HLN, The Daily Dot Partner for Co-Branded TV, Digital Segments

11/18/2014   The Wrap  

Debut partnership segment on HLN is titled “Next Sex,” where EJ Dickson explores the crossover between sex and tech on the web

HLN rebranded as the TV home for social media earlier this year, and now it’s joining forces with the Internet site that covers the Internet.

HLN and TheDailyDot.com announced a partnership Tuesday that will feature co-branded segments appearing on HLN and both companies websites and social platforms.

The first on-air segment, dubbed “Next Sex,” debuts Dec. 1. It will follow The Daily Dot’s EJ Dickson as she takes viewers through the Internet’s culture of naughtiness, reporting on stories that fuse sex and technology.

The segments will air weekly on Monday during “HLN Now” from noon-5 p.m. ET. There will also be integration of Daily Dot journalists, with figures from the site appearing on HLN shows with Robin Meade, Dr. Drew Pinsky and more when the story fits.

“The Daily Dot has the best Internet beat reporters and HLN has the video chops,” said Lila King, senior director for product and partnerships at HLN. “Together, we can invent storytelling about and for the Internet and serve it up everywhere our audiences demand it, on-air, online and across social media.”

“Our Internet-first approach to journalism is the perfect partner for HLN as it rebrands itself as the world’s first social media-driven news network,” said Josh Rubin, The Daily Dot’s managing director. “It’s a great opportunity to bring our reporting to television and to introduce our audience to some of HLN’s great content.”

 

http://www.thewrap.com/hln-the-daily-dot-partner-for-co-branded-tv-digital-segments/

 

Why Independent Bookstores Are More Than Just Places to Buy Books

11/19/2014   Slate   By David Rosenberg

Weller Book Works, Salt Lake City, Utah. “I don’t like being called a retailer, and I don’t like being called a businessman. I prefer bookseller! In my mind, that’s saying you’re a purveyor of ideas and dreams and thinking,” said owner Tony Weller, shown reading defiantly on the floor.

Like the independent bookstores he photographs, Bryan David Griffith is a bit of a throwback. He does have an email address, but if you want to reach him on the phone, you have to dial a landline, and most likely track him down through his answering machine. His yearlong project covering more than 20 independent bookstores around the country was photographed with a large-format film camera; he travels to each location from his home in Arizona via a makeshift camper in which he sleeps, loads film, and stores his equipment.

“I’m kind of old-school,” he said. “I have an engineering degree, so it’s not like I’m a technophobe. I just haven’t adopted technologies that don’t enrich my quality of life.”

One of those things he doesn’t want to see leave are the independent bookstores, a business he views as a lot more than simply a place to buy books—they’re a meeting place away from the often segregated, homogenous world of social media.

“You’re going to encounter other people who work there or who will be there by chance who might have different experiences than you do,” he said. “I think that’s a healthy thing for our society to interact with and make friends with people who have different ideas than what we do.”

Elliott Bay Book Co., Seattle. “People understand that if they want to continue to have choices and things that they value available to them, they have to vote with their feet and their wallets,” said owner Peter Aaron.
Tsunami Books, Eugene, Oregon. “We started [Tsunami Books] with no money, literally no money: trading, dealing with people, getting things for free … and positive energy,” said Scott Landfield, owner, shown with former business partner David Rhodes, right.
Annie Bloom’s Books, Portland, Oregon. “The store has its own personality at different times, even different times of the day. We get different types of people in during the day, in the morning, and we’re open until 10 at night. We get younger people in at night,” said manager Will Peters.
The King’s English Bookshop, Salt Lake City, Utah. “We’ve never adopted the ‘one of everything’ philosophy,” owner Betsy Burton said. “Instead [we] prefer to engage knowledgeable booksellers and to pick and choose titles carefully, hoping to excite curiosity.”

Griffith began his series during a trip back home to Kalamazoo, Michigan, for his high school reunion. While there, he met up with a friend who had recently opened Bookbug, a bookstore that catered primarily to children’s books. Griffith and his wife dropped by to pick up a book for their niece and he began shooting the first images and recording interviews for The Last Bookstores: America’s Resurgent Independents.

