I mentioned last week that Beehiiv was rolling out some community features, including what looks like a slightly cooler version of the old school chat boards. It’s a much better setup than the one used by Substack and I can create channels, for discussion, etc.
I’ve started creating channels and seeding them a bit. But if you’re interested, you can access it at toomuchtv.beehiiv.com/community. I’ll also add a community link at the top of the pages of the newsletter’s beehiiv home later this evening. I have no idea if this will be of interest to anyone, but I think it could be fun.
I had considered doing something with Slack or creating a Discord channel. But this community platform has almost no learning curve at all, which is especially helpful given the range of backgrounds subscribing to this newsletter.
Introducing KQED
As part of my deep dive into all things PBS, I recently spoke with Michael Isip, President and CEO of KQED about the station’s history, its strong connection to the community and how it is navigating the challenges brought on by federal funding cuts:
I don’t have to tell you that the past few years have been challenging for public media, in part because it’s now become a political argument.
How do you make the point to viewers that “Look, don’t pay attention to what you’re hearing. This is not a political thing. This is us reaching out to you, us connecting with you. This is not a political statement or political action at all.”
Michael Isip: I think it's informing people, educating them, reminding them about why we exist and what we do. We do not serve or treat our audiences as consumers. We treat them as engaged citizens or participants.
We provide the information and the story so they can be active participants. Our message over the last year as a system hasn't been “save us.” It's been focused on here's what's at stake, what's at risk for communities if we go away.
By the way, what's at stake is more urgent than ever. I think it's important to take a step back and look at the broader media landscape. Ever-changing technology, changing audience behavior.
It's fragmented. Technology is speeding up. AI is here.
Disinformation is spreading. The reality is when you don't have a shared set of facts, you don't have a shared reality, that's when you begin to lose humanity. That's what's at risk.
That's how we fill the gaps. That's what the story has been over the last year. As you said earlier, sure, it's been tough to be in public media because of the political threats and the ultimate loss of federal funding.
Here's the thing I think has been true across the system. We have really been waving this flag at KQED. We may have lost federal funding, but we have not lost our mission to serve.
We've grounded ourselves in that. Over the last year, the community response has been breathtaking. I know across the system, individuals have stepped up.
I am really enjoying hearing these individual stories from PBS stations and I think this is something I am going to continue moving forward. Each station is different and that is what fascinates. And from the station side - particularly smaller stations - it’s rare to have a reporter who isn’t based locally show an interest in what they are doing.
Also: I take a look at the long-running panel show The McLaughlin Group, which helped make commentators such as Pat Buchanan a household name.
I Was Writing A Lot About The Paramount Merger This Weekend
I wrote some pieces for Forbes over the weekend covering various aspects of the ongoing battle by Paramount to complete its merger with Warner Bros. Discovery.
Here is a rundown of the pieces, which I think provide an interesting perspective to the story:
A new study from two media industry academics argues that one of the underappreciated consequences of a successful Paramount merger with rival Warner Bros. Discovery would be an upending of the current system of local and state tax incentives which have become an integral part of the movie business.
Authors Peter Johnson and Cale Epps argue a Paramount-Warner Bros. merger would “strengthen one studio’s leverage within this system, weaken public bargaining power, intensify interstate and international subsidy competition, reduce production in mid-tier markets, and increase instability for local workers, vendors, and infrastructures.”
They cite Paramount's past actions, like influencing Texas to reduce in-state labor minimums and lobbying the UK for lower tax break thresholds, as evidence of studios leveraging market power. The study suggests a merger would likely shift production further overseas, impacting states with less competitive incentives and potentially leading to job losses for local crews and vendors. This concentration of power could force states into a race to the bottom for subsidies.So what happens now with Paramount’s merger plans? I run down the history of how the company got here, what is likely to happen next in the lawsuit filed by the state AGs, and I attempt to answer questions that likely have no answer right now. Such as “If the merger falls apart, will Netflix make a new offer for Warner Studios?”
Actors Benedict Cumberbatch, Alan Cumming and Benedict Wong have penned an op-ed in The Guardian calling for the U.K. to block the Paramount–Warner Bros. merger, arguing “would harm our workers, our culture and the public.” In the op-ed, the trio encouraged Lisa Nandy, the secretary of state for digital, culture, media and sport, to intervene in order to stop the proposed merger.
