The rules of media have changed and the user is now in charge.
Welcome back to the Media Odyssey Podcast! In this live episode presented with PreciseTV, Evan Shapiro breaks down the shift from the gatekeeper era of top-down media control to the new user-centric era, where audiences, not executives, dictate what succeeds. Using his signature “media cartographer” maps and data-driven storytelling, Evan unpacks how Big Tech overtook traditional media, how generational shifts are transforming consumption habits, and why the creator economy is now the true center of cultural power.
From the “churn apocalypse” in streaming to YouTube’s dominance on the TV screen, he shows why brands and publishers must abandon vanity metrics and embrace fandom, engagement, and community as the real measures of success. The conversation, featuring voices from Angel Studios, BBC Studios, and the PreciseTV audience, delivers both sharp insight and practical direction for anyone trying to navigate the new media landscape.
Key Takeaways:
1. Big Tech Has Taken Over Media and the User Holds the Remote
Evan traces how Apple and Alphabet have become the “remote controls of our lives,” controlling nearly 100% of the smartphone market. Yet while tech companies provide the infrastructure, the audience now makes the decisions. The power dynamic has flipped and media is no longer pushed from the top down; it’s driven from the user up.
2. The Fear of Finding Out Is Media’s Existential Crisis
Many legacy executives, Evan argues, are paralyzed by a fear of finding out — unwilling to face the data showing that audience habits and demographics have permanently shifted. Millennials and Gen Z now make up nearly 70% of the global population and the majority of the workforce. Still, many companies make decisions using outdated “farming-era” metrics like 18–49 demos that no longer reflect reality.
3. Streaming’s “Churn Apocalypse”
The streaming boom has turned into a churn crisis. In 2024, SVODs added 174 million subscribers but lost 148 million — a revolving door that Evan calls “a shitty business.” Serial churners (users who sign up and cancel three or more services a year) now represent 40% of new subscribers. Even as Pay TV collapses, streaming platforms are discovering that infinite choice creates fragile loyalty.
4. YouTube Is Television, and It’s Winning
YouTube now commands a larger share of total TV viewing than Disney, NBCUniversal, and Paramount combined. 73% of its viewing time is on content 30 minutes or longer, proving that long-form thrives on digital platforms. YouTube has become the bridge between younger and older audiences as the only platform uniting both ecosystems of media consumption.
5. From the Creator Economy to the “Affinity Economy”
Evan introduces the concept of the Affinity Economy: a world where success is measured not by scale but by passion, community, and fandom. Examples include Angel, where 1.5 million members greenlight projects, and BBC Studios, which redefined KPIs to measure engagement, and loyalty instead of raw views. In this model where fandom is the new currency, the Key Passion Index replaces the outdated Key Performance Indicator.
6. Why Brands Must Follow the Fans
In a closing exchange with the audience and PreciseTV, Evan emphasizes that brands must “go where the hearts are.” YouTube and creator-led ecosystems provide better data, transparency, and engagement than traditional CTV. Fear, generational and institutional, remains the main barrier. The solution: invest in platforms where the audience actually lives, build communities, and stop chasing metrics that only make quarterly reports look good.
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When billion-dollar deals make more noise than sense, who really wins?
In this episode of The Media Odyssey podcast, hosts Marion Ranchet and Evan Shapiro pull back the curtain on the relentless cycle of media mergers and acquisitions where massive buyouts, strategy, and political agendas collide. With characteristic humor and precision, they trace how decades of dealmaking have reshaped, and even broken, the entertainment business, from Hollywood to Europe.
The conversation spans the latest shake-ups at Warner Bros. Discovery, Paramount, Netflix, and Apple, while examining Media For Europe’s pan-European expansion and Canal+’s global ambitions following its merger with MultiChoice. Marion and Evan unpack who’s really benefiting from consolidation, who’s losing creative control, and why the next phase of M&A might look very different — with tech platforms turning into studios.
It’s a look at how Wall Street, ego, and geopolitics are driving an industry that’s learning, the hard way, that scale doesn’t always mean success.
Key Takeaways:
1. Wall Street Keeps Breaking Media
Decades of consolidation, from Fox–Disney to Warner Bros.–Discovery, have destroyed more value than they’ve created. “Growth through merger” remains a Wall Street fantasy, enriching executives and bankers while hollowing out creative culture and long-term strategy.
2. Warner Bros. Discovery May Be Next on the Block
Reports suggest Warner Bros. Discovery could split its assets, separating HBO Max and the studio from legacy cable channels. Potential buyers include Paramount, Netflix, and Apple. Netflix could be the best cultural fit, but Apple has the money and global intent to make the boldest move.
3. The Ellisons’ Expanding Power Raises New Questions
With Skydance now owning Paramount, Evan warns that David and Larry Ellison are amassing outsized influence. If future acquisitions extend to TikTok or CNN, their reach could reshape how global audiences receive news and entertainment, a sign of how family dynasties are replacing traditional media conglomerates.