Griffith decided to pursue an artistic life after a successful career with an international management consulting firm. Most of his work leading up to the series had been focused on fine art photography, and he said he’s not the most logical person to tackle a project like this.

“I’m an art photographer and I’m not the best choice for this project since I have all the wrong equipment and expertise, but no one was doing it and it needed to be done,” he said, adding that he is working without funding and, as of yet, without a publisher.

City Lights, San Francisco. “There is a whole new generation of younger people coming into the business being very clear about how challenging this will be … but have the persistence, the tenacity, and the talent to work in a low-paying field. But one that will reward them immensely,” said coordinating buyer Paul Yamazaki.
Bookbug, Kalamazoo, Michigan. “Opening in 2008, we had the extraordinary benefit of assuming—from day one—that we had to do much more than sell books. We needed to be a place where people feel welcome and feel a desire to give themselves and their families an education beyond the experience of reading a book alone,” said co-owner Joanna Parzakonis.

Part of the goal of the series is an aesthetic one: Griffith said he is drawn to the design of the bookstores and their unique look as opposed to the homogenization of big-box retail chains, and he said his inspiration are the storefronts Walker Evans photographed in the 1930s.

“Bookstores are holdouts from an earlier era,” he said. “It’s not nostalgia necessarily, more of a study about the retail space, and how it might be a lot different 30 years from now.”

Green Bean Books, Portland, Oregon. “We’re a place where people can meet, talk, and have activities. I feel like we’re a community resource in some ways, or a gathering place. … We’re bringing something positive to the world, I’m hoping,” said owner Jennifer Green.
Smith Family Bookstore, Eugene, Oregon. “My father was a bit of a socialist in that he didn’t want to build a business simply for personal gain. He wanted to build a business where the people who worked in the business also could make a living. Heath insurance—all the things he never had—he was determined to provide,” said owner Evon Smith.
57th Street Books, Chicago. “We try to serve as many kinds of readers as we can … not just from a sales standpoint, but also because the South Side is in many ways neglected by the larger city,” said manager Thomas Flynn.
Iconoclast Books, Ketchum, Idaho. “Our tag line when we do a lot of advertising and support is ‘brothers in arts.’ Whether you’re music, performance, visual, or a bookstore, we partner,” said owner Sarah Hedrick.

 

http://www.slate.com/blogs/behold/2014/11/19/bryan_david_griffith_the_last_bookstores_america_s_resurgent_independents.html

 

PBS to Expand Sunday Night Drama Lineup

PBS is expanding its drama footprint.

The network is adding 20 new hours of anthology series Masterpiece through 2015, including Grantchester, Poldark, Indian Summers and Damian Lewis starrer Wolf Hall. The new series will join current dramas Mr Selfridge and Call the Midwife, which are returning for new seasons.

PBS has also announced premiere dates for their new titles. First Peoples, a five-part series that presents the latest genetic research exploring how humans migrated from continent to continent, will premiere Wednesday, April 29. Filmmaker Rory Kennedy‘s Last Days in Vietnam will bow on Tuesday, April 28, timed to the 40th anniversary of the Fall of Saigon, and will be complemented by other special programs, including The Draft, The Day the Sixties Died and Dick Cavett’s Vietnam.

Another new series, Earth: A New Wild, hosted by leading conservation scientist Dr. M. Sanjayan, will air Wednesday, Feb. 4, as part of the network’s “Think Wednesday” science and nature night. The three-part film, Cancer: The Emperor of All Maladies, executive produced by Ken Burns and directed and produced by Barak Goodman, will bow on Monday, March 30. The next day, three-part miniseries Miracle Baby Unit, which examines the groundbreaking scientific frontier of fetal medicine, premieres.

“Our diverse schedule includes everything from award-wining documentaries to fascinating science shows to ovation-worthy arts performances. More than ever before, I can say that this winter/spring season, there’s something exceptional on PBS every night of the week,” said Beth Hoppe, PBS’ chief programming executive and general manager of general audience programming.

Hoppe adds: “What’s more, the expansion of Sunday night drama gives our audience more of what they are looking for — thrilling, gorgeous, quality storytelling. PBS offers the very best content on television and across digital platforms.”

