❰PDF / Epub❯ ☁ Television Is the New Television Author Michael Wolff – Horse-zine.co.uk

Television Is the New Television summary Television Is the New Television , series Television Is the New Television , book Television Is the New Television , pdf Television Is the New Television , Television Is the New Television 15d959dc69 Twenty Years After The Netscape IPO, Ten Years After The Birth Of YouTube, And Five Years After The First IPad, The Internet Has Still Not Destroyed The Giants Of Old Media CBS, News Corp, Disney, Comcast, Time Warner, And Their Peers Are Still Alive, Kicking, And Making Big Bucks The New York Times Still Earns Far From Print Ads Than From Digital Ads Super Bowl Commercials Are Valuable Than Ever Banner Ad Space On Yahoo Can Be Bought For A Relative PittanceSure, The Darlings Of New Media Buzzfeed, HuffPo, Politico, And Many Keep Attracting Ever Traffic, In Some Cases Truly Phenomenal Traffic But As Michael Wolff Shows In This Fascinating And Sure To Be Controversial Book, Their Buzz And Venture Financing Rounds Are Based On Assumptions That Were Wrong From The Start, And Become Wrong With Each Passing Year The Consequences Of This Folly Are Far Reaching For Anyone Who Cares About Good Journalism, Enjoys Bingeing On Netflix, Works With Advertising, Or Plans To Have A Role In The Future Of The InternetWolff Set Out To Write An Honest Guide To The Changing Media Landscape, Based On A Clear Eyed Evaluation Of Who Really Makes Money And How His Conclusion The Web, Social Media, And Various Mobile Platforms Are Not The New Television Television Is The New TelevisionWe All Know That Google And Facebook Are Thriving By Selling Online Ads But They Re Aggregators, Not Content Creators As Major Brands Conclude That Banner Ads Next To Text Basically Don T Work, The Value Of Digital Traffic To Content Driven Sites Has Plummeted, While The Value Of A Television Audience Continues To Rise Even If Millions Now Watch Television On Their Phones Via Their Netflix, Hulu, And HBO GO Apps, That Doesn T Change The Balance Of Power Television By Any Other Name Is The Game Everybody Is Trying To Win Including Outlets Like The Wall Street Journal That Never Used To Play The Game At AllDrawing On His Unparalleled Sources In Corner Offices From Rockefeller Center To Beverly Hills, Wolff Tells Us What S Really Going On, Which Emperors Have No Clothes, And Which Supposed Geniuses Are Due For A Major Fall Whether He Riles You Or Makes You Cheer, His Book Will Change How You Think About Media, Technology, And The Way We Live Now

10 thoughts on “Television Is the New Television

  1. says:

    Potentially a good book with some valid points, but it is difficult to be sure amid the muddled writing style are we in past or present tense and lack of focus The short chapters fail to make any one thesis clear, although the payoff, by the end of the book is a reasonable suggestion Still, I am unsure if I have just read a history, a report on current events, or prophecy Like the digital medium it excoriates, it is peripatetic and short sighted.

  2. says:

    You have to take Michael Wolff with many grains of salt which he conveniently provides , but this book is mostly a terrific winnowing down of the current state of things when it comes to the media entertainment industry and the renaissance remaking all of it The central argument is that the digital revolution is surprise, surprise not the triumphant revolution it promised to be Content does not want to be free, nor can our economy afford for it to be, nor will the consumer ever be satisfied with the product that comes cheaply as possible It s strong medicine, especially, for cord cutters and those who advocate a la carte solutions to the big, bad cable company I enjoyed the book and agreed with most of Wolff s conclusions and observations You do have to put up with his own sense of rhythm when it comes to writing The man sure loves a series of commas compounded with dashes and a parenthetical aside.I got to the end of this and repeated my mantra, which I ve found useful as an employee of legacy media Try not to take the renaissance personally it likely won t be finished in your lifetime.

