Summary

• Netflix’s NFL Christmas Day gamble: How record-breaking games signal streaming’s sports takeover.
• DAZN’s global expansion vs. YouTube’s dominance: The multi-front battle for sports attention.
• Drive to Survive blueprint: Why storytelling-driven formats are revolutionising fan engagement.
• Fragmentation nation: Is streaming giving fans choice or creating a frustrating platform mess
• From broadcast bundles to streaming chaos: How audience participation is changing in the attention era.
• Lee, Ed & Jo explore whether this is sports media’s golden age or just a battle royale for eyeballs.

Transcription

Hello and welcome to The Attention Shift for today’s episode about Netflix.

I’m Ed Abis.

I’m Jo Redfern.

And I’m Lee Radbourne.

Today, we’re going to talk about Netflix‘s secret weapon,

which is the drama of sport, according to Ted Sarandos,

with a focus on storytelling rather than live sports.

Do we think they’re the head of the game in the streaming world so far?

I think Netflix is figuring it out, actually.

I think they’re very actively figuring it out.

And what I think that means is,

you mentioned Ted Sarandos and Bela Bajaria,

who is his head of content.

They’ve implied that they’re not really interested

in buying whole seasons, whole league live content,

but they are interested in the drama of sport.

Now, we know that they had Jake Paul and Mike Tyson fighting.

This eventisation of sport is something that Netflix knows how to do.

They’ve got a really established playbook for it.

And that doesn’t necessarily mean one-off sporting events.

They’ve got the Christmas Day, NFL games.

They’ve taken the Women’s World Cup.

They’ve just extended that today, actually,

to take the rights in Canada as well as the US.

So they’ve got the whole of North America, the rights for that.

It’s a time-bound event.

They know how to deal with those.

They can build up.

They can make the noise around it.

That, I do think, is Netflix‘s secret weapon when it comes to sport.

So I think we’ll see more of this eventisation.

Loving eventisation word, Jo.

Favourite word.

She keeps saying eventisation.

Show us that again.

Eventisation.

So, yeah, I mean, that…

But that feels like a strategy for Netflix.

It gives them a hook.

It gives them something.

It’s a flavour of their approach to sport.

They’re not trying to be ESPN.

They’re not trying to be DAZN.

It plays into exactly what they do well.

Drama, the binge.

And I think it could work really well for them.

Well, they were the first, right?

You know, when Netflix came out, you know,

once they brought the content,

they were the first streaming service that really went mass market.

They’d made a load of originals and then they were like,

well, what next?

And this is all one of events.

And they were the first ones to really do the drama,

the Drive to Survive.

You know, it’s credited very much to Netflix,

as much as it is to Formula One and that distribution.

And there is a decline happening, though,

in the recent years of the later season, about 10…

Yeah, I think each season’s…

…declined. Yeah, 10, 16 per cent, I think, over the duration.

I stopped watching after a couple of years

because the narrative is the same, right?

Yeah, you get…

Yeah, I don’t think that’s atypical.

You get the clickbait stuff that makes you watch that.

But then it’s like, yeah, OK, I see where this is going.

Like, obviously, you know, you know what happens in the season.

It’s not really about that.

So, yeah, look, I’m probably one of those

that’s churned from that particular series.

But I certainly haven’t churned from my Netflix subscription.

No, I think they probably went a bit heavy on those sports docs

because Drive to Survive went off at such a pace.

Everybody was like, OK, what’s my version?

You’ve got Full Swing.

You’ve got Break Point.

And they’ve…

But they’ve almost saturated that on Netflix now.

You don’t need any more.

But that’s the only thing rights holders also sort of like,

oh, here’s a golden ticket.

You know what I mean?

Another interesting one, Full Swing, since it’s

4.1 million views after February 25 this year.

Release down 15 percent on year on year.

And that’s Full Swing. That’s golf, which is actually quite interesting.

And yeah, and it’s individuals.

I know the tennis one was quite boring.

