TVNewser FishbowlDC AgencySpy TVSpy LostRemote PRNewser SocialTimes AllFacebook 10,000 Words GalleyCat UnBeige MediaJobsDaily

Posts Tagged ‘Variety’

Meet the NYC Journalist with a Byline That’s Hard to Beat

In Variety slanguage,” the term “legit” refers to professional live theater. However, given the questionable credentials of many of today’s entertainment journalists, Gordon Cox‘s byline – each time we see it at least – conjures up a second, comical meaning.

GordonCoxBylineCox’s latest item is about the delayed search for New York City’s next film czar. And right there, at the top of the page, it says once again that the article is by ‘Gordon Cox, Legit Editor.’

Imagine the possibilities if the Cox-slanguage byline was carried through to other non-theatrical online realms. All of a sudden, we could be browsing through articles by John Doe, Semi-Legit Blogger and Jane Doe, Anything-But-Legit Gossip Columnist.

Read more

Josh Dickey Ankles TheWrap for Mashable Entertainment Vertical

Josh Dickey will no longer have to wait a week or more to make a Mashable imprint. The LA-based journalist, who has jumped in the past year from Variety (film editor) to TMZ (managing editor) to a second stint with TheWrap (managing editor), is on the move again – this time to Mashable to head up the site’s new entertainment vertical.

JoshDickeyFeb2013Tweet

Dickey’s official title is entertainment editor. He will remain based in Los Angeles and starts a little later this month. From this afternoon’s announcement:

“The entertainment world is a great story right now as technology both disrupts the business and creates new opportunities, and there is no better person to lead the Mashable’s exploration of these transformations than Josh Dickey,” said Jim Roberts, chief content officer and executive editor of Mashable. “Josh has been on the frontline of Hollywood’s digital transformation, and his perspective and talent will be a great addition to Mashable as we go heavy into Entertainment.”

Read more

Scintillating TheWrap Stats Also Remind: comScore Counts It Differently [Updated]

On January 26, TheWrap will celebrate its fifth anniversary. And when staff gather at the outlet’s west Los Angeles offices for that purpose, there will be extra cause for whooping and hollering.

TheWrapLogoLast month, guided in large part by the astute Web traffic wisdom and knowledge of executive editor Joseph Kapsch, TheWrap lapped rivals Deadline and Variety by a very impressive comScore margin. TheWrap welcomed a little over 3.4 million unique visitors (its highest monthly total yet), compared to around 2.6 million for Variety and Deadline.

There is, per usual and as mentioned in TheWrap item, a wide discrepancy between comScore’s December 2013 numbers and those tabulated by Google Analytics and Quantcast. Which begs the answer to the question – how can the latter two services measure so many more unique visitors for TheWrap (around seven million)?

Read more

Armond White Embarrasses Himself at NYFCC Awards Gala… Again [Updated]

ArmondWhiteTwitterAvatarThe good news, for those who attended the latest New York Film Critics Circle awards celebration: Armond White‘s outburst from the back of the room could not be heard at the front. The bad news: In a roomful of reporters, anything said can be quickly and duly noted, casting a permanent pall on the proceedings:

From the back of the Edison Hotel Ballroom, White yelled at Steve McQueen, the NYFCC’s Best Director winner for 12 Years a Slave. “You’re an embarrassing doorman and garbage man. F— you. Kiss my ass,” according to a Variety reporter seated near him.

Read more

WSJ’s Alexandra Cheney Joins Variety

AlexandraCheneyVarietyThe folks at Variety want everyone in LA to know that incoming senior film reporter Alexandra Cheney knows how to surf. Don’t laugh; this skill could come in handy in the new year whenever she works on a feature involving one or more surf-loving producers, agents, managers and studio execs.

Cheney’s athletic background, which goes along with three years most recently spent writing for the Wall Street Journal‘s “Speakeasy” blog and Marketplace section, is highlighted at the end of today’s announcement as well as in this quote from film editor Claudia Eller:

“Alexandra, who was a professional surfer and is a hard-driving journalist, has the perfect kind of competitive DNA needed to aggressively cover the fast-changing, dynamic movie business,” Eller said. “She will be a great addition to our already strong film team.”

