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Musk’s leadership is not deterring media companies from quitting Twitter

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Illustration of the Twitter logo cut out of a hundred dollar bill.

Illustration: Aïda Amer/Axios

Twitter is planning to run content sponsorship deals with more than three dozen news outlets, media companies and sports leagues in the first half of this year, according to a schedule of events shared with ad partners and seen by Axios.

Why it matters: Elon Musk‘s leadership style has caused many advertisers to flee, but media companies, newsrooms and sports leagues are reaping too much revenue and marketing advantage to quit the platform.

Details: This year, almost all of the major sports leagues, including the NFL, NBA, NHL, MLB, NASCAR, PGA Tour and more, plan to run content deals on Twitter around regular season games and tentpole events, like March Madness, NBA Playoffs and the Super Bowl, according to the schedule seen by Axios.

  • Sports publishers like CBS Sports, Turner Sports, ESPN, FOX, Univision and Telemundo are also slated to take part in deals around key sports events, per the document.
  • News outlets such as the Wall Street Journal, NBCU, Reuters, Axios, Bloomberg, Forbes, Conde Nast and USA Today are also slated to participate in various Twitter content deals around tentpole moments such as the World Economic Forum at Davos, CES and Pride Week.
  • Entertainment and TV companies such as NBCU, Paramount and Disney are all slated to run content aligned with various award shows, concerts and prime-time TV hits, like “The Bachelor” on Disney’s ABC, “RuPaul’s Drag Race” on Paramount’s MTV and “The Masked Singer” on FOX.

How it works: Over the past few years, media companies and sports leagues have brokered multiyear deals with Twitter — typically between one to three years — through a selective program called Twitter Amplify.

  • The program pairs advertisers with timely videos from premium publishers, and publishers split a percentage of ad revenue made from their videos with Twitter.
  • Some content partners, like NBCU, sell ads directly to brands that want to sponsor their videos and share a portion of that ad revenue with Twitter. Others, like the NFL, rely on Twitter to sell the ads across their video content.
  • Most of these media partnerships are multiyear deals and were brokered before Musk took over Twitter. Some deals, like the NFL’s partnership with Twitter, are worth seven figures if they run for their full term, according to two sources familiar with the agreements.

Be smart: There’s little financial downside to staying in the content deals for publishers on the platform. But the companies and leagues don’t want to broadcast that they are sticking with the deals because they fear reputational damage from Musk-era Twitter’s free-speech free-for-all.

  • The NFL, Twitter’s largest league content partner, declined to comment. The NBA and NHL did not comment. Paramount did not comment. Disney, NBCU, Conde Nast and Axios did not immediately respond to a request for comment.

For Twitter and participating content partners, the deals can be important incremental revenue drivers.

  • TV companies that sell Twitter ads as an extension of TV ad buys bring new clients to Twitter. Ads that Twitter sells against Amplify video content deliver incremental revenue to publishers who would’ve tweeted the videos organically anyway.
  • For publishers, the Twitter Amplify program makes it possible to monetize targeted video inventory at scale, especially around live moments, like viral clips from an awards show or football game.

The big picture: Most efforts by media organizations to quit Twitter have been brief or nonexistent, even for companies entangled in Musk’s banning of journalists last year.

 

  • Puck News paused advertising on the platform briefly but returned to buying ads once Musk reinstated the banned journalists’ accounts. CBS News quit Twitter for less than two days last year.
  • The Washington Post continued to run Twitter ads to boost views to its branded content campaigns on the platform late last month, despite one of its reporters being banned a few weeks prior. The Post did not comment.
  • CNN said last month it’s “reevaluating” its relationship with Twitter in light of Twitter banning its tech journalist Donie O’Sullivan from the platform. O’Sullivan’s account has been reinstated, but he still hasn’t been able to tweet. CNN hasn’t updated its statement.

