Why the Millennial Generation Is About to Rock the Workplace

http://www.lemondrop.com/2010/05/10/why-twentysomethings-make-better-workers-than-gen-x-or-boomers/?sms_ss=email

If you’ve ever wondered why you just don’t get your boss — or she doesn’t seem to get you — a new book may have the answer. In “The M Factor: How the Millennial Generation Is Rocking The Workplace,” Lynne C. Lancaster and David Stillman set out to explain the generational divide currently rocking cubicles across America.

They take on everything from the stereotypes of the “spoiled, entitled” Millennials (read: 20-somethings) to their threatened Gen X bosses (read: 30-somethings), and, on the top of the food chain, the set-in-their-way boomer managers who spent decades toiling to get an office with a door. In short, through their eyes, the workplace is a petri dish teeming with inter-generational misunderstanding.

But as consultants who run a company called Bridgeworks — trying to create understanding between professionals born half a century apart — they truly believe two things: 1) We can all just get along, and 2) You are the future of the American workplace, and any company that doesn’t know how to talk to, work with or retain a bright, able 20-something worker isn’t going to last.

Lemondrop sat down with Lynne to find out why that is — and how you can get ahead.

Lemondrop: Why did you write a book specifically about Millennials?
Lancaster: Interestingly, when our first book, “When Generations Collide” came out in 2002, it was about looking at the points of view of all the generations. Then five years ago, we pitched the book on the Millennials, and the pushback was, “We don’t care about Millennials yet. They’re not at work.” Now the leading edge is in the workplace.

Can you define for us what a Millennial is exactly?
They were born between 1982 and 2000, so the Millennials are between 10 and 28 years old now. If you’re 28, 39, 30, you’re on the cusp. A lot of those people are managers, trying to translate to the Millennials, and that can be stressful job.

YouTube Said to Seek a Producer of Web Video

By CLAIRE CAIN MILLER and BRIAN STELTER
SAN FRANCISCO — YouTube, the video site owned by Google, is in talks to buy Next New Networks, a Web video production company, according to two people briefed on the discussions. The acquisition would be YouTube’s first major foray into producing original content, and demonstrates how intently it is focused on offering professional videos rather than just short clips by amateurs.
YouTube and Next New Networks have not yet signed an agreement. The people who were briefed, but who were not authorized to speak publicly, would not disclose the proposed price. Both companies declined to comment.
As companies like Hulu and Netflix offer more shows and videos online, and as Google tries to lure people to watch YouTube on their televisions through its Google TV software, YouTube is increasingly focused on providing professional content and figuring out how to attract audiences and advertisers to the programming.
Next New Networks, a start-up based in New York, was founded in 2007 to create original Web television shows, and has had success with series like “Barely Political” and “Indy Mogul.”
A year ago, the company broadened its focus to also play a role similar to a Hollywood producer, by scouting new video creators and helping them distribute their videos, find an audience and make money, through the Next New Creators program. It now has 65 independent creators whose videos represent more than half of Next New Networks’ monthly viewing.
That production role is what YouTube is most interested in, said two people briefed on the discussions. Google has been hesitant about creating content, preferring to provide the platform for outside creators rather than compete with companies whose content it links to and hosts.
Asked last month if YouTube would consider acquisitions of Web video companies, Eric E. Schmidt, Google’s chief executive, said “You never say never. We’ve tried to not cross that line.” He noted that YouTube had helped finance Web video production in the past, “but to actually own the content is an important decision.”
“We’re always debating these things,” Mr. Schmidt added. “The good news right now is, there’s enough of these little digital studios that can raise capital,” and they see YouTube as a viable distribution point, he said.

Known Faces Are Displacing the Amateurs in Online Videos

By STUART ELLIOTT
Just as the unknowns who showed up on screen in the early days of television gave way to radio and movie stars like Jack Benny and Bob Hope, more famous faces are supplanting everyday people in Web series, particularly when the video clips are sponsored by advertisers.
Online video, in its initial phases, was populated mostly by unknowns because many stars were reluctant to lend their prestige to an untried medium. Now, though, the ability of celebrities to cut through the clutter means that familiar actors, athletes, comedians, models and singers are being cast for webisodes.
It is “the value of borrowed interest,” said Howard Friedman, senior vice president of marketing for Kraft cheese and dairy at Kraft Foods. An online campaign for Philadelphia cream cheese, handled by Digitas and Eqal, uses Paula Deen, the cook, author and TV host, to encourage “real women” to upload video clips in which they make favorite recipes.
About 5,100 videos have been submitted, Mr. Friedman said, mainly because of Ms. Deen’s ability to “mirror” the personality traits of the customer whom Kraft was trying to reach like being “someone who loves the busyness in her life.”

