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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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Food and Beverage

NYC to Host 5th International Volcanic Wines Conference on June 10

New York City will host the 5th International Volcanic Wines Conference on June 10, 2026 at Manhatta, featuring global volcanic regions, masterclasses, a Grand Tasting, and the Volcanic Wine Awards with JancisRobinson.com.

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New York City is about to get a crash course in “wines with a sense of place.” Volcanic Wines International (VWI) announced the 5th International Volcanic Wines Conference (IVWC), set for June 10, 2026 at Manhatta in Manhattan. The one-day event brings together producers, sommeliers, buyers, journalists, and educators for tastings and masterclasses focused on wines grown in volcanic soils—an increasingly talked-about category known for its tension, mineral-driven structure, and unmistakable origin.

red wine pouring into glass close up shot. 5th International Volcanic Wines Conference (IVWC)
Photo by Andrew Patrick Photo on Pexels.com

Why volcanic wines are having a moment

Volcanic vineyards sit on some of the planet’s most dramatic landscapes—think steep slopes, black sand, and lava-strewn terrain. But the conference isn’t just about scenery. The IVWC is built around a simple idea: volcanic terroir can shape wine in distinctive ways, influencing everything from texture and acidity to aromatics and perceived “energy” in the glass.

As VWI co-founder John Szabo, MS put it, volcanic wines often stand out for their “energy, structure, and clear sense of origin,” making them a natural fit for wine lists that prioritize discovery.

A global tasting tour—without leaving Manhattan

Hosted in what VWI calls the largest and most influential wine market in the U.S., the conference offers a rare side-by-side look at volcanic regions from around the world. Participating producers are expected from territories including:

  • Etna (Sicily)
  • Santorini (Greece)
  • Canary Islands (Spain)
  • Hungary
  • Pantelleria (Italy)
  • Lake County (California)

Masterclasses, seminars, and a Grand Tasting

The June 10 program is designed for wine professionals who want to go deeper than a quick sip. Attendees can expect guided tastings and educational sessions exploring how different volcanic soils—and the climates that surround them—can influence grape varieties and wine styles.

Seminars are slated to spotlight volcanic wines from:

  • Soave (Italy)
  • Etna
  • Hungary
  • Canary Islands
  • Lazio (Italy)

The day also includes a Grand Tasting, where exhibiting wineries will pour for a curated audience of sommeliers, buyers, importers, educators, and media.

A new “Volcanic Origin” certification will be announced in the U.S.

One of the headline moments: the conference will host the official U.S. announcement of a new Volcanic Origin certification, created by the Vinora association of Auvergne, France. The certification is designed to help recognize authentic expressions from volcanic regions worldwide—an important step as interest grows and consumers look for clearer signals of provenance.

Volcanic Wine Awards + JancisRobinson.com partnership

VWI also highlighted a major media partnership with JancisRobinson.com for the Volcanic Wine Awards, an international competition celebrating standout wines from volcanic regions.

Award-winning wines will be featured on JancisRobinson.com and showcased in a dedicated space during the NYC conference.

“Volcanic regions produce some of the most characterful wines in the world,” said Tara Q Thomas, Managing Editor at JancisRobinson.com, adding that the partnership aims to bring greater attention to these terroirs.

The big picture: story-driven wine in a crowded market

Beyond the technical details, the conference is tapping into something the wine world is actively chasing: narrative and identity.

“Today more than ever, the wine world needs compelling stories that reconnect wine lovers with place and identity,” said Gino Colangelo, President of Colangelo & Partners and partner in VWI. Volcanic wines, he noted, offer “dramatic landscapes, ancient soils, and wines with unmistakable character.”

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How to attend or exhibit

For information about exhibiting or attending, VWI directs inquiries to Bianca Panichi at bpanichi@colangelopr.com. Updates are also available at www.volcanicwinesinternational.com, with social channels on Instagram (@volcanicwines_intl) and Facebook (Volcanic Wines International).

What to watch for (STM Daily News)

  • Whether the new Volcanic Origin certification becomes a widely adopted benchmark
  • Which regions and producers dominate the Volcanic Wine Awards spotlight
  • How volcanic wines continue to move from “sommelier obsession” to broader consumer demand

Hungry for what’s next? STM Daily News’ Food and Drink section dishes up the latest in restaurant news, beverage trends, seasonal recipes, culinary events, and food culture stories readers love to share.