By the numbers: While many advertising categories across Twitter saw between a 30%–60% drop in the number of active U.S. advertisers last quarter compared to the same quarter in 2021, the number of active U.S. media and entertainment advertisers fell by less than 15%, according to a source familiar with the situation.

  • Companies like Bloomberg and the Wall Street Journal continue to buy sponsored tweets, mostly to help with subscriber acquisition. Bloomberg did not comment. The Wall Street Journal did not respond to a request for comment.
  • Several other companies, including Gannett’s USA Today and Conde Nast, have still been running Twitter ads around branded content campaigns. Gannett did not comment.
  • The top topics on Twitter by impression share in most of Q4 2022 were entertainment, sports & fitness, politics, food & beverage, financial services, news, and technology, according to an advertising pitch document seen by Axios.

Flashback: Most social media boycotts don’t last forever. Fox News went quiet on Twitter for over a year, only to return in 2020 during the coronavirus news cycle.

The bottom line: At a tough economic moment for the media industry, Twitter has proven too useful to give up.

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Social media prank could lead to charges after teens allegedly damage homes – CTV News

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Social media prank could lead to charges after teens allegedly damage homes  CTV News

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Ryan Reynolds BLEEDS for Deadpool! Sacrificed Salary to Keep Franchise Alive!

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Marvel fans, rejoice! After a whirlwind journey filled with setbacks and triumphs, Deadpool & Wolverine is finally clawing its way onto the silver screen. This highly anticipated pairing of Ryan Reynolds and Hugh Jackman has had its fair share of challenges, from production delays due to Hollywood strikes to struggling to solidify a cohesive storyline. But through it all, Reynolds’ unwavering dedication to the project has shone through, proving that sometimes, the biggest victories come from the most unexpected sacrifices.

The road to Deadpool & Wolverine began in May 2023 with a triumphant start to filming. However, that momentum was abruptly halted by a wave of strikes that swept through Hollywood, forcing a hiatus until late winter. This wasn’t the only obstacle the project faced. The creative team, including Reynolds himself, wrestled with crafting a narrative that lived up to the outrageous charm of the Deadpool character while seamlessly integrating Wolverine into the fold. There were even whispers of the entire project being shelved altogether, leaving fans anxious about the fate of this dream team.

 

Reynolds’ Pockets Take a Hit, But His Vision Persists

But amidst these uncertainties, a heartwarming detail recently emerged, shedding light on Reynolds’ incredible commitment to the Deadpool franchise. In a revealing interview with The New York Times, Reynolds opened up about the financial sacrifices he made to ensure the success of the original Deadpool film.

“Deadpool wasn’t just a movie; it was a decade-long passion project,” Reynolds confessed. “Honestly, when they finally greenlit it, I wasn’t thinking about box office numbers. I just wanted to see this crazy character come to life on screen. I even gave up my acting salary for the project just to get it off the ground.”

 

However, Reynolds’ generosity didn’t stop there. The studio, it seemed, wasn’t convinced of the importance of having the film’s screenwriters, Rhett Reese and Paul Wernick, readily available on set. “They wouldn’t allow my co-writers on set, which was a huge blow,” Reynolds continued. “So, I took what little money I had left after forgoing my salary and paid them myself to be there. We basically formed a makeshift writer’s room right there on set.”

This wasn’t the first instance of Reynolds’ financial commitment to the Deadpool universe. Writers Reese and Wernick had previously shared on the AMC show Geeking Out that Reynolds also personally financed aspects of Deadpool (2016) to ensure the film achieved the level of quality he envisioned.

 

A Commitment That Reaps Rewards

 

Looking back on the original film’s scrappy beginnings, Reynolds described it as a labor of love fueled by limited resources and boundless creativity. “There wasn’t a lot of money, but I poured my heart and soul into every detail,” he said. “That experience taught me a valuable lesson: the importance of having a strong creative team by your side, no matter the project.”