4. Europe’s Consolidation Wave Gains Steam
Marion highlights Media for Europe’s (MFE) takeover of ProSiebenSat.1 and its bid to form a pan-European broadcast giant spanning Italy, Spain, and Germany. The ambition: to counterbalance U.S. streamers with continental scale. But both hosts warn that the cultural cost will be a more uniform, less diverse creative market.
5. Canal+ and MultiChoice Signal Global Ambition
Canal+’s purchase of MultiChoice expands its footprint into 70 countries, blending African and European pay-TV operations. Beyond the operational complexity, Canal+’s digital strategy of streaming-first, global in scope is a rare model of smart transformation amid the M&A chaos.
6. The Next Wave: Platforms Buying Studios
Evan predicts the next M&A era will flip the script: platforms acquiring studios. Streamers like Netflix or Apple may target production powerhouses such as Banijay or Lionsgate to control their own pipelines. After years of financial engineering, this could mark a shift toward owning creativity instead of just distributing it.
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The new buyer isn’t Netflix, it’s the audience.
Live from MIPCOM 2025, Evan Shapiro and Marion Ranchet sit down with Filmhub CEO Alan d’Escragnolle and Vortex Media CEO Justin Rebelo to unpack how independent producers and distributors are reinventing the film business for the creator economy.
Recorded at the first-ever The Media Odyssey Podcast live show at MIPCOM, this episode explores how companies like Filmhub are helping producers reach global audiences across AVOD, TVOD, and YouTube “Free with Ads;” and why the future of indie film depends on creators learning to sell directly to viewers, not just to buyers.
Key Takeaways:
1. A New Kind of Buyer: The Audience
YouTube’s first major presence at MIPCOM signaled a seismic shift: it’s no longer about pitching to networks or streamers, but learning to engage audiences directly. Evan calls this the “B2C revolution” of entertainment, and Filmhub is one of the companies enabling it by connecting rights holders directly to millions of viewers on platforms like Tubi and YouTube.
2. Filmhub’s Distribution Revolution
Alan d’Escragnolle breaks down how Filmhub helps creators and distributors license hundreds of films per month through automation, encoding, and royalty tech — cutting out the old, slow, one-deal-at-a-time system. By managing AVOD, TVOD, and FAST distribution at scale, Filmhub gives small producers global reach without the middlemen.
3. The YouTube “Free with Ads” Opportunity
YouTube’s Free with Ads tier, available in select countries, has become a powerful new home for premium films and TV. Filmhub is one of just a few distributors authorized to place titles there, where CPMs are higher and content appears in a dedicated “Film & TV” section. It’s a way for indie titles to live alongside, and compete with, traditional TV content.
4. The Indie Film Playbook Is Changing
Justin Rebelo shares firsthand examples, including his own collaboration with Evan A 90s Christmas and Shapiro’s new microbudget feature Skit, proving that small films can now thrive through smart digital distribution. With lower costs and creator-style marketing, it’s possible to make and monetize films again without waiting for a streamer’s greenlight.
5. Power to the Creators
Both guests agree: the days of waiting for gatekeepers are over. Whether it’s a $50,000 horror hit (Dream Eater) or a YouTube discovery, creators who control their IP, budgets, and release strategy have the real leverage. As d’Escragnolle puts it: “You don’t entertain anyone by leaving content on a shelf.”
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Filmhub - https://www.linkedin.com/company/filmhub/
Justin Rebelo - https://www.linkedin.com/in/justin-rebelo-8553bb142/
Vortex Media - https://www.linkedin.com/company/vortexmediainc/
Who really runs the media world now — creators, corporations, or algorithms?
In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet unpack the newly released Creator Ecosphere Map, a first-of-its-kind visual of the entire creator economy, created in partnership with Shira Lazar (What’s Trending) and InfluencerMarketing.Ai.
Recorded just after MIPCOM, they explore how creators, brands, and traditional media now share the same ecosystem — and what the data reveals about who actually drives engagement, fandom, and revenue online.
From TikTok to Substack, YouTube to Patreon, the hosts break down what EQ (Engagement Quality) really means, why followers don’t equal fans, and how new creator-led studios like Whalar, Filmhub, and Dropout are quietly building the next generation of media companies.
Key Takeaways
View the full Creator Ecosphere: https://open.substack.com/pub/eshap/p/the-ecosphere-is-here?r=10qe8j&utm_campaign=post&utm_medium=web&showWelcomeOnShare=false
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What happens when a niche fandom becomes a global streaming powerhouse?
In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet sit down with World of Wonder co-founders Fenton Bailey and Randy Barbato, the creative minds behind RuPaul’s Drag Race, and a streaming empire built on fandom. They explore how World of Wonder transformed drag culture into an international media brand spanning 17 territories, while redefining what “community-first” streaming looks like in the era of algorithmic sameness.
