA back to NBC. So we'll start in the fall where we'll have Ryder Cup, We'll have Bravo Khan, any Bravo fans here, Yeah, Bravo con absolutely here in Vegas, and then the NBA will start, and then in February we have three days and then Super Bowl, three days of the Olympics in Milan. Super Bowl, another week of Olympics, NBA All Star weekend, and then another week of Milan. We should go to Milan, Yes, let's do that. That'd be good. And then we have the World Cup in Telemundo next summer. So I had a lot more hair before we got into this stretch that we're going to roll through.

Yeah, I think it's been fun. We've known we've had this great lineup that's going to happen in twenty five, twenty six, and then last year we added to that with partnering with the NBA and bringing the NBA back to NBC. So we'll start in the fall where we'll have Ryder Cup, We'll have Bravo Khan, any Bravo fans here, Yeah, Bravo con absolutely here in Vegas, and then the NBA will start, and then in February we have three days and then Super Bowl, three days of the Olympics in Milan. Super Bowl, another week of Olympics, NBA All Star weekend, and then another week of Milan. We should go to Milan, Yes, let's do that. That'd be good. And then we have the World Cup in Telemundo next summer. So I had a lot more hair before we got into this stretch that we're going to roll through.

He did not have more hair before this stretch.

He did not have more hair before this stretch.

Just because you look the other way doesn't mean I can't hear you.

Just because you look the other way doesn't mean I can't hear you.

He did not have more hair. What would you say.

He did not have more hair. What would you say.

I mean you kind of touched a little bit on the NBA rights, But describing just a little bit more what that means to NBC Universal, especially considering the history of the NBA and the network.

I mean you kind of touched a little bit on the NBA rights, But describing just a little bit more what that means to NBC Universal, especially considering the history of the NBA and the network.

Yeah, it is. It's fun like it's a bit of a dream for me for a couple of reasons. One, I was born in Chicago. I was lucky enough to be through the Jordan years where we would go out to a bar to watch them play the Charlotte Bobcats, and every bar was filled in all of Chicago for a regular season game. It was unbelievable. And then the NBA. Then I went to go work for Turner, so I was there for fifteen years at Turner Sports, and then when we had the opportunity to get back in the business with the NBA, I was really excited. And we also when you think about what it's going to do for our company is you'll have a game on every night on Monday Night on Peacock, Tuesday Night, you will have games on NBC, and then after Sunday Night Football, you'll transition to Sunday Night Basketball. We did a branding study that'll be called Sunday Night Basketball, and so it'll change a complexion of what NBC looks like. It's amazing. If all of you know, there's a bunch of talk this week about Live and if you look across NBC from Morning tonight. On average, seventy percent of all the hours are live across NBC, so this will even make that even stronger as we look forward.

Yeah, it is. It's fun like it's a bit of a dream for me for a couple of reasons. One, I was born in Chicago. I was lucky enough to be through the Jordan years where we would go out to a bar to watch them play the Charlotte Bobcats, and every bar was filled in all of Chicago for a regular season game. It was unbelievable. And then the NBA. Then I went to go work for Turner, so I was there for fifteen years at Turner Sports, and then when we had the opportunity to get back in the business with the NBA, I was really excited. And we also when you think about what it's going to do for our company is you'll have a game on every night on Monday Night on Peacock, Tuesday Night, you will have games on NBC, and then after Sunday Night Football, you'll transition to Sunday Night Basketball. We did a branding study that'll be called Sunday Night Basketball, and so it'll change a complexion of what NBC looks like. It's amazing. If all of you know, there's a bunch of talk this week about Live and if you look across NBC from Morning tonight. On average, seventy percent of all the hours are live across NBC, so this will even make that even stronger as we look forward.

And a part of that deal is also the rights to the WNBA. And we've seen just like the growth of women's sports in general. I'm not tall for no reason. I promise I played a sport back in the day.

And a part of that deal is also the rights to the WNBA. And we've seen just like the growth of women's sports in general. I'm not tall for no reason. I promise I played a sport back in the day.

At one you played two.

At one you played two.

Volleyball and basketball. But at Georgia, at Georgia, go dogs.

