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Hi all, and welcome back to another edition of On Background, my weekly media newsletter. 

There has been plenty of news in the industry over the last week, but nothing has lit up media group chats quite like the personal and professional tribulations of Vanity Fair’s Oliva Nuzzi.

To catch you up: Nuzzi, a former politics reporter for New York Magazine, was let go from her job last September after news broke that she had an affair with Robert F. Kennedy Jr. while covering him as a presidential candidate. She retreated from public life until last month, when suddenly all at once she was thrust back into the limelight, first as the centerpiece of a string of hires at Vanity Fair under new editor Mark Guiducci. 

Then, for her memoir, “American Canto,” chronicling the tryst and fallout (published alongside a breathless profile in The New York Times). And finally, as the subject of a soapy and scandalous blog post by her former partner, the political journalist Ryan Lizza, that revealed a previously unreported affair with former GOP presidential candidate Mark Sanford.

Too many people have thoughts and there has been a deluge of thinkpieces about the affairs (only one is really worth your time). But there is one important unanswered question: Does this melodrama more seriously implicate New York Magazine, which now appears to have missed at least two ethical bombshells?

Is this germane to my beat? Not so much. But is this the kind of thing that will be discussed ad nauseum at media holiday parties over the next month? Absolutely. And as a result, I feel dutybound to make sure all On Background readers are at least apprised of the general facts. 

Anyway, while there are no second acts in American lives, there are second acts—and third, fourth, and possibly even fifth acts—in the world of auction-based advertising. Below, read how a familiar process might just be what finally helps publishers force AI firms to pay to license their data. Crawls, apparently, are the new impressions. 

And in my interview at the bottom of the newsletter, read why the longtime publisher of Rolling Stone, Brian Szejka, is embarking on his second act with a new venture called Take-Two Media. (I am sensing a theme!)

Before all that, though, below are a few tips, notes, and scoops you should know. As a reminder, replies to this email go straight to my inbox, so please feel free to reach out with feedback, tips, or extremely good pitches.

MARK STENBERG, SENIOR MEDIA REPORTER, ADWEEK
mark.stenberg@adweek.com   |  @markstenberg

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TALKING HEDS

  • Dallas Mourns News (Scoop): Just one month after being acquired by Hearst for $88 million, The Dallas Morning News laid off 26 staff on Wednesday, I reported this morning. The news is unsurprising: Hearst now operates four news organizations in Texas, and it was no doubt looking to find and eliminate overlapping roles. A spokesperson pointed to the fact that 18 new roles were being created in tandem with the layoffs, which primarily affected its print division. 

  • Business Outsiders (Scoop): In the last month, two executives have quietly left Business Insider: Priscilla Ellington, who joined the publisher in April as vice president of its events business, and Kate Friedman, its chief subscription officer for nearly three years. Both exits come on the heels of a deep round of layoffs the publisher enacted this spring.
  • Creator Platforms Welcome Publishers: In the last week, two prominent publishers have set up camp on rival creator platforms, marking the latest in an emerging trend of media companies migrating from websites. On Sunday, Vox hung a shingle on Patreon, and on Monday the Financial Times franchise Alphaville opened up shop on Substack. These diffusion lines tick a lot of boxes: They expose their content to new audiences, create new touchpoints for paid products, and help mitigate declines in web traffic. 
  • Meme Team Mark: I joined the Meme Team podcast yesterday to chat about Timothée Chalamet, Steph Curry, Disney AI, and YouTube, a.k.a the four topics I would have been talking about this week whether I was on a podcast or not. You can listen to the full episode here!
 

THE LEDE

 

A Publisher Made Just $174 From AI Crawlers. It Could Change the Industry.

Three years since the debut of ChatGPT, 99% of publishers have yet to see a penny.

When it comes to artificial intelligence, two things are difficult to overstate.

