Posts Tagged ‘Jeopardy’
“How television stages the world becomes the model for how the world is properly to be staged”*…
… and, as Mark Sweney reports, that staging is undergoing a fundamental transition. Case in point: Warner Bros Discovery’s recent massive write-down of traditional broadcast assets as it struggles to play catch-up with streaming and video services…
Warner Bros Discovery’s announcement… of a $9bn (£7bn) writedown in the value of its TV networks is a stark acknowledgment of the damage the streaming wars are inflicting on traditional broadcasting models.
The astonishing figure, which pushed the US entertainment group to a quarterly net loss of $10bn (£7.9bn) and sent shares sliding 12% in early trading on Thursday, lays bare how channels such as CNN, TLC and the Food Network can no longer rely on a captive cable subscriber base.
The rapid consumer shift away from high-priced TV packages, coupled with the inexorable decline in advertising, has forced traditional TV companies to invest billions in low-cost streaming services to catch up with first movers such as Netflix.
The question is now whether companies such as WBD – home to TV and film content including Furiosa: A Mad Max Saga, Godzilla x Kong: The New Empire, The Big Bang Theory, Succession, Friends and all Olympics events – can build the scale and make significant profits from their streaming operations before the death of linear television delivered by cable, satellite or aerial…
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… Disney has more than 200 million global streaming subscribers, and WBD exceeds 100 million globally, with Discovery+ now the fastest-growing service in the UK thanks to winning the rights to show every Olympic discipline. But the battle is not just to continue to drive scale.
Boosting revenue and profits per subscriber has become critical through strategies including rapid rounds of price increases – Disney has just announced a set of price rises for later this year – as well as driving slightly cheaper ad-funded tiers to pull in cost-conscious consumers.
While traditional TV companies struggle with managing the decline in their legacy businesses, with drastic rounds of cost-cutting after a decade of profligate spending on content in the first decade of the streaming wars, Netflix points to a viable future.
The streaming giant, which once struggled with mounting losses running into tens of billions of dollars, has seen its market value surge by more than 50% over the past year after turning the profitability corner while continuing to see significant growth in subscribers.
WBD’s chief executive, David Zaslav, who has considered breaking up the company but concluded that is not currently the best option, said the market was being hit by a “generational disruption” that requires traditional TV companies to take “bold, necessary steps”.
Richard Broughton, director at Ampere Analysis, said: “Legacy TV businesses are in decline but the shift is not so rapid that it can’t be managed. There are still a lot of broadcast TV viewers, they have the time to pivot to profitability in the streaming world.”…
Dealing with disruption: “‘Traditional TV is dying’: can networks pivot and survive?” from @marksweney in @guardian.
Corollary damage: “two venerable TV trade publications, Broadcasting & Cable and Multichannel News, will shut down“
See also: “The music industry is suffering from a streaming hangover” (gift link) and on a more upbeat note, “Radio shows surprising resilience even in a rapidly changing media world.”
For (just one example of) the kind of speculation that tectonic shifts of this sort can elicit: “Why Apple should buy Warner Bros. Discovery. No, seriously.“
And for one take on why all of this is underway: “The Addiction Economy.”
* Neil Postman, Amusing Ourselves to Death
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As we muse on media, we might spare a thought for Dominick George “Don” Pardo Jr.; he died on this date in 2014. A member of the Television Hall of Fame, Pardo had a 70-year tenure with NBC, working as the announcer for early incarnations of such notable shows as The Price Is Right, Jackpot, Jeopardy!, Three on a Match, Winning Streak, and NBC Nightly News. His longest, and best-known, announcing job was for NBC’s Saturday Night Live, a job he held for 38 seasons, from the show’s debut in 1975 until his death.
“Judge a man by his questions rather than his answers”*…
Fun with facts…
It’s officially time to socialize again. But maybe . . . you’ve forgotten how? Here’s one way to break the ice/pass the time/celebrate your vaccinations with your book-reading friends: organize a day of literary Jeopardy!. (You can also just play by yourself, right here, right now.) To facilitate, I combed through this insane archive of every game of Jeopardy!ever played (YEP) and picked out 100 literary questions of varying difficulties. (You may notice that all of these clues are from the first 9 seasons (1984-1993), for no reason other than that’s how long it took me, haphazardly clicking through, to find 100 interesting ones. Test your brain (and your friends)…
Answer: Pasternak’s Moscow medic
Question:
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Answer: Long-time companion of Dashiell Hammett, she was played in “Julia” by Jane Fonda
Question:
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Answer: Sophocles’ “complex tragedy”
Question:
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97 more answers in search of a query at “100 Literary Jeopardy Clues from Real Episodes of Jeopardy!” (Answers– that is, questions– provided.)