Volleyball and basketball. But at Georgia, at Georgia, go dogs.

Who lost it? Notre Dame.

Who lost it? Notre Dame.

Yeah, I don't want to talk about it.

Yeah, I don't want to talk about it.

I didn't know if you saw it. That's wanted to make sure you still don't have hair. Now we're back. Now we're back, gloves are off. But so a why you guys thought this was going to be an informative panel. You were wrong. You are misled the growth of women's sports.

I didn't know if you saw it. That's wanted to make sure you still don't have hair. Now we're back. Now we're back, gloves are off. But so a why you guys thought this was going to be an informative panel. You were wrong. You are misled the growth of women's sports.

It's been fun to watch, But how has that changed advertising? And how do you, guys in what your role is help to fuel advertisers and the investment that is being made in women's sports in general.

It's been fun to watch, But how has that changed advertising? And how do you, guys in what your role is help to fuel advertisers and the investment that is being made in women's sports in general.

Well, it's funny. I mean, this whole idea of women's sports and having a moment Like for us at NBC, we're like, thank odd Finally, you know, the Olympics. This was prior to this was the last Olympics. Ninety nine percent of all the primetime hours that happened in women's sports were in the Olympics. That means only one percent was happening outside of those seventeen days. So we're extremely proud that we played even a small role of highlighting these great women. But it takes networks, it takes advertisers to make it happen. And from a network standpoint, in the Women's World Cup soccer or the FIFA the last one, we actually went to the marketplace and said women should get the same price as men from a cost CPM standpoint, and we got about ninety percent of the way there. We were thirty six percent of the way there the previous World Cup. So we closed the gap tremendously for that. But you also need advertisers to stand up. And I give a ton of credit you know, to a state farm, a Lily, a Delta. These advertisers have stepped up in a big way to really support and highlight it. And I think all of us that you know grew up will bring it back to basketball, like Michael Jordan and Nike Michael Jordan and Gatorade. Those ads were running everywhere, just like the State Farm ads that are running everywhere with Kitlyn Clark. It's not just the person that's tuning in to the games themselves, but it's a person learning about women's sports and understanding who Caitlyn Clark is because of their ads that they're seeing.

Well, it's funny. I mean, this whole idea of women's sports and having a moment Like for us at NBC, we're like, thank odd Finally, you know, the Olympics. This was prior to this was the last Olympics. Ninety nine percent of all the primetime hours that happened in women's sports were in the Olympics. That means only one percent was happening outside of those seventeen days. So we're extremely proud that we played even a small role of highlighting these great women. But it takes networks, it takes advertisers to make it happen. And from a network standpoint, in the Women's World Cup soccer or the FIFA the last one, we actually went to the marketplace and said women should get the same price as men from a cost CPM standpoint, and we got about ninety percent of the way there. We were thirty six percent of the way there the previous World Cup. So we closed the gap tremendously for that. But you also need advertisers to stand up. And I give a ton of credit you know, to a state farm, a Lily, a Delta. These advertisers have stepped up in a big way to really support and highlight it. And I think all of us that you know grew up will bring it back to basketball, like Michael Jordan and Nike Michael Jordan and Gatorade. Those ads were running everywhere, just like the State Farm ads that are running everywhere with Kitlyn Clark. It's not just the person that's tuning in to the games themselves, but it's a person learning about women's sports and understanding who Caitlyn Clark is because of their ads that they're seeing.

I was going to say, is it chicken or the egg? The investment comes because the fandom has grown, or it begins with a State Farm or someone saying we're going to invest and that grows the game.

I was going to say, is it chicken or the egg? The investment comes because the fandom has grown, or it begins with a State Farm or someone saying we're going to invest and that grows the game.

I think it's more like we've had women's sports. You know, we have the LPGA, we have a ton of women's sports on but it for some reason, there was a switch that happened with Caitlyn Clark, and it started, you know with the women's national soccer team as well. But there's now a consistency that feels like it's not a moment, feels like it's more of a movement.

