1 00:00:00,080 --> 00:00:09,119 Speaker 1: M M. Welcome to Strictly Business, Variety's weekly podcast featuring 2 00:00:09,160 --> 00:00:12,800 Speaker 1: conversations with industry leaders about the business of entertainment. I'm 3 00:00:12,840 --> 00:00:16,439 Speaker 1: Cynthia Littleton, business editor for Variety Today. My guest in 4 00:00:16,480 --> 00:00:19,720 Speaker 1: New York is Sarah Barnett, President of Entertainment Networks for 5 00:00:19,800 --> 00:00:22,760 Speaker 1: AMC Networks. Barnett and I sat down just a few 6 00:00:22,840 --> 00:00:25,639 Speaker 1: days before Killing Eve had its second season premiere on 7 00:00:25,720 --> 00:00:29,040 Speaker 1: BBC America. Barnett and I discussed at length and in 8 00:00:29,080 --> 00:00:32,919 Speaker 1: granular detail, the benefits of a hit, a viral hit 9 00:00:33,040 --> 00:00:36,159 Speaker 1: like Killing E for a cable channel like BBC America 10 00:00:36,280 --> 00:00:40,040 Speaker 1: at this time in the programming world. Barnett also discusses 11 00:00:40,360 --> 00:00:45,479 Speaker 1: AMC's deep investment in what she calls forensic audience research 12 00:00:45,560 --> 00:00:48,800 Speaker 1: tools to get a better handle on how the audience 13 00:00:48,840 --> 00:00:52,760 Speaker 1: for AMC and its sibling channels move across those networks 14 00:00:52,760 --> 00:00:56,400 Speaker 1: and how AMC can best corral that audience data. She 15 00:00:56,520 --> 00:00:59,960 Speaker 1: also gives a very candid discussion about what she's learned 16 00:01:00,240 --> 00:01:03,080 Speaker 1: in the business of what she calls change management over 17 00:01:03,120 --> 00:01:05,959 Speaker 1: her long career of taking over cable channels in need 18 00:01:06,000 --> 00:01:10,000 Speaker 1: of rehabilitation. It's a great conversation with one of the 19 00:01:10,080 --> 00:01:16,840 Speaker 1: fast rising stars in the television business. Sarah Barnett, President 20 00:01:17,000 --> 00:01:19,800 Speaker 1: of the Entertainment Networks Group for AMC Networks, thank you 21 00:01:19,880 --> 00:01:23,319 Speaker 1: so much for coming by today. Such a pleasure. Let's 22 00:01:23,360 --> 00:01:25,360 Speaker 1: talk to you. Guys are just on the throws now 23 00:01:25,600 --> 00:01:29,640 Speaker 1: of of launching Killing Eve for its second season. This 24 00:01:29,720 --> 00:01:31,640 Speaker 1: is a This is the probably the biggest, the best 25 00:01:31,680 --> 00:01:36,040 Speaker 1: gift that a TV programmer can have. A buzzy sleeper 26 00:01:36,360 --> 00:01:40,600 Speaker 1: success story. Came on BBC America last year as a 27 00:01:40,600 --> 00:01:42,440 Speaker 1: little show and you knew you probably knew it would 28 00:01:42,440 --> 00:01:46,240 Speaker 1: get some attention because it had great auspices. Phoebe waller Bridge, 29 00:01:46,760 --> 00:01:50,040 Speaker 1: Sandra Oh, Jody Comber, a name that wasn't as known 30 00:01:50,120 --> 00:01:53,320 Speaker 1: here but in the US, but certainly is now it 31 00:01:53,360 --> 00:01:56,680 Speaker 1: comes on your air it by dint of it's just 32 00:01:57,000 --> 00:02:00,240 Speaker 1: purely how good it was. It It rises to the up, 33 00:02:00,280 --> 00:02:02,560 Speaker 1: gets a lot of attention and now has now been 34 00:02:02,600 --> 00:02:05,440 Speaker 1: on an awards March, and just all the good things 35 00:02:05,440 --> 00:02:08,639 Speaker 1: that you could possibly want for a show. Tell me 36 00:02:09,160 --> 00:02:12,920 Speaker 1: what on a business level, what does a show with 37 00:02:13,000 --> 00:02:16,040 Speaker 1: a trajectory like that mean for a cable channel like 38 00:02:16,080 --> 00:02:20,320 Speaker 1: a BBC America. Yeah, I mean, we certainly couldn't have 39 00:02:20,440 --> 00:02:27,080 Speaker 1: anticipated the um that the scale and buzz of Killing Eve. 40 00:02:27,120 --> 00:02:29,480 Speaker 1: In fact, we would have been kind of insane had 41 00:02:29,520 --> 00:02:32,840 Speaker 1: we done that, because in the world we live in today, 42 00:02:33,320 --> 00:02:36,519 Speaker 1: it's so hard to break through. UM. And I can 43 00:02:36,680 --> 00:02:38,919 Speaker 1: talk at some point about the reasons why I think 44 00:02:38,919 --> 00:02:42,600 Speaker 1: this show did break through, but UM, it's a dream 45 00:02:42,760 --> 00:02:44,960 Speaker 1: on a business level. You know, first of all, everywhere 46 00:02:44,960 --> 00:02:47,280 Speaker 1: we go, whether we're talking to advertisers, or whether we're 47 00:02:47,320 --> 00:02:50,040 Speaker 1: talking to affiliates, or whether we're talking to anyone else 48 00:02:50,040 --> 00:02:52,959 Speaker 1: in our industry. Um, Killing Eve is all anyone wants 49 00:02:53,000 --> 00:02:56,920 Speaker 1: to talk about at the moment. It really is. Eventually, 50 00:02:56,960 --> 00:02:58,760 Speaker 1: I try and move people off the topic to talk 51 00:02:58,800 --> 00:03:05,840 Speaker 1: about everything else to talk about let's talk, um. So 52 00:03:05,960 --> 00:03:10,239 Speaker 1: you know, I think we can't underestimate the impact word. 53 00:03:10,280 --> 00:03:12,480 Speaker 1: I mean, let's start with our advertisers. The impact with 54 00:03:12,760 --> 00:03:16,359 Speaker 1: that this show has. Um not just in the pricing 55 00:03:16,400 --> 00:03:18,680 Speaker 1: that our sales team are able to get now moving 56 00:03:18,720 --> 00:03:21,000 Speaker 1: into a season two with this kind of success behind us, 57 00:03:21,160 --> 00:03:23,359 Speaker 1: but the way it opened door opens doors to talk 58 00:03:23,400 --> 00:03:25,760 Speaker 1: about other things on our network, the way it opens 59 00:03:25,800 --> 00:03:29,240 Speaker 1: doors to talk about other things across the portfolio of 60 00:03:29,320 --> 00:03:33,560 Speaker 1: networks is really quite something. UM. So that's why we 61 00:03:33,600 --> 00:03:35,800 Speaker 1: took the business decision to put season two of Killing 62 00:03:35,840 --> 00:03:38,760 Speaker 1: Eve not just on BBC America but also on AMC. 63 00:03:39,640 --> 00:03:43,240 Speaker 1: We get amazing pricing for season two. Um So, the 64 00:03:43,440 --> 00:03:48,360 Speaker 1: value to the business in very transactional ways is calculable 65 00:03:48,400 --> 00:03:52,760 Speaker 1: and big. The value to the business in other ways, 66 00:03:53,040 --> 00:03:56,200 Speaker 1: maybe softer ways, um is every bit as big, if 67 00:03:56,240 --> 00:03:59,080 Speaker 1: not bigger. It's a calling card people want to come 68 00:03:59,120 --> 00:04:01,200 Speaker 1: to a network that how a show like that. Creative 69 00:04:01,200 --> 00:04:03,520 Speaker 1: people want to work with you. Creative people are interested 70 00:04:03,600 --> 00:04:08,480 Speaker 1: now in coming to BBC America and through that open 71 00:04:08,520 --> 00:04:12,240 Speaker 1: the door to a m C, BBC America, I f C, Sundance, 72 00:04:12,360 --> 00:04:16,560 Speaker 1: the whole entertainment group. Um So, the ability that we 73 00:04:16,640 --> 00:04:22,840 Speaker 1: all have to create amazing partnerships with our affiliate, our 74 00:04:22,880 --> 00:04:26,800 Speaker 1: advertising and our creative constituents with a show like this 75 00:04:27,520 --> 00:04:31,040 Speaker 1: is really something, and I think probably on the most 76 00:04:31,120 --> 00:04:37,680 Speaker 1: sort of mega business level. I think the the stamp 77 00:04:37,760 --> 00:04:42,120 Speaker 1: that this show has in continuing to mark AMC Networks 78 00:04:42,160 --> 00:04:44,840 Speaker 1: as a company that punches above its weight and as 79 00:04:44,880 --> 00:04:49,520 Speaker 1: a company that has this really quite phenomenal batting average 80 00:04:49,760 --> 00:04:52,720 Speaker 1: in the premium scripted world is again something that I 81 00:04:52,800 --> 00:04:57,520 Speaker 1: think speaks profoundly and deeply to our investment community, UM, 82 00:04:57,520 --> 00:05:02,159 Speaker 1: and to other kinds of business stakeholders. It's important that 83 00:05:02,680 --> 00:05:05,120 Speaker 1: even in a world of five shows, and even in 84 00:05:05,160 --> 00:05:08,760 Speaker 1: a world where there's more appreciation for niche than ever before, 85 00:05:10,000 --> 00:05:14,560 Speaker 1: there's no substitute for something that everybody's talking about. I 86 00:05:14,600 --> 00:05:18,400 Speaker 1: think there's no substitute for something that becomes a true 87 00:05:18,480 --> 00:05:21,880 Speaker 1: cultural conversation point. I think that's that's the holy grail. 