Rob Corddry’s Web Series ‘Childrens Hospital’ Hits Adult Swim

http://latimesblogs.latimes.com/showtracker/2010/06/rob-corddry-web-series-childrens-hospital-hits-adult-swim.html

June 16, 2010
Rob Corddry’s dressed in scrubs, examining young patients and cracking wise because he believes in the “healing power of laughter.” It doesn’t help, though, that his character is wearing creepy clown makeup and telling jokes that are completely age-inappropriate. Oh yeah, and he’s incompetent.
Welcome to “Childrens Hospital,” a web hit that’s looking for success on TV. If it succeeds, it’ll be one of the few that’s ever made the transition at a time when more and more well-known actors — Jason Bateman, Will Arnett, Justine Bateman and Kenan Thompson among them — are creating and starring in content for the Internet.
Cartoon Network’s Adult Swim has picked up “Childrens Hospital” for its Sunday night block, giving it a strong “Family Guy” lead-in and already ordering scripts for a second season. It premieres July 11.
Mike Lazzo, head of Adult Swim, said he’d found the series on the TheWB.com, a sister Time Warner division, and was “startled beyond belief at this network-quality sitcom on the Web,” he said. “We just had to have it.”

As Studios Cut Back, Investors See Opening

By MICHAEL CIEPLY
Published: November 14, 2010

LOS ANGELES — When Timmy Thompson, who made a lot of his money in oil field services, took a close look at the movie business a couple of years ago, he saw companies folding, credit collapsing and talent knocked down a peg in the aftermath of a labor war.

JoJo Whilden/Margin Call Productions

Paul Bettany in “Margin Call” from Benaroya Pictures.

In all, it looked like a pretty good place to invest.

“We’ve always made our living by buying when things are down,” said Mr. Thompson, who spoke by telephone from Louisiana.

How down?

A few hours earlier, George Clooney had appeared in Santa Monica, Calif., at the American Film Market, where he joined operatives from Mr. Thompson’s newly established Cross Creek Pictures and others in selling rights to “The Ides of March.” It is a political morality tale that will be directed by Mr. Clooney, and will feature him in a cast that includes Philip Seymour Hoffman, Ryan Gosling, Paul Giamatti, Marisa Tomei and Evan Rachel Wood.

All worked for union scale, with the expectation of a future payday if the picture hits when Sony Pictures Entertainment releases it. (The minimum payment on a feature film under the Screen Actors Guild contract in the last few years has been about $65,000 plus food and overtime.)

With studios financing fewer movies, a wave of equity investors stepped up their presence in a Hollywood that suddenly made sense to hard-headed business types who were more accustomed to bottom-fishing in the real estate market or drilling for oil.

Snagging an added bonus from states like Louisiana and Michigan, which offer generous subsidies for local film production, the new players — who mind the old saw “cash is king” — are typically risking just a few million dollars to get a substantial ownership position in films that are cheap enough to yield a profit even in an era of diminished home-video revenues.

“If you have capital, you’re positioned well,” said Brian Oliver, a producer who joined Mr. Thompson and others in starting Cross Creek. Among its first ventures, the company provided backing for “Black Swan,” which is directed by Darren Aronofsky and stars Natalie Portman. It will be released by Fox Searchlight Pictures on Dec. 3.

Hollywood has played host to a succession of outside investors, some of whom fared better than others. Marvin Davis, the oil entrepreneur, made a tidy profit buying and then selling 20th Century Fox, while Crédit Lyonnais, the French bank, became mired in failed loans to a string of film companies. Waves of investment came from doctors and lawyers who were dabbling with film partnerships, Japanese conglomerates, the German stock market, Internet entrepreneurs and cash-laden hedge funds.

Even a few years ago, the industry took a toll on investors as savvy as the garment magnate Sidney Kimmel, whose long-established film company was burned by disappointments like “Charlie Bartlett” and “Synecdoche, New York.”

But only lately have falling salaries, rising subsidies and a thinning of competition turned the financial equation in favor of the investor.

The current crop of equity investors includes Joe Ricketts, the Chicago Cubs co-owner whose American Film Company recently backed “The Conspirator,” directed by Robert Redford; Steven M. Rales, who is chairman of the Danaher Corporation, and whose Indian Paintbrush company was a co-financier of “The Fantastic Mr. Fox,” directed by Wes Anderson; and Sarah Siegel-Magness and Gary Magness, the Colorado investors whose Smokewood Entertainment Group backed “Precious: Based on the Novel ‘Push’ by Sapphire,” which had six Oscar nominations, winning two, this year.

Among those who seek to build a large-scale enterprise is Tim Headington, the oil entrepreneur based in Dallas who recently joined the producer Graham King in starting FilmDistrict, a company that plans to distribute as many as eight films a year, in an alliance with Sony Pictures Entertainment.

