Spotify video podcasts are coming to Netflix, further diversifying the types of content on the Los Gatos, Calif.-based streaming service beyond movies, TV shows and games.
The move reflects how many people are consuming their podcasts not just by listening, but by watching the podcasters conduct their discussions on video.
Roughly 70% of podcast listeners prefer their shows with video, according to a Cumulus Media study. Netflix and Spotify said the partnership will bring podcasts to Netflix that complement the streamer’s “existing programming and unlocks new audiences and wider distribution for the shows.”
There will be 16 Spotify video podcasts initially on Netflix in the U.S. in early 2026, with plans to include other markets, the companies said. Those video podcasts include sports programs like “The Bill Simmons Podcast” and “The Ringer Fantasy Football Show,” culture/lifestyle podcasts like “The Dave Chang Show” and “The Recipe Club” as well as true-crime programs like “Serial Killers.”
“At Netflix, we’re always looking for new ways to entertain our members, wherever and however they want to watch,” said Lauren Smith, the streamer’s vice president of content licensing and programming strategy.
Roman Wasenmüller, vice president and head of podcasts at Spotify, said this partnership helps creators reach new audiences and unlocks “a completely new distribution opportunity.”
Spotify began offering video podcasts on its platform about five years ago, offering an option to its podcasters who had previously been posting videos of their audio programs on YouTube.
Last year, the Swedish audio company unveiled new features that make it easier for creators to earn money from their video content and track their performance on the streaming service.
Netflix has also been diversifying the types of content it offers on its streaming service. Last week, Netflix unveiled a slate of games, such as versions of Boggle and Pictionary, that can be played on TV and are included with its streaming subscription.
“The Chair Company,” premiering Sunday on HBO, is a conspiracy comedy — dark comedy, one would definitely have to say — in which Tim Robinson goes down a rabbit hole, from one carrot to the next, after a chair collapses beneath him. It’s a thriller in its way; there will be suspense, and injuries, and a lot of screaming, mostly by the star.
Robinson, who co-created the series with Zach Kanin (who also co-created Robinson’s Netflix sketch show, “I Think You Should Leave”), is a difficult hero. His main shtick is the madman underneath a cracking veneer of civilization; physically, he projects a sort of eccentric normality, like a critique of normal. From the beginning of “The Chair Company,” we see that Robinson’s Ron Trosper is tense and nervous and can’t relax, getting into a argument with a waitress over what and what isn’t a mall — he’s been named to lead the development of a new one in Canton, Ohio. (The action all takes place in the state.)
A presentation he’d been dreading goes well, but as he sits back down, his chair — a standard office model — collapses under him, robbing him of a moment of triumph. What most would throw off with a joke sets Ron on edge, and he begins an obsessive quest to track down the manufacturer. But all he comes up with are dead ends and empty offices, and he begins to suspect a conspiracy. When, getting into his car, he’s hit on the head with a pipe and told to stop asking about the chair, it only makes him more determined to uncover it. Lurking, sneaking and stealing will ensue. Reckless behavior. Shouting.
Along with some standard office comedy involving HR reports and Ron’s “know it when I see it” boss (Lou Diamond Phillips, aging gracefully), there is a family element. Wife Barb (Lake Bell) is moving ahead with plans to develop a more attractive breast pump. Daughter Natalie (Sophia Lillis) is getting married to her girlfriend, and wants to change the venue at the last moment to a haunted house. Son Seth (Will Price), a basketball player apparently of enough talent to mention it in the series, has discovered the pleasures of drinking just as recruiters are coming around. It’s not a developed thread, but it gives Price the opportunity to deliver my favorite line in the series: “Some nights I’ll have like four beers and I’ll sit in my room and I’ll put on Abbott and Costello after I’ve had a couple; it makes me feel good to know that [these] two guys found each other because they both seem so different.” Which is a theme of the show.
The character who makes the series breathe is Mike Santini (Joseph Tudisco), the person wielding the pipe. Ron will track him down, and eventually they’ll become partners in his investigation and, after a fashion, friends. (Though Ron is not always friendly.) Mike is the series’ most original conception, and, in a strange way, its heart — someone not beyond taking money from a stranger to hit another stranger over the head, but sympathetic. Lonely, he craves the connection. Ron, for his part, is forever running out on his family to join Mike in some misadventure.
