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Vox Media Podcast Network

Media and tech aren’t just intersecting — they’re fully intertwined. And to understand how those worlds work, and what they mean for you, veteran journalist Peter Kafka talks to industry leaders, upstarts and observers - and gets them to spell it out in plain, BS-free English.
Part of the Vox Media Podcast Network.

Recode Media with Peter Kafka

Jason Blum built one of Hollywood’s smartest businesses: make low-budget horror movies, give filmmakers room, pay talent on the back end, and let the hits carry the misses. It worked so well that it became a Harvard Business Review case study.But the movie business that made that model work has changed: Theatrical is weaker, lots of people are making horror movies, studios are consolidating, and AI is the latest thing Hollywood is supposed to fear — or embrace.So I sat down with Blum at a live Business Insider event in San Francisco to ask what still works. We talked about why his new Mummy movie is a very different bet than the movies that built Blumhouse, why he thinks consolidation is bad for Hollywood even if new buyers like Amazon and Apple help offset it, why he’d make AI disappear from moviemaking if he could — while still insisting his team learn how to use it — and what he learns from flops.
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Jason Blum Built a Hit-Making Movie Machine. Does It Still Work?

Sam Altman has spent years presenting himself as the face of AI: The guy warning that the technology could change everything, and the guy insisting that he should be the one to build it. Now we are facing some overdue questions: Can we trust Sam Altman with the massive power AI may generate? And should we trust anyone with that power? 

Ronan Farrow and Andrew Marantz join me to talk about their New Yorker profile of the OpenAI CEO, the internal fights around OpenAI’s mission, and why so many people who’ve worked with Altman keep coming back to the same concerns about trust. 

We talk about Altman’s talent for telling different audiences different things; why Silicon Valley’s usual tolerance for founder myth-making looks different when the product is AI; and how OpenAI went from warning about dangerous race dynamics to helping kick one off with ChatGPT. 

Then we broaden out: if the real problem is structural, not just personal, what kind of oversight should exist for the people building a technology they say could reshape all of our lives?

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Ronan Farrow and Andrew Marantz on Sam Altman’s Trust Problem

Jonathan Glatzer has written for shows like Succession and Better Call Saul. Now he’s got his own: The Audacity, a new AMC drama set in Silicon Valley.So why make a Silicon Valley show right now — and what, exactly, is he trying to say about tech? 

Glatzer tells me he wasn’t interested in making a wall-to-wall “tech show,” or in doing spot-the-billionaire satire. Instead, he says, he wanted to focus on the people living inside that world: the strivers, service providers, almost-rich neighbors, therapists, and families orbiting vast amounts of money and power.

We talk about why privacy and data collection still worry him more than AI hype; why he thinks tech has failed to deliver on many of its biggest promises; and why he’s more interested in the human consequences of Silicon Valley than in explaining how the industry works. 

Plus: what it means to make a prestige-style TV drama in a post-Peak TV market, why AMC was willing to take a swing on this one, and how you fake Silicon Valley by shooting in Vancouver.
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What Happens When a “Succession” Writer Takes on Silicon Valley

Elon Musk has spent the last year being quieter than usual — by Elon Musk standards.That may be about to change in a very big way, as his SpaceX moves toward what could be one of the biggest IPOs in history. So what, exactly, is Musk selling? A rocket company? A satellite internet giant? An AI play? Or just the latest, biggest version of Elon himself?Bloomberg’s Max Chafkin, who has been tracking Musk for a couple of decades, joins me to walk through what Musk has actually been up to lately. We talk about what SpaceX is now that it includes multiple businesses under one roof; why Musk might want to take it public after years of insisting he didn’t; and how much of the pitch is grounded in real operating businesses — rockets! Satellite internet! — versus the familiar promise of something much vaguer and hard to assess.Then we broaden out: Tesla’s drift from car company to AI-and-robotics story, whether X is still a business or simply a political and cultural weapon, and what changed after Musk’s break with Trump. The bigger question underneath all of it: has Musk built a coherent empire — or just a very effective machine for turning hype, power, and celebrity into capital?
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Why We Need to Pay Attention to Elon Musk Again

Prediction markets are suddenly everywhere: in sports, in politics, in the media business — and, depending on who you ask, they’re either a useful forecasting tool or just gambling with better branding. So what changed? And why is the federal government sounding more like a booster than a regulator?

WIRED’s Kate Knibbs joins me to explain why she made prediction markets her beat, how Kalshi and Polymarket went mainstream, why Trump-world is so friendly to them, why some states are trying to stop them, and what happens when more and more of public life gets turned into a bet. We also talk about media companies cutting deals with prediction-market firms, the blurry rules around insider trading, and why this story is really about the casino-fication of everything.
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Why Prediction Markets Are Turning Everything Into a Bet

Lots of publishers are freaked out about “Google Zero” — the notion that one day, Google will stop sending them any traffic at all.

