1
00:00:00,040 --> 00:00:04,519
Speaker 1: Good morning, Welcome Joselyn Sessions today and Ali Great Privilege,

2
00:00:04,720 --> 00:00:06,160
Speaker 1: Great honor, twenty old year.

3
00:00:14,320 --> 00:00:17,799
Speaker 2: Welcome to another episode of Strictly Business, the podcast in

4
00:00:17,800 --> 00:00:20,239
Speaker 2: which we speak with some of the brightest minds working

5
00:00:20,280 --> 00:00:24,520
Speaker 2: in the media business today. I'm Andrew Wallenstein, Chief Media

6
00:00:24,560 --> 00:00:28,920
Speaker 2: Analysts that Illuminate Intelligence, and a variety contributor. Pack your

7
00:00:28,960 --> 00:00:32,120
Speaker 2: passport for this week's episode, I'm taking you on the

8
00:00:32,200 --> 00:00:34,519
Speaker 2: road with me to revisit a trip I made in

9
00:00:34,560 --> 00:00:40,120
Speaker 2: December to Israel. The destination was Jerusalem Sessions, a new

10
00:00:40,200 --> 00:00:44,880
Speaker 2: festival launched to support the country's local entertainment industry. Now

11
00:00:45,280 --> 00:00:48,520
Speaker 2: that might seem a concern worlds away from the conflict

12
00:00:48,560 --> 00:00:52,040
Speaker 2: that has ravaged this region in recent years, But as

13
00:00:52,080 --> 00:00:54,560
Speaker 2: I learned in my week in Israel, there isn't a

14
00:00:54,600 --> 00:00:57,720
Speaker 2: lot that escapes the massive shadow that has darkened this

15
00:00:57,880 --> 00:01:02,880
Speaker 2: region since October seven three. Which isn't to say, as

16
00:01:02,920 --> 00:01:06,440
Speaker 2: I learned at Jerusalem Sessions, that there's any one simple

17
00:01:06,560 --> 00:01:10,920
Speaker 2: reason a once thriving film and TV business there is

18
00:01:10,959 --> 00:01:15,480
Speaker 2: looking to regain its footing. Think of Jerusalem Sessions in

19
00:01:15,600 --> 00:01:19,080
Speaker 2: two different ways. The first is as a festival held

20
00:01:19,120 --> 00:01:23,000
Speaker 2: at the capital city's beautiful National Library, where the public

21
00:01:23,040 --> 00:01:25,360
Speaker 2: got to see and hear from a mix of industry

22
00:01:25,440 --> 00:01:31,120
Speaker 2: luminaries from around the globe. Jerusalem Media Initiative Director Aal

23
00:01:31,319 --> 00:01:35,360
Speaker 2: Benbinisti welcomed the crowd and shared his mission statement for

24
00:01:35,560 --> 00:01:36,880
Speaker 2: Jerusalem Sessions.

25
00:01:37,120 --> 00:01:41,560
Speaker 1: This is the very very first edition of Jerusalem Sessions

26
00:01:41,640 --> 00:01:45,800
Speaker 1: and the beginning of what will become the annual festival

27
00:01:46,240 --> 00:01:52,600
Speaker 1: for scripted content here in our city. Standing here this

28
00:01:52,680 --> 00:01:56,680
Speaker 1: morning is a powerful moment. Jerusalem has never hosted anything

29
00:01:56,880 --> 00:02:01,800
Speaker 1: like this, a full industry level conference dead entirely to

30
00:02:02,320 --> 00:02:07,120
Speaker 1: scripted content, placing this city in the same conversation as CONN,

31
00:02:07,560 --> 00:02:11,600
Speaker 1: lil London and other creative capitals around the world.

32
00:02:11,840 --> 00:02:14,720
Speaker 2: But the other part of Jerusalem Sessions took place behind

33
00:02:14,800 --> 00:02:18,760
Speaker 2: closed doors, away from the festival stage. I was one

34
00:02:18,800 --> 00:02:22,880
Speaker 2: of a delegation of Hollywood professionals brought together from the

35
00:02:23,000 --> 00:02:27,720
Speaker 2: US and Europe to join another delegation, a mix of producers, writers,

36
00:02:27,800 --> 00:02:33,640
Speaker 2: agents who called Israel home think of them as Hollywood. Together,

37
00:02:33,880 --> 00:02:38,040
Speaker 2: these delegations networked, exchanged ideas, and took part in panel