Read more

New York Magazine Charts Finke-Penske Ups, Downs

BenjaminWallacePicAmong the many fascinating revelations in the New York magazine feature by Benjamin Wallace (pictured) about the evolution of Nikki Finke‘s relationship with Jay Penske is the way she helped her PMC boss drive down the acquisition price of Variety, the property that would eventually prove to be their Deadline Hollywood undoing:

Finke says she advised Penske on how to game the bidding by telling friendly reporters the other bidders were overpaying for it, in order to scare them off. Soon after a Los Angeles Times article to this effect was published, Ron Burkle dropped out.

[Editor's note: Burkle reportedly walked away after his substantially lower offer than Penske's eventual purchase price was rejected.]

Adding to the noteworthiness of this particular New York magazine passage is the fact that the LAT article in question appears to have been written by none other than Patrick Goldstein, author of a Los Angeles magazine profile of Finke and co. that went online last Thursday. In the portion of the Los Angeles magazine article where Goldstein discloses his personal relationships with trade players, he begins the summary of his Nikki dealings with, ‘Finke and I have been friendly for years.’ Apparently so.

Read more

Where Did All Those @Variety Twitter Followers Come From?

That’s a question that caught the attention of Hollywood trade watchers late Friday thanks to Ben Dreyfuss, engagement editor for Mother Jones. He noticed and shared that in late September, the follower count for Jay Penske‘s publishing concern had a “boffo” day.

BenDreyfussPic

What may shock you even more is how cheap something like this is to pull off. Check out for example the prices from this instant-popularity purveyor; they suggest Variety‘s early fall surge could have cost as little as $500.

Read more

Anita Busch: From Deadline Commenter to Deadline Film Editor

DeadlineAnitaBuschPicThe great majority of reader comments that made it through to the bottom of Nikki Finke‘s Deadline items were anonymous or pseudonymous. Among the regular exceptions to this was Anita Busch.

The one-time LA Times and Hollywood Reporter vet, sidelined in recent years by some very nasty Anthony Pellicano business, could always be counted on to chime in under her real, full name. Today, some Hollywood trade watchers were stunned to learn that a journalist who has been out of the game for many years was hired as Deadline’s new film editor. She takes over for Mike Fleming, who moved into Finke’s vacated EIC perch. From today’s announcement:

Both [TV editor Nellie] Andreeva and Fleming have a long history with Busch. She hired and mentored Andreeva at The Hollywood Reporter, and she and Fleming worked closely together for years at Variety, dominating film industry news.

Read more

Variety Drops F-Bomb on Twitter

The first Wednesday tweet designed to promote editor-in-chief: digital Andrew Wallenstein‘s look at the forces behind some recent Hollywood studio exec shuffles was routine:

VarietyTweet1

But then… Who knows. Maybe the individual manning the trade’s Twitter account became frustrated at the lack of clicks. Or was ordered to get more eyeballs onto Wallenstein’s piece. Or there were drinks involved. Because five hours later, in the spirit of Nikki “I Should Be Running Variety” Finke, there was this:

VarietyTweet2

Read more

Rotten Tomatoes Expansion Into TV Gets Quick, Bad Review

That didn’t take long. A few hours after Variety‘s Marc Graser tipped the first big change at rottentomatoes.com since the site launched in 1998, Atlantic Wire fellow Esther Zuckerman has given the expansion a thumbs down.

Launching Tuesday, RT’s TV Zone will rate TV series using the same scale that is employed for movies. With one big difference – TV ratings will be tied to full seasons rather than single episodes. Writes Zuckerman:

TV criticism isn’t the same as movie criticism. Whereas movie criticism is fairly finite — a critic states his or her case and it’s done — television criticism has to account for the fact that shows can vary wildly over the course of their seasons. Note, for instance, how initially critics weren’t too thrilled by Mad Men or Breaking Bad at the shows’ outsets…

Read more

<< PREVIOUS PAGENEXT PAGE >>