Yeah, I mean, they don’t really have the characters.

I tried to stick with it till the end of season one, but I struggled.

But like Full Swing, I loved, like, I think we’re chatting about this

when we’re on camera that mainly just seeing Rory not really engaging

with him being fed up for most of it because of everything that’s going on

with the imminent takeover that’s still imminent.

But one for me, you know, NASCAR Full Speed.

Like, I’ve been lucky enough to go to a NASCAR race last year as well,

which is what got me interested.

But I love the rawness of it.

I love that NASCAR is a group of people from a very

niche geographical area.

And again, lucky enough last year to meet one of the drivers

to and sort of experience it.

But then so then to be able to watch this and how it’s been produced.

And and and just seem very down to earth.

And you get a different kind of access to it because it just

you know, other than that, before that was Days of Thunder and Talladega Nights.

So they love the fact that they’ve got this.

And I haven’t spoken to people in NASCAR as well.

It’s kind of like, look, you know, they’re really leaning

into Talladega Nights and and to Days of Thunder.

But now they’ve got this to hang the hats on as well.

I just think it’s been really, really well put together.

And it works for both of them, NASCAR and Netflix, I think.

Yeah. And Netflix, in having done all of that shoulder

content around sports, they now know how to do it.

So, again, not only have they got a playbook for events,

they’re taking the lead from YouTube in terms of creators.

So they know how to bookend all of these events.

If they’ve got the Women’s World Cup, I imagine there’s going to be a ton of

ancillary shoulder content made around the stories around the teams,

the players that will build up to it, much like they did with

with the Tyson Paul fight.

And then it will the event itself.

I think it’s going to go off.

I think Women’s World Cup could be a real success story for Netflix.

They have the data, right?

I mean, going back to again, the Netflix are the best at harvesting their data

and then using that to then find what’s the next big thing.

You know, and like you said, they’ve done the testing now.

They’ve tried. They’ve tried it.

And, you know, arguably lots of rights holders

probably throw a bit of money at them as well to kind of jump on a bandwagon.

And there’s certain things that have hit and stuck and certain things that haven’t.

But it really does feel that they have a real they’ve got an audience,

a captured audience.

And, Joe, you’ve done some analysis on what you know, the WWE deal, basically,

was, yeah, but how’s that performed for Netflix?

That’s the closest thing for them for taking regular programming.

You know, WWE Raw on a Monday night, it’s scheduled viewing.

Quite unusual for Netflix, which was built on a binge model.

But what’s been really interesting is it’s sports entertainment.

So it does have that drama.

It does have that storytelling.

It’s got the characters that Netflix know how to really max.

And there was a lot of fanfare put around Netflix and the WWE partnership.

And having dug into the first six months of data,

because Netflix very handily now every six months does a massive data dump.

It’s very messy. It takes a lot of sorting.

But actually, it’s worked really well for Netflix.

Raw, they don’t have U.S.

rights for portions of WWE content.

They have more, actually, internationally, ironically,

including WrestleMania, which we know has not gone from Peacock to Netflix,

which is what I would have assumed and a lot of people would have assumed.

It’s gone to ESPN instead.

Maybe Netflix not happy about that.

But Raw has settled now at about 6.5 million hours viewed per week.

That’s 6.5 million hours of time spent on Netflix.

They’ve sold out their ad inventory around WWE content.

So that and it sold out for months, apparently.

So it’s a good revenue driver for them.

Again, there was a bit of a bump around WrestleMania,

because that’s the de facto season finale.

So, of course, the normal WWE

Raw programming was going to benefit from that.

I do think I can see why they would have given premium live events to ESPN.

They coughed up quite a nice chunk of money.

I imagine they wanted an extra uplift from Netflix,

who had already paid 5 billion for the WWE deal.

But really, it feels to me like the natural home

for those live events would have been Netflix in the US.

So there’s two parts to the question.

One part, which is how big a deal is it not getting WrestleMania for Netflix?