38
00:02:38,120 --> 00:02:43,080
Speaker 2: discussions on the issues impacting global showbiz. Among the featured

39
00:02:43,080 --> 00:02:45,680
Speaker 2: guests who took part in the discussions and the festival

40
00:02:46,120 --> 00:02:49,480
Speaker 2: were Matthew Weiner and Joel Fields, creators of two of

41
00:02:49,480 --> 00:02:53,239
Speaker 2: the most critically acclaimed American TV series of recent decades

42
00:02:53,280 --> 00:02:57,680
Speaker 2: with Madmen and The Americans, respectively. Also in attendance were

43
00:02:57,760 --> 00:03:03,400
Speaker 2: veteran studio executives like Uzen Rovner and Nina Leiderman. And yes,

44
00:03:03,680 --> 00:03:07,959
Speaker 2: all participants happened to be Jewish, though Jerusalem Sessions did

45
00:03:08,000 --> 00:03:13,120
Speaker 2: invite non Jews, including Palestinians, to participate. Now, I'll stop

46
00:03:13,160 --> 00:03:15,600
Speaker 2: here to acknowledge what some of you might be thinking

47
00:03:15,639 --> 00:03:19,480
Speaker 2: hearing that a cabal of the most powerful Jewish executives

48
00:03:19,520 --> 00:03:23,320
Speaker 2: assembling in Israel to discuss the entertainment business. I know,

49
00:03:23,520 --> 00:03:26,720
Speaker 2: sounds like one of the worst anti Semitic stereotypes comes

50
00:03:26,720 --> 00:03:30,080
Speaker 2: to life. But as someone who is in the room,

51
00:03:30,160 --> 00:03:33,440
Speaker 2: I could testify it really was nothing like that. First

52
00:03:33,440 --> 00:03:36,440
Speaker 2: of all, while the delegates had impressive credentials all the

53
00:03:36,440 --> 00:03:41,240
Speaker 2: way around, this wasn't a mogul level assemblage. And second,

54
00:03:41,320 --> 00:03:44,320
Speaker 2: I would say the conversations weren't so much about controlling

55
00:03:44,400 --> 00:03:47,880
Speaker 2: the media as they were commiserating about the current state

56
00:03:48,040 --> 00:03:51,360
Speaker 2: of the business. It won't surprise you to learn that

57
00:03:51,480 --> 00:03:55,480
Speaker 2: topic a at Jerusalem Sessions was the perceived backlash Israel's

58
00:03:55,480 --> 00:03:58,720
Speaker 2: actions in Gaza since October seventh have had on the

59
00:03:58,760 --> 00:04:02,600
Speaker 2: industry here. That's the result of its tsunami of outrage

60
00:04:02,760 --> 00:04:05,840
Speaker 2: pouring out all over the world due to the losses

61
00:04:05,880 --> 00:04:10,560
Speaker 2: of tens of thousands of Palestinian lives, many of them women, children,

62
00:04:10,640 --> 00:04:13,680
Speaker 2: and non combatants. And some of the most vocal of

63
00:04:13,720 --> 00:04:17,040
Speaker 2: the critics are here in Hollywood, which has always championed

64
00:04:17,080 --> 00:04:21,000
Speaker 2: the rights of the oppressed, among other liberal causes. Perhaps

65
00:04:21,000 --> 00:04:24,200
Speaker 2: the most alarming sign of this criticism came last September,

66
00:04:24,279 --> 00:04:28,440
Speaker 2: when thousands of very prominent Hollywood names signed a petition

67
00:04:28,880 --> 00:04:31,520
Speaker 2: calling for a boycott on working with members of the

68
00:04:31,600 --> 00:04:36,080
Speaker 2: Israeli entertainment industry. It was the most concrete example of

69
00:04:36,120 --> 00:04:40,760
Speaker 2: what many in Hollywood were already sensing. Anything remotely Israeli

70
00:04:40,880 --> 00:04:45,120
Speaker 2: or even Jewish was becoming taboo, too radioactive to risk

71
00:04:45,200 --> 00:04:49,559
Speaker 2: any kind of association with. For instance, just days before

72
00:04:49,640 --> 00:04:54,719
Speaker 2: Jerusalem Sessions began, Eurovision was generating headlines as five different

73
00:04:54,800 --> 00:04:59,000
Speaker 2: countries pledged to boycott the world famous singing contest if

