How to launch a podcast in 2020

As of November 2020, there are approximately one million podcasts and this number is growing daily.

I’ve been podcasting for over a decade and I’m often asked for advice about equipment and editing software. So, I thought I’d write an article about starting a podcast in 2020.

Planning is King.

This is a very overlooked part of the podcasting. You need to plan. Some would argue that Bad Wilf sounds like we just hit record and riff, but even our impromptu episodes are planned to an extent. We’re a film and TV review show. So, if we take a trip to the cinema, we know there’s a good chance we’re going to record sometime after seeing the film. Planning is where you should spend most of your time. I recommend getting an A4 note pad or a whiteboard, to put up near your recording space. These will enable you to make notes or write down topic points for your episode.

Choose A Subject.

You want a subject matter you’re passionate about. We started our life as a Doctor Who podcast, but a few months in we really found our interest fading. So we switched to covering other TV shows and Film, something we were both passionate about. We still cover Doctor Who, but it’s just one of many things we talk about. For example, rather than start a podcast about lawnmowers, I’d recommend starting a podcast about all aspects of landscape gardening. With lawnmowers being one of the things you cover.

Co-host or no co-host, that is the question.

Honestly, you’re the only one that can answer this. I’m not the type of person who talks a lot. I talk when I have something to say, but I’m quiet the rest of the time. The premise of our show is that we’re all just mates having a chat in the pub. So, I needed a co-host. I asked my best friend to join me. I’ve found that having a co-host keeps things sounding more natural and conversational. However, having one or more co-hosts can have its drawbacks. You all need to be committed for the long-haul and scheduling can be an absolute nightmare.


You’ll need a name. We went with Bad Wilf, as we launched as a Doctor Who podcast and we felt it was a clever wink and a nod towards the show. If you check the Apple Podcast charts, you’ll see a wide variety of names. Some are very descriptive, some not so much. We were lucky that our name is just a reference to Doctor Who and doesn’t rely on Doctor Who. Say you wanted to launch a podcast about the Toy Story franchise, I’d steer clear of calling it ‘The Toy Story Podcast’. This could lead to getting a letter from Disney, or leave you stuck with a name you no longer want when you decide you want to cover Pixar’s other films. Instead, I’d recommend calling your Toy Story podcast ‘infinity and beyond’. People will know what it means and it gives you the flexibility to cover more subject matters. You also no longer need to add the word ‘podcast’ to your podcast title, we had to as it helped iTunes list them back in the day.

Get a website.

If you want to look professional, then the importance of having a website can’t be overestimated. When we branched out and decided we wanted to interview people, the first thing we were asked by their representatives was “do you have a website?”. Believe me, telling people “Yes,” is easier than saying “Well, we don’t have a website per-say, but our podcast host site is”. Having a website makes you look legitimate. You can find advice on website building on YouTube, I recommend using WordPress.

How long?

I’ve seen a lot of “experts” say that podcasts shouldn’t be shorter than 45 minutes because that’s the average commute to work. We went for a running time of 30-45 minutes because that’s how long my commute to work was. But in reality, it doesn’t really matter. Again, if you check the Apple Podcast charts you’ll see they all vary in length. Some are 6 minutes long, some are 6 hours. Some of Joe Rogan’s shows break the 4-hour mark. If you’ve got a great show, people will listen.


This isn’t something I can really help with. That’s entirely up to you. I would steer clear of having too many people on an interview-style show though, you, your co-host and a guest should be fine. But you, your co-host, guest plus others can sound incredibly crowded to the listener.


The standard format we use is;

Teaser (An out of context clip from the episode)
Main feature
Ads (If we have them)
Call to action (rate us on Apple Podcasts etc).

Introduce yourselves clearly at the start of every episode. Ever episode you put out, will be someone’s first episode. You’ll have new listeners and repeat listeners. New listeners will want to know who you are, repeat listeners won’t mind sitting through a couple of seconds of introductions. Especially if you make them fun. I’ve heard so many podcasts over the years, where the hosts are very clinical and don’t even introduce themselves.

Show notes. Use them.