“We’re taking advantage of the extra capacity at Sony, to bring them theatrical product,” Peter Schlessel, FilmDistrict’s chief executive, said of a situation in which Sony has the ability to put more films in theaters and into home entertainment outlets than it currently chooses to finance.

More often, however, Hollywood’s newer investors resemble Michael Benaroya, a 29-year-old whose family built a real estate fortune in Seattle. “So far, we’ve been doing very well,” said Mr. Benaroya, who spoke by telephone last week from the American Film Market, where he, like many of his peers, were courting foreign buyers.

Benaroya Pictures is currently offering rights to “Margin Call,” a film about 24 hours among a group of investment bank employees during the 2008 financial crisis, with performances by Kevin Spacey, Demi Moore, Stanley Tucci, Paul Bettany and Jeremy Irons, among others.

The budget, said Mr. Benaroya, was less than $4 million, only about a quarter of which was paid to the cast. The film was shot in New York, where government incentives help cover the cost — so even modest sales in video, foreign or theatrical markets assure a profit.

Alcon Entertainment, which has been in the business since 1997, had a major hit in “The Blind Side,” which took in about $256 million at the domestic box office and had a budget of only about $35 million. The State of Georgia covered $5.5 million of that cost, and Sandra Bullock, the film’s star, in keeping with the new economics, worked for a sharply reduced upfront salary.

“It has been great,” said Andrew Kosove, who joined Broderick Johnson in starting Alcon with backing from the FedEx founder, Frederick W. Smith. “But if you had asked me that question not long ago, the response would have been more measured,” he added.

A flood of new investors, cautions Mr. Kosove, might easily expand the number of films being made, once again pushing up costs and making it difficult to find distributors. For the moment, however, “it’s a great time” for those with ready capital, said Rick Schwartz, a producer who has been aligned with Alan Bernon, a Texas dairy executive and investor.

Among their projects is “Machete,” an over-the-top action caper that was directed by Robert Rodriguez and Ethan Maniquis, and took in about $26.6 million at the domestic box office after 20th Century Fox released it in September.

Mr. Schwartz reckons that the film cost $10.5 million, after some help from a Texas subsidy program. Domestic rights went to Fox for about $9 million, and foreign rights, he said, brought nearly $12 million — so the film’s revenue to the producer and partners was roughly double its cost.

And that, he said, “is a pretty good model.”

Disney Employees Face Firing Over Texting

http://www.deadline.com/2010/11/disney-employees-face-termination-over-texting-and-emailing-while-driving/

EXCLUSIVE: In many states, including California, texting or emailing while driving could get you a fine. If you’re a Disney employee, it may also get you fired. That’s according to a companywide memo that went out yesterday. The so-called “distracted driving,” which involves mostly people using their mobile devices while behind the wheel, is a serious problem that caused 5,474 deaths last year. But a private company enforcing the ban on the use of such devices is a little odd even for Disney, considered to be the most buttoned-down and regulated entertainment conglom. According to the memo, Disney “is enhancing its vehicle safety policy effective immediately.” That includes prohibiting Disney employees from sending or reading texts or emails while driving company cars or their private cars while performing duties related to their Disney jobs. “Failure to comply will lead to disciplinary actions up to and including termination,” the memo said. While the intention is noble, the bureaucratic way it was handled has raised eyebrows, evoked Big Brother references and has mostly puzzled Disney employees as to how exactly would Disney enforce its new rules. Nevertheless, the new policy may affect business as most people working in the entertainment industry in LA do a lot of work on their blackberrys while driving. With its ban, Disney joins the Obama administration which has prohibited federal employees from texting while driving on government business and banned commercial truck and bus drivers from texting behind the wheel. Thirty states and the District of Columbia prohibit drivers from texting behind the wheel; at least eight states have passed laws barring drivers from using hand-held cell phones.

Why Twitter’s C.E.O. Demoted Himself

October 30, 2010
Why Twitter’s C.E.O. Demoted Himself
By CLAIRE CAIN MILLER

San Francisco

AT the annual South by Southwest gathering of techies in Austin, Tex., in March, conference organizers had chosen a hangar-size room to accommodate their star speaker: Evan Williams, the co-founder of Twitter, the messaging and social networking site that had become a digital phenomenon.

In a private moment before the doors opened, Mr. Williams, who is famously deliberate and cautious, snapped a photograph of the endless rows of chairs facing the stage and posted it on Twitter.

“Gulp,” he wrote.

Later, as Mr. Williams talked with the interviewer about building a 21st-century business, keeping to Twitter’s foundational principle (the Google-like “be a force for good”) and fostering corporate experimentation, members of his audience started groaning — and leaving, one by one.

