Inside Jordan Matter’s Netflix Deal, and what it signals for YouTubers

Netflix and YouTube. And over the past few months, we've seen Netflix trying to make up ground in that battle by signing deals with YouTube creators. These have come in a variety of different forms. We've seen original shows get booked with creators. We've seen licensing deals for podcasts and shows that they have. And now we've seen a different type of deal that was just announced this week with Jordan and Salish Matter. Jordan spent most of his career as a photographer

and took to YouTube to make videos about photography and grow his photography business.

It now has over 30 million subscribers, they've done 13 billion views, and it really took

off when he started making videos with his daughter Salish. Over the past few years, Jordan and his daughter Salish have grown into some of the most popular creators on the platform, and Salish actually is one of the most popular people in the world. If you go to the website famous berthays.com, which is kind of like Wikipedia for Gen Z. Salish Matter is the number one most searched berthay on that website over Taylor Swift. And the internet really saw how popular

Salish was when she launched her skin care brand at the Sephora of the American Dream Mall in New Jersey. Over 80,000 fans showed up and they had to shut down the mall. This version of a Netflix deal that Jordan and Salish got is really different. So I wanted to have Jordan in the chair to explain the deal and talk about this current moment that we're seeing with Netflix pulling YouTube creators onto their platform, trying to become more relevant to a younger audience and trying to

operate a bit more like YouTube. So this is my conversation with Jordan Matter about his Netflix deal.

“Okay Jordan, welcome to the show. Thank you. So obviously we've talked about this off-mic, but I think”

it's a conversation which will bring to our podcast listeners. You have signed a deal with Netflix. We've signed a big deal with Netflix. Yeah. Super exciting. It's super exciting. Very welcome grads. Thank you. I'm fascinated by this moment. It's something we've talked about quite a bit on the pod is that this convergence of digital and traditional. It feels like now how much more can we talk about it as like two separate worlds. It's one. But tell me about this

deal that you signed. Just explain to everyone. What is this? We have a very unique deal that nobody else has been given up to this point. So you're seeing some development deals come out, Alan Chicken Chow has won Jimmy. Obviously that these games, these games too. What that is is they present a show with a budget and then the streaming service green lights it and then they make it. We have something different which is a talent deal. So we have agreed over the next three years to

create three to four shows for Netflix. We'll do that with Netflix, but we have creative control over their shows. It's a hugely buffet in us and a lot of trust because we did not come to them with a show at all. They came to us with interest in us as talent and then they want to develop something with us together. So what those shows are? That's up in the air. Yes, they will

be in the process of developing them now. Lots of meetings creative they're amazing. Their creative

team is really exciting to work with and they have their own team that's developing ideas. We are developing ideas and then we come together and talk about them and we will together come up with

“the best idea and we both have to green light it. So they can't say to me you have to do this and”

I can't say to them you have to do this. Once we agree on the show together then we go into pre-proaction. What happens if you don't agree on a show? We will. You will have to. You have to. I understood. Who came to who in this scenario? Like for us as creators right now, I think a lot of us have gotten calls from the streamers specifically Netflix. But they've been at least for us. They've been very exploratory. Who came to who in this context? We spent the last year and have to

developing an animated show and we took it out to the market to Amazon, Disney and Netflix among others and right when we were starting to get those meetings we launched our skincare sincerely yours at the American Dream Mall and 87,000 people showed up to that which is the largest creators event in history. That went super viral and then all of these companies are like wait a minute. Maybe there's more to this than just an animated show and Netflix and other organizations I hope at other

companies were super, super interested in developing a bigger relationship and we basically just

kind of fell in love with Netflix and they were very open to allowing us to have a lot of creative

