Tag: Paramount Global

What’s Warner Bros. Discovery’s next move? David Zaslav and John Malone offer clues

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David Zaslav, CEO and president of Warner Bros. Discovery (L), and John Malone, chairman of Liberty Media, Liberty Global, and Qurate Retail Group.

CNBC | Reuters

Warner Bros. Discovery‘s next step to gain scale may be looking at distressed assets.

Chief Executive David Zaslav and board member John Malone both made comments this week suggesting the company is paying down debt and building up free cash flow to set up acquisitions in the next two years of media businesses suffering from diminished valuations.

The targets could be companies flirting with or filing for bankruptcy, Malone said in an exclusive interview with CNBC on Thursday. While U.S. regulators may frown at large media companies coming together because of overlaps with studio, cable or broadcasting assets, they’ll be much more forgiving if the companies are struggling to survive, Malone told David Faber.

“I think we’re going to see very serious distress in our industry,” Malone said. “There is an exemption to the antitrust laws on a failing business. At some point of distress, right, then some of the restrictions, they look the other way.”

Media company valuations have been plummeting amid streaming video losses, traditional TV subscriber defections, and a down advertising market. This has affected Warner Bros. Discovery as much as its peers. The company’s market valuation recently fell below $23 billion, its lowest point since WarnerMedia and Discovery merged last year. The company ended the third quarter with about $43 billion in net debt.

Warner Bros. Discovery is trying to position itself to be an acquirer, rather than a distressed asset, itself, by paying down debt and increasing cash flow, Zaslav said during his company’s earnings conference call this week. Warner Bros. Discovery has paid down $12 billion and expects to generate at least $5 billion in free cash flow this year, the company said.

“We’re surrounded by a lot of companies that are – don’t have the geographic diversity that we have, aren’t generating real free cash flow, have debt that are presenting issues,” Zaslav said Thursday. “We’re de-levering at a time when our peers are levering up, at a time when our peers are unstable, and there is a lot of excess competitive – excess players in the market. So, this will give us a chance not only to fight to grow in the next year, but to have the kind of balance sheet and the kind of stability … that we could be really opportunistic over the next 12 to 24 months.”

Still, Warner Bros. Discovery also acknowledged it will miss its own year-end leverage target of 2.5 to 3 times adjusted earnings as the TV ad market struggles and linear TV subscription revenue declines.

Buying from distress

Malone has some experience with profiting from times of distress.

His Liberty Media acquired a 40% stake in Sirius XM over several years more than a decade ago, saving it from bankruptcy. Since then, the equity value of the satellite radio company has bounced back from nearly zero to about $5 per share. Sirius XM currently has a market capitalization of about $18 billion.

“It made us a lot of money with Sirius,” Malone told Faber.

While Malone didn’t name a specific company as a target for Warner Bros. Discovery, he discussed Paramount Global as an example of a company whose prospects seem shaky. Paramount Global’s market valuation has slumped below $8 billion while carrying about $16 billion in debt.

Malone noted that Paramount’s debt was recently downgraded. “I think that they’re running probably negative free cash flow,” he said.

Paramount Global’s third-quarter cash flow was $377 million, and the company has forecast a return to positive free cash flow in 2024.

While Paramount Global shares have fallen precipitously since Viacom and CBS merged in 2019, there are signs the company is shoring up its balance sheet. CEO Bob Bakish said earlier this month Paramount Global’s streaming losses will be lower in 2023 than 2022, and the company expects further improvement to losses in 2024. The company closed a sale for book publisher Simon & Schuster for $1.6 billion and will use the proceeds to pay down debt.

Paramount Global’s fate

Shari Redstone, chair of Paramount Global, attends the Allen & Co. Media and Technology Conference in Sun Valley, Idaho, on Tuesday, July 11, 2023.

David A. Grogan | CNBC

Paramount Global is one of the few assets that logically fits Malone’s vision of a media asset that would have regulatory issues as an acquisition with potential distress concerns. Comcast‘s NBCUniversal, another potential merger partner, will lose more than $2 billion this year on its streaming service, Peacock, but the media giant is shielded by its parent company, the largest U.S. broadband provider.

“Warner Bros. [Discovery] now is making money. Not a lot, but they’re making money,” Malone said. “Peacock is losing a lot of money. Paramount is losing a ton of money that they can’t afford. At least [Comcast CEO] Brian [Roberts] can afford to lose the money.”

Paramount Global’s controlling shareholder Shari Redstone is open to a transformative transaction, CNBC reported last month. Puck’s Dylan Byers recently reported that industry insiders have speculated Warner Bros. Discovery might pursue an acquisition of Paramount Global after the 2024 U.S. presidential election.

