As read by George Hahn. https://www.profgalloway.com/media-consolidation/ Learn more about your ad choices. Visit podcastchoices.com/adchoices
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I'm Sky Galloway, and this is No Mercy, No Malice. Digital is the apex predator. Legacy media is the prey. There are still lots of sheep. Media consolidation, as read by George Hahn.
The hottest product in tech is Blue Sky, adding one million users a day since the election. CEO Jay Graber says the platform will never have ads, as ads are the road to enshitification. Okay, then. Ad-supported media as a whole is one of the least volatile businesses over the last century, accounting for 1.5% of GDP and rarely straying from that number.
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Chapter 3: What is the relationship between digital and legacy media?
Inside the sector, things are less tranquil, i.e., more chaotic. In an attention economy, money follows eyeballs. I believe we'll see ads on Blue Sky eventually, but for now, let's talk about consolidation in the broader sector. Stories about Burmese pythons litter the local news in Florida. These snakes get big, really big.
The serpents can grow to as much as 16 feet long and weigh hundreds of pounds. This presents a problem as most owners are five foot nine and soon discover their roommate situation is unworkable. Owners release the snakes into the Everglades where they begin taking down alligators and deer.
An alien species to the ecosystem of swamps, marshes, and mangrove forests, they've established themselves as the apex predator and their population has exploded. The threat to Florida's ecosystem is so great that mitigation efforts include employing full-time snake hunters and organizing state-sponsored hunting competitions. The winner of one competition earned $10,000 for nabbing 28 pythons.
a drop in the bucket against a species that lays 30-plus eggs at a time and can reproduce asexually. After three decades, the U.S. Geological Survey concluded in 2023 that the python is winning. Unlike the classic apex predator, which evolves alongside its prey, a non-native apex predator arrives with such disruptive force that instead of dominating an ecosystem, they transform it.
Chapter 4: How does media consolidation affect the ecosystem?
Legacy Media looks like Florida 30 years after the arrival of the Burmese python. A non-native apex predator... digital is out hunting and out reproducing the previous apex predator, legacy media. Digitization lowers the barrier to entry, giving everyone access to everything.
Initially, this looks like competition with extra protein, but over time, it becomes consolidation on steroids, as digital ecosystems are winner-take-most or all based on who establishes leadership and access to the cheapest capital. Amazon registers 37% of e-commerce in the U.S., while its nine closest competitors, Walmart, Apple, Target, etc., account for 23% combined.
Nearly two-thirds of the world's social media ads are sequestered to meta. Since 2014, 90-plus percent of internet searches are done on Google. The second most popular search engine, Microsoft's Bing, commands less than 4% of the global search market. Three companies, Match Group, Bumble, and eHarmony, control the entire digital dating marketplace.
There is also consolidation on the customer end, where 10% of men get 80% to 90% of the dating opportunities. In my industry, podcasting, the concentration is extreme even by digital standards. Of the 600,000 podcasts that produce content each week, the top 10 capture half the revenue.
Put another way, to build a business in podcasting that pays people well and retains talent with high opportunity costs, you likely need to be in the top 0.1% by listenership. As a member of UCLA's crew team, I was 3.5 times more likely to be an Olympian than a successful podcast host.
In the late 1990s, a wave of Internet startups introduced a non-native apex predator called streaming into the television media ecosystem. Thirty years later, most of those startups are dead, but their species has transformed the ecosystem such that streamers are the hunters and legacy media the prey.
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Chapter 5: What does the rise of digital platforms mean for traditional media?
To paraphrase what Ernest Hemingway said about bankruptcy, legacy media consolidated gradually, then suddenly. Here's the gradual part. Over the past four decades, we've gone from an ecosystem where the number of companies controlling 90% of American media has gone from 50 to 6. Deregulation, financialization, and lax antitrust enforcement incentivized consolidation.
But the shift from analog to digital made it a necessity, with the legacy media companies bulking up to keep from being devoured by digital. The sudden part happened last month when Comcast announced it would spin off its cable assets, USA, CNBC, MSNBC, and E, along with digital properties such as Rotten Tomatoes and Fandango, into a holding company called SpinCo.
My first serious relationship in NYC was with a wonderful woman who suffered from bipolar disorder. We broke up for a simple reason. I did not know who I was going to wake up next to in the morning. When a company has a profitable but declining business, cable, and a growth business, streaming, investors don't know who they're living with. They don't know how to value the asset.
