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Web2 Media Is Broken. The Future of Media Is Tokenized. – nft now

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“We need more reach.” 

“This will get a lot of clicks.”

“The client won’t be happy with these numbers.”   

We’ve heard these narratives nonstop since our media careers began more than 15 years ago. They are thought patterns that have been normalized in newsrooms and ad agencies across the world. 

And this is just the beginning of the issues with the current state of media. 

The truth is this: Web2 media is broken.

web2 is broken

The traditional models and ways of doing things in media just don’t work anymore. This behavior did not come out of the blue. So how did we get here? 

With the rise of social media, the traffic floodgates opened to media websites. Media companies saw an unprecedented explosion of reach due to these platforms and became addicted to this traffic, which helped fuel the rise of programmatic advertising. This is the technology that powers those annoying banner ads on your favorite media websites, from The New York Times to YouTube. The more people visit your website, the more impressions the ad gets, and the more the platform gets paid. 

Funny enough, the very platforms that fueled this business model ended up changing their algorithms after seeing how much revenue they were allowing to leave their ecosystem by encouraging users to click away from Facebook or Twitter onto a separate publisher website. So in 2015, Facebook’s notorious algorithm change decimated the traffic sources for hundreds of media companies to keep more of their traffic inside of Facebook. Due to declining revenue, some media properties even went out of business.

We know this because we’ve lived it. As Editor-In-Chief of SPIN, Matt saw firsthand how traffic does not equate to revenue when the publication was forced to undergo layoffs despite exceeding growth goals. As Director of Innovation and Culture at Elite Daily, Alejandro saw how the publication rode Facebook traffic to a sale to Daily Mail only for traffic to significantly decline after the algorithm change.

You are the product

As media companies prioritized audience scale over quality and optimized for algorithmic platforms like Facebook and Google, there were a number of alarming developments.

First, media platforms found themselves locked in a clickbait race to the bottom. As algorithms rewarded sensationalist headlines and quick trigger fingers, the quality of coverage declined. The race to be first to a story also produced public embarrassments for major media brands who had to retract factually inaccurate reporting. As credibility eroded, public trust in media reached an all-time low

Second, people became the product. Programmatic advertising reduced us to eyeballs to be monetized and discarded. In the eyes of publishers, there was no distinction made between the quality and the quantity of an audience. Put simply, we were all diminished to a single metric: traffic. By virtue of working at social media companies, the brightest minds in Silicon Valley ended up building an advertising optimization machine, the likes of which had never been seen before. As a result, publishers began prioritizing their advertisers over their audiences.

Third, as publishers and platforms optimized for advertising revenue, they began to attack our privacy. Platforms began to track users across the web without their explicit consent in order to sell more ads – though technically, users consented by accepting the all-too vague and legally verbose “terms and conditions.”

The rise of tracking users using pixels and cookies invited privacy violations across the web. Platforms could now track users’ every move, click, and keystroke, even beyond their own website, to serve them “better” ads.

Technology has always pushed storytelling forward. The Gutenberg printing press catalyzed the information revolution. The invention of the internet forced print publications to become digital. The rise of the smartphone moved digital media to embrace mobile. Web3 technology is of the same caliber. And with it, we have the chance to build something better. 

Centered on an ecosystem of technology products that are decentralized, trustless, permissionless, and interoperable, Web3 technologies have the power to create fairer models that benefit everyone. They return ownership to users, bypass the gatekeepers that control traditional media and social platforms, and allow creators and their communities to share in the value they create.

But significantly, this tokenized revolution will not only change how stories are created and consumed, it also has the power to fundamentally redefine relationships that have been cemented for centuries. This technology can actually help us foster the deeper and more meaningful human relationships we want. This comes down to the difference between audience and community.

Your audience is aware that you exist. They may recognize your brand and see you in their social feeds. They may even attend your events or buy your products. But ultimately, there’s a limit to their participation, and they are largely on the receiving end of the content you produce. As coverage became more homogenous to exploit algorithms, media brands became interchangeable, such that readers have little incentive to choose one over another. In web2, consumers became loyal to the headline, not the brand. 

In contrast, community wants to win together. And in web3, more often than not, they actually have a literal stake in doing so. By aligning incentives and rewarding participation by decentralizing ownership and governance, communities are the prime drivers of value creation.

In web3, digital ownership is front and center. For the first time since the origins of the internet, the blockchain allows for root ownership. Now media companies and creators can build community in a digital asset economy as an end in itself and monetize directly by sharing in the value that they create.