A combination of NBCUniversal and Paramount Global also has strategic logic, but the combination of two national broadcast networks — Comcast’s NBC and Paramount Global’s CBS — would present a significant regulatory hurdle. Warner Bros. Discovery doesn’t own a broadcast network, making an acquisition of CBS easier.

Spokespeople for Paramount Global and Warner Bros. Discovery declined to comment.

While Malone said all legacy media companies should be talking to each other about merger synergies, he acknowledged valuations may have to fall farther to get regulators on board with further consolidation. Malone predicted that could happen in the same timeline Zaslav gave — within the next two years.

“Eventually maybe there’ll be regulatory relief,” Malone said. “Out of distress usually comes the reduction in competition, increased pricing power, and the opportunity to buy assets at a deep discount.”

Disclosure: Comcast owns NBCUniversal, the parent company of CNBC.

Tune in: CNBC’s full interview with John Malone will air 8 p.m. ET Thursday.

Liberty Media's John Malone on interest rates, media outlook and the streaming landscape

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Paramount’s Shari Redstone is open for business, but business may not be open for her

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Shari Redstone, president of National Amusements and controlling shareholder of Paramount Global, walks to a morning session at the Allen & Company Sun Valley Conference in Sun Valley, Idaho, July 12, 2023.

David A. Grogan | CNBC

Shari Redstone may have missed her window.

Paramount Global‘s controlling shareholder is open to a merger or selling the company at the right price, according to people familiar with her thinking. And she has been open to it for several years, said the people, who asked not to speak publicly because the discussions have been private.

Spokespeople for Redstone and Paramount Global declined to comment.

The problem has been finding the right deal for shareholders. Market conditions have made a transformative transaction difficult at best and highly unlikely at worst.

“The market is crying out for reshaping media company portfolios and consolidation,” said Jon Miller, chief executive at Integrated Media and a senior advisor at venture firm Advancit Capital, which Redstone co-founded. “But the deck is stacked against large-scale transactions now because of both immediate concerns in terms of ad sales, subscription video numbers and the cost of debt. No one wants to transact at the current market valuations that these companies are given.”

Paramount Global is an archetype for the media industry’s consolidation conundrum. The company consists of Paramount Pictures, the CBS broadcast network, 28 owned-and-operated local CBS stations, the streaming service Paramount+, free advertising-supported Pluto TV, “Star Trek,” “SpongeBob SquarePants,” MTV, Nickelodeon, Comedy Central, BET and Showtime. It also owns the physical Paramount studio lot in Los Angeles, California.

From a sum-of-the-parts perspective, the company holds a strong hand. Many of Paramount Global’s assets would fit nicely within larger media companies.

“Paramount has a tremendous amount of assets in its content library and they own some pretty powerful sports rights in the form of the NFL contract, Champions League soccer and March Madness,” Guggenheim analyst Michael Morris told CNBC last week.

“But, they are still losing money on their streaming service,” Morris said. “They need to pull these things together, right-size the content, super charge that topline through pricing and penetration, and then we can see investors get excited about this idea again.”

Declining revenue from the acceleration of pay-TV cord-cutting, continued streaming losses and rising interest rates have put Redstone in a bind. The company’s market capitalization has slumped to $7.7 billion, nearly the company’s lowest valuation since Redstone merged CBS and Viacom in 2019. At the time, that transaction gave the combined company a market valuation of about $30 billion.

It’s unclear whether staying the course will help turn investor sentiment. Warren Buffett, CEO of Berkshire Hathaway, one of Paramount Global’s biggest shareholders, told CNBC in April that streaming “is not really a very good business.” He also noted that shareholders in entertainment companies “really haven’t done that great over time.”

Paramount Global’s direct-to-consumer businesses lost $424 million in the second quarter and $511 million in the first quarter. The company reports third-quarter earnings Nov. 2.

CEO Bob Bakish said 2023 will be the peak loss year for streaming. Paramount Global cut its dividend to 5 cents per share from 24 cents per share to “further enhance our ability to deliver long-term value for our shareholders as we move toward streaming profitability,” Bakish said in May.

Wells Fargo analyst Steven Cahall suggested earlier this year that Bakish should shut down the company’s streaming business entirely, despite the fact that Paramount+ has accumulated more than 60 million subscribers.

“We believe Paramount Global is worth a lot more either as a content arms dealer or as a break-up for sale story,” Cahall wrote in a note to clients in May. “Great content, misguided strategy.”

Big Tech lifeline

Bob Bakish, CEO of Paramount, speaks with CNBC’s David Faber on Sept. 6, 2023.

CNBC

Executives at Paramount Global continue to hold out hope that a large technology company, such as Apple, Amazon or Alphabet, will view the collection of assets as a way to bolster their content aspirations, according to people familiar with the matter.