Robinson, the rare “Saturday Night Live” worker who went from performer to writer, is quite adept at playing this character, which makes Ron exhausting company; it takes a certain sort of stamina, or a love for, this particular brand of chaos to put up with him. It seems hardly credible at times that he’s successfully helped raise two rational children, one to adulthood; has attained an upper-middle-class life (with Lake Bell!); and occupies a position of creative responsibility. There are difficult comic characters you’re nevertheless happy to see — Larry David, because he’s so centered in his world and basically right, Lucille Ball because she’s a genius. But Ron spends so much time at DEFCON 1, dialed up past 11, that it can be off-putting, and drowns out the human inside.
Nevertheless, like any mystery, it draws you along, waiting for answers. Seven episodes of eight were released to reviewers; the seventh ends on what feels like a note of quiet irresolution — if not, in Ron’s mind, satisfaction. But the eighth will surely not let things rest, and you may rest assured — and may need the rest — that eight is not the end.
After finally getting approval from the Federal Communications Commission, Skydance Media is just weeks away from completing its $8-billion merger with Paramount Global, leading to sweeping changes for some of the most iconic media brands.
CBS, MTV Networks and Paramount Pictures are all bracing for upheaval when Larry Ellison and his son, David, take the keys from Paramount Global controlling shareholder Shari Redstone. The long-running ownership saga has played out while the rules of the media industry have been upended by streaming and, more recently, a White House unafraid to use its muscle to silence critics.
Skydance and its backer, RedBird Capital Partners, have promised investors that it will find $2 billion in cost savings, which means further belt-tightening and layoffs.
“This will be the most dramatic change to the organization since its inception,” said one longtime CBS insider who was not authorized to comment publicly.
Here is what Wall Street and the media industry will be watching for once the deal closes on Aug. 7:
Will Skydance spend enough to supercharge streaming?
Last year, Paramount+ added 10 million new subscribers to reach 77.5 million. Its subscriber count is now 79 million, thanks also to NFL programming, CBS shows such as “NCIS” and original hits including “1923,” “Landman,” “Lioness” and “Tulsa King.” Paramount has projected full-year U.S. profitability for Paramount+ this year, making it one of the fastest subscription services to get there.
But its relatively scant resources and thinner slate has made it difficult to truly compete with Netflix and the other biggest players. One potential solution: partnering with a rival streamer to increase its reach.
“Questions around the long-term scalability of Parmamount+ continue to loom large,” analyst firm MoffettNathanson noted in a report Friday. “Will the new management team pursue external partnerships as a viable path forward?”
Ellison and his team have suggested that they will bring a tech-focused sensibility to Paramount. Technological prowess would help Paramount+ improve its user interface and recommendation process, which insiders acknowledge is currently underwhelming. As expected, the architect of Paramount+ original series strategy, Paramount Global co-CEO Chris McCarthy, will leave when the deal closes.
Can traditional TV be saved?
Analysts also want to see Skydance will increase investment in film and TV franchises to revive assets that have been constrained by Paramount’s debt.
While Skydance will get a robust library of films and TV shows, it will also be faced with the slow-melting iceberg that is broadcast and cable TV, which continues to lose viewers. Streaming has surpassed broadcast and cable as the leading source of video consumption just as Skydance takes over CBS and Paramount Global’s array of channels that include MTV, BET and Comedy Central.
Doug Creutz, an analyst for TD Cowen, believes the merged company should consider spinning off traditional TV businesses, similar to what Warner Bros. Discovery and Comcast are doing with their cable channels. Whether that will happen remains to be seen.
“There is a clear opportunity to improve Paramount’s growth profile by letting those assets go,” Creutz wrote Friday. “On the other hand, we suspect the Ellisons did not purchase Paramount in order to break it up for parts.”
A test of Skydance’s commitment to broadcast may come if the FCC relaxes TV station ownership rules, which would likely lead to consolidation.
“60 Minutes” correspondent Lesley Stahl with Georgia Republican Rep. Marjorie Taylor Greene.
(CBS Photo Archive / CBS via Getty Images)
How will ’60 Minutes’ reset?