And the second part I’m going to ask, which is probably more to you, Ed,

which is Netflix hasn’t historically been good at live content.

And do you think that’s an element?

So I guess, yeah, they’re the two ways into this.

I mean, they so they had WrestleMania

free for subscribers outside of the US in a lot of markets.

So Canada, UK, you could watch it.

So, yeah, they that was live.

I think they had it was over two nights.

First night, about 9.5 million hours viewed.

Second night, obviously, the big culmination.

It was just over 10 million, which is not bad.

You know, it was top 10 almost everywhere where they had it.

But again, that’s that’s a good chunk of inventory that you’d want,

particularly in your key US market.

So I think it’s kind of kneecapped Netflix

from really making some revenue back on on its inventory around that.

But I was reading a lot of Reddit threads about how WWE fans

were a little bit missed that those premium live events are going to ESPN

and aren’t coming to Netflix.

And there were lots of there was lots of talk about, well,

we’ll just go VPN then because Netflix subscribers

in international markets get them at no extra cost.

So it does feel like the US fans of WWE have been slightly stuffed.

Yeah, stuffed.

But I think it’s doing it’s doing a job for them.

The SmackDown is a slightly different proposition.

SmackDown is softer than Raw.

It’s kind of less drama driven.

SmackDown. Yeah, family friendly.

And then they’ve got NXT as well, which is it’s kind of

where they bring through new talent.

Yeah, yeah.

So but but they’ve all settled in quite nicely.

I think it’s found the right the right place with Netflix.

What do you think about the live events?

Live is hard.

Live is hard.

But also when you’re trying to do it on a global scale,

like you mean, like we talked about doing about the Tyson fight as well.

And like I didn’t have a single issue watching it.

And you had quite a few issues, right.

And I think I think I watched it on TV.

And you did you watch it on a laptop?

Yeah, so I watched the Netflix app on TV.

Yeah, I watched it on there.

So so and everyone has different experiences, right.

So I think I think I totally understand where Jo Redfern comes from with this,

because I think it kind of like that one hit, do it.

It’s not long term.

It’s easy when you’re doing something long term

to get used to the long term and then mistakes happen.

One hit and out.

I can see the like they’ve got to focus towards it.

They do what they got to do and they get out of it.

And like I said, they treat it in a lot of ways like a movie release,

a big bill to release.

And then and then and then the fans do the work for you.

Because look at that, I’m saying go and watch the NASCAR at all.

Yeah, it’s like self-fulfilling prophecy.

It’s good.

It works.

And it’s, you know, same Adam Sandler, right?

Like people talk about Adam Sandler‘s film since he’s been on Netflix.

It’s kind of like, what is it the most watched?

Yeah, the most watched movies on the Netflix.

Kind of like he’s not bothering.

And now we’re there, quite frankly.

So I’ve got a question for you.

Because coming off lives, you’re a product person at heart.

Yeah, I think the Netflix product is beautiful as well.

And that plays a part in how you consume content.

It does.

I agree with you.

It’s very aesthetically pleasing.

I would one thing I would say about Netflix

and actually any streaming service is after all,

the discoverability is not that good.

No, like as in your, you know, the sort of personalisation

engine is very good at recommending you new things that are coming out.

But if you like, I don’t know if you’ve ever done it,

if you go into the search bar and like type,

you’re trying to find like a movie or something.

And then you’re like, oh, I didn’t know they had that movie.

Or I didn’t know they had this.

So I think there’s elements of that.

I mean, it’s different.

That’s the challenge across all of these.

I mean, there’s so much content that you literally can’t show it all.

And that’s the challenge across sport, right?

It’s the discoverability.

There’s a great stat, I won’t name the organisation that Tom is,

but they said 90% of the sports content they produce never gets seen.

Right.

And so, you know, you think about what Netflix are doing

with the drive, you know, the Drive to Survives.

And they were the first ones to actually make use of this content

that people are producing.