* Voltaire
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As we reach for the buzzer, we might respond to the answer “this great American novel of teen angst and alienation was published on this date in 1951” with the question “What is J. D. Salinger’s The Catcher in the Rye?” Consistently listed as one of the best novels of the twentieth century, it was named by Modern Library and its readers as one of the 100 best English-language novels of the 20th century, was listed at number 15 on the BBC’s survey The Big Read, and still sells about 1 million copies per year.
“If you’re shopping for a home entertainment system you can’t do better than a good dissecting microscope”*…
Harris P. Mosher lecturing at Harvard Medical School in 1929, with a giant skull made in the 1890s
In their introduction to the book version of Charles and Ray Eames’ Powers of Ten, Philip and Phyllis Morrison wrote elegantly of the importance of the evolution of the tools of science to scientific progress. It’s the continuous improvement in these “instruments of vision” that pushes back the frontiers of knowledge, and allows us to know, ultimately to understand, more and more of the universe around us. In an essential way, then, the history of scientific tools is the history of science.
Harvard’s Collection of Historical Scientific Instruments allows one literally to browse through that history.
The permanent collection includes over 20,000 instruments and artifacts, (including an incredible collection of microscopes, partially pictured above).
Now through December 5, the Collection is mounting “Body of Knowledge,” an exhibition that focuses on the devices, publications, and tools that have contributed to our (still-)expanding understanding of the human body.
The title page of Andreas Vesalius’s 1543 anatomy textbook, De humani corporis fabrica (On the Fabric of the Human Body), depicting a public dissection.
It includes a copy of Vesalius’s masterpiece (as above) and anatomical models (the 78-inch-tall skull shown at the top of this post, plus a 48-in-long skeleton of a foot). In all, it showcases the social and cultural practices of anatomy through the centuries.
For more background on the Collection, visit its site, and check out this Harvard Magazine piece; for more on the exhibit, click here and here. Browse the collection (from whence, all of the images above) here.
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As we polish our lens, we might send birthday greetings in the form of a question to Jeopardy; the brainchild of talk-show host and game show maven Merv Griffin, it was first broadcast on this date 50 years ago, in 1964. At sign-on, Jeopardy was an afternoon game show hosted by Art Fleming; after a decade before dinner, it moved after, as a weekly syndicated show. Then, in 1984, the syndicated version got a facelift– Fleming was replaced by Alex Trebek– and the show went nightly… where it’s prospered ever since.
I for one welcome our new computer overlords…
In the aftermath of Watson’s triumph over humanity’s best, your correspondent thought it wise to remind readers (and himself) that this is not the first time that we mortals have faced the onslaught of astounding new technology.
The good folks at Dark Roasted Blend have compiled a nifty through-the-ages recap of attempts to create “life” in new-fangled ways; from Leonardo’s “robot” and John Dee’s “flying beetle” to an “steam-powered hiker” and an “electric milk man” from Victorian England, there’s quite a selection in “Amazing Automatons: Ancient Robots & Victorian Androids.”
It’s all fascinating; but the sweet spot is surely the selection of creations from the 18th (and early 19th) centuries, when the then-highly-developed crafts of metal working and watchmaking were turned to automata. Consider, for example…
Jacques Vaucason created numerous working figures, including a flute player, which actually played the instrument, in 1738, plus this duck from 1739. The gilded copper bird could sit, stand, splash around in water, quack and even give the impression of eating food and digesting it.
Pierre Jaquet-Doz created three automata, The Writer, The Draughtsman and The Musician, which are still considered scientific marvels today. The Draughtsman is capable of producing four distinct pictures, while the Writer dips his pen in the ink and can write as many as forty letters. The Musician’s fingers actually play the organ and the figure ends her performance with a bow.
More, at Dark Roasted Blend.
As we remind ourselves to re-read Kevin Kelly’s excellent What Technology Wants and then to retake the Turing Test, we might stage a dramatic memorial dramatist and scenic innovator James Morrison Steele (“Steele”) MacKaye; he died on this date in 1894. He opened the Madison Square Theatre in 1879, where he created a huge elevator with two stages stacked one on top of the other so that elaborate furnishings could be changed quickly between scenes. MacKaye was the first to light a New York theatre– the Lyceum, which he founded in 1884– entirely by electricity. And he invented and installed overhead and indirect stage lighting, movable stage wagons, artificial ventilation, the disappearing orchestra pit, and folding seats. In all, MacKaye patented over a hundred inventions, mostly for the improvement of theatrical production and its experience.
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