Hasta La Creative!

On Thursday night, the singing competition sank below the 2.0 ratings barrier, something seemingly incomprehensible even two years ago.

Por muito tempo se achava que as pessoas não liam em seus dispositivos móveis, talvez por acharem que os aparelhos eram pequenos demais para leituras mais longas. Contudo, com o tempo o comportamento dos usuários mostrou que a realidade é bem oposta – os visitantes mobile são, hoje, uma das maiores audiências de diversos sites. Ler com o deslizar de dedos na tela têm se tornado tão natural como virar uma página.

Apostando exatamente nesse comportamento, o aplicativo do Medium não permite nada mais do que a simples leitura dos conteúdos postados na plataforma. Com design simples, seguindo a tendência visual do site, o app não oferece a opção de postagem ou atualização de textos.

“Estamos apenas ampliando as vozes das centenas de pessoas que escrevem no Medium todas as semanas”, explicou Ev Williams em um post.

O app usa o login do Twitter e mostra conteúdos do Medium de acordo com a popularidade ou com o que usuário já havia lido anteriormente, e permite compartilhar a leitura via Twitter, Facebook e email. Quem quiser prosseguir com a leitura pode simplesmente deslizar para o próximo texto.

Acaba sendo uma interface de fácil interação para a leitura de postagens acerca de temas semelhantes ou dignos de destaque. Quase um YouTube de texto, provoca o The Verge.

Por enquanto, o app do Medium está disponível apenas para iOS, e não há previsão do lançamento de uma versão para Android.

Post originalmente publicado no Brainstorm #9
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Earlier this month, at Stanford University’s Future of Media Conference, I was asked to share some thoughts about this moment in media and what’s ahead. Since I’m at least as bad as anyone else at divining the future, I focused on something more obvious and fundamental: paying attention.

Media doesn’t work if no one is paying attention. Forget about paywalls and online ad rates, meters and bundles. The foundation underneath anything and everything we do in media is consumer attention. It’s attention, really, that we’re selling. If our stuff is worth enough of the consumer’s attention, she might buy a subscription, make a donation, or buy a ticket. Advertisers, of course, are buying access to that same attention.

Jeff Zucker, the former CEO of NBC, is famous for his pithy comments about the erosion of advertising rates as an audience moves online. “We are trading analog dollars for digital dimes,” he said (later upgrading dimes to quarters). In other words, CPMs for digital advertising are much lower than CPMs for TV or print.

Continue reading at AdAge.com

Voici un teaser tirées du tournage en drone de l’Opéra Garnier, proposé par Freeway Prod à l’occasion du film de Laurence Thiriat, dont la diffusion est prévue pour septembre 2014 sur Arte et coproduit par AnaProd. Des plans impressionnants, permettant un nouveau regard sur la beauté du Palais Garnier.

AMC's The Walking Dead is a massive multimedia story line these days, spanning comic books, novels, video games and, of course, the highest-rated series on television. At the epicenter of this sprawling narrative empire is its creator, comic-book writer Robert Kirkman.

So fans were understandably excited this week to see Kirkman offer himself up for a Reddit AMA ("Ask Me Anything") session. Many of his comments had implications not just for the comics he continues to write each month, but also for the show and other extensions that remain loyal to his vision.

We compiled a few of his more interesting responses, which cover everything from his willingness to kill off beloved characters to his complicated feelings on the TV series' high-profile turnover of showrunners:

1. He's not afraid to kill off Rick.

Q: Is Rick Grimes a "safe" character?
A: Absolutely not. Although when I look in Andrew Lincoln's piercing blue eyes, I feel safe.

2. Even Daryl, a popular show-only character played by Norman Reedus, could get killed off.

Q: How does popularity, if at all, affect the survival rate of characters? Have you ever killed a character just because they were popular and you wanted to shake things up?
A: In my opinion, I feel like characters ripen like fruit. So while I wouldn't say the more popular a character is the more likely they are to die; they do have to reach a certain level of popularity before they've "earned" the death. No character is too popular to die. (Suck it, Reedus!)

Q: How's your relationship with Reedus and the rest of the cast? Does it influence their character's fate?
A: It honestly doesn't. Everybody knows the score and everyone knows what they're getting into when they sign on. I think I have a good relationship with all the actors.

