Warner

Paramount launches hostile takeover bid to acquire Warner

by

The punch on the table that Netflix gave last Friday announcing its purchase of Warner Bros. left the film industry shaking. The action was so aggressive that we spent the weekend wondering whether the regulatory systems would allow a purchase that brought Netflix very close to a monopoly. What was not so predictable was that Paramount, another of the actors involved in the bidding in recent weeks, would launch a hostile takeover to try to take over Warner even more aggressively. What point are we at? Netflix surprised on Friday with the announcement of the purchase of Warner Bros. for a value of 72,000 million dollars. Only seventy-two hours later Paramount counterattacked by launching an even more ambitious takeover bid, valued at $108.4 billion. The maneuver consists of appealing directly to Warner shareholders by bypassing the board of directors, giving rise to one of the most aggressive corporate confrontations that the entertainment industry has seen in years, and which some describe as “a bidding war worthy of Succession“. What is at stake. Paramount’s strategy seeks to snatch Netflix’s control of one of the most emblematic studies of cinema history, owner of franchises such as DC superheroes, Harry Potter, Looney Tunes, the entire HBO television history, including ‘Game of Thrones’, and a film and historical archive of incalculable value. The offer from David Ellison, CEO of Paramount, aims to $30 per share in cashsurpassing the $27.75 offered by Netflix. Three months of offers. Monday’s hostile bid does not come out of nowhere, but rather as the culmination of three months of efforts by Paramount. David Ellison began his pursuit of Warner Bros. Discovery in September, when he presented a first proposal of $19 per share that was quickly rejected by the board of directors chaired by David Zaslav. Far from being discouraged, the CEO of Paramount progressively escalated its offers: $22 on September 30, $23.50 on October 19, and $26.50 on December 1. In total, Paramount submitted six formal proposals in just twelve weeks, all of them rejected or ignored by Warner. The breaking point came when Ellison raised his offer to $30 per share on December 4, a proposal that according to his own statements never received a response. “I sent a text message to Zaslav telling him that the $30 was not our final offer,” Ellison revealed.suggesting he was willing to bid even higher. Flawed process. During a conference call with investors on Monday, Paramount executives publicly accused Warner of “not meaningfully engaging” with any of their proposals, denouncing what they considered a “flawed” auction process that favored Netflix from the beginning. Faced with this systematic blockade, Ellison has ended up opting for the most confrontational route: appealing directly to shareholders, bypassing the board that had repeatedly rejected his offers. How they differ. The two proposals on the table to acquire Warner Bros. Discovery differ in their structure and scope. That of Netflix contemplates the acquisition of the Warner Bros. film studios and the HBO Max streaming platform, leaving out the entire cable television business, which includes assets such as CNN, TNT and TBS. These traditional chains are expected to split in the third quarter of 2026. Since then, the estimated time to close the operation ranges between 12 and 18 months. By contrast, Paramount’s proposal takes an entirely different approach: $30 per share, all in cash. Ellison, for his part, wants to buy Warner Bros. Discovery outright. Paramount argues that this comprehensive approach provides $18 billion in immediate liquidity for shareholders more than Netflix’s mixed structure ($23.25 in cash and $4.50 in Netflix shares). Paramount promises to close the transaction in 12 months, shortening the timeline. Other takeover bids. The current battle between Paramount and Netflix over Warner Bros. Discovery is not an isolated phenomenon. There are precedents in February 2004, when Comcast launched $54 billion hostile takeover bid about The Walt Disney Company. Brian Roberts, CEO of Comcast, detected an opportunity in the midst of the internal crisis that Disney was going through under the leadership of Michael Eisner, whose management had generated growing discontent. Comcast wanted to take control of ESPN. The operation did not work because the Disney board closed ranks so as not to lose its independence. It was precisely Disney and Comcast who found themselves in a wild bidding war to take over 21st Century Fox in 2018. What started as an initial offer from Disney of $52.4 billion in stock escalated quickly: Comcast counterattacked with $65 billion all in cash. Disney raised its offer to 71.3 billion and Comcast ended up abandoning the bid. Both precedents illustrate recurring patterns: detecting weaknesses in rival companies, escalating offers and using political connections to influence regulatory processes, as we will see below. The political factor. What distinguishes this operation from any precedent in Hollywood history is the geopolitical dimension and the direct connection to the White House. Regulatory documents filed Monday with the SEC reveal a financing structure that has generated controversy: the Paramount offer is supported by Affinity Partnersthe private investment firm that directed by Jared Kushnerson-in-law of President Donald Trump. Three Middle Eastern sovereign funds participate alongside Kushner: the Public Investment Fund of Saudi Arabia, the sovereign fund of Abu Dhabi and the Qatar Investment Authority. These investors were not mentioned in Paramount’s initial press release, being relegated to mandatory regulatory filings. According to official documents, all of these partners have agreed to expressly renounce any corporate governance rights, including the possibility of appointing directors or influencing strategic decisions. This resignation is not accidental: seeks to avoid the gaze of the Committee on Foreign Investment in the United States (CFIUS), the government body that examines foreign investments for reasons of national security. Enter Kushner. Kushner’s presence complicates everything. Since leaving the White House after Trump’s first term, Affinity Partners has raised approximately $3 billion, including a $2 billion direct investment from the Saudi fund. Kushner cultivated an especially close relationship with Crown Prince Mohammed bin Salman during his time as a presidential … Read more