Show notes are important, you can write a break down of everything you spoke about. If you reference a good book, you should link to it. Provide a service for your listeners, if you mention a book I think sounds interesting. I might order if you link to it in the show notes. I can order with one click. If you don’t, I either have to order it the moment it’s mentioned or, remember whereabouts in the episode you mentioned it, so I can go back and listen again for the title. That’s a hassle, your listeners will appreciate links.
You can also use show notes to link your social media. I can’t tell you how many podcasts I’ve wanted to follow on Twitter, but can’t because they don’t put the link in the show notes.

People do judge a book by its cover.

Your cover art is almost more important than your content, it’s the listener’s first impression of your show. Decent cover art can get you noticed, it also helps you stand out and climb that charts. If you’re somewhat artistically gifted, you can make some pretty decent cover art in something like Canva. If not, you could always pay someone to do it on a service like Fivver.

Get a decent microphone.

With every actor now launching a podcast, people have become accustomed to a professional sounding podcast. However, most of us aren’t backed by professional producers, nor can we afford studio time. The best most of us have is our bedroom or living room. Fortunately, you don’t have to spend thousands of pounds on a decent setup. Most smartphones are as good as a medium budget mic. We currently use Rode podmics, that are connected to a Rodecaster Pro. But you could get a decent sound from a £15 XLR mic and a £30 audio interface. Approximately 100 episodes of Bad Wilf, were recorded on an £80 Zoom H1 or a £30 USB mic from Maplin (RIP).

Acoustically treat your recording space.

Most of us won’t have bedrooms or living rooms that are acoustically treated. Wooden floors and concrete walls will cause an echo. Now, you could spend a few hundred on soundproof foam and completely kit out your recording area, you could buy a Kaotica Eye Ball or a cheaper alternative. I record in my living room – I rent so I can’t stick foam panels to the wall. I used to have one of those Kaotica eye ball alternatives, but my current mic isn’t suited for them. Instead, I’ve taken to surrounding my recording area with duvets. I hang one duvet up on the curtain pole. This stops the reverb of my voice and reduces traffic noise, I hang another duvet on the Kallax unit behind me and, a third on a washing airer just to my side. This works spectacularly well. It doesn’t make the area soundproof, but it softens the reverb of my voice. I also have hard wooden floors, so I’ve placed a rug under my microphone.

Recording and editing.

Every episode of Bad Wilf has been edited using the free to use software, Audacity. There is some paid editing software out there, such as Adobe Audition. They’re all good. But honestly, there’s no real need. Audacity has worked incredibly well for me. More recently, I’ve started using a service called Descript. Descript transcribes your audio into text, with an 85% accuracy. You then edit the audio, by deleting the text. It’s £12 ($15) a month for the basic package, but it enables you to auto-delete filler words such as “um” and “errrr”. This is an absolute time-saver, you can also programme in filler word/phrases like “like” and “y’know”. I do the very basic edit through Descript, but I still use Audacity for the main edit.

Remote recording.

In the good old days, Bad Wilf was recorded mostly in-person. I’d take my trusty Zoom H1 to my co-hosts house. We’d hit record and chat. We then graduated to two XLR mics running into a Zoom H5. In a post-Covid world, nearly every episode is recorded remotely. I use my Rodecaster Pro for this. It enables me to basically run the podcast, like a live radio show. If you don’t have a Rodecaster Pro, you and your co-host can record your own sides of the conversation, then Dropbox to whoever is editing. Alternatively, you could use a Skype recorder. There are drawbacks to these however, they mostly tend to be sound related. A Skype recorder works by recording what is coming out of the earphone jack, that can lead to a drop in quality. I’ve used Ecamm in the past, which I found to be the best of the bunch. It was a one-off £15 payment. Ecamm also allows you to split the tracks into two. The benefits of this are that if your co-host coughs whilst you’re talking, you could silence it on their track. The downside to this is, if you have more than one guest, all guests appear on one track.
Before getting my Rodecaster Pro, I’d taken to recording with Zencastr. You don’t have to download any software. What makes Zencastr different to a Skype recorder, is rather than taking the sound that’s coming out the headphones, it takes the sound that’s going directly into each users microphone. It also records each user in a separate track, which is a Godsend when it comes to editing. If one co-host is moving around whilst the others are talking, this can be silenced in editing. Zencastr has two tiers, a free service which allows users up to two guests an episode and 8hrs of recording a month, or a paid version which allows unlimited guests and unlimited monthly recordings, for $20. However, during the Corona outbreak, Zencastr has lifted the restrictions on the free tier.