Paramount+’s 61 million subscribers could help supersize an existing streaming service such as Apple TV+ or Amazon’s Prime Video, or give Alphabet’s YouTube a bigger foothold into subscription streaming beyond the National Football League’s Sunday Ticket and YouTube TV.

While Federal Trade Commission Chairman Lina Khan has been particularly focused on limiting the power of Big Tech companies, Apple, Amazon and Alphabet may actually be better buyers than legacy media companies from a regulatory standpoint. They don’t own a broadcast TV network, unlike Comcast (NBC), Fox or Disney (ABC). It’s highly unlikely U.S. regulators would allow one company to own two broadcast networks. Divesting CBS is possible, but it’s so intertwined with Paramount+ that separating the network from the streaming service would be messy.

“We believe Paramount Global is too small to win the streaming wars, but it is bite-size enough to be acquired by a larger streaming competitor for its deep library of film and TV content, as well as its sports rights and news assets,” Laura Martin, an analyst at Needham & Co., wrote in an Oct. 9 research note to clients.

Acquiring Paramount Global would be a relative drop in the bucket for a Big Tech company. Paramount Global’s market value was below $8 billion as of Friday. It also has about $16 billion in long-term debt.

Still, even with huge balance sheets and trillion-dollar valuations, there’s no evidence technology companies want to own declining legacy media assets such as cable and broadcast networks. Netflix has built its business specifically on the premise that these assets will ultimately die. Paramount’s lot and studio may be appealing for content creation and library programming, but that would leave Redstone holding a less desirable basket of legacy media assets.

Breakup difficulties

It’s possible Redstone could break up the company and sell off legacy media assets to a private equity firm that could milk them for cash. But Paramount Global’s diminished market valuation, relative to its debt, likely makes a leveraged buyout less appealing for a potential private equity firm.

Moreover, rising interest rates have generally slowed down take-private deals in all industries, as the cost of paying debt interest has soared. Globally, buyout fund deal volume in the first half of 2023 is down 58% from the same period a year ago, according to a Bain & Co. study.

If a full sale to Big Tech and a partial sale to private equity won’t happen, another option for Redstone is to merge or sell to another legacy media company. Warner Bros. Discovery could merge with Paramount Global, though putting together Warner Bros. and Paramount Pictures may hold up deal approval with U.S. regulators.

Beyond regulatory issues, recent history suggests big media mergers haven’t worked well for shareholders. Tens of billions of dollars in shareholder value have been lost in recent media mergers, including WarnerMedia and Discovery, Disney and the majority of Fox, Comcast/NBCUniversal and Sky, Viacom and CBS, and Scripps and Discovery.

Merger partners such as Warner Bros. Discovery also may prefer to sell or merge with a different company, such as Comcast’s NBCUniversal, if regulators allow a big media combination.

Redstone has recently dabbled around the edges, shedding some assets, such as book publisher Simon & Schuster, and engaging in talks to sell a majority stake in cable network BET.

But Paramount Global shelved the idea of selling a stake in BET in August after deciding sale offers were too low to outweigh the value of keeping the network in its cable network portfolio. With the total company’s market valuation below $8 billion, it’s difficult to convince buyers to pay big prices for parts. A change in broader investment sentiment that pushes the company’s valuation higher may help Redstone and other Paramount Global executives get more comfortable with divesting assets.

Selling National Amusements

If Redstone can’t find a deal to her liking, she could also sell National Amusements, the holding company founded by her father, Sumner Redstone, that owns the bulk of the company’s voting shares. National Amusements owns 77.3% of Paramount Global’s Class A (voting) common stock and 5.2% of the Class B common stock, constituting about 10% of the overall equity of the company.

Redstone took a $125 million strategic investment from merchant bank BDT & MSD Partners earlier this year to pay down debt, reiterating her belief in Paramount Global’s inherent value.

“Paramount has the best assets in the media industry, with an incredible content library and IP spanning all genres and demographics, as well as the No. 1 broadcast network, the leading free ad-supported streaming television service and the fastest-growing pay streaming platform in the U.S.,” Redstone said in a statement in May. “NAI has conviction in Paramount’s strategy and execution, and we remain committed to supporting Paramount as it takes the necessary steps to build on its success and capitalize on the strategic opportunities in our industry.”

Selling National Amusements wouldn’t alter Paramount Global’s long-term future. But it is a way out for Redstone if she can’t find a deal beneficial to shareholders.

Paramount Global isn’t actively working with an investment bank on a sale, according to people familiar with the matter. The company is content to wait for a shift in market conditions or regulatory officials before getting more aggressive on a transformational deal, said the people.

