Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age, by Michael Wolff
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Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age, by Michael Wolff
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"The closer the new media future gets, the further victory appears." --Michael WolffThis is a book about what happens when the smartest people in the room decide something is inevitable, and yet it doesn’t come to pass. What happens when omens have been misread, tea leaves misinterpreted, gurus embarrassed?Twenty years after the Netscape IPO, ten years after the birth of YouTube, and five years after the first iPad, the Internet has still not destroyed the giants of old media. CBS, News Corp, Disney, Comcast, Time Warner, and their peers are still alive, kicking, and making big bucks. The New York Times still earns far more from print ads than from digital ads. Super Bowl commercials are more valuable than ever. Banner ad space on Yahoo can be bought for a relative pittance.Sure, the darlings of new media—Buzzfeed, HuffPo, Politico, and many more—keep attracting ever more traffic, in some cases truly phenomenal traffic. But as Michael Wolff shows in this fascinating and sure-to-be-controversial book, their buzz and venture financing rounds are based on assumptions that were wrong from the start, and become more wrong with each passing year. The consequences of this folly are far reaching for anyone who cares about good journalism, enjoys bingeing on Netflix, works with advertising, or plans to have a role in the future of the Internet.Wolff set out to write an honest guide to the changing media landscape, based on a clear-eyed evaluation of who really makes money and how. His conclusion: the Web, social media, and various mobile platforms are not the new television. Television is the new television.We all know that Google and Facebook are thriving by selling online ads—but they’re aggregators, not content creators. As major brands conclude that banner ads next to text basically don’t work, the value of digital traffic to content-driven sites has plummeted, while the value of a television audience continues to rise. Even if millions now watch television on their phones via their Netflix, Hulu, and HBO GO apps, that doesn’t change the balance of power. Television by any other name is the game everybody is trying to win—including outlets like The Wall Street Journal that never used to play the game at all.Drawing on his unparalleled sources in corner offices from Rockefeller Center to Beverly Hills, Wolff tells us what’s really going on, which emperors have no clothes, and which supposed geniuses are due for a major fall. Whether he riles you or makes you cheer, his book will change how you think about media, technology, and the way we live now.
Television Is the New Television: The Unexpected Triumph of Old Media in the Digital Age, by Michael Wolff- Amazon Sales Rank: #297323 in Books
- Brand: Wolff, Michael
- Published on: 2015-06-23
- Released on: 2015-06-23
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .88" w x 5.65" l, .0 pounds
- Binding: Hardcover
- 224 pages
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Most helpful customer reviews
21 of 22 people found the following review helpful. More About Advertising Than Television By Amanda Lotz This book is more about advertising than television. This is fine, actually, the explanations of changes in advertising (mostly print) over the last fifteen or so years of the emergence of digitally distributed media are very strong and helpful. The title is catchy and Wolff’s assertion that contrary to many predictions “television” did not die and is actually thriving as a result of the superior distribution technology of the Internet is quite true. This book doesn’t touch on the economics of making television, of studios, of channels—it is in this sense that I suggest it is far more about advertising than television.It is at its strongest when it explains what has happened to print media due to digital distribution and explores the evolving strategies of legacy and digitally-native print outlets as they’ve tried to find ad-supported models that work. He uses this to both forecast coming problems for digitally distributed video (television) as well as note how certain types of video will likely be immune from these problems (in short, ad-supported models don’t work in a world of potentially unlimited advertising inventory).This needed to be a book. Unlike the constant flow of pieces that cover similar terrain, Wolff takes advantage of the longer form to tell a more comprehensive story of change over time. (Though it is not a very long book—about 56,000 words).The critical “Editorial Reviews” on the back cover market this as a must-read so you don’t miss a potential hatchet job, but it is far from this. Wolff is slightly provocative in defying the once conventional wisdom that claimed digital distribution would destroy “television”—which has largely been proven wrong at this point. His arguments are measured and well supported (see below regarding citations though). It could be argued that one Auletta piece is unfairly singled out, but Wolff doesn’t take cheap shots.Why not five stars?This book targets an audience already in the know about a lot of media industry minutia. I may try teaching it in a senior seminar where we can work through it together, but it requires a fair bit of media/advertising familiarity to follow. People who work in advertising seem the main target audience of the book.There are no sources cited. It seems clear that many assertions draw from data and are not just opinion, but the lack of references is frustrating and limits the book's usefulness (this could have been Penguin’s decision). It is also odd given that one of the main arguments is a critique of the business/tech press (easy to critique when the examples aren’t cited, but I’ve read enough of it to find Wolff on point).It is often too brief. The book covers quite a bit, and more often than not I desired more depth. Likewise, a few more words could have been used to transition through the book and explain connections between chapters and connect the main arguments to cases discussed.
3 of 3 people found the following review helpful. interesting concept muddied by poor writing and editing By Phil Simon Wolff is certainly a very smart guy but this book lost me with incredibly long sentences and no shortage of commas. I consider myself a reasonably intelligent person. I don't need everything written at a fifth-grade level, but I do try to avoid books that seem to go out of their way to confuse me. Lamentably, this was one of those books. After about 120 pages, I just couldn't finish. I got tired of having to read the same sentence multiple times to try to understand it. Better editing would've made this book much more compelling.
0 of 0 people found the following review helpful. I was especially disappointed in the abrupt ending By Christine M. Tracy Michael Wolff’s PBS interview motivated me to buy his “Television is the New Television: The Unexpected Triumph of Old Media In the Digital Age.” I am very interested in online economic models, and I was intrigued by his ideas about the money behind old and new media. As the title implies, the book is mostly about where television and the cable industry, the “main providers of digital access,” get their money. Wolff is specific as he attempts to build a case for the supremacy of television, video, and cable over digital media. He names Netflix as“the first successful seller of content in the digital world” who “proved the subscription model.” He attributes the rising success of video to its narrative value, which “refocused attention” and became a “way to watch television.” He uses sports as an example to point out the “extreme” cultural conflict between digital and traditional media. Unfortunately, those are my only major take-aways. Wolff’s “Television is the New Television” is simply one, big information dump. If Wolff is a fan of narrative, it is surprising that there is no meta-narrative here. He leaves readers to make their own connections and to find an elusive significance in this 200-page book. A main flaw is the lack of careful definitions. Wolff’s working concepts of television, new media, video, and cable desperately need to be clarified and presented to make his argument accessible and valid. There simply is no attempt to tie things together: I was especially disappointed in the abrupt ending. I gather he has a big vocabulary, but is it necessary to use proscenium, bifurcated, or somnolence here? Perhaps Wolff’s intention was not to offer a fresh and informed perspective on the economic differences between old and new media, but instead, as the reviews on the book jacket suggest, “get nasty” with his enemies. If he is trying to take down digital media, then he’ll have to do a better job. Describing digital media as “the new wasteland” and labeling the digital users as “a new sort of half-aware audience of coach potatoes mindlessly shuttled between social media prompts and headlines” is simply inaccurate. Television viewers are not an active audience and digital users are not passive, as Wolff suggests. Television is not upscale and digital downscale. In applying these simplified labels, Wolff neglects to develop any meaningful and well-supported argument about the relationship of video and television and their distribution via digital networks. This attempt to cast the Internet and digital media into a television-style mass medium reads like a corporate dream that ignores the historical development of the Internet and its Web. Digital media have so much more potential than merely to serve as a programming platform: freely provided information is a social and intellectual advance.
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