CBS News’ “60 Minutes” received a vote of confidence with the naming of Tanya Simon, a respected veteran insider to take over as executive producer. She was the choice of the program’s strong-willed correspondents.
Simon’s appointment is expected to provide stability following the departure of longtime showrunner Bill Owens, who was forced out amid the push for a $16-million settlement over President Trump’s lawsuit claiming the program deceptively edited an interview with former Vice President Kamala Harris to make her look better to voters.
“60 Minutes” remained tough in its White House coverage as negotiations went on. The question is whether that approach will continue with new owners. Larry Ellison has a friendly relationship with the president, and the new owners agreed to appoint an ombudsman to oversee news coverage.
Getting it right matters from a business perspective too, as “60 Minutes” remains the most profitable program on CBS.
With Simon in place, new management is expected to address other areas of the news division that can use improvement. The network’s revamp of the “CBS Evening News” has been a disappointment in the ratings and will likely see some changes.
In the longer term, there has been chatter that Skydance may set its sights on acquiring CNN from Warner Bros. Discovery and combining it with the broadcast news operation, an idea that has been considered numerous times over the last few decades.
“South Park” characters Eric Cartman, left, Stan Marsh, Kyle Broflovski.
(Comedy Central)
Will creative freedom be tested?
CBS canceled “The Late Show With Stephen Colbert,” upsetting his fans, progressive Democratic legislators and other late-night hosts who make their living lampooning President Trump.
The network said it was strictly a business decision, as the younger viewers who made late-night TV monstrously lucrative for decades are no longer showing up. The timing of the move made the company look as if it were capitulating to Trump, who long had the host on his enemies list.
But Colbert will remain on the air through May. The show has already been sold to advertisers for next season. The host has remained unrelenting in his mockery of Trump.
The season premiere of “South Park” only upped the ante. The animated series made references to the “60 Minutes” deal, showed Trump in bed with the devil and aired its own version of a Trump-mandated PSA, showing a naked president with talking genitalia.
There is no question both shows will test the patience of the new owners.
Pulling Colbert off or censoring the “South Park” creators, who just received a $1.5-billion deal to continue their show and move its library to Paramount+, would lead to a far greater backlash than what has been seen so far. Any attempt to curtail their voices will send a negative message to creative types who consider working with the company’s movie and TV operations going forward.
Tom Cruise in “Mission: Impossible: Dead Reckoning Part One” from Paramount Pictures and Skydance.
(Paramount Pictures and Skydance)
Can the movie business be revived?
Over the last few years, Paramount Pictures — home of franchises such as “Transformers” and “Mission: Impossible” — has ranked either fifth or fourth at the domestic box office. So far this year, the lone major movie studio still located in Hollywood proper has accounted for about 7% of ticket sales in the U.S. and Canada, according to box office website the Numbers.
Since the pandemic, the company has enjoyed a number of major hits, including “Top Gun: Maverick” and “Sonic the Hedgehog 3.” It has also had some solid singles and doubles, including “Bob Marley: One Love.” But overall, the more-than-century-old studio has struggled from underinvestment in its intellectual property and movie brands.
The latest “Mission: Impossible” starring Tom Cruise — the eighth and purportedly last in the series — grossed $589 million globally but cost $300 million to $400 million to make, not including marketing costs. Paramount’s latest effort, an animated “Smurfs” reboot, sputtered at the box office. Next up: a reboot of “The Naked Gun.”
The unit’s leader, Brian Robbins (also head of Nickelodeon at Paramount Global), is expected to leave the studio, though he has not officially announced his plans. David Ellison is a movie fan and is expected to take a particular interest in the operation, with plans to put Skydance’s chief creative officer, Dana Goldberg, in charge of film at Paramount. Skydance has worked with Paramount on movies before, producing “Maverick” and the “Missions: Impossible” films
HOUSTON, TEXAS – JANUARY 11: Denico Autry #96 of the Houston Texans sacks Justin Herbert #10 of the Los Angeles Chargers during the second half of the AFC Wild Card Playoff game at NRG Stadium on January 11, 2025 in Houston, Texas. (Photo by Brandon Sloter/Getty Images)
(Brandon Sloter / Getty Images)
Will the NFL take its ball elsewhere?
