WEBVTT - Nebula Builds Streaming Platform with A24 Vibes

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<v Speaker 1>Book of a strictly business varieties weekly podcasts featuring conversations

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<v Speaker 1>about the business of media and entertainment.

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<v Speaker 2>I'm TV business writer Jennifer Moss.

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<v Speaker 1>Nebula, which launched in twenty nineteen, describes itself as a

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<v Speaker 1>creator focused, creator built, creator first premium streaming service akin

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<v Speaker 1>to a Netflix or Hulu, but with the athos of Patreon.

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<v Speaker 1>The four year old indie streaming service, which is backed

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<v Speaker 1>by creator owned management company Standard and a minority stake

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<v Speaker 1>held by Curiosity Stream, costs five dollars a month or

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<v Speaker 1>fifty dollars a year to subscribe to. It currently tolls

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<v Speaker 1>six hundred and fifty thousand subscribers and past one hundred

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<v Speaker 1>thousand daily active users in October. Nebula is home to

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<v Speaker 1>the popular amazing race style online competition series Jetlag The Game,

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<v Speaker 1>which is half a million subscribers on YouTube, as well

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<v Speaker 1>as the Theater in the Round, Shakespearean trans Coming Out

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<v Speaker 1>Story of the Prince, and Night of the Coconut, the

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<v Speaker 1>debut film from Patrick Wilms. Unlike other streamers, Nebula sees

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<v Speaker 1>YouTube as a partner, not a competitor, with episodes of

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<v Speaker 1>Nebula series usually seeing a week long exclusive window on

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<v Speaker 1>Nebula before creators post them to YouTube and use them

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<v Speaker 1>to in turn promote Nebula. In August, Nebula named jet

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<v Speaker 1>Lagstar Sam Dunby its first chief content officer, and is

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<v Speaker 1>currently promoting its fall lineup of originals. We'll be back

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<v Speaker 1>with Dave after this break here to talk about the

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<v Speaker 1>growth of the indie platform and plans to expand on

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<v Speaker 1>its slate of original series on today's Strictly Business podcast

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<v Speaker 1>is Nebula CEO Dave Whiscus. I'd like to start with,

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<v Speaker 1>just for our audience members who might not be familiar

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<v Speaker 1>with Nebula, what is it in your own roof?

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<v Speaker 3>There should be an easier answer to this question. Makes

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<v Speaker 3>it complicated is that nothing like this has really been

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<v Speaker 3>achieved before. And I don't necessarily mean that in a

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<v Speaker 3>grand standing sort of way. It's just that it always

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<v Speaker 3>ends up being like a tech company who tries to

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<v Speaker 3>do a thing with creators, or an entertainment media company

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<v Speaker 3>who tries to do user generated content stuff like Quibi

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<v Speaker 3>or something. It's never the creators starting their own thing

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<v Speaker 3>and then like really landing it. And in our case,

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<v Speaker 3>it's a group of creators who got together because we

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<v Speaker 3>saw that very simply on a creator career path, step

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<v Speaker 3>one is YouTube or whatever, and step say ten is Netflix.

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<v Speaker 3>The problem is where are steps two through nine? If

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<v Speaker 3>we want that to exist, we want to build that bridge.

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<v Speaker 3>We have to build it. And so the purpose of Nebula,

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<v Speaker 3>the thing that we're building, the thing that we have built,

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<v Speaker 3>it is intended to be a way for the creators

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<v Speaker 3>to to sort of traverse the the vast space between

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<v Speaker 3>user generating content and more traditionally accepted forms of media

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<v Speaker 3>and entertainment. And it's it's almost a fraught answer to

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<v Speaker 3>say to focus on, like what the creators get out

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<v Speaker 3>of this, But what we've learned is that so much

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<v Speaker 3>of the relationship, so much of what makes this this

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<v Speaker 3>kind of thing powerful, is the relationship between the audience

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<v Speaker 3>and the creator. That's where we win. It's that sort

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<v Speaker 3>of parasocial dynamics. So for the audience at the base level,

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<v Speaker 3>earliest days, it's about getting access to things early, it's

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<v Speaker 3>about getting access to behind the scenes content. Not this

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<v Speaker 3>similar from like the value proposition of a Patreon or

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<v Speaker 3>something like that. As we look out into the future,

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<v Speaker 3>we've always been building up our originals, building up our

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<v Speaker 3>stable of you know, content that is made here and

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<v Speaker 3>in the case of like a jet lag might end

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<v Speaker 3>up also on YouTube as a way to pull people in,

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<v Speaker 3>but things that have our logo on it. The idea

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<v Speaker 3>is a little bit less Patreon, a little bit more

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<v Speaker 3>a twenty four which can be a brand definition here's

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<v Speaker 3>what creators are capable of. And then step three in that,

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<v Speaker 3>I guess, is Nebula being more of a Netflix style

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<v Speaker 3>destination home for really great things that are made by

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<v Speaker 3>people who might not have had the opportunity or the

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<v Speaker 3>means to do those projects within the traditional Hollywood system

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<v Speaker 3>or traditional media system.

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<v Speaker 2>What is again asking you to define here?

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<v Speaker 1>Standard which is a company that is behind Nebula and

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<v Speaker 1>existed preceded Nebula's launch.

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<v Speaker 3>Very simply a talent management company. We work with a

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<v Speaker 3>bunch of creators. We book sponsors on their shows and

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<v Speaker 3>help them develop their businesses. And along the way we

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<v Speaker 3>realize that there are some gaps in the industry, like

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<v Speaker 3>around licensing and things like that, and we had been

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<v Speaker 3>working We've been chatting with YouTube back when they were

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<v Speaker 3>still doing originals. They had asked us for some pitches

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<v Speaker 3>for original shows. We sent them over and they kind

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<v Speaker 3>of never got back to us. So we decided, no, what,

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<v Speaker 3>We're going to start our own streaming video platform.

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<v Speaker 4>So standard is there to help creators build and guide

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<v Speaker 4>and run their business operations, and Nebulas is kind of

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<v Speaker 4>a consequence of that.

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<v Speaker 1>When we're exactly if you remember where and when where

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<v Speaker 1>Nebula came from and what was part of the we

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<v Speaker 1>can actually make this work when something like a Vessel

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<v Speaker 1>did not work.

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<v Speaker 3>Yeah, I think Vessel was like as a technology driven

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<v Speaker 3>technology solution made by technology people. There's business, there's technology,

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<v Speaker 3>there's maybe some entertainment media in there. I don't want

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<v Speaker 3>to comment too hard on them. But for us, it

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<v Speaker 3>came organically. We had been approached by the group that

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<v Speaker 3>was building what became Peacock in the end, wanting to

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<v Speaker 3>bring like user generated content stuff onto a new platform

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<v Speaker 3>they were building. They wanted to talk licensing, but how

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<v Speaker 3>they approached the licensing deals it sort of didn't make

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<v Speaker 3>much sense because it would be wildly different from creator

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<v Speaker 3>to creator, and we kind of wanted to take the

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<v Speaker 3>collective bargaining power, the leverage that we had as a

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<v Speaker 3>as a group and kind of get everybody a more

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<v Speaker 3>consistent deal. At the same time, we were being approached

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<v Speaker 3>by Vimeo, the lovely people at Vimeo who they were saying,

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<v Speaker 3>they picked one creator and they said, this person should

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<v Speaker 3>have their own streaming service. We can build an over

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<v Speaker 3>the top solution and empower that streaming service as well.

