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    Comcast Explores Spin-Out of Cable Business

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    The company’s president, Mike Cavanagh, said the company was also considering finding a partner for its Peacock streaming service.Comcast, one of the nation’s biggest television companies, said on Thursday that it was weighing whether to cleave its cable networks from the rest of the company, a move that could put it in position to shake up the struggling cable industry.Mike Cavanagh, the company’s president, said on an earnings call that the company could put the cable networks owned by its NBCUniversal division — which include Syfy, Bravo and USA — into a new company.As Americans continue to drop their cable TV subscriptions, cable networks are generally considered the most problematic part of traditional media businesses like NBCUniversal.“Like many of our peers in media, we are experiencing the effects of the transition in our video businesses, and we have been studying the best path forward for these assets,” Mr. Cavanagh said.Mr. Cavanagh said that the new company would be owned by Comcast shareholders and that it would be “well capitalized” — implying that it would not be loaded up with debt from its parent company, a common tactic for corporate spinoffs. NBC — a broadcast network owned by Comcast — would probably not fit into the new company.His comments came after Comcast reported a 3.3 percent decrease in net income last quarter, even as revenue increased by 6.5 percent, to $32 billion. The company reported losses of 87,000 U.S. customers for its broadband services compared with the same period last year, and cable TV subscribers continued to decrease. The company’s share price was up nearly 3 percent in midmorning trading.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Social Media Olympics

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      More lenient posting rules for Olympic athletes have helped spark a deluge of successful social media content. Some say that’s changing how we watch the Games.Just moments after the American wrestler Sarah Hildebrandt won a gold medal at the Paris Games, she let the whole world know what she was thinking:“Oh my gosh I just won the FREAKING OLYMPICS hahahahah DUUUUDE,” she wrote on social media from the event venue.The post may seem like something athletes always do. But at the Olympics, it’s part of a new twist — and one of the keys to returning to the sense of a shared national experience that defined the Games of yesteryear.For the last decade or more, it has seemed like the Olympics have struggled to capture relevance the way they did a generation ago. Blame was assigned to a fracturing media landscape and a long string of asterisks (pandemic restrictions in Tokyo, time zone issues in Beijing, a Zika outbreak in Rio de Janeiro, geopolitical tensions in Sochi).But the reason may have been simpler: The Olympics has largely been missing from social media. The closely guarded intellectual property of “the Olympic rings” meant video from the Games was posted only in limited ways, with broadcasters worried that they would run afoul of strict rules or anxious that they would cannibalize their own broadcasts.New, more lenient social media rules for athletes announced ahead of the Paris Games and a rethink among broadcasters — as well as the ability of social media companies to geofence certain content — appear to have changed virtually everything.And audiences are cheering.Athletes can now “create personalities just like any influencer would,” said Apolo Ohno, the eight-time Olympic medalist in short-track speedskating. “It’s unlike anything before.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Business of Being Lorne Michaels

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      For 50 years, Michaels has managed both the weekly circus of producing “Saturday Night Live” and the broader task of keeping it relevant. How does he do it?It’s 1:01 a.m. on a Sunday morning in May, and Lorne Michaels, the creator and producer of “Saturday Night Live,” has just finished the final episode of the 49th season. He spent those 90 minutes pacing backstage, hands in pockets, surveying the actors, allowing himself only an occasional chuckle of satisfaction.As members of the cast flood onstage to celebrate another year in the books, they enthusiastically hug one another and the evening’s host, the actor Jake Gyllenhaal, and musical guest, the pop phenom Sabrina Carpenter.But on the floor, Michaels, 79, has just concluded his 20th show of the year with resignation: “I only see the mistakes,” he says. Some jokes could have landed better, and he is second-guessing his choice to shorten certain skits. He is likely to spend the weekend perseverating about every detail, he says. By Monday, he’ll find some degree of contentment — until he has to do it all over again.Michaels, through “S.N.L.,” has built an entertainment empire that has survived for half a century despite the dismantling of traditional television.He is loath to call himself a chief executive, but underneath his Canadian humility he has become something of a management guru: He spends his days recruiting supertalents, managing egos, meeting almost impossible weekly deadlines, wading into controversy — in most cases deftly — and navigating a media landscape that has put many of his peers out of business.All the while, unlike most chief executives who have become the face of their brand, he has studiously avoided the spotlight.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      For Cesar Conde, NBC’s News Chief, Corporate Polish Meets Partisan Reality