Warner series, franchises and business units that will be owned by Netflix

by

Netflix did not need to demonstrate creative capacity: its own production had become the reference for global streaming. However, the announced agreement to acquire Warner Bros. Discovery’s studio and streaming business introduces a change in scale if regulators end up approving the operation. It is not about adding a few more series, but about integrating a studio with decades of history, the area where HBO is located and a very relevant part of its catalog, in addition to several franchises that have marked popular culture. Faced with such a move, the inevitable question is what, exactly, will become under the control of Netflix, without this meaning that everything will appear tomorrow in its application. The agreement is not closed yet and depends on several formal steps. Netflix and Warner Bros. Discovery have announced that the operation, valued at $72 billion in capital and some $82.7 billion in enterprise value, can only be completed after spinning off the new Discovery Global company. From there, the process will be in the hands of the regulators, which could take between 12 and 18 months to review an integration of this magnitude and could impose additional conditions or, in the worst case scenario, block it. The perimeter of the deal: what actually goes into the package. Official communications and media analysis agree that the operation covers the historical core of the study. That includes Warner Bros. Pictures, responsible for its film catalog, and Warner Bros. Television, the basis for some of the most influential series of recent decades. Added to that block are HBO and the HBO Max platform, which are part of the streaming business that Netflix intends to integrate, as well as DC Studios. The inclusion of Warner Bros. Games is not detailed in the first press release. What’s left out: the new Discovery Global. The operation does not cover the entire Warner Bros. Discovery. Before completion, the company must spin off a block of channels and services that will not come under Netflix control. Warner Bros. Discovery’s corporate plans indicate that this group will be integrated into the new Discovery Global, an independent company that will maintain assets such as CNN, Discovery Channel, TBS, TNT in the United States, Food Network, HGTV, Discovery+ and part of the sports operations, including TNT Sports US. Film franchises: from Hogwarts to Gotham. Netflix and Warner’s own joint communication serves as a guide to understanding the caliber of the film franchises involved. It mentions specific titles such as ‘Harry Potter’, the DC Universe, ‘The Wizard of Oz’, ‘Casablanca’ and ‘Citizen Kane’, along with television brands such as ‘Friends’, ‘The Big Bang Theory’, ‘The Sopranos’ and ‘Game of Thrones’, as a sample of the archive that accompanies the study. From that base, media like Newsweek and What’s on Netflix broadens the focus and they point out that, within Warner’s recent filmography, sagas such as ‘Dune’ or ‘The Matrix’ also appear as part of the fund that would remain under the management of the studio controlled by Netflix, always with the caution that it is not an official list title by title. Warner’s animated treasure. Among the assets least visible to the general public, but widely cited in coverage of the agreement, There is the extensive animation catalog that accompanies the Warner studio. There, icons like ‘Looney Tunes’, ‘Tom and Jerry’ and ‘Scooby-Doo’ are mixed with series that defined Cartoon Network’s identity, from ‘The Powerpuff Girls’ and ‘Dexter’s Laboratory’ to ‘Adventure Time’, ‘Regular Show’ and ‘Steven Universe’. The interactive leg of the deal is best understood if we look at what it means, in practice, for Warner Bros. Games to change ownership. Although the first corporate communication did not go into that level of detail, specialized media such as GameDeveloper have cited to a company spokesperson to confirm that the video game division is entering into the operation with Netflix. What is confirmed and what remains unknown. At this point we can draw a relatively clear line between what is confirmed and what still depends on third parties. The perimeter of the agreement falls into the first group: Netflix and Warner have explained that the package includes film and television studiosthe area where HBO and HBO Max and the video game division are included, while the linear channels are grouped into Discovery Global. We also know that franchises such as ‘Harry Potter’, the DC Universe, ‘Friends’ or ‘Game of Thrones’ are mentioned by the parties themselves as examples of the archive they provide. What remains open is when and how this will be reflected in the catalog of each country, what will happen with co-productions and previous licenses already signed and to what extent regulators will impose additional conditions or, in the most extreme scenario, decide to stop the operation. The real impact of this operation will be noticed over time, not from one day to the next. If the agreement receives the approval of regulators, Netflix will manage a studio with a historical weight that is difficult to replicate and a library that has defined much of recent audiovisual culture. What the viewer will see will be a gradual transition, marked by pre-existing licenses and agreements that must be respected, with different schedules depending on the country and type of content. Even so, the movement anticipates a stage in which the platform will stop depending so much on third parties and will consolidate its own base of content that, until now, it could only license. Images | Netflix | Warner In Xataka | All the unanswered questions left by Netflix’s purchase of Warner: a huge mess