We envision a future where digital publishers liberate themselves from the mindless tyranny of clicks, pageviews, and CPMs. Users will no longer be the product being sold in antiquated and exploitative systems; they will be active partners and owners in the content and experiences being created.

key to access

Introducing the Now Network

Because of these experiences, we wanted to do things differently from day one. If you visit nftnow.com, you’ll notice there are no banner ads. We refused to implement programmatic advertising because of the misaligned incentives it creates to prioritize advertisers over users, sensationalize coverage, and violate users’ privacy. We believe that media companies shouldn’t serve you ads; they should serve you opportunities. 

We also refused to include any pixels and cookies to track our users. Principles like consent matter more to us. We believe privacy is a fundamental human right and should be respected across the internet.

The Now Network is our next step in pioneering a community-centric media model and building a creator-friendly future. The Now Pass is the key that unlocks that door. You can learn more about the details and mechanics at nowpass.xyz.

Here’s how the Now Network will begin to share the value being created with our membership community.

Super-serving our community with exclusive content and access

From early access to information and insights to curated private chats where you can connect with experts and other builders in your industry, the Now Network will offer you the tools you need to succeed alongside insider access to web3’s leading minds.

Now Pass holders will also be eligible for exclusive access to our acclaimed IRL and virtual events, including our tentpole events The Gateway, NFT100, and nft now presents, alongside our satellite events around Art Basel Miami, NFT NYC, Frieze LA, ETH Denver, Faena Rose Miami, Jackson Hole, and many more.

Increasing retention and rewarding participation

We believe media should be more than a one-way street. With the Now Pass, community members will be incentivized to engage with content and provide feedback through our reward mechanisms. By realigning incentives and reimagining how a publisher can create and share value in a web3 context, we will encourage deeper, more authentic connections and a greater sense of loyalty.

Decentralizing content creation and curation

We want our community to become co-creators in the stories being told. The Now Network is our first step towards progressive decentralization. We believe this will create a more inclusive and transparent ecosystem to incubate ideas and uplift new voices. We’ll be transitioning some of our most popular content series (ex., Next Up) to a community-curated Token Curated Registries (TCR) model with on-chain voting that empowers our community members to have a say in who and what gets covered.

signal in noise

This is only the beginning

The Now Network will be built over time, not overnight. We are being intentional and taking our time to create something sustainable. This is a first step — a foundation for all of our initiatives in building the future of tokenized media. We may not always get everything right – and that’s okay. Experimentation is a critical part of pioneering a new paradigm. But our commitment to this space is long-term, so we will build in public over the coming months, years, and decades. We invite you to join us in learning, growing, and co-creating this future together.

You’re more than a pageview. It’s time to change the relationship between publishers and their communities.

Sincerely, 

Matt Medved & Alejandro Navia
Co-Founders of nft now

future of media is tokenized

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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Arizona man accused of social media threats to Trump is arrested

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Cochise County, AZ — Law enforcement officials in Arizona have apprehended Ronald Lee Syvrud, a 66-year-old resident of Cochise County, after a manhunt was launched following alleged death threats he made against former President Donald Trump. The threats reportedly surfaced in social media posts over the past two weeks, as Trump visited the US-Mexico border in Cochise County on Thursday.

Syvrud, who hails from Benson, Arizona, located about 50 miles southeast of Tucson, was captured by the Cochise County Sheriff’s Office on Thursday afternoon. The Sheriff’s Office confirmed his arrest, stating, “This subject has been taken into custody without incident.”

In addition to the alleged threats against Trump, Syvrud is wanted for multiple offences, including failure to register as a sex offender. He also faces several warrants in both Wisconsin and Arizona, including charges for driving under the influence and a felony hit-and-run.

The timing of the arrest coincided with Trump’s visit to Cochise County, where he toured the US-Mexico border. During his visit, Trump addressed the ongoing border issues and criticized his political rival, Democratic presidential nominee Kamala Harris, for what he described as lax immigration policies. When asked by reporters about the ongoing manhunt for Syvrud, Trump responded, “No, I have not heard that, but I am not that surprised and the reason is because I want to do things that are very bad for the bad guys.”

This incident marks the latest in a series of threats against political figures during the current election cycle. Just earlier this month, a 66-year-old Virginia man was arrested on suspicion of making death threats against Vice President Kamala Harris and other public officials.

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