And I think it’s turned out into, you know,

I think you said this sort of eventification.

Eventisation, sorry.

I’m going off script of this.

But I think, you know, what it means for their churn rates.

And I think that’s the interesting thing about how they keep people

subscribing that just that little bit longer.

So this, yeah, this I’m definitely got a take on.

So when we look back to the Paul and Tyson fight,

apparently they put on 5.7 million new subs for that.

Again, event, eventised.

They eventised their heck out of that.

Wait a minute, I lost my stats on this.

We talked about this earlier, carry on.

Let’s go find it now.

But that happened at the end of November.

So there is a risk that you subscribe to watch the fight

and then you churn after a month.

End of November.

What’s five weeks after the end of November?

Christmas Day.

What have Netflix got?

Two Christmas Day NFL games with the Beyonce Bowl in the middle.

So actually, that’s a it’s bread crumbing subscribers

into staying because there’s a lot of evidence to suggest

that if you if you stay for three or four months on Netflix,

you’ll probably stay for three or four years.

So Tyson, Tyson, Paul, Christmas Day games.

And then right at the end of January, Squid Game three

going to be a high element of crossover of people

watching Christmas Day games and Squid Game three.

So that’s two successive reasons to stay another month.

And now the data around support that.

Yeah, completely.

And to just point out churn rate, right?

So the various reports out about churn rate,

anywhere between 1.8 and 2.17%,

but the net churn rate apparently is 1% for Netflix.

And the average subscriber length is like you said,

more than four years, 50 months.

Once you subscribe, you stick around for 50 months.

Yeah, you either churn very quickly

or you stay around for a long time.

But what they’re getting very sophisticated about

and sports and eventized sports plays a part in this

is that breadcrumb trail.

“Oh, I won’t because just in five weeks time,

there’s the NFL.”

“Oh, hang on a minute.”

“In another four weeks time,

there’s Squid Game season three dropping.”

So that I think is really interesting.

And sport has a lot of value in Netflix.

What’s interesting, I was gonna say

is like what you were saying there,

like what we said about the older stuff there.

And look, it’s a different platform.

But I was speaking to Paola recently from BuzzMind Videos

and she was talking about,

we were talking about a project we wanted to work on

and we were talking about what kind of,

just asking her opinion really,

what kind of content would you really hone in on

if you could work with a sports organization?

She went, I would absolutely 100% go off to the archive.

Archive is the thing that’s really, really flying

on YouTube.

I wonder, can you bring that algorithm,

like you said, to bring some of the older stuff?

Because look, we’ve seen it with Stranger Things, right?

Which I literally can’t wait to come out.

Although we had a conversation with my daughter,

she’s not sure if she can put up

with every episode being feature length.

Anyway, we’ll see how she sticks with it.

But that’s then driven this 80s nostalgia

for people of that what, I don’t know,

13 to 20 odd year old that they wouldn’t have had before

and everything that comes with it.

Have they really leaned into that with their algorithm

to throw up things from my era

and I was chatting to someone in the office today

about great films of that era,

because we were talking about A.I. at War Games.

It’s a great film now.

And that is still relevant now,

but everything’s going on there

than it was 40, 50 years ago, right?

Like there’s lots that can be done here

and ultimately they know what people are searching for.

They know what people like.

Look, clearly it informs how they produce or buy content.

Is it doing it enough?

The archive thing is interesting

and I’ve also often thought about it

because you’ve got,

but I thought about it in the context of YouTube

because you’ve got younger audiences on YouTube

who are interested in the history of sport

or iconic games.

But actually, usually,

the only way that they’re presented on YouTube

is in 4:3, it’s really shitty resolution.

Somebody, and it’s normally beholden on the rights owners,

they’ve got to go and digitize that.

They’ve got to go and reformat it

and it’s not very high on their priority list.

But if somebody was, and it could be Netflix,

went and dug around in someone’s archive

and upgraded it and also repackaged it

for the way that younger generations want to consume it,

yeah, I think they’d absolutely be clean up.