The conversation dives into how WOW thrives outside traditional Hollywood logic through owning its IP, embracing global fandoms, and turning social engagement into subscription loyalty. The founders share how RuPaul’s Drag Race became a template for modern, participatory media and how WOW’s next frontier lies in audience-driven global storytelling that stays defiantly weird.
Key Takeaways:
1. From Subculture to Global Brand
World of Wonder built its empire by championing authenticity over mass appeal. Instead of chasing algorithms, they built a streaming platform for passionate fans—and let those fans drive expansion into over a dozen localized Drag Race editions worldwide.
2. DTC Before DTC Was Cool
Long before YouTube or Netflix, WOW pioneered a direct-to-consumer model on Manhattan Cable in the early 1990s—building a loyal audience through raw, participatory storytelling that bypassed traditional TV gatekeepers. That same spirit lives on in WOW Presents Plus, which now connects millions of subscribers directly to the creators and culture they love.
3. The Power of Ownership and Community
WOW’s success comes from owning its IP and nurturing a direct-to-fan relationship. By combining strong brand identity, event culture, and social storytelling, the company has created a flywheel that sustains both fandom and revenue across platforms and formats.
4. Streaming Against the Grain
While major platforms chase scale, WOW proves that specificity is the new mainstream. Their model rooted in community, creativity, and unapologetic individuality shows how small, focused streamers can thrive even as the broader industry consolidates.
5. A Blueprint for Creator-Led Media
Bailey and Barbato’s approach blurs the line between creator and audience. By empowering talent and fans alike, WOW Presents Plus anticipates a media future where participation, not programming, drives value.
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Randy Barbato - https://www.linkedin.com/in/randy-barbato-866a1146/
World of Wonder - https://www.linkedin.com/company/world-of-wonder/
Jimmy Kimmel is at the center of the conversation where politics, free speech, and billion-dollar mergers collide.
In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet unpack the dramatic suspension and reinstatement of Jimmy Kimmel—a flashpoint that highlights the collision of politics, regulation, and the crumbling power of broadcast TV. Shapiro explains the FCC’s limited authority, why Chair Brendan Carr’s threats crossed constitutional lines, and how Disney’s rapid cave-in to political pressure triggered a fierce backlash.
The discussion broadens to late-night’s decline, the chilling precedent for free speech in U.S. broadcasting, and the looming wave of media consolidation involving Paramount, Warner Bros Discovery, and possibly Netflix. Marion draws contrasts with Europe’s regulatory environment, where broadcasters face different pressures but free expression is protected in opposite ways.
Key Takeaways:
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In this episode of the Media Odyssey Podcast, hosts Evan Shapiro and Marion Ranchet record live from IBC with Simon Farnsworth (ITV) and Adde Granberg (SVT), two CTOs (or as they call it, “Chief Transformation Officers”) reshaping European public broadcasting. The conversation explores how legacy broadcasters can adapt to a digital-first, fragmented world while facing off against trillion-dollar tech giants.
They discuss the shift from “doing digital” to “being digital,” how generative AI and cloud-based workflows can unlock beyond-human-scale production, and the biggest challenge broadcast is facing is mindset. Both guests stress that the real battle is cultural, not technical: broadcasters must abandon outdated standards, embrace platforms like YouTube and TikTok, and put audience needs, not legacy processes, at the center.
Key Takeaways:
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Simon Farnsworth: https://www.linkedin.com/in/simon-farnsworth-26521253/
Adde Granberg: https://www.linkedin.com/in/addegranberg/?originalSubdomain=se
In a special episode recorded live from IBC in Amsterdam, the Media Odyssey Podcast brings together hosts Evan Shapiro and Marion Ranchet with Whale TV’s Teresa Lopez and Chris Hock. Once a white-label operating system hidden inside millions of TVs, Whale TV has rebranded and stepped into the spotlight.
The discussion dives into the shifting economics of TV hardware, why operating systems are now the key battleground for audience attention, and how Whale TV’s profit-sharing model, Whale TV Profit Sharing, offers a different path than big tech rivals.
The group also explores broader industry themes—from Europe’s need for greater collaboration, to the generational divides slowing change, to the critical role of user experience in Connected TV.
Key Takeaways:
4. Collaboration vs. Fragmentation
Both hosts Marion Ranchet and Evan Shapiro and Whale TV execs stress that the industry suffers from too many competing OS platforms and a lack of collaboration. Whether across generations, broadcasters, or tech providers, success will depend on cooperation, shared standards, and smarter creative—not just piling on new players.
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Teresa Lopez: https://www.linkedin.com/in/teresa-alonso-l%C3%B3pez-4a22bb94/
Chris Hock: https://www.linkedin.com/in/chrishock/
Whale TV: https://www.linkedin.com/company/whaletv/
After raising $55M in commitments in just 18 days, Angel is ringing the bell on Wall Street and the three founding brothers come on this special episode of The Media Odyssey Podcast for the first time ever!
