Alan Wolk

New York Magazine (NYMag) published The Power Issue with a piece on the state of journalism titled “Can the Media Survive?” that everyone in media and communications was sharing and commenting on. The story was a roundup of journalism industry elites dunking on the business (and one another) in mostly anonymous quotes. The TL;DR, as NYMag put it: “All of these media insiders have watched up close as the business that undergirds journalism changed dramatically in the past decade, and almost all of them would agree that it hasn’t, for the most part, been for the better.” It also unleashed a flurry of reactionary newsletters, tweets, and texts from my old journalism peers, who largely shared the sentiment that Ernie Smith, writer of the Tedium newsletter, said on Threads: “It’s telling that only two people on this entire list went on record.” There were a lot of shots fired. Of note, Hamish McKenzie, co-founder of Substack in a post titled I’m (not) one of the 57 most powerful people in media said, “There are few things that the media industry likes to talk about more than itself. The pity is that it is an increasingly small and irrelevant bubble, and so there are fewer and fewer people around to listen.” While this NYMag story was about journalism, the reality is it exists within the broader “media” industry, which is awash in content of varying degrees of quality while dealing with shifting consumer preferences. Meanwhile, every single creator of content is competing with social media platforms that are so good at constantly changing to better capture people’s time and attention. In the non-journalistic media world, there’s a broader re-focusing on content audiences are obsessed with, regardless of platform. This debate was online and IRL (and I'll put more commentary in the comments) but the important takeaway is that we are clearly at an inflection point where the industry is aligning that: Publishing for scale and creating for audience are not the same thing.  The next generation of journalism should also certainly strive to be seen as valuable to the next generation of readers. When I ask my under-40s peers what their news media diet looks like, there’s always a few select masthead homepages sprinkled in, but the vast majority comes from whatever hits their TikTok, Instagram or YouTube Shorts feeds. The evolution of journalists as creators and vice versa is the defining issue. TOMORROW, I’m speaking with Dave Jorgenson, senior video reporter at the Washington Post who leads their stellar TikTok channel, for a keynote at the Future of Television conference in LA. This is something we’ll talk about – let me know if you want a ticket; I have a few extra. Subscribe for more: https://lnkd.in/gnRggM7f

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The Meaning of vinyl outselling CDs • Physical sales keep growing but there is a hidden problem about streaming music that labels are about to address. • 3 strategic ideas music radio stations can employ to get in on the trend. • How young consumers are in the midst of changing the way they enjoy music (again). • The user-generated tools that will soon become available to allow music fans to control the speed of the music they hear and these other factors. • TikTok and Instagram Reels have forced a new approach that will make sure labels get paid. https://lnkd.in/eX4aKwQc

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ICYMI - The Week In Review looks at why most of The Trade Desk's "Top 100 Publishers on the Open Internet" list consists of streaming TV services and networks with URLs and why the list resembles a big consumer brands' media plan circa 1987. We also look at Nielsen's plans to measure Lionsgate's FAST channel and wonder why we're the only ones asking "Okay, but how?" https://lnkd.in/e8kpPVBE

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Prebid.org #PrebidSummit2024 The Battle Against Bad Actors Keith Candiotti/Optimera On the publisher perspective. What is a reasonable expectation that publishers should have about feedback from SSPs? "A publisher is like a car driving down the road without any posted speed limit. Publisher is pulled over and given a ticket for speeding. Publisher: Officer, if I knew the speed limit, I'd comply. Officer: If we posted the speed limit, you'd break it!" There needs to be more communication. Publishers should not be penalized for small missteps that are often unintended and corrected. #Intent In a way, intent doesn't matter. Mistakes happen but just like a retailer has an obligation not to put bad items on the shelf, bad inventory is bad inventory. SSPs are responsible for quality supply. Outcomes will drive clean up. #Incentives to create quality outcomes: Optimera we sniff inventory to see if any of it gives off a "naughty" whiff. When the buying hose is pointed at good quality inventory, whether it is #Direct Sold, #ProgrammaticDeals, or the #OpenExchange, it all works the same. Prebid.org can be the scaffolding to increasing quality inventory!