All the unanswered questions left by Netflix’s purchase of Warner: a huge mess

by

After a few weeks of three-way negotiations, it is finally Netflix that has won, with $82.7 billion ahead, take over Warner Bros.. Which includes, of course, HBO Max, but also the entire production arm of the veteran company, one of the few majors classics that remain in Hollywood. However, the purchase is of such importance that a multitude of questions arise, many of them still unanswered. This is everything we know (and don’t know) about this absolute revolution in the world of streaming. What we do know. Netflix and Warner Bros. Discovery have announced an agreement that radically transforms the entertainment industry. The operation, which is expected to close between the end of 2026 and the beginning of 2027, unites the streaming giant and its more than 300 million subscribers with one of Hollywood’s most legendary film studios, founded more than a century ago. For now, Netflix must wait for CNN and Discovery to finish separating from what was their parent company. And now, the doubts. What will happen to Warner’s classic IPs and franchises? Netflix takes over a trove of intellectual property that includes the DC universe‘harry potter‘, ‘game of thrones‘, Looney Tunes, Scooby-Doo and the distribution rights to franchises such as ‘Dune‘ or the Monsterverse. It also acquires film classics such as ‘The Wizard of Oz’, ‘Casablanca’ and ‘Citizen Kane’, as well as emblematic HBO series such as ‘The Sopranos’, ‘The Wire’ and others close to the platform such as ‘Friends’. Netflix will most likely keep these franchises active and continue them. The company has stated in its statement that these IPs will allow “creating greater value for talent, offering more opportunities to work with successful intellectual property.” The big advantage for consumers is certainty: One of the fiercest criticisms of Warner Bros. Discovery under David Zaslav was the removal of content from HBO Max for tax reasons. Netflix has opposite incentives. Who knows…and if we get to see ‘Batgirl’? What has Netflix not bought and what Warner divisions and businesses are not included in the purchase? The deal completely excludes Warner Bros. Discovery’s global networks division, which will be spun off into a new company called Discovery Global. This spin-off has been planned since June 2025 and will be completed in the third quarter of 2026, before Netflix can close the acquisition, and includes assets such as CNN, TNT Sports in the United States, all Discovery channels (Discovery Channel, HGTV, Food Network, TBS, TruTV), the main free-to-air television channels in Europe, the Discovery+ streaming platform and Bleacher Report. This split makes strategic sense: Netflix has never shown interest in the traditional linear channel business, which is in structural decline. In fact, revenue from Warner Bros.’ cable television division. fell 23% in the last reported quarter. Netflix stays with what really interests it: production studios, content libraries and HBO Max. Are HBO Max prices going to rise? The most immediate answer is that most likely yes, although not immediately. Netflix has a documented history of regular increases: Since 2017, the platform has raised its rates by approx. every 18 months. The most recent one occurred in January 2025. However, the arrival of HBO Max changes the equation. When Disney acquired Fox in 2019 for 71 billion, Disney+ increased its price by 129% between 2019 and 2025. We must not be naive: with 302 million global subscribers after acquiring the 128 million of HBO Max, Netflix would exceed 420 million, a huge base where small increases will generate billions of dollars in additional income. Our bet: a single premium price between 20 and 25 dollars/euros per month by 2027, when the deal is underway. What does Netflix get apart from the catalog? Beyond content libraries, Netflix acquires monumental physical and operational infrastructure. You get the historic Warner Bros. Studios in Burbank, California, a production facility that has been operational since the 1920s and includes multiple sets and top-of-the-line technical equipment. The company has emphasized that this will allow them to “significantly expand American production capacity.” Perhaps most transformative is the global theatrical distribution apparatus. Warner Bros. has deals with networks around the world, a network that Netflix has never fully developed. Netflix will inherit “a global distribution apparatus” which includes contracts, commercial relationships and an army of professionals: human teams made up of executives and creatives with decades of experience. Will you take advantage of it? Netflix has promised maintain “Warner Bros.’ current operations, including theatrical releases for films,” but frankly, and seeing Netflix’s relationship with theaters in recent years, there is reasonable room for skepticism. How is Netflix’s presence on HBO going to be creatively noticed? Speculative territory, but we can reason from the corporate cultures of each platform. HBO built its reputation through a creative process where pre-production is vital, with constant rewrites and only the best series receiving the green light. A meticulousness that has historically paid off, for example, at the Emmys. Netflix is ​​just the opposite: it renews and cancels without stopping, trying many things and sticking with what works. Possibly we will see a hybridization where HBO maintains its distinctive seal of quality, less fast food than Netflix, but accelerating production rates. As a curious note, in the presentation in London to which We attended just a couple of days ago The current CEO of HBO, Casey Bloys, highlighted the differences in creative approaches with Netflix as one of its strengths. Maybe everything will change from now on. What legal problems may arise for the purchase? The regulatory hurdles are substantial. The combined entity would exceed 420 million global subscribers, giving it more than 30% of the streaming market, a threshold traditionally considered problematic in US antitrust law. Republican Representative Darrell Issa warned this month that Netflix already possesses “unmatched market power” and that adding HBO Max “could result in harm to consumers.” Senator Mike Lee was more forceful, declaring in X that this transaction “raises serious competition issues, perhaps more so than any transaction I have seen in a decade.” Netflix … Read more