Reynolds’ unwavering dedication wasn’t just about financial backing; it was about safeguarding the film’s creative vision. His actions ensured that the core team behind Deadpool’s success – the writers, the director, and himself – remained on board to bring their vision to life. This commitment is sure to translate into Deadpool & Wolverine, a film that promises to be a landmark achievement in the wacky world of Deadpool. Mark your calendars, fans – Deadpool & Wolverine slashes into theaters on July 26th!

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Bob Newhart, deadpan comedy icon Dies at 94

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Bob Newhart, the deadpan accountant-turned-comedian who became one of the most popular TV stars of his time after striking gold with a classic comedy album, has died at 94.

Jerry Digney, Newhart’s publicist, says the actor died Thursday in Los Angeles after a series of short illnesses.

Newhart, best remembered now as the star of two hit television shows of the 1970s and 1980s that bore his name, launched his career as a standup comic in the late 1950s. He gained nationwide fame when his routine was captured on vinyl in 1960 as The Button-Down Mind of Bob Newhart, which went on to win a Grammy Award as Album of the Year.

While other comedians of the time, including Lenny Bruce, Mort Sahl, Alan King, and Mike Nichols and Elaine May, frequently got laughs with their aggressive attacks on modern mores, Newhart was an anomaly. His outlook was modern, but he rarely raised his voice above a hesitant, almost stammering delivery. His only prop was a telephone, used to pretend to hold a conversation with someone on the other end of the line.

In one memorable skit, he portrayed a Madison Avenue image-maker trying to instruct Abraham Lincoln on how to improve the Gettysburg Address: “Say 87 years ago instead of fourscore and seven,” he advised.

Another favorite was Merchandising the Wright Brothers, in which he tried to persuade the aviation pioneers to start an airline, although he acknowledged the distance of their maiden flight could limit them. “Well, see, that’s going to hurt our time to the Coast if we’ve got to land every 105 feet.”

Newhart was initially wary of signing on to a weekly TV series, fearing it would overexpose his material. Nevertheless, he accepted an attractive offer from NBC, and The Bob Newhart Show premiered on Oct. 11, 1961. Despite Emmy and Peabody awards, the half-hour variety show was canceled after one season, a source for jokes by Newhart for decades after.

He waited 10 years before undertaking another Bob Newhart Show in 1972. This one was a situation comedy with Newhart playing a Chicago psychologist living in a penthouse with his schoolteacher wife, Suzanne Pleshette. Their neighbors and his patients, notably Bill Daily as an airline navigator, were a wacky, neurotic bunch who provided an ideal counterpoint to Newhart’s deadpan commentary. The series, one of the most acclaimed of the 1970s, ran through 1978.

Four years later, the comedian launched another show, simply called Newhart. This time he was a successful New York writer who decides to reopen a long-closed Vermont inn. Again Newhart was the calm, reasonable man surrounded by a group of eccentric locals. Again the show was a huge hit, lasting eight seasons on CBS. It bowed out in memorable style in 1990 with Newhart — in his old Chicago psychologist character — waking up in bed with Pleshette, cringing as he tells her about the strange dream he had: “I was an innkeeper in this crazy little town in Vermont. … The handyman kept missing the point of things, and then there were these three woodsmen, but only one of them talked!” The stunt parodied a Dallas episode where a key character was killed off, then revived when the death was revealed to have been in a dream.

Two later series were comparative duds: Bob, in 1992-93, and George & Leo, 1997-98. Though nominated several times, he never won an Emmy for his sitcom work. “I guess they think I’m not acting. That it’s just Bob being Bob,” he sighed.

Over the years, Newhart also appeared in several movies, usually in comedic roles. Among them: Catch 22, In & Out, Legally Blonde 2, and Elf, as the diminutive dad of adopted full-size son Will Ferrell. More recent work included Horrible Bosses and the TV series The Librarians, The Big Bang Theory, and Young Sheldon.