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Until recently, it was conventional wisdom to leave the streaming business to the titans. But as the New York Times’s Josh Kolbin points out, smaller streaming services like Hallmark+, Shudder, and BritBox are entering the fray and seeing substantial growth by zeroing in on specific genres and interests.  With the changing mood on Wall Street, Netflix and other major streaming platforms have prioritized profit over subscriber growth, raising subscription prices and focusing on fewer but higher-budget shows to attract a broader audience. Acquisition of independent content has scaled back by nearly 50% since 2020. This dramatic shift, coupled with the platforms’ algorithms and landing pages prioritizing mass appeal content, has given rise to significant audiences looking for an alternative. The demand for culturally relevant content has always been high among regional audiences, particularly within Latin American and Latino USA communities. These groups have always demonstrated a deep connection to stories that reflect their culture and identity, and are leading adopters of streaming services. Yet the underrepresentation and lack of accurate representation in the media are well-known. Nielsen: https://lnkd.in/eYZVh8nu McKinsey: https://lnkd.in/ezDJaFJu The Lift Entertainment was born out of a desire to work with the strongest regional talent in Mexico and Spanish-speaking Latam, seeking to create culturally resonant and entertaining shows with global appeal. We’re excited to take a more focused approach to commissioning with no need for elaborate dramas. We’re here to tell stories that reflect what truly matters to our audience, focusing on what makes Mexico tick.

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#UnHollywood: The Golden Age of Indie Film The Indie Film Revolution has begun! We are all captivated by the glitz and glamour of Hollywood. As aspiring filmmakers and theater artists, we've grown up dreaming of reaching the major studio levels, Broadway, and fantasizing about leaving our mark on the stage and screen. However, as much as we adore and admire Hollywood, it's crucial to recognize that the movie industry has increasingly prioritized commercial success over story and creativity, forcing many of us to reevaluate our paths. This reality has led to the rise of a new era – the Golden Age of Indie Film! An electrifying period that celebrates authentic storytelling, diverse perspectives, and creative freedom. The Indie Film Revolution champions the artists who dare to challenge the major studio system and redefine the future of filmmaking. While Hollywood may not always open its doors to the incredible talent that exists beyond its gates, the Golden Age of Indie Film reminds us that there's another way to make our dreams come true. By joining forces and embracing the power of independent artistry, we can create opportunities and forge a path that values creativity and originality above all else. Together, we can build a world where independent filmmakers and theater artists thrive and push the boundaries of storytelling in ways never seen before. We believe in the power of authentic storytelling and its ability to connect us on a deeper level. IFT Network's infrastructure is designed to support the entire journey of independent film and theater production: • The IFT Network Writing Room: A dedicated virtual space for script development and collaboration. • Producer Community: A network of talented producers ready to bring projects to life. • Streaming Platform: A global stage that offers independent filmmakers and theater artists an opportunity to showcase their work to audiences worldwide. • Marketing and Promotion: A comprehensive support system, including the IFT Network Marketing Agency, that assists independent artists in amplifying their projects' visibility and connecting with their target audiences. • Community Share Program: A system that shares revenue with each film and show on the platform, ensuring mutual success within the IFT Network community. Our long-term vision includes expanding our infrastructure even further: • Indie FIlm Theater Fund: A future venture fund tailored specifically for indie film and theater projects within our ecosystem. • Physical Studio: A dedicated space for production and collaboration, fostering innovation and growth. • Theater Partnerships: Partnering with or owning theater venues to provide opportunities for live performances. Join us as we redefine the future of storytelling and prove that the power of authentic, independent artistry cannot be ignored.

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Embracing Diversity, Equity, and Inclusion in the Digital Content Industry In today's interconnected world, the digital content industry plays a pivotal role in shaping our perceptions, beliefs, and values. As creators, distributors, and consumers of digital content, we have a responsibility to ensure that our media landscape reflects the rich tapestry of human experiences and identities. Why Diversity Matters Diversity in digital content encompasses a wide range of dimensions. Embracing diversity allows for the authentic representation of different communities and perspectives, fostering empathy, understanding, and cultural appreciation among audiences. Equity and Accessibility Equity in digital content refers to ensuring fair and equal access to opportunities, resources, and platforms for all creators and audiences. This includes addressing systemic barriers that prevent marginalized communities from participating fully in the industry, such as lack of access to education, funding, technology, and representation. Inclusion and Representation Inclusion involves creating environments where everyone feels valued, respected, and empowered to contribute their unique perspectives and talents. In the context of digital content, inclusion means actively seeking out and amplifying diverse voices, stories, and experiences across all genres and platforms. This includes behind-the-scenes roles such as writers, directors, producers, and executives, as well as on-screen representation in front of the camera. Representation is a key component of inclusion, as seeing oneself reflected in media can have a profound impact on self-esteem, identity formation, and social belonging. It is essential for the digital content industry to strive for authentic and nuanced portrayals of diverse characters and communities, moving beyond stereotypes and tokenism to create multifaceted and relatable representations that resonate with audiences. Challenges and Opportunities While progress has been made in promoting diversity, equity, and inclusion in the digital content industry, significant challenges remain. These include entrenched biases, systemic inequalities, and resistance to change within organizations. However, these challenges also present opportunities for innovation, collaboration, and leadership. By embracing DEI as core values and integrating them into every aspect of their operations, companies can drive positive social impact while also achieving business success. Conclusion In conclusion, embracing diversity, equity, and inclusion is essential for the digital content industry to fulfill its potential as a force for positive change and social progress. Together, we can build a future where everyone's stories are heard, valued, and celebrated in the digital realm. #digitalcontentagency #contentcreation #filmproduction