Still, Redstone’s predicament aptly sums up legacy media’s current problems. The industry is counting on a turn in market sentiment, while executives privately grumble that in the near term there’s little they can do about it.

WATCH: Mad Money host Jim Cramer weighs in on Paramount Global

Lightning Round: Paramount Global might drop another two to three points lower, says Jim Cramer

Disclosure: Comcast’s NBCUniversal is the parent company of CNBC.

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Disney and Charter reach deal to end cable blackout in time for ‘Monday Night Football’

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The blackout fight between cable giant Charter Communications and Disney is over.

Hours ahead of “Monday Night Football,” which airs on Disney’s ESPN, the companies reached a deal that would allow millions of Charter cable customers to watch the game.

The deal will see Disney’s ad-supported streaming apps Disney+ and ESPN+ included in packages for some of Charter’s Spectrum pay TV customers. Disney will receive an increase on the subscriber fees it receives from Charter.

Earlier on Monday CNBC’s David Faber reported a deal between the two companies was nearing and would include a discount on pricing for Disney streaming services for Charter customers.

The news release for the agreement said it includes:

  • The Disney+ basic ad-supported offering will be provided to customers who buy the Spectrum TV Select package.
  • ESPN+ will be provided to subscribers to Spectrum TV Select Plus subscribers.
  • The highly anticipated ESPN streaming service will be made available to Spectrum TV Select subscribers when it launches.

Charter’s and Disney’s stocks, as well as media peers including Warner Bros. Discovery and Paramount Global traded higher Monday afternoon.

Earlier this summer, Charter announced it would soon offer a sports-lite package to customers, primarily nixing regional sports networks and creating a cheaper option for consumers who don’t watch the networks.

Customers on the Spectrum TV Select Plus plan – which includes the regional sports networks – will receive ESPN+ subscriptions as part of their package.

The plans are set to roll out during the third quarter.

Meanwhile, Disney+’s ad-supported option will be provided to customers who select the Spectrum TV Select package. When ESPN launches its direct-to-consumer streaming option, these customers will also receive access to it. (The new ESPN app will be a streaming version of the cable channel, unlike the ESPN+ app, which doesn’t include all programming.)

The inclusion of Disney’s ad-supported streaming apps for Charter’s customers had appeared to be a sticking point in the negotiations that stalled and led to a blackout. While this deal doesn’t appear to give all Charter pay TV customers access to all of Disney’s apps – which also include Hulu – it is a step in that direction as cord cutting ramps up for pay TV distributors.

The dispute between Charter and Disney had been ongoing since late August when carriage renewal negotiations broke down between the two companies and left millions of customers without Disney TV channels, including ESPN, FX and Disney Channel.

At the time of the blackout, Charter had about 14.7 million customers across 41 states, with New York being one of its top TV markets. The dispute dragged on past the NFL season kickoff Thursday, but ended just in time for the “Monday Night Football” matchup between the New York Jets and Buffalo Bills.

As a result, Charter saw some of its Spectrum pay TV customers cut its bundle in favor of internet TV options like Disney’s Hulu + Live TV or Google‘s YouTube TV. In the days after the blackout — which occurred amid the U.S. Open tennis tournament and beginning of the college football season, both of which are featured on ESPN — Disney said Hulu + Live TV sign-ups were more than 60% higher than expected.

While sign ups for internet TV bundles like Hulu + Live TV and YouTube TV are often higher at this time of year due to the NFL and college football, there was a spike in signups recorded by data provider Antenna. While Hulu + Live TV was up more than 60%, YouTube TV – this season’s carrier of the NFL’s “Sunday Ticket” package of out-of-market games – was up about 115%.

The NFL is often the key source of leverage network owners like Disney have in negotiations. Media companies, including Disney, collectively paid more than $100 billion to air NFL games over an 11-year period.

Disney owns broadcaster ABC, which airs some “Monday Night Football” games. ESPN+ has an exclusive “Monday Night Football” game this season, too. Disney agreed to pay around $2.7 billion annually for these rights, CNBC previously reported.

Broadband vs. cable

Carriage disputes and blackouts are a common occurrence. But Charter billed the moment Disney’s networks went dark as a more pivotal moment, as the company proclaimed that the pay TV model was broken.

Satellite TV provider DirecTV and broadcast station owner Nexstar Media Group have been in a similar dispute since earlier in the summer. It has continued past the start of the NFL season. Broadcast networks including CBS and Fox air local NFL games on Sundays.

Hours after the blackout began, Charter executives held an investor call pushing for a revamped deal with Disney that would give Spectrum pay TV customers free access to Disney’s ad-supported streaming apps Disney+, ESPN+ and Hulu.

Disney's succession mess: The inside story of Iger and Chapek

This point in particular seemed to be the sticking point in negotiations.