In this episode, hosts Evan Shapiro and Marion Ranchet sit down with the Harmon brothers—Neal, Jeff, and Jordan, founders of Angel—to explore how they’ve turned an outsider’s vision into one of the most disruptive forces in global entertainment. What started as a family-driven mission to create values-based content has evolved into a studio powered by its audience, financed by its community, and structured to give creators a fairer share of success.
The conversation unpacks Angel’s radically different approach to greenlighting, where fans—not executives—decide which films and series move forward. It dives into how the studio has managed to outperform industry peers at the box office without relying on nine-figure budgets, and how its data-driven distribution gives it a marketing edge even the majors haven’t built. Along the way, the Harmons share why they believe cinema is still central to culture, how Angel is preparing to go public under ticker ANGX, and what a future of truly community-owned media could look like.
Key Takeaways: TakeawaysTakeaways
TMO listeners can receive 20% off Angel's subscription streaming service!
http://www.angel.com/TheMediaOdyssey
Read much more about Angel HERE.
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Neal Harmon: https://www.linkedin.com/in/nealharmon/
Jeff Harmon: https://www.linkedin.com/in/jeffreyharmon/
Jordan Harmon: https://www.linkedin.com/in/jordanharmon/
Welcome back to the Media Odyssey Podcast!
In the first episode of Season 2, hosts Marion Ranchet and Evan Shapiro return from summer break to unpack the biggest stories shaping the media landscape on both sides of the Atlantic.
They cover everything from NBCUniversal’s cable spin-off and MSNBC rebrand, to European consolidation led by MFE and ProSiebenSat.1, and the growing dominance of YouTube on TV screens. They also examine Roku’s pivot into subscription video and debate who should take the reins as Channel 4’s next CEO.
Key Takeaways:
1. NBCUniversal’s Strategy Vacuum
Evan critiques Comcast/NBCUniversal’s decision to spin off cable networks into a new entity, Versant, and rebrand MSNBC as “MSNow”—calling it mismanaged, brand-confusing, and emblematic of leadership by “nepo babies” failing upwards. He recalls their costly misstep with The Office and Netflix, underscoring the company’s lack of coherent long-term strategy.
“Nepo baby” is shorthand for industry leaders who inherit power or rise through connections rather than merit. In this case, Evan points to executives like Comcast CEO Brian Roberts as examples of privilege trumping strategy.
2. The “Kill List” Era of Media Layoffs
At Paramount, new president Jeff Shell used the term “kill list” to describe a planned round of 3,000 layoffs. Evan calls this emblematic of poor leadership, where executives fail upward while employees bear the brunt of their mistakes. Marion and Evan stress that professionals must prepare for disruption by owning their personal brands on platforms like LinkedIn and being ready to pivot careers.
3. European Media Consolidation Accelerates
Marion highlights MFE’s (Media for Europe) successful bid to take majority control of ProSiebenSat.1. This move positions MFE as a pan-European broadcaster across Italy, Spain, and Germany. While cultural differences and political scrutiny present execution challenges, the consolidation trend mirrors moves in the U.S. and could expand further to markets like the UK and France.
4. YouTube’s Growing Share of TV Viewing
YouTube now accounts for 13.5% of all U.S. television viewing, surpassing Disney and closing in on broadcast combined. In the UK, BARB’s first YouTube channel measurement shows Peppa Pig leading, with MrBeast also ranking high. The hosts debate whether YouTube should be seen as “TV” and stress that broadcasters must adapt and embrace YouTube as a distribution and monetization platform rather than resisting it.
5. Roku Experiments with Subscription Video
Roku has launched a low-cost $3 SVOD alongside its free Roku Channel, a diversification play as advertising headwinds grow. The hosts note that much of the content overlaps with free offerings, raising questions about strategy, but agree it reflects the need for multi-revenue models in today’s market.
6. Who Should Lead Channel 4?
With CEO Alex Mahon stepping down, Marion and Evan propose successors ranging from internal candidate Jonathan Allan to YouTube leaders Pedro Pina and Alison Lomax, as well as BBC’s Jasmine Dawson. Their picks emphasize the need for a digital-native, next-generation leader to future-proof Channel 4.
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Some quotes are memorable because they’re insightful, others because they come on a tin coffee cup.
Welcome to the season finale of The Media Odyssey Podcast, where hosts Marion Ranchet and Evan Shapiro close out season one by sharing their last favorite clips – and the behind-the-scenes stories that came with them. From public spats with self-aware CEOs to surprising platform performance data and perfectly ripe metaphors, this episode is both a celebration of what they’ve learned and a preview of what’s next.
A sendoff for a season that redefined how we think about creators, broadcasters, platforms, and the future of television.
