High-stakes bidding for legacy media assets like Warner Bros. is driven by status-seeking among the ultra-wealthy, not a sound bet on the future of media. They are acquiring prestigious "shiny objects" from the past, while the actual attention economy has shifted to platforms like TikTok and YouTube.

Many fund managers approach capital raising by broadcasting their own "unique" story. However, the most successful ones operate like great listeners, first seeking to understand the specific needs and constraints of the Limited Partner (LP) and then aligning their value proposition accordingly.

Large media companies are slow to adopt new platforms like Substack. However, once one major player makes a move (e.g., Bloomberg launching Substacks), it triggers a "fast follow" reaction from competitors. This predictable herd mentality creates strategic windows for creators on those platforms to pursue acquisitions.

Instead of treating all channels equally, identify which customer segments (e.g., brand advertisers) are best served by which channels (e.g., TV screens). Shifting demand accordingly can unlock massive growth by optimizing the entire portfolio and increasing customer ROI.

The pool of potential media buyers extends beyond traditional media. Any business paying a "toll" to Google or Facebook for customers is a strategic acquirer for a media asset that owns a direct audience in its niche. This reframes media M&A as a CAC-reduction strategy for non-media companies like Uber.

The most lucrative exit for a startup is often not an IPO, but an M&A deal within an oligopolistic industry. When 3-4 major players exist, they can be forced into an irrational bidding war driven by the fear of a competitor acquiring the asset, leading to outcomes that are even better than going public.

Instead of pursuing large companies, elite sellers identify and focus on key business events, like mergers or new market entries, that create an urgent need for their product. This strategy shifts focus from account size to the probability of a timely need, leading to more efficient prospecting.

Marketing a defense company is fundamentally different from marketing a consumer product. Instead of a broad "one-to-all" campaign targeting millions of customers, defense marketing is a "one-to-few," hyper-targeted effort aimed at a small group of influential government decision-makers who could all fit in a single conference room.

The intense bidding war for Warner Bros. Discovery is driven by unique strategic goals. Paramount seeks subscriber scale for survival, Netflix wants premium IP and sports rights, and Comcast primarily needs modern franchises like Harry Potter to fuel its profitable theme park business.