Joanna Noyes

Check out my blog post https://wix.to/z6JyJHn When legends collide: Trump joins Rogan for an unfiltered, rule-breaking conversation you’ll have to hear to believe! This isn’t just another episode—it’s the future of media, where voices meet raw truth. Are you ready to listen? 🎙️ #PodcastingPower #EpicConversations #FreeSpeechRevolution" #newblogpost

2

Horror movies aren’t just a niche genre or a fun choice just for Halloween time, the genre is thriving and loved by millions year round. There’s consistent demand for horror movies and as entertainment trends evolve, horror continues to be an influential genre in the film industry. 🎞 Check out horror films for free with you library or university ID on Kanopy! I love this list- take a peek! #libraries #film #streaming

2

📣 The streaming industry has seen significant changes over the past year, with revenues decreasing for filmmakers, even on major platforms like TUBI and Amazon Prime. 👎 At bingenetworks.tv, we're taking a different approach. We give back a portion of every subscription to our Content Creators, standing out in the industry by supporting those who create the content we all enjoy. With a background in TV and filmmaking, I understand the challenges creators face in monetizing their work. That's why our network swiftly adapts to industry shifts, recently transitioning to an S-VOD model to better serve our creators. Despite skepticism, we're committed to creating a platform that empowers filmmakers to earn and thrive. 🥅 Today, I'm excited to share a bold goal: to become the world's largest pro-creator network, welcoming filmmakers who seek fair compensation and recognition. By this time next year, our aim is to reach 1 million paid subscribers on the BINGE Network. While this journey won't be easy, we're determined to achieve it. To succeed, we recognize the power of collaboration. Partnering with leading global brands like Groupon, who share our vision, is key to introducing more audiences to https://trybinge.tv/. Together, we can build a community where creators are valued and rewarded for their craft. Join us on this incredible journey, as this week we offer our first national "offer" on Groupon, with over 54 million unique customers who purchase content from this site. 💰 This week, you can find an incredible deal, where you can get one year of unlimited streaming, on BINGE, for 55% off. And... if you would like to get a jump start and take advantage now, you can get this same offer here: https://lnkd.in/eFpWZqhQ -Bonnie Bruderer, CEO BINGE Networks #streaming #contentcreators #bingenetworks #groupon #freebies #frestuff #deals

8

Ah, another day, another monumental agreement between two corporate giants purportedly designed to "advance artistry." Universal Music Group and Amazon Music's recent announcement is peppered with buzzwords like innovation, artist-centric principles, and authentic engagement. But as an independent music advocate, I can’t help but wonder: who’s this really benefiting? Let’s decode the shiny packaging of Streaming 2.0: "Segmented offerings for superfans": Translation: wealthy fans can pay more, while artists still see pennies. "Artist-centric adjustments": Sounds great, but the fine print seems to favor artists who are already household names over the emerging ones trying to build their careers. "Curbing streaming fraud": Necessary, yes but the conversation conveniently sidesteps addressing the disparity in royalty payouts across the board. Meanwhile, independent artists, who are the lifeblood of innovation and diversity in music, continue to navigate a landscape designed to funnel most of the revenue back to major labels and platforms. Where are the real tools and platforms that empower indie musicians to grow sustainable careers? Genuine innovation would involve reshaping royalty structures, amplifying visibility for new voices, and creating opportunities that aren’t gatekept by the so called "big guys". The most telling line? “UMG artists achieve their commercial potential…” That says it all. It’s about profit, not progress. To all independent artists and smaller labels out there: let’s keep building our own paths. True empowerment doesn’t come wrapped in a corporate press release it comes from prioritizing community, collaboration, and equity. I personally raise my hand to do all the heavy lifting and expect no credit or incentive!

6

Another round of excitement and rebirths to emerge from #Hollywood as #Paramount, the original producer of #thegodfather seeks to re-create itself as a creative-tech hybrid. I am curious to see what the meat on those bones, given the tendency for large companies to use technology at its edges rather than making it a core operational focus. The fact they have now referenced #directoconsumer, #AI, and even #layoffs suggests that they are looking at the right things and understand the difficult challenges for legacy companies to compete in the new era. The fact that David Ellison's father is CEO of Oracle and is part of the deal makes these claims a little more credible. Expect to see more of these #spins as those left reeling from the #streamingwars find their next footing. #innovation

