Major League Baseball Advanced Media, or BAM for short. BAM began as the in-house IT department for the league’s 30 teams, a small handful of employees originally tasked with building websites for teams and clubs. But over the last 15 years, BAM has emerged as the most talented and reliable name in streaming video, a skill set suddenly in very high demand. ... BAM cemented its status as one of the most important players at the intersection of sports, media, and technology, announcing that it will be powering the mobile, web, and television offerings from the National Hockey League. It’s the first time BAM has been fully embraced by another major league. ... For years, BAM was a name known only to industry insiders, a sharpshooter organization called in to make sure the big game or series premiere streamed without fail. Over time, it forged long-term deals with clients like WWE and Sony Playstation’s Vue network. Now it’s moving from powering the platform to co-owning the content as well. ... Watching sports online has always had one major complication: regional blackouts prevent you from streaming a game in the same territory as a television broadcaster who owns local rights. That meant BAM had to figure out where a customer was and whether or not they could legally watch the stream. In fact, BAM’s very first post-season package wasn’t even broadcast live in the United States or Japan. Fox owned the national broadcast rights to the pennant race, so BAM’s first big broadcast took place in Europe. From the beginning, BAM had to perfect live video streaming on a global scale.
Increasingly, digital ad viewers aren’t human. A study done last year in conjunction with the Association of National Advertisers embedded billions of digital ads with code designed to determine who or what was seeing them. Eleven percent of display ads and almost a quarter of video ads were “viewed” by software, not people. According to the ANA study, which was conducted by the security firm White Ops and is titled The Bot Baseline: Fraud In Digital Advertising, fake traffic will cost advertisers $6.3 billion this year. ... Fake traffic has become a commodity. There’s malware for generating it and brokers who sell it. Some companies pay for it intentionally, some accidentally, and some prefer not to ask where their traffic comes from. It’s given rise to an industry of countermeasures, which inspire counter-countermeasures. ... All a budding media mogul—whether a website operator or a traffic supplier—has to do to make money is arbitrage: Buy low, sell high. The art is making the fake traffic look real, often by sprucing up websites with just enough content to make them appear authentic. Programmatic ad-buying systems don’t necessarily differentiate between real users and bots, or between websites with fresh, original work, and Potemkin sites camouflaged with stock photos and cut-and-paste articles.
Why NBC, CBS & FOX’s sports networks have all failed in their attempts to shoot down the Mothership. ... moves like that suggest FS1 remains blind to repeating its mistakes all over again, trying to replicate ESPN’s success by bringing in former Bristol employees, and copying The Worldwide Leader’s shows. ... there are A LOT of sports fans out there that really hate ESPN and would love an antidote to the “Embrace Debate” culture that has spread to SEVEN daily debate shows on the network. Those fans just haven’t found an alternative yet. ... These suggestions may fly in the face of conventional television programming wisdom, but pretty much every single executive instinct of the suits at CBS, NBC, and FOX has been wrong.
No one gets to 55 without having made some decisions about their appearance. And Clarkson’s makes it clear he has decided to tell the world to piss off. In a medium obsessed with what you look like, he has chosen to dress as the understudy for Worzel Gummidge in a production at the Wimbledon theatre. In a wardrobe at home he has dozens of pairs of identical old jeans. Everyone on telly is a show-off, but Clarkson shows off by seeming to be normal. ... His lifetime behind the wheel began when, as a young reporter on the local newspaper in Rotherham, he met a contemporary from the Harrogate Advertiser behind the wheel of a car that cost as much as Rotherham council’s entire annual budget. The Harrogate lad explained how the racket worked: you said you wanted to review a car and, lo and behold, the manufacturers would deliver it to you, insured and full of fuel, for you to use, free, gratis and for nothing, for a week or two. All for a couple of paragraphs of copy.
On paper, Khaled's career doesn't make a whole lot of sense. He's released eight full-length albums but doesn't actually rap on any of them. He's perhaps the most quoted figure in hip-hop, able to create viral catch phrases with an ease that marketing executives dream about. He's played a serious role in the hip-hop industry throughout his career, yet he's perceived almost exclusively as a meme by fans across the nation. He's a human pop-up ad who, to many, is known simply for shouting his own name like a hairy brown Pikachu. And, sure, any fool can stumble into success. ... But that fool won't stay there for nearly a decade, collaborating with the biggest names in the industry: Kanye West, Jay Z, Rick Ross, Nas. If they have a pulse and can rap, Khaled has worked with them. ... It's the tale of a child of immigrant parents who worked his way up from DJing school dances in Orlando to the top of the Miami music scene and, now, into two million (and counting) cell phones, where he delivers daily sermons about the correlation between egg whites and success from a three-inch screen.