“control with which we thought was super important. It does feel like this moment in time we were”

talking about this on a panel earlier. I've described it as the abundance era of content because

every day, 95 million photos and videos uploaded to Instagram every day, 23 million videos uploaded

to TikTok crazy. And a moment like that, what that you guys had at the American Dream Mall launching sincerely yours signifies to me and to the rest of the industry like oh out of the 20 million videos uploaded every day, these videos clearly mattered to people. And actually viewership numbers don't tell me that. No, not at all actually. As a matter of fact, we didn't even know and we have we got a lot of views. We had no idea that people would show up. So we showed up at the mall

with absolutely no idea, hoping a thousand or two thousand people would show up. So it was the first time we had ever done anything. So we were learning just like everybody else that actually this relationship we've been building with the audience over the last five years actually did resonate with them to the degree with it, willing to fly from all over the world to see us. And what right now, if we talk about some data about the channel, what's like the average

viewership of an episode? In terms of how many people, how many people watch?

You know, usually anywhere from 8 to 10 million the first week and about 40 million over time per

video, mostly US-based, we only dub in Spanish a week late so they're not dub views, we're not on YouTube kids and they're all long form about 30 minutes. 30 minutes. Yeah, and how long are people watching? Anywhere from 48 to 52 percent? Let's insane. Yeah, it's crazy. It's crazy. It's crazy. And so that obviously has then skyrocketed sailors to being most popular people in the world.

“Within the demo, that's what's interesting. Right, like, right now Mad Damon and Ben Affleck”

have a show of Netflix. Okay. And they're recognized by Emmy every demo anywhere they go. But will that? I think for the most part, like you and I will definitely recognize where you might say, let's know what they are. Okay. Right. Or let's use somebody like Ariana Grande or any of them, right? Massive celebrities are recognized wide appeal, but do they have a passionate fan base? I don't know. Some yes, some no. I don't know. Right. If Matt Damon opens a coffee shop.

Exactly. Is there a line on opening day? Exactly. I don't know. Whereas David Dobrik opens a pizza shop and there's still lines. Yeah. So there is that connection between the audience and the creator because you've invited them into your home. When we launched sincerely yours, once they're like to tell us that when we had the meeting with Sephora to try and get them interested in us, then they had no idea who we were. And we came in with all this data and they're like, okay,

“data is whatever. Why is your product going to sell better than Ariana Grande's product?”

Ariana has a beauty line in Sephora that has, I guess, had underperformed. And I said, are you a fan of Ariana? And they said, yeah, I'm sorry. What's the color for bedroom? What's the name of her dog? And she had no idea as that this is the difference. Okay. Because our audience will know the answer to this questions. And I believe that the relationship between creator, influencer and audience is so much deeper than between celebrity. So there's a lot of places we can go with nobody will know

who we are. But the people that do know who we are are really invested because we're invested in them and they're invested back in us. So then content wise is the deal with like, is there a cast of characters that Netflix wants in each show or is it just Salish? Is it Salish and you? Because even when you say that, like, when I, you know, look at your videos, like, there's a cast. Yeah. Right. And so my assumption would be if I'm Netflix, I'm like, bring the cast.

“Is that the context or is it just, bring Salish? I think if I pitched an idea that didn't have”

Salish, they're like, okay, wait a minute here. Of course. Yeah. I think she and I will probably be in the first, the first show because that's most consistent with our channel. We're trying to find something that makes sense from our channel that's elevated. However, we're also looking at the huge audience that has no idea who we are and Netflix that should also be interested in the show. So with Jimmy, I think it's very obvious. Okay. I'm a master of ceremonies. I have game shows.

Let me just exaggerate it by 10x and that's the show and it works. For us, we are not massive. If we're not scale, we are intimate. We're about relationship-based channel. So how do you scale that? I mean, the obvious there is reality show. What the D'Milio's did. Right. The Kardashians is done right. Like, if we're actually saying, like, what is the next step? If, you know, when I looked

in the weeks ago now, when you uploaded Salish's 16th birthday episode, the 28 million views,

like that, super popular episode. To me, that feels akin to how people watched Kylie Jenner grow up. Yeah. Right. Exactly. And so, I think the obvious answer is reality show. Except the reality shows exist in conflict. And so, what do you mean? As in, just think about an episode from D'Milio's or from Kardashians. It's not like everything is chill.