24

3 Comments

The UPROXX newco is a smart media M&A rollup. Music and culture focus + a strong leadership team. I'm bullish on them doing well by *brands and fans*, and getting immediate revenue traction based on their WMG YouTube media sales partnership. In my newsletter tomorrow, I explain my insights on the deal, key questions I'm asking, why I think UPROXX STUDIOS is setup for success. For now, let's review the key deal details... UPROXX STUDIOS OVERVIEW • A new “brand solutions studio” that “connects brands with talent, cultural arenas, and audiences”  • Founded by media veterans Jarret Myer (CEO), Rich Antoniello (Exec Chairman), and will.i.am (Chief Visionary Officer) • Result of acquisitions of Uproxx, HipHopDX, Dime Magazine, and other Warner Music Group media assets • Reaches 170M+ monthly US visitors and generates 12B+ monthly US video views POST DEAL OPS • “Expect significant investments in our brands, team, and the experiences we offer” • Includes the excl license to represent WMG’s YouTube inventory for all US media sales  • Will integrate will.i.am’s FYI AI tech and FYI radio into ops UPROXX DIVISIONS • Uproxx – Millennial-focused culture media brand and production co (acquired by WMG in 2018) • HipHopDX – Digital mag of hip hop music criticism and news (acquired by WMG in 2020) • Dime Magazine – Digital mag of American basketball lifestyle (acquired by Uproxx in 2015) • FYI – productivity tool designed to serve Creatives. Combines messaging and collab tools with file mgmt and content pub features NEWCO VALUE PROP  • Access to A-list stars via WMG YouTube inventory + UPROXX superfan communities gives brands and advertisers new ways to participate in music culture • FYI AI tech will enable creation of AI StoryLabs, a new branded content and social media mgmt unit within UPROXX Studios  • "Merging the agility and freedom of an independent entity with the reach and resources of a major music label.” UPROXX HISTORY • f/k/a as Uproxx • Founded 2008 by Jarrett Meyer and Brian Bater (also co-founded Rawkus Records in 1996) • Acquired by male-focused media ad network Woven Digital in 2015 • Rebranded to Uproxx Media, Jarrett became GM • Bought by WMG in 2018 • Price undisclosed, but previous Uproxx Media investment was ~$43M • Value prop of acquisition was to “create engaging new experiences for young consumers, global promotional possibilities for brands, and innovative marketing opportunities for artists” • WMG exec Max Lousada and Uproxx co-founder Jarrett Myer used to work together at Rawkus Records WMG RELATED HISTORY • Announced 600 layoffs in Feb 2024, incl potential sale of Uproxx and HipHopDX • Also wound down its podcasting brand Interval Presents and social media publisher IMGN • Overall faced challenges in its O&O and digital brand sales biz -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

31

3 Comments

As a UGC platform, pop culture trends can make their way to #Roblox thanks to our fun and incredibly creative community. As our community grows, it’s becoming more common to see some pop culture trends start on Roblox. For the past month a trend known as “Emergency” has popped up on #TikTok and IG feeds with people showing off their outfits while doing a simple shuffle. This trend originates from nowhere else but Roblox and an emote from Ice Spice. How we got here: 6/5: The emote is published to Roblox and is based off Ice Spice’s version of the Sturdy dance. Her take is slower and more casual than the Sturdy. The emote finds its way to social media the way many emotes do, with Roblox users showing off/reviewing emotes on their avatars. 6/12: The TikTok that started the trend is published by @illtetotetoyou, showing Roblox avatars dancing to the “Paging Dr. Beat” track. The TikTok now has over 10mil views. From there, like many trends, it morphs like a game of telephone. Creators have kept the audio and the movement as part of the trend but have changed the trend into a mini fashion show, showing off thematic wardrobes. Nurses and first responders have (naturally) gotten in on it but other participants include Kpop stars, pets, Olympians like Norwegian viral sensation Henrik Christiansen (aka Muffin Man), rock stars like Olivia Rodrigo and of course, Roblox avatars. So…why? There’s often no explanation why some trends take off and become what they are, but the simplicity of the movement (no complex choreography) & easy edit make it something most can do. As the Roblox community continues to use our platform to create content both on and off platform, I expect we will see more #socialmedia trends originate here. #tiktoktrend #trending #popculture #musicmarketing #icespice #metaverse #genz

