What makes one song, TV show, or consumer product a hit, and the other not? Derek’s new book is probably the very best exploration of this question. Perhaps not surprisingly, I interpret much of his answer in terms of complacency: people want something that appears a bit different, but actually is deeply conservative and keeps them running in place (my take, not exactly his). In any case, what is the right blend of new and old to captivate an audience?
That is the new and excellent book by Jonathan Buchsbaum, offering the first comprehensive history of the debates over free trade and the “cultural exception,” as it has been called. It is thorough, readable, and goes well beyond the other sources on this topic.
To be sure, I disagree with Buchsbaum’s basic stance. He views “advertising dollars” as something attached to Hollywood movies like glue, giving them an unassailable competitive advantage, rather than an endogenous response to what viewers might wish to watch. The notion that French or other movie-makers could possibly thrive by innovating and exploring new quality dimensions seems too far from his thought. And he writes sentences such as: “France sought quickly to regulate multiplex development,” yet without wincing.
Perhaps his best sentence is the uncharacteristic: “Other commentators during the 1980s observed wryly that the only real European films were U.S. films, for only U.S. films succeeded in crossing borders in Europe.”
He spends a fair amount of time criticizing me, usually a positive feature in a book. Furthermore, he delivers very strongly on the basic history and narrative, and draws upon a wide variety of sources. So this one is definitely recommended to anyone with an interest in these topics.
MSNBC and Fox News are capitalizing on President Donald Trump’s TV watching habits, dramatically increasing issue advocacy advertising rates in recent weeks as companies and outside groups try to influence Trump and his top lieutenants.
The ad rates for “Morning Joe” have more than doubled post-election, according to one veteran media buyer. Trump, who reportedly watches the show most mornings, has a close relationship with “Morning Joe” host Joe Scarborough, and they talk regularly.
Fox News’ “The O’Reilly Factor” and other primetime programs on Fox News have boosted their rates about 50 percent. Trump also is a frequent viewer of the network’s primetime shows.
“The president’s media habits are so predictable, advertisers migrate to those areas,” said one media buyer.
One prominent D.C. consultant said some of his clients, including a big bank and major pharmaceutical company, were negotiating this week to buy ads on “O’Reilly” and “Morning Joe” because they knew they had a good chance of reaching the president.
Got an advance copy. Between my non-manual-labor job, Netflix’s excellent recommendations (The OA is so good), and virtue-signaling to my in-group on Twitter, I guess I just wasn’t feeling it.
Besides, if I did read The Complacent Class, I’d have to write a review. The review would introduce readers to a bunch of new and challenging ideas about how Americans are losing the desire to embrace rapid change, and then I would explore some of the unexpected ways our complacency hurts us as a country, possibly challenging the author, or adding to his thesis with my own insights. Oh, people say they want new and challenging ideas, but they don’t. They’re happy with their current ideas, and why should I make anyone unhappy? No one ever considers whether the boat wants to be rocked.
Or is that Cowen’s game? To point out that our lack of urgency and general NIMBY-ism have led to less migration, more segregation, more inequality, dulled creativity, increased conformity, and faded activism, all of which portends a coming unavoidable chaos? What’s he after? Is Cowen trying to jolt us out of our zombie states so we can live in the sci-fi future of no diseases and flying cars and robot monkey butlers we all dreamed about when we were kids? I don’t know, man. Maybe. Anything’s possible, right? I literally didn’t read the book.
I was watching the excellent Rogue One when suddenly I thought “Wow, they sure found an actor who looks just like Peter Cushing.” As the scene, progressed my thoughts changed to “Tyler, are you sure that Peter Cushing passed away?” As I watching the credits, I saw a thanks to the “Estate of Peter Cushing, OBE,” and so I went back to wondering about the actor, but then why did they thank the estate?
…the face of Peter Cushing, the imposing British actor who died in 1994, lends an especially memorable presence to “Rogue One” by helping to “reprise” his “Star Wars” character, Grand Moff Tarkin, the Imperial governor who practically rules by force of glare, intonation and cheekbone.