A transfer of ownership means the NFL can reopen its long-term deal with CBS, which has a Sunday package of games, the AFC Championship Game and two Super Bowls. The NFL is the lifeblood of broadcast television, providing a vast majority of the year’s most-watched programs.
Without the NFL, CBS would face tremendous challenges in getting fees from pay TV operators who carry its stations. Revenue from affiliates who pay the network for its programming would also dramatically decline.
Although the NFL is known for taking a pound of flesh at every opportunity, NFL Commissioner Roger Goodell has signaled he will give careful consideration before making any changes.
“We’ve had a long relationship with CBS for decades and we also have a relationship outside of that with Skydance,” Goodell told CNBC earlier this month. “We have a two-year period to make that decision. I don’t see that happening, but we have the option and it’s something we’re going to look at.”
The NFL could wait until 2029 when it has the option to open up the contract with all of its media partners. The new media deal for the NBA — $76 billion over 11 years — has the NFL believing its pact is underpriced.
Times staff writer Meg James contributed to this report.
PHNOM PENH, Cambodia — Cambodia escalated its cold war with Thailand on Friday when it announced a ban on Thai movies and TV shows and a boycott of the neighboring country’s international internet links.
Tensions between the Southeast Asian countries have soared since an armed confrontation in a border area on May 28 that each side blamed on the other and which left one Cambodian soldier dead.
Cambodian officials said the import and screenings of Thai movies would be banned, and that broadcasters would be ordered not to air Thai-produced shows, which include popular soap operas. The government said it would inflict a financial blow on Thailand by rerouting its international internet traffic through other countries instead.
Cambodian and Thai authorities engaged in saber-rattling last week, though they have since walked back much of their earlier statements emphasizing their right to take military action.
But they continue to implement or threaten measures short of armed force, keeping tensions high. Thailand has added restrictions at border crossings. Much of their war of words actually has appeared intended to mollify nationalistic critics on their own sides.
The confrontation reportedly took place in a relatively small “no man’s land” constituting territory along their border that both countries claim is theirs.
The area is closed to journalists, but it appears that both sides withdrew soon after the fatal confrontation to avoid further clashes, without explicitly conceding the fact in order to save face.
“Neither side wants to use the word ‘withdraw’. We say ‘adjust troop deployments’ as a gesture of mutual respect—this applies to both Cambodia and Thailand.” Thai Prime Minister Paetongtarn Shinawatra was quoted telling reporters this past week.
Cambodian Prime Minister Hun Manet said Friday on the Telegram social network that his government would act preemptively to establish self-reliance in response to exhortations by Thai nationalists to cut off electricity and internet connectivity to Cambodia.
Camboia’s Minister of Post and Telecommunication Chea Vandeth announced on his Facebook page that “all telecommunications operators in Cambodia have now disconnected all cross-border internet links with Thailand,” and that the move would deprive Thailand of as much as hundreds of millions of dollars in revenue, a claim that could not be immediately checked.
The reported move to use circuits bypassing Thailand temporarily disrupted internet connectivity for users of at least one Cambodian service provider.
Thai officials said any plans to cut services to Cambodia were unrelated to the territorial conflict and would actually be targeting the infamous online scam centers in the Cambodian border town of Poipet that have been a problem for several years.
Cambodia’s Ministry of Fine Arts meanwhile informed all film distributors and cinemas owners that starting Friday, the import and screening of all Thai films must be immediately suspended.
Som Chhaya, deputy director general of a popular Cambodian TV channel, People Nation Network, told The Associated Press that his company will comply with another government order to drop Thai-produced shows, and in their place broadcast Chinese, Korean or Cambodian dramas.
Thai films and TV shows have a large audience in Cambodia.
Friday’s actions in Cambodia were taken one day ahead of a planned meeting in the capital Phnom Penh of the two countries’ Joint Commission on Demarcation for Land Boundary to help resolve the conflicting territorial claims that led to last month’s deadly confrontation.
There is a long history to their territorial disputes, Thailand is still rankled by a 1962 ruling by the International Court of Justice in The Hague, Netherlands that awarded to Cambodia the disputed territory where the historic Preah Vihear temple stands. There were sporadic though serious clashes there in 2011, and the ruling was reaffirmed in 2023.
