News
Dylan Byers: Bari's New Perch & Kimmel's Curtain Call
In this episode of Empolitik, host John Hylamin discusses the recent appointment of Barry Weiss as editor-in-chief of CBS News, exploring the implications of her controversial career and the shifting ...
Dylan Byers: Bari's New Perch & Kimmel's Curtain Call
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Interactive Transcript
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Oh, no, not my stay everyone and welcome to Empolitik, which on Hyalminate Puck and Odyssey
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joint featuring lively in-depth conversations with people who cruise the quarters of power
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in America, sculpting and shaping the ebb and flow of our politics and our culture.
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By the time a lot of you listen to this episode of the show, a thing that until recently
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would have been unthinkable will not just have become thinkable, but will have become
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cold, hard, fact.
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Barry Weiss, the 41-year-old former op-ed writer and book review editor of the Wall Street
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Journal, then an op-ed staff editor, writer on culture and politics at the New York Times,
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and more recently a paragon of the crusade against wokeism, scourge of anti-Semitism in
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all its forms, and unyielding champion of Israel, who founded one of the premier substac
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empires of our age, the free press, that Barry Weiss, loved by some, disliked by others,
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but someone who has fierce and unalloyed convictions about many things that made her
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very popular among certain people in the media ecosystem, she will have been named the
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editor-in-chief of CBS News.
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Yes, CBS News, the CBS News of Edward Armurrow, Walter Cronkite, Dan Rather, the 60 minutes
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of Mike Wallace and Harry Reesner, morally safer and Leslie Stahl, that's 60 minutes,
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will now have it sit editor-in-chief, someone who has no, repeat no, history or background
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in the television business or television news whatsoever.
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At the same time, over on the entertainment side of CBS, last week Stephen Colbert, host
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of late-night with Stephen Colbert, hosted Jimmy Kimmel, and vice versa, Jimmy Kimmel
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will also host it Stephen Colbert on his show during Kimmel's week-long series of episodes,
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broadcast from the Brooklyn Academy of Music, the place where I am currently sitting New
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York City, putting a cap on the furer over ABC's suspension of Kimmel, a new pressure from
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Donald Trump and his FCC chairman Brendan Carr, followed by his reinstatement by Bob Iger,
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Disney CEO, and the reinstatement by the big station groups, next star in Sinclair, that
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had briefly continued his suspension after Disney had yielded.
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All of that happened a couple of weeks back.
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Everybody folded in the face of public pressure, Trump and Carr returned to their corner, Kimmel
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emerged triumphant.
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We all take pleasure in that, but the question is, what next?
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That's the question we want to address today.
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To help me do that, help me do that, and help you do that, and help everyone who has
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an interest in the tectonic shifts taking place in the news and entertainment landscapes,
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the structure so much of all of our lived and shared realities to help us unpack and make
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sense.
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So both of these stories and a few more besides, we have with us today Pucks very own, master
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of the media multiverse Dylan Buyers.
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As always, what Dylan provides isn't just his usual deeply sourced reportage about what's
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motivating each of the key players to make the moves that they are making and might make
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in the future, but his supremely savvy analysis about why these stories matter and where they
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go from here.
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He does all that.
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Along with offering his take on Sam Altman's latest Sally and AI's campaign to take over
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Hollywood, and he also offers his oddly endearing incoherent to the recently and dearly
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departed Bob Barnett, power lawyer, big swinging deal maker and quasi literary agent to the
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stars and the powers that be in Washington DC, you will get that.
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And more, every single bit of it, all of it.
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Coming at you on this all new episode of a politic with John Hylamin in three, two, one.
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When I left the New York Times, I had absolutely no plan at all.
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All I knew was that the thing I had seen was intolerable to me and that I didn't want
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to be a fig leaf for something that I felt had become sort of corrupt and more, most
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fundamentally that like the whole reason I became a journalist was to pursue my curiosity
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and if I wasn't going to be able to do that, what was the point?
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In retrospect, when I wrote that viral resignation letter, I like should have had a little widget
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was like, give me your email and follow along to see what I'll do next.
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The business would have been much further along by this point had I done that.
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Instead what I did was commenced a strong diet of day drinking and telling Nelly that
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anything short of like becoming, like building a world changing empire was sort of going
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to be too small.
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Like I had seen such an enormous problem and the solution had to feel equally enormous.
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So that was Barry Weiss a few months ago back in June appearing on conversations with
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Coleman, which is a podcast hosted by a young conservative African American writer named
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Coleman Hughes, brilliant kid, that Barry just made part of the free press and Dylan,
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Dylan Byers, good to see you.
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I wanted to kick off our conversation with that clip because I thought it was very much
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on point to what we have to talk about.
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You hear Barry there describing both her degree of alienation with mainstream media when
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she left the New York Times.
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We knew all about that but she lays it all out there again and the scale of her ambition
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in a very succinct way, just how big her appetite was to change the world when she went out
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to start the free press and all of it interesting on its own but also cast in a kind of new light
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as she's about to be named, about to be named by the time people hear this, she may have
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already been named editor in chief of CBS news along with being handed a big pile of
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dough.
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Yes, she'll get, she'll get the title editor in chief, she will get a deal that values
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the free press at around 150 million mix of cash and stock and she will, she will complete
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this journey from feeling ostracized by her colleagues at the New York Times just five
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years ago through the building of this sort of sub-stack empire and then now being installed
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a top one of the most agust and storied news brands in the history of American journalism.
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Yes, and in a lot of ways, let's just say out loud, the New York Times is the CBS news
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of newspapers, CBS news is the New York Times of network television.
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There's something interesting in all of that and you've killed everybody on this story,
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you've been ahead on Barry Weiss from day one, congratulations, you've broken the initial story
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and then every incremental piece of news after that is basically coming out of Dylan
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Buyers.
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Just tell me about, so let's take it from the very point of view first because that's where
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we started.
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Why is this, I mean, how much money is she going to make out of this you think?
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You said mix of cash and stock, how much cash does she end up pocketing do you think?
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Number one, and number two, beyond the cash, why does she want to go into a medium that
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she has no real experience or specialization in television video that is?
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And return to the arms of mainstream media when she was on the way towards, you could
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argue, building exactly the kind of world changing empire she said she told Nelly that she
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wanted to build.
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Yeah, I mean, as for the cash, look, I don't have this specific breakdown of the cash stock
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balance here, nor what Barry and Nelly and Co are entitled to, it's obviously generational
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wealth, right?