Netflix buys Warner Bros, stays with HBO and completes one of the most important movements in the history of streaming

by

Warner Bros. knew what it was saying when it commented that it wanted to have a buyer before the end of 2025. After a few weeks in which it seemed that Paramount was going to take the lead, it was finally Netflix, which has acquired the oldest film production company, although we will have to wait: for now, Warner has to conclude its global networks division (which includes CNN and Discovery) in a new company. 82.7 billion dollars. Netflix has closed the largest acquisition in its history and one of the most significant operations in the entertainment industry: the purchase of the centenary Warner Bros studio, along with the streaming platform HBO Maxin a deal valued at $82.7 billion in terms of total enterprise value. Warner Bros. Discovery shareholders will receive compensation of $27.75 for each title they own, structured as a payment of $23.25 in cash plus $4,501 in Netflix shares. Organic growth is over. The transaction represents a radical shift in corporate strategy for Netflix, which for two decades had shunned large acquisitions in favor of organic growth. Just two months ago, co-CEO Greg Peters had criticized media megamergers. The agreement concludes an intense bidding war of three rounds in which Netflix beat competitors such as Paramount-Skydance (which sought to buy all of WBD) and Comcast (interested only in the streaming and studio assets). Netflix’s final proposal includes a breakup penalty clause of $5 billion in case regulators block the operation. Just yesterday, Paramount-Skydance accused to the process having been “rigged” with a “predetermined outcome” that favored a single bidder. Netflix’s victory is partially attributed to the close professional relationship between David Zaslav and Ted Sarandos. It still remains. The final closure will not occur until Warner Bros. Discovery completes the separation of its traditional networks division (which includes CNN, TNT Sports, Discovery Channel, TBS and the European broadcast television channels, in addition to the Discovery+ service and Bleacher Report) into a new independent company called Discovery Global. This process is scheduled to end in the third quarter of 2026, at which point Netflix will be able to take effective control of the acquired assets, according to the official calendar broadcast by Netflix itself. What does Netflix have now? With this operation, Netflix will incorporate into its corporate structure the production companies Warner Bros. Motion Picture Group and Warner Bros. Television, DC Studios (responsible for the superhero franchises that rival Marvel and that have just experienced a welcome resurrection), the entire HBO programming including emblematic series such as ‘Game of Thrones’ or the future reinvention of ‘Harry Potter’, and a historical library that includes approximately 12,500 feature films and 2,400 series. All of this, of course, in addition to universally famous franchises and IPs like those mentioned, FriendsThe Lord of the Rings or the entire Looney Tunes catalog, among other things Hanna-Barbera. The deal also gives Netflix physical production infrastructure, including Warner’s legendary Burbank studios in California. In Xataka | Using Netflix in 2018 was much better than now: we have normalized degrading experiences