It's not something I don't want to create an environment in which we need conflict in order to drive

views. Sure. The way I see the channel is I'm just building memories with my daughter at this point. And I want everything to be magical and special and fun. So, I would say that for this show, it needs to be something that keeps the energy, which is a playful banter. And it's a bit performative, but it's all based in real scenarios. And how do we elevate that? One obvious thing

“would be, you know, a game show of some sort between parents and kids. But then, I think that”

our audience actually's more interested in watching Seattle's experience, something that less interested in watching her host, something. So, that's kind of where we're at right now. It's like,

what is that middle ground? Sure. Yeah, it's really interesting because I think what happens on YouTube

for creators when they move to streamer, it can't be a far departure. It actually has to be you know, basically how do we do this on a bigger scale or what do we have access to now that we wouldn't otherwise. And I think the CEO of Mythical Entertainment Brian Flanagan said to me, it has to rhyme with something, meaning Jimmy and Beast Games is kind of like survivor. It kind of rhymes with it, right? It's not exactly the same, it's not the same thing,

but it kind of rhymes with it. I loved when he said that because I was like, I think as we all move to streamers, we can't just concept like a completely brand new thing, especially because there's a bigger audience

has never heard of you, so then that means it has to rhyme with something. I love the rhyme with something.

A couple of ideas that we're working on currently do rhyme with things. Cool. And so that could be a direction, but yeah, that's a great idea. Yeah. So, and I imagine that part of also the x-factor of

“Netflix, even when I think about it, because I oftentimes think about why would creators do”

a streaming deal? Yeah. You reach 40 million people with your show. Why? One of the reasons is in irrationally good economic deal. That's not an option, right? Yes. That's one option, which is it is. Yeah. If Netflix offers me irrationally good deal, of course, it's a yes, right? And they have that ability. Yes, they do, which is, it sounds like, you're not going to say the number, but it sounds like it's a good. I mean, I think that that's an aspect of the decision. Hypothetically, that would be

an aspect of your decision. I think that's one. The other is like access, and the other is budget to do something. It's time. Time. And just because we make a video every week, so our process is Tuesday through Saturday, we're in pre-production and Sunday, we're filming. We only want to film one day, so salescaver, regular life, the rest of the week. So, we have to get our 30 minute video done one day. Now anybody in the makes 30 minute videos that get 50% retention understand that

that's very hard to do a few of a month, much less one day. And that's what we do every week. So, what I'm excited about creatively is wait, I have a production team that's helping me. I have the support of Netflix. I have their resources and their connections. And we can come up with something that we can take three weeks to film. Yeah. That's so exciting. So creatively, it's the next step up.

“Very important to never forget that all of this happened because of YouTube and to stay”

consistent with our posting and to make the content just as good as it was. But then somehow find another gear to shift into for Netflix. What is success to you for the show and what success to Netflix, you think? Number one showing Netflix. Number one showing up. That would be successful both of us. Now that might not happen, but that would be what success is. I don't think, and again, I don't want to speak for Netflix, but I don't think that it's about driving subscribers as much. It's about

relevance. It's about owning the creator space. You know, it's like they're they're heavily invested in creators. They get it. They really do, they get the the passion of the audience. They get the creativity. We're used to a very quick turnaround. And they're very excited to work on that in a way that isn't as, I don't know, predictable as a lot of Hollywood content is. It's a new thing. One of the things to their credit is they've said, don't try to be anything else. Don't, don't try to do a show that

isn't you. You're here because of what you've done on YouTube. Let's figure out a way to elevate that a bit, but really it's the same show. I think there's another element to why creator should take the deal. And it actually, it really, it came up when we were in Montana together at Spotter Summit. And ESA Ray was speaking to us, which is marketing. And I hadn't thought of that before. But if there's one thing that Hollywood has been exceptional at, it's marketing. Yeah. And you becoming the number

one show in Netflix, I would assume, you know, or even in the pursuit of that and being partnership

Yes. And again, in a sea of content, in a sea of creators, you start to stand out when you have a marketing engine behind you. That's true. It takes you the next level. However, there's some pros and cons of that, too. Because right now, I mean, we're in the top two US

views on the platform after Jimmy, right? So that's incredible, but we're very under the radar.