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I mean, it's enough to set up her kids and maybe her kids kids as well, or at least put
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them on the right path, tens of millions.
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Why did David Ellison want to bring her to CBS news?
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I think that a few things are important to keep in mind here.
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One is that when David Ellison got Paramount, he didn't get it for the news division.
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In fact, if David Ellison and Jeff Shell could have like inherited Paramount Studios and
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the NFL rights and the masters and Paramount Plus and all of that without the news division,
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they probably would have.
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So they came in, they took a news division that is losing money effectively.
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I mean, it's at best marginally profitable now if you take away the affiliate fees, it's
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actually just losing money.
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It is a perennial third place network, despite its storied tradition, despite how powerful
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60 minutes remains, despite the sort of legacy of Cronkite and Merrow and all that.
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I think they saw a blank slate.
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I think that they saw both an opportunity to create a news division that was more reflective
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of their own politics, which were not nearly so sort of left of center as CBS news has
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been in recent years, at least in their view.
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I also think they saw an opportunity, a market opportunity to say, okay, there's ABC and
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Good Morning America, there's NBC in today's show, like let's turn CBS into something
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that fills a different, that occupies a different lane.
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And lo and behold, like in that milieu, which I like to call the Sun Valley set, you know,
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all the sort of Hollywood media executive types, Barry, by virtue of, you know, waging
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her campaign against mainstream media and the illiberalism of the New York Times, by virtue
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of her saying out loud, you know, that woke is a bad thing, by virtue of her standing up
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for Israel, she became immensely appealing to that crowd.
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And so I think that David, who's, you know, got limitless capital and is sort of building
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his own empire and may, may also go after Warner Brothers discovery and bring CNN into
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the portfolio.
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He's thinking, okay, well, I also have this news division.
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I wanted to better reflect my politics.
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There might be a market opportunity here.
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Why not?
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I don't think he, I don't think he suffers the, the acute sense of nostalgia that so many
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journalists have for what CBS news used to be.
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I think he wants it to be different and interesting.
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I think he really likes Barry's politics and he saw an opportunity for what in his world
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is not a lot of money to bring her into the fold and put her atop this news organization
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and at least make it interesting.
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And so this thing that I think is sort of an ethema to so many traditional journalists,
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this notion that Barry Weiss could somehow wield editorial control of this century old
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news network is actually is now going, is is going to happen by the time your listeners
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are hearing this, like, within a matter of hours.
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Right.
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So, there's a couple things in there just to go back to tie off a couple loose ends.
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Barry has investors, right, in the preprocess.
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Yes, yes.
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Right.
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Many of whom are among that Sun Valley set.
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Right.
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So, you know, they're going to get paid, they're going to get paid for the free press.
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First people who are going to get paid are the investors.
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She's going to get, then there's going to be her and the co-founders who are going to
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take the lion share of the rest of the rest of the sale price.
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And then that's going to be partly in stock and partly in cash.
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So not to challenge your notion that she's getting paid a lot of money and that it's going
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to be generational wealth.
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I'm just, just to clarify, you know, depending on what the stock and cash mix is, she could
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end up getting a lot of CBS and a lot of a paramount stock.
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And that's, and that's, and that she's not obviously going to be getting the whole of
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the sale price.
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The majority of the sale price is going to be going to her investors.
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So she's going to get, she can make money, but she's not, nobody should be under the
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illusion that she's getting $150 million in cash on the barrel head here.
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No, that's absolutely right.
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It's absolutely right.
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And I don't have to break down exactly what it is.
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But let's put it this way.
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What you're looking at is the free press probably does somewhere between 15 to 20 million
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in annual revenue.
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So you're looking at somewhere between like a seven and a half to 10x multiple, which
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is a great multiple for a heavily politicized opinion, news and opinion, but really opinion
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site that's really like exposed to a lot of key man risk because frankly, like the business
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is Barry.
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So yes, totally a lot of this is going to be stock and she's, it's, she's not, there's
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not going to be some massive windfall on day one.
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But the exit here, the offer here on the table from David Ellison was decidedly something
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that was too good for her to pass up.
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Right.
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So, you know, that's a, I look, no one's, no one's in any way dissing the, the value that
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she's getting the free press has fetched a pretty penny for what it is.
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And so, you know, get hats off.
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And certainly whatever she ends up taking out in cash and stock is something that you,
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neither you nor I would, would turn up our nose at, right?
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Correct.
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Let's say that.
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Yeah.
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The second question I have is asking the, the dumb, dumb question, right, which is you
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started by saying that if David Ellison and Jeff Shell were able to take over Paramount
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without the news division, without CBS news attached to it, that they probably, they
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probably would have.
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And then you said that CBS news, I think correctly said it is basically at best a break
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even operation, probably a money losing operation all, all in, right?
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Yeah.
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So, why is the answer to that?
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If those two things are both true, why is the answer to that not, let's just shut down
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that CBS news.
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We didn't want it to begin with and it doesn't make any money.
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Why not kill it?
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That's a great question.
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I think, not that I'm pulled that by the way, but just to say like it's a reasonable logical
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question.
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Sure.
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I think, well, there are two ways to look at this.
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One is there is a degree of influence that comes from owning a news network that can create
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extraordinary headaches as Sherry Redstone, the previous owner of Paramount knows, but
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that also confers certain benefits, which is presumably why a guy like Jeff Bezos goes
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and buys the Washington Post.
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Are the benefits worth the headaches, worth having to deal with FCC chairman, Brendan
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Carr?
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I don't know.
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But you do have it and I imagine that things would get pretty messy if you tried to shut
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down one of the three big broadcast news networks.
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I don't know exactly how they get messy, but I imagine they get messy.
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But I think what's sort of more compelling here is if you accept the thesis that owning
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a news network can be advantageous.
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And then you look a few moves ahead on the chess board at David's desire to acquire Warner
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Brothers Discovery, which would bring CNN into the portfolio.
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People have been talking about tying up CNN and CBS news for at least two and a half decades.
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I mean, every sort of five or ten years, you know, whoever is in control of CNN, there's
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a story here about why that would make sense.
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You have a cable network and a broadcast network.
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It would clear the regulatory hurdles and both sides would benefit.
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It's not hard for me to see that part of the empire that David is trying to build would
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include the CBS CNN tie up, which by the way might conceivably extend Barry's remit
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over CNN as well.
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And so I think that might be part of the motivation here.
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Right.