88 00:05:21,960 --> 00:05:24,840 Speaker 1: I think that's what every platform, every business, big or small, 89 00:05:24,960 --> 00:05:27,440 Speaker 1: is looking for, and I think the Killing Eve is 90 00:05:27,480 --> 00:05:29,880 Speaker 1: the poster child for that right now. So we don't 91 00:05:29,880 --> 00:05:32,760 Speaker 1: take that for granted, we don't take that lightly. UM. 92 00:05:32,839 --> 00:05:36,200 Speaker 1: We celebrate it. We celebrate it with some neurosis because 93 00:05:36,240 --> 00:05:39,839 Speaker 1: that's our that's our character and our makeup. Everybody knows 94 00:05:39,880 --> 00:05:42,240 Speaker 1: Season two is often hard, and we want to find 95 00:05:42,240 --> 00:05:45,400 Speaker 1: the next one. We want to find the next Killing Eve. UM. 96 00:05:45,520 --> 00:05:48,880 Speaker 1: So yeah, I think I think that that kind of 97 00:05:49,120 --> 00:05:52,279 Speaker 1: the kind of cultural currency that a show like Killing 98 00:05:52,279 --> 00:05:57,080 Speaker 1: Eve has is I think the fuel that can really 99 00:05:57,160 --> 00:06:01,240 Speaker 1: sort of inspire a new chapter if that's not too 100 00:06:01,360 --> 00:06:05,200 Speaker 1: ambitious an aspiration from it, but it's very it's very meaningful. 101 00:06:05,800 --> 00:06:08,400 Speaker 1: Is that a when you have success like that, when 102 00:06:08,400 --> 00:06:12,200 Speaker 1: it is you know, it is hard to bring it 103 00:06:12,279 --> 00:06:13,960 Speaker 1: for anything to break out. It is hard to get 104 00:06:14,000 --> 00:06:16,800 Speaker 1: attention for shows. When you have a success like that, 105 00:06:16,800 --> 00:06:19,920 Speaker 1: that is a sleeper I would imagine just for your staff, 106 00:06:19,960 --> 00:06:22,240 Speaker 1: for the organization. It's such a lift you know it 107 00:06:22,320 --> 00:06:25,960 Speaker 1: can still happen. It's actually wonderful, and thank you for 108 00:06:25,960 --> 00:06:28,760 Speaker 1: bringing that up because it's it's actually on a personal level. 109 00:06:28,800 --> 00:06:30,880 Speaker 1: One of the most fulfilling things is to see a 110 00:06:30,920 --> 00:06:34,520 Speaker 1: team that slogs day in, day out in a world 111 00:06:34,520 --> 00:06:37,240 Speaker 1: where you know, we're also aware of the challenge of 112 00:06:37,320 --> 00:06:40,880 Speaker 1: how many shows there are UM and how fragmented our 113 00:06:40,920 --> 00:06:44,839 Speaker 1: industry is, and how hard it is to UM to 114 00:06:44,920 --> 00:06:47,839 Speaker 1: get the attention of an audience to tune in UM. 115 00:06:47,880 --> 00:06:49,800 Speaker 1: So when you have something like this like killing You, 116 00:06:49,960 --> 00:06:53,400 Speaker 1: that breaks through, I think the elation, the potency, the 117 00:06:53,600 --> 00:06:58,600 Speaker 1: pride UH and the sheer sort of joy and commitments 118 00:06:58,720 --> 00:07:02,600 Speaker 1: that doubles back. I think from from the team UM 119 00:07:02,760 --> 00:07:05,960 Speaker 1: into the work that they do is is something you 120 00:07:06,000 --> 00:07:09,880 Speaker 1: can't bottle. It's actually really extraordinary. There have been many 121 00:07:09,960 --> 00:07:15,720 Speaker 1: cupcakes celebrations last year. Absolutely what is when you decided 122 00:07:15,760 --> 00:07:18,520 Speaker 1: to put to do a simulcast on AMC and BBC 123 00:07:18,600 --> 00:07:21,680 Speaker 1: America of Killing You for season two. What is the 124 00:07:22,080 --> 00:07:24,559 Speaker 1: What were the calculations that you looked at in terms 125 00:07:24,600 --> 00:07:28,880 Speaker 1: of in terms of deciding whether you know, obviously there 126 00:07:28,920 --> 00:07:31,520 Speaker 1: there was a potential to funnel more audience to BBC 127 00:07:31,600 --> 00:07:34,240 Speaker 1: America or did you think that with this kind of 128 00:07:34,240 --> 00:07:36,000 Speaker 1: buzz it would be better to give it a just 129 00:07:36,080 --> 00:07:40,880 Speaker 1: a wider platform. Yeah. The philosophy behind putting Killing Evan 130 00:07:40,920 --> 00:07:42,680 Speaker 1: a m C as one is BBC Mico is to 131 00:07:42,880 --> 00:07:45,360 Speaker 1: use a m C simply as a marketing platform for 132 00:07:45,400 --> 00:07:49,120 Speaker 1: the show. We believe this show has um the ability 133 00:07:49,320 --> 00:07:56,120 Speaker 1: to clearly have connected culturally with fans, with critics, with 134 00:07:56,160 --> 00:07:59,119 Speaker 1: so many people in such a fizzy kind of way. 135 00:07:59,640 --> 00:08:04,040 Speaker 1: We're so thinking it has the storytelling d n A, 136 00:08:04,320 --> 00:08:08,520 Speaker 1: the big swings in terms of its entertainment quotient to 137 00:08:08,680 --> 00:08:11,880 Speaker 1: potentially connect with a really broad audience and a broad 138 00:08:11,880 --> 00:08:15,560 Speaker 1: audience that a platform like BBC America, even though it can, 139 00:08:15,800 --> 00:08:17,920 Speaker 1: you know, with Doctor Who and at times with Natural 140 00:08:17,960 --> 00:08:21,000 Speaker 1: History programming, reach a big audience, it's just not as 141 00:08:21,000 --> 00:08:23,720 Speaker 1: distributed as a m C, and it doesn't have a 142 00:08:23,760 --> 00:08:26,560 Speaker 1: show like The Walking Dead that we can use as 143 00:08:26,560 --> 00:08:30,760 Speaker 1: a promotional platform um to promote to Killing Eve from 144 00:08:30,840 --> 00:08:33,040 Speaker 1: I mean, of course we could promote from Walking Dead 145 00:08:33,080 --> 00:08:35,840 Speaker 1: to BBC America, and indeed we do, but to promote 146 00:08:35,880 --> 00:08:39,800 Speaker 1: it's always stronger to promote from Walking Dead to Killing 147 00:08:39,800 --> 00:08:42,680 Speaker 1: Eve on that same platform, partly because, as they say, 148 00:08:43,040 --> 00:08:45,000 Speaker 1: don't go anywhere exactly, and partly because some of those 149 00:08:45,000 --> 00:08:47,319 Speaker 1: people watching Walking Dead just don't get BBC America. It's 150 00:08:47,360 --> 00:08:50,560 Speaker 1: not as it's not as broadly distributed as a m 151 00:08:50,559 --> 00:08:54,160 Speaker 1: C A, which is, you know, distributed everywhere you have cable. 152 00:08:54,280 --> 00:08:58,040 Speaker 1: So um. So the calculation was really that we believe 153 00:08:58,160 --> 00:09:00,400 Speaker 1: that this show had proven that it had the ability 154 00:09:00,440 --> 00:09:03,120 Speaker 1: to connect in a really quite stunning and extraordinary way. 155 00:09:03,760 --> 00:09:07,960 Speaker 1: Um and it actually connects with a bigger point of 156 00:09:08,040 --> 00:09:10,400 Speaker 1: view that we have that I have actually in one 157 00:09:10,400 --> 00:09:13,720 Speaker 1: of the exciting things I feel about how the opportunity 158 00:09:13,880 --> 00:09:17,120 Speaker 1: is m with a new structure that puts these four 159 00:09:17,160 --> 00:09:21,400 Speaker 1: networks together is at a MC networks is the ability 160 00:09:21,480 --> 00:09:25,760 Speaker 1: to really understand how and where our audiences between the 161 00:09:25,760 --> 00:09:29,360 Speaker 1: four bran brands overlap, and how and where they're different, 162 00:09:30,200 --> 00:09:34,400 Speaker 1: and where we think there's opportunity to move shows from 163 00:09:34,440 --> 00:09:37,280 Speaker 1: one network to another because we don't think it's duplicative. 