The network is strategically placing like-minded shows on the same night, a programming decision that had led to a significant increase in viewership near the end of the 2013-14 broadcast season with the fifth-largest primetime household rating among all broadcast and cable networks.

 

http://www.hollywoodreporter.com/live-feed/pbs-expand-sunday-night-drama-749956

 

WME, CAA Digital Agents Depart for Fullscreen, Kin Community

11/13/2014   Variety 

A pair of agents focused on digital media at WME and CAA exited Thursday to new roles at two different Internet content companies.

WME’s Beau Bryant is moving to Fullscreen, where he will run the talent management department run by Larry Shapiro until last month, when he departed for a similar role at AwesomenessTV-owned Big Frame.

Bryant was instrumental in guiding the careers of a roster of digital-friendly talent at WME including Grace Helbig, the Fine Bros and Rosanna Pansino, where he opened doors to TV opportunities. He also worked with producers that worked on YouTube properties including Rainn Wilson’s Soul Pancake and Felicia Day’s Geek & Sundry.

In a separate move, Sarah Passe of CAA’s digital division has decamped for Kin Community, a company formerly known as DECA that specializes in targeting female auds online.

“I am looking forward to bringing my experience from CAA and Digitas to my new role at Kin Community,” she said via statement. “I have worked with (Kin CEO) Michael Wayne and Kin in many capacities for years and am excited to join the team and help them continue to build an incredible business.”

News was first reported by VideoInk.

 

http://variety.com/2014/digital/news/wme-caa-digital-agents-depart-for-fullscreen-kin-community-1201356113/

 

Legendary Inks TV, Digital Pact With Mosaic Media

11/17/2014   Deadline  

EXCLUSIVE: Legendary Entertainment has inked a first-look TV and digital production pact with Jimmy Miller’s Mosaic Media Group. The companies will look to develop series programming to be distributed via traditional network and cable platforms as well as over-the-top opportunities and other online platforms.

The move represents another expansive step in Thomas Tull’s ambitious strategy for Legendary, which is looking to expand beyond its fanboy base. Mosaic reps comedy talent including Chris Pratt, Will Ferrell and Damon Wayans Jr.

Mosaic most recently re-teamed with Ferrell and Adam McKay’s Gary Sanchez Productions on Manimal, the feature based on the cult 1980s TV show about a man who fights crime using his ability to morph into animals. That project has been set by Sony Pictures Animation.

Earlier today in Sydney, Legendary saw the world premiere of Angelina Jolie’s much-buzzed Louis Zamperini biopic Unbroken, which Legendary co-financed.

 

http://deadline.com/2014/11/legendary-inks-tv-digital-pact-with-mosaic-media-1201287048/

 

A Teacher on a Mission to Erase Evil

‘Miss Meadows’: Prim, Proper and Extremely Dangerous

11/13/2014   The New York Times  

Don’t be fooled by the gloves, anklets and Mary Janes. Katie Holmes, in “Miss Meadows,” never leaves home without a ballistic accessory.

Between “Serial Mom” and “God Bless America,” not to mention the moonlighting criminals who populate binge television, vigilantes in sheep’s clothing are familiar by now. “Miss Meadows” gives the old perverse routine a whirl with a weirdly soul-baring Katie Holmes as a prim-and-proper gunlady, but despite an eccentric streak (which turns erratic), the script doesn’t allow much room for the premise to take flight.

Miss Meadows — her preferred manner of address — is a glove-wearing substitute teacher who won’t hesitate to quick-draw her pistol when confronted with maniacs in her suburban world. As her mother affirms in their telephone chats, God needs a little help sweeping away the evildoers. But Miss Meadows is in danger of being exposed when the wholesome local sheriff (a winning James Badge Dale) courts her.

Ms. Holmes brings not only suitable dimples and nerve to her role but also an abject panic and sadness (and maybe madness) quivering beneath the grammatically correct surfaces of Miss Meadows. The character also emerges as more than an officious schoolmarm, for she picks and chooses from the platter of old-fashioned values: driving a respectable old roadster and tending a perfect garden but singing in a church choir for fun, not faith.

The dark comedy (punctuated by the catchphrase “Toodle-oo”) doesn’t always come off, and the filmmaking is more off-kilter than necessary, with capricious camerawork and pacing. The odd little spikes in approach make for something better than disposable indie satire, but it all still feels underdeveloped.