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<v Speaker 3>That guy makes a video every three months. What kind

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<v Speaker 3>of streaming service would that be? You're paying what five

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<v Speaker 3>dollars a month for a content catalog of sixteen videos?

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<v Speaker 3>Come on like that doesn't And they said, do you

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<v Speaker 3>have any other creators who are more frequent, who for

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<v Speaker 3>whom that would make sense? And said, well, no, The

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<v Speaker 3>only way that would really make any times as if

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<v Speaker 3>it were all of the creators, And oh, oh, that's

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<v Speaker 3>an idea. What if we did that? And looking at

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<v Speaker 3>the over the top streaming solutions at the time, how

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<v Speaker 3>cheap it had gotten, and how doing something like that

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<v Speaker 3>could provide a content licensing engine. Potentially there were multiple

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<v Speaker 3>problems that could be solved at once, the licensing thing

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<v Speaker 3>and you know, building out some sort of test bed

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<v Speaker 3>of a new business venture for creators. And I took

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<v Speaker 3>the idea to it. This would have been i want

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<v Speaker 3>to say, November of twenty eighteen October November of twenty eighteen.

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<v Speaker 3>I took to the creators and I've put this long

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<v Speaker 3>email like here's kind of what I'm thinking, here's my

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<v Speaker 3>vision for this. And I expected it would be a

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<v Speaker 3>six month climb to convince everybody like, let's get it,

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<v Speaker 3>let's get everybody on board. I knew that I could

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<v Speaker 3>because it was just it was inexpensive enough that there

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<v Speaker 3>wasn't a ton of risk in it, which had to

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<v Speaker 3>come up with enough value proposition to the creators. So

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<v Speaker 3>I figured out, well, give me six months and I'll

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<v Speaker 3>eventually get everybody there. I sent out the email and

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<v Speaker 3>instantly every single creator was like, we have to do this.

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<v Speaker 2>Let's go getting going doing that. I know you will.

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<v Speaker 1>Started with I think it's one hundred thousand dollars to

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<v Speaker 1>get Nebiella actually ready for a launch.

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<v Speaker 2>Where did that from? I know you didn't have venture capital.

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<v Speaker 3>The extent that that can be true, it is true

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<v Speaker 3>because the calculus there is how much were we paying

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<v Speaker 3>the engineer who was working on it for the time

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<v Speaker 3>that they are the engineers who were working on it

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<v Speaker 3>over the time that they spent working on it. It

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<v Speaker 3>wasn't like we wrote a hundred thousand dollars check. It's

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<v Speaker 3>more like we as a business standard. We have a

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<v Speaker 3>whole what you can call it. We have a back

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<v Speaker 3>end software that we developed, the help power like Creator Things,

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<v Speaker 3>this booking of sponsors and voicing stuff like that. It

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<v Speaker 3>was sort of like a little mini sales force for

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<v Speaker 3>Creator Things, and we've been building that since twenty seventeen,

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<v Speaker 3>twenty eighteen, oh, twenty seventeen. The engineering team was working

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<v Speaker 3>on it when we were looking at doing an over

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<v Speaker 3>the top video solution. Well, like I said, we're talking

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<v Speaker 3>to Vimeo, but they wanted to own the credit card relationship.

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<v Speaker 3>And coming from my years of working with Apple as

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<v Speaker 3>a designer, I was keenly aware and my years of

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<v Speaker 3>being a musician, I was keenly aware that what made

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<v Speaker 3>the iTunes music store work is that when you want

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<v Speaker 3>another song, Apple already has your credit card number, you

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<v Speaker 3>just press a button. And what made the app store

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<v Speaker 3>work is that when you want that new app, Apple

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<v Speaker 3>already has your credit card number and you press a button.

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<v Speaker 3>By giving Vimeo full ownership of the credit card relationship,

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<v Speaker 3>we would potentially be cutting ourselves off future opportunities where

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<v Speaker 3>we could do cool, interesting you know, integrations of sorts

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<v Speaker 3>by virtue of just you know, we don't even own

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<v Speaker 3>the actual relationship, and you know what if things fell

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<v Speaker 3>apart with that company, anything had happened, we don't want

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<v Speaker 3>to We don't want to cut off all future possibilities.

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<v Speaker 3>And so we found a different partner instead, and it

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<v Speaker 3>required a little bit of development effort on our side.

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<v Speaker 3>So we just we knew we could either reassign an

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<v Speaker 3>engineer or make one more higher, and so we just

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<v Speaker 3>made one more higher onto the team. And then as

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<v Speaker 3>the project developed, it became a little bit more complex

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<v Speaker 3>when we made a second higher and I think we

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<v Speaker 3>only had the two people. By launch, there was like

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<v Speaker 3>two engineers working on it, which is where we came

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<v Speaker 3>up with the number like those two engineers over that

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<v Speaker 3>period of time, roughly one hundred k. Not an exact

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<v Speaker 3>science on that. It's hard for it to because they

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<v Speaker 3>were also working on other stuff at the same time,

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<v Speaker 3>but the money came from Standard was profitable. We had

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<v Speaker 3>those resources and the intent was always let's keep reinvesting

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<v Speaker 3>our successes into building more successes. And this was a

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<v Speaker 3>thing that felt like it could potentially become something. We

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<v Speaker 3>had no idea that it would turn into this. I mean,

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<v Speaker 3>I guess we had hopes, but even our hopes, it

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<v Speaker 3>never quite This never seems possible, this never seemed.

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<v Speaker 1>Realistic talking about what it has turned into. This is

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<v Speaker 1>and correct me if any of this is out of date.

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<v Speaker 1>But currently Nebula is valued at one hundred and fifty

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<v Speaker 1>million and there are six hundred and fifty thousand paying

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<v Speaker 1>users and that's still with no venture capital funding.

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<v Speaker 3>Pretty close Standard. The valuation is on Standard because it's confusing.

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<v Speaker 3>Standard is the company that owns Nebula, and while Nebula

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<v Speaker 3>is technically a separate LLC for a handful of reasons,

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<v Speaker 3>when we talk valuation, we're talking about the entirety of

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<v Speaker 3>the machine. So much of the creator relationships and audience

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<v Speaker 3>relationships and partnerships and everything happened up at the stand

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<v Speaker 3>undred level, so it's kind of it's hard to fully

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<v Speaker 3>disconnect the two. But in that number, when we came

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<v Speaker 3>up with the number, it was based on like the

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<v Speaker 3>totality of everything that we're doing, okay, and then the year, Yeah,

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<v Speaker 3>six hundred and at the moment, like six hundred and

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<v Speaker 3>eighty thousand, okay, And.

