Inventing Lonelygirl15: Wired's December issue goes inside the Los Angeles apartment where the wildly popular web tale of Bree and Danny was hatched and taped. Writer Joshua Davis met creator Mesh Flinders when he was eight years old and living in a Northern California commune, before he dreamed up Bree as an alter ego he wrote into short stories and screenplays. Over margaritas at El Cholo, lawyer Greg Goodfried advised Flinders how to not get sued for tricking YouTube viewers: "If anyone asks point-blank if you're real, don't answer the question." Convincing Jessica Rose to take the part of Bree was more difficult.
It was exactly what her acting coaches at Universal Studios' film program had warned her against: unkempt producer-types hawking shady deals. The previous week, one guy had offered her a part in a movie if she would use her student ID to buy him discounted film at Kodak. She had been so excited when she got a callback on the Anchor Cove project – it was only her third audition ever. She had been out of film school for a month, and things were looking bright. Now it had proven to be a classic Hollywood mirage. She thanked Flinders and Beckett and walked out.Beckett dialed her cell phone.
"Yes?"
"This isn't porn."
"OK," she said, not believing him.
O.J.'s ghostwriter: Jeffrey Toobin writes in The New Yorker that "the son of Holocaust survivors from Hungary, Fenjves had followed a circuitous route to 'the Bundy location,' as it was known in the O. J. Simpson trial. He grew up in Venezuela, went to college in Illinois, and ventured to Canada for a first job in journalism. In the late nineteen-seventies, he moved to Florida to write what he called 'human-interest stories' for the National Enquirer. There he covered such curiosities as the world’s oldest Siamese twins (they were in their twenties and worked in a travelling freak show), but he soon decided to devote himself to screenwriting full time. While at the Enquirer, he became close friends with a colleague at the paper, Judith Regan."
100 most influential Americans: Lincoln, Washington, Jefferson, Roosevelt and Hamilton lead The Atlantic's list to top all lists. Ronald Reagan, at #17, is the first Californian — "The amiable architect of both the conservative realignment and the Cold War’s end" *— unless you give Mark Twain an honorary exemption. Walt Disney takes #26, Earl Warren #29, Jonas Salk #34, Jackie Robinson #35, William Randolph Hearst #80, John Steinbeck #92, Sam Goldwyn #95, Richard Nixon #99. The first woman is Elizabeth Cady Stanton at #30. Noted: #66 Elvis Presley, "The king of rock and roll. Enough said." The whole list, plus sidebars on the most influential living Americans (Bill Gates is #1), musicians (Bob Dylan is the only one alive), filmmakers (none living) and architects (ditto.) Of wine critic Robert M. Parker the magazine decrees: "No critic in history has ever wielded as much influence..." Discuss.
Advice for newspapers from Michael Hirschorn: The executive vice president of original programming and production at VH1 and former editor at Inside.com lays out the future, also in The Atlantic:
This would seem like the moment to get on my high horse and defend the daily newspaper, with its omnibus approach to everything from your town to the world, its high/low pastiche, its editorial ordering function that allows readers to weigh and sort multitudinous news inputs into a coherent worldview. But this is what I would call, to borrow a Wall Street term, sell-side logic. It flatters the people who have a vested interest in preserving the gatekeeper function and the economic margins provided by dead-tree media, or who see newspapers as a cultural bulwark against the barbarians. The barbarians, on the other hand, don’t seem to care; they’d rather get the news they want, not the news the mandarins say is good for them.And while it’s true that fewer and fewer people are purchasing newspapers, it’s also almost certainly true that more and more people are reading news. This thanks to portals, newspaper Web sites, search engines, syndication feeds, and millions of blogs—a goodly percentage built on the hard labor of professional journalists, whose work the bloggers link to, praise, mock, and recombine with the hard labor of other professional journalists. Meanwhile, many of these blogs, produced on the cheap, have become profitable businesses that generate virtually no revenue for the journos who provide the constantly updated fodder. Feasting on the rotting corpse, if you will, while making polite chitchat.
For all the many things blogs do, their most disruptive application has been to provide an alternate portal into news, bypassing, or “disintermediating,” the sorting traditionally done by newspaper editors and TV news producers. Drudge, Huffington, and their tens of thousands of less-popular competitors effectively offer alternate front pages targeted to audiences grouped by similar interests and affections. And because most newspapers (and their dot-coms) have so far been too proud to integrate the work of other publications, the smartest blogs can provide deeper and wider-ranging news experiences than any individual newspaper does. John Vinocur writes a great weekly column for the International Herald Tribune, but anyone who cares about Europe can tap hundreds of other sources in a matter of minutes.
Meanwhile, top reporters and columnists at major newspapers are realizing (or will realize soon) that their fates are not necessarily tied to those of their employers. As portals and search engines and blogs increasingly allow readers to consume media without context or much branding, writers like Thomas Friedman will increasingly wonder what is the benefit of working for a newspaper—especially when the newspaper is burying his article behind a subscriber wall.
[And in sum:]
Not only do you allow your reporters to blog; you make them the hubs of their own social networks, the maestros of their own wikis, the masters of their own many-to-many realms. To take but one example, Kelefa Sanneh is the pop-music critic for TheNew York Times. He is very likely the best music critic in the country, and certainly the best new Times music writer in years. Let’s say that Sanneh creates his own community around the music he likes. Or The Washington Posts Dana Priest creates an interactive online universe around her intelligence reportage. With editorial oversight only for libel and factual accuracy, Sanneh or Priest are allowed to do whatever they want on their sites (while their mother ships pour their resources into marketing them). In Sanneh’s case, allow other people to write music reviews under the Times/Sanneh “brand.” In Priest’s case, turn the site into a clearinghouse for global intelligence information, rumors, conspiracy theories, and so forth (obligatory disclaimer: “The views of posters do not necessarily represent those of the Washington Post Company”). Go even further: incentivize the critics and reporters by allowing them to profit based on the popularity of their sites; make it worth their while to stick around.
Photo: Peter Yang/Wired