Marissa Mayer’s Yahoo Has Been Great for Startups

11/12/2014    Slate   By Jeff Bercovici

Expensive tastes.

Marissa Mayer’s two-year tenure as CEO of Yahoo hasn’t been especially fruitful in terms of revenue growth or the value of the company’s core business. But, boy, has it been a boon to the startup economy.

With the $640 million purchase of BrightRoll, an advertising technology firm that specializes in online video, the Sunnyvale, California-based Web giant has now spent more than $2.1 billion on acquisitions since Mayer’s arrival in July 2012. In fact, it has spent considerably more: That figure, calculated by S&P Capital IQ, reflects only eight of the 49 companies snapped up over the period. Prices for the other 41 weren’t disclosed publicly.

BrightRoll is one of the few additions that ought to justify its price tag in relatively short order. Most of the others—including Tumblr, the largest deal at nearly $1 billion—have yet to do so. Many were quickly shut down and explained—or written off—as “acqui-hires,” perpetrated as a way to bring engineering talent into the fold.

In the ordinary course of things, a CEO who’s not showing much in the way of top-line growth would have a hard time selling an unending series of pricy acquisitions to her board of directors. But Mayer’s had a free hand thanks to the appreciation of its stake in the Chinese e-commerce company Alibaba, now worth $44 billion. (For reference, Yahoo as a whole is worth $47 billion.) It has already pocketed $6 billion in cash, after taxes, from the sale of shares in Alibaba’s IPO.

That means Yahoo has plenty of cash lying around if Mayer wants to keep rolling up small and medium-sized startups, or even to make a play for a big one, like Pinterest. Some analysts believe the visual social network is the most logical acquisition target for Yahoo, or at least would have been before its valuation climbed to $5 billion in May.

But some major Yahoo shareholders are keen to put the brakes on Mayer’s shopping spree. The hedge fund Starboard Value LP is agitating for Yahoo to merge its core business with AOL, with which it’s strategically aligned, rather than continue to bolt on new parts willy-nilly. And Reuters reports that two of Yahoo’s biggest shareholders have grown so impatient, they’ve taken to lobbying AOL CEO Tim Armstrong to make the deal happen.

The appearance in the third quarter of modest revenue growth might give Mayer the breathing room she needs to convince investors to give her strategy more time, if she’s able to maintain the momentum. But if the pressure continues to mount, Mayer may find she has no choice but to start returning more of her funny money to shareholders. And that will mean a lot fewer comfortable exits for startups in need of a home.   

 

This article originally appeared in Inc.

http://www.slate.com/blogs/moneybox/2014/11/12/yahoo_marissa_mayer_startup_buying_spree_may_end_despite_more_money_from.html

What For-Profits Can Learn From Nonprofits

Surprise: It’s not about doing good. It’s about being more effective.
11/11/2014   Inc.   By 

Companies support nonprofits for multiple reasons, some altruistic (the leaders genuinely care about the cause) and some pragmatic (aligning with a cause is good for the brand and for employee morale). Generally, business leaders approach such relationships with a patronizing attitude, infusing cash while deigning to teach bighearted but wooly-headed do-gooders how to fundraise, budget, and operate efficiently. It never occurs to most that they can learn just as much from nonprofits as nonprofits can learn from them.

Since its inception, Life Is Good has involved itself in children’s causes. Seven years ago we changed our strategy from supporting multiple 501(c)(3)s to formally incorporating one such charity into our organization. Project Joy was founded by Steve Gross to train and support teachers, social workers, pediatric nurses, and others helping children traumatized by violence, poverty, or illness. Renamed Life Is Good Playmakers, Steve’s organization is helping transform Life Is Good from a lifestyle brand to a life-changing brand.

Once firmly in the fold, Steve began presenting at our quarterly meetings, describing programs that his group had developed to help frontline caretakers gently reengage fearful, at times emotionally frozen, children through the power of play. Then something unexpected happened. Some Life Is Good staff wanted to do the training too. Among them were parents interested in new ways to interact with their kids. But most were managers and executives who saw a different possibility. Playmakers is only superficially about play; it is fundamentally about connection. Our managers understood that forging more profound connections with each other, with employees, and even with suppliers and retailers could improve everything from productivity to morale within our business.