  3. says:

    I work in the television and digital media businesses, and I have witnessed all of the trends that Wolff describes, but until reading this book I never quite put them together in the same way that Wolff has done That is enough by itself for this book to get four stars from me Wolff s thesis is that cultural and commercial pressures are pushing digital media in the direction of commodified lowest common denominator mass content, while at the same time related but somewhat different cultural and commercial pressures are pushing television in the direction of high value, high quality content, so that there is a divergence, rather than a convergence between digital media and television, which makes television a good business and may be sending digital media into a profitless death spiral It is a good insight and there is a lot of truth to what Wolff is saying, but Wolff hangs onto his ideas like a pit bull so that he sometimes misses important subtleties, and he doesn t acknowledge that the rapidly changing environment that he describes is continuing to change so rapidly that everything is likely to be different again in a couple of years.One of the most interesting things to me about this book is how the book itself is a reflection of some of the trends that it analyzes This book, like The Long Tail and some of Malcolm Gladwell s books, is a book length work built around a single good idea that could have been fully described in a twenty or thirty page article But books pay better than articles, and in the universe that Wolff describes in which serious paying print journalism has been swallowed by bite sized non paying digital media, he would have been lucky to make a couple of thousand dollars if he had written an article instead of a book Buying this book is like buying an album for one good song or a package of twenty crappy cable channels to get one good one The dross gets shoved into the hopper with the good stuff to justify higher pricing for the good stuff and to allow the purveyors of the packages to experiment with things included in the dross in the hope that some of them will turn to gold It seems terribly inefficient In concept it would be better to just get the good stuff, throw out the dross and find a better way to subsidize the experiments But the way that it is done now may be consistent with behavioral economics because people feel comfortable with paying higher prices for higher quantity than for higher quality I d love to see Daniel Kahneman analyze this phenomenon And it has the benefit of being what Nassim Taleb would call anti fragile because the dross provides a stable environment for incubating the high value items of the future, plus a cushion for the situations where the alleged high value item turns out to be a turkey or loses value over time Plus the people who make their livings creating the dross are the middle class that keeps our country from moving further into a polarized world of rich and poor There is a lot to think about here, and I am definitely moving in the direction of thinking that even if it is theoretically inefficient, bundling the dross together with the gold may not be such a bad thing, and maybe we should be looking for ways to preserve and reinvent the concept instead of looking for ways to circumvent it.

  4. says:

    The chapters are short, and some of the content deserves to be a bit clearer in terms of direction or focus, but the big ideas are certainly worthy of thought In many ways this is a sentimental story about the love of t.v. It is than mere sentiment though, as it insists that t.v., despite the war of the digital.age, is still alive and well I suspect the book echos much of what those of us who grew up in the age of television already have been thinking that the war between digital and television is not as clear cut as the trend of cable cutting makes it appear The author simply helps to make sense of the why questions, while addressing some fears,.defining his general thesis that once we navigate through the mass amounts of drivel that the digital landscape has produced, what we find is the persistance of old fashioned television watching simply in a modern way , and predicting some trends and realities First, we recognize that there is a war between the two mediums which he helps us to understand from the perspective of the system itself, which I found very enlightening The most unfortunate part of the war is the big wigs who have done there best to keep the two sides modern digital movement and old fashioned t.v watching from coming together in a productive way This has led to some complicated realities and trends, which becomes most relevant when one digs down in to questions of revenue and profit Much of the discussion that surrounds this may feel and sound menial to the average person, but where it filters down from profit to consumer is in terms of content and quality of art, and it is this question that forms the authors insistence that underneath trends of superficiality which the digital media has fed is the same solid foundation that anchored and fueled the passion for good t.v through the years T.V is far from a lost art, even if notions of a vast and fast changing digital landscape continue to send the message that it is There are many questions that remain, many of which revolve around sustainability and building a competitive digital landscape One of the compelling thoughts that he offers is the notion of bundling something that has been largely sold as a negative why pay for something that we don t want as both necessary and positive in moving forward Bundling allows for competition, gives room for shows to develop, and allows the hits and the worthwhile content to both survive and emerge One of the truths the author insists of the digital landscape is that it still depends on the nature of old fashion television watching to give it the recognizable hits and content that sustain it While discussions of revenue and profit have spun the digital world all over the place, the foundation is still in the art of old fashioned t.v watching And that is hopefully good news for those of us who might feel like the medium we once loved is slipping away in to undefined digital world.

