You better cut the pizza in four pieces because I'm not hungry enough to eat six. | | | | I'm trying to rewire myself. So, "220, 221, whatever it takes." Michael Keaton in MR. MOM. (1983)
(Twentieth Century-Fox Film Corporation) | | | | | | “You better cut the pizza in four pieces because I'm not hungry enough to eat six.”
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| | rantnrave:// Hello REDEF Family, as you know I've been MIA for around 6 months. In the coming weeks, I'll explain where I was, what I was doing, and what the future of REDEF may hold. In short, I was a little burned out. I published almost 7 days a week for 12 years through some tough "life dust" and didn't take time for myself. I've been in arrears for a long time and all those bills were still due. I couldn't keep kicking the can down the road, and I was LIONEL MESSI-good at it. When publishing each day, perspective can get lost. Perspective rather than reaction is what I'm going for. And when you're cutting your way through the content jungle as curators do it's hard not to feel a little toxic given what's going on in the world. I'm not impervious to exhaustion, sadness, and doubt. I slept an enormous amount, read books, watched movies and TV, listened to music and thought a lot about how I want to live and work while walking in circles at the track (where I lap senior citizens). So, I'll be coming back slowly. Likely not publishing 5 days a week for the next few weeks. Then back to "normal." Regularly curated "interest remixes for curious minds" will start next week with future "rantnrave" commentary from me on ANTHONY BOURDAIN, S.E. CUPP, ATT / TW / DISNEY / FOX / COMCAST, MR. RODGERS, a recent media injustice, NETFLIX-inspired madness at media companies, online apparel brands, KANYE and when heroes disappoint, and more. I've missed this and you. I'm excited to come back with perspective. And for the new subscribers, stay tuned, this is what we do. Thank you for your patience and support... Today, some light curation of REDEF ORIGINAL pieces we've published over the last month or so. From ORIGINALS founder and now the lead contributor, MATT BALL, we take a look at some common NETFLIX misunderstandings, DISNEY strategy, the optimistic rise of the music biz, and how APPLE may compete with AMAZON PRIME media offerings. I threw in the first piece we did on DISNEY a few years ago as a throughline to the most recent ones. Matt and I debate these topics all the time, thus the pieces. While never perfect, I believe we're in the right direction. So, let's roll again... Happy Birthday to BRIAN ROLAPP, PETER ELKIND, ALEX BLUM, STEVE OLECHOWSKI, DAVID WEINBERG, and MARY KALLAHER. Belated to TED HARBERT(now a youthful 92), NICHOLAS BUTTERWORTH, THOMAS MEYER, and NICK DEMARTINO. | | | - Jason Hirschhorn, curator |
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| | | cause it's cool when you cause... |
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| Netflix's product expertise is at the heart of everything it does, including why and how it makes its original content. This culture is easily overlooked, but doing so can be fatal. Netflix is as much a tech and product company as Facebook, Google or Amazon. | | |
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| Disney's films have become so successful they're now the company's greatest competition. But George Lucas and Stan Lee know the answer: building your own universe. | | |
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| Sixteen years after the music industry's peak, revenues have returned to growth. But the core problems of streaming service profitability and minuscule artist royalties persist. There is cause for optimism, but transformation is needed. Enter, Spotify Records and Apple Music Groups? | | |
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| It's been a year since Apple made its first original video hires and released its first original series, yet the company's strategy remains opaque and confusing. The most likely answer is one that will lead the company to reinvent not another device category, but itself. | | |
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| Netflix spends a lot more than you probably think. And the why and how is critical to understanding its future, competitive positioning and internal conviction. | | |
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| To many, Disney has become the posterchild for poor licensing decisions in the digital era. Four years ago, the company sold exclusive digital rights to nearly the entire Disney catalog through the end of the decade. As a result, critics argue, Disney can do little to adapt to the OTT and D2C era – and enabled Netflix to build its own digital empire. But by focusing on Disney’s inflexibilities, this narrative overlooks the nuances of the company’s digital content strategy. Not only is Disney's... | | |
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| | | | | | | For a chill summer day wherever you are. Vibe it with some Domaines Ott*... |
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