Over the past century, technological advancements have massively reduced the cost and time needed to create and circulate content. Though this has liberated artists, consumers are now drowning in a virtually infinite supply of things to watch, listen to and read. The answer to a world where attention is the key constraint, not capital or distribution, isn’t Big Media – it’s the Influencer Curator. ... the next evolution in the media value chain will be the rise of decentralized curation – with individual tastemakers building up mass followings and driving enormous consumption by recommending various articles, videos, shows, films, albums, exhibits and so on. While there’s no way to effectively do this at scale today, the transition is long in development.
One day last summer, Howard Stern ripped into his bosses at SiriusXM on his morning radio show. He accused them of gamesmanship, of treating him like a common employee, of disrespecting his talent. “Whenever you f--- with me, I will f--- with you worse,” he said. “I always win.” ... Explaining why he was so livid, Stern told his listeners that his bosses had recently asked him if he’d like to move the start of his show an hour later, to 7 a.m. That way everybody would get an extra hour of sleep. It seemed like a generous offer; Stern thought it over and accepted. It was then, he said, that management balked, insisting he’d misunderstood. He could start his show at 7 a.m., they informed him, if and when he renewed his contract with Sirius XM Holdings, which is set to expire in December 2015. Stern said he was enraged by what he felt was a strategic bait-and-switch. (A spokesperson for SiriusXM declined to comment.) For the next several minutes, he vented. “It’s not even clear to me who works for who,” Stern said. “I’m pretty sure if I left, it would be very bad for the company.” ... Stern is 61 years old. For 40 years he’s been rising before dawn to entertain and titillate drive-time commuters with a kaleidoscopic, screwball performance that’s teeming with anxiety, misfits, satire, celebrities, profanity, pranks, and porn stars. He’s the top rainmaker in American radio, capable of generating hundreds of millions of dollars a year in revenue for whomever employs him and his entourage of baroque sideshow performers known as the Wack Pack. ... On paper, the marriage between Stern and SiriusXM has never been better. Yet its future remains in limbo. Stern, who declined to be interviewed for this article, hasn’t said if he intends to extend his contract. ... The coming battle for Americans’ ears, whether in the car or on a computer or smartphone, promises to be fierce. In this unsettled territory, an exclusive deal with Stern could be a fearsome weapon. In theory, he could do for somebody in Internet radio what he did for Sirius in satellite radio.
Diller was born in San Francisco in 1942 but his parents moved to southern California and he spent his childhood in Beverly Hills. His father worked in construction. “He was lucky,” he says, “to be in that business at that time after the second world war when all the veterans were coming home.” His father’s company “essentially built the San Fernando Valley,” on the other side of the hill from Los Angeles. “All those lovely tract homes,” he says, grimacing, slightly. ... Los Angeles, he says, “has utterly no stimulus of any kind” and as a young man it took him a while to work out what he wanted to do in life. “The truth is I was kind of in hibernation until I was 19. I was cosseted [and] would have stayed with [my parents] until now, if I could have.” He went to UCLA where he lasted “literally, three weeks” before dropping out. “I wasn’t interested or stimulated . . . I was just a dope.” ... Then an actor who was the father of a friend set him up with a job in the mailroom at William Morris, the talent agency where Diller’s fellow media mogul David Geffen also got his break. “I woke up,” Diller says. “It was the first time I’d been curious about anything.” ... He immersed himself in the industry. “I spent three years reading the file room. I basically read the history of the entertainment business from A-Z.” He became a junior agent but a serendipitous turn of events took him to the east coast when he landed a job working for a mid-level executive at ABC. “The day I got the job, they fired the tsar of all ABC programming, reached down and picked my guy. So, instead of being the assistant to a mid-level person in Los Angeles, I moved to New York.” Within six months Diller was running the programming department.