Warner is in the most delicate moment in its history, but HBO continues to impress with its plans for 2026

by

HBO Max has taken a group of media to London, including Xataka, so they can learn about first-hand and in the mouth of Casey Bloys, CEO of the platform, its plans for 2026. Of course, the inevitable question was in the air: how can we make plans for 2026 if in the coming weeks, before the end of 2025, we could know that Warner has new owners. Paramount or Netflix They are some of the first swords to bid for the veteran giant, branched into dozens of entertainment and information channels. However, Bloys has been clear: he knows nothing about it (of course, we have asked him directly if he could say anything about it) and it is not his job to manage these types of operations either. What’s more: “they are decisions that do not affect our budgets. (…) The only thing we can control, the only thing we can do, the best we can do, is to continue making plans like this one for 2026. Furthermore, in this business we work about two years in advance. So, right now, we are preparing for 2027 and 2028.” That is, it is too early to know what impact a purchase would have on programming. And Bloys does not speak into a vacuum: tonight in London we have seen about twenty productions that will premiere in 2026, and the truth is that There are titles that aim to boast a quality absolutely beyond any doubtand with the variety of styles and textures that the platform usually boasts: from the superheroic and violent procedural of ‘Lanterns’ to the late and sordid return of ‘Euphoria’, through new proposals as stimulating as the fourth season of ‘Industry’ or the promising ‘DTF St. Louis’. The first thing Bloys has done has been to set the record straight regarding the return of the platform’s traditional name, allowing this year for HBO to appear alongside Max again: “We have brought HBO back back knowing that HBO Max clearly signals that we are the destination for extraordinary voices, different perspectives and narratives for mature audiences. For more than 50 years, this is what HBO has always been and continues to be.” Bloys has boasted million-dollar milestones, but also prestige: ‘Task’ has added 12.6 million viewers per episode globally and ‘It: Welcome to Derry’, 15.4. This summer, ‘Chespirito’ was the most viewed Latin American product in the history of the platform. In the last decade alone, HBO Max has won eight Emmys for Best Drama, four for comedy, seven for limited series and 13 for documentary, and last year it added more nominations than ever before in the life of HBO Max. The platform, in short, has grown by 20 million users in the last year. With all these figures ahead, it is normal for Warner to boast of being a purchase with an attractive catalog for other platforms, but it does not seem to be stepping on the brakes at the moment. Bloys has detailed some of the upcoming releases and the truth is that some of them have a great track. Let’s look at some of the most notable ones. old acquaintances We have had no news about the new season of ‘The House of the Dragon’but yes of a new spin-off of ‘Game of Thrones’: of ‘The Knight of the Seven Kingdoms We have seen a new advance and the truth is that it looks better and better. We will talk about her in more detail in the coming days, since we have had the opportunity to speak with her showrunnerbut from its progress we are left with its curious mixture of humor and the dirty and violent aesthetics of George RR Martin’s creation. There is death and darkness but also gags worthy of a sitcom and parodies that sometimes seem like a medieval ‘Top Secret’. The return of ‘Euphoria’ is also highly anticipated. Its creator Sam Levinson made an appearance in the room, joking with Bloys about how they couldn’t take the characters back to high school after so long, “even though there are other series with thirty-year-old high school students,” in an undisguised jab at ‘Stranger Things’. Bloys has defined ‘Euphoria’ as the current television series with the most powerful cast of stars, and the truth is that since its creation, Zendaya, Sidney Sweeney, Jacob Elordi and Colman Domingo have become leading performers. Levinson states that “it is very nice to see how they win awards, the careers they develop over time.” Lanterns They are not the only ones: the return of ‘Industria’ with a fourth season has also been discussed, we have seen a frenetic trailer for the second season of ‘The Pitt’, which is arriving right now and which promises, at least, the same tension and a good pan of viscera. And beware, ‘Stuart Fails to Save the Universe’, a spin-off of ‘The Big Bang Theory’ starring, in an environment of multidimensional chaos, the owner of the comic book store from the original series. As Bloys says, “a show that Sheldon and Leonard would watch.” Although the most peculiar and most anticipated return has been the third season of ‘The Comeback’, twenty years after the first season and ten after the second, and where Lisa Kudrow (the unforgettable Phoebe from ‘Friends’) and the original creator Michael Patrick King (producer of ‘Sex and the City’) return. In this new satire of the world of series that comes at a sweet time for audiovisual satires after the triumph of ‘The Studio’, the fallen star played by Kudrow will face the threat of AI… but without science fiction elements. Casey Bloys New passions The truth is that What has caught our attention the most and best have been the new series. For example, ‘DTF St. Louis’ is a limited series about a love triangle between three adults (Jason Bateman, David Harbor and Linda Cardellini) that begins as a clumsy way of managing a midlife crisis and ends with one of them dead. Or it’s … Read more