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<v Speaker 1>Then I believe you tweeted recently that Nebula just passed

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<v Speaker 1>one hundred thousand daily active users.

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<v Speaker 3>Yeah, that was a fun one, and we're we're getting

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<v Speaker 3>close to three hundred thousand monthly active all right.

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<v Speaker 1>So with that behind it, you know, we've talked a

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<v Speaker 1>lot about the business mechanics of getting it launched first,

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<v Speaker 1>but where are those views coming from the content on Nebula?

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<v Speaker 1>What can you explain what the system is and the

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<v Speaker 1>current funneling of the exclusive window of this content before

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<v Speaker 1>creators post it elsewhere like on YouTube.

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<v Speaker 3>It's really to choose your own adventure story as a creator.

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<v Speaker 3>If you want to make things that only live on Nebula,

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<v Speaker 3>you can. If you want to make things that live

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<v Speaker 3>on Nebula for a week and then go to YouTube,

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<v Speaker 3>you can. We have different naming structures for these things

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<v Speaker 3>to try to disambiguate it for the audience, but the

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<v Speaker 3>intent is that Nebula is like the canonical home of

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<v Speaker 3>the things that these creators make. And in the case

0:13:17.240 --> 0:13:21.240
<v Speaker 3>of jet Lag, the business model is built around the

0:13:21.760 --> 0:13:25.800
<v Speaker 3>YouTube version that every video ends with a cliffhanger that

0:13:25.880 --> 0:13:27.640
<v Speaker 3>makes you want to go sign up for Nebula that

0:13:27.760 --> 0:13:30.560
<v Speaker 3>was baked in from day one. That's always been the plan,

0:13:32.400 --> 0:13:35.520
<v Speaker 3>and that works very effectively. And there are some creators

0:13:35.520 --> 0:13:38.440
<v Speaker 3>who they were able to get ahead on schedule, and

0:13:38.480 --> 0:13:41.160
<v Speaker 3>you know, maybe they make one video per month, but

0:13:42.080 --> 0:13:44.200
<v Speaker 3>they got a head on schedule. So the video always

0:13:44.280 --> 0:13:47.319
<v Speaker 3>goes to Nebula, and then last month's video goes to

0:13:47.400 --> 0:13:50.559
<v Speaker 3>YouTube at the same time, and we call those Nebula. First,

0:13:52.120 --> 0:13:55.079
<v Speaker 3>there's full on Nebula original productions which will only ever

0:13:55.160 --> 0:13:57.640
<v Speaker 3>be on Nebula, and then there's like bonus content kind

0:13:57.640 --> 0:14:01.360
<v Speaker 3>of DVD extras we call Nebula. Plus. The way that

0:14:01.520 --> 0:14:03.920
<v Speaker 3>the audience comes in sort of depends on the creator.

0:14:04.480 --> 0:14:08.520
<v Speaker 3>For some creators, they sign up because they really want

0:14:08.559 --> 0:14:11.360
<v Speaker 3>to see the next video. For some creators, the audience

0:14:11.400 --> 0:14:13.720
<v Speaker 3>signs up because there's bonus stuff that they really want

0:14:13.760 --> 0:14:16.800
<v Speaker 3>to see. For some creators, many creators, it's talking about

0:14:16.840 --> 0:14:20.520
<v Speaker 3>the originals is what pulls people in. And then there's

0:14:20.720 --> 0:14:23.080
<v Speaker 3>of course the people who come and sign up just

0:14:23.120 --> 0:14:25.160
<v Speaker 3>because they want to support the creators. Again, I think

0:14:25.160 --> 0:14:27.680
<v Speaker 3>that what makes us so different and what's hard for

0:14:28.680 --> 0:14:32.480
<v Speaker 3>more traditional systems to it's hard to fit us in

0:14:32.520 --> 0:14:37.080
<v Speaker 3>with more traditional systems because the audience, a large portion

0:14:37.120 --> 0:14:39.640
<v Speaker 3>of the audience signs up for Nebula because they believe

0:14:39.680 --> 0:14:42.480
<v Speaker 3>in us and they want to support these creators. I

0:14:42.520 --> 0:14:45.240
<v Speaker 3>don't think Disney has that kind of relationship. I don't

0:14:45.240 --> 0:14:47.119
<v Speaker 3>think Netflix has that kind of relationship.

0:14:50.600 --> 0:14:53.000
<v Speaker 2>We'll be back with more from Dave after this break

0:15:00.120 --> 0:15:01.960
<v Speaker 2>into Netflix. I know there was a stot that.

0:15:03.840 --> 0:15:07.560
<v Speaker 1>Nebula is second only to Netflix and customer retention.

0:15:07.680 --> 0:15:10.200
<v Speaker 2>How do you guys measure that churn?

0:15:11.240 --> 0:15:14.200
<v Speaker 3>We're using antenna data for that. I believe Netflix is

0:15:14.280 --> 0:15:19.840
<v Speaker 3>three point six percent churn rate and the purported number

0:15:19.840 --> 0:15:22.880
<v Speaker 3>two Disney plus is around four and a half percent

0:15:22.960 --> 0:15:25.760
<v Speaker 3>turn rate based on the last numbers that we saw,

0:15:26.160 --> 0:15:28.560
<v Speaker 3>and we, depending on where we are in a month,

0:15:28.680 --> 0:15:33.000
<v Speaker 3>hover between like three point eight to four percent. So

0:15:33.200 --> 0:15:36.920
<v Speaker 3>according to Antenna data, if they were to classify us

0:15:36.960 --> 0:15:40.640
<v Speaker 3>in the same ranking, we would be number two for

0:15:40.800 --> 0:15:42.200
<v Speaker 3>customer attention, behind Netflix.

0:15:42.680 --> 0:15:45.760
<v Speaker 2>What would you say is the biggest factor keeping that

0:15:45.840 --> 0:15:46.600
<v Speaker 2>churn rate for you?

0:15:47.600 --> 0:15:50.680
<v Speaker 3>I think the audience just really loves the creators. They

0:15:50.720 --> 0:15:53.320
<v Speaker 3>want to see the creators succeed, and when they come in,

0:15:53.920 --> 0:15:58.360
<v Speaker 3>they stay because they're they're invested in the story. And

0:15:58.600 --> 0:16:02.320
<v Speaker 3>the cheap cop out retort to that would be that

0:16:02.480 --> 0:16:05.440
<v Speaker 3>so many of our customers come in like overall, a

0:16:05.480 --> 0:16:07.200
<v Speaker 3>little over fifty percent of the people who sign up

0:16:07.240 --> 0:16:09.080
<v Speaker 3>for Nebula sign up for annual plans, So of course

0:16:09.160 --> 0:16:12.880
<v Speaker 3>monthly train is going to be low. And Netflix doesn't

0:16:12.960 --> 0:16:16.240
<v Speaker 3>offer an annual plan. I don't believe many of the

0:16:16.440 --> 0:16:20.120
<v Speaker 3>big streamers don't, which is weird. I've got thoughts on that,

0:16:20.800 --> 0:16:26.920
<v Speaker 3>But I would argue that the reason that our customers

0:16:27.080 --> 0:16:30.320
<v Speaker 3>sign up for annuals so heavily to begin with is

0:16:30.360 --> 0:16:33.800
<v Speaker 3>because they they know what they're getting into, they're committing.