164 00:09:37,360 --> 00:09:39,920 Speaker 1: We actually think it's just additive. We'll be doing a 165 00:09:39,960 --> 00:09:42,280 Speaker 1: lot more than that, and we will also be promoting 166 00:09:42,600 --> 00:09:45,640 Speaker 1: a lot more across from one network to another. And 167 00:09:45,880 --> 00:09:47,760 Speaker 1: the only reason we can really do this is it's 168 00:09:47,800 --> 00:09:52,400 Speaker 1: it's pretty case by case, but it's informed really by 169 00:09:52,679 --> 00:09:57,679 Speaker 1: UM the ability to use some quite sophisticated performance marketing 170 00:09:58,120 --> 00:10:00,920 Speaker 1: data analytics that we've built in house that allows us 171 00:10:00,920 --> 00:10:04,199 Speaker 1: to really understand for the first time how and where 172 00:10:04,200 --> 00:10:08,280 Speaker 1: our audience moves between our different platforms. So I think 173 00:10:09,080 --> 00:10:13,440 Speaker 1: as our competitors are bulking up and we remain relatively nimble, 174 00:10:13,880 --> 00:10:16,640 Speaker 1: not on the huge size, not on the huge side 175 00:10:16,920 --> 00:10:21,400 Speaker 1: compared to a you know, in large Disney or exactly, 176 00:10:21,800 --> 00:10:24,040 Speaker 1: but the ability I think for us to wrap our 177 00:10:24,160 --> 00:10:28,000 Speaker 1: arms as a business around the entire ecosystem of our audience, 178 00:10:28,559 --> 00:10:33,160 Speaker 1: understand our audience and understand how and where we can 179 00:10:33,200 --> 00:10:36,000 Speaker 1: move shows from one platform to another to speak to 180 00:10:36,000 --> 00:10:40,800 Speaker 1: different audiences, I think becomes a really smart way for 181 00:10:40,920 --> 00:10:44,640 Speaker 1: us to really align our audiences and maximize our audiences 182 00:10:44,800 --> 00:10:47,640 Speaker 1: and stay sort of nimble and smart and competitive. So 183 00:10:48,960 --> 00:10:52,000 Speaker 1: so only seven percent of our audience across the four 184 00:10:52,080 --> 00:10:55,680 Speaker 1: network percent of our only seven percent of our audience 185 00:10:55,720 --> 00:11:00,800 Speaker 1: watch author networks and only six of our audience watch 186 00:11:01,160 --> 00:11:03,319 Speaker 1: a MC and BBC America, which has would imagine it 187 00:11:03,360 --> 00:11:06,000 Speaker 1: is the biggest duplication. So we think there's a lot 188 00:11:06,120 --> 00:11:11,320 Speaker 1: of opportunity to flow shows around between our platforms, informed 189 00:11:11,360 --> 00:11:16,040 Speaker 1: by some really quite a forensic understanding and some experimentation. Frankly, 190 00:11:16,120 --> 00:11:19,560 Speaker 1: you know, we'll be trying things as UM. There's a 191 00:11:19,600 --> 00:11:23,040 Speaker 1: show called a Discovery of Witches which launched earlier this year, 192 00:11:23,040 --> 00:11:25,040 Speaker 1: actually on our streaming services, so it's not just our 193 00:11:25,080 --> 00:11:28,679 Speaker 1: linear platforms, but on Shutter and Sundance Now and also 194 00:11:28,720 --> 00:11:32,520 Speaker 1: on AMC Premiere. We launched the show Discovery of Witches. UM. 195 00:11:32,559 --> 00:11:37,720 Speaker 1: It's a great show. It's it's um, it's genre, it's 196 00:11:37,760 --> 00:11:39,920 Speaker 1: a vampire falls in love with a witch. It has 197 00:11:40,000 --> 00:11:43,280 Speaker 1: Matthew Good. It's sort of posh but also broad. It's beautiful, 198 00:11:43,320 --> 00:11:45,360 Speaker 1: it's shot around the world and but lots of it 199 00:11:45,440 --> 00:11:48,359 Speaker 1: is an Oxford. It's just gorgeous. Anyway, it did extraordinarily 200 00:11:48,360 --> 00:11:49,840 Speaker 1: well on these platforms that we launched it on these 201 00:11:49,840 --> 00:11:53,920 Speaker 1: streaming platforms and an AMC premiere. UM, so we then thought, well, 202 00:11:53,920 --> 00:11:56,600 Speaker 1: maybe it actually can migrate to linear, so we're airing 203 00:11:56,600 --> 00:12:01,960 Speaker 1: it after Klive on both BBC A and see confidence 204 00:12:02,000 --> 00:12:04,280 Speaker 1: in the show. Yeah, and it all comes down to 205 00:12:04,720 --> 00:12:06,920 Speaker 1: content that we believe in, content that we believe really 206 00:12:06,960 --> 00:12:09,160 Speaker 1: has the sort of the legs to connect, and you 207 00:12:09,200 --> 00:12:13,160 Speaker 1: saw that it has real traction exactly exactly, So we'll say, 208 00:12:13,200 --> 00:12:16,040 Speaker 1: you know, we'll learn as we go. UM. So let's 209 00:12:16,040 --> 00:12:18,360 Speaker 1: talk about your new role you were promoted in. You 210 00:12:18,400 --> 00:12:21,280 Speaker 1: had been running BBC America. Before that, you ran Sundance 211 00:12:21,400 --> 00:12:24,800 Speaker 1: and in November you were promoted to a group role 212 00:12:25,000 --> 00:12:28,640 Speaker 1: overseeing AMC, BBC America, i f C and Sundance TV. 213 00:12:29,040 --> 00:12:31,640 Speaker 1: You started to answer some of my questions, but tell 214 00:12:31,720 --> 00:12:34,719 Speaker 1: us what is what would you say are the benefits 215 00:12:34,760 --> 00:12:39,880 Speaker 1: of that structure for running these distinct programming brands at 216 00:12:39,920 --> 00:12:43,240 Speaker 1: this kind of crazy time in the programming world. Yeah. 217 00:12:43,559 --> 00:12:45,760 Speaker 1: I think the main one really is the ability to 218 00:12:45,840 --> 00:12:50,080 Speaker 1: understand audience across the ecosystem of brands that we have 219 00:12:50,679 --> 00:12:54,280 Speaker 1: and to program accordingly. Um. And that will means shifting 220 00:12:54,280 --> 00:12:59,880 Speaker 1: content around somewhat while still absolutely retaining the discrete brand 221 00:13:00,120 --> 00:13:03,720 Speaker 1: value programming reach that our different platforms have. You know, 222 00:13:03,760 --> 00:13:08,199 Speaker 1: our affiliates, our advertisers, and our viewers all know our brands. 223 00:13:08,600 --> 00:13:10,640 Speaker 1: You know, We don't have twenty five brands in our company. 224 00:13:10,720 --> 00:13:13,640 Speaker 1: We have sort of a handful of really well curated, 225 00:13:14,080 --> 00:13:17,280 Speaker 1: really deep, very meaningful brands, all of which do something 226 00:13:17,360 --> 00:13:20,480 Speaker 1: quite original, but all of which have these interesting intersection 227 00:13:20,520 --> 00:13:23,400 Speaker 1: points with each other. So the ability to sort of 228 00:13:23,440 --> 00:13:26,720 Speaker 1: be to see it as a sort of complex puzzle 229 00:13:27,040 --> 00:13:29,920 Speaker 1: but a cohesive whole. I think it is something that's 230 00:13:29,920 --> 00:13:32,439 Speaker 1: really exciting, and I think that the teams that are 231 00:13:32,440 --> 00:13:36,560 Speaker 1: coming together from the different for networks are finding that 232 00:13:37,080 --> 00:13:41,480 Speaker 1: very exciting as well as I think really enjoying um 233 00:13:41,720 --> 00:13:48,080 Speaker 1: uncovering talent internally the previously squirreled away in different parts. 234 00:13:48,120 --> 00:13:49,960 Speaker 1: The ability, I think to sort of pull together a 235 00:13:49,960 --> 00:13:51,960 Speaker 1: team of people, so the management piece of it, and 236 00:13:52,040 --> 00:13:55,360 Speaker 1: to pull together a group of people to work together 237 00:13:55,440 --> 00:13:58,440 Speaker 1: in new ways who haven't previously worked together, to create 238 00:13:58,480 --> 00:14:03,520 Speaker 1: a culture which is steal around understanding our brands, knowing 239 00:14:03,559 --> 00:14:05,680 Speaker 1: the value of our brands, what they mean, their brands 240 00:14:05,679 --> 00:14:07,959 Speaker 1: that have a lot of equity behind them, and also 241 00:14:08,080 --> 00:14:10,840 Speaker 1: encouraging people to not be siloed by brand, but to 242 00:14:10,920 --> 00:14:14,080 Speaker 1: think in a sort of portfolio way require some new muscles. 243 00:14:14,080 --> 00:14:16,320 Speaker 1: I think is really really interesting and I think people 244 00:14:16,360 --> 00:14:19,280 Speaker 1: are very much enjoying. I think actually all humans kind 245 00:14:19,280 --> 00:14:22,160 Speaker 1: of enjoy both being passionate about certain things, but also 246 00:14:22,200 --> 00:14:24,920 Speaker 1: then having a sense of the bigger interconnectedness and how 247 00:14:24,920 --> 00:14:28,520 Speaker 1: to work across something bigger, and particularly in the business 248 00:14:28,520 --> 00:14:30,880 Speaker 1: reality of today, we sort of have to. But I 249 00:14:30,880 --> 00:14:32,960 Speaker 1: think it's a challenge that everyone's up for and writing 250 00:14:33,000 --> 00:14:36,680 Speaker 1: to UM, So yeah, it's sort of it's a fascinating 251 00:14:36,680 --> 00:14:40,520 Speaker 1: moment and a really interesting moment to take what we 252 00:14:40,600 --> 00:14:46,680 Speaker 1: have and create sort of new patterns from it. UM. 253 00:14:46,720 --> 00:14:48,320 Speaker 1: And then I think, you know, the other thing I 254 00:14:48,320 --> 00:14:50,880 Speaker 1: think that's a real advantage of us being organized in 255 00:14:50,920 --> 00:14:54,160 Speaker 1: this new way is you know, David Madden now overseas 256 00:14:54,200 --> 00:14:57,440 Speaker 1: programming for all four of the networks that I oversee, 257 00:14:57,800 --> 00:15:00,800 Speaker 1: and for him, the ability and his team, the ability 258 00:15:00,880 --> 00:15:06,960 Speaker 1: to be in the creative community buying full four of 259 00:15:07,000 --> 00:15:10,480 Speaker 1: these networks is great. And four networks that all have, 260 00:15:10,840 --> 00:15:13,920 Speaker 1: as I said, at distinct point of yeah, and a 261 00:15:14,000 --> 00:15:16,760 Speaker 1: real I would say, sort of creative energy in different 262 00:15:16,800 --> 00:15:19,040 Speaker 1: ways about all of them. They've all done things that 263 00:15:19,080 --> 00:15:21,760 Speaker 1: sort of stand out, you know, if not as huge 264 00:15:21,840 --> 00:15:24,360 Speaker 1: on the smaller networks, and certainly as a very distinctive 265 00:15:24,360 --> 00:15:29,160 Speaker 1: for original, very risk taking UM so there's definite advantage 266 00:15:29,200 --> 00:15:31,960 Speaker 1: there and has the I would imagine that the feedback 267 00:15:32,000 --> 00:15:35,840 Speaker 1: from the creative community allowing you to streamline the ability 268 00:15:35,880 --> 00:15:38,760 Speaker 1: to pitch i f C in Sundance and BBC and 269 00:15:38,880 --> 00:15:41,280 Speaker 1: AMC in one fell swoop. I imagine that would be 270 00:15:41,400 --> 00:15:43,640 Speaker 1: that would be welcomed again at a time when people 271 00:15:43,960 --> 00:15:46,240 Speaker 1: all I hear from people is that they're overwhelmed with 272 00:15:46,280 --> 00:15:49,080 Speaker 1: the number of choices, even the number of choices of 273 00:15:49,200 --> 00:15:51,520 Speaker 1: you know, where am I going to shop my comedy? Totally? 274 00:15:51,760 --> 00:15:54,520 Speaker 1: I mean, I think I think comedy probably is slightly different. 275 00:15:54,560 --> 00:15:57,920 Speaker 1: It's a slightly nippy Aaronson who's been overseeing programming for 276 00:15:58,240 --> 00:16:00,800 Speaker 1: for i f C for a while. Our reports into 277 00:16:00,880 --> 00:16:03,200 Speaker 1: David Madden, but he's sort of pretty much in his 278 00:16:03,360 --> 00:16:06,880 Speaker 1: area doing his thing. With comedy tends to be just 279 00:16:06,960 --> 00:16:09,440 Speaker 1: a different bunch of writers, different people you're talking to, 280 00:16:10,040 --> 00:16:11,920 Speaker 1: certainly with the scripted networks. I think it is a 281 00:16:11,960 --> 00:16:14,400 Speaker 1: real advantage. I think it's also an advantage of just 282 00:16:15,040 --> 00:16:17,040 Speaker 1: brag for a moment for us to have David Madman 283 00:16:17,080 --> 00:16:21,000 Speaker 1: the seat. I think he's so beloved in the community, goods, 284 00:16:21,040 --> 00:16:23,320 Speaker 1: such a good and so so good at what he does. 285 00:16:23,880 --> 00:16:27,160 Speaker 1: Um that I love having his expertise now across all 286 00:16:27,200 --> 00:16:29,240 Speaker 1: four of the networks. I think he's I think it's 287 00:16:29,280 --> 00:16:31,840 Speaker 1: one of our He's one of our weapons for sure. 288 00:16:32,600 --> 00:16:36,440 Speaker 1: And you talked a lot about tracking audience and understanding audience. 289 00:16:36,600 --> 00:16:40,920 Speaker 1: How much would you say, UM, you invest as a 290 00:16:40,960 --> 00:16:45,960 Speaker 1: company in in understanding and that's sort of dissecting the 291 00:16:46,000 --> 00:16:47,920 Speaker 1: audience that you have. I would imagine that that's a 292 00:16:48,000 --> 00:16:52,680 Speaker 1: growing expenditure and area of focus for you. Yeah. Absolutely, 293 00:16:52,720 --> 00:16:56,840 Speaker 1: I mean more and law. So for several years now, 294 00:16:56,880 --> 00:17:02,800 Speaker 1: we've had a business intelligence department internal run by UM, 295 00:17:02,840 --> 00:17:07,240 Speaker 1: an incredibly clever guy called Vitality seven and his team, 296 00:17:07,440 --> 00:17:11,800 Speaker 1: and he's been building a number of proprietary products, some 297 00:17:11,880 --> 00:17:15,600 Speaker 1: of which are very much focused on the advertising world, 298 00:17:16,240 --> 00:17:19,680 Speaker 1: and I would say a best in class planning tool 299 00:17:19,920 --> 00:17:22,399 Speaker 1: called Aurora that we have on the odd side. Uh. 300 00:17:22,560 --> 00:17:24,960 Speaker 1: And then he's been working for the last three or 301 00:17:25,000 --> 00:17:29,360 Speaker 1: four years quite intensely with Linda Shupac, who's our wonderful 302 00:17:29,400 --> 00:17:34,160 Speaker 1: head of marketing, on some performance marketing and predictive analytical 303 00:17:34,160 --> 00:17:38,200 Speaker 1: tools that really help us understand who to target, how 304 00:17:38,240 --> 00:17:41,520 Speaker 1: to target, how to measure the targeting as we're going 305 00:17:41,560 --> 00:17:46,880 Speaker 1: through a campaign. UM and then how to post mortem 306 00:17:47,000 --> 00:17:49,880 Speaker 1: um and underneath all of that, how to have some 307 00:17:49,920 --> 00:17:55,280 Speaker 1: real forensic understanding of who our audiences are, what they're consuming, 308 00:17:55,280 --> 00:17:58,520 Speaker 1: how they're moving around our platforms. So it's you know, 309 00:17:58,560 --> 00:18:00,639 Speaker 1: and then we also have some tools is developed that 310 00:18:00,680 --> 00:18:03,920 Speaker 1: are super sophisticated. Is rolling out the two point O 311 00:18:04,119 --> 00:18:07,439 Speaker 1: version of a tool we call internally pat which is 312 00:18:07,560 --> 00:18:11,000 Speaker 1: about how we place promos and how we understand who 313 00:18:11,040 --> 00:18:14,440 Speaker 1: they connect with, and how we can best use the 314 00:18:14,480 --> 00:18:17,600 Speaker 1: inventory we have on our air for promotion to both 315 00:18:18,160 --> 00:18:22,520 Speaker 1: optimize our linear business and build to our future businesses. 316 00:18:22,520 --> 00:18:24,679 Speaker 1: So how to promote a n C premiere, how to 317 00:18:24,720 --> 00:18:27,879 Speaker 1: promote to our subscription services to Shutter, Sundance Now and 318 00:18:27,880 --> 00:18:30,760 Speaker 1: now Acorn and U n C. So we're really looking 319 00:18:30,800 --> 00:18:33,359 Speaker 1: at how we can think, if you like, philosophically about 320 00:18:33,920 --> 00:18:37,479 Speaker 1: our linear platforms as these incredibly successful platforms that are 321 00:18:37,520 --> 00:18:40,040 Speaker 1: still big but are the engine of the company. They 322 00:18:40,040 --> 00:18:42,800 Speaker 1: are the engine of the company entirely. But how we 323 00:18:42,840 --> 00:18:46,040 Speaker 1: can use how we can use the sort of incumbency 324 00:18:46,200 --> 00:18:50,040 Speaker 1: we have and the strength of that that legacy platform 325 00:18:50,080 --> 00:18:52,359 Speaker 1: to help build our new businesses. How we can promote 326 00:18:52,359 --> 00:18:54,080 Speaker 1: to our gaming how we can promote to any sort 327 00:18:54,119 --> 00:18:58,360 Speaker 1: of comic book activity we're doing so so it's exciting 328 00:18:58,960 --> 00:19:02,399 Speaker 1: a lot of tools. How much do you when you program, 329 00:19:02,400 --> 00:19:06,119 Speaker 1: how much do you think about programming for that live 330 00:19:06,200 --> 00:19:10,399 Speaker 1: linear audience versus programming to somebody who's gonna either record 331 00:19:10,440 --> 00:19:12,520 Speaker 1: a bunch of episodes and wait or go to go 332 00:19:12,640 --> 00:19:16,000 Speaker 1: to your AMC Premier. Is your subscription service that allows 333 00:19:16,040 --> 00:19:19,600 Speaker 1: people you know early access two shows or or to 334 00:19:19,720 --> 00:19:23,280 Speaker 1: an authenticated platform. Is that do you calculate that in 335 00:19:23,280 --> 00:19:25,640 Speaker 1: your just terms of the timing and how you when 336 00:19:25,680 --> 00:19:28,159 Speaker 1: you launch shows, when you roll them out? So is 337 00:19:28,200 --> 00:19:33,880 Speaker 1: your question more around slots, timing, content acquisition or around 338 00:19:34,400 --> 00:19:38,720 Speaker 1: the actual creative we are looking for the nature of 339 00:19:38,760 --> 00:19:41,760 Speaker 1: the storytelling. Yeah, that I would say both. Actually, it's 340 00:19:41,800 --> 00:19:46,199 Speaker 1: a really interesting question. Um. We tend to juggle pretty 341 00:19:46,320 --> 00:19:51,679 Speaker 1: much between our Lidea platforms and the slots that we 342 00:19:51,720 --> 00:19:56,240 Speaker 1: need in order to both retain audiences, be vital with 343 00:19:56,520 --> 00:20:00,719 Speaker 1: enough original content fit into the upper schedule that our 344 00:20:00,760 --> 00:20:04,600 Speaker 1: advertisers need. Um, so we're pro programming for that. On 345 00:20:04,640 --> 00:20:10,720 Speaker 1: the linear side, we're increasingly also folding in the content 346 00:20:10,760 --> 00:20:18,760 Speaker 1: acquisition needs for AMC Premiere. So um, they're differentiated offering 347 00:20:19,400 --> 00:20:22,439 Speaker 1: tends to be around early content and binge able content, 348 00:20:22,480 --> 00:20:26,160 Speaker 1: and obviously add free content. So it's a little checkerboard 349 00:20:26,240 --> 00:20:29,919 Speaker 1: right now. It's sort of one or a combination of 350 00:20:29,920 --> 00:20:33,760 Speaker 1: those three things that will be their differentiator. Sometimes it's early, 351 00:20:34,119 --> 00:20:38,720 Speaker 1: sometimes it's not because of production schedules. Um Sometimes it's 352 00:20:38,760 --> 00:20:43,719 Speaker 1: possible to binge an entire season prior to us launching it. 353 00:20:43,960 --> 00:20:49,720 Speaker 1: Sometimes we choose not to because with certain shows there's 354 00:20:49,720 --> 00:20:54,840 Speaker 1: a big conversation with the writers and the show runners 355 00:20:54,840 --> 00:20:59,240 Speaker 1: around spoilers. So it's an interesting moment where we're both 356 00:20:59,240 --> 00:21:03,640 Speaker 1: protecting linear and the linear experience and the linear numbers 357 00:21:04,040 --> 00:21:08,040 Speaker 1: and at the same time fueling and driving new business models. 358 00:21:08,359 --> 00:21:12,359 Speaker 1: It's fascinating. I think we're learning a lot right um 359 00:21:12,520 --> 00:21:15,560 Speaker 1: in and the kind of engrossing dramas that your channels 360 00:21:15,560 --> 00:21:17,919 Speaker 1: that you certainly am C and Sundayans and BBC are 361 00:21:17,960 --> 00:21:21,360 Speaker 1: known for. You know, I think it's there's no question 362 00:21:21,760 --> 00:21:24,600 Speaker 1: that the audience has spoken and that there is a 363 00:21:24,680 --> 00:21:27,399 Speaker 1: real you know, there's almost a you know, there's a 364 00:21:27,400 --> 00:21:30,360 Speaker 1: generation almost that has been trained now to watch those 365 00:21:30,440 --> 00:21:34,000 Speaker 1: kinds of shows, particularly without commercials. Is that on the 366 00:21:34,040 --> 00:21:37,600 Speaker 1: linear side, is the need to service that advertising. Is 367 00:21:37,640 --> 00:21:41,160 Speaker 1: that becoming you know, is that becoming a bigger hardship 368 00:21:41,359 --> 00:21:43,320 Speaker 1: for you in terms of and are you looking at 369 00:21:43,320 --> 00:21:46,399 Speaker 1: any potential models to kind of limit the number of 370 00:21:46,400 --> 00:21:50,720 Speaker 1: interruptions or get around that? Yeah, yeah, I mean that. 371 00:21:51,200 --> 00:21:55,399 Speaker 1: You know. That's why something like cleave popping and jumping 372 00:21:55,400 --> 00:21:59,840 Speaker 1: out in a AD supported environment is sort of remarkable, 373 00:22:00,480 --> 00:22:02,520 Speaker 1: the numbers that continue to be there in spite of 374 00:22:02,560 --> 00:22:04,320 Speaker 1: the fact that the headlines are written or sort of 375 00:22:04,320 --> 00:22:09,919 Speaker 1: about slippage, but the continued primacy of of the Walking 376 00:22:09,960 --> 00:22:14,120 Speaker 1: Dead in cable. UM. We do think that there are 377 00:22:14,200 --> 00:22:18,600 Speaker 1: certain things in a linear environment that has a necessity 378 00:22:18,600 --> 00:22:21,919 Speaker 1: of having ads UM, there are certain storytelling ingredients that 379 00:22:21,960 --> 00:22:23,840 Speaker 1: need to be there. I think it needs to have 380 00:22:23,880 --> 00:22:28,280 Speaker 1: big swings, It needs to have um cliffhangers built in, 381 00:22:28,320 --> 00:22:30,280 Speaker 1: not just at the end of an episode, but equally 382 00:22:30,280 --> 00:22:33,760 Speaker 1: at acts. I actually think there's something about the craft 383 00:22:34,200 --> 00:22:36,680 Speaker 1: of that kind of TV writing that can get a 384 00:22:36,720 --> 00:22:40,320 Speaker 1: little bit lost, frankly in the amorphous nous of a 385 00:22:40,440 --> 00:22:43,439 Speaker 1: season being dropped and there being no necessity to the 386 00:22:43,440 --> 00:22:48,000 Speaker 1: shaped Yeah yeah, twelve one, So there's no need for 387 00:22:48,040 --> 00:22:50,080 Speaker 1: the cliffangers, There's no need for that sort of structure. 388 00:22:50,119 --> 00:22:52,439 Speaker 1: I mean, I think the Yeah and Breaking Bad was 389 00:22:52,480 --> 00:22:58,800 Speaker 1: probably the the to me, the sort of the absolute 390 00:22:58,800 --> 00:23:01,000 Speaker 1: sort of perfection of the form, if you like. But 391 00:23:01,000 --> 00:23:02,639 Speaker 1: I think a lot of sitcoms too, are written in 392 00:23:02,680 --> 00:23:07,000 Speaker 1: such a smart way that have always been UM very 393 00:23:07,080 --> 00:23:11,320 Speaker 1: much informed by the US form of television, which has 394 00:23:11,359 --> 00:23:13,199 Speaker 1: breaks in it. So I think a lot of our 395 00:23:13,240 --> 00:23:17,040 Speaker 1: content is formed in a way where we believe there's 396 00:23:17,119 --> 00:23:19,880 Speaker 1: a propulsion to it and a certain kind of high 397 00:23:20,040 --> 00:23:25,280 Speaker 1: entertainment value to UM to the shows that it will 398 00:23:25,320 --> 00:23:28,280 Speaker 1: pull people through the forming watch in which they watch it. 399 00:23:28,720 --> 00:23:31,119 Speaker 1: A m C premiere is really our first to market 400 00:23:31,200 --> 00:23:36,080 Speaker 1: experiment within our m v P D ecosystem of presenting 401 00:23:36,080 --> 00:23:38,879 Speaker 1: to audiences another way of watching. So it's an upsell 402 00:23:38,960 --> 00:23:42,320 Speaker 1: you pay for and you have the ability to watch 403 00:23:42,359 --> 00:23:46,520 Speaker 1: a m C shows early, uninterrupted, UM and with other 404 00:23:46,600 --> 00:23:49,680 Speaker 1: kinds of extras. Another kid that I mentioned earlier. So 405 00:23:49,680 --> 00:23:53,080 Speaker 1: so yeah, so we're we're again experimenting with the ways 406 00:23:53,119 --> 00:23:56,000 Speaker 1: that people want to watch, but continuing to make content 407 00:23:56,040 --> 00:23:59,119 Speaker 1: that we believe is sort of to some extent created 408 00:23:59,119 --> 00:24:01,760 Speaker 1: in a way that we're us in our environment on 409 00:24:01,800 --> 00:24:05,320 Speaker 1: our platforms. That's it's all order. How has the uptake 410 00:24:05,359 --> 00:24:08,720 Speaker 1: been on AMC Premiere. It's been encouraging. We're ahead of 411 00:24:08,720 --> 00:24:11,679 Speaker 1: our projections. We don't give numbers, as you probably know. Um, 412 00:24:12,080 --> 00:24:14,240 Speaker 1: but it's done well. I mean Walking Down has driven 413 00:24:14,240 --> 00:24:16,800 Speaker 1: a lot of it Discovery, of which is was remarkably 414 00:24:16,800 --> 00:24:19,720 Speaker 1: successful when it was the highest it was the most 415 00:24:19,720 --> 00:24:23,200 Speaker 1: successful show on Shadow and Sentance now and up there 416 00:24:23,320 --> 00:24:27,680 Speaker 1: with AMC Premiere. Um, it's doing well where we're encouraged, 417 00:24:27,760 --> 00:24:31,360 Speaker 1: you're encouraged to keep to keep it going. Yeah. Interesting. Um, 418 00:24:31,560 --> 00:24:35,200 Speaker 1: let me ask you, obviously, it's it starts in in 419 00:24:35,440 --> 00:24:39,280 Speaker 1: many cases ends with content. Right now, there's no shortage 420 00:24:39,280 --> 00:24:43,399 Speaker 1: of competition for you know, for talent, for stars. You 421 00:24:43,680 --> 00:24:46,840 Speaker 1: a BBC America. You had invested a lot in promoting 422 00:24:47,400 --> 00:24:51,960 Speaker 1: these incredible BBC Natural History documentaries. A couple of days 423 00:24:51,960 --> 00:24:53,840 Speaker 1: ago there was a headline BBC has done a deal 424 00:24:53,880 --> 00:24:57,479 Speaker 1: with Discovery. It's a cutthroat environment. How do you how 425 00:24:57,520 --> 00:25:00,720 Speaker 1: do you compete in a world where you've competing against 426 00:25:00,800 --> 00:25:04,639 Speaker 1: companies with you know, balance sheets bigger than some small 427 00:25:04,800 --> 00:25:08,359 Speaker 1: European countries. Yeah, I'll come back to the natural history thing. 