So they assign the multiple of its worst business to the entire company. The divestiture of assets in different lifecycle stages provides more clarity to investors and ultimately creates a smaller whole that's greater than the sum of its parts. The SpinCo cable assets generate about $7 billion per year in revenue.
Chapter 6: How has the media landscape changed over the decades?
Meanwhile, Peacock, Comcast's streaming service, reduced its losses from $565 million to $436 million year over year. But more important for a growth asset, its revenue increased 82% year over year to $1.5 billion. I predicted SpinCo a year ago. I'll make another prediction now. SpinCo will become a vehicle for acquiring other cable assets.
Warner Brothers Discovery and Paramount are likely sellers, as both have profitable streaming units that are weighed down by legacy assets. When Max swung from a loss of $1.6 billion to a profit of $103 million year over year, Warner Brothers Discovery saw its stock fall 12%. Paramount Plus turned a $49 million profit in Q3, but Paramount's market cap is down 19% this year.
Disney, the only legacy player to see its stock increase after its streamer reached profitability, says it's not selling its linear assets, ABC, FX, ESPN, etc., as those networks are deeply integrated into Disney+. Interestingly, all three companies are betting on bundling strategies, i.e. consolidating cable content in one app without the cable infrastructure.
Netflix, the non-native apex predator, says it's strong enough to hunt solo. I think Bob Iger is either wrong or he's playing poker and holding out for a better price.
If Disney sold its cable assets for $1, I believe it would be worth more within a year, as it would offer a cleaner story regarding streaming, movies, and the parks, versus Bob apologizing every quarter for ABC and ESPN's lackluster performance. The second best investment I ever made was in a Yellow Pages company.
At the time, these assets were declining at 7% to 12% per year, but they were still throwing off a lot of cash flow. We acquired one Yellow Pages company after another on this basic thesis. Together, we can survive, even prosper. Alone, we're all dead.
our strategy was simple, cut costs faster than revenue decline by retaining the top 10% of salespeople, closing headquarters and laying off nearly everyone at HQ. That we were able to pick up these assets on the cheap meant that every year we increased cashflow. Coda, ultimately the company returned to growth as a customer relationship management firm.
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Chapter 7: What are the implications of deregulation in media?
Distressed assets can be great businesses, as they can be bought on sale and typically don't go away as quickly as people believe they will. The median age of an MTV viewer is 50 years old. The median age of an MSNBC viewer is 70 years old. These aren't attractive demos for advertisers, but those audiences are likely to continue tuning in for the rest of their lives.
As long as ownership stops trying to inject Botox and filler into a senior to make it look young again, they can generate increasing cash flows with linear assets by cutting costs faster than the rate of decline via consolidation. In television, the platform has always been bigger than the talent. In podcasting and the creator economy, it's the converse.
Net neutrality protects the little guy from getting muscled out on distribution, as the distribution is accessible and free to everyone. The means of production are relatively cheap. My podcasting kit costs around $1,000. A decent TV studio can run over $400,000. There is little sustainable enterprise value in a podcast company. What matters isn't capex or infrastructure, it's talent.
That's why a small number of individual podcasters are getting rich, but not a lot of podcast company shareholders. Podcasters command a greater share of revenue, and their orders of magnitude more efficient than TV studios, resulting in better pricing for advertisers. A cable news anchor recently told me he expected his compensation to decrease 80% with his next contract.
He isn't Rachel Maddow, though her new contract at MSNBC reportedly will pay her $5 million less per year. Puck calls this the great TV news comp depression. But it isn't just cable news. I recently had lunch with an Oscar-nominated movie star, Flex, who told me he'd worked for Scale, i.e. the Guild Minimum, on his last few films.
On the scripted television side, where salaries historically increased with each new season, networks are cutting pay to keep shows afloat. CBS reportedly cut pay for the cast of Blue Bloods by 25%. Industry-wide, actors have seen their median hourly wage decline by 56% since 2013.
Television writers, who went on strike with zero leverage just as their employers were scaling back content budgets and shifting production overseas, are 1.5 times more likely to work for the Guild minimum than they were a decade ago. An apex predator released into the wild has reproduced asexually, doesn't need distribution partners, and is devouring the ecosystem.
Since launching its original content business in 2012, Netflix's market cap has increased 7,337%. This means the industry is booming for all involved, no? The dominant means of production for scripted television is Netflix, which has flexed this muscle to reshape the flows of value.
Specifically, it has reduced production costs while massively investing to create an explosion in the amount of content, transferring value from all parts of the ecosystem to the company's shareholders and subscribers. If you live in LA, you've likely given four stars to a former producer of a reality TV series.
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