0:16:34.840 --> 0:16:37.520
<v Speaker 3>They know that we get more money up front, they

0:16:37.560 --> 0:16:40.520
<v Speaker 3>know that things are going to grow and evolve over time.

0:16:40.880 --> 0:16:42.840
<v Speaker 3>They know that they're going to get more stuff. Why

0:16:42.880 --> 0:16:46.720
<v Speaker 3>wouldn't they spend thirty bucks? And I think that's what

0:16:46.760 --> 0:16:48.640
<v Speaker 3>it comes down to. They believe in what we're doing.

0:16:48.640 --> 0:16:51.680
<v Speaker 3>They want to see how this unfolds, and they're making

0:16:52.040 --> 0:16:53.080
<v Speaker 3>a one year investment.

0:16:53.080 --> 0:16:57.320
<v Speaker 1>In that story, we mentioned jet Lag, but I'm going

0:16:57.360 --> 0:17:00.000
<v Speaker 1>to go into a little more specifically now, the travel

0:17:00.280 --> 0:17:03.040
<v Speaker 1>game show that I'm obsessed with and the reason I

0:17:03.040 --> 0:17:07.240
<v Speaker 1>signed up for Nebula. When I first discovered jet Lag,

0:17:07.280 --> 0:17:10.600
<v Speaker 1>I watched everything currently available on YouTube, and I believe

0:17:10.600 --> 0:17:12.119
<v Speaker 1>we were in the middle of one of the seasons

0:17:12.119 --> 0:17:14.160
<v Speaker 1>at that point. Then I went and signed up Fornibula

0:17:14.160 --> 0:17:18.120
<v Speaker 1>because I wanted to see what was currently there. We

0:17:18.200 --> 0:17:21.040
<v Speaker 1>got you, Yeah, you got me, and I watched Crime Spree,

0:17:21.119 --> 0:17:23.679
<v Speaker 1>which for people to know that was like the unoffsual

0:17:23.760 --> 0:17:27.600
<v Speaker 1>first season that's only available to stream on Nebula. So

0:17:27.640 --> 0:17:29.879
<v Speaker 1>I'd love to get an idea during a season of

0:17:29.960 --> 0:17:32.360
<v Speaker 1>jet Lag or if you have another example of another

0:17:32.760 --> 0:17:35.719
<v Speaker 1>show that has that same format on Nebula, what do

0:17:35.840 --> 0:17:38.399
<v Speaker 1>sign ups look like? What is kind of the bump

0:17:38.440 --> 0:17:41.399
<v Speaker 1>that you get from something like that, especially given that

0:17:41.840 --> 0:17:45.080
<v Speaker 1>if I wanted to, I could wait and watch it

0:17:45.119 --> 0:17:48.440
<v Speaker 1>all on YouTube, you.

0:17:48.440 --> 0:17:52.280
<v Speaker 3>Could, or you could sign up. It's thirty bucks a year,

0:17:52.280 --> 0:17:53.920
<v Speaker 3>which comes out to be two dollars and fifty cents

0:17:53.960 --> 0:18:00.480
<v Speaker 3>a month. You know, we've done premiere events where if

0:18:00.480 --> 0:18:02.879
<v Speaker 3>you're a Nebulus subscriber you get to it's first come

0:18:02.920 --> 0:18:04.479
<v Speaker 3>for serve. But if you're a Nebula subscriber, you can

0:18:04.520 --> 0:18:06.760
<v Speaker 3>just come to the premiere let us know. We'll get

0:18:06.760 --> 0:18:09.160
<v Speaker 3>you to the spot, and the spots usually I say

0:18:09.200 --> 0:18:12.439
<v Speaker 3>sell out, they're free. The spots sell out like within minutes,

0:18:13.760 --> 0:18:16.040
<v Speaker 3>and we'll get every single time we'll get one or

0:18:16.040 --> 0:18:18.560
<v Speaker 3>two people who are like, if I'm not signed up

0:18:18.560 --> 0:18:20.960
<v Speaker 3>for Nebula, can I just buy a ticket? And the

0:18:21.000 --> 0:18:22.960
<v Speaker 3>answer is yeah, it's thirty dollars and it comes with

0:18:23.000 --> 0:18:27.960
<v Speaker 3>a free year of Nebula. Like, it's thirty dollars. Your

0:18:28.080 --> 0:18:30.159
<v Speaker 3>uber to the venue is going to cost you. That

0:18:32.320 --> 0:18:35.240
<v Speaker 3>the price point is so low, especially relative to other streamers.

0:18:35.720 --> 0:18:37.359
<v Speaker 3>I'm not saying that this is no money, and I

0:18:37.400 --> 0:18:42.440
<v Speaker 3>don't want to ignore that that there's income disparity. I

0:18:42.720 --> 0:18:46.680
<v Speaker 3>don't want to make that assumption. But when you consider

0:18:47.040 --> 0:18:51.080
<v Speaker 3>the emotional attachment that the audiences tend to have, and

0:18:51.119 --> 0:18:55.560
<v Speaker 3>for a show like jet Lag, people really love Sam

0:18:55.640 --> 0:19:00.280
<v Speaker 3>and Ben and Adam, they love them. The jet Lags

0:19:00.560 --> 0:19:05.800
<v Speaker 3>are kind of intense about it. They're the they have

0:19:05.840 --> 0:19:10.200
<v Speaker 3>a lot of fun. We get fan art. I get

0:19:10.240 --> 0:19:14.240
<v Speaker 3>fan art. I'm not even on the show. Jet Lag.