Well, interestingly, so I worked at ITV years ago

and ITV have this now,

I think on ITV4, the Big Match Live, right?

Which is obviously not live because it’s fun.

But that came back to years ago.

I remember when I worked there,

we were looking about how,

because we worked in a sport division

but we didn’t want to sort of stay within the realms

of what we were doing and we went,

well, wait a minute, ITV‘s got a huge archive.

We knew for a fact that ITV and the regional offices

were actually getting rid of their archive

and we were like, stop.

Don’t throw the tapes away.

This was for me nearly 20 years ago,

we were like, stop, don’t do that

because there’s a market for this.

And we ended up selling a whole series of Big Match,

the Big Match Live at cost to ESPN.

Yeah.

Because they were like, yeah, it’s cheap hours.

Like that’s the way that they look at it.

And now you do that all over again, but you do it.

And now I have not gone and looked and seen

on ITV‘s YouTube page

if they’ve got loads of Big Match Live, full episodes.

Do you know what?

It’d be interesting to see.

But, you know, when you think about-

I should probably do the research for a corner podcast.

You think about on YouTube and TikTok,

you’ve got top tens or you’ve got compilations.

You could dig into top 10 rainiest matches

from the Premier League 1997.

So easy.

And it would be content that you would get.

And the way you can use AI production–

Is that what I should do a lot of times?

It could click it out.

I was about to say-

It’s fine.

People don’t get bogged down about it.

It’s fine.

You could even get creators doing their thing

over the top of it.

That’s one thing Netflix have leaned into

is looking at creators on YouTube.

Now, they’ve done that because it de-risks.

I’ve seen this a lot in kids’ media.

We’ve got Miss Rachel who built her audience on YouTube.

She found a tone of voice and then Netflix come along

and go, “Hey, come over to Netflix.”

Because she’s done all the legwork.

She’s made all the mistakes and then they’ll just come.

And there is still a benefit.

It’s a different audience and there’s still a legitimacy

that comes from having your content.

That’s the next big thing, isn’t it?

That’s the next big thing.

I wonder if this will happen in sport.

Now they’ve done the docs, tick.

They’ve got regular programming, WWE.

They’ve got this eventisation playbook

that they have nailed.

I think they’ll look at maybe something like

Good Good Golf or Ian Poulter‘s

just launched a YouTube channel.

I think they’ll let them scale there,

find what they’re good at, and then they’ll start.

So interesting.

Just have a look at ITV Sport‘s YouTube page, right?

So they’ve got a playlist here

for The Big Match Revisited.

There’s only one episode on there

which was actually put on today.

They’re listening.

But yeah, it’s not got many excuses.

Literally, it was the title decide of Liverpool Arsenal.

They’ve done a bit where they’ve done classic matches

like mine the archive.

Like people are looking,

you can play around with thumbnails.

You can play around with titles.

People are searching for the big matchup

and they’ll go back and watch some of these

archive games like use players’ names in the titles.

There’s so much they can do with that.

They’ve got half a million subscribers on that channel.

They would build that just to archive.

Yeah, and when you think about it from a Netflix,

Netflix point of view,

now it’s less about subscriber additions.

In fact, Netflix no longer reports subscriber numbers.

They report hours viewed.

They report average revenue per user.

But they’re not spending big on producing content anymore

because they’ve got to keep an eye on the cost base.

They’re slaves to Wall Street.

What you’ve just presented is a really neat,

potentially low cost solution to pack the content

and to pack the archive with something

that’s not going to take them.

Speak to Paola and BuzzMind Videos out if you spot something.

Put that in the show notes, Paola and BuzzMind Videos.

But isn’t that, this is because they’ve now got,

they’ve got to compete with YouTube, right?

YouTube is, you know, with their creative economy

and obviously Netflix are making a big play

and it’s pretty well publicized.