Disney had responded that its streaming and TV networks weren’t equal due to the original content that premieres exclusively on live TV and its multibillion investments in exclusive streaming content.

The public tussle has highlighted the issues facing media companies. Cord cutting has been rampant and consumers are switching to streaming services at a fast clip. Media companies are using content from their pay TV channels for their streaming services, arguably accelerating the transition.

Yet, the fees generated from pay TV providers like Charter for carrying the live networks are still robust — even if they are decreasing with fewer customers in the bundle — and propping up media companies’ cash flow and profitability. Media companies like Disney are still working to make streaming a profitable business.

ESPN is considered to receive some of the highest fees, even before the Monday deal with Charter. The network receives $9.42 per subscriber a month, while other Disney networks like ESPN2, FX and Disney Channel get $1.21, 93 cents and $1.25, respectively, according to data from S&P Global Market Intelligence. A Disney representative hasn’t commented on the fees. The media giant has more than 20 networks.

While providing pay TV services has long been part of Charter, broadband has usurped it as the cornerstone of its profitability and business. Even as consumers cut the TV cord, they remain as broadband customers.

Charter CEO Chris Winfrey had said the company planned to push for similar terms in upcoming negotiations with other content companies.

In the days following the blackout, Winfrey spoke at an investor conference where he said those discussions with other media content companies were already beginning to take place.

He also reiterated the company’s position that the pay TV model was broken and at an inflection point.

Disclosure: Comcast, which owns CNBC parent NBCUniversal, is a co-owner of Hulu.



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Comcast beats estimates despite slowing broadband growth, higher Peacock losses

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Comcast topped analyst expectations with its first-quarter earnings report Thursday, despite the cable and media giant’s residential broadband business’s slowing growth and mounting Peacock losses.

Shares of the company rose more than 7%.

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Here’s how Comcast performed, compared with estimates from analysts surveyed by Refinitiv:

  • Earnings per share: 92 cents adjusted vs. 82 cents expected
  • Revenue: $29.69 billion vs. $29.3 billion expected

For the quarter ended March 31, Comcast reported earnings of $3.83 billion, or 91 cents per share, compared with $3.55 billion, or 78 cents per share, a year earlier. Adjusting for one-time items, Comcast posted earnings per share of 92 cents for the most recent period.

Revenue dropped 4% to $29.69 billion from $31.01 billion in the prior-year period, with the company noting that last year it had broadcast both the Super Bowl and Beijing Olympics during the first quarter. 

The Philadelphia company said its first-quarter adjusted earnings before interest, taxes, depreciation and amortization grew 3% to $9.42 billion during the first quarter. 

Comcast said it returned $3.2 billion to shareholders in the quarter through a mix of $1.2 billion in dividend payments and $2 billion in share repurchases. 

Comcast had 21,000 fewer residential broadband customers year-over-year at the end of the three-month period, adding just 3,000 during the quarter. It received a slight boost from its business customers. Company executives had warned earlier this year that Comcast was likely to lose broadband subscribers in the first quarter. 

Still, it was a sign that Comcast, like its peers, continues to face slowing growth in the broadband business. Executives have said that, while the loss rate of customers is very low, growth has stagnated – especially since the early days of the Covid pandemic – as they face heightened competition from telecom and wireless providers. 

Comcast executives said on Thursday’s earnings call that the company expects adding subscribers to likely be a challenge in the near term, but will focus on average revenue per user to grow revenue for the segment.

The Xfinity mobile business grew to nearly 5.67 million customers during the quarter, a sign that its wireless service – which is provided in conjunction with an agreement to use Verizon‘s network – remains a bright spot. 

Cable TV customers continued their exodus from the traditional bundle, with Comcast losing 614,000 subscribers during the quarter. 

Last month, Comcast announced it was changing how it reported its segments, now grouping its Xfinity-branded broadband, cable TV and wireless services with its U.K.-based Sky, which includes pay TV services and Sky-branded entertainment TV channels to form the “connectivity and platforms” segment. Total revenue for the segment was about $20.15 billion, a slight drop from the last quarter due to the impact of foreign currency. 

The second segment, content and experiences, includes all of NBCUniversal’s TV and streaming business, the international networks and Sky Sports channels, as well as its film studios and theme parks units. Overall revenue for the segment was down nearly 10% to $10.26 billion in the quarter.

The media business’ revenue took a dip in the first quarter, with it dropping about 20% to $6.15 billion, due to its comparison last year, when NBC aired the Super Bowl and had the rights to the Beijing Olympics for its TV networks and Peacock. Still, Comcast said excluding the $1.5 billion incremental revenue from these two major sporting events, media revenue was still down about 2%. 