0:19:14.280 --> 0:19:16.840
<v Speaker 3>Fans drop pictures of all of us and they are

0:19:16.880 --> 0:19:20.399
<v Speaker 3>constantly discussing us on Discord and on Twitter, and they

0:19:20.480 --> 0:19:23.720
<v Speaker 3>just really, really really love the show and that kind

0:19:23.760 --> 0:19:26.000
<v Speaker 3>of emotional attachment. Of course, they want to see the

0:19:26.040 --> 0:19:29.200
<v Speaker 3>next episode. When something can reach people and bring a

0:19:29.240 --> 0:19:31.439
<v Speaker 3>little bit of joy like that, and it has that

0:19:31.480 --> 0:19:36.840
<v Speaker 3>spirit of independence. It's not a big budget Hollywood style

0:19:36.880 --> 0:19:39.679
<v Speaker 3>game show production that's all full of spectacle, and like,

0:19:39.720 --> 0:19:42.159
<v Speaker 3>this is people doing a thing that it looks like

0:19:42.200 --> 0:19:45.520
<v Speaker 3>you could do that. We get people asking all the time,

0:19:45.640 --> 0:19:47.280
<v Speaker 3>can you make like a home version that I could

0:19:47.320 --> 0:19:49.800
<v Speaker 3>play with my friends, or can will you sell the

0:19:49.840 --> 0:19:52.160
<v Speaker 3>cards so that I can do the same thing. But

0:19:52.200 --> 0:19:54.760
<v Speaker 3>we're careful about that because I don't want to encourage

0:19:54.760 --> 0:19:58.000
<v Speaker 3>people to jump on planes or do anything that annoys

0:19:58.040 --> 0:20:02.040
<v Speaker 3>other people. And a bigger conversations we had about how

0:20:02.080 --> 0:20:03.800
<v Speaker 3>a thing like that could be done ethically. I know

0:20:03.800 --> 0:20:06.239
<v Speaker 3>that the jet Lag team works really hard to make

0:20:06.280 --> 0:20:08.800
<v Speaker 3>sure that anything they do, like when they film, they're

0:20:08.800 --> 0:20:11.439
<v Speaker 3>always consciously people's privacy. They're not out there to be

0:20:11.520 --> 0:20:15.719
<v Speaker 3>like you know, jerk YouTubers getting everybody's way, and so

0:20:16.240 --> 0:20:18.040
<v Speaker 3>coming up with a way to share that that isn't

0:20:18.520 --> 0:20:23.160
<v Speaker 3>encouraging people to be obnoxious as something, but that kind

0:20:23.160 --> 0:20:26.080
<v Speaker 3>of relationship when an audience loves to show that much,

0:20:26.080 --> 0:20:29.040
<v Speaker 3>and when it's that easy to project yourself in or

0:20:29.080 --> 0:20:30.760
<v Speaker 3>feel like you're friends with these people, of course you

0:20:30.800 --> 0:20:35.880
<v Speaker 3>want to hit the button. That's not the hill to climb,

0:20:35.880 --> 0:20:38.120
<v Speaker 3>you know, A five dollars a month or thirty dollars

0:20:38.119 --> 0:20:41.560
<v Speaker 3>a year hill to sign up for that not insurmountable,

0:20:41.800 --> 0:20:44.040
<v Speaker 3>and so we do see a pretty big bump obviously

0:20:44.080 --> 0:20:48.280
<v Speaker 3>when jet Lags on air, we conversions sign ups for

0:20:48.600 --> 0:20:51.679
<v Speaker 3>jet Lag go up dramatically, but it kind of happens

0:20:51.720 --> 0:20:56.960
<v Speaker 3>that way. We have shows that drive huge numbers. Interestingly,

0:20:57.520 --> 0:21:02.640
<v Speaker 3>by various metrics, jet Lag is not our number one show.

0:21:04.119 --> 0:21:07.240
<v Speaker 3>It is, I think by audience engagement in terms of

0:21:07.440 --> 0:21:10.760
<v Speaker 3>just people being excited about it and sending us fan art,

0:21:11.080 --> 0:21:14.040
<v Speaker 3>certainly our number one show, but not always by watch time,

0:21:14.040 --> 0:21:19.560
<v Speaker 3>not always by sign ups. So whenever certain kinds of

0:21:19.560 --> 0:21:23.800
<v Speaker 3>projects go out, I think jet Legs are our only

0:21:24.000 --> 0:21:26.879
<v Speaker 3>travel or game show style thing at the moment in

0:21:26.920 --> 0:21:31.600
<v Speaker 3>that format. We're working on some stuff, handful of things.

0:21:31.680 --> 0:21:33.199
<v Speaker 3>We don't want to just make jet Lag two. We

0:21:33.240 --> 0:21:36.159
<v Speaker 3>want to be really careful about one not saturating, but

0:21:36.240 --> 0:21:40.200
<v Speaker 3>two not like, I don't know, diluting, if that makes sense.

0:21:41.760 --> 0:21:45.440
<v Speaker 3>We want to reinvest our success into doing something creatively interesting,

0:21:45.560 --> 0:21:49.040
<v Speaker 3>not just doing the same thing again. But there's a

0:21:49.119 --> 0:21:53.440
<v Speaker 3>number of formats. Different creators work on different things. It's

0:21:53.440 --> 0:21:57.200
<v Speaker 3>more about like audience depth and audience love will drive

0:21:57.240 --> 0:21:58.159
<v Speaker 3>the big numbers.

0:22:00.320 --> 0:22:04.040
<v Speaker 2>So with that all that said, why is.

0:22:04.040 --> 0:22:08.280
<v Speaker 1>Jet LaGG not exclusively on Nebula, And that same question

0:22:08.400 --> 0:22:12.040
<v Speaker 1>going for any really high trafficking Nebula stuff, and if

0:22:12.080 --> 0:22:15.920
<v Speaker 1>those conversations have ever been had with those creators and

0:22:15.960 --> 0:22:18.760
<v Speaker 1>why from a business standpoint, someone would see, well, obviously

0:22:18.800 --> 0:22:21.080
<v Speaker 1>this does very well and it could do better if

0:22:21.119 --> 0:22:22.440
<v Speaker 1>it only existed here.

0:22:23.080 --> 0:22:25.639
<v Speaker 3>It's easy to think that what we're building is a

0:22:25.680 --> 0:22:30.000
<v Speaker 3>YouTube competitor, and if you imagine it as a YouTube competitor,

0:22:30.400 --> 0:22:34.480
<v Speaker 3>it's easy to think that anything we do from any

0:22:34.560 --> 0:22:38.000
<v Speaker 3>creator we work with, the goal should be for it

0:22:38.040 --> 0:22:43.399
<v Speaker 3>to be exclusively on Nebula. What we're really building is

0:22:43.400 --> 0:22:47.480
<v Speaker 3>a Netflix competitor, and the path we're going to have

0:22:47.560 --> 0:22:51.280
<v Speaker 3>to take to get there. YouTube is our biggest partner.