…Under director Gareth Edwards, “Rogue One” represents another marker in the decades-long quest for the best CGI-fashioned human replicas. The filmmakers auditioned actors to “play” Cushing’s Tarkin, settling on BBC soap actor Guy Henry. This Tarkin is thus free of the dreaded “dead eye” effect. Lo, though the effects wizards walk through the “uncanny valley,” Tarkin registers as quite alive — even if his facial proportions sometimes read as ever so slightly off from the Original Trilogy. We are nearing the reality of a fully fleshed-out, CGI-enhanced performance long after an actor has passed.
If “Rogue One” wins an Oscar for effects, Cushing should be in no small part why.
When will the slope start where amateur video becomes significantly less trustworthy as well? Or even just “But Mom, I saw him do it on TV!” While we’re at it, how about a symphony orchestra conducted by “Beethoven”?
Donald Trump has drawn ‘first blood’ in the search for his incoming administration’s senior arts role – by tapping up Rambo legend Sylvester Stallone.
Sources have told DailyMail.com the president-elect sees Hollywood icon Stallone as the perfect choice to make art great again.
The likely position would be Chairman of the National Endowment for the Arts, a federal agency that doles out funds to aspiring artists and creative projects.
Here are my earlier suggestions for how Trump could improve government support for the arts. Here is an article on Stallone as painter, with photos. Furthermore, Raphael once painted Stallone. His favorite perfume is Bijan for Men by Bijan. I say this is probably a good pick, as it would bring glamor and attention to a much-neglected agency.
Addendum: Judge Dredd is an excellent movie!
I don’t want to give you spoilers, so I’ll put key points behind links — read them at your peril. The ending of last night’s finale reminded me of this historical episode in 1804. Bernard reminds me of this Haitian figure, this fellow too. Anthony Hopkins is an updated version of the impresario from this 1932 movie. As for the Hosts:
Haitian slaves believed that dying would release them back to lan guinée, literally Guinea, or Africa in general, a kind of afterlife where they could be free. Though suicide was common among slaves, those who took their own lives wouldn’t be allowed to return to lan guinée. Instead, they’d be condemned to skulk the Hispaniola plantations for eternity, an undead slave at once denied their own bodies and yet trapped inside them—a soulless zombie.
Zombies can change their “status” through a number of means. Don’t show them the ocean!
And that symbol everyone is always asking about and trying to discern the meaning of? That is a vevé, obviously.
And to frame the whole thing, here is Hegel on the master-slave dialectic.
That is the title of a 2001 AER piece by Tasneem Chipty, here is the abstract:
I examine the effects of vertical integration between programming and distribution in the cable television industry. I assess the effects of ownership structure on program offerings, prices, and subscriptions, and I compare consumer welfare across integrated and unintegrated markets. The results of this analysis suggest two general conclusions. First, integrated operators tend to exclude rival program services, suggesting that certain program services cannot gain access to the distribution networks of vertically integrated cable system operators. Second, vertical integration does not harm, and may actually benefit, consumers because of the associated efficiency gains.
Out of date, yes, but still evidence that the proposed AT&T and Time-Warner merger is unlikely to damage the interests of consumers. When there is some market power at each step along the supply chain, vertical integration typically lowers margins and prices, thereby increasing consumer surplus.
For the pointer I thank John Chilton, who also points us to this review chapter by Paul Joskow. Here is a good James B. Stewart (NYT) piece on how antitrust thinking is moving backward these days, away from science more toward mood affiliation.
The deal may “feel wrong” to a lot of people, but for the regulators it ought not to be a big deal:
AT&T’s proposed acquisition of Time Warner…is considered “vertical” because the two companies largely do not compete against each other but operate on the same supply chain.
This is the bottom line:
“By standard antitrust metrics, this deal should be O.K. in Washington,” said Paul Gallant, a technology, media and telecommunications policy analyst with Cowen & Company. “But the Democratic Party is moving left, and if Clinton wins, this could become an early test for her ‘tougher on business’ rhetoric.”
The negative arguments are speculative or quite a stretch:
AT&T could make it more expensive for its competitors to gain access to Time Warner’s content or give preferential treatment to its own programming, said John Bergmayer, senior counsel at Public Knowledge, a digital rights advocacy group.
That is all from Leslie Picker and Cecilia Kang at the NYT. I would stress that “entertainment” and “content” are sectors where choices have exploded more or less without precedent. If the goal is to stop Time-Warner content from spreading to multiple sectors of the consumer media universe, I don’t see this one as a winner.
