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Netflix-Warner deal would drive streaming market further down the road of ‘Big 3’ domination

Netflix’s planned acquisition of Warner Bros. marks a new era of “Big Three” domination in the streaming industry, joining Amazon and Disney at the top. Discover what this means for viewers and the future of digital entertainment.

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Netflix and Warner Bros. logos side by side, symbolizing the major streaming industry merger and the emergence of a dominant “Big Three” in digital entertainment.
Netflix’s Hollywood studio offices at Sunset Bronson Studios in Los Angeles.
Patrick T. Fallon / AFP via Getty Images

Netflix-Warner deal would drive streaming market further down the road of ‘Big 3’ domination

David R. King, Florida State University

When it comes to major U.S. industries, three tends to be the magic number.

Historically, auto manufacturing was long dominated by Chrysler, Ford and General Motors – the so-called “Big Three,” which at one point controlled over 60% of the U.S. auto market. A dominant trio shows up elsewhere, too, in everything from the U.S. defense market – think Lockheed Martin, Boeing and Northrup Grumman – to cellphone service providers (AT&T, T-Mobile and Verizon). The same goes for the U.S. airline industry in which American, Delta and United fly higher than the rest.

The rule of three also applies to what Americans watch; the glory days of television was dominated by three giants: ABC, CBS and NBC.

Now, in the digital age, we are rapidly moving to a “Big Three” dominating streaming services: Netflix, Amazon and Disney.

The latest step in that process is Netflix’s plan to acquire Warner Bros. for US$72 billion. If approved, the move would solidify Netflix as the dominant streaming platform.

When streams converge

Starting life as a mail DVD subscription service, Netflix moved into streaming movies and TV shows in 2007, becoming a first-mover into the sphere.

Being an early adopter as viewing went from cable and legacy to online and streaming gave Netflix an advantages in also developing support technology and using subscriber data to create new content.

The subsequent impact was Netflix became a market leader, with quarterly profits now far exceeding its competitors, which often report losses.

Today, even without the Warner Bros. acquisition, Netflix has a dominant global base of over 300 million subscribers. Amazon Prime comes second with roughly 220 million subscribers, and Disney – which includes both Disney+ and Hulu – is third, with roughly 196 million subscribers. This means that between them, these three companies already control over 60% of the streaming market.

Netflix’s lead would only be reinforced by the proposed deal with Warner Bros., as it would add ownership of Warner subsidiary HBO Max, which is currently the fourth-biggest streamer in the U.S. with a combined 128 million subscribers. While some of them will overlap, Netflix is likely to still gain subscribers and better retain them with a broader selection of content.

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Netflix’s move to acquire Warner Bros. also follows prior entertainment industry consolidation, driven by a desire to control content to retain streaming service subscribers.

In 2019, Disney acquired 21st Century Fox for $71.3 billion. Three years later, Amazon acquired Metro-Goldwyn-Mayer for $8.5 billion.

Should the Netflix deal go through, it would continue this trend of streaming consolidation. It would also leave a clear gap at the top between the emerging Big Three and other services, such as Paramount+ with 79 million subscribers and Apple TV+, which has around 45 million. Paramount on Dec. 8, 2025, announced a hostile takeover bid for Warner Bros. in a proposed $108.4 billion deal that would, unlike the Netflix plan, include Warner Bros. subsidiary Discovery+.

Why industries come in threes

But why do industries converge to a handful of companies?

As an expert on mergers, I know the answer comes down to market forces relating to competition, which tends to drive consolidation of an industry into three to five firms.

From a customer perspective, there is a need for multiple options. Having more than one option avoids monopolistic practices that can see prices fixed at a higher rate. Competition between more than one big player is also a strong incentive for additional innovation to improve a product or service.

For these reasons, governments – in the U.S. and over 100 other countries – have antitrust laws and practices to avoid any industry displaying limited competition.

However, as industries become more stable, growth tends to slow and remaining businesses are forced to compete over a largely fixed market. This can separate companies into industry leaders and laggards. While leaders enjoy greater stability and predictable profits, laggards struggle to remain profitable.

Lagging companies often combine to increase their market share and reduce costs.

