The Atlantic is shutting down its spinoff TheWire.com, and folding staffers into the magazine and TheAtlantic.com.
Important news on the digital front: In a couple of weeks, we will bring the staff of The Wire back into The Atlantic’s fold. We are very proud of what The Wire has accomplished editorially, and we think that joining its aggressive, deft news coverage with The Atlantic’s ideas-driven journalism will provide a richer experience for The Atlantic’s readers, a firmer foundation for our ambitions to cover the news, and greater opportunities for growth for The Wire’s team. This decision is also driven by a recognition that the business strategy behind separating The Wire from The Atlantic simply hasn’t proven out. Experimenting with new revenue streams to support our journalism – like experimenting with new forms of reporting, storytelling, and distribution — has been essential to our progress across the ever-shifting media landscape; so too has moving quickly to face the facts, and to adjust, when an experiment isn’t working as we’d hoped.
The Atlantic Wire was launched in 2009 and rebranded itself as The Wire last year. The decision to rename the site the exact same name as one of the most iconic TV shows of all time was probably the first sign that something was amiss.
You can read Bennet and Cohn’s full note below.
Sometimes, it’s all about the article updates.
Adding to a post this morning about the furor surrounding New York Times TV critic Alessandra Stanley‘s weekend piece on Shonda Rhimes‘ new ABC-TV program How To Get Away With Murder, public editor Margaret Sullivan has shared post-publication feedback from culture editor Danielle Mattoon and author Stanley.
Let’s start with Mattoon’s remarks. Rhetorical is all fine and dandy, but next time, she and her fellow NYT editors may want to make sure a question mark (or some other equivalent indicator) punctuates this approach. As written, the first-paragraph intent was not clear enough:
“Alessandra used a rhetorical device to begin her essay,” Mattoon said, “and because the piece was so largely positive, we as editors weren’t sensitive enough to the language being used…”
She told me that multiple editors — at least three — read the article in advance but that none of them raised any objections or questioned the elements of the article that have been criticized.
Will Lee has been named editor of People.com. Lee comes to People from The Hollywood Reporter, where he most recently served as VP, digital content and programming.
This will be a homecoming of sorts for Lee, as he worked as an editorial assistant at Time Inc.’s Entertainment Weekly in 1998.
In related news, Kristin Boehm, People.com’s director of news and engagement, has been promoted to deputy editor.
Lee begins his new role October 20.
Better red than dead? Not in this case. For his recent Times Square efforts, New York Daily News political reporter Adam Edelman (pictured) earned a measly total of just one dollar in tips.
As Elmo, Edelman tried several different sidewalk locations. He encountered some well-organized Smurfs before being unwittingly exposed:
Suddenly a woman noticed the tiny camera propped up in my Elmo mouth (we were after all, documenting this experience) and began to warn nearby mascots about my presence. Without warning, a Batman and a Spider-Man were in my face.
Eva Longoria’s production company — UnbeliEVAble Entertainment (yes, it’s really called that) — is joining forces with Condé Nast Entertainment to bring a political drama to ABC. The show was inspired by a Jacob Weisberg Vogue article, which profiled twins Julián and Joaquin Castro.
The yet-to-be-named project will follow the lives of Chris and Alex Reyes, two “Latino golden boys” who are best friends, yet political rivals. “The drama explores the American dream and the lies, blackmail and manipulation it takes to rise to the top of power in Texas — and perhaps someday DC,” reports Deadline.
Lies! Blackmail! Manipulation! Golden boys! Please inform your parents about this news.
Interesting interview with Angelica Cheung, the editor of Vogue China since Day One and previously the editor of Elle China and Marie Claire in Hong Kong.
This month marks the Condé Nast international edition’s ninth anniversary. Cheung talked with WWD‘s Amy Chung about her readers’ fondness for “classic” beauty, the mixing of Chinese and international models in the publication’s pages, and working within the country’s content constraints:
“Everything we publish has to be approved. It’s the law here. We have problems when there’s suspicion of nudity. There was one picture, people thought you could see something, but I thought you couldn’t so we retouched it a little bit, but I’m not for nudity.”
Adam Sachs has been named the editor-in-chief of Saveur. Sachs joins the magazine from Tasting Table, where he served as editorial director. He has also served as a contributing editor to Bon Appétit, Travel + Leisure, and Details.
“We had the opportunity to spend time with many excellent candidates during the search,” said Bonnier’s chief content officer, David Ritchie, in a statement. Through it all, Adam set himself apart. His passion for food and travel, his award-winning journalism, his vision for the brand, and his hands-on work in a digitally native business was a potent mix that we’re really excited to bring to this team.”
Sachs will begin his new role October 6.
Scott Stossel, editor of The Atlantic, has a lot of interesting things to say in an interview with the Nieman Foundation. For starters, he declared himself “platform agnostic” and openly discussed the benefits of folding the magazine and going digital-only. Like we said, interesting! Below are some highlights from the piece.
On a digital-only Atlantic:
My hope is that we’ll continue to get enough print advertising to invest in the print product. But I’m platform agnostic. In fact, if we could suddenly convert our 500,000 print subscribers—all of them pay, even though all the content is free on the Web—to digital subscribers and scrap the print magazine, our bottom line would be so much better. We could pay writers more because we wouldn’t be paying for printing and mailing.