They may be getting a few big headline names,

you know, some very rumours,

CEOs who may write diaries or who may or may not.

I mean, it’s not done it yet.

It’s been everywhere else.

It’s been everywhere else.

But, you know, those sorts of headline things

that kind of compete with, you know,

podcasting on YouTube like we do, I guess.

Netflix, if you’re watching.

But no, that’s it, right?

How they compete now.

What do you think moving forward for Netflix is?

How do they keep this,

so they keep doing what they’re doing

or do you think they’re going to have

to do something different?

Do you think this model has got a shelf life?

I mean, if I was thinking about the one I want to cancel,

that would probably be last for me at the moment.

Yeah, because I like the variety of what’s there.

That said, I mean, look,

the thing that keeps me with Amazon Prime

is the fact that I get Amazon Prime deliveries,

not necessarily the content.

Like Netflix will always be,

what are we going to look at first, that?

You wouldn’t subscribe to Netflix for sport,

but I think you would stay if they pepper these NFL,

Christmas day games, tell good enough stories.

You got, you know, if you’re a Raw fan

or something else, a Women’s World Cup,

they are very strategically putting those events

in the schedule and that is a reason not to churn.

I don’t think that you think,

oh, I’m going to subscribe to Netflix

because I like sport,

but what they’re doing now is they’re building out

their strategy, they’re doing this breadcrumb trail

and just putting enough sports in to go,

I’m not going to churn

because there’s that event coming in July.

Do you think they’ll buy any other one-off games,

like, you know, like they do for NFL Christmas?

I think it depends what it is, right?

Cause like I said, they’ve attempted to create

some of their own as well with varied success, right?

And the boxing, you know, will they, you know,

obviously there’s rumors at the moment

about Jake Paul and…

Anthony Joshua.

Anthony Joshua, thanks for reminding me of his name.

That’s all right.

Is that one that they go to?

Cause that one feels like it’d be more of a fight.

Like, I mean, I’ve perished to think

watch out Jake Paul‘s good.

Like, look, Tyson was obviously, you know,

took the cash and fair play to him,

but Joshua is not holding back, right?

I mean, that’s, yeah.

I mean, that’s one that Netflix could go,

you know what, we’ll give you a platform for that.

Yeah, I think there’ll be a couple of announcements

pretty soon.

I think golf could be really interesting for Netflix.

I think given that they’re looking more towards

creators on YouTube,

there’s some really interesting creators on YouTube

that they could bring in.

We were talking about duels.

Let’s talk about duels.

Yeah, I mean, I really came across duels

or the recent one, the DeChambeau was streaming live,

the Dallas version of it.

I must admit, I was hooked for hours watching that.

I was having a look earlier,

there’s about 3.4 million viewers of that since,

which for anyone who doesn’t know,

it’s golfers and creators that come together,

play around the golf.

There’s lots of nice graphics in it as well.

So as you would expect to see

if you’re ever watching the PGA live golf,

it’s tracking the ball, it’s live golf funded.

Really interesting spin on it.

Wesley Bryan played in that,

that got basically put on indefinite leave

from the PGA tour for playing

in the Miami version of that.

But you know, Wesley Bryan,

for anyone who doesn’t know,

he’s very much a creator golfer.

He sees his career post his golfing career

and he’s really leaning into that

and there’s been this big discussion around the PGA,

like, you know, cause they said

that no one could go and play an unsanctioned,

it couldn’t be, sorry, you know,

could play an unsanctioned,

I can’t even get my words out,

unsanctioned for LIV Golf.

And Wesley Bryan‘s, well, it wasn’t,

it was just a YouTube video with creators like that.

Which happened to be sponsored.

So how many of these events are there?

They’ve had Miami, you’ve had Dallas.

Good question.

I think it’s so sporadic,

they do it when they feel like it.

This particular one was streamed by DeChambeau

and it was just great just to see them

just talking about life and golf

in between driving around on the golf course,

having a bit of a laugh, you know,

the kind of stuff we always talk about,

which is great on, you know, on YouTube.