“They wanted Ev Williams; they got Ev Williams,” a Twitter staff member said later.

It is no small irony, of course, that a man so ill at ease on the big stage is a pivotal force in a communications revolution, one that has made it easier for people to chat, disseminate information and mobilize locally and globally with almost anyone who has a cellphone or an Internet connection.

And Twitter has become one of the rare but fabled Web companies with a growth rate that resembles the shape of a hockey stick. It has 175 million registered users, up from 503,000 three years ago and 58 million just last year. It is adding about 370,000 new users a day.

It has helped transform the way that news is gathered and distributed, reshaped how public figures from celebrities to political leaders communicate, and played a role in popular protests in Iran, China and Moldova. It has become so muscular and ubiquitous that it now competes with the likes of Google and Facebook for users — and is beginning to compete with them for advertising dollars.

Yet for all its astonishing growth, Twitter has succeeded in spite of itself — the enviable product of a great idea and lightning-in-a-bottle viral success rather than a disciplined approach to how it’s managed.

Because of that, Twitter is on the cusp of becoming the next big, independent Internet company — or the next start-up to be swallowed whole by a giant like Google or, possibly, the next start-up to run out of steam.

Now the company is trying to instill some of the rigor and sense of purpose it needs to ensure that it is, indeed, the next big thing.

“The thing I’ve learned that’s much different than any other time in my life is I have a team that is really, really great,” says Mr. Williams, 38. “I’ve been studying this stuff for a really long time, and I’ve screwed up in many, many, many ways in terms of managing people and product decisions and business, so I feel fairly confident at this point that it could scale pretty well.”

Last month, he unexpectedly announced that he had decided to step down as chief executive and give the job to Dick Costolo, who had been Twitter’s chief operating officer.

Mr. Williams, who remains on the company’s board, now focuses on product strategy. He made the decision after conceiving and spending months working on the recent redesign of the Twitter Web site. People who have worked with him say he excels at understanding what Internet users want and contemplating Twitter’s future, but isn’t a detail-oriented task manager.

“He takes these things that everyone thinks are as big as they can get, these geeky things, and he makes them mainstream,” says Philip Kaplan, a co-founder of the review site Blippy and one of Mr. Williams’s close friends.

Mr. Costolo, meanwhile, is all about the details of making money and getting things done. This has been his third time running a company; he sold his last one, the Web subscription service FeedBurner, to Google in 2007.

For his part, Mr. Williams may embody a classic Silicon Valley type — the inspired, talented start-up guy with good ideas, but not the one to execute a sophisticated business strategy once things get rolling, says Steve Blank, an entrepreneurship teacher at Stanford.

And Mr. Williams may have also earned the self-awareness and confidence to recognize exactly who he is.

“Evan Williams is the type of entrepreneur who knows when to pivot,” says Mr. Blank, “and what we may be seeing is wonderful signs of entrepreneurial wisdom.”

TWITTER was born in 2006 as a side project.

At the time, it was an appendage of a podcasting service named Odeo, another company that Mr. Williams co-founded that had millions of dollars from investors.

Even the founders, though, were having a hard time getting excited about Odeo, and Mr. Williams told everyone who worked there to hatch new ideas. While sitting on a children’s slide at a park eating Mexican food one day, an engineer, Jack Dorsey, suggested to colleagues a simple way to send status updates by using text messages.

Mr. Dorsey and Twitter’s third co-founder, Biz Stone, built a prototype in two weeks. During that time, Mr. Stone was ripping up the carpet at his Berkeley home when his cellphone vibrated in his pocket. It was Mr. Williams sending a message on Twitter: “Sipping pinot noir after a massage in Napa Valley.”

Twitter was a unique entrant on the social media scene. People could follow others without being followed back, and all posts were public by default — and limited to 140 characters so they could fit inside cellphone text messages.

The founders likened Twitter to ice cream: not that useful, but “a fun thing for family and friends when they are not in the same place,” Mr. Williams says.

That is a far cry from his vision today, an about-face that is typical of Twitter’s evolution. For a long time, Twitter’s founders talked about it with awe, as if it had a life of its own and they were mere bystanders. They freely acknowledged that they had no idea how people would use it or how it would make money.

But they thought it had potential, and in 2007 they spun it off as a separate company from Odeo, with Mr. Dorsey serving as Twitter’s first chief executive, Mr. Stone as creative director and Mr. Williams as chairman.

Mr. Williams had dipped into his own funds to cash out Odeo’s investors and subsequently gained a controlling stake in Twitter — but he was spending his days running yet another company, Obvious, an incubator for start-ups, and wasn’t focused on managing Twitter.