Yeah. Very. If you go to anybody who watches you, they say, "Who are the top two?" They say, "Jimmy, and I don't know," and they say, "Stokes twins," they say, "They might say, "but Ryan, try him." Yeah. You need to say, "Anybody, but us." Yeah. Your viewers would have no idea that that's the reality, but it is. Right. So that's a good place to be, especially when you have a daughter. And you care about her emotional health. We, she and I have talked a lot about this. Like, look,

we go to Netflix, a lot of people are going to have opinions. Those opinions might not. They, for no reason, they might just want to come after you. Who's this 16-year-old who's suddenly

“on Netflix? Why do I care? I mean, you should knock her down a few pegs. And I think you get increased”

exposure, but you also get increased criticism. And that's something that we're going to have to be ready for, because not everyone's going to love what we do, especially because they won't know who we are. And sailors has no real interest in fame. So it's not like she's pursuing it and wants to be the most famous person on the planet. She just loves making content. She was excited about the Netflix thing, but I don't necessarily know that she wants to experience all that.

And so that's one of the conversations we've been having. That's complex, because a lot of people who get it all, it's kind of reflect on the beauty of anonymity. Yes. Yeah. And it, it's just dominoes. Yeah. You know, you start by doing content with your kid. And it's just, it's like the thing is it's fun. We have so much fun. She loves doing it so much. And she sees the opportunities in the future, potentially she could start her own business or whatever production company.

She sees it. But she's never into a fame. So when that, when that recognition comes,

it's almost a byproduct of it. And now she's got to adapt to that. But by the time that happened, you're already there. Right. So to stop. Well, that's stopping the fun thing for the thing that already exists. So that's the, that's the dance we've been doing. It's like, are you good? Because she's like, she said, if I could go to a mall, nobody knows who I am. Like, that would be a great day for me. That's her perspective. Right. It's like, okay, say, when we do the Netflix thing,

it's, it might take you to more of the mall. It might not be able to go to the mall. Right. And that that's a real conversation that you got to really address and think is this what you want.

“It's exciting, but also that's a byproduct of it. And I think it's important for anybody who”

works with their kids to have very open on its conversations about is this what you want. I think she's old enough now to really be able to make those decisions. But it's something that we'll see. You know, I guess one of the benefits of failure would be anonymity. If you want to see glasses have fully either way, if we succeed, that's awesome. If we fail, then you can go to the mall. Yeah, that being the worst case scenario is is the show failing, but no end of the way.

And it was like, you're so sucked. Yeah, but I appreciate you bringing that up. Because I think that's, you know, of course, like we're talking about the business of the creator economy, the fact that we have companies like Netflix coming in. And like this is a really exciting moment. But when you're doing something with your kid and when you're doing something in that space, as well, there's a lot of just real human life considerations to it. Yeah, of course.

You know, Netflix has been the home of some very rough documentaries about family channels.