  5. says:

    Didn t love it It was kind of painful to read and a bunch of stuff I already knew It talks a lot about how digital doesn t really have the revenue of TV I get that It also talks about how all of digital is just heading toward TV anyway since you just stream to your television I get that too And then it goes into how everything is just videos of one kind or another on most of the successful channels including Facebook and YouTube now I get that Bottom line is people want great content in all it s forms And they will watch it in the weirdest places now on TV on ipads on Facebook on YouTube playing on their TV screens and in BULK SESSIONS via Netflix playing on their TV s mostly I get that It s fragmented but TV is still a big deal I get that I watch TV a lot I love TV I grew up on TV I will most likely die in front of the TV Breaking Bad is not successful because it is watchable via binge viewing on Netflix like the book claims Netflix just gave people the ability to watch an incredible show that they might have missed otherwise More distribution makes for chances to catch great content and Breaking Bad is incredible content So I guess that is what I am sayingwatch Breaking Bad It is really good This book is just OK.

  6. says:

    This examination of the interplay between TV and modern digital distribution technologies is a valuable exploration of the history behind current media distribution models but is woefully lacking in understanding of audience engagement and other cultural factors that play an enormous part in modern media consumption habits Wolff attempts to distill media culture down to pure technology, economics, and market forces like they are mystical and unassociated with human behavior While the market side of mass media production and distribution is a hugely important part of the equation that s often ignored in treatments about the TV Renaissance, ignoring the sociological shifts that go along with changes to modern mass media leads him to some ridiculous conclusions about how it all works Ultimately, this book is a mediocre treatment of new distribution models that could do with a thorough examination of both the history and transformation of television content as the form and distribution have changed and with a closer look at the various models of audience engagement that have also been transformed by digital distribution and which in turn partially drive the content of the content perhaps just as much as the purely economic side of the equation.

  7. says:

    I had no clue what this was when I got it, thinking it would be about the golden age of television we are currently experiencing Well, that wasn t what this was about, but it was still a fascinating read Wolff s thesis is that the old media are still making money, and the monetized aspects of the digital media are all coming to resemble old media outlets, while the highly touted takeover by digital keeps getting pushed back further and further, and is largely illusory He creates a compelling argument This was an interesting look at the way things stand right now in terms of content and audience, and I m glad I read it.

  8. says:

    A sometimes interesting take on mediaI picked up this book when the library didn t have any available copies of Wolff s latest, Fire and Fury As someone who aspires to write for and ultimately create my own television programming, I found this book to be somewhat interesting Much of it is re purposed work that Wolff had previously written for magazines, newspapers, or websites, so those familiar with Wolff s material might not find much new here Now that the book is over three years old as of the time I write this review , much of the information is outdated, given the fast moving media landscape I find Wolff s writing style frequently aggravating he loves run on sentences, and regularly constructs sentences built of clauses within clauses within clauses Like Russian nesting dolls, his writing often requires tedious unpacking with little if any reward when you get to the bottom of it He d be well served to switch to an editor who ll guide him away from such tendencies I hope I ll like Fire and Fury .

  9. says:

    The narrative structure is at some points blurry but the insider information and analysis is really surprising My favourite parts were the ones about the cable operator modus operandi the three big digital moguls intervention and the sports deals.

  10. says:

    It s a tough writing style, but for anyone working in the entertainment business this is a great crash course in the modern landscape of TV Highly recommend to all film and TV students because this is stuff that will be glossed over in class.

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