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Netflix, Yahoo in Pact to Expand Programmatic Ad Sales

Netflix, Yahoo in Pact to Expand Programmatic Ad Sales

Yahoo5 days ago

Netflix added Yahoo to its list of partners for programmatic ad sales, the streaming giant's latest effort to spark interest in its ad-supported subscription tier.
'This will enable clients to buy Netflix advertising through Yahoo programmatically, and will be available later this year in all 12 of our ad-supported countries,' said Amy Reinhard, Netflix' president of advertising, in a prepared statement. 'Integrating Yahoo DSP is all about driving performance for Netflix advertisers, and we will partner together on advanced targeting segments to optimize the best results for our clients.'
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Netflix already works with The Trade Desk, Google and Microsoft to sell programmatic advertising, which allows for the purchase of digital inventory according to specific parameters that identify consumer habits, qualities or behaviors. Netflix recently gave advertisers the ability to target more than 100 interests in over 17 categories, including life stages, and to incorporate first-party data into their process.
Others are also examining similar options. Amazon and Roku earlier Monday unveiled a new deal that will pool their connected-TV audience impressions to allow for better targeting and more precise placement of programmatic advertising in Amazon Fire and the Roku Channel.
'We're excited to bring Netflix's premium ad-supported inventory to Yahoo DSP clients, offering access to highly engaged audiences in a trusted, brand-safe environment. This integration makes it easy for advertisers to incorporate Netflix into their broader CTV strategies without added complexity,' said Alia Lamborghini, senior vice president of global revenue at Yahoo DSP, in a prepared statement.
Netflix has been developing its advertising offers since 2022, and has been active in the annual 'upfront' sales market since 2023. Media buyers say the company's scale has been relatively limited on a region by region basis, though Netflix said earlier this year that its ad-supported tier reaches 94 million people around the world. Advertisers typically don't create a single campaign for global audiences, and may buy commercials for specific regions as well as consumers.
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'White Lotus' star Jason Isaacs reflected on managing money 'immaturely.' A financial planner breaks down how to avoid doing the same.
'White Lotus' star Jason Isaacs reflected on managing money 'immaturely.' A financial planner breaks down how to avoid doing the same.

Business Insider

timean hour ago

  • Business Insider

'White Lotus' star Jason Isaacs reflected on managing money 'immaturely.' A financial planner breaks down how to avoid doing the same.

For a movie star, Jason Isaacs says his financial situation isn't what you'd expect. "People will think I have huge stockpiles of money," the "White Lotus" star told Vulture in an interview published on June 16. "But sadly, what I've done rather immaturely is expand my outgoings to match my incomings and pretty much spent everything I've earned over the years." The English actor has more than 168 credits on IMDB dating back to 1988, including iconic roles such as Lucius Malfoy in the Harry Potter film adaptations and Col. William Tavington in the 2000 hit "The Patriot." But while Isaacs has long enjoyed a high-powered and lucrative career — Business Insider previously reported he, and every other top-billed actor on the show, earned $40,000 per episode of "White Lotus" — his admission is indicative of a common financial misstep that plagues high-earners: lifestyle creep. "It's really common to have lifestyle creep, and it's basically this phenomenon: When you earn more money, you spend more money," Robert Persichitte, a certified financial planner, told Business Insider. "People will see extra money in their bank account, and then they'll spend it, and then they get used to it, and it gets kind of locked into your lifestyle — and it becomes really, really difficult to get out of it." Representatives for Isaacs did not immediately respond to a request for comment from Business Insider. 'Do you want to be rich, or do you want to be wealthy?' Lifestyle creep is most insidious when you begin spending your extra income on big-ticket items like expensive cars, fancy homes, or recurring subscription expenses like gym memberships, Persichitte said. That's not to say more modest luxuries like spa services or a trendy wardrobe can't add up, but he said those types of transactions are easier to stop splurging on if your financial situation changes. "It's a very common scenario: You get somebody who has their first high-paying job, and they get excited, they go out and spend it, and then about six months later, they realize they hate that high-paying job," Persichitte said. "If you bought a new car or bought a new house, that is a very, very difficult decision to walk back." Isaacs is far from the only celebrity to experience a problem with lifestyle creep. Al Pacino, in his 2024 autobiography, said he went from a $50 million fortune to "broke" because he didn't control his spending. Other stars — from Michael Jackson to Mike Tyson — have also racked up tremendous amounts of debt despite having multimillion-dollar incomes. While it may be tempting to adopt a more lavish lifestyle or emulate your favorite celebrity's spending habits if you receive a promotion or financial windfall, Persichitte cautions against it. Persichitte recalled a 2008 Time interview with Flo Rida, in which the rapper said mogul Rick Ross advised that, in order to make more money, Flo Rida should spend "with the confidence of someone who knows he's going to make a lot more." "I wouldn't recommend that," Persichitte said. "And the logic to me is: Do you want to be rich, or do you want to be wealthy?" The difference is that a rich person's financial situation hinges on their next paycheck, which means a job loss or emergency or an impending prison sentence — which was likely in the future for Isaacs' character in "White Lotus" — could make it all crumble. In comparison, Persichitte said, a wealthy person has long-term stability because they've prioritized sound investments that allow them more control over their finances. The easiest way to avoid lifestyle creep is to have a plan for your money so it's not just sitting in your bank account, Persichitte said. Whether that be a 401(k) or locking some portion of your funds away in a CD account, nearly anything is better than having your liquid cash available in your checking account — but "the more invisible, the better," he added. "The further away you can keep that money from the checking account, the less likely you are going to have that lifestyle creep," Persichitte said. "If your net pay doesn't go up, you don't feel rich, and you don't feel the need to spend." Speaking to Vulture, Isaacs said that he has turned down multiple roles over the years that would have offered him a more substantial nest egg to lean back on. While he said he doesn't regret the moves "careerwise or artistically," he acknowledged it is a financial sore spot for him. "There's a number of things I could have done over the years that would've made me rich," Isaacs said. "And now that I'm toward the autumn of my career, I think maybe I'm an idiot and I should have done some of those things and just banked it, because other people do."