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So it's like it's kind of more precise to say that David Ellison and Jeff Schelpe would
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have been happy to acquire and would still have very much wanted to acquire the paramount
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empire if CBS news wasn't part of it.
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But maybe they didn't quite, it's going a little bit too far to say they would rather
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not have had it attached.
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They looked at it and thought the reasons for that that because it was attached, the
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reasons that they could see some upside in that had to do with influence and cultural
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currency and so on and so forth.
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And maybe some way to figure out something that a lot of us have thought about a lot over
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the last decade, which is people still want to news is still consumed by billions of
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people, right?
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Yes.
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And video is still also viewed by billions of people.
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The old structures of linear cable news and broadcast news make no sense whatsoever.
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But the hunger for seeing news content and seeing it visually as opposed to reading it
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is still vast as YouTube demonstrates.
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So is there a way to write size those assets and create something that is either a news
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gathering or a news interpreting video operation built on those assets that could be super compelling
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when everything is up for grabs in the world of video news, again, for which there is a large
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and robust audience and potentially profits to be made if someone can figure out how to
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crack the code on the right business model?
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Yeah, I think that's absolutely right.
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And I think that those, the team that David has in place are at least tempted by that idea,
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right?
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We know that news is going to matter.
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There is, even though it's so hard for people to crack and even though media executives,
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like, you know, that David has loves and Brian Roberts of the world love to joke about how
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their news division accounts for like 5% of profits and 95% of their headaches.
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They are still tempted by the influence.
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I mean, you look at what like Murdoch built.
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I think if you're someone like David Ellison, particularly if you're his dad, Larry Ellison,
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that piece becomes tempting.
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At a certain point, you know, what do you get the guy who already has everything?
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Like if you can crack the news game, that is a level of power and influence that I think nothing else can deliver.
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What do you get the guy who has more money than he knows what to do with?
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Like, he has plenty of money.
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Where money is not really the point anymore.
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I mean, always everybody has, everyone has a lot of money, always wants more money.
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But that you start to think about things like, how do you change the world?
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How do you influence the course of human events?
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How do you have influence?
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How do you get the best table at the most sought after restaurant in the Hamptons?
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Like these are the things that start to matter to you at that point.
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Exactly.
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Exactly.
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I think David Ellison will have a hard time getting a table anywhere he wants.
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My last question about this is David Ellison's politics.
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Because you mentioned that.
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Build a news organization that's more aligned with his politics.
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You know, I don't know David Ellison.
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Larry, his father, I know a little bit and has always been a Republican, is now a Trump Republican, not surprising.
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David Ellison wrote a million dollar check to the Biden Victory Fund in 2024.
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And people who know him have said before that they don't really understand his politics,
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that they don't think of him as being as Republican, as reliable, or Republican, as his dad,
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at least not until now.
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Now, you know, all people's politics, as you know, Dylan in this business are in flux, are fluid.
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In the world we live in.
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But do you have a sense of, is David Ellison's politics roughly bury Wises politics?
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Is that your sense of it, which is to say she would say that she's not MAGA.
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She would say she's an anti-woke classical liberal, I believe, is what she would say.
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Is that kind of where David Ellison is on the cultural politics scale?
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And then his partisan politics are kind of fluid.
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He's going to do what he needs to do, as we have seen, to make sure that Trump doesn't fucking over.
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Is that essentially what we think David Ellison is politically speaking?
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Yeah, I think that hits the nail on the head.
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I think this is part of the appeal to Barry, again, going back to her investors,
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who include like Howard Schultz of Starbucks and Bobby Codic of Activision.
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And again, like that sort of business class, which the politics are not...
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And there are exceptions to the rule, right?
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There are vowed Democrats, vowed anti-Trumpers, vowed pro-Trumpers among that group.
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But for the most part, I think it's a largely libertarian or classically liberal mindset
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that went through a sort of trauma during the course of COVID plus the post-George Floyd moment in American history.
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And this sort of feeling that all of a sudden, they were...
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Because of the rise of wokeism or identity politics or whatever you want to call it,
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they effectively felt like they weren't allowed to say certain things.
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They weren't allowed to behave in certain ways.
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And by the way, there are certain ways and certain behaviors that shouldn't have been tolerated.
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But they felt like all of a sudden they were living in this world where
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they could get canceled for something they said, none of their employees wanted to come into the office.
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All of a sudden, it became controversial to support Israel.
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Barry came forward and basically said, it's okay to make fun of the woke kids.
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It's okay to tell your employees to shut the fuck up and come back to work.
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It's okay to be a vowed pro-Israel.
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And I think they really gravitated toward that.
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I think it was really nice to have someone all of a sudden show up and say, like, no, guys,
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you're allowed to say these things again.
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And so I think their politics sort of live somewhere in that lane.
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I think a lot of people would refer to it as center right.
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I think it's people who basically think the New York Times is too liberal.
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And, you know, sort of would rather read the Wall Street Journal.
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And then maybe even sometimes think the Wall Street Journal is too liberal.
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But aren't necessarily pro-Trump, aren't necessarily Fox News enthusiasts.
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Right. And another way to think about that is that it's possible.
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I'm this is purely a speculative venture, although I would bet a decent,
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the small amount of your paycheck I would bet on this, that basically David Ellison's politics
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are like a lot of other Silicon Valley bros of his generation, which is that they're like Mark
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Zuckerberg's politics, which is to say kind of like, I want to do what I want, say what I say,
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and get paid a lot of money.
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I have nobody really yell at me.
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And if that means I have to suck up to Trump when he's president and Biden when he's president.
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And if there's, and if Zora Mom Donnie is president of the United States in 2028,
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I mean, somehow if that were to happen, unlikely as it is, you know, Mark Zuckerberg
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keep fine a way to become like a charter member of the Silicon Valley tech bros for Zora and
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fan club, right? I mean, there's no fixed politics there. That's just an opportunity to think that's
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yes, except for let me make as much as I've said my capitalist.
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I want to make my capitalism.
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And I would like to be able to say what I want to say.
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Other than that, I'll do whatever I need to do to being good with whoever's in power.
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They are consistent with being anti-regulation
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into the extent that it stands in the way of their business.
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And I think they are, I do think that for some of this crowd, particularly Larry Ellison,
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Sherry Redstone, again, previous owner of Paramount, there is a very, the politics of Israel
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tend to matter a lot among this.
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Sure.
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Those are very important.
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That specific issue is very important to them.
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And yes.