I’ve lost count of how many “professionally” produced podcasts I’ve stopped listening to after the first 3 minutes because they’re just too damn quiet. I’ve run every episode of Bad Wilf through free software called ‘Levelator’. It basically levels out all your audio to be exactly the same. Now, it’s not a magic wand, it can’t fix all audio problems, but it’s served me well for over a decade.

Launch the thing.

To launch your show, you’ll need a podcast host. There are many out there. But I’ve always used Libsyn. They’re reasonably priced and they’re pretty fair. I would advise steering clear of any podcast host that offers their service for free. Read the small print, because they could end up claiming your show and/or all content you make.

Podcast directories.

Research these, there are a lot out there. The big ones are obviously Apple Podcasts, Amazon Music, Spotify, Player FM etc. But there are some very niche directories out there that may cater more directly to your audience. 52% of listeners consume their podcasts from Apple Podcasts, so even if you only submit to one service, make sure you’re on Apple Podcasts.

Post to your website.

Make sure you embed your podcast episode on your website and you should put some accompanying text above the embedded player. This could be just a copy/paste of your show notes. I’d also recommend listing and linking to everywhere people can listen.

Social Media.

So, you’ve recorded and edited your show. You’ve uploaded and submitted it to all the podcast directories you can find, you’ve embedded it on your website. Now you want to shout about it on Twitter. Great. But, remember, in this day and age we’re being sold to 24/7. So if you launch a Twitter account specifically to promote your podcast, be wary of only posting to promote your show. Think about it like this; would you have any interest in following someone who only ever posted about the fact he was giving guitar lessons? Instead, you should give-give-ask. Provide a service, build a community. Give a solution, then ask people to listen.

I hope this has been helpful to you, if you have any further comments or questions, then please tweet me.

Episode 236: Georgia Hirst inteview

In an impromptu mini-episode, Martyn was lucky enough to get 10mins with Georgia Hirst.

Georgia Hirst is perhaps best known for her role as Torvi in the hit show, Vikings.

The duo talks about Vikings, going on the convention circuit and, her new interactive film Five Dates.

The podcast is available from all good podcast services, such as but not limited to Amazon Music, PodchaserPlayer FM, Stitcher, and Apple Podcasts.

If you’d like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you.

Check out our Youtube, We Sound Familiar and, Comedians talking football.



Georgia Hirst-@Gee_Hirst

Martyn – @BadWilf

Gerrod –@InGerrodsMind

Pete – @BeeblePete



Georgia Hirst-@GeeHirst




FIVE DATES is released worldwide for digital download on Windows & Mac via Steam, PS4, Xbox One and Nintendo Switch on 17 November.

Episode 230: Backwards Boys (Tenet)

In which a couple of backwards boys give a spoiler-free review, of a film about a couple of backwards boys (Tenet).

They also pay respect to the late great Chadwick Boseman and Norm Spencer.

They talk about Sylvester Stallone’s director’s cut of Rocky 4, as well as discuss the wrath of Bob McLeod, Christopher Eccleston joining Big Finish, Bernice Summerfield, series 2 of The Umbrella Academy, DC Fandome, Wonder Woman 1984, Black Adam, The Snyder Cut, and a quick spoiler-free review of Bill & Ted face the music.

The podcast is available from all good podcast services, such as but not limited to;

Podchaser, Player FM, Stitcher, and Apple Podcasts.

If you’d like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you.

Check out our Youtube.

Check out We Sound Familiar.

Check out Comedians talking football.


Martyn – @BadWilf

Gerrod –@InGerrodsMind

Pete – @BeeblePete



New Gameplay Reveal Trailer Showcases Epic Scenes from All Nine Star Wars™ Saga Films

Lego Group and Lucasfilm today revealed the gameplay trailer for LEGO® Star Wars™: The Skywalker Saga, the upcoming game where players will experience memorable moments and nonstop action from all nine Skywalker saga films told through the unique lens of LEGO bricks.

Developed by TT Games in collaboration with Lucasfilm Games and published by Warner Bros. Games, LEGO® Star Wars™: The Skywalker Saga will release in Spring 2021 for Xbox One family of devices, including Xbox Series X, PlayStation®5, PlayStation®4, Nintendo Switch™ system, PC and Mac.