In an industry where no one knows anything, here, finally, was someone who seemed to know something: Ryan Kavanaugh, a spikily red-haired man-child with an impish grin and a uniform of jeans and Converse sneakers who had an uncanny ability to fill a room and an irresistible outlook on how to make money making movies. Not yet 30 when he founded Relativity Media in 2004, he very quickly became not only a power player in Hollywood but the man who might just save it. With a dwindling number of studios putting out ever fewer movies, other than ones featuring name-brand superheroes, Kavanaugh became first a studio financier and then a fresh-faced buyer of textured, mid-budget films. To bankers, Kavanaugh appeared to have cracked the code, having come up with a way to forecast a famously unpredictable business by replacing the vagaries of intuition with the certainties of math. ... Even Hollywood wasn’t used to a pitch this good. Kavanaugh alternately dazzled and baffled — talking fast, scrawling numbers and arrows and lines on whiteboards, projecting spreadsheets. ... Borrowing a tool from Wall Street, he touted his “Monte Carlo model,” a computer program that runs thousands of simulations, as a device that could predict a film’s success far more reliably than even a sophisticated studio executive. Better, Kavanaugh convinced several studios that he could raise more money for them if they gave him access to their guarded “ultimates” numbers showing the historical or projected performance of a film across all platforms (DVD, video-on-demand, etc.) over a number of years.
The internet has spawned subtle forms of influence that can flip elections and manipulate everything we say, think and do ... Most of us have heard of at least one of these methods: subliminal stimulation, or what Packard called ‘subthreshold effects’ – the presentation of short messages that tell us what to do but that are flashed so briefly we aren’t aware we have seen them. In 1958, propelled by public concern about a theatre in New Jersey that had supposedly hidden messages in a movie to increase ice cream sales, the National Association of Broadcasters – the association that set standards for US television – amended its code to prohibit the use of subliminal messages in broadcasting. ... Subliminal stimulation is probably still in wide use in the US – it’s hard to detect, after all, and no one is keeping track of it – but it’s probably not worth worrying about. ... what would happen if new sources of control began to emerge that had little or no competition? And what if new means of control were developed that were far more powerful – and far more invisible – than any that have existed in the past? And what if new types of control allowed a handful of people to exert enormous influence not just over the citizens of the US but over most of the people on Earth? ... It might surprise you to hear this, but these things have already happened. ... The shift we had produced, which we called the Search Engine Manipulation Effect (or SEME, pronounced ‘seem’), appeared to be one of the largest behavioural effects ever discovered.
Think of it as the nuclear option: deploying the most powerful and dangerous weapon available, the one you use when conventional warfare has failed. Just as with real nuclear weapons, that option carries clear risks, starting with losing the presidency in November, and ultimately threatening the party itself. But If a critical mass of Republicans and their conservative allies believe—as many have argued publicly, and more have privately whispered—that Trump could irrevocably undermine what the party says it stands for, and would pose a clear and present danger to the country if he ever attained the White House, it may now be their only chance. ... Trump has one glaring Achilles Heel: He can’t admit any failing, any mistake, any weakness of any kind. He tells us he has the world’s greatest memory; the “The Art of the Deal” is the second best book ever written (the Bible comes first). Without plunging into dime-store psychology, there seems to be a profound sense of insecurity, most of all about being mocked, laughed at.
If you want to understand Snapchat, the insanely fast-growing and—to people born before 1990—straight-up insane messaging app and media platform, DJ Khaled is your Virgil. If you were one of the 100 million people who logged in to Snapchat each day during Super Bowl weekend, his thick beard and full frame were impossible to miss. You would have seen clips of him at an impromptu concert where he was mobbed by several hundred screaming fans waving giant cardboard keys, or at a raucous party sponsored by PepsiCo, or in a pedicab he hailed after the game. “Ride wit me through the journey [to] more success,” he captioned that last video, as his chauffeur pedaled furiously. ... Its annual revenue is small—perhaps $200 million, according to several press reports—but it has already drawn many big-name advertisers. ... it’s not just an American phenomenon: Snapchat is a top 10 most-downloaded app in about 100 countries ... History suggests that cookie-based media, and Snapchat in general, may be a fad.