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And then I think that just I do think that there was a real, I think there were a lot of those
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corner tables in the Hamptons and in Brentwood and Beverly Hills where
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the amount of just like what the hell is going on with the wokeism, what the hell is going on with
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like the slack channel trying to dictate the direction of the company.
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There was a lot of frustration with that that was palpable over the last few years.
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Yes, there definitely was.
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And in some cases, justifiably, I have one more Barry-related line of questioning for you, Dylan,
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but we need to take a break.
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So we will return to that line of questioning, which is all about the incoming
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editor-in-chief of CBS News, Barry Weiss.
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And why on earth Barry Weiss wants that gig at all in the first place and just how hard
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doing it well is going to be for her. We'll get to all of that right after these words.
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What's up guys, it's Candace Dillard Bassett, former real housewife of Potomac.
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And I'm Michael Arsino, author of The New York Times Best Seller, I Can't Day Jesus.
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And this is undemesticated. The podcast where we aren't just saying the choir parts out loud.
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We're putting it all on the kitchen table and inviting you to the function.
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If you're ready for some bold takes and a little bit of chaos, welcome to Undemesticated.
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Follow and listen to Undemesticated, by LeBot Wherever You Get Your Podcast.
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My own feeling on it when I saw it was it's like Barry's doing well with the free press.
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She's got a lot of investors who she's, you know, doing a good job for and they'll probably take
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a hefty amount of that money. But to me, this feels like somebody comes up to you and says,
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I've got this beautiful ship I'd love for you to captain. It's absolutely gorgeous.
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You might even call it unsinkable. It's going to set sail on the Atlantic. We're going to head north
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into the Arctic area. There may be a couple of icebergs. I'm sure you'll be fine. Here's the wheel.
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Why would you go into mainstream media right now?
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It's dead. It's dying. It absolutely is on track for the iceberg. I just don't understand
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the allure. So that was Megan Kelly reacting to the news, which she probably read when you first
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broke a Dylan, the news that Paramount was going to buy the free press and install Barry in some
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position of high leadership at CBS News. We now know editor-in-chief. And Megan Kelly,
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they're asking what I think is a not unreasonable set of questions. If you are someone who's
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thrived in the creator economy as both Megan Kelly and Barry Weiss have done. The thing that I
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think of when I hear that is beyond all the personal stuff of Megan Kelly that comes through their
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her own agenda and her own experiences is you might as well as it's like Barry, the host body
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that you were about to try to inhabit and change. There are going to be a lot of antibodies
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who are going to try to fight you off and try to kill you as if you were an infection. We've seen
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what happened to others very different circumstances with Chris Lick that CNN, but not
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wholly different. These are high bound institutions that have built up a lot of
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scar tissue and a lot of resistance to change agents of various kinds. She may be more effective
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as a change agent of the Chris Lick. She may not. But she's going to encounter a lot of the same
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kind of institutional sclerosis when she gets there. How do you think she thinks about that?
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About how steep the hill is that she has to climb. She's going to actually change CPS news.
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I mean, look, there's a lot of people around there who are going to be setting out traps for her
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on that mountain side. She tries to climb it. The moment that she walks in the door.
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This is sort of the essential question because yes, there are going to be a lot of antibodies.
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The longer an institution has been around the higher its sense of self and its sense of its own
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importance, the harder it is to change the culture. The infrastructure that is being set up for
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Barry is going to be as advantageous as possible because she is going to report directly to David
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Ellison. There will be no Tom Sibraski, who's the president of CBS news, will not be able to tell her
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no. She will get to dictate the editorial direction. There could be a lot of people in the company
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who don't like that vision and will either leave of their own volition, which might be a welcome
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development for the new regime, or might get laid off because the other elephant in the room here
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is that CBS news is going to lay off, maybe as many as a hundred people I'm told in the coming weeks.
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She has the blessing of David Ellison and David Ellison as the boss. That will help. I think what I
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am as interested in, which is a different side of this question. The brand that Barry built for
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herself at the New York Times, and then especially over the last five years, is the outsider,
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the person who's sort of railing against the institution, against the establishment, saying that
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mainstream media, progressivism, it has all gone off true north and gone illiberal. I hear on my
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sub-stack in this lone truth teller who is saying all the uncomfortable things that the establishment
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media won't tell you. The question is what happens when you become the establishment? Because it is
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really easy to sort of punch up or to play the outsider if you're running your sub-stack and your
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own little shingle. But if you get put in charge of this storied news institution and your
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programming is running in between like NFL games and NCIS reruns, that is a different, you know what I
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mean? It is very hard to go after the establishment from that perch. What I think will be interesting
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is what do you do? What sort of responsibility do you assume? Then that undercurrent of everything
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that gets written at the free press, which is sort of like we're telling you what the mainstream
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media won't tell you, that's not a crutch you can lean on anymore. You're going to have to take
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really thoughtful positions that say something, that say more about what you were speaking for
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rather than just what you were speaking against. And it's going to be interesting to see how she does
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that. Now, a code out of all this is that my view is that there's a lot of anxiety among
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CBS news veterans among the sort of champions of mainstream media who feel like Barry represents
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this rupture with the tradition of Maro and Cronkite and rather and Sheifer and so on and so forth.
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I think that if you get outside of the Israel question and the Wilkism question,
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Barry's politics are actually much more centrist and palatable than people think.
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She's spoken out against Trump. When the Kimmel thing happened, she spoke out against what
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Chairman Carr was doing. She will be more palatable, I think. And in fact, I wouldn't be surprised
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if her first sort of brush with controversy comes because her sort of free speech
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out absolutism puts her at odds with President Trump. So this is going to be more interesting and
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nuanced and I don't think you're going to see like the Nora O'Donnell's of the world go running
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for the exits because Barry White showed up or the Bob Costas of the world. You know, I think those
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people are going to be like, okay, what can she do? And then frankly, it's going to come down
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a much more pedestrian concerns like, can we actually make the network interesting again?
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Can we actually pivot to a post linear model? Can we do something that doesn't make us feel like
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we're constantly churning viewers? Yeah, it's a look to use the to strike what the obvious metaphor
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here, you know, throwing rocks at rock glass houses from across the street. Very easy to hit the
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house. Very easy to break the glass. When you're inside, if you decided to throw rocks at the
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grass, how should you end up with shards of glass all over yourself? You know, it's just a lot harder.