“Yeah, deservedly so those channels, I think. And I never wanted that. I never wanted a relationship”

with her that was built on acromony or built on her feeling any pressure. And every week we always

check in, you feel like filming this week. How do you like this idea? Listen, if you don't, if you want to stop doing this, give me three months notice so we can kind of tell the audience we're winding down. The way I see this now is I'm making memories with my daughter. And what I love about this deal more than anything is that just got three more years of memories. We signed up for three years. So now we get to create content together, whether or not it's on YouTube or Netflix or both,

for another three years. And for me is a dad that is all that matters. I should call your contact at Netflix and say, listen, I got a son. I'd love to make some memories. What's on it? He'll see you. He'll see you. He'll see you. Yeah. Yeah. I'm curious if you could take me into the room with Netflix and expand a little bit for everyone about this moment in time because I look at this moment. It's finally here, you know, Fox just launched Fox Creator Studios. Netflix is clearly

interested in our world. You know, they're even interested in podcasts. They're interested in

are now making the shows that are, you know, especially the unscripted world. But what we've been saying inscripted with the Raka Raka Brothers making a hit movie with A24. Like our friends, the people who've made content for the internet age are now getting to make content with the establishment of Hollywood is this moment over in a year, meaning like are they, are they not as excited in a year? Are the outcomes actually going to be there? This is why I'm so curious about

what's inside that room because I'm trying to navigate what success means and how this continues. Okay. You know, are they giving irrational deals to the point where they're going to look back and go specifically in podcasting. I look at this and I go with Netflix. I hope this is sustainable strategy because this is cool. But are we going to hear about Netflix podcast in 12 months? I don't right. Right.

“It's a great question. I think it's about the quality of the content. I mean, if you”

talked about how many videos are produced every day, but think about how much content is on Netflix already. They don't need more content. They, they need unique content, exciting content. And as long as this, the creators are able to deliver that, I think they'll be excited because you're bringing in a natural audience. But there's, I think, if you think about YouTube right now, how many creators are making content worthy of a bigger platform? Maybe millions, maybe not, right? Like

it's, the question is millions of creators? No, not really. I'm just trying to be generous. Like, you know, like, I actually don't think, I don't know if it's 100. Exactly. I think there's a, there's a very scarce group that can make stuff. And that is even has the operational know-how or the instinctual know-how to make stuff. Because YouTube inherently is not built for that kind of production. So most people are not thinking of it that way. Creativity is very simple on YouTube often

and yet it's much more complex on Netflix. I mean, the difference we're looking at is we have to make a 30-minute video a week now. We're going to have to make 10 hours of content for one show. So the difference we're asking somebody wants 30 minutes versus 10 hours of a 10 episode show.

“Of one, that's one shark. One arc is a completely, I like, I don't, I mean, I believe I can do it,”

but I haven't done it yet. So I'm sitting here now, let's meet in a year and see how it comes. Because I don't know. I just believe strongly that we can find it together to create something

amazing. But I don't think a lot of people will be successful at it. As much as they may seem,

they would be successful based on the views they're getting on YouTube. They think they're too totally different beasts. So probably there'll be, you know, a pendulum swing back where there's some successful shows, some not successful, probably see some very successful shows from creators who maybe don't have 20 million view average per video, but really have a niche or have a specialty. And that excites people, and then they make a show that gets very popular.

I think there may also be, you know, again, what happens here when we sat with Daniel Eck

“from the founder and CEO of Spotify. He, he had this line to us that I'll never forget about,”

you know, we asked him about those, that moment of the $250 million Joe Rogan deal and the, you know,

$60 million, our call her daddy deal. And that first moment happened. We were like, how does that?

What, what was that? And his answer was he wanted to inject energy into the space. If they were going to be a podcasting company, they needed podcasting to be aspirational. Smart. Very smart. Very smart. It is the best case scenario to be on the receiving end of that. Yes. Right. And I'm wondering if that is partially what's happening here where you get to be on the receiving end of this moment of injecting energy into the space. We are, we're in the right moment. You're in the right

moment because we're early. The correction that may or may not happen. I mean, one version of it may be that, yeah, you just make a hit show and you're the best at making a family centric show for Netflix. And that has been proven. The, the, the correction that's, I think my assumption that happens next is there is a packaging and pairing of talent where they go Jordan knows a lot about capturing attention in this space. There's also another great director and show runner who's been doing

this for 25 years who also knows a lot. What happens if that's a show team? Yeah, that's now a powerful

show team. And I, I don't, you know, I saw it firsthand with my eyes with Beast Games, where I saw Jimmy's team. And I saw the traditional team, people who had been making reality competition shows forever. And they were kind of budding heads in the first season. And, you know, we obviously made a behind the scenes piece where that's like the core concept of the piece is watching them

team that they're coming up with really unique ideas. And even as I'm watching season two,