While Mr. Stone, an outgoing showman, was friends with both Mr. Williams and Mr. Dorsey and socialized with them, Mr. Williams and Mr. Dorsey are much quieter men whose only bond was their work. When Mr. Williams decided to join Twitter full time in the spring of 2008, his relationship with Mr. Dorsey quickly became strained as the two men competed for power.

By the end of 2008, Twitter’s growth was exploding — and things inside the company were beginning to break down. Mr. Williams suggested to Twitter’s board that it push Mr. Dorsey out. With the exception of Mr. Dorsey, the board unanimously agreed, according to several people involved in the discussions. Mr. Williams had run three companies, directors reasoned, so they figured that he would do a better job.

Upon Mr. Williams’s ascent, Mr. Dorsey became Twitter’s chairman. Although that move was potentially fraught with problems, the board wanted to ensure that Mr. Dorsey remained close to the company because he still owned a large stake in Twitter and he had originally come up with the idea for it, according to two board members.

The change shocked employees and further frayed relations between Mr. Dorsey and Mr. Williams. Mr. Dorsey declined to comment for this article, but people close to him say he felt betrayed by Mr. Williams.

“There was a feeling that Ev wanted to take control after he realized the potential importance of Twitter,” says a Twitter employee who was there during the transition and requested anonymity to protect business relationships.

“It’s hard and confusing,” Mr. Williams says of Mr. Dorsey’s departure. “I think there’s few cases in history where the C.E.O. steps down and is also the founder and reports to someone and that works.”

Directors say Twitter’s board meetings are amicable, and in the last couple weeks, Mr. Dorsey has been spotted around the offices more and has taken on a greater role in long-term strategy.

Even with Mr. Williams as C.E.O., Twitter was growing faster than he or anyone else at the company could handle. In 2009, Twitter ballooned to 71.3 million registered users from 5 million. The Web site crashed often, and the “fail whale” — an image of a whale that appears on the site whenever Twitter falters — became the butt of jokes.

Twitter was fielding dozens of calls a week from big companies, celebrities and politicians. Among the callers were CNN, “The Oprah Winfrey Show” and the State Department, which asked Twitter to delay maintenance so that Iranians protesting an election in 2009 could continue using the service.

“We were just hanging on by our fingernails to a rocket ship,” Mr. Williams recalls.

What the company needed was simple: people to do all the work. Yet it moved painfully slowly in hiring, with just 110 employees by the end of 2009, even though it had raised $150 million in venture capital by then.

“The mistake I made was definitely underhiring, both in quantity and in experience, in several areas, for a long time,” Mr. Williams says now. He attributes that mistake to the daily distractions of running Twitter and not anticipating how big it would become.

Twitter’s first office in San Francisco was classic start-up: dorm-room décor, complete with a keg in the kitchen, a couple of big, green concrete deer and a communal table where employees ate take-out burritos together.

Big-name chief executives would visit the company and sit on frumpy couches because there wasn’t an adequate conference room. A video crew once walked in through Twitter’s unlocked front door without permission and began recording employees.

The company’s offices today have locked doors and a receptionist in a sunlit lobby, where the green deer now stand. Trendy furniture includes plentiful conference tables, and while there is still a keg, a chef prepares lunch for the 300 employees.

Sixty percent of those people are engineers, who have spent the last year methodically rebuilding the software that runs Twitter and developing a system to monitor downtime.

The fail whale still appears, but not nearly as often, an important change now that Twitter sells ads to companies like Starbucks, Ford and Microsoft. The ads can appear on the Twitter feed as sponsored posts, or in Twitter’s list of trending topics or among the suggested accounts that Twitter recommends that its users follow. Mr. Costolo spearheaded all of these initiatives.

Twitter finally hired a recruiter, as well as people to handle mundane but important big-company tasks like human resources, payroll and ensuring that all of Twitter’s partners use the same blue bird logo. A whiteboard near the executives’ desks lists headings like “commit,” “invest” and “leverage.”

Mr. Williams and his colleagues no longer liken Twitter to ice cream. They now describe it as an information network, not a social tool, and see it as an essential way for people to communicate and get information in real time.

Yet even though Twitter’s executives say their heads are finally above water, Mr. Williams still describes the company as “a 6-foot-tall sixth grader — there’s a lack of maturity, despite size and the perception of outsiders.”

He says Twitter now has a team that can realize the company’s ambitions — a revelation coming from someone who arrived in Silicon Valley with something to prove and volumes to learn about working with others.

EVAN WILLIAMS grew up on a farm in Nebraska, “90 miles and an eternity” from Lincoln, he says. And he didn’t fit in.

“My brother was the consummate Nebraska boy — the football star who went to the university, was president of his fraternity, hunted with my dad all the time,” he says. “I just didn’t feel at home there.