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It's like a lot harder to do. I agree with you though and about the fact that you can see
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that the first thing that's going to happen is she's going to tack down Trump over something like
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the FCC, Brendan Carthlick. And Trump is going to be like on the phone with David also going,
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you know, fuck. Did I read you said, one of your comps that I read you said that you thought
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there might be a place in this new vice regime for my friend James Bennett? Did I remember?
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Is that you reported that? Yes. Was that state? I don't. Was that state?
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That was the first person reported, but it is true. It's definitely true. I don't know where it
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stands and you're reminding me that before I file, I should probably check in and see if I can
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hook that into my latest piece. But yeah, she's talking to James Bennett, which makes a lot of
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sense because of course it was, it was, you know, when they wrote the Tomcott or they, sorry,
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when the New York Times published the Tomcott Not Bad Send in the Troops. Right. That was
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there was all that furer. And it was, it was the peak time I'm talking about that all these guys
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the workers out of the rule of the rule of the world slack. Yes. And we now are in a different time
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and Tomcott and has written that up at all over again for the Wall Street Journal and I think it
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even had the same headline send in the troops and no one made a stink about it. But she,
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her resignation was in part a protest of that sort of mentality, the mentality that could truly sway
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AG Sillsberger to initially come out in support of James Bennett and then reverse course and
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get rid of him. And so I wouldn't surprise me at all to see Bennett wind up at CBS and at the
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free press. I mean, it still is when people look for good examples and not bullshit examples of
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of wokeism run a muck like examples that even I who think that a lot of the accusations of
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wokeism run a run a muck are self-serving and made up that is an example of something where it's
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like that this was a really this was that was an example of a thing where it was fucking crazy that
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it was crazy. And it's not just because James is a really good friend of mine. But the idea of the
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op-ed page editor of the New York Times would get fired because he published an article by a
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sitting United States Senator and a potential presidential candidate down the line who wrote a
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thing that many people millions of people in the country agreed with that you would get fired for
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that. It was bonkers. It was it was totally ridiculous. It's a stain a deep, deep stain on the New
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York Times leadership at the time that it had there ever happened. Just you know, just for your
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reporting purposes, Dylan, you won't be able to reach James right now. He's on holiday in
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Southern Africa. He just texted me some incredible pictures of lions and rhinos just this morning.
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So you'll have to wait for him to get back from the velled and to re-enter the urban media juggle
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before you can find out for certain if he's going to join CBS News or not. But speaking of the
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urban media jungle, hard turn here. Jimmy Kimmel made his annual pilgrimage to the East Coast
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last week to do the full week of shows, a week long run from the Brooklyn Academy of Music.
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And the guests he lined up for Bruce Springsteen to Steven Colbert to everybody of the world came.
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It was a very big week for him. And you had Kimmel and Colbert sit down and do simultaneous
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appearances on each other's show where Kimmel told the story of what had happened beat by beat
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from his point of view in terms of his firing. It was compelling television. And then he and
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Colbert as part of this, you know, the coming back and forth being on these other shows as part of
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that, he and Colbert had this exchange that we're going to play during Kimmel's appearance on the
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late show at the Ed Sullivan Theater. Take a listen. No, you started as a radio, you know,
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a disjockey. As you said, when you were, you know, spinning platters and making with a banter,
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did you ever think the president of the United States would be celebrating your unemployment?
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I mean, that son of a bitch, you know, is really unbelievable. Mr. Son of a bitch. I mean, Mr. Son of a bitch.
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His loyal, yeah, no, I never imagined that we'd ever have a president like this. And I hope we
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don't ever have another president like this again. I never imagined there would ever be a situation
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in which the president of our country was celebrating hundreds of Americans losing their jobs.
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But somebody who took pleasure in that, that to me is the absolute opposite of what a leader
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of this country is supposed to be. So that was a bit of punctuation in a way on this chapter,
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this chapter of the Kimmel Trump story. And I think that actually makes it a good place to look
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back on it all as we, as the dust has now settled a little bit. Where do you think Kimmel stands?
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And what do you think the next beat of the story is? Because my view has been throughout,
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has been, I'm really glad that Jimmy Kimmel got back on the air. I'm really glad that Disney
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caved in. I'm really glad that the chairman's obviously anti first, anti first amendment dangerous
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to public free expression stance was defeated in the moment. But I just don't think this,
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this, that that battle may have been one, but the war is not over and Trump and Brennan Carr are
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not suddenly going to be like, hey, you know what? Ah, moving on. We're not going to take on,
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we're not going to take on the news media anymore. We're not going to take on the late nethouse
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anymore. There's another, you know, the next beat is yet to come. So just give me your overall
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sense of lessons learned and what the future immediate future looks like in that war.
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I definitely agree with you that it's not over. And one lesson, I think where this sort of
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Kimmel thing netted out certainly for Disney and I think for the media industry more broadly,
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is there's not one, there's not one concession you can make to this administration that gets the
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monkey off your back. The initial 16 million, 15, 16 million dollar settlement that Bob Iger made
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in order to put away the George Stephanopoulos lawsuit was I think they hoped would be that
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concession. And then lo and behold, Brennan Carr came back after Kimmel. So these things don't go
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away. I do think that the blowback was so overwhelming and severe from every corner, whether you're
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talking about Obama or Ted Cruz or the creative community in Hollywood or you know Iger's on
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predecessor, Michael Eisner, that Iger has now been in the churn and the churn now what we know
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is like a real spike in the churn in terms of who do the plus and who lose subscriptions and so on.
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Yes. And I think that has put Iger in a place where he can't, he basically has been forced
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to pick the side that I think is as a human being. I think he would rather have picked in the first
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place, but as a business leader, he's sort of wavered. Like, you know, like how much can I, how much can
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I capitulate before it's a bad, it reflects badly on me, on my brand, on the Disney brand. We've
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basically figured out what that line is and now he is in a position and Disney is in a position
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where barring Kimmel going totally off the rails, which I don't think Kimmel's going to do,
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um, Disney has to have his back in this fight and in future fights. I do think one thing that the
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whole embryo highlighted is that, you know, initially we looked at the power of the FCC to
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regulate broadcast licenses and thought, okay, this is this really unique area where the administration
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can exert pressure on media organizations and make their lives a living hell. I think what we
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learned though through the process of it is that the media companies themselves, the broadcasters
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themselves actually have a lot of leverage. At a certain point, it wasn't advantageous for next
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star or sinclair to preempt Kimmel in perpetuity. At a certain point, that wasn't good for their
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business. Right. I also think, by the way, it's like, it also sort of highlighted that Brendan
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Car's jurisdiction is pretty limited. You know, I mean, Trump's been suing the New York Times and
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Wall Street Journal and the Salisburgers and the Murdoch's have effectively said fuck you.