David Ellison Weighs In On Merger Delay
On Monday, Paramount Skydance CEO David Ellison sent a company-wide email expressing confidence the merger with Warner Bros. Discovery will still take place:
Team,
I know there’s been a lot of news coverage about our company in recent weeks, and I recognize that references to court proceedings, delays and deal timing can create questions and uncertainty. And so, I want to take a moment to share an update on the litigation related to our proposed transaction with Warner Bros. Discovery.
While many of you have likely been following the deal’s developments, here’s a brief recap. Over the past several months, our leadership team and legal partners have worked closely with antitrust and competition authorities around the world. As a result, regulatory bodies and governments representing 65 jurisdictions – including the European Commission, Australia, China, the U.S., Germany, France, Spain, Canada and South Korea – have either cleared the transaction or elected not to challenge it on competition and/or foreign direct investment grounds.
These clearances reflect both the facts and the law: this combination is fully consistent with the anti-trust laws, and will create a stronger, more competitive media company with the scale to invest more deeply in storytelling, expand consumer choice and compete more effectively in a rapidly changing entertainment landscape. Just as important, it will create more opportunities for creators by enabling the combined company to invest more in content, take creative risks and accelerate the technologies that will deliver greater choice and a better experience for audiences everywhere.
Absent the lawsuit filed by the California Attorney General along with 11 other attorneys general, and a separate lawsuit from the Writers Guild of America (WGA), both seeking to block the merger, we would have been able to close the transaction in the coming weeks.
Let me be clear: we remain highly confident that this transaction does not pose any legal issues, and we will complete it and bring these two companies together. To that end, Paramount, WBD, the state attorneys general and the WGA have agreed not to proceed with the court-ordered preliminary injunction hearing scheduled for August 3. The parties will instead move directly to a trial on the merits. We believe this is the right path because the facts and the law are on our side, and a full hearing will demonstrate why the plaintiffs’ arguments should not prevail.
This week, the parties will discuss potential trial dates and provide an update to the court next Friday. The timing of the trial will be determined after the court reviews those discussions and issues a schedule.
In the meantime, absent further developments, the completion of the transaction will remain paused. Our teams will continue planning under the direction of the Integration Management Office (IMO) and in consultation with our legal advisors. Given the revised timeline, the IMO may adjust the pace and sequencing of its work in the weeks ahead to reflect the revised timeline. Those involved in the integration planning effort will hear directly from Tony Driscoll, who leads the IMO for Paramount. I also encourage you to visit the Integration Hub for the latest updates, FAQs and other resources.
I know this additional uncertainty has been challenging, and I want to thank you for your continued patience, commitment and collective contributions. For now, it remains business as usual. Paramount and WBD are separate companies operating independently, and our focus remains on serving our audiences, supporting one another and executing our strategy. We’ve had a strong first year as the new Paramount, and that’s because of you. I’m incredibly proud of everything this team has accomplished.
As always, we are committed to being as direct and transparent as possible. When there is meaningful, confirmed information to share, you will hear it from us. Until then, please know that we remain confident in our position and firmly believe this transaction is pro-competitive and will deliver meaningful benefits for consumers, creators and the broader entertainment industry.
Thank you again for all you do for our company, our audiences and one another. I hope you have a wonderful summer and look forward to what we will accomplish together in the months and years ahead.
Let’s go!
David
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Odds & Sods
Stavros Halkias
In a pretty interesting twist, YouTube and NBCUniversal have announced a new deal that will see Peacock Premium included with the $15.99 per month YouTube Premium service beginning early next year. One effect will be to get Peacock into as many as ten million new homes.
Netflix has acquired international streaming rights to Power, Power Book II: Ghost, Power Book III: Raising Kanan and Power Book IV: Force, along with domestic rights to Power.
The Michael Jackson theatrical film Michael will stream on Starz beginning Monday, August 10th.
The stand-up special Stavros Halkias: Uncle Stav will premiere Tuesday, September 8th on Netflix.
Another Reminder That ‘Hollywood’ Doesn’t Represent All Of Television
In his most recent Screentime newsletter, Bloomberg’s Lucas Shaw uses data from Luminate to highlight the ongoing dip in television production in Hollywood. And as this chart illustrates, it’s not a pretty picture:
But here’s the thing. This data only reflects the shows being produced in Hollywood. It doesn’t count shows produced by Hollywood studios that are produced overseas. And that number is becoming a larger part of the equation.
In fact, one ironic aspect of the chase for cheaper places to produce television is that creatives in places such as the UK and Australia are complaining that shows that used to be produced in those countries - many of them shifted there from the U.S. - are now being produced in places such as Eastern Europe.