123

17 Comments

Night bought Bottle Rocket Management. Yup, more M&A consolidation amongst talent rep companies! BIG congrats to Chas Lacaillade, BRM’s founder and a close friend of mine. Chas is a shrewd operator, and over the years I enjoyed watching him build a high-performing creator management company. Awesome to see him pick a strategic partner that aligns with his plan for future growth and improved client servicing. RockWater Industries served as financial advisor to BRM. I therefore can’t go into deal specifics due to the NDA between our companies. Let's break it down… ---TARGET: Bottle Rocket Management--- OVERVIEW • Talent management firm for digital content creators • Founded 2015 by Chas Lacaillade • Bootstrapped, no outside capital • Focus on YouTube creators • Reps ~40 talent clients • Based in Austin, TX TALENT HIGHLIGHTS • Austin Evans • BroScienceLife • JerryRigEverything • UrAvgConsumer ---BUYER: Night--- OVERVIEW • Next-gen representation platform for artists • Founded 2015 by Reed Duchscher • 75-100+ team per LinkedIn • Reps 100+ talent clients • Based in Austin, TX BIZ UNITS • Talent - management, focused on digital creators being entertainers and entrepreneurs • Studios - content studio, helps digital creators create and package shows for TV, streaming • Labs - venture studio, pairs operators with creators to build companies e.g. Feastables • Capital - TCG-backed fund to invest in / acquire profitable creator-led businesses • Ventures - early stage venture fund, focused on tech OPERATING HIGHLIGHTS • Reps world’s largest Twitch streamer, Kai Cenat • First manager of MrBeast, helped catapult his growth • Launched Feastables in 2022, est $100M+ 2024 revenue CAPITAL MARKETS HISTORY • 2022 raised an est high 7 to low 8 figures from TCG • 2022 raised $100M from TCG for Night Capital • 2023 bought mgmt co LFM • 2024 bought The Roost Podcast Network ---DEAL DETAILS--- OVERVIEW • Announced 11.25.24 • Deal terms undisclosed DEAL ORIGINS • Night and BRM leadership have known one another for years • Lacaillade and Night President Ezra Cooperstein both worked at Fullscreen, an early YouTube MCN VALUE PROP • Bring a top digital manager into Night’s leadership team • Deliver larger and more exciting opportunities to BRM clients • Scale talent roster and offerings for Night’s brand and client partners • Scale Night’s seasoned digital talent team via BRM team additions • More leverage to recruit more digital-native clients ...I'll write more about the deal in my Friday M&A newsletter, signup link in comments 👇 -- I'm the founder of RockWater. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

3

1 Comment

What a great interview and organization! Check out the episode with BraveMaker founder, Tony J. Gapastione.

6

Nov. 2nd—Day 2 Recap: #TPAFF brought engaging discussions, including the “Distribution & Liberation Panel,” where I was honored to speak. Together, we explored how transmedia is transforming film distribution, especially after the pandemic and industry strikes. Our panel also included the amazing Danny Torres from NBCUniversal, writer/director/producer Derek Johnson II and powerhouse producer Romaine A. Simon which delved into the “liberation” of distribution channels—how filmmakers are finding new freedom to reach global audiences directly through streaming services, VOD, SVOD, TVOD, and even social media, bypassing traditional gatekeepers. We highlighted the rise of hybrid release models, combining theatrical, streaming, and online premieres to expand viewership and profitability. Monetization was another key theme as we discussed new revenue models like subscription tiers, ad-supported content, and crowd-funded releases that give creators more options to thrive in the changing media landscape. This “Distribution & Liberation” discussion showcased the importance of adaptability and innovation in navigating the industry’s future. Shoutout & #gratitude to the amazing Cassandra Cooper CEO of OVA Media Group for inviting me onto the panel. I’m looking forward to building great things together—and as always, to my big brother Dr. Eric J. Zuley of the #ezwayfamily and his #ezwaybroadcasting #ezwaytv for setting it up, connecting us together, and providing media coverage #thankyou you guys!! Much love to ALL. 💖 #TPAFF2024 #FilmDistribution #NewMedia #PostPandemicFilm #HybridReleases #IndieFilm #FilmIndustryTrends #Streaming #DirectToAudience #FilmLiberation #ovamediagroup #IndieFilmmaking #VOD #transmedia #futureoffilm #tracedelatorre #filmgirl #tracemedia #artsharela #filmmakers #losangeles

18

Music Business Association Music Biz 2024 coming up in May. Find out more about Reactional Music and what we are delivering across interactive music, music personalisation, in-game economies, generative composable music and the possibilities for creators, composers, artists and developers