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So there is this weird little play box to go back to Megan Kelly's point, a dying industry
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where like, yes, there can be a lot of fireworks and a lot of fanfare. But at the end of the day,
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I think that Trump's power over the media in that regard, in that overt pressure campaign,
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is actually more limited than we think. And I think that this whole affair has highlighted that.
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And then, you know, I think, yeah. I was just going to say, you think next star and sinclair
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looked up, maybe this is obvious, but they looked up and said, as we watch our linear audiences
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race to YouTube to watch these clips, you know, we are in fact,
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robbing Peter to pay Paul. We're making our conservative broadcasts, our conservative linear
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viewers happy by keeping Kimmel off the air. But we're losing. We're alerting a whole bunch of
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other people that you know, there's another way to watch him. Kimmel that has nothing to do with sinclair
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or next star. And you're just like causing people to realize who haven't already realized the
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few people who haven't. Hey, you know, you can cut the cord and still see all of Kimmel for free.
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Yes. On YouTube. That's right. Like they went, oh, maybe we, we, we next star, we, we, we sinclair,
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maybe we shouldn't do that. Maybe we shouldn't send our audiences over to that platform.
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It's like, you know, maybe we're actually just digger-own grave here. Yes.
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Right. Yeah, I think I think that's a really big piece of it. And then I also just think the politics
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of it were actually more nuanced again, going back to like the Ted Cruz criticism, the Tucker Carlson
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criticism of what, of what the chairman was doing. It's like you and I are sitting here. I think we're
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both, I assume we're both, you know, fans of the New York Times and loyal New York Times readers.
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Sure. We can acknowledge that the way the New York Times handled James, James Bennett was really
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shoddy and really humiliating. It's the same thing with the way that I got handled Kimmel. It's just
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not the way, it's not the way this is supposed to work for anyone on either side of the aisle.
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And I think that that, I think it, I think as time went on, I think it became clear that that
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was a debate they were going to lose. Well, and also, I mean, the biggest difference, of course, is that
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the Times was not capitulating. The Times did a tear. I mean, I stand by what I said about
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how they handled the totally, but they were not capitulating to a president. I mean, the,
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the fundamental reality that, that all these people somehow, I took them this long to learn. And
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God knows, I bet Dylan, you could have told them this. I know I could have. I would have said,
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guys like, you know, the bully who threatens the kid on the playground and takes their lunch and
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their lunch money, they do not learn from that. Well, I got his lunch and I got his lunch money. I'm
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done with that kid. They're back the next day, saying, bring another 10 bucks from your mom and
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also tell her to cut the crust off the sandwiches next time, motherfucker. That's what the bully does.
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The bully just comes back for more. They never are satisfied with the, with the first win. They always
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think, oh, well, I could, that was like walking through an open door. I'll just walk through it again.
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And, and I'll, and I'll ask for more of the next time. So, you know, always better, I think,
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to grow a pair of the dependent knee, not because, because I'm principle, I mean, on principle,
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better, it's better to grow a pair of the dependent knee, but also strategic knee, you just,
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strategic, you just get kicked again. You just get kicked over over again once you're on your knees.
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You know, yes. That's right. Do you think this means Kimmel now, who, you know, in a conversation,
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I think you and I have had before, but, you know, the general view, there was one piece of kind of
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smart guy, conventional wisdom, which was, I think it maybe even emanated from John Stewart,
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who said something at some point on, I think on Bill Simmons's podcast a few months ago, he's like,
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you know, the, the late night era is over. You would never launch a late night show the way that we
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do these shows now with a big audience and live audience, etc. Are you with the way Amy Polar is
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doing in the podcast world? And everyone sort of assumed that when the deals were up, that,
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even if there was no Trump, Colbert, Kimmel, Fallon eventually would be the last generation of
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traditional late night hosts and Stewart and Seth. There would not be replacements for those in
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that same model, right? And Kimmel's deal, I think, is up relatively soon. And people thought he
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might not, that would, this would be it for me, do another year and then he, he'd call it a day.
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Do you think now he's like going to be looking for a renewal because this has elevated him in a way
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that makes him more powerful, commercially more powerful, culturally than he was before?
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He's certainly more powerful, culturally than he was before without without a doubt. I think that,
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I don't know how much longer he has on this contract. And I suppose it's conceivable that you
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renew once more. But the broader point you're making is, right, like this is the Colbert, Kimmel,
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Fallon is the last generation of Marquis Star late night hosts and household names,
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guys who you would recognize, you know, who everyone would recognize on the street. And that,
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that model is shifting toward podcasting. I mean, you even think about what is, what was late night
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really late night was an excuse for you, you, you, you had funny comedians who told jokes and it
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was an excuse for anyone who was selling a movie or a TV show or running for president or whatever
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it might have been to go on and get some pretty softball questions for a segment. Right. That is
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smartless. That's just smartless. That is what, you know, I mean, like that's Amy Poller. That is,
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that is where that business is going. And the economics of late night don't work out.
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Whatever, whatever compelled David Ellison to green light Colbert's cancellation, it was losing
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money, indisputably, it was losing money. So I, you know, I think if you're Kimmel, you definitely,
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you definitely are, you're in a better position now in terms of your own personal brand than I
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don't want to discount that in the same way that John Stewart probably peaked with the daily show
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and Letterman probably peaked on CBS, not, you know, with his Netflix deal. Like God love them both.
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It's not as though you can then go out and do something new and all of a sudden you'll be able
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to reap the same rewards or even the same revenue. So my guess is Kimmel probably wants to hold onto this
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and tell the runway runs out and, and then he'll be set up nicely reputationally for whatever comes next.
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I mean, it's fascinating because there are people who make the argument now that like Conan is bigger,
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more successful, more, making more money and drawing a larger audience that he ever did in any of his
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various late night permutations. And I agree with you about Letterman, but you know, it's, you know,
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I'll tell you, I'll tell you, I know for, I know for a fact, those three guys on Smart List,
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they are making more money from that than they have ever made doing anything else or that they ever will
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doing anything else and they are attracting a gargiant you an audience, maybe not as big as Will and Grace
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at its peak for Sean. Yeah. Yeah. But the downloads on that show are astronomical and those guys are
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going to look for a new deal next year that's going to be more than the $200 million they got paid by
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Sirius for the last two year deal. And they're going to get it. And they're going to get it.
