End Of An Era As CBS Sells Television City In Hollywood

The lede on the Los Angeles Times story about CBS’ sale of its landmark Television City studios this week was a classic.

“For CBS Corp., the price was right,” read the first sentence of the story, which was posted on the newspaper’s Web site, LATimes.com, late Monday evening, shortly after the announcement went out from CBS.

When the deal closes, Television City will be sold to a Los Angeles developer called Hackman Capital Partners.

The property comprises offices, parking lots and studios for CBS shows such as “The Late Late Show with James Corden,” “The Young and the Restless,” “The Bold and the Beautiful” and “The Price is Right” (pictured above with host Drew Carey).

The property sits on 25 acres of developable real estate. The purchase price is $750 million. CBS’ press release says the shows it produces there will stay put for “at least” five years. And some corporate offices will remain as well.

In addition, these real estate developers bought the rights to the “Television City” name, which they can continue to use. Television City Condos, anyone?

That’s intended as a joke. The fact is, these developers might redevelop Television City as modern production studios designed to serve the explosion of video content that is being produced these days. These developers are apparently working elsewhere on updating historic studio complexes in L.A.

Despite the “five-year” clause in the CBS press release, one gets the feeling that CBS’s days at the Television City complex — which it opened in 1952 and has been a local landmark ever since — are numbered.

The company owns another production center in L.A. and could build another one, although this was not mentioned in the company’s announcement.

Not to get overly sentimental about a group of buildings housing offices and production facilities, but the sound stages, corridors and dressing rooms in the Television City complex do echo down the decades with the sounds of TV history.

Wikipedia’s entry on Television City includes a list of the shows that were made there — everything from “All in the Family” and “The Carol Burnett Show” to “The Smothers Brothers” and “Sonny & Cher.”

The very name of the complex — Television City — feels aspirational. Wikipedia’s history of the facility doesn’t say this, but one gets the feeling the name was taken from Radio City, the ornate, palace-like New York facility built in the Golden Age of radio.

The name “Television City” seems to say: “New York can have its Radio City; the future belongs to television, and Los Angeles is where the shows are going to be made.” And so they were.

It may be no coincidence that the company is selling Television City in the same year, and not long after, the dismissal of long-time CBS potentate Leslie Moonves.

In the wake of that sea change in the company’s leadership, a handful of other long-time executives have left or announced their retirements as well, signaling that CBS — which more than any other broadcast network represents the traditional ways in which the business of television has long been conducted — might now be preparing to undertake a company-wide program of modernization.

Here in New York, the company’s most visible real estate possessions are its headquarters building on Sixth Avenue known as Black Rock (opened in 1965), the sprawling (and maze-like) CBS Broadcast Center on West 57th Street, and the Ed Sullivan Theater building on Broadway that was purchased to house the new “Late Show with David Letterman” in the early 1990s.

With Television City in Hollywood now sold, can the sale of these landmarks, each representing the glorious past of network television, be far behind?

Read more:

https://www.mediapost.com/publications/article/329144/end-of-an-era-as-cbs-sells-television-city-in-holl.html

Fashion Magazines And Social Media: What Does The Future Hold?

Looking back in the year, apps had a rather successful yield poaching senior people hailing from the biggest fashion magazine titles. But where does that leave the publishing industry?

We know them and we will most definitely find them on our “following” list on Instagram. They are style mavens: fashion and beauty’s most well-known editors, who are now the pawns of a check-mate move on behalf of the mainstay apps towards traditional publishing.

It was 2015 when Eva Chen, Editor-in-Chief of the now-folded Lucky Magazine, became Head of Fashion Partnerships at Instagram. Fast forward three years and last June writer and former CNN style host, Derek Blasberg was welcomed into YouTube’s headquarters to spruce up the fashion and beauty content partnerships.

The latest addition to the list of such strategic migrations, was Selby Drummond who ended her 7-year-long tenure at American Vogue as the Accessories and special projects Editor for a newly-created position at Snap, in September of 2018. In hopes of tightening audience relationships in order to increase ad spend, she became the company’s Head of Fashion and Beauty partnerships.

Snap’s VP of content, Nick Bell commented on the new acquisition: “We are thrilled to welcome Selby Drummond to the Snap family as our first-ever head of fashion and beauty partnerships. Selby will lead all strategy and outreach efforts to support fashion designers, creators and influencers in those spaces, and will work closely with Snap’s advertising and business solutions teams. She will also lead Snap’s engagement efforts around major events in the fashion and beauty worlds.”

It’s clear that a trend is steadily under development and raises crucial questions about whether a future where the co-existence of traditional publishing and social hangouts is possible or completely fictitious.

Are magazines dead? This is a now age-old question and the latest developments -especially when they come to deconstruct their masthead- hint to “yes”. But is it too late? Can they still measure up to the challenge, not only to keep their most valuable players but to adapt once and for all to the new world order that social media inflicted?

For this, we had to have the input of fashion journalist, trusted Instagram personality and publisher of SCRNSHT -a fashion magazine imbued in Instagram culture, Pierre M’pelé, aka @pam_boy.

What’s your take on this migrating wave of major fashion names to the budding fashion departments of the mainstay apps?
There are two things. First, the new jobs in those newly created departments are destined to people with a fashion background, so it only makes sense that top editors would get them. Tech companies are in need of people with proven track records to build their strategies. Secondly, editorial boards have lost much of their power and authority thus creating a gap between the audiences and the offer. The influence of advertising has prevented creativity to thrive independently, which could also explain the migration towards these apps. Not to mention the range of tasks for which one could be responsible.

What do you reckon is the smartest way for magazines to adapt to this? How could they benefit best?
Well, magazines need to hire journalists and allow them to reclaim their power. It’s as simple as that to me. It will restore the trust with their audience. Magazines shouldn’t be compromised.

How do you see fashion and social media taking the next step in the future?
The love story between fashion and social media is to last. They are feeding each other. Social media has not only become a visual platform for brands, but it is also now transitioning towards becoming part of their retail strategies. I can see this further developing in the future.

Read more:

https://wersm.com/fashion-magazines-and-social-media-what-does-the-future-hold/