I think it's more like we've had women's sports. You know, we have the LPGA, we have a ton of women's sports on but it for some reason, there was a switch that happened with Caitlyn Clark, and it started, you know with the women's national soccer team as well. But there's now a consistency that feels like it's not a moment, feels like it's more of a movement.

Yeah, no, for sure, let's talk about kind of NBC in prime time. I just like saying it like that because I envisioned Deon Sanders prime tem and obviously, I mean, you enter in, you're one hundred year.

Yeah, no, for sure, let's talk about kind of NBC in prime time. I just like saying it like that because I envisioned Deon Sanders prime tem and obviously, I mean, you enter in, you're one hundred year.

But it's not by one hundred year.

But it's not by one hundred year.

You're getting older. I'm getting younger. NBC is growing and mature. Hundred years, yes of anac, not mark mark, not how long you've been there.

You're getting older. I'm getting younger. NBC is growing and mature. Hundred years, yes of anac, not mark mark, not how long you've been there.

Yeah, sometimes looks like it, but.

Yeah, sometimes looks like it, but.

I can hear you again.

I can hear you again.

We might should take the show on the road, or we're going to wrestle.

We might should take the show on the road, or we're going to wrestle.

I don't know which one. I don't know.

I don't know which one. I don't know.

Give me the evolution of what primetime looks like. How you guys are building content to make sure that the viewers enjoy the advertisers respond well to it.

Give me the evolution of what primetime looks like. How you guys are building content to make sure that the viewers enjoy the advertisers respond well to it.

Walk me through some of those decisions.

Walk me through some of those decisions.

Well, what are you doing for Valentine's Day? I'm not asking you out, what are you doing?

Well, what are you doing for Valentine's Day? I'm not asking you out, what are you doing?

I'll probably be with my Oh that's my wedding anniversary. I almost forgot.

I'll probably be with my Oh that's my wedding anniversary. I almost forgot.

Yeah, well we did forget. It's also SNL's fiftieth anniversary show will be that night. So the coolest thing I think SNL, which is in its fiftieth year, is probably the greatest example of how people consume content today. And if you look at it, in it's forty seventh year, it became the number one entertainment show in television. Wow, which is a crazy to think on linear television. It's the number one show on social and streaming every day you wake up and it's the first thing you see when you stream as well. And so we use SNL, which is crazy that probably our oldest show, next to Meet the Press, is kind of our beacon of how we think about the future. How do you create content in clips that you can push out in different ways. So when we're looking at the NBA, NBA which is this great young, multicultural game, these kids aren't all sitting down to watch a two and a half hour game. They want to figure out the highlights. They want to see what happened the night before. So we have to program differently. So I think you've seen us lean in much more to sports, and you're a big part of that. By the way, if the number one show on TV is SUN and at football, yes, what's number two?

Yeah, well we did forget. It's also SNL's fiftieth anniversary show will be that night. So the coolest thing I think SNL, which is in its fiftieth year, is probably the greatest example of how people consume content today. And if you look at it, in it's forty seventh year, it became the number one entertainment show in television. Wow, which is a crazy to think on linear television. It's the number one show on social and streaming every day you wake up and it's the first thing you see when you stream as well. And so we use SNL, which is crazy that probably our oldest show, next to Meet the Press, is kind of our beacon of how we think about the future. How do you create content in clips that you can push out in different ways. So when we're looking at the NBA, NBA which is this great young, multicultural game, these kids aren't all sitting down to watch a two and a half hour game. They want to figure out the highlights. They want to see what happened the night before. So we have to program differently. So I think you've seen us lean in much more to sports, and you're a big part of that. By the way, if the number one show on TV is SUN and at football, yes, what's number two?

It's not Football Night in America, it is your show.

It's not Football Night in America, it is your show.

Your show is the number two show in prime time. You should use that with your agent. Yeah, you use it.

Your show is the number two show in prime time. You should use that with your agent. Yeah, you use it.

You don't want that problem?

You don't want that problem?

No, that's yeah, that's a good call. Let's erase that stuff. No, but it so I think the NBA we're going to take that same approach that we did with SNL as well.

No, that's yeah, that's a good call. Let's erase that stuff. No, but it so I think the NBA we're going to take that same approach that we did with SNL as well.