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Yes. So if you can figure out how to operate in that space, you're great. I'm just saying some people
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sort of have the muscle memory of a former medium. Yeah. I agree. I assume you think that that that
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Fallon will be the last to go because the tonight show, I think, I mean, who knows will happen in our
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media environment. I do think that tonight show has just in terms of its legacy, how long it's been
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around and how in a way that that not none of the other late night shows, certainly not Jimmy's and
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even the late show are not as tied into the brand of NBC. I mean, if NBC continues to exist,
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you know, SNL and and and that's and that's a night show are are so deeply baked into what NBC
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continues to mean to anybody in the world, you know, along with the today show. What else is NBC
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really anybody? I mean, even the shows they air are not as as as core to their identity as those
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three entities. I think those entities they'll figure out a way to try to keep those entities on the
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air for a really long time. And and I think I I fall in will be the last host of the tonight show,
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but that might last longer than people think. I think it will too. And he also did the thing that I
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think, you know, the again, the going back to that media executive class, he didn't do what the
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others did, which is he didn't become overtly political and that helps, right? Like the today show
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does not make a ton of money for NBC because of the first 10 minutes when they tell you the news,
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makes a ton of money because people want, you know, cherry pie recipes and parenting advice.
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Dude, the wine spritzers and that the wine spritzers and that fourth hour, the wine like,
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you don't learn how to make you can make an apparel spritch. You can make a thing that you can make
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up. Yeah. All kinds of spritzes. Yeah. Here's the hack. They tell you how to do it on the back of the
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bottle. But yes, they're they're like, Fallon will probably I would assume will be the last. Fallon
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will be there and he will be because because it does mean so much to NBC and because he is so
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palatable, which I hope I hope reads is both a compliment and a bit of a dig. He is just so
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palatable to such a mass market audience. Well, the lack of politics in this environment,
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you know, is both a blessing and a curve. I mean, so it takes away some of your relevancy and
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your currency because we live in such politicized times, but it also makes you much more palatable
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to people who are like, I don't want any fucking politics, which is part of why Smartless works,
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because they're like, yes, you know, keep the politics off their show, please. Okay, Dylan,
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we need to sneak in one more quick break. But I still have several other media-related topics that
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I refuse to let you leave without giving us your take on. So we're going to sell some subplates,
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and then we're going to come back for a rapid fire big finish with you, with the one won't be
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Dylan Byers, everyone's the graph.
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One year ago, Sora won redefined what was possible with moving images. Today, we're announcing the
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Sora app powered by the all new Sora 2. It's the most powerful imagination engine ever built.
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That was Sam Altman of OpenAI announcing the release of Sora 2, which is the new suite of video
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AI tools from OpenAI. And Dylan, you know, I hadn't been waiting around with Bated Breath for Sora 2.
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I didn't even know it was coming, but like all of a sudden last week, I'm looking at an Instagram,
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and I'm seeing all these stories from the accounts of a lot of my friends in Hollywood,
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and a lot of them are using posting video that used the Sora tools to create it. And you know,
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the Hollywood freak out of our AI is, I think, in general, quite intense and not misplaced.
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Is this fueling more of that freak out, or are people starting to take it a little bit more
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in stride, where you sit out there in law? No, I think the freak out is very real. It's palpable
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out here, and it's not as though people think that, you know, tomorrow we're going to wake up in a,
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in a, the next blockbuster Oscar winner is going to be entirely generated by AI. But what you're
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basically seeing is a number of the tools necessary to create video content. All of the friction is
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going away. I wouldn't know the first thing, like a year ago, I wouldn't have known the first
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thing about how to create a video because I just don't have that proficiency or that education.
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And now I can just plug in a few inputs, and I can create something which by the way, like video
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happens to be much easier for consumers to digest, and it's a very compelling format. And so if
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you give that tool to everyone with a, you know, who can tweet or everyone who can post, you know,
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post something on Instagram, I think that's really powerful. And I think that what you're going to
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see is just an acceleration of a barbelling in Hollywood that is already happening, where you're
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going to have, you know, otures and really, you know, the Scorsese's and all of those folks will
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continue to be fine. And down at the other end, you're going to have a lot of people who are
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relying a lot more heavily on AI generated content to create the sort of mass market.
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Programming that won't necessarily live in a movie theater or on a television screen, but we'll
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live on your phone. And people are going to spend more and more time watching that because people
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are going to come up with creative ways to use that. So it's not as though the Hollywood freakout is,
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oh my god, they're going to create movies this way, although that probably will happen to some
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extent. I think the Hollywood freakout is more just that more and more of audience engagement is
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going to continue to drift away from studios away from those who we have traditionally thought
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of as content makers because more and more people are going to be generating more compelling content
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from home from their phones. They definitely are. Okay, so next topic at our lightning round, Dylan,
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and I know we could talk all day about this, but just give me your sort of top line on
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where things stand with the reinvention of the Washington Post.
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The most compelling news coming out of the Washington Post now because two, well, two things,
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one, whatever will Lewis is doing to try and reinvent the post is a long, long way from fruition.
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Not unlike whatever Mark Thompson is doing at CNN. Like in a way, it's sort of,
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it's been so long that nothing has happened that even people inside the building at the
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Washington Post and at CNN have given up any hope that anything's going to happen.
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But there is one interesting thing happening at the Washington Post, which is
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Adam O'Neill, this 33-year-old, I was going to call him kid, 33-year-old guy who they brought in
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to oversee the transformation of the opinion page into a bastion of free market, free people,
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classically liberal politics, what Jeff Bezos wanted and what he established around the time he
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pulled the Kamala Harris endorsement. He is finally starting to make some hires. They're all
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conservative. He went out and gave an interview. He didn't say much, but he gave the interview to Fox
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News, which was notable. I think there's a lot of posturing right now to say, hey, the Washington
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Post opinion page is not going to be that overtly liberal page that people have historically associated
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with. The problem, if you don't say product differentiation right now, I mean, like in the
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podcast, fire you. 100%. The Wall Street Journal. The Wall Street Journal.
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And the economist and the economist, and the free press. He comes from and the free press.
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The guy's the O'Neill is from the economist, and economist, graduate as a my. The economist leaders
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have been writing free minds and free, free minds, free markets, free people for 175 years,
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Dylan and the original editorial page already has that position. So how's the Washington Post
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going to be any different if that's what they're going to do? The market fit, the market you are
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serving there reads the Wall Street Journal. They might be really tickled by the free press.
