David Ellison

Our offer is $30 a share, all cash, $41 billion in equity that's backstopped by the Ellison family and Redbird, $54 billion in debt with commitments from Citi, Bank of America, and Apollo.

We have faster regulatory certainty to close, and our deal is pro-consumer, it's pro-creative talent, it's pro-competition.

And we believe that when you actually, to further contextualize, there are $30 in cash, or

is basically $17.6 billion in cash more than the $23 in share they signed up.

And we believe when they see what is currently in our offer, that that's what they'll vote for.

A what now?

What we're creating by putting these two companies together is a real competitor to Netflix, a real competitor to Amazon, a real competitor to Disney.

Not something that is so anti-competitive.

There will be no more competition in Hollywood if this deal is allowed to come to pass.

Well, I could give you several answers, but the real one is that I immigrated as a kid from America and went from a school that was kind of utopian in the 1970s to a red brick Victorian institution that was terrifying.

And I suddenly recognised it again when I read Dickens.

So it was like, oh, yeah, OK, I get this.

I get this sort of horror.

And I've been exploring it ever since.

I don't know if it's the appeal, but it makes sense to me.

The horror of institutions failing, even though they're bolstered with all kinds of optimism.

The Victorians were terribly optimistic and cruel in their incapacity to realise when things weren't working.

Dickens has been.

I'm looking at what I guess unfortunately you would describe as minor writers, writers who are working in supernatural fiction and ghost fiction in particular.

I'm really interested in the way that that informs an understanding of what it means to live in houses, particularly for middle-class people to live in houses, houses that they're not quite used to living in yet.