74
00:04:59,080 --> 00:05:03,160
Speaker 2: Israel wasn't bet and from participating. Everyone at the conference

75
00:05:03,200 --> 00:05:06,520
Speaker 2: had their own horror stories to share as well, mostly

76
00:05:06,560 --> 00:05:08,680
Speaker 2: in the form of projects they couldn't get off the

77
00:05:08,680 --> 00:05:14,080
Speaker 2: ground or had stalled mysteriously midway. But the event also

78
00:05:14,120 --> 00:05:16,520
Speaker 2: served as a bit of a rally for Jewish industry

79
00:05:16,560 --> 00:05:19,599
Speaker 2: professionals feeling like they've been on their back foot for

80
00:05:19,640 --> 00:05:24,080
Speaker 2: the past few years. Danny Cohen, a British veteran executive

81
00:05:24,120 --> 00:05:27,560
Speaker 2: of the BBC who now oversees the investments the Mogul

82
00:05:27,640 --> 00:05:32,279
Speaker 2: len Blovotnik maintains across his many media assets, offered a

83
00:05:32,360 --> 00:05:35,520
Speaker 2: stirring pep talk that put the modern day Jewish struggle

84
00:05:35,600 --> 00:05:37,440
Speaker 2: in a historical context.

85
00:05:37,920 --> 00:05:41,400
Speaker 3: Why we are sitting here as Jewish people, There's a

86
00:05:41,480 --> 00:05:45,880
Speaker 3: number of reasons. There's our courage, there's our resilience. There's

87
00:05:45,880 --> 00:05:50,440
Speaker 3: our creativity, there's our hard work. There's our culture of

88
00:05:50,600 --> 00:05:55,680
Speaker 3: family and education. There's our determination, there's our intelligence. And

89
00:05:55,880 --> 00:05:59,760
Speaker 3: we've got through thousands of years and we've got a

90
00:06:00,160 --> 00:06:04,200
Speaker 3: keep showing it. You know, the people who are ancestors,

91
00:06:04,279 --> 00:06:06,520
Speaker 3: some of our grandparents, are great comerents. They had it

92
00:06:06,560 --> 00:06:08,960
Speaker 3: a lot tougher than we've got it. This situation is

93
00:06:09,040 --> 00:06:12,160
Speaker 3: really bad, but they had it a lot lot tougher,

94
00:06:12,440 --> 00:06:14,880
Speaker 3: and they got through it and we're all here today,

95
00:06:15,680 --> 00:06:17,440
Speaker 3: and I think we have to show the same fight.

96
00:06:18,080 --> 00:06:21,000
Speaker 3: I think we have to show the same resilience. I

97
00:06:21,000 --> 00:06:23,920
Speaker 3: think we have to accept that this fight is quite nasty.

98
00:06:24,680 --> 00:06:27,760
Speaker 3: It's going to be attritional, it's not going to be easy.

99
00:06:28,240 --> 00:06:31,080
Speaker 3: We're going to have setbacks. But for me, the way

100
00:06:31,120 --> 00:06:33,960
Speaker 3: I see it is, we have to fight like Jewish

101
00:06:34,000 --> 00:06:37,479
Speaker 3: people before us have fought, and we'll use those skills

102
00:06:37,480 --> 00:06:39,920
Speaker 3: and those characteristics and will fight our way through it

103
00:06:40,040 --> 00:06:42,719
Speaker 3: and we'll get to better days. And for me, that's

104
00:06:42,760 --> 00:06:44,400
Speaker 3: how we should all think about it, even at the

105
00:06:44,400 --> 00:06:45,880
Speaker 3: moments where it fills the darkest.

106
00:06:46,120 --> 00:06:49,920
Speaker 2: The sense of struggle was also shared by the American delegations.

107
00:06:50,040 --> 00:06:53,760
Speaker 2: Is rarely counterparts who describe the chilling effect being felt

108
00:06:53,760 --> 00:06:57,719
Speaker 2: in the marketplace of an important industry export local TV

109
00:06:57,839 --> 00:07:02,440
Speaker 2: shows into other global territories. The Israeli TV industry has

110
00:07:02,480 --> 00:07:05,560
Speaker 2: always prided itself for punching far above its weight and

111
00:07:05,640 --> 00:07:09,480
Speaker 2: its ability to sell shows beyond its borders. First, there

112
00:07:09,560 --> 00:07:13,120
Speaker 2: was successful success in formats adapted to other languages in