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Another study confirming the impact that audio advertising has when combined with digital campaigns. Uplift in reach, and as they occupy different levels in the consideration funnel there must also then be an uplift in conversion. Shifting digital only budgets tona combo budget is a better plan. Says Neilsen.

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Good report from Variety on #generativeAI in the film and TV industries. One intriguing tidbit was how big an effect people think AI will most likely have in certain areas of the industry: the top three are search and discovery, video analytics, and localization. Content creation was further down the list. It's also got a good outline of the state-of-the-state, as well as an overview of attitudes toward the tech from a number of different parties.

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WHERE HAVE TV'S GRPs GONE?   In this week's MDI Alert, we explore the amount of TV commercial viewing time that is currently attained by linear TV and CTV and how this breaks down by age and income group. This analysis takes into account not just time spent by platform but also how much of each is devoted to ad messages and how many ads are presented per hour. As a result, linear TV still leads CTV by a huge amount in terms of the available advertising GRPs, but as we demonstrate, this is much less the case for younger adults. This interesting report is available to non-MDI Direct subscribers for a bargain basement price and can be accessed via the link, below. And while you are visiting our website we invite you to browse the listings of the other weekly Alerts and major annuals we send to our well informed subscribers--it can all be yours. https://lnkd.in/g4fQQqsz

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The world now has an abundance of tools to help us cut corners. What previously required mindful discussion, skill, time, and attention can now be created instantly with the click of a button for a fraction of the cost. When corners are cut and these "easy-button" works are published for public consumption with little human oversight, we put society, public knowledge, and potentially our history at risk. We stand at a dangerous precipice. We need regulations on a system-wide basis and a clear understanding of disclosure requirements. There need to be rules and penalties when AI use is not disclosed properly. In the same way the food industry is regulated to tell you exactly what is in what you are buying, there should be consistent labels and language across all products. Our knowledge should be treated with the same amount of care as our health. Short of all these tools going away, this is the only way to protect the public. #ai #artificialintelligence #genai #regulation #disclosures #netflix #responsibleai

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“We need to rediscover the origins of journalism which was based on news, to find out something that was not supposed to be found out. Every real journalist is driven by that, not wanting to aggregate information that is out there anyway. Reporting, coming up with something new, unknown, is the essence of the business.” Yeah, ok great. But then, what happens once you've succeeded at that mission and published something new? Thanks to your open funnel sending that info to OpenAI, they can now regurgitate it on their own platform(s). I would love to know if these deals include mandates for a link back to the actual source and limitations around how the content can be reshaped, retold and reshared. Are there any protection preventing your data from third parties who use OpenAI technology to create junk AI sites that create pink slime copies of a copy of a copy. I get publishers may look at the "pact with the devil" as a better alternative to the devil just taking what he wants with no pact. But, we need to be smart here. Our future depends on it. #ai #media #journalism #artificialintelligence #openai #genai

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A $30 Billion Loss in Hollywood, Here is why: Many of you in my network are part of the media and entertainment industry, where we understand the importance of diversity and representation. You might have heard me mention that DEI has become a ‘trend’. At ‘The Hollywood Makers’ and in other projects, we've long supported diversity and multiculturalism. I've believed in this my whole life because I don't understand a world with racism or classism. I believe in quality work and mutual respect to all humans. Our focus isn't on complaining or presenting studies but on taking unified action. Let’s digest this: Hollywood's diversity gap estimates suggest a loss of over $30 billion due to a lack of representation. 🎬  Reports from McKinsey, dating back to 2021, show that while there has been some increase in diversity within content from 2002 to 2022, 85% of this content comes from outside the US. This creates a gap in stories reflecting our experiences at home, impacting both theaters and streaming platforms with moviegoers and subscribers. I think it's crucial to show stories that reflect our lives here as Environmental Psychology tells us: our surroundings shape our lives. People react based on their environment, so we can't compare the stories and experiences of Asian or Latin American communities with our own Asians and Latinx living in the US...But that's also another post :) 🎬  In our recent episode of The Hollywood Makers (YT and Podcast) Claudia Cano-Asbjornsen shares in detail the economic losses incurred due to the industry's reluctance to fully embrace diversity. It's not just about equitable representation, by overlooking diverse voices, Hollywood is missing out on untold stories and billions of dollars in potential revenue. 🎬  As a community of multicultural creatives, we are working together on productions to bring more inclusive representation to Hollywood. 🎬  Join the conversation The Hollywood Makers and subscribe to our newsletter at www.rxmediaproductions.com #Hollywood #DiversityInFilm #MediaProduction #mediaandentertainment #TheHollywoodMakers