To date, roughly 15 percent of the company has completed some level of Playmakers training. And the nonprofit’s imprint is everywhere at Life Is Good. For example, meeting leaders no longer expect team members–still hung over from the previous meeting–to launch immediately into a rat-a-tat-tat agenda. Instead, they ease them in with a warm-up circle, two or three minutes in which participants might bat a beach ball around the room or stretch their limbs in a vigorous round of jumping jacks. Our HR team kicked off proceedings at a recent conclave with silent meditation against a background of soothing Himalayan music. People emerged so energized and creatively fertile that the meeting was concluded effectively in just 15 minutes.

The language of Playmakers, informed by a deep understanding of psychology, has also crept into the Life Is Good vernacular. Human beings prefer road maps to marching orders, so where once we were “leaders” and “managers” increasingly we are “navigators” and “guides.” Playmakers uses the term “cat hair” to describe a fear-inducing person, behavior, or artifact. (The psychologist Jaak Panksepp demonstrated that exposing young rats to a bit of feline fluff induces stress and inhibits play and exploration.) At Life Is Good we have become alert for “cat hairs,” which could be toxic managers or practices that squelch debate.

Playmakers created an assessment its trainees use to see how well they know the vulnerable children in their care. What is this child’s favorite movie or sport? What does he or she like to do on a rainy Saturday? The emphasis on treating kids as individual, idiosyncratic human beings instead of data on a clipboard brought home how little many of us at Life Is Good knew one another. Starting with the navigation team, we have embarked on a get-acquainted initiative in which people pick three names from a hat and then take those employees, one at a time, for a business-agenda-less lunch or breakfast. We have also adopted a Playmakers tool called “news ball,” which invites people to share a happy- or sad-making dispatch from their lives before meetings.  The more we understand each other, the greater our chances are of collaborating successfully.

As our for-profit and nonprofit sides grow in tandem, Life Is Good continues to absorb new lessons from Playmakers. For example, we are conducting a staff-wide survey to determine our organizational playfulness profile, a Playmakers-grown tool that rates groups across four domains: joyfulness, social interaction, active engagement, and internal control (how safe and empowering the environment feels). It goes without saying that Life Is Good educates Playmakers in such worthy capitalist skills as marketing, management, and finance. Interaction between the sides has produced a kinder, smarter, and more productive organization overall.

Of course, the specifics of what your company learns will depend on your charitable partners. Regardless of whether they are working to eliminate diabetes or clean up the ocean or provide clean drinking water in sub-Saharan Africa, I guarantee there is something they are doing to make the world a better place that could also make your business a better place. The smartest capitalists today and in the future will integrate social work into their businesses because their customers demand it, because it enables deeper purpose to their work, and because it strengthens their organizations.

 

http://www.inc.com/bert-jacobs/what-for-profits-can-learn-from-non-profits.html

 

Korean Digital Studio Launches in Partnership With Funny or Die, CAA (Exclusive)

11/13/2014   THR   by Natalie Jarvey

Be Funny Studios will co-produce videos with Funny or Die

A new digital studio is looking to replicate the success of Funny or Die in Korea.

Be Funny Studios launched Thursday in partnership with the comedy website, Creative Artists Agency and Korean public relations giant Prain.

The studio will partner with talent from the Asia Pacific region to create one-off comedy shorts, branded videos and web series. Much like Funny or Die, Be Funny plans to produce between 15 and 20 of these videos a month, premiering them on the studio’s website before distributing them on other video platforms, such as YouTube and DailyMotion. In addition, Funny or Die has the rights to promote any of the Be Funny videos on its site.

While most of Be Funny’s video’s will be geared toward Asian audiences, the studio, which is based in Seoul, will also look to co-produce shorts with Funny or Die every month that also feature Hollywood talent that could cross over to American audiences.

“Digitally distributed content is inherently global, but not all comedy crosses borders so easily,” said Funny or Die chief operating officer and president of digital Mitch Galbraith. “We’re excited to help BFS make great comedy content for Asia and to collaborate with them on co-productions of content designed to crossover Asia and the US.”