A year ago, Warner wanted to sink Suno’s AI to generate songs. Today he has decided to ally with her

by

From chaos to order: when AI burst onto the music scene it seemed like everything was going to fall apart. And some of the latest news in that field seems to go in that direction: uncontrolled multiplication of false groups created with AI on streaming platforms, accelerated sophistication of AIs that allow the creation of music indistinguishable from that created by humans… however, the majors of the industry have taken action on the matter to turn the situation in their favor. And no, it is not that they have won the multiple lawsuits they filed against the AI ​​companies. It is, perhaps, something much more disturbing: they have reached agreements. What has happened? In just eighteen months, Warner Music Group has completed a radical strategic pivot regarding its relationship with AI. In June 2024the record company sued Suno along with Sony and Universal for massive copyright infringement, accusing the platform of training its models with millions of songs it owned and without authorization. But now he announces an alliance with that same company to license its complete catalog. What is Suno? A music generator through artificial intelligence that has attracted almost 100 million users in two years, and allows complete songs to be created from simple textual descriptions. Users can specify genre, mood, instrumentation and tempo, and the system generates two versions of the requested song in about 15 seconds. To achieve this, Suno combines its own musical model with ChatGPT, and from there come both the music and the lyrics, creating pieces that can include voices and instrumentation or be purely instrumental. What the agreement consists of. The pact establishes that Suno will launch in 2026 new advanced and licensed models that will completely replace your current systems. Artists in Warner’s catalog (Lady Gaga, Coldplay or Ed Sheeran, among many others) will have control over whether or not they allow their names, images, voices and compositions to be used in that AI-generated music. Neither Warner nor Suno disclosed the financial terms of the deal, although Warner CEO Robert Kyncl stated that the goal is to “compensate and protect artists, songwriters and the creative community.” As part of the deal, Suno acquired SongkickWarner’s concert discovery platform. Besides, from now on Song downloads generated by Suno will require a paid account, with download limits and options to purchase additional downloads, a bit like the usage limits established by the level free of other AI models. The original demand. The complaint of 2024 accused Suno and Udio of massive infringement of protected recordings. The record companies they requested damages up to $150,000 per infringed song. Suno admitted that he had trained his model with tens of millions of protected recordings but defended that it was “fair use” (the famous fair use Anglo-Saxon) And what is the reason for the change in Warner and company’s strategy? Suno closed a $250 million financing round at a valuation of $2.45 billion just a week ago, according to The Hollywood Reporter. They are not the first. This is not a desperate deal major allying himself with someone who just a year ago he considered an enemy. It is an industry trend: in June 2024, for example Universal Music reached an agreement with SoundLabs to offer its artists vocal cloning tools through the plugin MicroDrop. In November of this same year, Universal, Sony and Warner themselves closed separate agreements with the brand new startup KLAY to train your “Large Music Model” with licensed music Without a doubt, they are significant agreements, especially because, unlike the cinema wave pressto mention other leisure and communication sectors strongly impacted by AI, majors of music are the first to bury the hatchet. With what it may mean for hostilities to soften in other fields. A doubtful future. For a startSony and Warner maintain active lawsuits against Udio and Suno. And there are multiple doubts about the scope of the contract: supposedly the artists have the right to veto, but As Irving Azoff saysfounder of the Music Artists Coalition, “artists end up on the margins with crumbs.” Other analysts like Frankie Pizá They are even more pessimistic: “What some of us see as a collapse in what we understood as artistry/authorship is quietly becoming a new order regulated by the major record labels themselves” Pizá adds: “The music industry has been perfecting its ability to absorb any technological disruption for decades. It did so with Napster, with YouTube, with the streaming and now with generative AI. The pattern repeats itself: first moral resistance, then demands, then agreement and finally implementation.” Header | Amin Asbaghipour in Unsplash