428 00:25:08,400 --> 00:25:11,600 Speaker 1: It's interesting. Um, generally we compete in the way we've 429 00:25:11,600 --> 00:25:13,720 Speaker 1: always competed We've never been the biggest. If it was 430 00:25:13,800 --> 00:25:16,680 Speaker 1: all about giving orders and writing checks and everyone would 431 00:25:16,720 --> 00:25:19,720 Speaker 1: have killing Eve walking dead. But of course Aul and 432 00:25:19,760 --> 00:25:25,359 Speaker 1: they don't. We've always we've always competed by being savvy 433 00:25:25,400 --> 00:25:29,760 Speaker 1: and having an eye across the boarder spotting good scripts 434 00:25:29,760 --> 00:25:34,280 Speaker 1: and good talent. You know, it's mad Men, breaking bad 435 00:25:34,960 --> 00:25:38,400 Speaker 1: and killing Eve for all scripts that have been overlooked 436 00:25:38,400 --> 00:25:40,760 Speaker 1: by other people in other places. I think we're good 437 00:25:40,760 --> 00:25:42,879 Speaker 1: at that. I hope we continue to be good at that. 438 00:25:43,160 --> 00:25:46,359 Speaker 1: I think for a place where creative storytellers want to 439 00:25:46,400 --> 00:25:49,959 Speaker 1: come for us, it isn't about assembling a big, shiny 440 00:25:49,960 --> 00:25:54,080 Speaker 1: package of big names. Necessarily. It starts with a great 441 00:25:54,080 --> 00:26:00,200 Speaker 1: writer having a alarmingly fresh idea that they have to hell, 442 00:26:00,720 --> 00:26:06,360 Speaker 1: and then building around that, facilitating around that, staffing around that. Um. 443 00:26:06,400 --> 00:26:08,920 Speaker 1: That's you know. I've always run, as you know, she said, 444 00:26:10,440 --> 00:26:13,800 Speaker 1: pretty small scrapping networks on the BBC, Mierica certainly didn't. 445 00:26:13,800 --> 00:26:17,159 Speaker 1: Aren't the most deep pocketed networks in town. Um. But 446 00:26:17,240 --> 00:26:19,960 Speaker 1: I think it is always about to me, that's interesting. 447 00:26:20,000 --> 00:26:22,800 Speaker 1: It's always about finding where the talent is, you know, 448 00:26:22,920 --> 00:26:25,520 Speaker 1: trying to stay a little bit half a step ahead 449 00:26:25,960 --> 00:26:28,240 Speaker 1: of where you think the audience is where you think 450 00:26:28,280 --> 00:26:32,879 Speaker 1: the creative mood is going and then coming across great people. 451 00:26:33,240 --> 00:26:35,199 Speaker 1: I think we have the team with David and his 452 00:26:35,240 --> 00:26:37,840 Speaker 1: team to do that, to continue to do that. I 453 00:26:37,880 --> 00:26:42,040 Speaker 1: think a MC has always been at its best when 454 00:26:42,080 --> 00:26:46,000 Speaker 1: it's sort of veered left sharply, when it's subverted itself 455 00:26:46,000 --> 00:26:49,960 Speaker 1: and done something surprising. UM. So we're excited about the 456 00:26:50,000 --> 00:26:53,280 Speaker 1: next step to come back to the natural history thing. 457 00:26:54,040 --> 00:26:57,399 Speaker 1: It is competitive, and you know, it doesn't surprise me 458 00:26:57,800 --> 00:27:00,320 Speaker 1: that everyone wants to get their hands on these trought 459 00:27:00,520 --> 00:27:04,639 Speaker 1: BBC Studios productions because they are transcendent and connect with 460 00:27:04,680 --> 00:27:07,479 Speaker 1: audiences that I think is actually quite deep and profound, 461 00:27:07,560 --> 00:27:11,439 Speaker 1: particularly a time of such division and separation. I think 462 00:27:11,480 --> 00:27:15,080 Speaker 1: there's something actually almost I'm going to use a big word, 463 00:27:15,119 --> 00:27:19,120 Speaker 1: but almost spiritual about how they pull people together. UM. 464 00:27:19,160 --> 00:27:22,760 Speaker 1: We continue to be the home for the biggest natural 465 00:27:22,760 --> 00:27:27,080 Speaker 1: history content in America. UM. These shows have always existed 466 00:27:27,080 --> 00:27:29,800 Speaker 1: on Nestpot platform. It was previously Netflix. Now they're going 467 00:27:29,840 --> 00:27:34,919 Speaker 1: to discover it. So I don't blame David Zaslav. I 468 00:27:35,359 --> 00:27:45,560 Speaker 1: utterly understand his desire and uh declamatory um enthusiasm around 469 00:27:45,600 --> 00:27:50,000 Speaker 1: how great these shows are I feel very confident that 470 00:27:50,119 --> 00:27:54,800 Speaker 1: BBC where continues to be the biggest US home for 471 00:27:55,080 --> 00:27:58,400 Speaker 1: natural history content in the United States and will continue 472 00:27:58,440 --> 00:28:00,600 Speaker 1: to WEI just completed a five year deal with BBC 473 00:28:00,680 --> 00:28:03,119 Speaker 1: Studios a few months ago to be the home of 474 00:28:03,320 --> 00:28:06,800 Speaker 1: their biggest iconic tempole natural histy documentary shows that come 475 00:28:06,840 --> 00:28:10,600 Speaker 1: off of BBC one So Planet three will be on 476 00:28:10,640 --> 00:28:16,320 Speaker 1: BBC America, UM, Frozen Planet three or is It Too 477 00:28:16,760 --> 00:28:19,679 Speaker 1: Frozen Planet to UM, and a number of other of 478 00:28:19,720 --> 00:28:21,440 Speaker 1: these sort of iconic shows. So, and we have a 479 00:28:21,480 --> 00:28:23,560 Speaker 1: lot of ambition around what we intend to do with 480 00:28:23,600 --> 00:28:26,879 Speaker 1: them and how we invent. We intend to continue to 481 00:28:27,600 --> 00:28:30,439 Speaker 1: elevate all the natural history content. I actually think natural 482 00:28:30,440 --> 00:28:35,359 Speaker 1: history content is a very interesting UM. I think natural 483 00:28:35,400 --> 00:28:38,280 Speaker 1: history content plays actually very well in the linear environment. 484 00:28:38,480 --> 00:28:43,160 Speaker 1: I think there's sort of something wonderfully relevant with this 485 00:28:43,280 --> 00:28:46,680 Speaker 1: content about people being time bound in how they watch 486 00:28:46,760 --> 00:28:49,640 Speaker 1: it and watching it at the same time as other people, 487 00:28:49,720 --> 00:28:52,440 Speaker 1: because I do think this content is something like that 488 00:28:52,640 --> 00:28:56,240 Speaker 1: pulls people together and reminds us of our connectedness. We 489 00:28:56,400 --> 00:28:59,320 Speaker 1: used this this phrase for the last few tem poles 490 00:28:59,320 --> 00:29:02,160 Speaker 1: on bbcmor Echo, which was gathered together, and that does 491 00:29:02,240 --> 00:29:06,160 Speaker 1: feel like there's something Actually that is meaningful, um in 492 00:29:06,240 --> 00:29:09,360 Speaker 1: that offer that only linear TV can really do that 493 00:29:09,440 --> 00:29:11,280 Speaker 1: to come together at the same moment to watch this 494 00:29:11,360 --> 00:29:16,520 Speaker 1: sort of incredibly transcendent and connecting storytelling. And they could 495 00:29:16,520 --> 00:29:19,160 Speaker 1: not Planet Earth and Blue Planet could not come at 496 00:29:19,160 --> 00:29:22,600 Speaker 1: a at this moment when we're talking about climate change. 497 00:29:23,200 --> 00:29:25,520 Speaker 1: It could not come at a better moment to remind us, 498 00:29:25,760 --> 00:29:28,800 Speaker 1: you know, when whenever one of those great shows is on, 499 00:29:28,920 --> 00:29:31,040 Speaker 1: my friends have to listen to me, to my speech. 