0:22:52.720 --> 0:22:56.240
<v Speaker 3>YouTube is our closest ally. YouTube is the top of

0:22:56.280 --> 0:22:59.200
<v Speaker 3>the funnel for us. We're just sold bit further down,

0:23:00.800 --> 0:23:06.440
<v Speaker 3>and the way that the audience dynamics work, the YouTube algorithm,

0:23:06.920 --> 0:23:12.760
<v Speaker 3>much maligned, is our greatest champion. It's out there finding

0:23:12.800 --> 0:23:16.600
<v Speaker 3>new fans for us. It's out there finding new people

0:23:17.080 --> 0:23:20.600
<v Speaker 3>who love the things that our creators make. And so

0:23:20.640 --> 0:23:25.240
<v Speaker 3>we've designed our system, our entire business model around leveraging

0:23:25.320 --> 0:23:29.879
<v Speaker 3>that to bring those fans to us. How often do

0:23:29.880 --> 0:23:32.200
<v Speaker 3>you get, like an egga corporation building you a free

0:23:32.240 --> 0:23:35.119
<v Speaker 3>machine to bring you audience first. I'm going to take

0:23:35.119 --> 0:23:42.320
<v Speaker 3>advantage of that. Someday. It's entirely possible that any of

0:23:42.320 --> 0:23:45.600
<v Speaker 3>our shows become exclusive to Nebula, not really by design,

0:23:45.600 --> 0:23:48.360
<v Speaker 3>at least at the moment we have folks. Lindsay Ellis

0:23:48.520 --> 0:23:51.400
<v Speaker 3>is one hundred percent exclusive to Nebula, not really by

0:23:51.440 --> 0:23:54.040
<v Speaker 3>our request so much as hers. She sort of got

0:23:54.119 --> 0:23:55.920
<v Speaker 3>tired of the way she was in the public eye,

0:23:56.000 --> 0:23:58.640
<v Speaker 3>and she sort of wanted to approach her career differently,

0:23:58.680 --> 0:24:03.680
<v Speaker 3>and we were supportive of that. He absolutely kills on Watschteim.

0:24:03.720 --> 0:24:08.359
<v Speaker 3>Her fans love her too. But it wasn't because we're like,

0:24:08.400 --> 0:24:10.400
<v Speaker 3>we must collect all of the things and they must

0:24:10.400 --> 0:24:14.040
<v Speaker 3>all be hours. We're not like Thanos out there grabbing

0:24:14.040 --> 0:24:17.680
<v Speaker 3>all the Infinity stones. We're not here to catch them all.

0:24:17.960 --> 0:24:22.600
<v Speaker 3>I'm back to Pokemon. The goal rather is to build

0:24:22.600 --> 0:24:26.600
<v Speaker 3>a bridge. I want to occupy a much more a

0:24:26.760 --> 0:24:29.200
<v Speaker 3>twenty four style space where we work with the creators,

0:24:29.240 --> 0:24:32.199
<v Speaker 3>we help them make the We help them make the

0:24:32.200 --> 0:24:36.080
<v Speaker 3>things that they want to make, we help them develop

0:24:36.160 --> 0:24:40.479
<v Speaker 3>as creators. I'm in La right now on set with

0:24:40.800 --> 0:24:47.800
<v Speaker 3>Jesse Earl Jesse Gender, who's directing her first larger, larger

0:24:47.840 --> 0:24:53.920
<v Speaker 3>budget short film, sci fi production, narrative fiction. We've got

0:24:53.960 --> 0:24:57.920
<v Speaker 3>like panavision, camera and the actors you've heard of and

0:24:58.320 --> 0:25:00.720
<v Speaker 3>all of this. And the idea is that if we

0:25:00.840 --> 0:25:05.639
<v Speaker 3>provide Jesse with a structure that can help her become successful,

0:25:05.680 --> 0:25:08.480
<v Speaker 3>she can actually become a real filmmaker. She has the talent,

0:25:08.880 --> 0:25:12.240
<v Speaker 3>she has the skill, she has the ambition. It's for

0:25:12.359 --> 0:25:15.240
<v Speaker 3>most of our creators, those aren't the gap. For most

0:25:15.280 --> 0:25:17.400
<v Speaker 3>people on YouTube, those aren't the gap. It usually comes

0:25:17.400 --> 0:25:23.680
<v Speaker 3>down to connections, funding and experience. And so what we're

0:25:23.720 --> 0:25:26.320
<v Speaker 3>trying to do with Nebula is build a system that

0:25:26.359 --> 0:25:29.359
<v Speaker 3>can provide the connections the funding and the experience and

0:25:29.400 --> 0:25:32.600
<v Speaker 3>build a bridge so not everything has to be exclusive here.

0:25:32.640 --> 0:25:34.679
<v Speaker 3>I would love it if we could live in a

0:25:34.680 --> 0:25:38.280
<v Speaker 3>world where Jesse or other filmmakers we work with Patrick

0:25:38.280 --> 0:25:42.040
<v Speaker 3>Williams start making movies that go to a wide theatrical

0:25:42.080 --> 0:25:45.040
<v Speaker 3>release and there's some segment of the audience where the

0:25:45.040 --> 0:25:48.320
<v Speaker 3>only thing they know Nebula as is the you know,

0:25:48.520 --> 0:25:51.119
<v Speaker 3>the stinger that comes up before the movie starts, the

0:25:51.160 --> 0:25:52.920
<v Speaker 3>same way that you would see the A twenty four

0:25:52.960 --> 0:25:57.760
<v Speaker 3>logo or the sky Dance logo, Amble and Entertainment like

0:25:57.800 --> 0:26:01.600
<v Speaker 3>these kinds of things. I guess the closest analog for

0:26:01.720 --> 0:26:05.239
<v Speaker 3>the division is something like if A twenty four had

0:26:05.240 --> 0:26:08.240
<v Speaker 3>their own streaming service, you can see everything everywhere, all

0:26:08.240 --> 0:26:11.399
<v Speaker 3>at once on any of the things. But if you

0:26:11.400 --> 0:26:12.879
<v Speaker 3>go to A twenty four saying you can see all

0:26:12.920 --> 0:26:16.160
<v Speaker 3>of their productions, That's kind of how we're thinking about it.

0:26:17.480 --> 0:26:23.080
<v Speaker 1>Okay, with that, I'm wondering if you can explain what

0:26:23.119 --> 0:26:26.919
<v Speaker 1>the difference is between original content that lives on Nebula

0:26:26.960 --> 0:26:28.760
<v Speaker 1>and a Nebula original.

0:26:29.880 --> 0:26:32.200
<v Speaker 3>Is there a difference? Well, make sure.

0:26:32.080 --> 0:26:34.600
<v Speaker 1>Underting you guys have a state of Nebula originals that

0:26:34.640 --> 0:26:37.240
<v Speaker 1>you've announced coming in the fall, So I wonder what

0:26:37.359 --> 0:26:39.920
<v Speaker 1>they are and why they're labeled that way, and what

0:26:39.920 --> 0:26:43.840
<v Speaker 1>that means. A Nebula versus a creator whose content exists

0:26:43.920 --> 0:26:47.679
<v Speaker 1>on Nebula if there are things commissioned by Nebula and

0:26:47.880 --> 0:26:51.000
<v Speaker 1>that are owned by Nebula versus content that does a

0:26:51.040 --> 0:26:54.160
<v Speaker 1>creator own it when it exists on there and is on.