The Warner platform either has enough to ban shared accounts and increases prices

by

There is no platform that is not hugging the Price climb as a way of falling the crisis of audiovisual content in general and of the platforms in particular. HBO Max is one of those who are having a more changing trajectory with Mutations in the name And the approach, and is one of the last to raise their prices, after Netflix or Disney+ did it almost a year ago in both cases. How is the thing. A few months ago, with the name change, HBO Max has already announced new prices that affected new customers. These new rates affect ancient subscribers. From of the October 23, 2025the prices will increase, leaving like this: Basic plan with ads: 6.99 euros per month (50% discount if apply, 3.49) Standard plan: 10.99 euros per month (50% discount if apply, 5.49 euros) Premium plan with 4K content: 15.99 euros per month (50% discount if apply, 7.99 euros) Annual Plan: 109 euros a year. Why do they do it? This decision, according to the communication that HBO Max has sent to his subscribers, is made because “we are increasing the price in the light of the acquisition costs, creation of content and product development, to allow us to continue investing in the quality content and in the product experience that we strive to offer our customers.” At the same time, they also warn that the conditions of use have been updated, including aspects of content visualization and accessibility functionalities, reasons why they can make changes in the service and other issues. Luxury series. David Zaslav, CEO of Warner Bros, declared a few days ago, In an interview with The Hollywood Reporterthat the price of HBO Max is below its real cost. And although the platform does not compete with others such as Netflix or Disney+ in terms of the amount of content, it can boast of being one of the most budget invests in its series. For example, ‘The Dragon House‘It costs 200 million dollars per season. And the future series of ‘Harry Potter‘promises a visual luxury at the height of the films. All this was wielded by Zaslav to justify new increases. Direct and indirect increases. Although the bad press that this type of decisions carries causes the platforms to be relatively restrained with the increases of their prices, the truth is that in recent years they have significantly increased the ways of having income. The main two have been the advertising inclusion before and during the programs, with different rates depending on whether or not the ads are eliminated, and the prohibition that accounts are shared Beyond the subscriber’s home, a flying that Netflix has already given and that other platforms have only implemented in a warm way. In Xataka | Video games have fired their number of users, and come from an unsuspected place: television series

Chris Brown sues Warner Bros. for $500 million

by

The singer Chris Brown has filed a lawsuit for $500 million dollars against the Warner Bros. company.since he argues that in the documentary “Chris Brown: A History Of Violence”from the channel Investigation Discoverythey refer to him as “a serial rapist and abuser.” Chris Brown investigated for allegedly slapping woman Brown, 35, posted on his Instagram account instagram a statement mentioning a woman named Daisia ​​Chantel Frankand who in the documentary introduces herself as “Jane Doe” saying that several years ago Chris allegedly raped her aboard a yacht owned by the rapper Sean “Diddy” Combs. Get to know the mansion where Chris Brown organized a scandalous party with hundreds of guests Levi McCathernBrown’s attorney, states in the statement that “this case is about protecting the truth. Despite having evidence to refute their claims, the producers of this documentary intentionally promoted false and defamatory information.consciously ignoring their ethical obligations as journalists. “His actions undermine not only Brown’s decade-long efforts to rebuild his life, but also the credibility of real survivors of violence.” Investigation Discovery has presented other controversial documentaries, such as “Quiet On Set: The Dark Side Of Kids TV” and “Fallen Idols: Nick And Aaron Carter”both released in 2024. Chris Brown’s lawsuit is for alleged defamationintentionally inflicting emotional distress, and using your name and likeness for promotional purposes. The document also notes that Chris Brown has never been convicted of any sexual crimes. For a decade the artist has tried to improve his image in the public eye, since in 2009 he was accused of assault and criminal threats for having hit the singer. Rihannawho was then his partner. Chris pleaded guilty, then served five years of probation, took courses on domestic violence and did community work. Keep reading:

Log In

Forgot password?

Forgot password?

Enter your account data and we will send you a link to reset your password.

Your password reset link appears to be invalid or expired.

Log in

Privacy Policy

Add to Collection

No Collections

Here you'll find all collections you've created before.