I think the twists at the end of every episode in season two are some of the best twists I've ever seen in reality TV. And then I look at this 10 years out and I called Jimmy and I told him, I was like, this, you know, Beast Games season one, I was like, this is cool. I think you're doing you're doing a big thing and doing a cool thing. Season two, I'm like, oh, this could be a franchise.

“And so that's, that's what I'm curious about is actually looking at creators right now, the,”

the industry's looking at us is like full one stop shop production houses in a way where it's like come up with the idea, we trust you, do everything, bring us a show. And I think the situation that may occur is like, you guys know a lot about something, but are these like, like, we shouldn't throw away what has happened in Hollywood for the past 100 years, like people know a lot about how to make good entertainment and make long lasting franchises. Let's just, let's just pair these people

together because that's interesting. That's what our deal is. Right. Exactly. Yeah. So we did not bring them any of that. Right. So you didn't bring them a show. We didn't bring a show. No, do we have a production company? So they're not expecting us to create it in any way. We're going to come up with the show, then they're going to introduce us to several different production companies going to decide which one will work together when I say creative control. I mean, they're giving me the option to be as

invested as I want to be in it. But most likely, I'll say, you guys have done this. You know more than I do about it. You take the lead on this. And I'll tell you when it's, it's virgin off the path of what would make sense for our audience. Yeah. So we're exactly the test case for that. Right. That would be really exciting to watch. Yeah. I'm very curious about this moment. Yeah. I'm,

I'm over the moon about it because when I first started on YouTube in 2011, I was like,

“I think this is going to happen. It's happening. And now it's happening. It's happening. I mean,”

Netflix has actively interested in creators. Yeah. I know that, you know, other streaming platforms are as well. And, you know, if you've got multiple options, I say go Netflix because I just like they're so good to work with. They're really, like, for example, they kept saying because I kept saying in the negotiations. Sales just time is primary to me. She has to be able to be a kid. Like we can't say send it to Romania for three months. That won't work. And they're like, of course, I'm a mother.

And we will only commit to the show that allows her to have her ability to go to school, see her friends, do her sports, and then find time to film it on the side. So they're really willing to work with. It's not just that they're taking our audiences and saying, make something. They want to, I think, have a long-term partnership with us. They don't want it to be three years, unless all the shows bomb. Right. But I think they're looking at long-term relationships

with creators much like they look at them. Sandler, long-term relationship with them. Yeah. With a talent deal, he got essentially an overall deal of some way. Yeah. And they're looking at it long-term. Yeah. And it's, it's really exciting.

Okay. Can I pitch you some shows? Yeah. Please. Okay. So first, full disclosure, I am my investor

in sincerely yours. Skincare brand. Yeah. I'm interested in God and there with Adam. Yeah. That's right. I'm interested in how those two things tied together. I also just obsessed with the name sincerely, or anything that's fantastic. Thank you. Okay. If we think about like a show that rhymes

“with something that has worked really well, I think one of the most, if you look at Netflix a lot of”

what works on Netflix is actually like death and disaster. Yes. It's murder mystery. It's poop crews. It's like, you know, these things that are like death and disaster. So then I look to the like a wholesome direction of what works in wholesome. Wholesome programming is transformation. So queer eye, successful show, Netflix feels good. You cry, you feel great. I think we can come up with a show that maybe rhymes with queer eye here. Yeah. You already have. Okay. God. It's not that I

have. It's that we created it together with Matt and Rebecca at the spot or something. God it. Okay. So one of the ideas was incubated at the spot or something. Yeah. That's one of the ones this spot. Okay. Good. Well, I think that there's something like that. Yes. Yes. Yes. Yes. Yes. Where there's transformation, there's can I make someone's dream come true. Can I take someone from but, but to me, they write in a letter and sign it sincerely yours. That's so cool. Yes. Okay. Hold on.