113
00:07:13,160 --> 00:07:17,600
Speaker 2: other countries, like the HBO series In Treatment or Showtime's

114
00:07:17,640 --> 00:07:22,480
Speaker 2: Homeland and Your Honor. More recently, Israel demonstrated its ability

115
00:07:22,520 --> 00:07:26,640
Speaker 2: to capitalize on the increasingly global market for content opened

116
00:07:26,720 --> 00:07:30,800
Speaker 2: up by the explosion of streaming services. TV shows like

117
00:07:30,880 --> 00:07:34,440
Speaker 2: Fauda and Stissel that were never intended to play outside

118
00:07:34,480 --> 00:07:37,920
Speaker 2: of a Hebrew speaking market found second and third lives

119
00:07:37,920 --> 00:07:42,640
Speaker 2: in other countries in subtitled versions. But the Israeli say

120
00:07:42,680 --> 00:07:45,160
Speaker 2: this business is not as strong as it used to be.

121
00:07:45,800 --> 00:07:49,600
Speaker 2: Productions with an Israeli providence are feeling the pain, regardless

122
00:07:49,640 --> 00:07:53,440
Speaker 2: of whether the content is remotely controversial or even pertinent

123
00:07:53,480 --> 00:07:58,040
Speaker 2: to the war. Plus there are other challenges. The Israeli

124
00:07:58,120 --> 00:08:00,800
Speaker 2: industry may not have any bigger problem than the one

125
00:08:00,880 --> 00:08:05,360
Speaker 2: its own government poses. In a dynamic not unlike the

126
00:08:05,360 --> 00:08:08,880
Speaker 2: hostility between the current White House and American public media

127
00:08:09,120 --> 00:08:14,440
Speaker 2: orgs like PBS and NPR, the Israeli broadcaster Khan faces

128
00:08:14,480 --> 00:08:17,520
Speaker 2: an existential thread of its own under fire from the

129
00:08:17,600 --> 00:08:22,680
Speaker 2: Netanyahu administration, and the Israeli film world is no less belieagued,

130
00:08:23,120 --> 00:08:26,960
Speaker 2: with the government threatening to withdraw crucial funding sources when

131
00:08:27,000 --> 00:08:30,960
Speaker 2: movies that dare to stray from the party line are recognized,

132
00:08:31,560 --> 00:08:36,080
Speaker 2: and festivals that once embraced israel films are closing their ranks.

133
00:08:36,280 --> 00:08:41,200
Speaker 2: While making a concerted effort to court Palestinian voices, all

134
00:08:41,240 --> 00:08:45,160
Speaker 2: of which makes for this cruel irony. What stings the

135
00:08:45,160 --> 00:08:48,520
Speaker 2: most about the boycott is that it's essentially lumping together

136
00:08:48,800 --> 00:08:53,000
Speaker 2: Israeli filmmakers with the Israeli government, when those two factions

137
00:08:53,040 --> 00:08:58,600
Speaker 2: are hardly bedfellows. Most of the most pointed criticism the

138
00:08:58,640 --> 00:09:02,360
Speaker 2: government has faced comes from local programming, and yet that

139
00:09:02,440 --> 00:09:06,880
Speaker 2: apparently doesn't provide enough daylight between Hollywood and the Natanyahu

140
00:09:06,960 --> 00:09:10,320
Speaker 2: administration to avoid being targeted as if they're one and

141
00:09:10,360 --> 00:09:14,080
Speaker 2: the same. Towards the end of the year, Israeli Culture

142
00:09:14,120 --> 00:09:17,040
Speaker 2: Minister Miki Zohar went as far as to threaten to

143
00:09:17,080 --> 00:09:20,520
Speaker 2: cancel any in all public funding for films because he

144
00:09:20,600 --> 00:09:24,920
Speaker 2: perceived that the local entertainment industry was boycotting his effort

145
00:09:25,000 --> 00:09:27,800
Speaker 2: to create a new award show to serve as an

146
00:09:27,800 --> 00:09:32,600
Speaker 2: alternative to Israel's established equivalent for the Oscars, the OFI Awards,

147
00:09:33,280 --> 00:09:36,079
Speaker 2: and what was wrong with the Firs in the government eyes.