The tightening ad market showed on Comcast’s balance sheet this quarter, as it has for peers like Paramount Global and Warner Bros. Discovery. Excluding the Olympics and Super Bowl – two events that generate a lot of ad revenue – domestic advertising during the quarter was down about 6% driven by lower TV network revenue and a TV ratings decline. 

Domestic TV distribution revenue was up, excluding the Olympics, which Comcast noted was primarily due to higher revenue at Peacock, which had more paid subscribers. 

Comcast said Peacock subscribers grew more than 60% year over year to 22 million, and revenue was up 45% to $685 million. Peacock had $704 million in losses, compared with losses of $456 million in the same period last year. 

Last quarter, the company noted Peacock losses would amount to about $3 billion this year. The streaming service’s costs continued to weigh on the media segment’s earnings. Executives said Thursday they were “encouraged” by Peacock’s results, and following the expected peak losses this year will see a steady improvement. Comcast President Mike Cavanagh said the company had the confidence Peacock would “break even and grow from there.”

NBCUniversal’s film segment got a boost from the animated “Shrek” spinoff “Puss in Boots: The Last Wish” and horror flick “M3GAN,” during the quarter, with revenue up nearly 2% to $2.96 billion. 

Both Comcast CEO Brian Roberts and Cavanagh touted NBCUniversal’s animation film business on Thursday’s call, with the success of “The Super Mario Bros. Movie,” which was released earlier this month. This week it surpassed $900 million at the global box office, including $444 million domestically.

“We’ve had tremendous success creating franchises,” Roberts said on Thursday’s call, noting the “Despicable Me” and “Shrek” franchises. “These are the results of the strategic decisions we made years ago to become a leader in animation and the conviction to invest in the business in the pandemic.”

Cavanagh noted that NBCUniversal’s “Jurassic Park,” “Minions” and “Halloween” installments last year helped boost its box office.

“We’re really proud of our animation business,” Cavanagh said Thursday.

NBCUniversal’s upcoming film slate includes next month’s “Fast X,” the next installment in the popular “Fast and Furious” franchise, as well as Christopher Nolan’s next epic, “Oppenheimer,” about the scientist who led the development of the atomic bomb during World War II. It will be released in July.

The company’s theme park segment kept on rolling higher, especially since the shutdowns of parks during the height of the pandemic, with revenue up 25% to $1.95 billion. Revenue was boosted by international parks, which were still weighed down by pandemic restrictions last year. The opening of Super Nintendo World helped boost revenue, too. 

Earlier this week, NBCUniversal faced a shake-up with the ouster of CEO Jeff Shell due to a sexual harassment and discrimination complaint filed by an employee. Roberts addressed the matter at the start of Thursday’s call, saying it was “obviously a tough moment” for the company but noting his confidence in NBCUniversal’s leadership team, which will now report to Cavanagh.

“Think of me as being here for awhile,” Cavanagh said regarding his future as overseeing the NBCUniversal team. He noted during the call he’s been close to the business since joining Comcast nearly eight years ago and has been “deeply involved for a long time.”

Investors also shouldn’t expect to see NBCUniversal “revisiting strategy” as a result of Shell’s departure alone, and instead would react “as the environment changes.”

Disclosure: Comcast owns NBCUniversal, the parent company of CNBC.

Correction: Comcast’s total media revenue was down more than 20%. An earlier version misstated that figure.

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Why you won’t see many car ads during Sunday’s Super Bowl

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General Motors and Netflix partnered for a 60-second ad starring actor and comedian Will Ferrell driving GM electric vehicles in popular Netflix shows and movies to promote the streaming service using more EVs in its productions.

Screenshot

Automakers — historically among the largest Super Bowl advertisers — are mostly bypassing this Sunday’s NFL championship game to preserve cash or spend ad dollars elsewhere.

The only automakers expected to advertise during Sunday’s game between the Philadelphia Eagles and Kansas City Chiefs on Fox are General Motors, Kia and Stellantis‘ Ram and Jeep brands. Porsche said it will air a spot shortly before the game in collaboration with Paramount.

The broad resistance is a swift change from a year ago, when the automotive industry represented the largest segment for Super Bowl ads, at $99.3 million, according to Kantar Media’s Vivvix. That total was up by more than $30 million from 2021 when web-based, media and movie companies outspent the industry.

The decline in automotive ads this year comes as companies invest billions of dollars in electric vehicles or attempt to preserve cash in preparation for a potential economic downturn. They also are continuing to battle through supply chain problems.

The average cost of a 30-second commercial during last year’s Super Bowl was $6.5 million, up more than $2 million over 2016 rates. That cost is now approaching $7 million, according to Kantar Media.