14

2 Comments

Informa, a UK-based media and events biz, bought VidCon. Goal is to revitalize the company as both the creator market opportunity, and competion for live events, rapidly grows. Let’s break it down… ---SELLER: Vidcon--- • Live events business for digital media content creators • Founded by brothers Hank and John Green in 2010 • Team based across LA, NY, Missoula MT • Focuses on 5 audiences: fans, aspiring creators, industry pros, featured creators, sponsors • Each event has 3 distinct tracks: Community, Creator, Industry  • Expanded to int’l cities in 2017; Mexico City, Sao Paulo, London, Melbourne, Singapore, Anaheim, Baltimore • Shut down 2020-2021 due to COVID, launched virtual biz Vidcon Now • Growing competition from digital-native events like VidSummit, Creator Economy Live, Twitchcon, and new creator economy tracks from SXSW, Cannes Lions, ComicCon • Recent struggles incl canceling 2024 Vidcon Baltimore • Est team size of 15-25 people ---PERFORMANCE HIGHLIGHTS: Vidcon--- • Est annual revenue of $18M (per growjo) • Revenue from (1) sponsors / advertising (2) ticket sales (3) subscription • Est 50-100 annual sponsors • Rumors of unprofitability • 85,000 attendees across events network in 2023 • 55,000 attendees of flagship Anaheim event for 2024, flat YoY • Peak attendance was 75,000 attendees in 2018 (up from 1,400 in 2010!) ---M&A HISTORY: Vidcon--- • 2018 Viacom (part of Paramount) acquired Vidcon to expand live events biz • 1Q 2024 hired bank to explore sale  • Aug/Sep 2024 sold to Informa ---SELLER OWNER: Paramount Global--- • Diversified media conglomerate • In process of $8B merger w/ Skydance • Core TV business in massive decline ---BUYER: Informa--- • UK-based media and events company • Publicly traded on LSE • Growing focus on fandoms via “Fan Expo HQ”: Toronto Comicon, Game Developers Conference • Bid $1.6B for Cannes Lions owner Ascential earlier in 2024 ---FINANCIALS: Informa (in GBP)--- Stock price as of 8:45AM PT on 9.16… • Stock price: £846.6 • Mkt Cap: £11.3B  • Up 9.5% YTD • Up 12.9% YoY YE 2023 financials as of 12.31.23 vs 2022... • Revenue: £3.2B, up from £2.3B • Adj Op Profit: £854M, up from £496M • FCF: £632, up from £418M • LT DEBT: £1.5B, about same YoY • C&CE: £389M, vs £2.1B (will have to dig in to see how used) ---DEAL DETAILS--- • Undisclosed • No public comments from either side about sale I'll write more about the deal value prop, and thoughts about how Vidcon can newly succeed under new ownership and amongst growing competition. As the first creator economy event I ever attended starting back in 2013, Vidcon is near and dear to my heart! More to come in my Friday newsletter, sign up link in comments below 👇 -- I'm the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open.

27

4 Comments

A kinda funny article as their stock price is always being manipulated and meaningless especially that if you look at their major shareholders it is obvious that Universal. the biggest record company in the world., intends to go private in 2026 with Bill Akeman, Tencent, Vivendi, Vincent Bolore and a future shareholder, I will not name, have planned to go private along. Remember that under their new structure 50% of earnings must be distributed annually via dividends hence why they partner with companies like Reservoir to purchase assets [which they double dip on by holding the distribution rights.] Bill and Vincent are brilliant billionaires and once Grainge retires the 'new partner' will make an offer to all other shareholders so don't be surprised to see the stock keep going down so UMG can do more stock buybacks diluting 'the sheep'. PS - They know a lot about Superfans and how to exploit such plus if you look closely their merch business has increased by close to 40% PS 2 - They are also diversifying into the ,ive business like Sony. The latter is buying live venues every month across the world.