The trailer gives a glimpse of the adventures that will immerse players into the expansive saga with the freedom to control hundreds of characters and vehicles that will allow them to discover their own unique journey through a galaxy far, far away. Players have the freedom to start at any of the nine episodes, whether jumping straight in at Star Wars: The Rise of Skywalker, beginning their journey at the prequels with Star Wars: The Phantom Menace or experiencing the saga in any order they prefer. Playable characters include favorite heroes like Luke Skywalker™, Rey™, Obi-Wan Kenobi™, Finn™, BB-8™ and others, as well as characters from the dark side such as Darth Vader™, The Emperor, Kylo Ren™, Darth Maul™, and more. Unforgettable moments from the films have been re-imagined in new, fun-filled, light-hearted humour. Everything from Podracing on Tatooine and space combat above the Death Star, to battling on Starkiller Base and beyond.
LEGO® Star Wars™: The Skywalker Sagais a celebration of the heritage and future of LEGO® Star Wars™ games,” said Michael Denny, Vice President and Studio Head, TT Games. “For the first time ever, players can explore the legendary adventures from the Skywalker saga in an immense, new game for everyone to play on current and upcoming platforms.”
The Deluxe Edition of LEGO® Star Wars™: The Skywalker Saga will feature the main game and the “Character Collection Bundle Pack” with six DLC character packs inspired by The Mandalorian™, Rogue One: A Star Wars™ Story, Solo: A Star Wars™ Story, Star Wars™: The Bad Batch and more. The physical version of the Deluxe Edition will include a collectible LEGO® Star Wars™minifigure, Luke Skywalker with Blue Milk.
Fans will be able to play with the same authentic LEGO® Star Wars™ vehicles, starships, and characters in real life and in the game, including these select sets with unlockable codes that can be redeemed when LEGO® Star Wars™: The Skywalker Saga releases: LEGO® Star Wars™ The Razor Crest™ (75292), LEGO® Star Wars™ Resistance I-TS Transport (75293) and LEGO® Star Wars™ Death Star™ Final Duel (75291).


Director Zack Snyder has shared a new teaser promo for his highly-anticpated cut of Justice League.

The teaser shows us a bit of footage, ahead of the DC FanDome presentation this weekend where a full trailer is expected to be revealed.

DC FanDome is a first-of-its-kind, immersive global fan experience in nine languages featuring exclusive reveals with our biggest stars across the DC Multiverse—free for all fans to join for 24-hours only on August 22nd. No lines, no badges.

The event, aimed at fans of DC Comics, will feature online panels, cosplay, fan art and comics, as well as special events for kids. The devoted DC fandom will be especially excited for looks at some long-awaited DC properties, including the Snyder Cut of Justice League, Robert Pattinson as The Batman, The Rock as Black Adam, a look at James Gunn’s The Suicide Squad and much, much more.

Warner Bros. Studio Tour London – The Making of Harry Potter to reopen on Thursday 20th August

Warner Bros. Studio Tour London will reopen to visitors from Thursday 20th August, allowing fans to step back into the Wizarding World and discover the behind-the-scenes magic. From tomorrow at 1pm, fans will be able to book tickets online for visits up to 31st June 2021.

To help keep everyone safe, a number of additional measures and changes have been made to the Studio Tour experience. The updates are designed to prioritise social distancing and enhanced cleaning.

Geoff Spooner, SVP & General Manager, Warner Bros. Studio Tour London says: 

We’re thrilled to be able to open the doors to the Hogwarts Great Hall to visitors once again. While the Studio Tour experience may differ from previous visits as we introduce additional safety measures, we’re looking forward to welcoming fans back into the world of Harry Potter for a truly magical day out.”

Upon reopening, visitors will experience the Studio Tour’s special feature, A Celebration of Slytherin. For the first time ever, visitors will be able to walk through the Great Hall decorated in Slytherin colours before being the first to see the Slytherin Common Room up close.

A 25-ft section of the set complete with authentic props and imposing stone walls will be on display for fans. A Celebration of Slytherin has been extended until 12th November and more details can be found here.