I like that you brought up streaming and how that kind of changes things. And just from your role and your vantage point, what has the streaming industry done to content and just advertisers, the viewership and how you have to think about the way that you do your job.

I like that you brought up streaming and how that kind of changes things. And just from your role and your vantage point, what has the streaming industry done to content and just advertisers, the viewership and how you have to think about the way that you do your job.

Well, I mean it's it's a good question. I mean, if the average consumer today spends thirteen hours with media, so in order to look at that number, that's really scary as a marketer, right, So number one, you have to find them. You need something that delivers scale thankfully, and vic Universal does that, reaching two hundred and seventy three million people every month. But then you have to engage. Once you find, you have to engage them. And so what we're trying to figure out in all of these things is what is the right environment. So if you go back to two thoy and eighteen, we launched something that was called Prime Pod. So every first pod across NBCU was one minute long. That used to be a three and a half minute pod. We took it down to one minute because we were testing what was the right length. If you go on to Peacock right now, it's one minute breaks and there's five minutes an hour. So we were starting to learn of what we were doing in streaming and bring into linear and vice versa on that because for our first ninety seven years, the only feedback loop we had was really Nielsen ratings, which we know aren't exact science. And so now we can look at it and we're getting the next day. I can see minute by minute by show what commercials perform better. Should we have a pharma commercial in the first pod? Or is a pharma commercial perform better in the third pod? So all of those things are now part of the ad experience that we're thinking about.

Well, I mean it's it's a good question. I mean, if the average consumer today spends thirteen hours with media, so in order to look at that number, that's really scary as a marketer, right, So number one, you have to find them. You need something that delivers scale thankfully, and vic Universal does that, reaching two hundred and seventy three million people every month. But then you have to engage. Once you find, you have to engage them. And so what we're trying to figure out in all of these things is what is the right environment. So if you go back to two thoy and eighteen, we launched something that was called Prime Pod. So every first pod across NBCU was one minute long. That used to be a three and a half minute pod. We took it down to one minute because we were testing what was the right length. If you go on to Peacock right now, it's one minute breaks and there's five minutes an hour. So we were starting to learn of what we were doing in streaming and bring into linear and vice versa on that because for our first ninety seven years, the only feedback loop we had was really Nielsen ratings, which we know aren't exact science. And so now we can look at it and we're getting the next day. I can see minute by minute by show what commercials perform better. Should we have a pharma commercial in the first pod? Or is a pharma commercial perform better in the third pod? So all of those things are now part of the ad experience that we're thinking about.

Random side question.

Random side question.

You know the AI content that was built around the Olympics, so you could have al Michaels basically to you, I know about.

You know the AI content that was built around the Olympics, so you could have al Michaels basically to you, I know about.

Whatever you're interested the most.

Whatever you're interested the most.

You know, So al Michaels has been doing this live somehow an AI system is creating your highlights for you.

You know, So al Michaels has been doing this live somehow an AI system is creating your highlights for you.

Just how did that work? It was so cool?

Just how did that work? It was so cool?

But now I'm kind of curious how that worked and how the market responds to something like that.

But now I'm kind of curious how that worked and how the market responds to something like that.

It was it was cool. We were in a meeting with Brian Roberts, our CEO, and the tech team was showing them this that they had created. So the concept was al Michaels delivers your custom highlights every morning. And al Michaels has been on NBC for on and off for thirty plus years. He didn't need to record one thing. But we went to him and said, how would you like to be the first person that has ever done this? And he was like, I'm all in. I love this. He's a CNBC junkie, so he's like AI, He's like, I want to be involved in this. So when we saw it and they were showing it to Brian and I was like wait a minute. I was like, this is who built this? Like how does this work? And they were like, oh, it's there was a company out of Israel and then it's built on a Microsoft instance and I was like, well, I'm going to take it to Microsoft and Microsoft was all in on it. So that's how that one came to life. And al Michaels loved it and every morning he would tell me how we did in basketball team USA won again. But it is crazy that they took thirty years of his voice and you could not tell the difference when you would watch the highlight.