148
00:09:37,040 --> 00:09:39,400
Speaker 2: They awarded their top prize this year to a film

149
00:09:39,440 --> 00:09:44,280
Speaker 2: that dared to dramatize the oppression confronting a fictional Palestinian

150
00:09:44,520 --> 00:09:49,800
Speaker 2: protagonist child. It's worth noting how utterly dependent the Israeli

151
00:09:49,800 --> 00:09:53,240
Speaker 2: filmed industry is on the country's government in the first place.

152
00:09:53,960 --> 00:09:57,120
Speaker 2: As in Europe, just about every entertainment venture depends on

153
00:09:57,200 --> 00:10:00,400
Speaker 2: taxpayer dollars, to the point where it's pretty different to

154
00:10:00,440 --> 00:10:05,080
Speaker 2: sustain Hebrew language content without it. Even the Jerusalem Sessions

155
00:10:05,120 --> 00:10:10,280
Speaker 2: event in and of itself receives government allocated funds. But

156
00:10:10,679 --> 00:10:14,120
Speaker 2: another recurring theme of Jerusalem Sessions was that there was

157
00:10:14,160 --> 00:10:18,680
Speaker 2: something else weighing down the local industry's ability to export

158
00:10:18,720 --> 00:10:21,640
Speaker 2: TV shows that had nothing to do with the actions

159
00:10:21,679 --> 00:10:25,720
Speaker 2: of its government. What became clear from multiple expert industry

160
00:10:25,760 --> 00:10:29,440
Speaker 2: observers on hand was that the streaming market has undergone

161
00:10:29,440 --> 00:10:33,000
Speaker 2: a shift in recent years, a purely economical shift that

162
00:10:33,280 --> 00:10:37,240
Speaker 2: just happens to not be in Israel's best interests. The

163
00:10:37,240 --> 00:10:40,320
Speaker 2: biggest jackpot a show like Fauda could see is its

164
00:10:40,400 --> 00:10:43,839
Speaker 2: global rights sold to a Netflix that would pay handsomely

165
00:10:44,320 --> 00:10:48,080
Speaker 2: to put the series in many multiple markets. But the

166
00:10:48,080 --> 00:10:52,000
Speaker 2: biggest streamers have become more strategic in their international purchases,

167
00:10:52,440 --> 00:10:56,240
Speaker 2: increasingly willing to take a smaller bet like buying up

168
00:10:56,240 --> 00:10:59,040
Speaker 2: the second window rights for an Israeli show after it's

169
00:10:59,080 --> 00:11:03,439
Speaker 2: already played on an Israeli broadcaster. But that yields a

170
00:11:03,480 --> 00:11:06,920
Speaker 2: much smaller windfall for the producer. It's a lot harder

171
00:11:06,960 --> 00:11:10,200
Speaker 2: to finance shows as a result. And now with the

172
00:11:10,240 --> 00:11:13,280
Speaker 2: local production capabilities of their own in place and more

173
00:11:13,400 --> 00:11:17,160
Speaker 2: territories than ever, and Netflix is more willing to generate

174
00:11:17,200 --> 00:11:20,120
Speaker 2: a local show just for that market on its own.

175
00:11:21,040 --> 00:11:25,200
Speaker 2: At Jerusalem Sessions, the veteran Israeli TV executive Donna Stern

176
00:11:25,720 --> 00:11:28,480
Speaker 2: put this market shift in greater context.

177
00:11:28,720 --> 00:11:32,400
Speaker 4: Ten years ago, when Netflix launched their global service, it

178
00:11:32,440 --> 00:11:35,680
Speaker 4: seemed like everything was open to everyone. A show from

179
00:11:35,760 --> 00:11:38,360
Speaker 4: any corner of the world could go on the air

180
00:11:38,400 --> 00:11:42,600
Speaker 4: and one hundred and ninety territories, localized, dubbed, subtitled, and

181
00:11:42,720 --> 00:11:45,960
Speaker 4: you know, people far far away would discover these little

182
00:11:46,000 --> 00:11:49,240
Speaker 4: shows from countries they've never been to. Over the years

183
00:11:49,280 --> 00:11:51,000
Speaker 4: and a lot of data and a lot of investment,

184
00:11:51,120 --> 00:11:55,240
Speaker 4: I think there's a realization that those are more the

185
00:11:55,280 --> 00:11:59,920
Speaker 4: outliers than you know, the actual bulk of what was

186
00:12:00,720 --> 00:12:05,680
Speaker 4: getting acquired and transmitted globally, And with more data available,

187
00:12:06,520 --> 00:12:10,120
Speaker 4: it's that more data about what has been working. I

188
00:12:10,120 --> 00:12:12,720
Speaker 4: think Netflix, and I can't speak for them, but you know,

189
00:12:12,840 --> 00:12:18,000
Speaker 4: somebody who works with them still or continuously, I think

190
00:12:19,040 --> 00:12:21,640
Speaker 4: they've come to the realization that there's certain shows that

191
00:12:21,679 --> 00:12:24,960
Speaker 4: will travel. So things like Korean shows or Spanish speaking

192
00:12:25,000 --> 00:12:30,120
Speaker 4: shows will you know, find them audience no matter where.