Newhart married Virginia Quinn, known to friends as Ginny, in 1964, and remained with her until her death in 2023. They had four children: Robert, Timothy, Jennifer, and Courtney. Newhart was a frequent guest of Johnny Carson’s and liked to tease the thrice-divorced Tonight host that at least some comedians enjoyed long-term marriages. He was especially close with fellow comedian and family man Don Rickles, whose raucous insult humor clashed memorably with Newhart’s droll understatement.

“We’re apples and oranges. I’m a Jew, he’s a Catholic. He’s low-key, I’m a yeller,” Rickles told Variety in 2012. A decade later, Judd Apatow would pay tribute to their friendship in the short documentary Bob and Don: A Love Story.

A master of the gently sarcastic remark, Newhart got into comedy after he became bored with his $5-an-hour accounting job in Chicago. To pass the time, he and a friend, Ed Gallagher, began making funny phone calls to each other. Eventually, they decided to record them as comedy routines and sell them to radio stations.

Their efforts failed, but the records came to the attention of Warner Bros., which signed Newhart to a record contract and booked him into a Houston club in February 1960. “A terrified 30-year-old man walked out on the stage and played his first nightclub,” he recalled in 2003.

Six of his routines were recorded during his two-week date, and the album, The Button-Down Mind of Bob Newhart, was released on April Fools’ Day 1960. It sold 750,000 copies and was followed by The Button-Down Mind Strikes Back!. At one point the albums ranked No. 1 and 2 on the sales charts. The New York Times in 1960 said he was “the first comedian in history to come to prominence through a recording.”

Besides winning Grammy’s Album of the Year for his debut, Newhart won as Best New Artist of 1960, and the sequel The Button-Down Mind Strikes Back! won as Best Comedy Spoken Word Album. Newhart was booked for several appearances on The Ed Sullivan Show and at nightclubs, concert halls, and college campuses across the country. He hated the clubs, however, because of the heckling drunks they attracted. “Every time I have to step out of a scene and put one of those birds in his place, it kills the routine,” he said in 1960.

In 2004, he received another Emmy nomination, this time as Guest Actor in a Drama Series, for a role in E.R. Another honor came his way in 2007, when the Library of Congress announced it had added The Button-Down Mind of Bob Newhart to its registry of historically significant sound recordings. Just 25 recordings are added each year to the registry, which was created in 2000.

Newhart made the best-seller lists in 2006 with his memoir, I Shouldn’t Even Be Doing This!. He was nominated for another Grammy for Best Spoken Word Album (a category that includes audio books) for his reading of the book.

“I’ve always likened what I do to the man who is convinced that he is the last sane man on Earth … the Paul Revere of psychotics running through the town and yelling `This is crazy.′ But no one pays attention to him,” Newhart wrote.

Born George Robert Newhart in Chicago to a German-Irish family, he was called Bob to avoid confusion with his father, who was also named George. At St. Ignatius High School and Loyola University in Chicago, he amused fellow students with imitations of James Cagney, Humphrey Bogart, Jimmy Durante, and other stars. After receiving a degree in commerce, Newhart served two years in the Army. Returning to Chicago after his military service, he entered law school at Loyola, but flunked out. He eventually landed a job as an accountant for the state unemployment department. Bored with the work, he spent his free hours acting at a stock company in suburban Oak Park, an experience that led to the phone bits.

“I wasn’t part of some comic cabal,” Newhart wrote in his memoir. “Mike (Nichols) and Elaine (May), Shelley (Berman), Lenny Bruce, Johnny Winters, Mort Sahl — we didn’t all get together and say, Let’s change comedy and slow it down.′ It was just our way of finding humor. The college kids would hear mother-in-law jokes and say, What the hell is a mother-in-law?′ What we did reflected our lives and related to theirs.”

Newhart continued appearing on television occasionally after his fourth sitcom ended and vowed in 2003 that he would work as long as he could. “It’s been so much, 43 years of my life; (to quit) would be like something was missing,” he said.

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