More generally, it is hard to see where the efficiencies from the deal are supposed to come from. About the recent Bayer and Monsanto proposed merger I wrote:
There is a well-known academic literature, dating to the early 1990s, showing that acquiring firms usually decline in value after tender offers, especially after the biggest deals. Mergers do not seem to make companies more valuable or efficient.
Why then do so many mergers and acquisitions happen? Well, some of them do pay off (Google buying YouTube), but also many managers engage in empire-building by increasing the size of their companies, even at the expense of the shareholders. Another possibility is what economists call “winner’s curse,” namely that the winner of an auction or contest or bidding war tends to be the person or institution most optimistic, and in fact overly optimistic, about the value at stake.
So from a social point of view, I doubt if there is so much at stake here.
…the NFL is seeing its ratings tumble in the same way that the Olympics, awards shows and other live events have, falling more than 10 percent for the first five weeks of the season compared with the first five weeks of last season. A continued slide, executives say, could pose an even bigger danger: If football can’t survive the new age of TV, what can?
Football’s traditional TV audience “is never going to be what it was again,” said Brian Hughes, a senior vice president at Magna Global, which tracks audience and advertising trends.
The explosion of modern entertainment options, offered on more devices and at any time, has splintered American audiences and sped TV’s decline, Hughes said. “Sports seemed to be immune from it — it was live, the last bastion of broadcast television. But [the world] has caught up to it now.”
That is from Drew Harwell, and much of the decline seems to be coming from cord-cutting, audience fragmentation, and also the presence of a somewhat controversial election season, which has drawn some viewers (not me) to cable news.
Amanda Knox on Netflix is a shorter version of Making a Murderer. Shorter because there isn’t much evidence that Knox had anything to do with the murder of her housemate. The documentary has extensive interviews with the lead investigator, a blowhard who likens himself to Sherlock Holmes but whose idea of deduction is that the murderer must have been a woman because the body was covered up. Surprisingly, the one clear sociopath isn’t the actual killer but the journalist whose lurid dispatches turned a tragic but ordinary murder into a witch hunt–a real Nightcrawler. Throw in some nationalism on both the Italian and U.S. sides and it’s not surprising that justice went awry. Trump has a cameo.
Luke Cage, also on Netflix, is the latest Marvel superhero story set in the same New York universe as Daredevil and Jessica Jones. Harlem is lovingly portrayed and the barbershop name dropping–Walter Mosley, Zora Neal Hurston, Crispus Attucks–and various basketball, jazz, and rap references adds color. The central conflict, however, is flat. Super-strong, well-nigh invulnerable Cage is not evenly-matched by drug dealer-businessman Cottonmouth. Despite a watchable performance by Mahershala Ali, Cottonmouth is no Kingpin. Vincent D’Onofrio’s Kingpin had Shakespearean intensity, depth, and the physical power to battle a super-hero. Indeed, one of the things that made Daredevil special was that you could see his exhaustion and pain in every battle. Similarly, Jessica Jones’s nemesis, Kilgrave, was one of the most horrific characters ever seen on television (in a great understated performance by David Tennant) and Kilgrave had Jones under his thumb for much of the season. Super heroes need super villains. To be sure, there is pickup in the second half of Luke Cage, but it takes a long time to develop.
Westworld (HBO)–this is the one that you must watch. The first two episodes have been remarkable. Every scene has something to see or to think about. Audience expectations are continually subverted. The cinematography is stunning.
One characters says “That’s what I love about this place all the secrets, all the little things I never noticed even after all these years. You know why this place beats the real world…in here every detail adds up to something.” Very meta. The shots also speak to the structure of the plot. Look at this amazing shot of the control building–levels of meaning.
It does not pass notice that it’s bright and shiny on top but the lower levels–the subconscious–are dark, moist, subterranean. We are told that WestWorld is a maze, a maze literally and figuratively, in our heads.
Westworld also challenges us with questions. Who are we? If we visited Westworld would we be the good guys or the bad guys? How many of us secretly harbor the desire to do evil and are restrained only by fear of punishment? What kind of Zimbardo experiment is Westworld?