“This has less to do with the Super Bowl itself and more to do with individual issues within the automotive industry,” Eric Haggstrom, director of business intelligence for Advertiser Perceptions, told CNBC. “The auto industry has been battered by supply chain issues, inflation eating into consumer budgets, and rising interest rates that have made car payments dramatically more expensive.”

Haggstrom noted several automakers pulled back ad spending in recent years — the result of fewer products to sell due to tight inventories caused by supply chain problems during the coronavirus pandemic. Newer automakers have also traditionally advertised less, or not at all, as they attempt to emulate Tesla’s advertising-free model, Haggstrom said.

Eight auto brands or companies advertised during last year’s Super Bowl, including returning companies GM and Kia. Embattled car retailers Carvana and Vroom, which advertised during last year’s game amid record used vehicle demand, are not returning. And EV startup Polestar, whose ad was a success in the 2022 Super Bowl, said it will also not advertise this year.

For the 10th consecutive year, auto accessory company WeatherTech will air a 30-second ad. The Illinois-based company is the longest-running automotive business to consecutively advertise during the big game.

Those who are advertising say they are taking the opportunity to reach a captive audience that’s expected to be around 100 million viewers. The game is historically one of the most-watched events of the year, offering advertisers an opportunity to capitalize on viewership amid declining television audiences.

GM’s 60-second ad stars actor and comedian Will Ferrell driving GM EVs through popular Netflix shows and movies to promote the streaming service upcoming efforts to include more EVs in its productions.

“It is a big moment,” GM marketing chief Deborah Wahl told reporters during a briefing about its ad. “To do something like this is really different.”

Ferrell also appeared in GM’s Super Bowl ad promoting EVs two years ago.

Those who aren’t returning largely attributed the decision to business priorities or available products and capital. Toyota Motor, one of the top Super Bowl advertisers in recent years, said its product plans didn’t align with this year’s game.

“We look at the Super Bowl very strategically, and we want to make sure that we have a purpose for being in the Super Bowl,” Lisa Materazzo, group vice president of Toyota Marketing, told CNBC at an event this week for the Chicago Auto Show. “We definitely think the Super Bowl has a place. This year it just wasn’t the right time or place for us.”

Hyundai Motor, in an emailed statement, said the decision not to advertise was “based on business priorities and where we felt it was best to allocate our marketing resources.” Audi, which last advertised in 2020, said it’s “focusing on other efforts within our electrification and sustainability commitments.”

Stellantis, formerly known as Fiat Chrysler, has been one of the most prolific advertisers for more than a decade and is returning after a one-year hiatus. The company’s chief marketing officer, Olivier Francois, is well known for attracting standout talent including Bruce Springsteen, Bill Murray, Clint Eastwood and Eminem.

Stellantis has not released its ads, while GM, Kia and WeatherTech released their commercials earlier this week.

Kia’s 60-second “Binky Dad” ad features a father going viral for racing to retrieve a “binky” for his baby, driving a 2023 Telluride X-Pro SUV. It’s set to “Gonna Fly Now” of 1976, famously known as the “Rocky” movie theme music. Uniquely, the commercial features three alternate endings that will be available exclusively on TikTok.

The ad has drawn some criticism online, as Kia and its parent company Hyundai have come under fire for at least four of its suppliers reportedly violating child labor laws. Both Hyundai and Kia have condemned such practices. Reuters this week reported the parent company is in talks with the U.S. Department of Labor to resolve concerns about child workers in its U.S. supply chain.

The 30-second ad for WeatherTech promotes the company’s U.S.-made products, showing bank executives and others criticizing the company for its American investments and production.

The ad for Porsche is a collaboration with Paramount for this summer’s “Transformers: Rise of the Beasts” film. It is the second year for such a tie-up following a commercial last year for “Top Gun: Maverick.”

Haggstrom said there’s been a general “cautiousness” in the auto industry around advertising.

“They’re really looking at what is the value of advertising today? How does that affect my top line, how does that affect my go-to-market,” he said. “We’ve seen a general trend in accountability in consumer advertising.”

– CNBC’s John Rosevear contributed to this report.

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‘M3gan’ box office success sets the stage for a scary good year in horror

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A lifelike doll programmed to be a child’s greatest companion and a parent’s greatest ally turns murderous in Universal Studios and Blumhouse’s “M3GAN.”

Universal

A fashion-forward, murderous doll is ringing up big bucks at the box office.

“M3gan,” the newest release from the Universal Studios and Blumhouse collaboration, will end up with more than $100 million globally. It’s the latest success in a string of lucrative theatrical runs for the horror genre.

While Hollywood’s big-budget blockbusters typically get the most attention, the consistently strong performance of scary movies at movie theaters is good news for the cinema industry.