Safety Measures  

  • Visitors aged 11 and up will be required to wear a face mask or covering for the duration of their visit.  
  • The Studio Tour will open with a reduced capacity to help encourage social distancing. Additional signage and floor markings will be in place to promote social distancing and allow visitors to navigate the Studio Tour safely.  
  • Enhanced cleaning will take place throughout the day and hand sanitiser stations will be positioned throughout the Studio Tour.  
  • Some areas of the Studio Tour may be unavailable to limit contact and maintain social distancing.  
  • To further limit contact, the Studio Tour’s shops and cafés will only accept cashless or contactless payment options such as credit and debit cards or mobile payments. 
  • For more information on the Studio Tour’s safety measure, visit the website

Warner Bros. Studio Tour London has achieved Visit England’s ‘We’re Good To Go’ industry standard by demonstrating that clear processes are in place and industry and Government COVID-19 guidance on cleanliness and social distancing are being followed. 

Warner Bros. Studio Tour London – The Making of Harry Potter opened its doors on 31st March 2012. The unique attraction offers visitors the ultimate chance to get up close to authentic sets, discover the magic behind spellbinding special effects and explore the behind-the-scenes secrets of the Harry Potter film series. Visitors can explore the original Great Hall, step into the Forbidden Forest and discover the newly opened Gringotts Wizarding Bank all before marvelling at the breath-taking miniature scale model of Hogwarts castle. The Studio Tour has welcomed over 14 million visitors and has been well-received with 96% of the 40,000+ reviews on TripAdvisor rating it as ‘Excellent’ or ‘Very Good’. Tickets must be pre-booked at and cannot be bought at the attraction.

Episode 222: Doctor Who-Fugitive of the Judoon

Martyn, Chris and Sam discuss the Doctor Who episode “Fugitive of the Judoon”.

Fugitive of the Judoon” is the fifth episode of the twelfth series of the British science fiction television programme Doctor Who, first broadcast on BBC One on the 26th of January 2020. It was written by Vinay Patel and current showrunner Chris Chibnall, and directed by Nida Manzoor.

The Judoon search modern-day Gloucester for a fugitive, and the Thirteenth Doctor (Jodie Whittaker) and her companions Graham O’Brien (Bradley Walsh), Ryan Sinclair (Tosin Cole), and Yasmin Khan (Mandip Gill) regulate the situation. The episode sees the return of John Barrowman as Captain Jack Harkness, and introduces Jo Martin as Ruth Clayton, a character revealed to be a previously unseen incarnation of the Doctor.

The episode was watched by 5.57 million viewers overall and received mostly positive reviews from critics.

The podcast is available from all good podcast services, such as but not limited to;

Podchaser, Player FM, Stitcher and Apple Podcasts.

If you’d like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you.

Check out our Youtube.

The intro is taken from We Sound Familiar.

Check out Comedians talking football.

If you’d like to support the show, then please shop via our Amazon link. A small percentage goes our way, at no extra cost to you.

Follow the Bad Wilf team on Twitter:

Martyn – @BadWilf

Gerrod –@InGerrodsMind

Pete – @BeeblePete



Episode 208: The Curse of fatal death

We’re back after our summer break, Martyn is joined once again by Sam Michael and Chris Walker-Thomson, as the trio discuss the 1999 Doctor Who parody ‘The Curse of Fatal Death’.

Obvisouly, with this being the podcast it is. They don’t stick to the subject for long.

Doctor Who: The Curse of Fatal Death is a Doctor Who special made for the Red Nose Day charity telethon in the United Kingdom, and was originally broadcast in four parts on BBC One on 12 March 1999 under the title Doctor Who and the Curse of Fatal Death. Later home video releases are formatted as two parts and drop the “and” in the title. It follows in a long tradition of popular British television programmes producing short, light-hearted specials for such telethon events.

The podcast is available from all good podcast services, such as-but not limited to;

Audioboom, Player fm and iTunes.

If you’d like to support the show, then please check out our Ko-Fi, or shop via our Amazon link. A small percentage goes our way, at no extra cost to you.

Subscibe to We Sound Familiar.

Follow the Bad Wilf team on Twitter:

Martyn – @BadWilf

Pete – @BeeblePete

Gerrod – @BW_Gerrod


Review – Rose Tyler: The Dimension Cannon

The Dimension Cannon gives the character Rose Tyler her own series, in four audio dramas by Big Finish Productions. Billie Piper reprises her role as the first of The Doctor’s travelling companions in 21st century Doctor Who.