500 00:29:31,120 --> 00:29:34,160 Speaker 1: But this is what television can be. This is so 501 00:29:34,240 --> 00:29:37,000 Speaker 1: to your point. Absolutely, that's good to know. I think 502 00:29:37,040 --> 00:29:40,920 Speaker 1: the assumption reading that headline was well, those things are 503 00:29:40,920 --> 00:29:42,720 Speaker 1: going away, but it sounds like there's a there's a 504 00:29:42,800 --> 00:29:44,760 Speaker 1: there's a lot of rights to go to split and 505 00:29:44,800 --> 00:29:47,360 Speaker 1: go around for the for the natural history that are 506 00:29:47,480 --> 00:29:50,640 Speaker 1: we'll be making an announcement pretty shortly, which is very good. 507 00:29:50,760 --> 00:29:52,120 Speaker 1: That's good because I know that I know that you 508 00:29:52,120 --> 00:29:56,000 Speaker 1: guys have invested quite a bit in those um Uh, 509 00:29:56,080 --> 00:30:00,120 Speaker 1: let me ask you for you personally, coming in to 510 00:30:00,280 --> 00:30:02,800 Speaker 1: a role like this where you've had a big step 511 00:30:02,880 --> 00:30:06,320 Speaker 1: up in authority and responsibility, the number of people you know, 512 00:30:06,520 --> 00:30:09,440 Speaker 1: feeding into you, how has that been for you in 513 00:30:09,480 --> 00:30:13,120 Speaker 1: your career as you've stepped up to higher degrees of 514 00:30:13,640 --> 00:30:17,840 Speaker 1: management and seniority. Is management something that came easy to 515 00:30:17,880 --> 00:30:19,720 Speaker 1: you or was it something that it took you some 516 00:30:19,840 --> 00:30:22,200 Speaker 1: time to learn how to how to lead a group 517 00:30:22,200 --> 00:30:29,560 Speaker 1: of people. UM. I think as the oldest girl in 518 00:30:29,600 --> 00:30:33,640 Speaker 1: a family of six children, I probably have an overresponsibility 519 00:30:33,680 --> 00:30:36,800 Speaker 1: take up. But I don't think that necessarily equals a 520 00:30:36,840 --> 00:30:39,600 Speaker 1: good manager. I think it means I rush into fill 521 00:30:39,640 --> 00:30:42,680 Speaker 1: avoid but I had a lot to learn. I don't 522 00:30:42,680 --> 00:30:44,800 Speaker 1: know that there are many naturally good managers in life, 523 00:30:44,840 --> 00:30:47,920 Speaker 1: maybe a few sort of incredibly evolved humans. I'm certainly 524 00:30:47,960 --> 00:30:50,840 Speaker 1: not one of them. The biggest sort of step for 525 00:30:50,920 --> 00:30:55,440 Speaker 1: me in terms of my leadership learning was when I 526 00:30:55,520 --> 00:30:58,280 Speaker 1: first became GM of Sundance Channel as it was then called. 527 00:30:58,360 --> 00:31:01,240 Speaker 1: And I previously run to apartments, but I hadn't run 528 00:31:01,240 --> 00:31:04,040 Speaker 1: a team, and I hadn't I hadn't been in that 529 00:31:04,080 --> 00:31:08,360 Speaker 1: position of leadership in a way where the expectations become 530 00:31:08,440 --> 00:31:12,280 Speaker 1: so exponentially higher on you, not just in terms of 531 00:31:12,320 --> 00:31:15,280 Speaker 1: fulfilling the job and the specifics of the job technically, 532 00:31:15,680 --> 00:31:18,880 Speaker 1: but in terms of what people expect you to carry 533 00:31:18,920 --> 00:31:22,120 Speaker 1: for them, um, and what people project onto you and 534 00:31:22,160 --> 00:31:25,680 Speaker 1: what people's needs are around that. UM. And I've always 535 00:31:25,680 --> 00:31:29,560 Speaker 1: taken over leadership roles, both Sundance and then BBC America 536 00:31:29,600 --> 00:31:33,360 Speaker 1: and now this role. I've always stepped into jobs. There's 537 00:31:33,400 --> 00:31:35,720 Speaker 1: not just taking over the job from somebody else, but 538 00:31:35,760 --> 00:31:38,640 Speaker 1: actually taking over at a point of massive disruption. So 539 00:31:38,720 --> 00:31:40,680 Speaker 1: I took over Sundance when it had just been brought 540 00:31:40,720 --> 00:31:43,800 Speaker 1: by AMC Networks, big big shift. You know, we weren't 541 00:31:43,840 --> 00:31:47,360 Speaker 1: rated prior to that. It was a very very different time. UM. 542 00:31:47,400 --> 00:31:50,080 Speaker 1: I took over a BBC America when it's equally half 543 00:31:50,120 --> 00:31:52,240 Speaker 1: of it was bought by BBC America and it was 544 00:31:52,280 --> 00:31:55,680 Speaker 1: taken into BBC into ANC Networks operational control. So again 545 00:31:55,760 --> 00:31:58,360 Speaker 1: big big cultural shift. Team that have been used to 546 00:31:58,400 --> 00:32:02,000 Speaker 1: working there's a sort of satellite into London, UM, suddenly 547 00:32:02,000 --> 00:32:04,320 Speaker 1: in this sort of different corporate structure. And now I'm 548 00:32:04,320 --> 00:32:06,120 Speaker 1: moving into this role at the time where it's not 549 00:32:06,160 --> 00:32:08,920 Speaker 1: just taking over Charlie Collier's role, but a sort of 550 00:32:08,960 --> 00:32:13,680 Speaker 1: differently configured job. Very much so yeah, really so. So 551 00:32:13,760 --> 00:32:17,840 Speaker 1: I've grown some I've gown some muscles in the area 552 00:32:17,920 --> 00:32:21,120 Speaker 1: of change management. But it's you know, I guess one 553 00:32:21,160 --> 00:32:23,240 Speaker 1: of the things that I've come to believe so strongly. 554 00:32:23,560 --> 00:32:25,400 Speaker 1: Sort of feels intuitive, but I kind of had to 555 00:32:25,480 --> 00:32:29,680 Speaker 1: learn it was is how important tum is, how important 556 00:32:30,200 --> 00:32:34,760 Speaker 1: having not just great people but the right configuration of 557 00:32:34,840 --> 00:32:38,400 Speaker 1: people around you is, and how important it is to 558 00:32:38,480 --> 00:32:43,080 Speaker 1: sort of build that see that shape, that structure that. 559 00:32:43,680 --> 00:32:47,800 Speaker 1: So I've inherited and brought with me in this role 560 00:32:48,200 --> 00:32:51,280 Speaker 1: some incredible people. So I feel very very lucky in 561 00:32:51,320 --> 00:32:56,640 Speaker 1: that sense, um, you know, And I think that the 562 00:32:56,640 --> 00:32:58,960 Speaker 1: the thing that I'm sort of figuring out in this 563 00:32:59,120 --> 00:33:02,760 Speaker 1: role from a leadership management point of view is I 564 00:33:02,840 --> 00:33:05,640 Speaker 1: sort of got used to running a network, running for 565 00:33:05,840 --> 00:33:10,600 Speaker 1: networks and am supremieer. I can't do it in the 566 00:33:10,640 --> 00:33:12,880 Speaker 1: way I did it before, so I sort of have 567 00:33:12,960 --> 00:33:15,440 Speaker 1: to understand what to let go of, what those things 568 00:33:15,440 --> 00:33:17,680 Speaker 1: that matter are, and how to sort of be in 569 00:33:17,720 --> 00:33:19,360 Speaker 1: touch with the leavers that I have to be in 570 00:33:19,400 --> 00:33:21,160 Speaker 1: touch with, and to let go of some other things. 571 00:33:21,200 --> 00:33:23,280 Speaker 1: So it's a process. I would say, I'm still in it. 572 00:33:23,440 --> 00:33:28,640 Speaker 1: I'm enjoying trying to figure out what that is, UM, 573 00:33:28,640 --> 00:33:32,680 Speaker 1: but it's you know, and everything's going so far there's 574 00:33:32,680 --> 00:33:37,320 Speaker 1: no good to touch well UM, partly because the team 575 00:33:37,520 --> 00:33:41,480 Speaker 1: is has been quite seamless. Um. But yeah, I would 576 00:33:41,480 --> 00:33:43,640 Speaker 1: say I'm still trying to figure out exactly where to 577 00:33:43,720 --> 00:33:45,800 Speaker 1: be where I don't have to be a lot of 578 00:33:45,840 --> 00:33:47,520 Speaker 1: time in l A a lot of time there with 579 00:33:47,600 --> 00:33:52,080 Speaker 1: David and his team. Um, less time in London. But 580 00:33:52,480 --> 00:33:56,440 Speaker 1: it's yeah, it's you know, and then there's sort of 581 00:33:56,880 --> 00:34:00,480 Speaker 1: some some sort of like reassurings to let's at the 582 00:34:00,480 --> 00:34:02,320 Speaker 1: top of the SEE network. So we had Carol who's 583 00:34:02,320 --> 00:34:05,120 Speaker 1: been my boss for the past gosh ten years or more. 584 00:34:05,760 --> 00:34:08,520 Speaker 1: It's still my boss, you know. Josh Sapan, who's been 585 00:34:08,560 --> 00:34:11,319 Speaker 1: the CEO for many years, is still there, and we're 586 00:34:11,320 --> 00:34:15,160 Speaker 1: all sort of in it together, wrestling with what it 587 00:34:15,239 --> 00:34:20,280 Speaker 1: is to keep shape shifting in response to the big 588 00:34:20,360 --> 00:34:25,000 Speaker 1: changes in our business. Um, I couldn't be in it 589 00:34:25,000 --> 00:34:27,880 Speaker 1: with better people, couldn't imagine being in it with better people. 590 00:34:27,960 --> 00:34:30,720 Speaker 1: I think there's a nimbleness that comes from our size. 591 00:34:30,880 --> 00:34:34,040 Speaker 1: I think there's a great spirit in our company. Um. 592 00:34:34,120 --> 00:34:37,160 Speaker 1: So yeah, we're all up for the challenge. Tell me 593 00:34:37,280 --> 00:34:39,920 Speaker 1: of all the things you know you've got juggling a 594 00:34:39,920 --> 00:34:42,920 Speaker 1: lot of networks, any any one or two things, anything 595 00:34:42,960 --> 00:34:45,200 Speaker 1: that you're really excited about programming with. So by the 596 00:34:45,239 --> 00:34:47,400 Speaker 1: time it's as Brot Meyer as I'm speaking to you 597 00:34:47,480 --> 00:34:50,840 Speaker 1: is launching tonight. Super excited about that. It's season three. 