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The result is that consolidating industries quite often land on three main players as a source of stability – one or two risks falling into the pitfalls of monopolies and duopolies, while many more than three to five can struggle to be profitable in mature industries.

What’s ahead for the laggards

The long-term viability of companies outside the “Big Three” streamers is in doubt, as the main players get bigger and smaller companies are unable to offer as much content.

A temporary solution for smaller streamers to gain subscribers is to offer teaser rates that later increase for people that forget to cancel until companies take more permanent steps. But lagging services will also face increased pressure to exit streaming by licensing content to the leading streaming services, cease operations or sell their services and content.

Additionally, companies outside the Big Three could be tempted to acquire smaller services in an attempt to maintain market share.

There are already rumors that Paramount, which is a competing bidder for Warner Bros., may seek to acquire Starz or create a joint venture with Universal, which owns Peacock.

Apple shows no immediate plan of discontinuing Apple TV+, but that may be due to the company’s high profitability and an overall cash flow that limits pressures to end its streaming service.

Still, if the Netflix-Warner Bros. deal completes, it will likely increase the valuation of other lagging streaming services due to increased scarcity of valuable content and subscribers. This is due to competitive limits that restrict the Big Three from getting bigger, making the combination of smaller streaming services more valuable.

This is reinforced by shareholders expecting similar or greater premiums from prior deals, driving the need to pay higher prices for the fewer remaining available assets.

The cost to consumers

So what does this all mean for consumers?

I believe that in general, consumers will largely not be impacted when it comes to the overall cost of entertainment, as inflationary pressures for food and housing limit available income for streaming services.

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But where they access content will continue to shift away from cable television and movie theaters.

Greater stability in the streaming industry through consolidation into a Big Three model only confirms the decline in traditional cable.

Netflix’s rationale in acquiring Warner Bros. is likely to enable it to offer streaming at a lower price than the combined price of separate subscriptions, but more than Netflix alone.

This could be achieved through additional subscription tiers for Netflix subscribers wanting to add HBO Max content. Beyond competition with other members of the “Big Three,” another reason why Netflix is unlikely to raise prices significantly is that it will likely commit to not doing so in order to get the merger approved.

Netflix’s goal is to ensure it remains consumer’s first choice for streaming TV and films. So while streaming is fast becoming a Big Three industry, Netflix’s plan is to remain at the top of the triangle.

This article was updated on Dec. 8, 2025, with news of Paramount’s hostile bid.

David R. King, Higdon Professor of Management, Florida State University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Entertainment

Cineverse Partners With VA Media to Grow and Monetize Fandom-Focused YouTube Channels

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Cineverse is expanding its YouTube monetization strategy through a new partnership with VA Media. The effort begins with Dog Whisperer and targets broader growth across its fandom-focused channel portfolio.
WIDE Behind the scenes of studio set, shooting TV television cooking show featuring celebrity chef, professional TV production. Adobe Stock.

Cineverse Partners With VA Media to Expand YouTube Monetization Strategy

Cineverse has announced a strategic partnership with VA Media to accelerate growth and digital monetization across its expanding portfolio of fandom-focused YouTube channels.

The agreement will bring a YouTube-first strategy to Cineverse’s channel network, including longform and shortform content planning, channel optimization, financial modeling, and broader monetization support. The partnership will begin with Dog Whisperer with Cesar Millan, which Cineverse identified as its top revenue-generating YouTube channel.

Cineverse said its owned or operated YouTube channels currently account for more than 10 million subscribers and over 200 million video views. The company’s digital portfolio spans genres including horror, anime, romance, indie film, Asian cinema, and other fandom-driven categories.

VA Media, which specializes in YouTube strategy and social video monetization, will work with Cineverse to improve discoverability, strengthen channel performance, and unlock new revenue opportunities across YouTube and adjacent platforms.

The partnership reflects the growing role of YouTube as a core distribution and monetization channel for premium entertainment content.

For more information, visit Cineverse.

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STM Daily News’ Entertainment section delivers the latest on movies, television, music, pop culture, events, and industry buzz. From breaking news and trending stories to feature coverage and community-centered entertainment reporting, it keeps readers connected to what’s happening on screen, on stage, and beyond.