0:26:54.119 --> 0:26:57.959
<v Speaker 3>Nebula Ooh, there's a part of this question I'm really

0:26:58.000 --> 0:27:01.840
<v Speaker 3>excited to answer. I'll save that part. So there's the

0:27:02.800 --> 0:27:05.800
<v Speaker 3>it's a yeah, this isn't entirely intuitive and there's not

0:27:05.840 --> 0:27:07.760
<v Speaker 3>a great solution for this. But the best way to

0:27:07.800 --> 0:27:10.520
<v Speaker 3>think of this is if we are paying for it

0:27:11.119 --> 0:27:14.919
<v Speaker 3>in total or you know, in majority, and we are

0:27:14.960 --> 0:27:17.840
<v Speaker 3>providing our own production resources. We have an entire Nebula

0:27:17.880 --> 0:27:20.560
<v Speaker 3>Studios team, which is headed up by a former Marvel

0:27:20.640 --> 0:27:26.840
<v Speaker 3>Studios producer, that exists specifically to help creators make the

0:27:26.880 --> 0:27:30.000
<v Speaker 3>things that they want to make. So, like for Identities,

0:27:30.080 --> 0:27:32.919
<v Speaker 3>the Nebula original film that we're working on here in

0:27:33.000 --> 0:27:37.560
<v Speaker 3>La this week, we have an entire production team working

0:27:37.640 --> 0:27:41.199
<v Speaker 3>together to support Jesse in making this film that is

0:27:41.280 --> 0:27:44.280
<v Speaker 3>very clearly a Nebula original, writing, production, support, with providing funding,

0:27:44.600 --> 0:27:49.320
<v Speaker 3>and it'll live exclusively on Nebula for a creator who

0:27:50.320 --> 0:27:52.119
<v Speaker 3>they made a video and they also made like a

0:27:52.160 --> 0:27:54.720
<v Speaker 3>five minute companion piece that doesn't really fit on YouTube.

0:27:54.800 --> 0:27:56.960
<v Speaker 3>So they're going to make it like a Nebula exclusive

0:27:57.000 --> 0:28:00.240
<v Speaker 3>thing that's not really an original, not in not in

0:28:00.240 --> 0:28:04.600
<v Speaker 3>the way that you'd think prestige original. It's more of

0:28:04.680 --> 0:28:08.280
<v Speaker 3>like bonus content, like a DVD extra, So we kind

0:28:08.280 --> 0:28:10.520
<v Speaker 3>of break it down like that. If it's its own

0:28:10.680 --> 0:28:13.679
<v Speaker 3>thing and stands alone and you could imagine, you know,

0:28:14.000 --> 0:28:17.399
<v Speaker 3>sitting down and hitting play on just that and we

0:28:17.520 --> 0:28:20.480
<v Speaker 3>help to make it, then that's an original. If there's prestige,

0:28:20.920 --> 0:28:24.320
<v Speaker 3>that's an original. But if it's like a thing that

0:28:25.000 --> 0:28:26.960
<v Speaker 3>kind of needs the rest of the system to make

0:28:26.960 --> 0:28:29.680
<v Speaker 3>any sense, that's more of a plus kind of thing.

0:28:32.000 --> 0:28:34.920
<v Speaker 3>But the other part of your question, like who owns it,

0:28:35.720 --> 0:28:38.400
<v Speaker 3>Every single thing that the creators make that go on Nebula,

0:28:38.520 --> 0:28:41.800
<v Speaker 3>including every single one of our originals, are owned by

0:28:41.800 --> 0:28:44.959
<v Speaker 3>the creators. We do not own the intellectual property. If

0:28:45.000 --> 0:28:48.480
<v Speaker 3>it's a Nebula original, we get an exclusive an exclusive

0:28:48.480 --> 0:28:53.400
<v Speaker 3>streaming license, but we don't own the IP. So if

0:28:53.720 --> 0:28:55.800
<v Speaker 3>in the case of the short film that we're working

0:28:55.840 --> 0:28:58.680
<v Speaker 3>on now, Identities, it could be treated as a pilot

0:28:58.680 --> 0:29:01.440
<v Speaker 3>episode of a show, and Jesse could take that pilot

0:29:01.520 --> 0:29:05.960
<v Speaker 3>to Netflix, to HBO, to whomever and sell the show.

0:29:06.800 --> 0:29:09.480
<v Speaker 3>They would have to buy their rights to the pilot

0:29:09.520 --> 0:29:12.440
<v Speaker 3>from us, the streaming rights to the pilot from us,

0:29:12.800 --> 0:29:15.280
<v Speaker 3>but Jesse could sell the entire show. We don't get

0:29:15.280 --> 0:29:20.600
<v Speaker 3>a penny. You can develop merchandising around it. We don't

0:29:20.640 --> 0:29:24.160
<v Speaker 3>get a penny. Ask George Lucas how valuable that can be.

0:29:27.360 --> 0:29:31.840
<v Speaker 1>So does that pose, you know, concerns to Nebula as

0:29:31.960 --> 0:29:36.160
<v Speaker 1>a company that you don't own the IP and could

0:29:36.240 --> 0:29:40.080
<v Speaker 1>a creator take their content off Nebula anytime they wanted to.

0:29:42.080 --> 0:29:45.560
<v Speaker 3>Concerns? No, No, I think that trust has to be

0:29:45.600 --> 0:29:47.360
<v Speaker 3>at the core of what we do. Like I don't

0:29:47.360 --> 0:29:48.960
<v Speaker 3>want to be in business with anybody who doesn't want

0:29:48.960 --> 0:29:50.880
<v Speaker 3>to be in business with me. I don't want people

0:29:50.920 --> 0:29:53.880
<v Speaker 3>locked into a relationship for a creator. They either they

0:29:53.880 --> 0:29:55.640
<v Speaker 3>believe in what we're doing and we're all on the

0:29:55.640 --> 0:29:58.400
<v Speaker 3>same team, or they don't. And it's helpful to note

0:29:58.400 --> 0:30:02.920
<v Speaker 3>that Nebula fifty perc of Nebula is owned by the creators.

0:30:03.440 --> 0:30:05.800
<v Speaker 3>If we were to ever sell it, we have to

0:30:05.920 --> 0:30:08.360
<v Speaker 3>contractually give fifty percent of that money to the creators.

0:30:10.560 --> 0:30:13.400
<v Speaker 3>Whenever there's there's profit, we have to give fifty percent

0:30:13.440 --> 0:30:15.560
<v Speaker 3>of that profit to the creators. This is a partnership.

0:30:15.920 --> 0:30:17.840
<v Speaker 3>So when we bring a new creator in, we're not

0:30:17.960 --> 0:30:22.480
<v Speaker 3>signing talent. We're bringing in a new business. It's part

0:30:22.480 --> 0:30:25.120
<v Speaker 3>of the reason why we're so slow and methodical and

0:30:25.160 --> 0:30:28.400
<v Speaker 3>how we grow our roster, like we're we're not signing

0:30:28.480 --> 0:30:32.160
<v Speaker 3>random deals to get content. We are. You know, these

0:30:32.160 --> 0:30:36.560
<v Speaker 3>are new roommates we're interviewing. These are longer term relationships.