As Shares Skyrocket, Will Creator Deals Drive Netflix's Next Growth Run?
As Shares Skyrocket, Will Creator Deals Drive Netflix's Next Growth Run?

Forbes

time2 hours ago

  • Forbes

As Shares Skyrocket, Will Creator Deals Drive Netflix's Next Growth Run?

(Photo by Phil Barker/Future Publishing via Getty Images) Netflix has been on an epic stock market run the past year, share prices up 81% to nestle comfortably above $1,200 apiece as it reaps the rewards of definitively winning the Streaming Wars of the past several years, with analysts setting target prices as high as $1,600. Give credit to management's willingness to pivot, after a disastrous Q1 earnings call three years ago, into ad-supported tiers, a password crackdown, videogame and live events/venues initiatives, and investments in local productions in 50 centers around the world. It's paid off massively for the company and its investors. This week saw Pivotal Research set a Street-high target price of $1,600 for Netflix shares. Netflix shares have skyrocketed the past 12 months, to north of $1,200 a piece But where does the streaming giant go from here if it wants to keep driving growth? The ad tier is launched, and growing slowly, but already bringing in higher average revenue per user than Netflix's traditional ad-free offerings. The password crackdown's boost to subscriber growth is likely largely exhausted, though we won't know going forward, because the company stopped r0utinely reporting subscriber adds before the last earnings call. In that call, the company said it added a whopping 13 million subscribers to puff the global total to 301 million, far larger than any competitor. So where to go to grow? Analysts have some thoughts, mostly about the vast collection of wildly diverse talent pumping out episodes on YouTube and other social media, receiving a share of ad revenue and otherwise monetizing their productions with merchandise, sponsorships, live events and other strategies. That approach has paid off massively for Alphabet-owned YouTube. Nielsen's The Gauge estimates more than 12% of total watch time is devoted to YouTube programming. Roku released stats that were even higher, as much as 18% of view time. Wells Fargo analysts released a note earlier in the week setting a $1,500 target price for Netflix, but suggesting it find ways to be a bit more like YouTube. Wells Fargo Sr. Equity Analyst Steven Cahall said Friday in a CNBC interview that YouTube content, which costs YouTube nothing on the front end, is increasingly grabbing view time with young and even middle-aged consumers. And that's exactly the kind of programming Netflix should be adding to its portfolio. 'Some of this very, very high value, professional short-form seems like a natural in-between where it still has a big impact on consumers but it's not quite the really short, mobile-native, user-generated content,' Cahall said. To grab some of that view time back, Netflix should take a page out of its own playbook from about a decade ago, when it cut nine-figure exclusive deals with prominent showrunners in traditional television such as Shonda Rhimes and Ryan Murphy, Cahall said. The splashy deals put the industry on notice about Netflix's ambitions to create high-quality premium content that could contend with anything on broadcast or cable. 'The argument here is they can do the same thing," Cahall said. 'They can go find these really large-scale creators who put a lot of content on YouTube, get a lot of views, and make a lot of money, and they can say, 'Hey, come to Netflix, you have the same size audience. We'll pay you money, and you don't have to take a risk on advertising.' Such deals will 'take money,' though nothing like those Rhimes and Murphy deals of a decade ago. More importantly, Cahall said, 'it's not the same risk profile.' The creators bring their own audience, and deep knowledge about how to connect with and nurture that audience, removing most of the risk of partnering with them. Certainly, there are plenty of big, long-time online creators who are producing good-quality content at remarkable velocity. In recent months, I've interviewed or moderated panels with leaders from such long-time venues as Smosh, Dhar Mann Studios, Buzzfeed Studios, and Dhar Mann CEO Sean Atkins, a long-time cable TV veteran, said he gives a few tours a week of the company's extensive production studios in Burbank, Calif., just a couple of miles from the studio lots of Warner Bros., Disney and NBCUniversal. There's an 'oh, sh--' moment on the tour for most of the folks, Atkins said, when they see Dhar Mann's operations are sprawling enough to need the same golf carts to get around the grounds as on the traditional studios. At last week's StreamTV Show conference in Denver, I interviewed Trey Kennedy, an Oklahoma-based comedian who started telling six-second jokes on the long-gone social-video site Vine. Kennedy has long since migrated to TikTok and YouTube for his humor, building an audience big enough that he cut a deal with Hulu for a one-hour comedy special released in January. He has a national comedy tour set for the fall. Also at The StreamTV Show, I interviewed Laura Martin, managing director and sr. internet & media analyst for Needham & Co. To her mind, the 100-plus exhibitors and dozens of niche networks on display at the conference are largely ignored by Wall Street because they're not able to compete at a big enough scale with the two companies that matter most, Amazon and YouTube. Amazon's links between advertising and directly selling those advertised products to its couple of a hundred million or so Prime Video subscribers make it one powerful path for the future of video. And YouTube has married oceans of user-generated content with television's highest-value programming, the NFL, which is available through YouTube TV. 'On the content side, they're sort of blurring the lines, we sort of think that's where the world is going writ large,' Martin said. Wall Street looks at the smaller players and wonders, 'Why aren't you talking about short-form, omni-device and influencers, plus -premium content. There's a real disconnect." Martin said both Paramount Global and Warner Bros. Discovery are stuck in a 'distracted' place. Paramount is trying to negotiated a lawsuit settlement directly with President Donald Trump over alleged 'election interference' for editing a Kamala Harris interview last fall on 60 Minutes. The delays in settling that suit are in danger of putting controlling shareholder Shari Redstone's National Amusements in default before it can complete an $8 billion sale to a group led by David Ellison and Skydance Entertainment. WBD, meanwhile, announced last week that it would go ahead with a widely expected split of the company, putting its legacy cable channels such as CNN, TNT, TBS, and Discovery in one unit, along with most of WBD's $34 billion in debt and a share of the spun-off Studios & Streaming unit. That latter group would include the Max (soon to be renamed HBO Max) streaming service and WBD's production studios for film, TV and games. Shepherding that split to reality will leave WBD leadership distracted for a year, Martin estimated, then will have to wait another year before doing any deals, because of tax-minimization strategies. 'I think it's the wrong strategic move,' Martin said. 'We're not going to be talk about either of those companies for the next two or three years." That leaves a 'competitive set' of serious streaming players of just four: Netflix, Amazon, Alphabet/YouTube, and Disney. 'The question will be if Disney is too small to compete,' Martin said. 'Its (market valuation) is $200 billion, Netflix is $500 billion and the rest are more than $2 trillion.' For Netflix, grabbing more content from YouTube's stable might just be a way to keep driving growth, and perhaps even slightly slowing the YouTube juggernaut, mostly by being a bit more like what YouTube has become.