I think, you know, based on the success of Full Swing,

this is the kind of content

I think Netflix could absolutely be leaning into.

It’s not onerous for them to then do it.

And look, there’s a whole thing around LIV Golf

and rights, cause LIV are fun in it,

but that might be a way for LIV

to actually get the content somewhere else.

I mean, that’s an interesting comparison

cause 4.1 million views today from February 25th

for Full Swing on the second season.

So just that one YouTube.

Yeah, so they’ve got docs covered.

They could have this creator,

they’re already really leaning into creators.

They could have creators, DeChambeau.

It’s not a heavy lift.

No.

A few events, they could pepper those

throughout the schedule, use that breadcrumb strategy.

I think that sounds like a decent bet to me.

Yeah, I think they’re onto golf.

I mean, you know, Netflix,

US is Netflix’s biggest market.

They’re seeing growth internationally,

but they do need reasons for people to,

like I said, to stay.

And that’s the kind of thing

that I think would keep people around

on Netflix in the US.

And golf is having a real moment in the US.

Yeah.

They’re just, they’re beautiful in the simplicity.

You’re not overthinking it, you know,

you’re shooting it well,

but ultimately it comes down to just great personalities.

And, you know, there was a bit of a discussion

with Wesley Bryan.

What’s happening there?

And then he went, no, I don’t know.

I mean, I want to go and play in the PGA Tour

because that’s where I want to play.

I don’t necessarily want to play

in the LIV Golf tour,

but I want to do this too.

I don’t want to have the freedom to be able to do it.

And I’m not trying to promote one thing or the other.

I’m just trying to promote the game.

Yeah.

And I get that.

It says more about the PGA than then, if you ask.

Yeah, it does.

But you mentioned you watched it for hours

and that’s just reminded me of something

that Ted Sarandos–

I would never sit for hours on end

unless it was the Open recently.

But in general, I don’t sit for hours on end watching it.

Yeah.

And that’s one thing that Ted Sarandos said,

bearing in mind that it’s about time spent

on the platform now,

because that’s how they monetize.

It’s not so much about subs acquisition.

But Ted Sarandos, he gets a bit snappy about YouTube

and he says YouTube is about killing time

and Netflix is about spending time.

I disagree.

No, I disagree.

I disagree vehemently, funnily enough.

But it’s interesting that you said

you watched it for hours on YouTube.

If I was him, I’d be like,

okay, well, we’ll have some of that then.

And I’d go in and try and do a deal for him.

I would argue that my 15 year old daughter

watches Netflix to kill time.

What, taking a break from YouTube?

Well, there you go, Ted.

I’m scared if you listen to me.

There you go, Ted.

Yeah, look, but it’s interesting as well.

I think what has been said as well

from a Netflix perspective

and we don’t think we’ve really talked about this

is obviously live gets dated, right?

Yeah.

You generally-

It’s a shared life.

And you can’t argue that

unless you then pack it up in a certain kind of way.

Once it’s gone, it’s gone.

I mean, I’d certainly don’t go back

and watch full games of football as much.

I love football, right?

It’s gone, it’s gone, I move on to it.

Because there’s always another one around the corner.

So he’s absolutely bang on my talks

about how it dates instantly.

Once it’s done, it’s done.

Whereas obviously other forms of content,

the storytelling content around sports,

that doesn’t date.

That’s watchable.

And it finds new audiences year after year.

So that, spot on.

Absolutely.

Well, that’s it for another episode

of The Attention Shift podcast.

I think we’ve more or less decided

a Netflix sports strategy for them.

You’re welcome.

Checking the place, please.

Tune in again for the next episode.

Thank you.

Don’t forget to like and subscribe.

And if you have an idea for an episode,

email us at hello@attentionshift.media.

That’s hello@attentionshift.media.

Thank you.

Honestly.

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So that’s it for this episode of The Attention Shift.

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