Channels with Peter Kafka

AI is already doing much more than most of us realize. So what happens when it starts doing more of your work—and when it starts deciding what work you should hand over?

I talk to Wharton professor Ethan Mollick, whose new book is Co-Existence, about the real AI update: why today’s models are radically more capable than the chatbots people remember; how to think about your job and your kids’ careers; why AI may break the system that trains young workers; and why agents that can cancel subscriptions, read your email, and take action on your behalf are both useful and unnerving.

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It feels like 2022 all over again: Netflix has hit a wall, and is scrambling to respond. That means layoffs, a purge of its top content people and… what else?

Then Derek Thompson — one of the guys Barack Obama reportedly reads to keep on top of tech — gives me his blunt summary of Substack economics: “Dimes for analysis, dollars for facts, and Benjamins for facts about AI.” We talk about why the US is building data centers but not houses, why podcasts are turning into TV, and why the screens that fill our free time may also be making us more antisocial.

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Most of us stopped watching traditional TV a long time ago. Political campaigns, meanwhile, still spend most of their ad money there.
Rob Flaherty has been trying to change that from inside Democratic politics. He’s been the digital guy for Hilary Clinton, and then Joe Biden, and then Kamala Harris’ 2024 campaign. (Here’s his post-mortem of that one.) Now he runs a political shop of his own.

We talk about why campaigns are still built around TV ads; why campaign consultants have financial incentives to keep buying them; and what it takes to reach voters who live on TikTok, YouTube, podcasts, group chats, and algorithmic feeds instead.

We also talk about the difference between paying creators and earning their attention, why some candidates can make social media work without becoming AOC or Zohran Mamdani, and why the next real wave of political innovation may come from the 2028 primaries.

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Larry Ellison bought his son a media empire. What does he want from it? Vanity Fair’s Tom Dotan joins me to talk about the billionaire behind Paramount and Warner Bros., his connection to TikTok, and his politics. Tom’s reporting suggests there may be less of a master plan than you’d think. We also discuss why even Ellison’s enormous fortune has limits—and how his media bets are tied to Oracle’s AI gamble.
Then, Kevin Roose joins me to discuss his new book, The AGI Chronicles, and a question I keep coming back to: Why did people who think AI could destroy humanity work so hard to build it? We talk about whether those same people can be trusted to slow things down, and I push Kevin on the gap between AI’s promises and what most of us experience. Plus: Why he left The New York Times to build a media business with Casey Newton.

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David Ellison has won Warner Bros. Discovery. Now he has to figure out what, exactly, to do with it.

LightShed analyst Rich Greenfield joins me to talk through the next version of the Paramount-Warner empire: Why Ellison wants to be Netflix; why CBS and the NFL still matter so much; and why simply bolting Paramount+ onto HBO Max won’t magically create a winning streamer.

Then we zoom out to the much bigger problem for Hollywood: AI is making it easier and cheaper to create video, which could mean an explosion of stuff to watch — and a real challenge to the value of giant movie and TV libraries. Rich thinks the winners will need to become platforms, not just studios. We also talk about Meta’s Muse, and why Rich thinks it could be a much bigger deal than people realize.

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I went to Meta’s Silicon Valley headquarters to try Mark Zuckerberg’s newest face computer: a $1,300 pair of virtual-reality glasses that are much lighter and cheaper than Apple’s Vision Pro, and still make you ask a very basic question: What am I supposed to do with this thing?
So I asked my pal Mike Isaac, the New York Times tech reporter and longtime Meta watcher. We talked about why Meta keeps spending billions trying to put computers on our heads, why this version might have a better shot than the last ones, and where Meta’s fast-growing Muse AI agent fits into the company’s plan.
Then we turn to the much bigger—and darker—AI story Mike has been reporting on: The fight over whether the companies racing to build more powerful AI systems can actually control them. What are the real risks? Who gets to decide what counts as “safe enough”? And what happens when the people building this stuff say they can’t afford to slow down?

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AI companies have spent years telling us that we’ll be able to use them to go shopping for us, or book us airplane tickets, or get us awesome restaurant reservations. None of that ever materialized.
But in the last few weeks, services like Instinct and Meta’s Muse have made that promise feel much less theoretical. Are they actually ready? What’s holding them back? And, crucially: Do we even want them doing this stuff for us?

My pal Jason Del Rey, a longtime journalist who now writes The Aisle newsletter, spends all his time learning and thinking about this stuff. We talk about what “agentic shopping” really means, why it’s been harder to build than Silicon Valley expected, and what happens if it finally works: Who wins, who gets cut out, what happens to advertising — and why Amazon may have more to lose than almost anyone.

And since you’re here: Channels listeners can starta 30-day free trial of The Aisle here. Or if Jason already sold you,subscribe today.