That’s more or less already happened at People Inc., says CEO Neil Vogel. Vogel says Google used to account for 70% of his properties’ traffic, but dropped off quickly in the last couple years. Now Google represents about 25% of his mix.

That decline is supposed to be an existential problem for people like Vogel, who built a series of sites designed to harvest search traffic. Instead, he’s growing at a double-digit clip.

One reason People Inc. is doing well is that Vogel, backed by Barry Diller’s IAC, bought People, along with all the other titles owned by magazine publisher Meredith back in 2021. Turns out many of those brands still mean something to lots of people.

Meanwhile, Vogel has been happy to sign deals with AI companies like OpenAI. Isn’t there a chance those companies will end up being unreliable partners, just like platforms of the past? Sure, Vogel says. But he’s willing to take the chance — and the money those AI companies are providing — and figure it out as he goes.

“There is a chance we are a hundred percent wrong on all of this,” he tells me. “There's a chance that we're a hundred percent right. The truth is probably somewhere in between.”
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How to Survive without Google: People Inc's Playbook

Oscar season is supposed to be Hollywood’s lap. It is also, increasingly, a reminder of how shaky things are in Hollywood right now. And this one comes as one of the town’s most prominent players is about to be swallowed by a new mogul, backed by tech money.

Here to unpack all of it is Puck’s Matt Belloni, who explains why we may never see an Oscars like this again; how the show will — or won’t — change when it migrates to YouTube in a couple years; how the movie business thinks about the upcoming Paramount/WBD deal; and some 100% not guaranteed betting advice for Sunday night’s show.
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Matt Belloni on the Oscars, the Ellisons, and Hollywood’s Next Chapter

The World Cup is coming to the U.S (and Canada, and Mexico) in less than 100 days.

Perhaps you’re an American who doesn’t care about soccer, and has given this news zero thought. That won’t be an option when the games arrive, says Roger Bennett. The CEO of the Men in Blazers podcast network — and author of “We Are the World (Cup)”, a personal history of the tournament — tells me this won’t be like anything we’ve seen here; even for old timers like me, who can remember the 1994 edition, which the U.S. also hosted.

This time around, Roger predicts, we are going to feel the “global eclipse” of attention the games generate, and will be astonished when places like Kansas City and Seattle turn into temporary versions of Argentina and the Netherlands. Even if you don’t watch a single second of a single game, you won’t be able to ignore it.

The other thing you won’t be able to ignore: The fact that America is hosting the world at the same time it is telling much of the world to pound sand. What happens if/when “America First” politics, visas, and Homeland Security become part of the tournament’s story?
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The World’s Cup Is Coming to Trump’s America, with Roger Bennett

Netflix shocked the world last year by winning a deal to buy Warner Bros. Discovery. This week it shocked us by walking away.In this emergency bonus episode, CNBC’s Alex Sherman walks us through the whiplash: Why Netflix chose not to counter Paramount, what the market blowback signaled, and how much of this was about price versus the very real prospect of a long, ugly regulatory and political slog.Then we spin it forward: what a Paramount/WBD mash-up means in practice (translation: overlap, “synergies,” and a lot of job anxiety)? What happens to crown-jewel assets like HBO and CNN? And why this isn’t just another media merger, but a power shift. We don’t really know what David and Larry Ellison have planned for their newly acquired media empire — but we do know that they are now very big players.
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Netflix Walks, Paramount Wins, and the Ellisons Take Hollywood

Brian Stelter puts its clearly: "All M&A runs through the Oval Office right now.” So how much does Trump matter in the Netflix/Paramount battle for Warner Bros. Discovery — and what does he want out of it?

Stelter, CNN’s chief media analyst and author of the newsletter Reliable Sources, walks us through the information vacuum around the deal, Trump’s habit of inserting himself as a would-be kingmaker, and the harder-to-prove question haunting every newsroom: not just what Trump says out loud, but what companies do (or don’t do) because they’re afraid to become his next target.

Then we broaden out: Brendan Carr’s FCC and broadcast pressure, the Nexstar/TEGNA fight, and what’s going on in Murdochland when Trump can sue the Wall Street Journal and still break bread with Rupert Murdoch. Plus: the state of CNN — and what it’s like to work at a network that may have a new owner sooner than later. 
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Brian Stelter on the Trump Media Shakedown Era

Duncan Jones, director of the new movie "Warcraft," talks with Recode's Peter Kafka about pleasing both gamers and non-gamers while adapting a popular video game to the big screen. He describes "Warcraft" as a spectacle that should be seen in theaters, but is already working on "Mute," a smaller-scale follow-up to his low-budget debut picture "Moon." Jones also reflects on the death of his father, David Bowie, and the current state of the digitally shifted movie business.
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"Warcraft" director Duncan Jones: Don't watch this movie on an iPhone

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