I gotta go back to Netflix and say scrap. Yeah. Yeah. You're doing this. It's calledcilliaurus. I want to say what the idea is, but you know, you're supposed to not say this. Don't say it. Don't say it, right? I will watch it on Netflix. I know that there was a discussion about a road trip idea. I'm not positive on that one because I don't think I've seen anything that captures attention in that way. That's the thing we do. Yeah. I think the other thing that I think is interesting is because of

who sailor is. There's a lot of celebrity kids who are fans of hers, correct? Yeah. So there's

And a cooking challenge, a, you know, like that, that's something that I see. Okay. See that's interesting because, okay, well, if we, if we hatch the show on your show, that's so cool. Yeah. Yes. But so that's a very fascinating to me because what we've been thinking about is what sort of game show? Yeah. Because that is a format that works, right? That could we do because I don't necessarily think that us as hosts, is that exciting for audience? No. I think boys versus girls,

kids versus adults. Yeah. Generically parents versus their kids. I don't know. Us versus a celebrity family. Yes. Very fun. That's fun. And I think what I could see is like, a very fun. Imagine there's, you know, try guys have a show called without a recipe. Okay. Which I think is a fantastic

“show. I think something similar with like, like, something that you have to build without instructions”

or a recipe that you have to make like what the try guys do. But I imagine it being, we're like sailor and maybe Chloe's daughter are in the, like, competition room. They have to start and they get, you know, X amount of minutes. You and Chloe are in another room. You don't know how far they've made it. You guys then swap and get in and you're like, what did sailors do? Okay. That's what she's, what is she thinking? That's super. And you start making based on what she was doing.

But you actually have no idea where this thing is going to end up. So you're just having ingredients. Again, this could either be building or cooking, be if ingredients, you have to make something in the 30 minute, a lot of time. It's kids and parents on the same team, but they don't get to see what each other are doing and you have to see how connected. Okay. That's really interesting because we're at the lighthouse right now. Yeah. At the lighthouse, somebody just came

up through your paper for this and said, I want my daughter's a fan, I want to pitch something,

sailor's cooking show. Really? Yeah. I think cooking is just fun. I think cooking has always worked.

Right. Like, I think forever we will watch cooking as humans. We will always watch people cook. My wife almost exclusively watches cooking on that. Do you think there's anything, there's something interesting in the same people cooking every week, though? So if it would be me and sailor's always versus another couple, is that okay? Or is it because usually it's new people, that's to be TBD? Yeah, I think the other alternative is like the challenges are different each.

But I'm not sure how much that is working in episodic content right now, where it's like start and finish an episode and you don't have to go watch the next episode. I think it has to all build to like one eventual thing. Generally, it seems generally it seems right now. Right? It feels harder to contain it in like episode one is cooking. Episode two is building. Absolutely. You know,

“I don't know. I don't know. So that I think you guys being through line is super important.”

But yeah, you're right. I'm not sure. Either it's like a set of 10 families and it whittles down to one winner at the end, or it's you guys versus every episode. Yeah. Or it could be sailors versus some Netflix kid. Get Owen Cooper in there. You get

Sadie Sink in there. Yeah. She's always going after a different, you know, challenge or something. Yeah,

or rober. I don't know if he's up into him, but Martin and his son could be interesting. Yeah. There's a lot. Or and maybe at the end of the series, if just to tie a through line to it, you guys are opening a restaurant with the uh with every dish that you made along the way and inviting a bunch of people. Okay. Yeah. Because because everything shifts big. Yeah. Because up to that point was like, well, I could kind of do those shows. Right. Right. Right. But now I can't do that. Yeah.