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They might read the economist every week. They don't, they're not going to give a shit that
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Adam O'Neill went out and hired a conservative columnist from the spectator and the Boston
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Globe editorial page or editorial board or someone from or someone from reason who's because
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someone from the libertarian proflout, libertarian, and it's from from the point of view of reason
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magazine. What are you going to do in that space if so many other people are already doing it better?
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If the zeitgeist right now is around Barry Weiss or the zeitgeist is around the Wall Street
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Journal editorial page constantly being the most provocative critic of President Trump,
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what are you going to do if you're this, if you're Adam O'Neill sitting at the Washington Post?
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Speaking of Washington, give me your your your brief poetic obit for Bob Barnett.
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You know my my great frustration with Bob Barnett is always that he was a shit source.
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He was a terrible source which is the highest compliment I owe back at Bayham because he had so
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many clients who I covered in the media space and obviously he you know the political space as
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well the Clintons etc. Right and he never divulged there would be a contract negotiation going on
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or I would catch wind of something and he would he would he was respectful and he got back to me
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and he was cheery and he got on the phone like we had had lunch a week ago even though we had never
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had lunch and I admired him immensely for that and it frustrated me so deeply that he never
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conveyed one morsel of information to me that would have helped my copy. Bob Barnett for anybody who
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doesn't already know was people referred to him as an agent Dylan you know that he did a lot
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of book deals he did a lot of book deals and movie deals and other deals for with the great
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good of Washington DC you want to know what the way why Bob Barnett would take umbridge if we
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now call them an agent the man was never paid ever a percentage of any deal. No he paid by the hour
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he was paid on an hourly basis and you want to know why the Clintons the Woodwards and a variety of
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other people all love Bob Barnett because they paid him by the hour and it was not a cheap it was
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not a cheap hourly rate yeah but it was less than it was less than a standard agents commission on
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those people who you know sell who move massive quantities of books and so on and they do very
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large deals they weren't paid him 10% or 15% let alone 20% they were paying him an hourly rate and
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you know I think a lot of them thought he was worth every penny because he was very good at what he
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did. Yes my last question yes the smashing machine one battle after another smashing machine
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course is the movie that supposedly is going to win the rock and academy. Oh yes this this one
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of the safty brothers I forget which safty but one of the safty brothers the director of that movie
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toane Johnson in it along with uh um Emily Blunt and in Paul Thomson's one battle after another
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the new decaprio Benicio Doutoro lots and lots of politics lots of violence in it have you seen
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either what's the buzz on both you know they're they both look like big Oscar candidates to me right
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now people are raving about both of these movies both of you know the early buzz is very good
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what do you know from your privilege perch high in the Hollywood Hills. So here's what I'm going to say
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one battle after another is going to win the Oscar for best picture and here's why I'm saying that
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I haven't seen either movie right you don't need to pick on it. But what I know
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Oscar pick at this point who needs that what I what I know is that if I make a prediction now
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and it comes to fruition then I can play back this tape and be deemed prophetic yes and if it
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doesn't come to fruition no one will remember no that's right I will say there's something there's
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something in the ether that I pick up just biosmosis that the enthusiasm around one battle after
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another is overwhelming and nothing about the marketing around the raw the new rock film
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even it's even the seeing the rock on the cover of my New York Times magazine nothing around that
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can overwhelm what feels like a sort of snowballing enthusiasm for one for one battle after another
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well I would say that there is a there is a reasonable critical view critical consensus
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that Paul Thomas Anderson is the greatest living filmmaker who's never won a direct Academy Award
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it's like his time people feel like his pta's time that's right and this movie is also not only
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an author's movie and like all of his movies he writes him he directs him and he shoots him often
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under a pseudonym this movie also is a huge budget and has action and things blowing up
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that are kind of kind of you know it's an exciting roller coaster of a movie I think you're
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right about that I think there's I think it's there's a moment that feels like it's his moment is
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coming make sure you listen to the new geese album which is right up your there's a great New York
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Times piece that says what you need to know at the difference between goose and geese you should
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read that there's there's Dylan's daughter because that's a great New York Times story there's two
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new records by two bands one called goose one called geese here's how to tell them apart says
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the New York Times if you need help with that I would read that piece but I will tell you from
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my point of view I'm not being a big fan you'll probably like goose better because you're a jam band guy
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for me I want to correct the record I'm a dead guy okay it's stop it starts and stops there right
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you're not a you're not a fish guy right no right see that's just a jank Sherman you can
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have take bring Jake Sherman on he'll talk he'll talk to you about fish that's the goose story the
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goose story is there like a basically like they're like a fish that's able to fly that's goose okay
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geese is not flying anywhere except down to the corner of avenue A and avenue A in west at east
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third street and trying to score some score some two thousand's era meet me in the bathroom
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era heroin that's the that's geese that's why we love that band Dylan Myers you're great
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that's my thank you sir well it's great to see you have a good have a good well have a good everything
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now your daughter looks like she's desperate to see us so go have some more
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all right thank you John
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in politics with john hylman is a puck podcast in partnership with audacity thanks again and as
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always to Dylan buyers for beaming in from the Hollywood Hills and bringing us his patented
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blend of wisdom insight and scuttle butt if you enjoyed this episode of in politics of john hylman
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please follow us share us radice and review us on the free audacity app or wherever you have a
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splendor of the podcast universe i am john hylman special correspondent for puck to read my stuff
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along with the reporting analysis of all my fabulous puck partners go to puck.news slash j-highel
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j-e-i-l and subscribe please speaking of my colleagues john kelly and bin landy are executive
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producers of impolitik glory blackforters are guest wrangling guru and bob tapador is our very
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own rick rubin brianina steve albeini and the bomb squad all rolled into one flawlessly producing
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editing mixing and mastering the show all by his lonesome and in no time flat from all of us to all
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of you a little mashup of a pair of late greats my mom and bob marley don't get arrested don't get
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dead and don't give up the fight
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this
Topics Covered
Barry Weiss CBS News
editor-in-chief CBS News
Hyalminate Puck podcast
politics and culture
mainstream media criticism
wokeism and anti-Semitism
media multiverse analysis
Dylan Byers media insights
free press empire
Hollywood and news industry
David Ellison Paramount
New York Times resignation
entertainment and news landscape
journalism and media shifts
CBS News legacy
media ecosystem changes