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Nicholas Thompson runs one of the few media companies that can say things are going pretty well: The Atlantic is profitable, growing, and boasts 1.6 million subscribers.
But that's today. What comes next is the bulk of our conversation: Thompson — a big AI guy — tells me what The Atlantic's deal with OpenAI has and hasn't delivered, why he thinks publishers may need to make money from a web increasingly run by bots and agents, and what he thinks his actual human readers want.
Also on the docket: What it means to work for a media company owned by billionaire Laurene Powell Jobs; why he’s making his own sponsored videos and podcasts while running a 168-year-old magazine; and what The Atlantic learned from its first attempt at "let's work with Creators strategy" a few years ago.

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Not long ago, most Americans had never heard of data centers. Now most Americans are actively opposed to them.
It’s a head-snapping change — one that is befuddling tech bosses, and forcing some politicians to quickly change their tune.
It’s the second part that I wanted to talk to David Weigel about. Weigel has been covering politics for years — he’s at Semafor now — and has a well-earned reputation for on-the-ground reporting, around the US. So I wanted his point of view on why the anti-data center movement — and the anti-tech movement in general — has sprung up, and how it is scrambling elections around the country.
Plus: Elon Musk’s return to midterm politics, the growing revolt against Flock cameras, and what it takes for a political reporter to figure out whether an online argument is real in the first place.

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Microdramas are the new phone-first soap operas: stories chopped into dozens of one-minute episodes: Low-budget productions filled with romance, werewolves, secret babies, and cliffhangers—and, eventually, a request that you pay to keep watching. Surprisingly, lots of people do.
So how big is this business? And is it sustainable?
I talk with Ali Albazaz, the CEO of Inkitt, which runs the CandyJar microdrama app, about turning web fiction into video, why he thinks CandyJar can be the HBO of microdramas, and why he is now making AI-generated action and superhero shows for men. Then I talk with Hernan Lopez of Owl & Co., whose new report estimates microdramas are already a $4 billion business outside China. We also talk about the obvious looming question: What happens when TikTok decides it wants to own this business itself?

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Sports teams keep selling for more money because, in theory, their media rights keep becoming more valuable. But the companies that actually pay for sports TV are starting to push back.

John Ourand of Puck joins me to break down Bob Iger and Josh Kushner’s $12.5 billion deal for the Los Angeles Lakers— and whether the number makes sense if local and national TV money is no longer guaranteed to keep rising.

Then: the NFL wanted its TV partners to reopen their current rights deals early and pay more now. Fox’s Lachlan Murdoch said no, and John explains why NBC, ESPN, Amazon, and everyone else seems happy to let Fox take the heat. Also discussed: Apple’s very different bets on MLS and Formula 1, why ESPN let F1 go, and whether the WNBA is wisely spreading its games across many networks—or making fans hunt for them.

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Joanna Stern spent more than a decade explaining technology to Wall Street Journal readers. Now she’s doing it on her own — with a new media company, New Things, and a new book, I Am Not a Robot, about spending a year outsourcing as much of her life as possible to AI.

Joanna and I talk about what AI turned out to be surprisingly good at, why robots still can’t fold your laundry, and why she thinks the new Siri is a very big deal. We also try to figure out why OpenAI and Jony Ive think we need a new screenless gadget — and whether anyone actually wants to spend less time looking at screens.

Then: What happens when a star journalist leaves a giant media company and has to build a business herself? Joanna tells me how much work goes into the ambitious YouTube videos she’s making, whether they actually pay for themselves, and whether she wants New Things to stay the Joanna Stern show or become something bigger.

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Two years ago, Oliver Darcy left CNN and launched Status, a paid newsletter focused on the media business. The basic bet was that readers would pay for the scoops and insider reporting he had been producing at CNN.

That bet appears to be working. Status now has four full-time employees, more than 130,000 people on its email list, and “many thousands” of paying subscribers. Darcy has also added advertising, a podcast and YouTube show, and an upcoming live conference. He says subscriptions alone support the newsroom—and that he wants to build a media company that can eventually thrive without him.

I asked Darcy how the business has evolved, what actually converts readers into paying subscribers, and why he’s spending money to expand a simple and profitable newsletter operation.

We also talked about the story Status has covered more aggressively than any other over the past year: Bari Weiss’s takeover of CBS News, the upheaval at 60 Minutes, and what David Ellison may do with CNN if Paramount completes its Warner Bros. Discovery deal.

And Darcy explains why he thinks much of the media press is too soft—and why he thinks the Status house style isn't hyperbole, but candor.

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When I last talked to Bloomberg’s Lucas Shaw, Netflix was buying Warner Bros. Discovery. Six months later, Paramount has the deal — but, surprisingly, it’s on hold while a group of states tries to block it in court.
Lucas and I talk about whether Larry and David Ellison can still muscle the acquisition through, how long the fight could drag on, and what this fall’s elections could mean for the would-be deal.
Then: Netflix says it doesn’t have an engagement problem, even as it gives investors less data and searches for its next big source of growth. And Hollywood is celebrating a blockbuster summer — but moviegoing remains far below its historic peak. Are the movies actually back?
Also discussed: YouTube’s emergence as Hollywood’s new farm system, and why Comcast decided to get out of the media business.

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You are a normal person, so if you think about “people writing their own newsletters” you probably think: “Substack”.