Florian Wirtz joins list of most expensive soccer signings in history
Florian Wirtz joins list of most expensive soccer signings in history

San Francisco Chronicle​

time3 hours ago

  • San Francisco Chronicle​

Florian Wirtz joins list of most expensive soccer signings in history

Florian Wirtz became one of the most expensive players in soccer history when the Germany playmaker joined Liverpool from Bayer Leverkusen on Friday for a fee of up to 116 million pounds ($156 million). Neymar: $262 million (222 million euros) Paris Saint-Germain shattered the world-record transfer fee by signing the Brazil superstar from Barcelona in August 2017. It was more than double the outlay of Manchester United to sign Paul Pogba from Juventus for $116 million a year earlier. It remains the record transfer fee. ___ Kylian Mbappé: $216 million (180 million euros) A few weeks after buying Neymar, PSG also secured a loan deal for Mbappé — then the rising star of French soccer playing for Monaco — that included the option to make the move permanent in 2018. PSG did so, making it an outlay of nearly $500 million on two players. ___ Flush with cash after selling Neymar a year earlier, Barcelona spent most of it in a deal to buy Brazil playmaker Coutinho from Liverpool for a Spanish record fee. ___ Moises Caicedo: $146 million (115 million pounds) The Ecuador midfielder's move was previously the most expensive deal by a British club, with Chelsea buying him from Brighton in August 2023. ___ João Félix: $140 million (126 million euros) Atletico Madrid triggered a buyout clause in Félix's contract to sign the Portugal forward from Benfica in August 2019. ___ Jude Bellingham: $139 million (128.5 million euros) The England star got his big move to Real Madrid from Borussia Dortmund in June 2023, for an initial up-front fee of 103 million euros plus add-ons linked to performance. ___ Antoine Griezmann: $134 million (120 million euros) Atletico could afford to sign Félix after selling France forward Griezmann to Barcelona for a similar fee a few weeks earlier. ___ Neymar: $98 million (90 million euros) Outside from Europe, the biggest transfer deal also involved Neymar when he joined Al Hilal, a team in the Saudi Pro League, from Paris Saint-Germain in August 2023. That came at the height of Saudi Arabia's push to sign high-end soccer talent to ignite the oil-rich state's domestic league. ___

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