The company that got its start delivering loaner DVDs in the mail is now positioning itself to be first truly global content network, and its original shows—especially marquee titles like Daredevil—are key to that ambition. ... perhaps the even bigger deal is that sending a new show worldwide felt like no big deal at all; the Netflix war room was less Dr. Strangelove than late-night potluck. Champagne was poured, a countdown ended, the show began, and that was that. Absent the dim lighting and the bubbly and a gaggle of international journalists, it felt like just another day at the office. ... That seeming ease of execution belies the time, money, and effort Netflix has sweated in the years leading up to now. From building up its global IT infrastructure to harnessing a world’s worth of data to creating content with global appeal, Netflix has been focusing its corporate energy on this exact moment. ... For Netflix, becoming a truly global network presents a path for steady growth over the next decade and beyond. It has 75 million subscribers today; there are seven billion more out there. For the world, Netflix’s aspiration could mean much more: the first glimpse at what happens when every part of an online entertainment empire, from interface to content to delivery, is engineered to be everything to everyone, all of the time.
Plato, of course, was not clairvoyant. His analysis of how democracy can turn into tyranny is a complex one more keyed toward ancient societies than our own (and contains more wrinkles and eddies than I can summarize here). His disdain for democratic life was fueled in no small part by the fact that a democracy had executed his mentor, Socrates. And he would, I think, have been astonished at how American democracy has been able to thrive with unprecedented stability over the last couple of centuries even as it has brought more and more people into its embrace. It remains, in my view, a miracle of constitutional craftsmanship and cultural resilience. There is no place I would rather live. But it is not immortal, nor should we assume it is immune to the forces that have endangered democracy so many times in human history. ... Part of American democracy’s stability is owed to the fact that the Founding Fathers had read their Plato. ... Many contend, of course, that American democracy is actually in retreat, close to being destroyed by the vastly more unequal economy of the last quarter-century and the ability of the very rich to purchase political influence. This is Bernie Sanders’s core critique. But the past few presidential elections have demonstrated that, in fact, money from the ultrarich has been mostly a dud. ... The evidence suggests that direct democracy, far from being throttled, is actually intensifying its grip on American politics. ... it is precisely because of the great accomplishments of our democracy that we should be vigilant about its specific, unique vulnerability: its susceptibility, in stressful times, to the appeal of a shameless demagogue.
With a trial about to begin, lurid and alarming details of the billionaire’s condition and the scheming around him continue to emerge. Many questions will arise in the courtroom—and control of CBS and Viacom could ultimately hang in the balance. ... Redstone is a man who, for decades, dominated those around him. Now diminished, by some accounts a wraith, he is not expected even to be in the courtroom at a trial that centers on what condition he’s in. He will be questioned by each side for 15 minutes at home (the videotaped deposition will be shown only to the judge). Even that small amount of testimony might be too much for him. ... What’s beyond dispute is that this fight has sent shock waves through Redstone’s vast empire. It was this tawdry case—and not a planned corporate succession or steps taken by either board—that forced his belated departure as chairman of the two companies in February, despite his repeated vows that he’d never step down. (He also claimed he’d never die.) It has focused attention on the business woes at Viacom, where profits are faltering, the creative and digital strategies seem suspect, and the stock has dropped 39% in the past year. And it has prompted CBS chief Leslie Moonves to start quietly maneuvering to get out from under the Redstone family’s thumb altogether, according to a Reuters report. ... This account is based on interviews with dozens of people, including Herzer, current and former high-ranking executives of Viacom and CBS, people close to Redstone and his family, witnesses to events at his mansion, and lawyers in the case, as well as hundreds of pages of court records and documents. ... In the end, Redstone’s corporate affairs fell into disarray because he stubbornly refused to put his house in order—scoffing at succession plans, appointing pliant boards, and running his $40 billion enterprise like a family grocery store. ... Christine Peters, a Hollywood producer and onetime Redstone flame, recalls sitting down for dinner at a restaurant in Hawaii with her daughters and the mogul, then about 80, when his steak arrived overdone. Redstone summoned the chef to their table, stuck his fork in the meat, and flung it at him. “Why are you so mean to people?” she recalls asking him. “I don’t care,” Redstone replied. “I’m going to hell anyway.”