Or are we the operators of Westworld who treat other people (?) as mere means and not as ends in themselves? Parts of Westworld look like an abattoir and from one perspective there are mass rapes.
Or are we the robots, living in a simulation, a reality of someone else’s construction? And what is going on with the corporation? The ultimate god?
The executive producer of Westworld is Jonathan Nolan, brother of Christopher, and writer or co-writer of Memento, The Prestige, The Dark Night and Interstellar.
We are only two episodes in but so far this is thrilling art in action.
Hat tip: Nicholas Tabarrok
Haven’t you noticed this?
I have a simple hypothesis. No matter what the media tells you their job is, the feature of media that actually draws viewer interest is how media stories either raise or lower particular individuals in status. (It’s a bit like “politics isn’t about policy.”) That’s even true for this blog, though of course that is never my direct intention.
But now you can see why people get so teed off at the media. The status ranking of individuals implied by a particular media source is never the same as yours, and often not even close. You hold more of a grudge from the status slights than you get a positive and memorable charge from the status agreements.
In essence, (some) media is insulting your own personal status rankings all the time. You might even say the media is insulting you. Indeed that is why other people enjoy those media sources, because they take pleasure in your status, and the status of your allies, being lowered. It’s like they get to throw a media pie in your face.
In return you resent the media.
A good rule of thumb is that if you resent the media “lots,” you are probably making a number of other emotional mistakes in your political thought.
Here is more from Erik Hurst discussing his new research:
On average, lower-skilled men in their 20s increased “leisure time” by about four hours per week between the early 2000s and 2015. All of us face the same time endowment, so if leisure time is increasing, something else is decreasing. The decline in time spent working facilitated the increase in leisure time for lower-skilled men. The way I measure leisure time is pretty broad; it includes participating in hobbies and hanging out with friends, exercising and watching TV, sleeping, playing games, reading, and so on.
Of that four-hours-per-week increase in leisure, three of those hours were spent playing video games! The average young, lower-skilled, nonemployed man in 2014 spent about two hours per day on video games. That is the average. Twenty-five percent reported playing at least three hours per day. About 10 percent reported playing for six hours per day. The life of these nonworking, lower-skilled young men looks like what my son wishes his life was like now: not in school, not at work, and lots of video games.
How do we know technology is causing the decline in employment for these young men? As of now, I don’t know for sure. But there are suggestive signs in the data that these young, low-skilled men are making some choice to stay home. If we go to surveys that track subjective well-being—surveys that ask people to assess their overall level of happiness—lower-skilled young men in 2014 reported being much happier on average than did lower-skilled men in the early 2000s. This increase in happiness is despite their employment rate falling by 10 percentage points and the increased propensity to be living in their parents’ basement.
It’s hard to distinguish “push” unemployment that is made more pleasant by video games from “pull” unemployment created by video games. I’m not even sure that distinction matters very much, at least if we aren’t talking about banning video games to increase employment. If elderly people started playing a lot of video games (as soon they will) would we worry that this was making retirement too much fun?
I’d be interested in knowing how much video games have displaced television. I watch more television than my kids, who play more video games. It’s not obvious that this is to their detriment.
Perhaps the issue is that video games like slot machines are so enticing that young people discount the future too heavily or don’t recognize the future cost of not being in the workforce. Maybe. Perhaps what we really need is a 3D, virtual reality, total sensory simulation, awesome video game that is so expensive that it encourages people to work.
The more some people go, the more other people want to go too. It is something to share and talk about. From the latest JPE, by
Duncan Sheppard Gilchrist (Wealthfront) and Emily Glassberg Sands (Coursera), here is the abstract:
We exploit the randomness of weather and the relationship between weather and moviegoing to quantify social spillovers in movie consumption. Instrumenting for early viewership with plausibly exogenous weather shocks captured in LASSO-chosen instruments, we find that shocks to opening weekend viewership are doubled over the following five weekends. Our estimated momentum arises almost exclusively at the local level, and we find no evidence that it varies with either ex post movie quality or the precision of ex ante information about movie quality, suggesting that the observed momentum is driven in part by a preference for shared experience, and not only by social learning.
Here are ungated copies, note it is fitting this research comes in part from Coursera. Also from the new JPE, if a Spanish region has a disproportionate share of lottery winners, it is more likely to opt for the incumbent.