1

MARTIN GROVE'S HOLLYWOOD REPORT FOR 11/17/24: RED ONE didn't deliver enough green ones to help cure the boxoffice pandemic that began with JOKER 2 in October.   This weekend's only wide studio launch, Amazon/MGM Studios' PG-13 action adventure comedy RED ONE, opened #1 to $34.1M, per Comscore, at 4,032 theatres ($8,451). Produced reportedly for $250M, it was directed by Jake Kasdan (JUMANJI: THE NEXT LEVEL) and stars Dwayne Johnson & Chris Evans. Its debut beats the $30M Hollywood handicappers were projecting Saturday, but it's still nothing for exhibs to feel good about.   Although ONE is a theatrical dud, it will likely work much better for Amazon as a streaming title with The Rock as a superstar magnet for subscriber eyes. ONE can live on for years as a Prime holiday classic -- whether it is or isn't -- for seasonal viewing as streamers doze on couches globally.   Internationally, ONE is being released by Warner Bros. and has done $50M since opening last week to avoid going head to head this weekend with Paramount's Ridley Scott heavyweight GLADIATOR II -- which ki ked off to $87M overseas.   ONE is tracking best for first choice with men over 25 (six points over norm) and next best with women over 25 (three points over norm). Rotten Tomatoes critics hate it at 33%, but audiences are happy at 89%.   While ONE's modest debut can’t be putting smiles on exhibitors' faces, at least they've got bodies in seats eating popcorn and other concession treats. Exhibs have to hold on until 11/22, when Universal/Marc Platt Productions' WICKED opens to what Hollywood buzzards say will be $80M or more. It's tracking best for first choice with under 25 women (13 points over norm). No scores yet on Rotten Tomatoes.   Exhibs' other big hope 11/22 is Paramount/Scott Free Productions' GLADIATOR II. Insiders expect $65M or more. It's tracking best for first choice with men over 25 (16 points over norm). Rotten Tomatoes critics are an okay 75%.   This weekend's domestic marketplace totaled $73.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 2% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $7.08B, down 11.1% from $7.97B in 2023. The previous weekend in 2024 was down 11.4% vs. 2023.   Meanwhile, back at the multiplexes: Sony/Marvel's VENOM: THE LAST DANCE was #2 in weekend four with $7.4M (-54%) at 3,421 theatres ($2,150). It reportedly cost $120M to produce and has done $127.6M domestic.   Lionsgate/Comworld Productions' faith-based THE BEST CHRISTMAS PAGEANT EVER was #3 with $5.4M (-50%) at 3,020 theatres ($1,150). It's done $20M domestic.   Next weekend (11/22): WICKED + GLADIATOR II (see above) should pump a lifesaving $145M or more into domestic theatres.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #redone                

2

I think what this research is saying is what music publishers have always said, the SONG is what is going to carry the day in market share in this new iteration where people are more fragmented in the number of artists they listen to and more focused on the songs they love regardless of who sings them or where they emanate from. Great news for publishers who are focused on building the value of songwriter/publishing catalogs by securing more licensing opportunities in many different areas all over the world. 2025 holds so much promise in this ever changing music ecosystem for publishers who can secure these licensing opportunities!

8

Why UMG's Acquisition of Downtown Music Might Not Be as Disruptive as It Seems Preservation of Independent Identity While UMG is acquiring Downtown Music, there’s no guarantee they’ll dismantle its independent ethos. Many acquisitions leave operational structures intact, especially when the acquired companies are profitable and well-regarded. It’s likely UMG will prioritize growth and efficiency rather than a heavy-handed overhaul, allowing Downtown’s services to continue benefiting independents. Market Diversification Isn’t Domination Owning tools like CD Baby and Songtrust doesn’t mean UMG will dominate the indie market. Artists and labels choose platforms based on trust, affordability, and effectiveness. If UMG compromises Downtown’s neutrality or raises prices, competitors like DistroKid or TuneCore will quickly fill the gap, maintaining balance in the ecosystem. Opportunities for Innovation UMG’s resources could improve these platforms. Enhanced technology, better global reach, and competitive pricing might emerge under UMG’s ownership. This could empower independent artists and labels rather than hinder them. Indie Market Resilience The indie sector thrives on adaptability and innovation. Consolidation by major players can lead to new entrants and more competition. For every platform acquired, others emerge with fresh approaches and stronger commitments to independence. Checks and Balances Exist Regulatory scrutiny and public perception can influence how UMG operates its new acquisitions. If they exploit their position to harm independents, it could lead to legal challenges or damage their reputation, dissuading artists from using their services. Ownership Doesn’t Equal Control Indie artists and labels aren’t bound to these platforms—they have agency. Many might see the acquisition as a reason to diversify their tools, reducing dependence on any single company. While UMG’s acquisition reflects a broader trend of consolidation, it’s far from a death knell for the independent music world. The strength of the indie sector lies in its diversity, creativity, and resilience—qualities that even the largest corporations struggle to co-opt.

56

12 Comments

📣 Entrepreneurs, Today's Business Tip! If you didn't know, Roku has many independent channels created by content creators, experts, entrepreneurs, and creatives like me and you. Outside of the popular mainstream channels on Roku here's a quick quiz. #keytosuccess #idefinetv #entrepreneurship #successtips #entrepreneurmindset #Roku #contentcreators #streamingtv #businessgrowth #FutureOfTV #AsSeenOnTV #Rokumarketing #tvexposure #leadgenerationtips #brandawareness #videoproduction

3

The Soothsayers speak and I generally agree! As for my predictions? I GUARANTEE that we will have a 5 somewhere in the year number! Other than that: 🤷‍♂️ I just hope we all survive.... animation! 😘 #animation #cartoons #survivinganimation

16

5 Comments