There are a lot of directions in which to point fingers. There is Holmes, of course, who seemed to have repeatedly misrepresented her company. There are also the people who funded her, those who praised her, and the largely older, all-white, and entirely male board of directors, few of whom have any real experience in the medical field, that supposedly oversaw her. ... But if you peel back all of the layers of this tale, at the center you will find one of the more insidious culprits: the Silicon Valley tech press. They embraced Holmes and her start-up with a surprising paucity of questions about the technology she had supposedly developed. They praised her as “the next Steve Jobs,” over and over (the black turtleneck didn’t hurt), until it was no longer a question, but seemingly a fact. ... The system here has been molded to effectively prevent reporters from asking tough questions. It’s a game of access, and if you don’t play it carefully, you may pay sorely. Outlets that write negatively about gadgets often don’t get pre-release versions of the next gadget.
For years a culture clash had been brewing within the cloistered, sober halls of the National Geographic Society, a social club-turned-nonprofit organization founded in Washington in 1888 and devoted to the mission of increasing and diffusing geographic knowledge. Some NGS executives were irritated by the reality-TV shows that had come to dominate the network, which was majority-owned by Rupert Murdoch’s News Corp. The worry was that the lowbrow shows were damaging the society’s credibility and upstanding reputation. Behind the scenes, they had attempted to quash several projects before they aired. The TV people kept fighting back. ... In addition to the media assets, Fox picked up National Geographic’s travel business, which arranges tours to places such as the Galápagos Islands, and its licensing division, which lends its name to everything from bird feeders to backpacks to bedsheets and coffee beans. The success of the brand will likely hinge on the financial performance of the TV network—and its ability to navigate a market that’s being shaken by the unbundling of cable packages and rapidly changing viewing habits. ... Fox is investing hundreds of millions of dollars to reinvent it as a more highbrow destination—a kind of HBO for science and adventure programming.
But a new generation of owners like Ballmer, with fortunes made in technology, private equity, and venture capital, are accustomed to being intimately involved with their investments. They’re not just looking to win championships and trophies. They’re looking to build a great business. ... More than that, these tech-enabled owners have helped turn the NBA into North America’s most forward-thinking sports league. Other leagues struggle with aging fans and restrictive views on intellectual property; the NBA has the youngest TV audience of any US league and lets its content flow through the wilds of the Internet. While the other US leagues struggle to build international interest in their games, the NBA has leveraged social media and new technology to build a huge global following. If the league has its way, the Golden State Warriors’ three-point-shooting machine Stephen Curry won’t be merely an ambassador for America’s most exportable sport. He’ll be the biggest star of the biggest league on the planet. ... the overall composition of NBA ownership groups has radically changed. Today roughly half of NBA teams have controlling owners with backgrounds in tech and investment management. ... These owners don’t talk to each other about on-the-court matters, but they’re all in touch regularly on issues of how to run their businesses and reach fans. ... The NBA began this past season with 100 players from 37 countries and territories, 22 percent of the league. That adds up to a huge international audience. ... The biggest potential prize here is China. By some estimates, almost as many people play basketball in China as there are people in the United States—300 million. The NBA dreams of turning the massive Chinese market into the engine that propels the league into the global economic stratosphere.
2015 was, by all accounts, not a great year for GoPro. The company, famous for wearable cameras targeted toward surfers, mountain climbers, and anyone else living on the edge, shipped more cameras than ever, but its revenue dropped 31 percent between the fourth quarters of 2014 and 2015. ... Over the last three years, GoPro has been building a software team from scratch, cobbling together acquisitions and a few key hires into what is now a 100-plus employee division that makes up about one-tenth of the company. Woodman acknowledges that the trend of middling sales figures will likely hold until GoPro releases a set of new devices at the end of this year, including the Hero 5, GoPro’s first drone, and a spherical camera made for general consumers. Meanwhile the new software team, and what it’s building, will herald in a new era at the company, inspire investors, and eventually attract new customers. ... In the last four months, GoPro bought, rebranded, and relaunched two powerful mobile editing apps called Replay and Splice — opening up GoPro to users who don’t own any of its cameras. And in the second half of 2016, GoPro will release a desktop editing experience that will rival iMovie and a cloud backend that will tie everything — devices, files, and the overall GoPro experience — together into a single ecosystem. ... Woodman is clear-eyed on the fact that the hardware-first chapter of GoPro is coming to an end. Cameras will still be important, because Woodman believes that vertical integration gives GoPro an advantage over software-focused competitors. ... "We’ve sold a great promise to people but we haven’t followed through on it…. We solved the capture side of it, but then we sort of left them hanging with the whole hassle of the post-production."