193
00:12:30,480 --> 00:12:33,000
Speaker 4: But some of the more local language shows are more

194
00:12:33,040 --> 00:12:36,080
Speaker 4: suited for a local market. And I think that's what

195
00:12:36,080 --> 00:12:38,440
Speaker 4: we've seen. And it's not an Israel thing. It's not

196
00:12:38,440 --> 00:12:40,640
Speaker 4: a specific it has nothing to do with the situation

197
00:12:40,840 --> 00:12:43,679
Speaker 4: or the politics or anything. It's just a programming strategy.

198
00:12:44,040 --> 00:12:46,680
Speaker 2: So if you're a streaming service looking for your next

199
00:12:46,720 --> 00:12:51,000
Speaker 2: globe trotting smash like K Pop, Demon Hunters or Squid Game,

200
00:12:51,679 --> 00:12:53,280
Speaker 2: what market are you going to make a bet on

201
00:12:53,360 --> 00:12:58,160
Speaker 2: having the most crossover appeal? Yes, Israel produces great shows,

202
00:12:58,600 --> 00:13:01,080
Speaker 2: but are they a more niche than the kind of

203
00:13:01,160 --> 00:13:05,200
Speaker 2: crowd pleasers derived from the sources of more marketable content,

204
00:13:05,480 --> 00:13:09,520
Speaker 2: say from South Korea or Latin America. But we will

205
00:13:09,559 --> 00:13:13,480
Speaker 2: see how big the market is for Israeli content soon enough,

206
00:13:14,160 --> 00:13:17,760
Speaker 2: though israelis at Jerusalem Session. See the deal flow slowing.

207
00:13:18,160 --> 00:13:22,240
Speaker 2: The pipeline isn't empty. After a three year delay, the

208
00:13:22,280 --> 00:13:26,120
Speaker 2: Israeli made Apple TV series Tehran is coming back to

209
00:13:26,160 --> 00:13:30,880
Speaker 2: the US on January ninth, A critically acclaimed drama depicting

210
00:13:30,920 --> 00:13:35,720
Speaker 2: the dueling espionage efforts between Israel and Iran. Tehran was

211
00:13:35,760 --> 00:13:39,360
Speaker 2: shelved amid real life battles between these two countries earlier

212
00:13:39,400 --> 00:13:42,559
Speaker 2: this year. An Apple TV has shown before it can

213
00:13:42,600 --> 00:13:46,480
Speaker 2: be skittish about shows that veer too close to the headlines,

214
00:13:46,920 --> 00:13:50,520
Speaker 2: having recently pressed pause on The Savant, another show that

215
00:13:50,600 --> 00:13:55,080
Speaker 2: dramatizes a band of operatives working to infiltrate online hate groups.

216
00:13:55,800 --> 00:13:59,400
Speaker 2: But Tehran is back and a fourth season is in development.

217
00:14:00,160 --> 00:14:03,760
Speaker 2: And then there's Nephauda, which is Netflix's own too close

218
00:14:03,800 --> 00:14:06,880
Speaker 2: to the Middle East headline series, which will also be

219
00:14:06,960 --> 00:14:10,480
Speaker 2: back on Netflix later this year after its latest season

220
00:14:10,520 --> 00:14:14,160
Speaker 2: comes out in Israel first. Both of these shows will

221
00:14:14,200 --> 00:14:18,320
Speaker 2: probably get more attention than usual, precisely because there'll be

222
00:14:18,440 --> 00:14:21,080
Speaker 2: an interest in what these shows have to say in

223
00:14:21,160 --> 00:14:24,600
Speaker 2: a post October seventh world. That is all for me

224
00:14:24,840 --> 00:14:30,240
Speaker 2: on this week's episode of Strictly Business. Thanks for tuning in.

225
00:14:30,840 --> 00:14:31,840
Speaker 2: We'll see you next week.