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      Cesar Conde, a leader with an M.B.A. but a limited journalism background, is facing the toughest scrutiny of his career.Cesar Conde is not the typical leader of a major news institution.A Wharton-trained executive who revived the fortunes of Telemundo and sits on the boards of Pepsi and Walmart, Mr. Conde had limited experience in journalism when, in 2020, he became the chairman of NBC’s sprawling news division, including MSNBC, CNBC and franchises like “Meet the Press,” “Nightly News” and the “Today” show.Now he is trying to navigate the biggest crisis of his tenure: a journalistic firestorm that prompted an open revolt among his stars and has fueled internal questions about just how neatly Mr. Conde’s corporate experience and ambitions gel with the unique challenges of the news business.The rapid hiring and dismissal of Ronna McDaniel, the former chairwoman of the Republican National Committee, stunned network journalists over the past week, with many asking why Mr. Conde and his deputies had brought on someone who had vilified NBC and advanced former President Donald J. Trump’s efforts to overturn the 2020 election.The blowback facing Mr. Conde, 50, a former fellow in George W. Bush’s White House who prides himself on having an even-keeled, nonpartisan reputation, is coming from both sides of the aisle. Left-leaning fans of MSNBC felt betrayed, and Republican officials are mocking NBC as biased, even threatening to bar its reporters from this summer’s nominating convention.At elite retreats like the Aspen Ideas Festival, Mr. Conde, who declined to be interviewed, likes to say he runs “the largest news organization in the country.” As he heads into the scrutiny of a general-election campaign, he is discovering just how hard that job can be.Two of Mr. Conde’s newsroom leaders — Rebecca Blumenstein, the NBC News president of editorial, and Carrie Budoff Brown, who oversees political coverage — recommended Ms. McDaniel to Mr. Conde; Rashida Jones, the MSNBC president, also signed off, according to two people familiar with the discussions. Mr. Conde trusted the judgment of his top journalists, the people said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Donna Langley, Universal Chair, Bet Big on ’Oppenheimer’

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      Under Donna Langley’s leadership, Universal has managed the rare feat of achieving creative dominance and commercial supremacy at the same time.“Queen!”It was a Friday night in January, and Snoop Dogg had just rolled into a cocktail party hosted by Donna Langley, NBCUniversal’s chief content officer and studios chairwoman. His shouted greeting, paired with a jaunty deferential dance, seemed to leave her a bit embarrassed. “We’re here to celebrate filmmakers and films,” Langley told the room a few minutes later. “This is not about me.”For an executive who ardently prefers to stay in the background — she declined to be interviewed for this article and dispatched a lieutenant to try and kill it — the 2024 Oscar trail has been an awkward one. Like it or not, this moment in Hollywood history is very much about her.It was Langley who, in a wild bet on a three-hour period drama about a physicist, gave Christopher Nolan the money to make “Oppenheimer.” It won seven Oscars on Sunday, including the ones for director and best picture. Nolan started his acceptance speech for best director by saying, “Donna Langley — thank you for seeing the potential in this.”Nolan’s film helped Universal be No. 1 at the worldwide box office in 2023, ending an eight-year reign by Disney.Antony Jones/Getty ImagesDa’Vine Joy Randolph won the supporting actress Oscar for her performance as a grieving mother and boarding school cook in “The Holdovers,” which was released by Focus Features, a specialty film studio that Langley also oversees.In a rare achievement, Universal’s creative dominance has coincided with commercial supremacy: The studio was No. 1 at the worldwide box office in 2023, selling nearly $5 billion in tickets and ending an eight-year reign by Disney. Moreover, Universal reached audiences the old-fashioned way — by serving up movies from a mix of genres, with nary a superhero to be found. “The Super Mario Bros. Movie” ($1.4 billion) led the way, followed by “Oppenheimer” ($958 million), “Fast X” ($705 million), “Five Nights at Freddy’s” ($291 million) and “Migration” ($279 million).We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More