But just as Xerox isn’t the only way to make photocopies, Substack doesn’t own the professional newsletter industry.

So let’s meet a competitor: Beehiiv, run by 32-year-old CEO Tyler Denk. Denk helped build Morning Brew’s newsletter machine before launching Beehiiv, and he has a clear pitch for creators thinking about using one versus the other: Substack wants readers to open its app, follow writers, and spend time in a Substack-branded social network. Beehiiv wants to disappear into the background while its customers build brands of their own.

Denk helped build Morning Brew’s newsletter machine before launching Beehiiv, which now powers everyone from independent journalists (previous Channels guests Lachlan Cartwright and Oliver Darcy both use it to power their media newsletters) to companies like Time and TechCrunch.

He joins me to explain why he thinks the newsletter business still has lots of room to grow — even though my inbox suggests otherwise — and why advertising, not just subscriptions, can support the next wave of independent media businesses.

Also discussed here: Why Denk used to think a business like his would most definitely be replaced by vibe-coded software, and why he no longer thinks that.

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Chris Balfe is the CEO of Red Seat Ventures, the company behind some of the biggest names in podcasting, including Megyn Kelly, Tucker Carlson, Bill O’Reilly, and, more recently, Kill Tony. Since we last spoke, Red Seat has been acquired by Fox, making it one of the company’s biggest bets on the creator economy.

So I asked him what that actually means—for Fox, for creators, and for the podcast business itself.

We talk about why Netflix is offering huge checks to podcasters, and why Chris thinks many creators should think twice before taking the money. We discuss YouTube’s rise, why he thinks “podcast” is becoming an outdated term, and why video—not audio—is now driving much of the industry’s growth.

We also get into one of his biggest concerns: the clipping economy. Chris argues that podcast creators and media companies have spent years giving their best content to TikTok, Instagram, and other platforms for little or no compensation—and that the economics of short-form video increasingly benefit the platforms, not the people making the shows.

And, of course, we talk about Fox: what has (and hasn’t) changed since it bought Red Seat, why Tucker Carlson and Megyn Kelly stayed after the acquisition, and how Fox sees creators fitting into its future.

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Joe Kahn runs the New York Times newsroom, which means he runs the most powerful news operation in the world. He joins me to talk about what that power is for — and why he thinks the Times’ next big transformation is video, and why the paper is in “a race against time” to compete with "AI-generated slop.” We also discuss whether the Times is really a Games company now, how he handles angry readers, why he’s wary of the creator economy, what star reporters are worth, and how the Times is using AI while suing OpenAI.

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We originally published this interview with Bloomberg's Joe Weisenthal on Feb. 11, 2026, and it's one of my favorite chats of the year. We'll be back with a new conversation on July 8.

If Joe Weisenthal didn’t exist, the internet would have to invent him. Because Joe Weisenthal is built for the internet — more specifically, an internet personality: Knows a lot, curious about even more, often right, happy to be wrong, always has something to say about anything.

That persona/personality did wonders for Joe in the early days of Business Insider — which, not coincidentally, were also the early days of Twitter, where Joe really took off. Then he took his talents to Bloomberg, and since then has turned himself into a successful business/finance podcaster: Along with co-host Tracy Alloway, they’ve turned “Odd Lots” into a project no one at their employer knew or cared about into a genuine hit.

Discussed here: Why Joe is still at Bloomberg, instead of doing the indie media route that could make him a gazillion dollars; what makes a perfect podcast guest; and Joe’s semi-secret country music ambitions. Plus something smart you can say about tariffs, if you’re in a place where people are talking about tariffs.

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The Rebooting's Brian Morrissey joins me from Cannes, where OpenAI is pitching advertisers, creators are becoming media brands, and thousands of people are still flying across the Atlantic to meet with people they could see back home. We talk about what's changed in advertising, what's changed in media, and why Cannes keeps getting bigger.

We also get into why the ad industry's biggest gathering feels increasingly disconnected from the ads themselves; why CMOs are the real celebrities of Cannes; how creators like Emily Sundberg fit into the modern marketing ecosystem; and whether AI is actually transforming advertising—or just giving everyone a new buzzword to put on a slide deck.

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Today’s show is about money, and how to make it in entertainment.

The streaming boom made Hollywood feel like it had solved its money problem: Netflix, Amazon, Apple, Disney and everyone else wanted endless stuff. Top talent got paid, and so did everyone else.

That boom is over, and now the industry is consolidating. And at the same time, lots of artifacts of old Hollywood that could generate a lot of money for some people — like syndication payouts in TV or backend deals for movies — don’t really exist in a world dominated by streamers.

So how do actors, writers, directors, producers and creators make money in 2026? Peter Micelli, CEO of Range Media Partners, makes his money by representing talent like Bradley Cooper, Tom Hardy and Halle Berry. He’s been arguing for a while that stars shouldn’t just wait for work, but should be out there turning themselves into businesses. That certainly won’t work for everyone, but I think if you squint you can see a new economy starting up — especially for creatives who have meaningful followings online.

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