What he offers — a combination of cross-disciplinary skills, a fiercely loyal fan base and a proven knack for attracting top-level talent — makes him a hugely valuable commodity in the digital age. With his head still spinning, he took calls, meetings and meals. ... None of the proposals was as appealing as HBO's, however. The premium cable network would offer him not only a weekly 10 p.m. talk show but also an opportunity to create or consult on other programming for the network and its digital offshoot, HBO Now. ... Additionally, HBO — which, two sources say, is paying him between $7 million and $9 million a year, a nice boost from the $5 million he made at ESPN — would agree to be a minority investor in the Bill Simmons Media Group, home to a burgeoning podcast network and media site The Ringer, which launched June 1 with many of the same bylines that propelled Grantland before it was shuttered by ESPN in October. ... For the time being, Simmons has taken no other outside investment, using what insiders describe as seven-figure revenue generated primarily by sponsorship and branding deals to help fund The Ringer side of the enterprise. ...
Easy access to capital has allowed the company to bid aggressively on content for its service. This year Netflix will spend $5 billion, nearly three times what HBO spends, on content, which includes what it licenses ... dozens of original shows (more than 600 hours of original programming are planned for this year) often receive as much critical acclaim and popular buzz as anything available on cable. ... But the assembled executives also had reason to worry. Just because Netflix had essentially created this new world of internet TV was no guarantee that it could continue to dominate it. Hulu, a streaming service jointly owned by 21st Century Fox, Disney and NBC Universal, had become more assertive in licensing and developing shows, vying with Netflix for deals. And there was other competition as well: small companies like Vimeo and giants like Amazon, an aggressive buyer of original series. Even the networks, which long considered Netflix an ally, had begun to fight back by developing their own streaming apps. Last fall, Time Warner hinted that it was considering withholding its shows from Netflix and other streaming services for a longer period. ... At the moment, Netflix has a negative cash flow of almost $1 billion; it regularly needs to go to the debt market to replenish its coffers. Its $6.8 billion in revenue last year pales in comparison to the $28 billion or so at media giants like Time Warner and 21st Century Fox. And for all the original shows Netflix has underwritten, it remains dependent on the very networks that fear its potential to destroy their longtime business model in the way that internet competitors undermined the newspaper and music industries. Now that so many entertainment companies see it as an existential threat, the question is whether Netflix can continue to thrive in the new TV universe that it has brought into being.
Comcast has installed tens of millions of cable boxes, Wi-Fi routers, and other hardware in American homes over the years. These devices have been forgettable at best. Stirling hopes that’s about to change. Later this year, the company will begin rolling out a family of slimmed-down internet, TV, and home-security gadgets. The devices are designed according to a radical concept that’s largely gone untested in more than a half-century of cable-TV history—that hardware doesn’t have to be hideous. ... The new devices are designed to work in concert with X1—the software at the heart of Comcast’s strategy to keep its 22.4 million cable subscribers from cutting the cord and defecting to Netflix, Hulu, and Amazon. Think of X1 as the company’s own Android or iOS—a technological platform upon which an empire of software, hardware, and services can be built. ... Instead of just throwing every channel into a linear grid accessed by clicking up and down with a remote, X1 aggregates programming from hundreds of TV networks and online sources and arranges everything by genre. ... Unlike most cable companies, Comcast has actually been gaining TV subscribers.