598 00:34:52,239 --> 00:34:56,080 Speaker 1: Hankers Areas is an absolute passion project is to see 599 00:34:56,080 --> 00:34:58,960 Speaker 1: it when he's on screen. So I think someone said 600 00:34:58,960 --> 00:35:00,680 Speaker 1: maybe it's a character in the show. I can't remember. 601 00:35:00,719 --> 00:35:04,480 Speaker 1: Maybe it was a reviewer. He goes from drunk asshole 602 00:35:04,560 --> 00:35:08,239 Speaker 1: to sober asshole. UM, and it's just, you know, it's 603 00:35:08,280 --> 00:35:12,200 Speaker 1: just amazing, it's fantastic. It's like nothing out it's perfection. UM. 604 00:35:12,360 --> 00:35:14,760 Speaker 1: Super excited about killing even Discovery, which is of course, 605 00:35:15,239 --> 00:35:18,040 Speaker 1: and I'm really excited about The Terror season two, which 606 00:35:18,080 --> 00:35:21,279 Speaker 1: is coming back later this year. It's UM. It's sort 607 00:35:21,280 --> 00:35:26,680 Speaker 1: of an extraordinary um contained horror series that is based 608 00:35:27,400 --> 00:35:31,160 Speaker 1: starts right around the time of Pearl Harbor UM, so 609 00:35:31,200 --> 00:35:36,839 Speaker 1: it incorporates and it's a community of Japanese people, so 610 00:35:36,880 --> 00:35:40,239 Speaker 1: it's sort of immediately sent to internment camps. And then 611 00:35:40,280 --> 00:35:42,520 Speaker 1: it also, you know, it's a horror series, so there's 612 00:35:42,560 --> 00:35:45,719 Speaker 1: also a j horror, Japanese horror theme that spreads through it. 613 00:35:45,719 --> 00:35:48,840 Speaker 1: It's beautiful, It's unlike anything else I've ever seen. It 614 00:35:48,880 --> 00:35:52,759 Speaker 1: has an incredibly sure hand. Really excited also about a 615 00:35:52,760 --> 00:35:56,120 Speaker 1: show called nos Ferato, which is from Joe Hill, Stephen 616 00:35:56,200 --> 00:35:59,360 Speaker 1: King's son, So a good pedigree there. It's horror stars 617 00:35:59,440 --> 00:36:02,320 Speaker 1: an amazing young woman, UM called Ashley Cummings, who is 618 00:36:02,360 --> 00:36:05,000 Speaker 1: a fantastic protagonist. She's sort of there's something very you 619 00:36:05,000 --> 00:36:07,040 Speaker 1: want to protect her, but she's sort of a fighter. 620 00:36:07,800 --> 00:36:11,239 Speaker 1: Like all guit horror, its grounded in your psychological truth. Um. 621 00:36:11,320 --> 00:36:14,200 Speaker 1: Zachary Quinto plays is sort of creepy. You know what's 622 00:36:14,200 --> 00:36:17,759 Speaker 1: creepier than Christmas time? He sort of perverts Christmas in 623 00:36:17,800 --> 00:36:20,840 Speaker 1: this fascinating way. Um. So there's a lot coming up 624 00:36:20,840 --> 00:36:22,600 Speaker 1: on the network. So I'm really excited about State of 625 00:36:22,640 --> 00:36:25,640 Speaker 1: the Union. Sundance is an innovation in form. It's written 626 00:36:25,680 --> 00:36:29,040 Speaker 1: by Nick Hornby. It's directed by Stephen Frears, has Chris 627 00:36:29,040 --> 00:36:31,600 Speaker 1: O'Dowd and Rosamond Pipe. I've just in a few episodes 628 00:36:31,640 --> 00:36:35,120 Speaker 1: stuffed one of talent. What did you think it sounds silly? 629 00:36:35,160 --> 00:36:38,160 Speaker 1: I loved it. They were ten minutes. It was actually 630 00:36:38,560 --> 00:36:40,719 Speaker 1: very you know, as anybody will say, you know, and 631 00:36:40,880 --> 00:36:43,600 Speaker 1: writing short is harder than writing along, So I was. 632 00:36:43,920 --> 00:36:47,200 Speaker 1: I was incredibly impressed at the you know, the economy 633 00:36:47,280 --> 00:36:50,680 Speaker 1: and just how well they were presented and how much 634 00:36:50,760 --> 00:36:53,040 Speaker 1: you got into the characters in such a short time. 635 00:36:53,080 --> 00:36:54,960 Speaker 1: It was very eye opening, you know, because we're so 636 00:36:55,160 --> 00:36:57,920 Speaker 1: used to you know, fifty minutes or you know, twenty 637 00:36:57,920 --> 00:37:00,000 Speaker 1: two minutes. But it was very interesting. And of course 638 00:37:00,280 --> 00:37:03,200 Speaker 1: Rosamund Pike and Crystal Dowba that you was casts so well, 639 00:37:03,280 --> 00:37:06,480 Speaker 1: so perfectly. It's very interesting. McCom is pretty smart. He's 640 00:37:06,600 --> 00:37:09,080 Speaker 1: genius at writing men and women. He is genius, and 641 00:37:09,120 --> 00:37:11,960 Speaker 1: he understands relationships in such a smart way. I think 642 00:37:11,960 --> 00:37:14,759 Speaker 1: he's incredible. Um, and I think that it is the 643 00:37:14,840 --> 00:37:18,360 Speaker 1: perfect conceit to fit the form, because you know, it 644 00:37:18,480 --> 00:37:20,239 Speaker 1: is hard, as you say, but to come up with 645 00:37:20,280 --> 00:37:24,960 Speaker 1: this idea of ten minutes prior to a couple's therapy 646 00:37:25,000 --> 00:37:28,120 Speaker 1: session in a pub is just brilliant because each week 647 00:37:28,160 --> 00:37:30,280 Speaker 1: you've had a week that's gone by, you have material 648 00:37:30,320 --> 00:37:32,160 Speaker 1: for them to talk about, you have the anxiety of 649 00:37:32,640 --> 00:37:36,399 Speaker 1: than then going into this therapist's office. Um, it's sort 650 00:37:36,400 --> 00:37:38,799 Speaker 1: of perfect. It's brilliant. So we're gonna launch that in 651 00:37:38,880 --> 00:37:43,640 Speaker 1: May on Sundance TV. So that's super exciting to be 652 00:37:43,680 --> 00:37:47,640 Speaker 1: experimenting with form there and doing something quite innovative. Um. 653 00:37:47,680 --> 00:37:49,239 Speaker 1: And then we have some stuff in development I'm really 654 00:37:49,239 --> 00:37:51,399 Speaker 1: excited about as well, something called sixty one three, which 655 00:37:51,440 --> 00:37:56,520 Speaker 1: is from UM Peter Moffatt. It's we partnered them with 656 00:37:56,560 --> 00:38:00,759 Speaker 1: Michael B. Jordan's outlier company and it's sort takes on 657 00:38:00,880 --> 00:38:05,040 Speaker 1: the audacious, ambitious topic of race in America. UM. It's 658 00:38:05,080 --> 00:38:10,640 Speaker 1: incredibly moving, it's propulsive. UM that's in development. And then 659 00:38:11,280 --> 00:38:14,560 Speaker 1: a show called I'm not sure if your podcast will 660 00:38:14,600 --> 00:38:16,600 Speaker 1: have to bleep this, but it's called Kevin Can Fuck 661 00:38:16,680 --> 00:38:19,960 Speaker 1: Himself working title from a Sheeta Jones, and it's a 662 00:38:20,040 --> 00:38:23,239 Speaker 1: sort of it's a where it's a it's a really 663 00:38:23,239 --> 00:38:26,520 Speaker 1: cool show that it starts and it looks like a 664 00:38:26,560 --> 00:38:30,800 Speaker 1: sort of multicam sort of traditional comedy. Then it's a 665 00:38:30,840 --> 00:38:34,160 Speaker 1: sort of obnoxious husband and the long suffering eye rolling 666 00:38:34,239 --> 00:38:37,160 Speaker 1: wife and there's a bit of banter. She leaves the 667 00:38:37,239 --> 00:38:42,640 Speaker 1: room cut too, single camera follows her. She is miserable 668 00:38:42,640 --> 00:38:47,560 Speaker 1: and planning to kill that slob of a house bold. 669 00:38:47,840 --> 00:38:50,960 Speaker 1: So it mixes a sort of comedy. So it's quite 670 00:38:51,000 --> 00:38:52,719 Speaker 1: sort of matter, I guess, and how it's sort of 671 00:38:53,160 --> 00:38:57,200 Speaker 1: how you see something, the perspective of something. But it's 672 00:38:57,280 --> 00:39:02,760 Speaker 1: funny and it's sort of picker usk and it's um 673 00:39:02,800 --> 00:39:06,880 Speaker 1: really ambitious UM, and I think could be quite cool. 674 00:39:07,080 --> 00:39:08,480 Speaker 1: So there are a few things in development that I'm 675 00:39:08,480 --> 00:39:10,719 Speaker 1: really excited about. I can see it, I can hear it. 676 00:39:10,960 --> 00:39:13,160 Speaker 1: That's wonderful. Thank you, Sarah. Thank you so much for 677 00:39:13,200 --> 00:39:16,120 Speaker 1: stopping and to talk with us about some pretty weighty issues. 678 00:39:16,160 --> 00:39:17,839 Speaker 1: I really appreciate it and good luck to you. Thank 679 00:39:17,880 --> 00:39:22,839 Speaker 1: you Sin this great chat. Thanks for listening. Be sure 680 00:39:22,880 --> 00:39:25,800 Speaker 1: to tune in next week for another episode of Strictly Business.