“I had a fierce desire to create things, to be independent and prove myself, which caused me to reject authority, but never in a sort of rebellious way,” he adds. “It was more like, ‘I’m going to show you by doing it all myself.’ ”

Mr. Williams dropped out of the University of Nebraska and started a business in Lincoln, financed by his father, designing Web sites for local businesses and making CD-ROMs about Nebraska football and the Internet.

But it turned out that, among other problems, football fans weren’t using CD-ROMs. The business ended up being Mr. Williams’s first failure, and he couldn’t repay his father.

Mr. Williams had devoured the early issues of Wired magazine, and California loomed in his imagination as a place where he could truly carve out his own niche as an entrepreneur. He made his first move west in 1997, with a marketing job at O’Reilly Media, the technology publisher in Sebastopol, Calif.

“Ev was just very frustrated, and he had ideas for how we could do things differently and better,” recalls Tim O’Reilly, the publisher’s founder. “He had a little bit of attitude, a chip on his shoulder, but always with good spirit.”

Mr. Williams left O’Reilly after seven months — “I was bad at working for people,” he says. And in January 1999, at the height of the dot-com bubble, he started his second company, Pyra Labs, with his former girlfriend, Meg Hourihan. Paul Bausch, a friend from high school, soon joined.

Pyra made a Web-based project management tool but soon saw a different opportunity: a tool that allowed users to easily post articles and photographs to personal blogs. That became Blogger, one of the first Web services that automated blog publishing.

Soon after, the tech bubble burst, and Blogger was running out of money. Mr. Williams told his five employees, including Ms. Hourihan and Mr. Bausch, that he could no longer pay them and that he would run the company alone.

But six months later, in June 2001, Blogger started making money by charging for added features, and Mr. Williams had a budget that allowed him to hire new workers. In 2003, Google acquired Blogger.

Several people who once worked at the company said they didn’t make money on the sale because Mr. Williams had never submitted the paperwork needed to allocate stock options. Mr. Williams says that this group hadn’t worked at the company long enough for their stock options to vest.

Others have a different view of Mr. Williams’s tenure at Blogger.

“I don’t think he took care of the people who got him to where he was,” says Ms. Hourihan, who earned millions of dollars from the sale. “It was bitter, horrible and tough. He’s not C.E.O. material. It doesn’t play to his strengths. He’s a better inventor; he’s better at coming up with ideas.”

Mr. Williams says that all successful businesspeople make enemies along the way. Yet he also says he learned from the Blogger experience. “I was trying to do everything myself when we were going through hard times,” he says. “When it was just me, I was happier, which I think is a sign of failure of working with people.”

In 2004, Mr. Williams left Google, where he was still running Blogger, and planned to take time off. Instead, he started working on Odeo with his neighbor Noah Glass. A year later, he again found himself running a company.

MR. WILLIAMS doesn’t fit the Silicon Valley stereotype. He is neither a back-slapping former frat boy nor a socially awkward programmer most content behind a computer screen.

He is at ease with himself, and convivial and dryly funny in small settings, but he tends to be quiet in large groups and is ambivalent about his newfound celebrity. Recently, with invitations to Davos and the Grammys, he traded in his uniform of jeans, a bird T-shirt and a hoodie for a suit — only to lose his luggage on the flight to Switzerland.

Last year, when his wife, Sara Morishige Williams, went into labor and wrote about it on Twitter, CNN published the news and her photo while she was still in the hospital. But Mr. Williams rarely posts personal messages to the 1.3 million people who follow him.

His fingers move constantly while he talks, whether fiddling with his keychain or shredding toothpicks at a bar, and staff members give him a drink and an espresso to loosen him up before big public appearances.

“Often there will be a room with five people having a conversation and he says the least, but when he does talk, everyone listens intently, and it’s a gem,” says Mr. Kaplan, his friend.

In business, that trait can be beneficial. In 2008, Facebook tried to buy Twitter, and financiers asked Mr. Williams if he wanted to sell. He said he wanted to sleep on it, and the next day sent them a long e-mail about why he wanted Twitter to stay independent.

“He’s got this ability to be patient in this very productive way,” says Bijan Sabet, who is on Twitter’s board and is a partner at Spark Capital, which invested in the company. “It was not just this flip e-mail but very thoughtful — what we could accomplish by when, why there’s still so much we have left to do. It was pretty inspiring.”

But others say Mr. Williams’s methodical approach can get in the way. “Ev is very difficult to work with because he has a tough time making a final decision on products,” says the C.E.O. of a Silicon Valley social networking company who requested anonymity because the company works with Twitter. “This all changed when Dick took over. He’s very logical and knows how to make things happen.”

