- My buddy Rick Klau from Feedburner gets interviewed by Eric Enge about RSS penetration, measurement and other such topics. (CT)
- Eric Eggertson has some good tips for employers about to bring young adults into the fold. Bottom line: Give them outlets where they can channel their passion, interest and intellect for the corporate good. (CT)
- Max Kalehoff reminds us that just because people love the content it’s not necessarily true that they love the ads around it. The ads need to work WITH the content, not against it. (CT)
- Chris Anderson is announcing his latest startup, BookTour.com. He’s being cagey with the details, though, waiting till 6/1 for the official launch. (CT)
- Kevin Burton says if you want to kill Google you have to go after its advertising revenue. Not exactly new, but I like the way he positions Google against Microsoft.
- Susan Merrit compares signing up for all sorts of social networks to filling out your dance card in turn of the century (19th to 20th, that is) society. (CT)
- Jason Calacanis is ranting (rightly, I feel) about his ISP’s decision to block his access to ESPN.com because the sports network isn’t paying them. (CT)
- Todd is beginning a series of regular profiles on members of his “Power 150” ranking list. (CT)
- Joe Thornley is live-blogging in his usual fantastic manner from the mesh conference. (CT)
- Twitter’s Evan Williams is raising some VC funds. All proposals need to be 140 characters or less in length. (CT)
- The Encyclopedia Britannica is suing navigational system company TomTom, claiming it infringes on copyrights they own. (From TB)
- As Steve Johnson says, it’s sometimes unfortunate how so much of the online conversation resembles a fraternity common room in its level of discourse. (From TB)
While studios jockey (and sometimes bicker) for position as the box office champs of the weekend or the biggest comedy of the year or whatever, it’s important to maintain some perspective. As this New York Times story shows nothing aside from 1997’s Titanic comes close to any claim as an all-time box office hit when you adjust the grosses for older films for inflation. They might be great now but they’re small potatoes in the history of cinema.
Then you have the fact that this summer, despite some hype-filled headlines and breathless claims to this, that or another title, is not turning out as well as studios hoped. Pirates of Caribbean 3 is not doing as well as Disney would like and seems fated to be the weakest installment of the three. And the other tent-pole movies this summer have dropped off quickly after their opening weekends.
If I were running a movie studio, I’d rather have five films that cost $20 million to make and brought in consistent ticket sales week after week than something that cost $500 million but faded after two weeks. But that’s just me. See I would likely put more focus on making a movie than making a marketing opportunity. I’m crazy like that.
Eric Zorn at the Chicago Tribune is wondering why Once from Fox Searchlight, which features just a few conversational F-bombs and no other objectionable content, is rated R. Such a rating, of course, limits the audience and creates a stigma around the movie.
The answer, of course, is that the MPAA’s ratings board thinks bad language is the end-all-be-all of cinematic sins. Sex, of course, is next but violence is way down the list. You can blow someone’s head off and get a PG-13 but if you swear while doing it you’ve earned yourself an R.
No, this makes no sense. But the entire ratings system is kind of completely broken. There needs to be a massive overhaul of the process so that truly objectionable content is restricted from young audiences who are impressionable and largely incapable of making such distinctions on their own. But if you’re keeping rationale adults from seeing an adult-themed movie you’re just being silly.
There’s also the belief held by many (including myself) that the MPAA is overly harsh with ratings for smaller, non studio flicks. The thinking is that, since the big studios pay for the MPAA’s operations and smaller ones don’t, the MPAA lets them get away with more to protect their market share.
A growing number of film festivals are making the rounds at no charge to attendees because they’re ad-supported, reports MediaBuyerPlanner.
Comcast, IFC and others are sponsoring the ten city tour of the Free Film Fest. In addition to the major opportunities there are chances for local and smaller advertisers to get in on the event as well. IFC and Comcast are helping to promote the fest, which usually sets up camp in a public park with its large screens and varied selections, with print, radio and online ads. National sponsors also have the opportunity to be included in the publicity for the events.