0:30:37.720 --> 0:30:40.080
<v Speaker 3>So because of that, because of the nature of the relationships,

0:30:40.080 --> 0:30:42.560
<v Speaker 3>we don't see a lot of people leave. There's not

0:30:43.160 --> 0:30:46.680
<v Speaker 3>a ton of hard requirements for things people are have

0:30:46.760 --> 0:30:51.320
<v Speaker 3>to do. So for the folks who maybe don't have

0:30:51.400 --> 0:30:56.000
<v Speaker 3>the bandwidth or aren't seeing returns, then you know, they

0:30:56.040 --> 0:30:58.520
<v Speaker 3>can kind of just coast on it and keep uploading

0:30:58.520 --> 0:31:02.400
<v Speaker 3>to both places and still get some level of reward. Also,

0:31:02.440 --> 0:31:05.080
<v Speaker 3>we're the largest sponsor for all of our creators. We

0:31:05.280 --> 0:31:07.640
<v Speaker 3>literally every month, our largest line item is we pay

0:31:07.680 --> 0:31:09.320
<v Speaker 3>all of our creators to go tell our audience that

0:31:09.320 --> 0:31:12.400
<v Speaker 3>they're on Nebula. So there's not a ton of incentive

0:31:12.440 --> 0:31:14.880
<v Speaker 3>for anyone to walk away from that relationship. So we're

0:31:14.880 --> 0:31:16.120
<v Speaker 3>not really worried about it. I think we have to

0:31:16.160 --> 0:31:19.440
<v Speaker 3>lock people into anything. If the deal is good enough,

0:31:19.480 --> 0:31:25.280
<v Speaker 3>if the relationship is good enough, they'll stay. And hanging

0:31:25.320 --> 0:31:29.719
<v Speaker 3>on to intellectual property licenses doesn't get us out of that,

0:31:29.920 --> 0:31:33.520
<v Speaker 3>it doesn't solve any problems. In fact, by not doing that,

0:31:33.680 --> 0:31:35.320
<v Speaker 3>it helps us at a tempo of like we're in

0:31:35.360 --> 0:31:38.440
<v Speaker 3>this together. We're helping you build things. Our mission is

0:31:38.440 --> 0:31:40.360
<v Speaker 3>not to own all of the things in the world.

0:31:40.840 --> 0:31:45.320
<v Speaker 3>Our mission is to help an extremely talented and ambitious

0:31:45.360 --> 0:31:50.240
<v Speaker 3>group of young creators. I say young not because they're twelve,

0:31:50.320 --> 0:31:54.520
<v Speaker 3>but because the industry is young, help them make the

0:31:54.600 --> 0:31:56.800
<v Speaker 3>things that they want to make because we know they can.

0:31:57.920 --> 0:32:01.200
<v Speaker 3>And if we're a hit maker, and if we are,

0:32:02.160 --> 0:32:04.840
<v Speaker 3>if we build our reputation on trust and our ability

0:32:04.840 --> 0:32:07.920
<v Speaker 3>to help achieve those goals, then that's where we're going

0:32:08.000 --> 0:32:11.040
<v Speaker 3>to win. Not because we have an infinitely deep content

0:32:11.120 --> 0:32:14.360
<v Speaker 3>catalog of things we own. We don't need to own everything.

0:32:15.240 --> 0:32:16.120
<v Speaker 3>It's better if we don't.

0:32:16.560 --> 0:32:18.040
<v Speaker 2>Thank you for joining me today, Bab.

0:32:18.360 --> 0:32:20.600
<v Speaker 1>In closing, is there anything else you want our audience

0:32:20.640 --> 0:32:21.600
<v Speaker 1>to know about Nebula?

0:32:22.320 --> 0:32:26.360
<v Speaker 3>There's this uphill battle we've been fighting for years to

0:32:26.440 --> 0:32:32.120
<v Speaker 3>get any kind of recognition outside of our bubble. And

0:32:32.200 --> 0:32:34.560
<v Speaker 3>we talked to going back to the thing with Sam

0:32:34.600 --> 0:32:38.400
<v Speaker 3>and doing Netflix stuff, or you developing shows for other

0:32:38.840 --> 0:32:42.160
<v Speaker 3>platforms and all of that. We've had similar conversations. We've

0:32:42.160 --> 0:32:46.400
<v Speaker 3>been approached by major Hollywood development companies like yeah, we

0:32:46.400 --> 0:32:48.360
<v Speaker 3>want to put your show, your creators on Netflix. We

0:32:48.440 --> 0:32:50.480
<v Speaker 3>do these things and we go through the exercise like Okay,

0:32:50.520 --> 0:32:53.960
<v Speaker 3>well how long would development take? What does the money

0:32:54.000 --> 0:32:55.560
<v Speaker 3>look like? And it ends up being like, okay, so

0:32:55.600 --> 0:32:57.360
<v Speaker 3>you want us to You want this creator to commit

0:32:57.400 --> 0:33:00.120
<v Speaker 3>two years of their life to developing a thing that

0:33:00.160 --> 0:33:02.800
<v Speaker 3>they sell for fifty thousand dollars and they maybe get

0:33:03.040 --> 0:33:05.800
<v Speaker 3>a roll on for another maybe one hundred two hundred k,

0:33:07.680 --> 0:33:10.160
<v Speaker 3>setting aside everything else they could be working on. You

0:33:10.200 --> 0:33:11.960
<v Speaker 3>want them to spend two years on this for a

0:33:12.000 --> 0:33:14.080
<v Speaker 3>show that you're going to cancel after one season because

0:33:14.080 --> 0:33:19.520
<v Speaker 3>it's Netflix two hundred and fifty k, right, Or we

0:33:19.560 --> 0:33:22.880
<v Speaker 3>could just stay on YouTube, reach hundreds of millions of

0:33:22.920 --> 0:33:25.200
<v Speaker 3>people and make millions of dollars a year. Why the

0:33:25.240 --> 0:33:27.760
<v Speaker 3>hell are we even talking to you? It just doesn't

0:33:27.760 --> 0:33:32.040
<v Speaker 3>make any sense. Hollywood treats us as a farm league.

0:33:32.120 --> 0:33:35.800
<v Speaker 3>They treat us like cheap talent. My number one goal

0:33:36.640 --> 0:33:39.280
<v Speaker 3>in starting doing like real pr work and getting our

0:33:39.360 --> 0:33:41.959
<v Speaker 3>name out there in a different way was getting coverage

0:33:41.960 --> 0:33:46.800
<v Speaker 3>and Variety.

0:33:49.000 --> 0:33:51.120
<v Speaker 1>Thank you for joining us for this week's episode of

0:33:51.200 --> 0:33:55.240
<v Speaker 1>Variety Strictly Business podcast. You can find new episodes weekly

0:33:55.360 --> 0:34:03.320
<v Speaker 1>on Apple Podcasts.