 

The first is the existential threat the technology has posed to the media industry. In June, The Wall Street Journal called it an “armageddon” whose downstream effects on search traffic and programmatic ad revenue have upended the economics of digital publishing. 

 

In May, Business Insider cut nearly a quarter of its staff, citing AI as the primary reason. And in September, Penske Media sued Google, pointing to the “profoundly harmful” impact of Google AI Overviews on its affiliate revenues, which have declined by a third. 

 

The second—and I say this with love in my heart—is just how little progress publishers have made in trying to combat this downward shift. 

 

The problem, as a refresher, remains that answer engines use publisher content to answer user queries, but they do not send those users to publisher websites—where they would be monetized—nor do they compensate publishers for use of their data.

 

This is an issue I have covered extensively in the past, as it tends to be on the top of most media executives’ minds. Several tentative solutions have been floated, and some have begun to yield early results (more on that below). But by and large, what is perhaps the most acute crisis in digital biggest media has only gotten worse over the last year.

 

To wit, this month marks the three-year anniversary of ChatGPT, which OpenAI first unleashed on the world in November 2022. Since then, use of the product, as well as that of its peers, has skyrocketed. Startups like Anthropic and Perplexity have become household names, while nearly every major incumbent, from Google to Microsoft to Meta, has gotten in on the game. I hardly have to tell you how many hundreds of billions of dollars have been spent on the effort.

 

And yet, despite the historic level of investment in the space, no financing model has yet emerged to compensate publishers for use of their content. 

 

Yes, OpenAI has signed a number of sweetheart deals with some of the most powerful publishers on the planet, small payments for licensing content rather than an ongoing or fair exchange, but—some media executives have conceded to me—better than nothing.

 

These deals  have, however, left out the vast majority of publishers on the web. For three years now, 99% of content creators—websites, influencers, brands—have yet to see a penny for use of their content. 

 

To be clear: I am under no illusion that AI firms are in any rush to develop a content-licensing infrastructure; doing so would only result in them having to pay for something they are currently getting for free. As a result, the onus to create and implement any kind of payment infrastructure falls necessarily on publishers. 

 

The results have thus far been uninspiring. One strategy, suing AI firms for copyright infringement, has yet to yield much. The relevant litigation is snaking its way through the court system, but the outcomes from those suits—if they are even favorable—could be years out. 

 

Similarly, when ChatGPT first debuted, IAC CEO Barry Diller famously exhorted his fellow media tycoons to circle the wagons, working together to bring AI firms to the bargaining table. Those efforts raised concerns about price-fixing, but as one source memorably told me, for publishers such collusion would be aspirational. 

 

Months later, the point became moot: Dotdash Meredith (now People Inc.) struck a deal with OpenAI, which prompted others to follow suit. With its most formidable players sitting on the sidelines, the rest of the industry had little leverage to force any negotiations, and any real hope of concerted action fell apart.

 

The result of these events is that the smallest, least-resourced, and most poorly leveraged publishers have been tasked with not only creating a system by which they might be compensated for their data, but simultaneously tasked with getting AI firms, with their billions of dollars in backing and geopolitical consequence, to agree to them.

 

As it so happens, at least one company has made progress on that front.

 

Changing the tire, not reinventing the wheel

In a limited case study, the media network Raptive partnered with the adtech firm Criteo and its product BidSwitch to test-run a new, albeit stunningly familiar payment architecture, ADWEEK can exclusively report.

 

The structure of the system effectively mimics the real-time bidding process that publishers currently use to power their programmatic advertising, but it swaps out impressions for crawls, according to Raptive chief strategy officer Paul Bannister. 

 

In a nutshell, a Raptive partner site called InspiredTaste used the CloudFlare bot management system, which lets websites determine which crawlers are and are not allowed to visit its site, to allow access to two AI crawlers.

 

A custom bit of code, which sites can implement in a manner of minutes, then forwarded these crawler requests to a DSP in the format of a bid request, the same kind used in programmatic auctions. 