The pandemic fundamentally altered how and where consumers view entertainment. To be sure, people have returned to theaters, but not in the same volume as pre-pandemic times. Additionally, fewer theatrical releases have resulted in a smaller overall box office in the last year. The domestic box office reached $7.5 billion in 2022, better than $4.58 billion collected in 2021, but down around 34% compared to 2019.

Films like “M3gan” collectively add incremental value to the box office. In 2022, the horror genre accounted for around $700 million in domestic ticket sales, according to data from Comscore. While that figure is down compared to pre-pandemic levels, it indicates persistent demand for spooky entertainment as the theater business rebounds.

Horrifying but good

Paramount and Universal were the top contributors of horror content last year. Paramount’s “Smile” sold $105 million in tickets domestically and $217 million globally. Its newest installment in the Scream franchise took in $81 million in the U.S. and Canada and $137 million worldwide.

Universal’s “Nope” generated $123 million domestically and $171 million globally, while “The Black Phone” scored $90 million stateside and $160 million worldwide. The studio also released “Halloween Ends,” leading to $64 million in domestic ticket sales and $104 million globally, even though it hit streaming service Peacock the same day.

Ethan Hawke stars in Blumhouse and Universal’s “The Black Phone.”

Universal

Additionally, Disney‘s Searchlight Pictures released “The Menu,” which snared $38 million domestically and $70 million worldwide.

Notably, Disney and Marvel Studios’ “Doctor Strange in the Multiverse of Madness,” which features horror elements, was not included in the tally. The film generated $411 million during its run in the U.S. and Canada and nearly $1 billion worldwide.

“We’re in the middle of horror’s new golden age,” said Shawn Robbins, chief analyst at BoxOffice.com. “It’s a genre that has ebbed and flowed in past decades but one that’s always evolved, maintained commercial appeal, and helped introduce new filmmakers to the world.” 

Here are several titles to expect from the horror genre in 2023:

  • Universal’s “Knock at the Cabin” — Feb. 3
  • Paramount’s “Scream VI” — March 10
  • Sony’s “Insidious: Chapter 5” — July 7
  • Warner Bros.’ “The Nun 2” — Sept. 8
  • Neon’s “Cuckoo” — Sept. 29
  • Universal’s “The Exorcist” — Oct. 13
  • Lionsgate’s “Saw X” — Oct. 27

Scaring up dollars

Blumhouse, a producer of “M3gan,” has revolutionized the horror genre in the last decade, turning small budget flicks into huge box-office returns. The studio has been responsible for the profitable and popular “Paranormal Activity” films as well as the Academy Award-winning “Get Out.”

“Paranormal Activity,” which was released in 2009, had a budget of just $15,000 and went on to make more than $107 million in the U.S. and nearly $200 million worldwide

Following that model, “M3gan” was made for just $12 million and is on its way past $100 million. Already, Universal and Blumhouse have greenlighted a sequel due out in 2025.

Still from Universal and Blumhouse’s “M3GAN.”

Universal

Last year, most wide-released horror films had a budget of between $16 million and $35 million. The only outlier was “Get Out” director Jordan Peele’s “Nope,” which carried a $68 million production budget. Films with smaller budgets mean don’t have to generate blockbuster-size ticket sales in order to turn a profit. Those economics also help to make horror films one of the most consistently well-performing genre of all time.

For example, consider “Skinamarink,” an experimental horror film out of Canada, which cost $15,000 to make and has gone on to generate more than $1 million at the box office.

“At the heart of its sustainability has been a generational turnover of young audiences that drive many of these movies at the box office, a pre-pandemic constant that’s picked up right where it left off as post-pandemic moviegoing has rebounded,” Robbins said.

Unlike fans of comic book films, who can be easily turned off by an unfaithful adaptation of their favorite character, horror fans don’t seem to mind if the film isn’t totally up to par. So long as the movie had some good scares and was seen as a fun experience, they’ll be back for the next installment.

Additionally, in the last two decades, the quality of the horror genre has greatly improved, due in large part to support from indie companies such as A24 and Neon, as well as distribution from streaming services such as Netflix, Hulu and Peacock.

“A systematic, incremental increase in the quality of horror films, a genre that was once considered the smash and grab, take the money and run, open on Friday, close on Sunday genre, has now, with the creative vision of amazing production companies and brilliant filmmakers, earned respect of critics and audiences alike,” said Paul Dergarabedian, senior media analyst, at Comscore.

“M3gan,” for example, currently holds a 95% “Fresh” rating on Rotten Tomatoes.

“The genre and its audience are invaluable to the industry ecosphere, and 2023’s promising release slate looks to help maintain that status quo,” Robbins said.

Disclosure: Comcast is the parent company of NBCUniversal and CNBC. NBCUniversal has a partnership with Blumhouse and owns Rotten Tomatoes.

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