From political power brokers to the entire island of Manhattan, a varied cast of taunting insiders has inadvertently driven Donald Trump’s lifelong revenge march toward the White House. This is what it’s like to be one of them. ... Trump was referring to a profile I’d written two years earlier in which I chronicled a couple of days spent inside the billionaire’s bubble and confidently concluded that his long-stated presidential aspirations were a sham. He had tweeted about me frequently in the weeks following its publication — often at odd hours, sometimes multiple times a day — denouncing me as a “dishonest slob” and “true garbage with no credibility.” ... Trump’s performative character assassination led to plenty of teasing from friends and colleagues about how I had inadvertently goaded Trump into running. But as his campaign gained traction, the tone started to curdle into something more…hostile. Once, after discussing Trump’s latest outrage on cable news, the host grumbled to me, “Won’t it be great when Donald Trump becomes president because you wrote a f***ing BuzzFeed article daring him to run? I mean, won’t that be f***ing fantastic?” ... I had landed on a long and esteemed list of haters and losers — spanning decades, stretching from Wharton to Wall Street to the Oval Office — who have ridiculed him, rejected him, dismissed him, mocked him, sneered at him, humiliated him — and, now, propelled him all the way to the Republican presidential nomination, with just one hater left standing between him and the nuclear launch codes. ... In the fall of 2010, with the national tea party wave cresting, Trump decided it was time for a rebrand. His marketing instincts had been the driving force behind a lifetime of political promiscuity, including stints as a Republican, a Democrat, an independent, and a member of Ross Perot’s Reform Party. Though he wasn’t one to read Hayek or quote Jefferson, Trump could tell there was something about this new conservative movement that was resonating with his core fanbase, and he wanted in. For guidance, Trump turned to conservative super-activist and Citizens United president David Bossie. ... “Half of the story here is the dismissiveness that the political operative class had toward him.”
- Also: The Atlantic - Donald Trump and the Backlash Against Political Correctness < 5min
- Also: The New Yorker - Donald Trump’s Ghostwriter Tells All 5-15min
- Also: Huffington Post - Sad! 5-15min
- Also: The New York Times - Donald Trump’s Deals Rely on Being Creative With the Truth < 5min
- Also: Bloomberg - What Kind of Man Spends Millions to Elect Ted Cruz? 5-15min
Many in Turkey worry the failed takeover will only hasten the end of independent journalism there. In recent years, Turkish journalists have described a climate far worse than anything they can remember. TV stations critical of the government have been dropped from the state-run satellite broadcaster—one of them, the pro-Kurdish IMC TV, in the middle of a live interview with Dundar and Gul. Foreign journalists have been deported and denied entry to the country, and last fall mobs led by a prominent young politician in Erdogan’s party twice attacked the Istanbul offices of the newspaper Hurriyet. Reporters Without Borders lists Turkey 151st out of 180 countries in its World Press Freedom Index, between Tajikistan and the Democratic Republic of Congo. In June the watchdog group’s Turkey representative was arrested and placed in detention on charges of distributing terrorist propaganda. ... Under a law that criminalizes insulting the nation’s leader, more than 2,000 cases have been opened against journalists, cartoonists, teachers, a former Miss Turkey, and even schoolchildren in the past two years. ... Most of its income comes from newsstand sales: Its circulation hovers around 50,000, and at 1.5 Turkish lira (49¢), it’s slightly more expensive than most papers. That funds operations, ink and paper, and the modest salaries of its staff of 200. ... The paper faces the same problems papers face everywhere, as younger readers get their news from social media and the internet destroys the newspaper business model.
Katzenberg admits his greatest motivator is, well, winning. An avid gambler, he got kicked out of summer camp at age 15 for playing cards (that was for M&M’s; these days he plays poker for much higher stakes). But DreamWorks wasn’t always a straight flush. The original production company never lived up to the expectations generated by its high-wattage founders: Katzenberg, Spielberg, and music and film mogul David Geffen. DreamWorks Animation, which became independent in 2004, had more success—but never attained the scale to secure its future in an increasingly conglomerate-heavy Hollywood. ... Still, under Katzenberg’s direction, the animation studio, based in Glendale, Calif., was prolific, sometimes profitable—and most important, prescient. In 22 years, including as a division of DreamWorks SKG, it produced 32 films, garnering more than $13.5 billion in worldwide box-office revenue. ... He was early to recognize that companies other than Disney could turn animated franchises into enduring revenue sources, early to see the importance of streaming-media distribution, and early to spot China’s potential to reshape the industry. ... Developing cartoon movies for kids, done right, can pay off big: If you create lovable and “sticky” characters, you can relatively easily monetize that initial IP investment across multiple movies, TV spinoffs, and lines of merchandise. ... The process is slow and costly. Films take three to four years to complete, progressing from ideation to storyboarding to using computer-generated imagery to animate minute details like the movement of hair and the texture of powdery snow. At DreamWorks Animation, a typical movie cost upwards of $140 million—not including marketing.