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Adoption, Adaptation, and the Snow Ball Effect Simone Schuppan Founder and Managing Director of c2Impact discusses the need to treat sustainability as any other essential business practice; even when applied to private life. For full Epsiodes and to Support our mission... Sustainaics: https://sustainiacs.com/ Sustainiacs is the number one leading podcast for sustainability news and education about industry, public, and NGO efforts in developing sustainability technology, projects, efforts, actions, and legislation. From Industry Leaders, CEO, CSO, and Presidents to Entrepreneurs, Inventors, and Actionists we educate and investigate the latest trends, developments, efforts, and nascent technologies and business surrounding sustainability. The importance of understanding the impacts of logistics and supply chains in creating a circular supply chain and economy cannot be overstated. Learn from professionals and global leaders of industry how we can evolve from a linear economy to a circular and sustainable society.

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Range Media Partners just raised big $$ from Liberty Global, Wildcat Capital Management. It's an M&A warchest so they don’t fall behind their peers.  Let’s break it down… BACKGROUND ON RANGE • Mgmt and prod co founded in 2020 by Peter Micelli and other top agents from CAA / WME / UTA • Goal = extend beyond trad film / TV representation • Has expanded into music, sports, gaming, digital, music pub M&A + CAP MARKETS HISTORY • Merged with film / TV prod co Automatik in Jan 2023 • Bought upstart athlete mgmt co Stoked Management Group in Sep 2023 • Existing investors incl Steve Cohen’s Point72 Ventures and A+E Networks (also has prod deal) NEW INVESTMENT • Last week closed significant minority investment by John Malone’s Liberty Global, TPG founder’s Wildcat Capital, and family entertainment co Playground Productions • Former CAA film finance exec Rick Hess, and The Forest Road Company were also involved (either as investors or advisors, can’t tell exactly from press release) • Use of Funds: M&A, scale in US, int’l growth, add more talent rep and prod services What you need to know about this deal 👇... It's not surprising when you consider all the other fundraising and M&A amongst Range’s peers in talent representation.  The influx of capital and high dealmaking volume is driven by a belief that outsized returns will go to rep firms who are fastest to scale, in a winner-take-most market. Because scale makes it easier to sign more talent clients, work with the largest brand marketers, hire the best talent agents and managers, package up the largest Hollywood projects, and launch the most exciting new talent-led ventures. Particularly in a world where scaled access to audience (which talent and influencers bring in a post ATT world) is the top driver in capturing share of high-growth IM spend, which is est at $7B in 2024, up 15% YoY. So it’s a race to the top. And that race is being fueled by large M&A war chests from big investor backers… Companies to watch here are: - Crestview-backed Gersh (just bought A3’s digital team) - Coral Tree-backed Loaded (just bought GG Talent) - Providence-backed Wasserman (13 deals in 2 years) - TCG-backed Night (just bought LFM and Roost Podcast Network) - The big 3: CAA, UTA, Endeavor And after last week, I expect Range Media to ramp up its acquisition activity. Particularly in athlete and digital-native representation. Curious to see what they do next with the $$. Will definitely add them to our buyers list as we bring more deals to market. —- I’m the founder of RockWater Industries. We do M&A and strategy advisory for media, agencies, and creator economy. My DMs are open. #media #agency #creatoreconomy

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UTA just promoted 24 new partners. What's driving this? Promotions can be part of a retention strategy as competition for talent, and their reps, heats up. Particularly when new firms like Range Media Partners, which was the result top agent defections from the Big 3 Hollywood agencies in 2020, are growing fast and raising growth capital (see my analysis 👇). Some questions worth asking... - How is the agency's employee retention rate trending? - How does the % of promotions compare to prior years? - What agency depts are seeing more promotions? e.g. fast-growing areas like digital? - What are the benefits of being a partner? - What type of commitment is required from partners, if any? - How does all this compare to peer agencies? Many talent reps are thinking through decisions about staying VS leaving at bigger co's, starting their own firms, staying independent, and more. This is important info to track. For both those starting out their agency careers, and more seasoned agency execs thinking about their next career step. #media #agency #creatoreconomy

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