3. He supports AMC's decision to fire the first two showrunners but says he was "only on the sidelines."

Q: I was wondering if you could speak at all about the circumstances surrounding the trend of multiple showrunners (Frank Darabont, Glen Mazzara, Scott Gimple) and what you thought each of them brought to the show?
A: Our showrunner musical-chair routine is not entirely uncommon in television. There have been countless shows that have changed showrunners and some even from season to season. It's unfortunate that this show exists under such a microscope and the behind-the-scenes drama has been pushed into the spotlight … but it's a small price to pay for the success that we've had, so I'll take it.

It would be wrong for me to go into any details on the various changeovers because for the most part I was really only on the sidelines during the changes. Although, I will state for the record that I do agree with AMC's decisions in each case and strongly feel they were only acting with the show's best interests in mind.

I think Frank [Darabont] set the show up with a solid foundation to build upon and gave us a directing and visual style for the show that we still use because it's superb and has been a big part of what makes us stand apart on television. This show wouldn't exist without him and his work on the pilot still holds up as one of our strongest episodes. We were lucky to have a director of his caliber involved in the show from day one.

Glen [Mazzara] was a shot in the arm that the show needed in its second season and his instincts to move story up and really heighten the pace at times was a welcome addition to the show. The level of energy he brought to the show is something we still try to maintain. Personally, Glen was very good to me as a novice television writer and I feel that he was a great teacher whose lessons I still use often on the show. I owe him a lot.

Scott Gimple is an absolute rock star. I think that looking back at Season 4 as a whole it is by far our strongest season. The show is intense when it needs to be and slows down and digs into the interpersonal character drama in ways we never achieved without him. Scott's been integral to the show since he came on board for Season 2 and honestly knows more about this world than I do. (And he definitely remembers the ins and outs of the comic book WAY better than me). I think we'll keep him.

4. He hated the CDC episode in Season 1, but not because it was terrible. He felt it gave away too much.

Q: Why did you not like the mention about France (being a last human stronghold) at the CDC in Season 1?
A: I feel it revealed too much of the world and gave the characters too much information. I prefer the way they're more in the dark about the rest of the world in the comic. For instance, for all they know in the comic, the outbreak is contained on this continent.

5. He likes how The Walking Dead video game series by Telltale Games captures the mood of the series without requiring lots of his input.

Q: How much do you have to do with the Telltale seasons of The Walking Dead? I really enjoy them, but damn they're brutal.
A: At this point, I feel like if I got too involved, I'd just screw things up. I was slightly more involved in Season 1, I think, but really it was just a matter of me approving their story when they ran it by me. The team there did an enormous amount of work to get the tone and feel in line with what I do in the comics before they ever came to me.

Before we started Season 2, they asked me a lot about where I was going in the comic and some things they should avoid, and I gave them some notes, but for the most part, those guys have taken the ball and run with it … to what I think we can all agree is great success.

6. But he hates Activision's critically panned game The Walking Dead: Survival Instinct, which he blames on AMC.

Q: Why did you allow them to make Survival Instinct?
A: I'm pretty sure there's an AMC logo before the title of that game and not a picture of my face. If there was a picture of my face in front of the logo, then I'd be completely responsible for that. I can only oversee/be involved in so much … and my efforts were focused more on the Telltale games series.

In all honesty, it was at least cool getting to play Daryl Dixon, right? Right? Come on, guys.

7. Rick's hand wasn't cut off on the TV show because it would require too much CGI and complicate action scenes.

Q: In the Nerdist podcast you said that you wished you hadn't had (*Spoilers*) Rick's hand cut off as it was hard to draw him buttoning up a shirt (and a lot more, but this covers it). When it came time to do the same in the show, you didn't. Was this a financial CGI decision or just a "I get a re-do" decision.
A: To clarify, I think cutting Rick's hand off when we did was great for the comic. It's just that in another medium it would be harder to pull off. We cheat in the comic because things aren't moving. You can't do that on the show. You'd see Rick not being able to reload his gun and things like that.

The CGI of cutting off Rick's hand would be expensive, but we did it with Hershel's leg so if we felt strongly about Rick losing a hand, we'd do it.

8. He has no plans to stop writing The Walking Dead comic books anytime soon. 

Q: I remember reading an interview from a while back in which you said you planned on having The Walking Dead span about 300 issues. As of now, is this still the plan for you, or could it continue indefinitely?
A: I do plan on doing at least 300 issues, but if I'm having this much fun, then I won't stop there. Also, if I suddenly start having a lot less fun, I may end it earlier, but I don't see that happening. I'm in for the long haul, and Charlie Adlard is too. As far as a new group/location … not exactly … although there are some really cool changes coming up in issue 127.

