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In 2020, the movie business was turned upside down by the COVID-19 pandemic, which forced the closure of theatres. Unable to open their doors, exhibitors had little to no revenue to cover costs, and market analysts predicted that the future for theatre chains, particularly AMC Entertainment Holdings (AMC), looked bleak. Then in early 2021, a large number of small retail investors bought shares in AMC. By the July 4th weekend, AMC stock was worth more than 25 times what it had been worth at the beginning of the year. In a post-pandemic environment, could AMC’s chief executive officer, Adam Aron, objectively weigh strategic options to decide what should be the appropriate size and scope of the firm going forward, without being overly influenced by shareholders with shorter time horizons?

In 2020, the movie business was turned upside down by the COVID-19 pandemic, which forced the closure of theatres. Unable to open their doors, exhibitors had little to no revenue to cover costs, and market analysts predicted that the future for theatre chains, particularly AMC Entertainment Holdings (AMC), looked bleak. Then in early 2021, a large number of small retail investors bought shares in AMC. By the July 4th weekend, AMC stock was worth more than 25 times what it had been worth at the beginning of the year. In a post-pandemic environment, could AMC's chief executive officer, Adam Aron, objectively weigh strategic options to decide what should be the appropriate size and scope of the firm going forward, without being overly influenced by shareholders with shorter time horizons?

In 2019, Netflix had 167 million subscribers globally and offered thousands of television shows and movies on its streaming application, a growing proportion of which it produced itself. Media giants, who for years had valued the relationship with Netflix because it provided an additional outlet, began to re-evaluate their own (make) versus contract (buy) distribution decision. Leveraging acquisitions, technology investments, and vast content libraries, they entered the streaming wars by going direct to consumers. Was Netflix vulnerable in head-to-head competition in an increasingly fragmented market? How should it respond to entry by its former partners?

In 2019, Netflix had 167 million subscribers globally and offered thousands of television shows and movies on its streaming application, a growing proportion of which it produced itself. Media giants, who for years had valued the relationship with Netflix because it provided an additional outlet, began to re-evaluate their own (make) versus contract (buy) distribution decision. Leveraging acquisitions, technology investments, and vast content libraries, they entered the streaming wars by going direct to consumers. Was Netflix vulnerable in head-to-head competition in an increasingly fragmented market? How should it respond to entry by its former partners?