Key Takeaways:
1. Trade Desk’s OS Play Was the Curveball of the Year
Marion and Evan revisit their early skepticism about The Trade Desk’s Ventura OS – a move that felt like a left-field land grab. But after a live episode at StreamTV with Ventura chief Matthew Henick, Marion admits she’s convinced. The takeaway: even the boldest tech plays can make sense when they challenge broken systems.
2. CBC Proved YouTube and Public Broadcasting Can Coexist
Paul McGrath of CBC shares how prioritizing long-form YouTube content not only grew audience and watch time, but surprisingly lifted engagement on their owned streaming service. His key stat: 20% of their content (20+ mins) now drives nearly half of total usage.
3. Connected TV Is Fueling Long-Form Growth
With up to 50% of CBC’s watch time now coming from connected TVs, the myth that YouTube means short-form is unraveling. Long-form is thriving, especially in living room contexts—and for public broadcasters, it’s creating younger, distinct audiences.
4. The Loch Ness Monster of Cannibalization Isn’t Real
Paul McGrath debunks the long-standing fear that publishing full episodes on YouTube cannibalizes streaming services. The data showed the opposite: cross-platform release boosted both. As Evan puts it, “Everyone talks about it, but no one’s ever seen it.”
5. FAST in Europe Has Hit Peak Ripeness
In a metaphor that instantly stuck, Ryan Afsha of LG Ads likens the European FAST market to an avocado: “Not yet, not yet, not yet... eat me now, too late.” According to him, 2025 is the sweet spot for content owners and advertisers alike. The window is open and the ecosystem is aligned.
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On this special episode of The Media Odyssey Podcast, hosts Marion Ranchet and Evan Shapiro discuss their favorite moments from Season 1.
Evan and Marion select standout clips that capture the biggest themes, surprises, and insights from across the year. It’s a thoughtful, high-energy wrap-up on the state of media through the lens of prediction, collaboration, tech disruption, and creator evolution.
This isn’t just a recap, it’s a snapshot of the tectonic shifts reshaping the global content economy, from bundling to content discovery to fandom as KPI.
Key Takeaways:
1. Europe Is Driving Media Innovation
In a moment of validation for Marion’s early prediction that 2024 would be the year of France, the episode revisits a conversation with Bedrock CEO Jonas Engwall. His vision of a shared pan-European tech platform reflects a new path forward: regional collaboration and infrastructure investment over a singular SVOD champion.
2. Bundling Is the New Normal, but Not Just for Video
Bango’s Anil Malhotra explores how telcos, retailers, and even social media apps are bundling subscriptions in new, creative ways. Gen Z is paying not just for Netflix, but also for AI tools and retail. The subscription economy is no longer just about entertainment; it’s a trillion-dollar convergence.
3. Discovery Fatigue Is Real—and Fixable
Content discovery is one of the industry’s most overlooked problems. Calle Sjönell of Swipefinder shares a startling stat: 20 minutes spent searching per streaming session, with 20% of users giving up entirely. Fixing discovery isn’t a UI tweak—it’s central to retention, monetization, and consumer loyalty.
4. Traditional Studios Must Think Like Creators
The BBC’s Jasmine Dawson breaks down how a legacy studio can reorient KPIs toward fandom, not views. Alongside creator Amelia Dimoldenberg, she illustrates how creators and institutions alike must evolve together and adopt flexible metrics, platform-specific content, and pure-play IP strategies.
5. Media Alignment, Not Chaos
Despite the perceived chaos of streaming, Marion and Evan argue that we’re entering a phase of settling and strategic realignment. From France Télévisions teaming with Amazon to platform consolidations and retail bundling, the market is moving from fragmentation to formation.
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Welcome to a new episode of The Media Odyssey Podcast, where we explore the people and ideas reshaping the media landscape. Hosts Marion Ranchet and Evan Shapiro sit down with Dhar Mann, one of the most successful independent creators in the world, to unpack what it really means to build an owned-and-operated media empire in the age of platforms. With over 70 billion views across social media, Dhar has mastered the art of storytelling at scale—without relying on traditional Hollywood systems.
In a sharp, insightful conversation, Dhar shares the mechanics behind his studio’s meteoric rise, the values that drive his content, and why creators should think like CEOs. From data-driven production to brand-safe storytelling, this episode offers a rare look into what it takes to succeed at the intersection of commerce, creativity, and community.
Key Takeaways:
1. Dhar Mann Studios Operates Like a Scalable, Independent Media Company
Dhar built his studio from scratch with full vertical integration: in-house scripting, production, post, and distribution. Producing more than 100 episodes a year with over 100 full-time employees, he’s proving that creator-led companies can compete with—and outperform—traditional studios.