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Foodie News

McDonald’s and Netflix Launch KPop Demon Hunters Meals Nationwide

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McDonald’s is blending fast food, fandom and Korean-inspired flavors in a new collaboration with Netflix tied to the hit film KPop Demon Hunters. Beginning March 31, the chain will roll out two limited-time adult meals inspired by the movie’s rival groups, HUNTR/X and the Saja Boys, along with collectible photocards and app-based fan experiences. The promotion will be available at participating McDonald’s restaurants nationwide.

McDonald’s KPop Demon Hunters meals

The campaign introduces two themed meals built around the film’s central rivalry. The Saja Boys Breakfast Meal includes a Spicy Saja McMuffin, hash browns and a small soft drink, while the HUNTR/X Meal features a 10-piece Chicken McNuggets, medium soft drink, Ramyeon McShaker Fries, Hunter Sauce and Demon Sauce. McDonald’s said the menu was inspired in part by flavors from its South Korea restaurants, aiming to connect fans to the movie through food as well as pop culture.

The promotion also includes collectible card packs with each meal. Customers will receive a photocard featuring either HUNTR/X or the Saja Boys, plus a Derpy access card that can be scanned and entered in the McDonald’s app by April 26 to unlock early access to exclusive content and a special reveal tied to the “Battle for the Fans.” A new Derpy McFlurry, made with vanilla soft serve, berry popping pearls and wild berry sauce, will also be sold separately during the promotion.

McDonald’s and Netflix both described the collaboration as a way to bring fans deeper into the world of KPop Demon Hunters through menu items and interactive experiences. For STM Daily News readers in the food and drink section, the release highlights how major brands are increasingly turning entertainment partnerships into immersive dining promotions that combine limited-time flavors, collectible merchandise and digital engagement.

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Entertainment

One More Christmas Begins Production as Great American Media Unveils 2026 Holiday Original

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Candace Cameron Bure Stars in One More Christmas for Great American Christmas 2026 Meta Description: Great American Media has started production on One More Christmas, a new holiday movie starring Candace Cameron Bure and Jonathan Scarfe for 2026.
Stars Candace Cameron Bure and Jonathan Scarfe started production on One More Christmas, a New Original Movie for Great American Christmas 2026.

Great American Media has announced One More Christmas, a new original holiday film starring Candace Cameron Bure and Jonathan Scarfe, now in production for Great American Christmas 2026. The film adds another early title to the network’s seasonal lineup as it heads into its sixth year of Christmas programming built around faith, family, hope, and redemption.

In the film, Bure plays Anna, a woman who has been divorced from James Campbell, played by Scarfe, for five years. The former couple reunites over Christmas after their daughter invites the family to a Smoky Mountain cabin to meet her serious boyfriend. What starts as an uneasy holiday gathering shifts when a major ice storm traps Anna and James together, forcing them to revisit the past and consider whether their story is really over.

Why It Stands Out

The setup gives One More Christmas a built-in second-chance romance angle, but the family dynamic may be what gives it the most emotional pull. Great American Media is clearly leaning into the kind of heartfelt, values-driven storytelling its audience expects, while continuing to build Candace Cameron Bure’s presence across its holiday slate.

Bure is also serving as an executive producer on the film. Great American Media said she will star in two original movies for the 2026 season and executive produce another holiday feature still to be announced. Bill Abbott, President and CEO of Great American Media, said Bure continues to help define the tone and quality of the network’s Christmas programming.

Creative Team

One More Christmas is executive produced by Candace Cameron Bure, Jeffery Brooks, Ford Englerth, and Tim Owens for CandyRock Entertainment, with Eric Jarboe and Holly Hines executive producing for Happy Accidents. The screenplay is written by Taylor Kalupa and Masey McLain.

CandyRock Entertainment, Bure’s joint venture with Ford Englerth and Jeffery Brooks, has produced and distributed more than 40 television and film projects focused on family-friendly entertainment.

What to Watch For

As Great American Media continues to expand its holiday lineup, One More Christmas looks positioned as one of the network’s early attention-grabbers for 2026. Between Bure’s ongoing creative role, Scarfe’s addition, and the familiar mix of Christmas setting and emotional reconciliation, the film fits squarely within the network’s brand while giving viewers a story built around family tension, weather-forced closeness, and possible renewal.

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