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Entertainment

Grief Fest Launches as a Holiday Film Festival for Stories of Love, Loss, and Healing

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people gathering in a street. Grief Fest
Photo by Luis Quintero on Pexels.com

New hybrid event aims to give grieving audiences meaningful holiday viewing, with films from more than 25 countries and a mission centered on love, loss, and emotional truth.

A new film festival debuting in late 2026 is taking a different approach to holiday entertainment. Grief Fest™: The Grief Film Festival, created by My Grief Angels Inc., is being introduced as what organizers believe is the world’s first film festival dedicated entirely to grief, remembrance, resilience, and healing.

The hybrid festival will run in two segments: November 25–29, 2026, during Thanksgiving week, and December 24, 2026, through January 3, 2027, during Christmas and New Year’s. Top Honors films will be announced on December 31, 2026.

My Grief Angels Inc Image
GriefFest.com

Organizers say the timing is intentional. Research cited in the announcement shows that grief and loneliness are major holiday stressors for many Americans, making the season especially difficult for people coping with loss. In that context, Grief Fest™ is positioning itself as an alternative to the flood of traditional feel-good holiday programming.

The festival is open to short films, features, documentaries, experimental work, AI-generated projects, and VR experiences. It is described as inclusive, non-religious, and LGBTQ+ friendly, with submissions already received from more than 25 countries. All films will be presented in English, either spoken or subtitled.

Grief Fest™ will be available both in person and virtually through Film Festival Plus, making it accessible to audiences worldwide. The launch of GriefFest.com also includes Lumen, a multilingual AI guide designed to help filmmakers and attendees navigate the festival in their preferred language.

Rather than focusing on industry prestige, organizers say the festival is centered on community and emotionally honest storytelling. For audiences who feel unseen during the holidays, Grief Fest™ is aiming to offer something rare on the seasonal screen: recognition.

Source: PR Newswire

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anime

Bible Anime Series in Development at Texas Studio With Global Faith-Based Ambitions

A Texas animation studio is developing a TV-MA Bible anime series, blending faith-based storytelling with cinematic anime for global streaming audiences.

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Last Updated on April 10, 2026 by Daily News Staff

A Fort Worth animation company is betting that faith-based storytelling and anime can meet in a way that feels cinematic, serious, and built for modern streaming audiences.

History In Motion Studios has announced Shinjitsu Ugoki (Truth Movement), a TV-MA Bible anime series now in development. The Texas-based studio says the project is designed for mature audiences and will present biblical narratives through serialized storytelling, theological research, and character-driven drama.

vibrant night life in akihabara tokyo. Bible anime series
Photo by Vinny Anugraha on Pexels.com

The announcement places the studio at the intersection of two growing markets: faith-based entertainmentand the global anime industry. Rather than aiming for a traditional family format, the series is being positioned as a more intense, long-form production shaped by conflict, consequence, and spiritual tension.

History In Motion Studios is also using Unreal Engine as part of its production pipeline to support cinematic world-building and high-fidelity environments. Script development, early character design, and broader production planning are underway through 2026.

Founder Edith Alvarado said the studio sees a major opportunity in bringing biblical storytelling into anime.

History In Motion Studios Shinjitsu Ugoki Photo
Key visual from Shinjitsu Ugoki, an original serialized anime by History In Motion Studios, presenting a raw, character-driven narrative shaped by conflict, consequence, and spiritual tension; reflecting the studio’s commitment to mature storytelling, thematic depth, and TV-MA narrative development.

“As audiences continue to seek meaningful, story-driven content, we believe there is significant opportunity within the anime format to engage biblical narratives with depth and seriousness,” Alvarado said. “The question isn’t whether biblical stories belong in anime, it’s why it took this long. We’re here to change that; Anime will know the story of Jesus.”

The women-led Christian studio operates out of Fort Worth, adding to the growing list of independent creative companies building outside traditional entertainment hubs. As of Q1 2026, the series remains in active development, with more partnership and expansion announcements expected later this year.

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Source: History In Motion Studios

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