2. Storytelling is Engineered for Impact
The key to Dhar’s success is emotional storytelling. Every script is optimized through data, test reads, and feedback loops. His team analyzes performance daily, adjusts thumbnails, titles, and narrative arcs in real time—and shoots with Shorts and long-form in mind across YouTube, Facebook, TikTok, and beyond.
3. Brand Safety Doesn’t Mean Boring
Dhar Mann’s content is deeply family-friendly and advertiser-safe, which makes it attractive to brands. But it’s not sanitized—it tackles real issues like bullying, poverty, and prejudice through emotionally resonant narratives that audiences connect with.
4. Platform Diversification is Strategic
From Facebook and YouTube to Snapchat, TikTok, and even theatrical releases, Dhar doesn’t rely on one platform. His team adapts content formats to fit algorithmic behaviors—using Shorts for reach and long-form for retention and monetization.
5. Creators Should Think Like CEOs
Dhar’s biggest advice to creators: treat your channel like a business. Build teams, invest in infrastructure, understand your audience, and create repeatable systems. Virality is nice—but building a long-term, sustainable operation is the real win.
Thank you Dhar Mann for joining the pod!
LinkedIn: https://www.linkedin.com/in/dharmann/
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Marion Ranchet - https://marionranchet.substack.com/
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Welcome to a special edition of The Media Odyssey Podcast from the Croisette at Cannes Lions! Hosts Marion Ranchet and Evan Shapiro sit down with Pedro Pina, Vice President of YouTube EMEA, for a sharp and forward-looking conversation about creators, monetization, and YouTube’s role in the evolving media landscape. As YouTube celebrates its 20th anniversary, the platform is no longer just a distribution tool—it’s a full-fledged ecosystem reshaping how content is created, monetized, and valued.
Pina shares candid insights on how YouTube is adapting to the needs of both creators and legacy media players, what’s holding some studios back, and why this Cannes Lions marks a turning point in the creator–brand relationship.
From auction-based CPMs to theatrical YouTube crossovers, it’s a masterclass in what it means to follow the audience.
Key Takeaways:
1. Creators Have Moved from “Why” to “How”
At Cannes, the conversation around creators has matured. Legacy brands are no longer asking why they should work with creators—they’re urgently asking how. YouTube’s role is now to connect creators, agencies, and advertisers at scale, turning what was once a fragmented process into a global growth engine.
2. YouTube’s Partner Sales Program Is Evolving
Studios and publishers can set their own CPMs and sell directly on YouTube via the Partner Sales Program. But Pedro acknowledges the current system is friction-filled and underinvested—YouTube plans to improve training, tooling, and support to help partners succeed at selling in the platform-native environment.
3. Open Call Streamlines Creator–Brand Collabs
YouTube’s new Open Call tool enables brands to post creative briefs that thousands of creators can respond to with custom videos. It’s a tech-forward answer to the biggest pain point in influencer marketing: scale, speed, and quality control—all on-platform.
4. CPMs Are Rising on the Big Screen
YouTube CPMs on CTV are now comparable to or higher than cable TV in many mature markets. As viewing shifts to the living room, YouTube’s auction-based pricing model reflects growing advertiser demand for premium, long-form video.
5. Follow the Audience, or Get Left Behind
From creator-driven theatrical releases (like Inoxtag’s Kaizen documentary about climbing Everest) to Shorts monetization, Pedro emphasizes one core principle: follow the user. Those clinging to old cost structures or windowing hierarchies will struggle. Those who adapt—like BBC Studios—are already seeing incremental revenue, reach, and relevance.
Thank you Pedro Pina for joining the pod!
LinkedIn: https://www.linkedin.com/in/pedro-pina-06a413/
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Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
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Welcome to a special edition of The Media Odyssey Podcast from the buzzing beachfront of Cannes Lions! Hosts Marion Ranchet and Evan Shapiro explore the collision of traditional media, streaming giants, and the creator economy in an environment buzzing with brand activations and bold narratives. With viewership migrating to digital but ad dollars lagging behind, the episode dives into how media organizations are rethinking measurement, monetization, and storytelling.
They’re joined by three influential voices leading that transformation: Jasmine Dawson, SVP Digital at BBC Studios; Kiell Smith-Bynoe, actor on Ghosts and digital-native performer; and Amelia Dimoldenberg, creator of Chicken Shop Date and founder of Dimz Inc. Each brings a unique perspective on how legacy brands, emerging talent, and creator-first studios are navigating the fast-changing content and advertising landscape.
It’s a candid, energetic discussion about creator influence, IP ownership, and the evolving rules of engagement across platforms.
Key Takeaways:
1. Fandom is the KPI That Matters
BBC Studios has redefined success around fandom, not just views—focusing on watch time, user-generated content (UGC), sentiment, and engagement to drive deeper audience value and commercial return.
2. Thinking Like a Creator Drives Growth
With hits like Bluey, BBC Studios is behaving more like a creator: producing platform-native content, partnering with creators, and customizing formats across YouTube, TikTok, and TV—resulting in a 110% YoY revenue jump.