For more, read the entire AMA session on Reddit. Also, in case you missed the news, Walking Dead repeats will be coming to broadcast TV with TV-14 edits. 

Simon Cowell plays on a computer-generated organ and Dermot O’Leary and Keith Lemon have a pillow fight in the new ITV brand campaign, which launched on Friday 21 March.

John Gilmore, um dos fundadores da EFF, já dizia que a rede mundial de computadores interpreta censura como ‘defeito técnico’, e simplesmente desvia e encontra outra rota.

É exatamente isso que acontece hoje na Turquia. O país, que se prepara para eleições em breve, está tendo que lidar com o desespero ditatorial do primeiro ministro Recep Tayyip Erdo?an, que depois de alegar que “não permitirá que a sua nação fique à mercê do Facebook e do YouTube” (!), agora deu para censurar o Twitter.

Diante disso, a própria rede social ofereceu uma alternativa aos tuiteiros turcos: divulgou números que oferecem a possibilidade de postar tuítes via SMS.

Turkish users: you can send Tweets using SMS. Avea and Vodafone text START to 2444. Turkcell text START to 2555.

— Policy (@policy) March 20, 2014

A rede mundial de computadores interpreta censura como ‘defeito técnico’, e simplesmente desvia e encontra outra rota.

Com isso, o suposto impedimento tanto não deu certo, quanto também chamou ainda mais atenção para a situação política turca. Hashtags como #twitterisblockedinturkey, #turkeyblockedtwitter e #DictatorErdo?an se tornaram trending topics globais poucas horas depois do anuncio em que  primeiro ministro avisava sobre a censura à comunicações em 140 caracteres.

Well that’s backfiring. The whole world is watching, Turkey. #TwitterisblockedinTurkey pic.twitter.com/mexOESV7Qd

— Occupy Wall Street (@OccupyWallStNYC) March 21, 2014

Além da opção de tuitar vis SMS, os usuários também tem se utilizado de serviços de DNS alternativos, divulgados em redes ainda não bloqueadas, como o Instagram.

Mais de 2,5 milhões de tuitadas turcas foram contabilizadas nas últimas horas, fazendo do bloqueio uma grande piada.

Since the block on #Twitter, almost 2,5 million Turkish tweets have been posted. That’s ~17000 tweets a min. via @zetegazete

— Selin Girit (@selingirit) March 21, 2014

Quando será que os ditadores vão aprender?

Post originalmente publicado no Brainstorm #9
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WWF has enlisted the aid of Toronto-based john st. in a new campaign raising awareness of climate change for Earth Hour (scheduled for Saturday, March 29, from 8:30 p.m. to 9:30 p.m.), not to be confused with Earth Day on April 22nd.

For the campaign, WWF is asking people to take a moment of darkness (kind of like a moment of silence) to reflect on climate change during this year’s Earth Hour. WWF and john st. have asked people to post videos to their site about what they’ll be considering during their moment of darkness. Videos from Jason Priestley (hey, remember him?), William Shatner, and Roberta Bondar (the first female Canadian in space) were among the first uploaded to the site and should help spread engagement. In addition to the videos, the site educates people on ways to get involved, asks people to pledge their support, and calls on people to make a donation to Help Canada Go Renewable in time for Earth Hour. You can check out Priestley’s video above, and Shatner’s after the jump. Remember to turn out the lights this Earth Hour and, if you feel so inclined, head on over to the Moment of Darkness website and upload your own video concerning your thoughts on climate change. continued…

New Career Opportunities Daily: The best jobs in media.

Well, this is news to us but we’ve received confirmation from sources familiar with the matter that Darin Brown is no longer serving as president of CP+B Europe, a position he’s held for well over three years. From what we’ve been told, Brown actually parted ways with Crispin in January and sources in the know tell us that there will be a new leader in Europe but the role will belong to someone more senior. Prior to CP+B, Brown spent a dozen years at Razorfish, last serving in a similar role as president of the agency’s European operations. During his career, Brown also served on the account side at the likes of Leo Burnett.

New Career Opportunities Daily: The best jobs in media.

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Exxonmobil

Advertising Agency:Abbott Mead Vickers BBDO, London, United Kingdom
Creative Director:John Lamacchia, Simon Foster
Art Director:Sonny Adorjan, Arvid Harnqvist
Copywriter:Milo Campbell, Amar Marwaha
Account team:Ildut Loarer, Prachi Virani, Tom Shattock, Marc Shalet
Agency Producer:Polly Lowles
Director:Sam Cadman
Production Company:Rogue
Producer:Kate Hitchings