So while it’s true that television production continues to drop in Hollywood, much of that dip seems to be related to the increasing trend of off-shoring production to the lowest possible bidder.
CBS Announces Its Fall Primetime Schedule
As a reminder, CBS is holding back season three of Matlock, season six of Ghosts and the series premiere of crime dramedy Einstein for midseason.
Here is CBS’s fall schedule; all times are ET/PT:
Sunday, September 13th:
7:00 PM: NFL On CBS doubleheader
7:30 PM: 60 Minutes Season Fifty-Nine Premiere
Wednesday, September 23rd:
8:00 PM: Survivor Season Fifty One Premiere
Sunday, September 27th
7:00 PM: NFL On CBS doubleheader
7:30 PM: 2026 Video Music Awards (VMAs)
Wednesday, September 30th:
9:30 PM: The Amazing Race Season 39 Premiere
Sunday, October 4th:
7-7:30 PM NFL On CBS doubleheader
8:30 PM: Marshals Season Two Premiere
9:30 PM: Tracker Season Four Premiere
Monday, October 5th:
8:00 PM: FBI Season Nine Premiere
9:00 PM: CIA Season Two Premiere
10:00 PM: Harlan Coben’s Final Twist Season Two Premiere
Tuesday, October 6th:
8:00 PM: NCIS Season Twenty-Four Premiere
9:00 PM: NCIS: New York Series Premiere
10:00 PM: NCIS: Origins: Season Three Premiere
Thursday, October 8th:
8:00 PM: Georgie & Mandy’s First Marriage Season Three Premiere
8:30 PM: Eternally Yours Series Premiere
9:00 PM: Elsbeth Season Four Premiere
10:00 PM: Cupertino Series Premiere
Friday, October 9th:
8:00 PM: Sheriff Country Season Two Premiere
9:00 PM: Fire Country Season Five Premiere
10:00 PM: Boston Blue Season Two Premiere
Saturday, October 10th:
10:00 PM: 48 Hours Season Thirty Nine Premiere
Thursday, October 29th:
9:00 PM: Ghosts (Halloween two-episode special)
Thursday, December 10th:
9:00 PM: Ghosts (Ghostmas two-episode special)
ABC Announces Its Fall Primetime Schedule
ABC released it’s fall primetime schedule Monday, and it’s worth remembering the network is holding back a substantial number of shows for midseason. Those include The Bachelor, High Potential, The Rookie, spinoff The Rookie: North, Shifting Gears and Will Trent.
Here is ABC’s fall schedule; all times are ET/PT:
Saturday, August 29th
7:30 PM: College Football: Alabama A&M vs. Howard
Monday, September 14th:
8:00 PM: Monday Night Football: Denver Broncos at Kansas City Chiefs
Tuesday, September 15th:
8:00 PM: Dancing With The Stars Season Thirty Five Premiere
10:00 PM: R.J. Decker Season Two Premiere
Wednesday, September 16th:
8:00 PM: Dancing With The Stars (special night)
Friday, September 25th:
9:00 PM: 20/20 Season Forty-Nine Premiere
Sunday, September 27th:
7:00 PM: America’s Funniest Home Videos Season Thirty Seven Premiere
9:00 PM: The Wonderful World of Disney
Wednesday, September 30th:
8:00 PM: Scrubs Season Two Premiere
9:00 PM: Shark Tank Season Eighteen Premiere
Friday, October 2nd:
8:00 PM: Celebrity Wheel of Fortune Season Seven Premiere
Wednesday, October 7th:
8:30 PM: Abbott Elementary Season Six Premiere
Thursday, October 15th:
8:00 PM: 9-1-1 Season Ten Premiere
9:00 PM: 9-1-1: Nashville Season Two Premiere
10:00 PM: Grey’s Anatomy Season Twenty-Three Premiere
What’s Coming Tonight And Tomorrow
MONDAY, JULY 27TH:
Biggest Mako On Earth (Discovery)
Bull Shark Dinner Bell (Discovery)
Furious Series Premiere (Hulu)
House Of Sharks (Discovery)
Modern Marvels: WWII Series Premiere (History)
The Ridge Series Premiere (Acorn)
TUESDAY, JULY 28TH:
Beat Shazam Season Premiere (Fox)
Chum Island: Catching A Killer (Discovery)
Jaws Vs. Orca (Discovery)
Jurassic Sharks (Discovery)
Kitchen Undercover Series Premiere (Food)
Mary Beth Barone: Galaxy Brain (Netflix)