3. Owning IP is a Power Move
Amelia Dimoldenberg built Chicken Shop Date independently after being rejected by broadcasters. By keeping full control of her brand and monetizing separately, she turned it into a cultural touchstone and launched her own production company.
4. Creators Aren’t Just Influencers—They’re Partners
BBC Studios’ Talent Works program reflects a shift from hiring creators as ad vehicles to co-creating content with them. This partnership model fuels authentic storytelling and long-term brand growth.
5. The Creator Economy Is Equal (or Superior) to Traditional TV
Whether it's Chicken Shop Date, improv tours, or digital-first IP expansions, creators are proving their work is just as professional, strategic, and impactful as broadcast content—often with more cultural relevance and flexibility.
Thank you Jasmine Dawson for joining the pod!
LinkedIn: https://www.linkedin.com/in/jasminesdawson/?originalSubdomain=uk
Thank you Kiell Smith-Bynoe for joining the pod!
Thank you Amelia Dimoldenberg for joining the pod!
https://www.youtube.com/@AmeliaDimoldenberg
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8
Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
Newsletters:
Marion Ranchet - https://marionranchet.substack.com/
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Welcome to a special edition of The Media Odyssey Podcast from the heart of the Croisette at Cannes Lions! Hosts Marion Ranchet and Evan Shapiro dive into the evolving mood and key narratives emerging from the industry’s most vibrant gathering. From linear TV’s staying power in Europe to the acceleration of addressable advertising and first-party data, they set the stage for a candid, high-energy conversation on the state of the market.
Joining them are two major voices shaping media’s future: Dan Callahan, newly appointed SVP and CRO at Spectrum Reach, and Dave Campanelli, President of Global Investments at Horizon Media. The group unpacks the dominance of sports in the upfronts, the murky waters of multi-currency measurement, and how AI is transforming both creative and campaign performance. It’s a sharp, forward-looking dialogue about attention, collaboration, and the tectonic shifts reshaping how we define effectiveness in a converging media world.
Key Takeaways:
1. Sports is the Anchor of Upfronts
Sports content is driving upfront media buys more than ever, with brands aggressively securing placements around high-impact events like the Super Bowl well ahead of schedule.
2. Multi-Currency Measurement is a Work-in-Progress
The transition away from a single dominant currency (Nielsen) toward a fragmented, multi-currency ecosystem is proving complex and inconsistent. A lack of sell-side standardization remains a major hurdle to scalable adoption.
3. Creative + Context = Future of TV Advertising
With AI accelerating creative production and optimization, there's growing emphasis on aligning ad tone and mood with surrounding content. Matching emotional context is becoming a new frontier for premium video advertising effectiveness.
4. The Programmatic Model is Under Pressure
As CTV gains ground, legacy programmatic models—filled with intermediaries and "ad tech tax"—are being questioned. With a more finite set of publishers, buyers are increasingly seeking direct, data-rich relationships.
Thank you Dan Callahan for joining the pod!
LinkedIn: https://www.linkedin.com/in/dan-callahan-28956015
Thank you Dave Campanelli for joining the pod!
LinkedIn: https://www.linkedin.com/in/david-campanelli-b9b39464/
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8
Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
Newsletters:
Marion Ranchet - https://marionranchet.substack.com/
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Evan and Marion take The Media Odyssey Podcast live at Stream TV's Media Universe Summit, joined by two special guests shaking up the content discovery game. Matthew Henick of Ventura TV OS, revealed how Ventura is building a new kind of CTV OS: one that puts transparency, user experience, and publishers first. Then Alan d’Escragnolle, CEO of Filmhub, showed us what a true distribution machine looks like, connecting indie creators and major studios alike to over 100 territories and thousands of licensing deals, with hits like Bounce Patrol leading the charge.
From the chaos of fragmentation to the future of platform-personalized content, this episode dives deep into who really owns discovery, and what it takes to stand out in a sea of screens. It’s no longer enough to simply have great content; you need the tools, tech, and strategy to
ensure it’s seen. Whether you’re building an OS, distributing niche documentaries and films, or trying to reach Gen Alpha with serialized vertical video, the future belongs to those who can cut through the noise and deliver meaningful, personalized viewer experiences. Spoiler: it’s not just about eyeballs—it’s about building engines that find, serve, and grow loyal audiences.
Key Takeaways:
1. Discovery is broken, and both platforms and publishers must fix it.
Content discovery is fragmented, biased, and often user-hostile. Platforms must prioritize content over apps, while publishers need to invest in tools, data, and partnerships to help their content surface and thrive.
2. Filmhub is building the distribution engine indie creators need.
With over 6,300 rights holders and 320,000 licenses delivered, Filmhub is using proprietary tech, AI-assisted curation, and human relationships to give creators access to 100+ platforms—scaling discoverability across a deeply fragmented ecosystem.