Shop girl turned sci-fi action hero Rose Tyler is consigned to a parallel universe with her mum, Jackie (Camille Coduri) and a parallel version of her dear departed dad, Pete (Shaun Dingwall). They’ve turned their attention to helping protect not only their world from extraordinary threats but also many other Earths. They’re following in the footsteps of Rose’s beloved Doctor: the charismatic, time-travelling space alien whose defence of Rose’s Earth left her separated from it – and him.

The Dimension Cannon offers Rose a chance to bring The Doctor back into the fight – and into her life again. For short periods of time the cannon allows her to visit other parallel universes that offer clues to the whereabouts of The Doctor. On her first trip she’s reunited with a parallel version of Clive, a conspiracy theorist who was murdered in Rose’s universe. Bark Benton reprises the role of Clive throughout the set and it’s good fun to have him back.

The four stories take us to four new parallel versions of London, where we’re introduced to startling alternate versions of the well-loved characters that head up this series. This collection of audios is not so much a spin-off from Doctor Who as it’s a spiritual follow-on from ‘Father’s Day,’ the episode that introduced us to the ‘original’ Pete Tyler and led us through dark times leading up to his death.

Chasing The Doctor inevitably means getting to know the locals in each different London and Rose finds she already knows many of them all too well. She gets personally involved in the lives of the people she meets, encountering Jackie, Pete and others in slightly different forms. It makes arriving in each universe a treat for the listener – and leaving each of them is tough all round.

Big Finish tie-in plays lure us into the audio realm by offering us characters and situations that are proven successes on television. They honour these successes with intriguing stories that at least equal their predecessors in quality. Rose’s story in Doctor Who has a lot of heart – and heartbreak. These new tales are equally engaging character pieces.

By presenting so many alternate versions of the original roles played by the cast, the normally-invisible work of the actors gets a bit of a peek into the limelight. I was properly immersed in and moved by the drama here but I also enjoyed listening for the subtle differences between the characters parallel to each other.

I’m very much opposed to more for more’s sake; I hate seeing delightful series run down by commercial supplements. You’ll find none of that here in Rose Tyler: The Dimension Cannon. This box set revisits the Tylers in a clever way that gives us more of what we’re counting on in ways that constantly surprise.

Rose Tyler: The Dimension Cannon is available now from Big Finish.

Thoughts on Spider-Man leaving the MCU

Normally, I’d record this as a quick podcast. But I’m away at the moment and don’t have access to any of my equipment.

News broke recently, that the current deal between Sony and Disney/Marvel has broken down. There seems to be a lot of misinformation/misunderstanding of why the Sony/Disney deal happened in the first place.

A surprising amount of people think it’s because The Amazing Spider-Man films were financial flops. They weren’t. Far from it. They received a critical panning. But they were financially successful. The first one was the seventh highest grossing film of 2012, the second was the ninth highest grossing film of 2014. These are far from the duds so many Marvel fans are claiming.

The original deal happened because the head of Sony (Kenichiro Yoshida) felt dishonoured by Andrew Garfield. In Japanese culture, being dishonoured is a pretty serious thing. Garfield didn’t show up to the event in Rio, that was announcing The Amazing Spider-Man 3 and 4, The Sinister Six and, the wider Spider-Man universe. He’d also turned up to meetings unkempt and seemed entirely disinterested-making the Yoshida feel dishonoured. He wanted Garfield gone.

The company then found themselves in the position where they would either have to recast and make The Amazing Spider-Man 3, or reboot it again. For the third time in 15 years. Understandably Sony Pictures didn’t want to reboot. Which is why they initially turned the deal down. It was only when Kenichiro Yoshida wanted the deal, that it was accepted. Yoshida felt that rebooting the character for a third time, but into the MCU would limit damage control and garner good will with the audience. For both companies, which it did.

The deal was Disney would get to use him for 5 films. Starting with Captain America: Civil War, ending with Avengers: End Game. In exchange for this use, Disney would produce 2 films for Sony-with Sony maintaining distribution rights. In exchange for these films, Disney would get 5% the box office takings and all the money from Spider-Man merchandise.

Essentially, the MCU deal happened because the owner of Sony got offended. Not because Sony needed Disney-the deal was mutually beneficial for both parties, but either would’ve still been okay without the other.