The genesis for Be Funny came in 2012 when the video for Psy‘s Gangnam Style became a viral hit. “That video showed the power of content from Korea and showed that if it’s great content, it can cross over to the U.S. despite the language barrier,” says co-founder Won Lee.

That year Lee spent time at Funny or Die’s West Hollywood offices “learning about the culture and how they’ve become a successful operation.” He then arranged Be Funny’s first collaboration with Funny or Die on Anna Kendrick Goes K-Pop With f(x), which shows the Pitch Perfect star learning how to join one of Korea’s most popular girl groups.

“When the video was released, it had more than 5 million viewers worldwide,” says co-founder and chief creative officer Chris Lee. “It was basically 70 percent international, 30 percent domestic. And we realized there was a huge opportunity.”

The group has since co-produced another video with Funny or Die, Girl, You Better Walk starring Rita Ora and Korean pop star HyunA. Then, earlier this year Funny or Die and CAA came on board as equity partners, and Korean film producer Ho Sung Kim signed as a producing partner.

With the launch, Be Funny is rolling out its first independent franchise, What’s Eating Steven Yeun. The web series follows the Walking Dead star as he leaves his girlfriend, Sandara Park of girl group 2ne1, to return to his home country of South Korea. There, he gets sucked into the viral craze of “broadcast eating.” The video has both English and Korean dialog with subtitles. The videos also come subtitled for other major Asian languages. The founder say it’s important to have that cross-cultural appeal.

“We are both Korean Americans,” says Won Lee. “I grew up watching Saturday Night Live, but I watch a lot of Korean comedies too. These collaborations are very important.”

 

http://www.hollywoodreporter.com/news/korean-digital-studio-launches-partnership-748686

 

The Clintons Look to the Past, for Now

11/15/2014   The New York Times  

Hillary Rodham Clinton and her daughter, Chelsea, take the stage in Little Rock on Saturday.

LITTLE ROCK, Ark. — Hillary Rodham Clinton’s in-between phase started here on Saturday, at a carefully staged appearance with her daughter and surrounded by old friends.

In her first public event since the midterm elections, and before she announces whether she will run for president in 2016, Mrs. Clinton joined Chelsea Clinton at the William J. Clinton Presidential Center to discuss the advancement of women and girls and to take questions from an audience of friends and local activists.

“The fact that we have a granddaughter means that we are even more focused on these issues and thinking about what the world she will grow up in will be like for young girls,” Mrs. Clinton said in one of many references to Chelsea’s new baby, Charlotte Clinton Mezvinsky. Her joint question-and-answer session was part of a weekend-long celebration of the 10th anniversary of the Clinton Center.

After the event, Mrs. Clinton said, “You have to look at the past, you have to see what we’ve done and why we did it and we learned from it in order to think about what you can do for the next ten years.”

The event provided a warm Arkansas embrace for Mrs. Clinton as she waded back into charitable work after weeks of intense campaigning for Democrats, many of whom lost their midterm races.

Before she and Chelsea took the stage, the former first couple strolled through the lobby of the sunlit museum, embracing Arkansas friends and White House aides who had flown in for the weekend’s festivities.

As those around Mrs. Clinton begin to angle for positions on a potential campaign, she has wound down her public schedule to a handful of awards galas and events related to her charitable work at the Bill, Hillary & Chelsea Clinton Foundation.

On Friday, Bill Clinton had closed a day’s worth of panel policy discussions about his administration to deliver a passionate defense of his legacy. But on Saturday, it was Mrs. Clinton’s turn, and she focused on her early work with single mothers and children as first lady of Arkansas.

Mrs. Clinton and Ms. Clinton asked some local advocates and business leaders to join them on the stage to talk about their relationship with the Clintons and how their work to help women and girls overlaps.

“I started a lot of these programs and the point was to show that, as Chelsea rightly said, these can work and you can’t get discouraged,” Mrs. Clinton said after the event.

A version of this article appears in print on November 16, 2014, on page A20 of the New York edition with the headline: The Clintons Look to Past, for Now.

http://www.nytimes.com/2014/11/16/us/politics/the-clintons-look-to-the-past-for-now.html?smprod=nytcore-iphone&smid=nytcore-iphone-share