3. Personalization is the next frontier in discovery.
With massive libraries and fragmented audiences, platforms that master smart, personalized recommendations, like YouTube and Tubi, are winning attention and retention. Success now hinges on serving the right content, not just more content.
4. The creator economy is maturing, and it’s operational now.
It’s not just about clicks and ad revenue anymore. Success in today’s creator economy requires infrastructure, rights management, marketing strategy, and relentless optimization. The “upload and hope” era is over.
Thank you Matthew Henick for joining the pod!
LinkedIn: https://www.linkedin.com/in/matthew-henick
Thank you Alan d’Escragnolle for joining the pod!
LinkedIn: https://www.linkedin.com/in/alandescragnolle
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8
Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
Newsletters:
Marion Ranchet - https://marionranchet.substack.com/
Evan Shapiro - https://eshap.substack.com/
In this episode of "Chatting at GEMA", Marion Ranchet interviews Unai Iparragirre, Head of Channels & OTT at EITB, the public broadcaster in the Basque Country, about being able to adapt to a changing landscape, brave content, and the intersection of public service and entertainment. Iparragirre explains the importance of EITB beyond entertainment to preserve the Basque culture, identity, and language while serving the Basque community across the globe. EITB’s I Need Help, a series about the mental health challenges teenagers faced as a result of the COVID pandemic, underlines Iparragirre’s commitment to public service and social responsibility while navigating the decline of traditional television formats.
As Head of Channels at EITB, Unai Iparragirre is responsible for the TV portfolio as well as the OTT services at the Basque Public Broadcasting Corporation. This includes four local FTA networks, a pan-regional network as well as the recently launched streaming service, Primeran, which has received the prestigious 2023 Digital Award from the Association of Basque Journalists. Iparragirre’s journey in the broadcasting sector is marked by a dynamic and passionate leadership style. With extensive experience managing cross-functional teams across several EMEA markets during his tenure at Discovery Communications. Now at EITB, Iparragirre’s focus is on developing and implementing channel strategies that align with our business and strategic goals while exploring new opportunities, and on strengthening the role of EITB as a public media group that gives back to society through the content we produce. Fluent in English, Spanish, and Basque.
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8
Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
The Media Odyssey - https://www.linkedin.com/company/the-media-odyssey-podcast/
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In this episode of "Chatting at GEMA", Marion Ranchet interviews Pierluigi Colantoni, Creative Director at RAI, Italy’s national broadcasting company, about creative packaging, branding and promotion, and the growing role of data in media. Colantoni speaks to how data informs creative decisions and the delicate balance between creative instincts and data while warning that data may become too central and rising concerns over privacy. Colantoni highlights the importance of sincerity and localization in creative processes, especially in the age of AI, and what can be lost in the race for efficiency.
Pierluigi Colantoni is the Creative Director at RAI. Since 2014, Colantoni and the RAI team have received more than 100 international awards (Clio Awards, Promax, Global BDA, Ebu Connect), including the prestigious Best Creative Team of the Year award. He was nominated Director of the New Formats Development Department in 2020, where among other projects he produced the documentary series Sogno Azzurro, before becoming Creative Director in 2023.
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8
Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
The Media Odyssey - https://www.linkedin.com/company/the-media-odyssey-podcast/
Newsletters:
Marion Ranchet - https://marionranchet.substack.com/
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In this episode of "Chatting at GEMA", Marion Ranchet interviews Emmanuelle Lacaze, President and Owner of Gédéon Communications, about television design, the Olympics, and innovative collaboration. Lacaze explains how Gédéon Communications, a design agency known for its work on media branding in France and internationally, contributed to the rise of television design with new ways of thinking about creativity and concept. Lacaze also speaks to how Gédéon Communications was responsible for designing the 2024 Paris Olympic emblem as well as their elaborate pitch strategy and the five-year-long process of preparing for the Opening Ceremony.
Emmanuelle Lacaze is the President of Gédéon, a design agency known for its work on media branding in France and internationally. She has managed award-winning projects across multiple countries, including branding for Paris 2024, where her agency played a key role in the games’ visual identity, campaigns, and opening ceremony. Emmanuelle also has a background in film production, having produced the movie La Vie d’une Autre and developed the digital series Joy for Canal+. She is an active board member of the French AD Club and a partner of the mentoring program Media Club Elles in France.
Interested in sponsorship? https://forms.gle/2LCWfX2HBNT8mtpx8
Connect with us on Linkedin:
Evan Shapiro - https://www.linkedin.com/in/eshap-media-cartographer/
Marion Ranchet - https://www.linkedin.com/in/marionranchet/
The Media Odyssey - https://www.linkedin.com/company/the-media-odyssey-podcast/
Newsletters:
Marion Ranchet - https://marionranchet.substack.com/
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