And then people are judging the dishes. I don't know. You know, maybe we could get there at the end. But this is this is real time. This is we aren't in a in a room thinking. Yeah. I love it. But those are those are two ideas I could see. Hey, and you want to come to all the meetings with me and Netflix. And then you could pitch your idea with your kid. Sounds like a good memory for the right price. I'll make some memories with you. He was over free. Give us all your time.

“So when can we expect to see the first show? I think our goal is at the end of this year. That's”

really a huge lift. Wow. First show in 2026. That's our goal. Wow. Yeah. Amazing. And are you talking

to some of the other creators who have gotten Netflix deals and does it feel like like I'm watching Mark Robber become a Netflix guy. You know, he's hosting more stuff on Netflix. He's he's he's becoming like Netflix talent. Yes. Is it fair to assume that there's going to be kind of a roster of Netflix talent that you will join that you'll be probably pulled into other shows as well and be a part of their ecosystem. They're they're respectfully understanding sales just time for school

but are very interested in that kind of relationship for sure. Yeah. Yes. So it just depends on her level of interest. How does YouTube feel about it? Have you talked to them? They've asked I think the YouTube is very interested in whether these creators are going to continue to make content on the platform. Of course. And I've assured them. I think that the whole point is the

advantages you have for being a creator because you have no way to get people to see your show or

to keep them interested in you. So my plan is to keep making weekly uploads going to be hard but that's

“my plan. But I think YouTube might be a little bit like our our our bigger creators are now”

abandon the platform for Netflix and I don't I don't think that's going to be true. Do you think YouTube would ever bring back YouTube originals to to combat this or do you think it's just an acceptance almost I don't know where there's a lot of pride in hey that comedian came from SNL. I think the fact that YouTubers are making these shows reflects well on YouTube and I think it's it's a good it's a good it advocates for them well. I don't think YouTube originals

would have the same cash aid hand in comparison to Netflix or Disney. I think it is it is always

to YouTube's benefit that they don't have to cut you that check that Netflix just cut you and you will

“still upload and and you know maybe a harsh reality but I think if you uploaded 50% less”

it would impact your fans more than it would impact YouTube. Yeah, I mean you know we're renting real estate on YouTube. I don't know how much you would impact YouTube and all if we left altogether us our channel but but as a whole if everybody starts going to go then then that's a problem for them but it isn't it it is actually a net benefit to the conversation around add dollars coming to YouTube if you're getting a Netflix deal because it then

clarifies to the advertising market that what's happening on YouTube is worthy. That's a good point and so very, very good point. I actually think it's a net benefit to the narrative. You're right

“if everyone does it it's challenging but I think Jimmy getting elevated is only positive. Yes.”

He's still uploading YouTube maybe he's uploading 20% less but it does happen. Actually I don't even think he is. I don't even know he's ever the weak in system. Yeah. I think actually he added gaming and reacts back. Yeah he's uploading more doubling down somehow. I don't know he does this all. But really it's it's just I don't think any creator who understands how this whole funnel works would consider stopping they're posting on YouTube. No. I agree. Yeah. So it's all in that

better fit to you. Yeah. Cool. Well dude I can't wait to see what you make. Let's meet together in a year and see how it goes. Yeah. Let's definitely meet together. Hopefully we'll meet together before that. Yeah. Well yeah. I just sound like a cool thing to say. Yeah. I'd like to see before you here. I thought we were doing an outro there. I was like was a good ending line here and then you like interrupted this. Okay, try it everyone. Okay. I love you man. Thanks. Okay. See you guys.

Use the first one. That was great.

Simon asked you about the строia, also this school flashback, just over the raten and then I hope that it's stimmt. Paul, no, garney. So строia is so my safe space. Mm. Do you want to see everything? Yeah, exactly. So строia is so deep строia app that I just understand. Egalobstudium, job, or om2. Castin. Cras. I don't really know how to stay. Steuern elected.

Save. With this строia.