From Mr. Williams’s point of view, his division of labor with Mr. Costolo, a wiry and restless counterpoint to Mr. Williams’s reserve, is a sign of success. After failing early on to work with others, Mr. Williams says he has figured out how to be part of a team.

“Dick is hard-charging and very focused on urgency and executing now, and I tend to be very contemplative,” he says. “My weakness is probably taking too long to make a decision, and his is being too hasty.”

THE cumbersome details of running Twitter now fall to Mr. Costolo. He says his biggest challenge is ensuring that in other countries, like Japan, South Korea and Brazil, where Twitter is growing by leaps and bounds, the company avoids the managerial mistakes it made in the United States.

That means marketing Twitter as an information network, not a social one, from the get-go; buying enough computing power; and hiring people to sell ads in those countries. Twitter also has to prove that it can build an advertising business in the United States.

The company, meanwhile, is trying to avoid the bureaucracy that plagues larger businesses. The topic is important to Mr. Williams, who says he started companies because he didn’t believe in aligning himself with institutions.

Twitter’s executives talk about the “Dunbar number” — the maximum number of people, generally believed to be 150, with whom one person can have strong relationships. This effort, mind you, comes from a company with a business model that fosters a multitude of ever-growing — and largely glancing — interactions among Twitter’s users.

“I’ve never seen a company so focused on avoiding the Dunbar number,” says Adam Bain, who recently joined Twitter from the News Corporation as head of global revenue. “You can tell Ev planned it out.”

Each time employees log on to their computers, for instance, they see a photo of a colleague, with clues and a list of the person’s hobbies, and must identify the person. And notes from every meeting are posted for all employees to read.

Speaking to a group of new hires at an orientation session last spring, Mr. Williams said Twitter had three goals: to change the world, to build a business and to have fun.

“You can succeed by only building a business, and many companies do,” he said. “We won’t consider it success unless it’s all three.”

Nick Bilton contributed reporting from New York.

ABC Picks Up Reality Series From Jerry Bruckheimer And Bertram Van Munster

http://www.deadline.com/2010/10/abc-picks-up-reality-series-from-jerry-bruckheimer-and-bertram-van-munster/

Nine years after Jerry Bruckheimer TV made a big entrance in reality TV with The Amazing Race, the company is re-teaming with the Race creators for a new reality competition series, this time on ABC. ABC has handed out a six-episode order to Take the Money and Run (form. Catch Me), which Bruckheimer executive produces with Race creators Bertram van Munster and Elise Doganieri as well as Jonathan Littman and Phillip Morris. Jerry Bruckheimer TV and Van Munster’s Profiles TV are producing with Horizon Alternative TV, the alternative division of Warner Horizon.

In the past decade, Bruckheimer TV has been focused primarily on the scripted side, building a brand of solid crime procedurals which will now cross over to the unscripted side with the new series. As the title suggests, Take the Money and Run is a high-stakes reality series that blends the reality brand of Race chief van Munster with the crime-solving brand of Bruckheimer to answer the question: can you commit the perfect crime and get away away with it?

KristieAnne Reed and Mark Dziak co-executive produce Take the Money and Run, whose development spans the old and new ABC regimes. Back in April, the network’s previous president Steve McPherson quietly ordered a pilot for the project. Now, new president Pail Lee has picked it up to series with a six-episode order, including the pilot. Bruckheimer TV already has a relationship with ABC with the 2003 docu series Profiles From the Front Line, which was also co-produced by Warner Bros. TV, and recent scripted entries The Forgotten and The Whole Truth. Globe-trotting adventure The Amazing Race recently kicked off its 17th season on CBS where he has served as Sunday anchor for the past several years. It won record seven consecutive Emmy Awards for best reality competition series.

Kraft Web Series Offers Comic Relief

Kraft Foods has cooked up a branded entertainment series that brings together several of its biggest products.

The series, dubbed “You Gotta LOL,” debuted today (Monday), and is part of the food giant’s effort to engage with consumers via its consumer relationship marketing channels. Fourteen brands are participating in the series, including Wheat Thins, Oreo, Kool-Aid, Chips Ahoy! and Jell-O. This is the first time that Kraft has brought several of its bestsellers under one initiative.

Kraft has tapped Anita Renfroe—a stay-at-home mom turned comedian—as the star of the new videos, which are light on the product integration side and heavy on the comedy side, said Julie Fleischer, director-CRM, content strategy and integration at Kraft. The food brands aren’t featured prominently in the series, although they are mentioned.

A video for Kraft’s 100-calorie Cheese Bites, for instance, opens with Renfroe challenging modern day perceptions of weight loss. “I have to say, I struggle with my weight. And any woman who says she doesn’t struggle with her weight is, in the most kind, political terms I know, ‘a lying liar,’” she says.

In another video for Chips Ahoy!, Renfroe discussed women’s obsession with chocolate. Renfroe jokes: “All females have known this intuitively for years because chocolate belongs to the four food groups that females believe in: depression, elation, ovulation and PM-ation.” At the end, all the videos direct consumers to YouGottaLOL.com.

Kraft, which worked with Meredith Corp.’s integrated marketing department on the launch, has created 18 videos altogether (two of which are holiday themed). The company plans to launch a new one each week. The videos will be promoted via Kraft’s CRM channels like Kraftrecipes.com, as well as on YouTube and Facebook.

Fleischer said the goal was to “find a way to connect with [consumers] on their own terms with something that was relevant, compelling and exciting.” Therefore, instead of focusing on actual brands, the videos offer comic insights like “the desire to be that mom that’s got it all going on,” said Fleischer. Appropriately, the target demo is women who lead busy lives.

The videos are short—about two minutes each—which fits Kraft’s audience of time-starved moms perfectly. Fleischer said Kraft is hoping the series becomes a viral hit.

Macmillan Starts Film/TV Division To Produce Book-Based Fare

http://www.deadline.com/2010/10/macmillan-starts-filmtv-division-to-produce-book-based-fare/

EXCLUSIVE: In the latest attempt by a book publisher to take the film/TV journey on books it publishes, Macmillan Publishers has launched Macmillan Films, a new shingle that will be spearheaded by Brendan Deneen. A former Hollywood development executive, Deneen will start the venture while continuing as an editor at Thomas Dunne Books. Macmillan Films kicks off with a deal with Summit Entertainment for Tempest, a manuscript by Julie Cross that is meant to be the first in a trilogy. The protagonist is a 19-year old time traveler who witnesses his girlfriend’s murder just as he jumps back two years. Stuck in the near past, he’s recruited by a shadowy government agency run by the man he thought was his father. He vows to save his girlfriend no matter the cost.

The book will be published by Thomas Dunne Books, a division of St. Martin’s Press. Deneen will be executive producer with Roy Lee. Before he became a book editor, Deneen spent 6 years as a develop and production executive for producer Scott Rudin and for Harvey and Bob Weinstein at Dimension and Miramax.

Macmillan Films joins Random House Films and Alloy Entertainment as publishing-based enterprises that generate literary properties and stay involved in some projects as they become features. Each has a different strategy. Random House Films, headed by longtime editor Peter Gethers, co-finances films in a joint venture with Focus Features. So far, RHF has teamed with Focus on Reservation Road but there are promising projects in the offing. Director Lone Scherfig just wrapped the Anne Hathaway-Jim Sturgess drama One Day, based on the David Nicholls; Brad Pitt and Darren Aronofsky just became attached to an adaptation of John Vaillant’s The Tiger, Stephen Frears will direct an adaptation of the Beth Raymer memoir Lay the Favorite, and Dreamgirls’ Bill Condon and Laurence Mark are adapting the Arthur Phillips The Song Is You into a musical.

While RHF takes on books published by the company, Alloy Entertainment comes up with the ideas for properties in-house and then makes writer-for-hire deals to see them through. Those writers often are on the outside looking in as the company has scored big deals on Gossip Girl, The Sisterhood of the Traveling Pants and The Vampire Diaries. Beyond book publishers, media companies like The New York Times and Wall Street Journal have agencies brokering film and TV deals based on copyrighted articles, with those companies taking part financially. Works of big authors or top contract journalists are generally excluded from these arrangements, as they have agents who make the deal and don’t involve the publishers.

Deneen said that Macmillan Films will be somewhere in between Random House Films and Alloy Entertainment. If books come through Macmillan divisions, fine, but Deneen sees most of the properties coming from ideas generated in-house.

“We are mostly looking to develop book ideas that work both as novels and movies and TV shows,” Deneen told Deadline. “We will develop the ideas in-house, and hire writers who’ll share in the success of the projects. We will retain all rights and hopefully set them up.” Macmillan Films properties will be shopped in Hollywood by Sylvie Rabineau of RWSG.

Beyond The Tempest, Macmillan Films hatched a 6-page treatment for a submarine thriller they’ve started to shop around, as well as Grimm City, a thriller based around “a number of hard to find Grimm Fairy Tales, that’s Sin City meets Neil Gaiman,” Deneen said. Ideas and concepts need approval from Deneen’s boss, Thomas Dunne, to make sure the properties will work as books.

“It’s a new way to control intellectual property because in this changing world, he who controls IP wins,” Deneen said. “Books will always be the core business here, but if you can be attached to the movie, the videogame and the Happy Meal, why not?”