 

“You add ‘crawl’ as a transaction type, and the page replaces the ad slot—that’s the basic way to think about it,” said Barry Adams, executive vice president of adtech services at Criteo and general manager of BidSwitch. “You’re not reinventing the wheel, you’re just changing the tire.”

 

The publisher sets a defined floor price for access, and if the crawler accepts the price, it then pays and crawls the site, according to Bannister. If the crawler declines, it is denied access to the site.

 

The result, after just a few hours of experimentation, was $174 in crawl payments.

 

The trial is very early-stage, Adams cautioned. This BidSwitch method has no price controls, frequency capping, or other table-stakes auction settings, and right now it only works with the BidSwitch DSP. 

 

It also faces a host of unanswered questions. For instance, why would AI firms agree to pay at all? Faced with a website that demands payment for access, these crawlers could easily just skip over that site and scrape a free one. 

 

Much of the logic of this system relies on the unproven hypothesis that answer engines will pay for quality information because it improves their products, but that logic strains credulity. Is the content on a certain site really so irreplicable that similar content on a competitor site could not take its place? 

 

For something like this to work, almost every site on the web would have to adopt this framework, making it such that crawlers have no free, alternative source of information. (This is actually the least far-fetched element of this idea. Sites offering their content “for free” are themselves making no money by being scraped, so they would have more incentive to adopt this system than to not.)

 

Nonetheless, the system has its draws. It uses an architecture nearly identical to the one that has powered programmatic advertising for the last decade, meaning it would be familiar to practitioners on both sides of the equation. (Maybe the industry could one day evolve beyond simply implementing yet another version of an auction, but better the devil that you know, I suppose.)

 

This method almost certainly won’t solve the problem of content-licensing in the AI age, but it offers one of the first tangible blueprints for what a payments architecture might look like, and it has put money in the pocket of a publisher. Three years in, that at least has the look of promise.

 

PULLED QUOTES

“If I’m a man and you put me on the cover of Vanity Fair’s Hollywood Issue only to run an essay about how ‘the movie star is dead’ when I presumed I was one, I’m swallowing cyanide.”

— Hung Up author Hunter Harris, on Vanity Fair’s all-male Hollywood Issue,

READ MORE

“How do you get inside with these people? There’s not a lot of mystery: You suck up—and then you spit out!”

— Michael Wolff, explaining access journalism to Semafor,

READ MORE

“... Mr. Belloni wrote that [Deadline columnist Mike Fleming Jr.] ‘never saw a movie producer’s anal cavity he couldn’t burrow inside.’”

— The New York Times, profiling Puck’s Matthew Belloni,

READ MORE

“Reading the editorials you’d think it was just a bunch of people drunk talking around a fire, but it’s not."

— Political consultant Heather Weiner, describing the enduring political influence of Seattle’s alt-weekly The Stranger,

READ MORE

 

QUOTE/UNQUOTE

Brian Szejka was most recently the publisher of Rolling Stone, where he worked for the last decade before leaving this month to join a new firm, NBA Take-Two Media, as its chief revenue officer. The startup is a joint venture between the NBA and Take-Two Interactive, the entertainment giant behind games like “Grand Theft Auto” and “Words With Friends.” 

 

Mark Stenberg: What is NBA Take-Two Media, and what’s the core idea behind the firm?

Brian Szejka: It’s a new joint venture between the NBA and Take-Two—the maker of the videogame NBA 2K—built around how young audiences actually consume content, which is largely on YouTube, social, and through gaming. One arm is a studio focused on off-court storytelling around travel, fashion, and culture. The other is a content platform distributing daily social video and franchises. 

 

Mark: How does the gaming side work?

Brian: The gaming strategy is a full relaunch of the old 2K League. The old approach was centered more around competitive esports, whereas what we kicked off in June is more about creator-driven entertainment. Take-Two tapped a creator called Jesser to be its “commissioner,” who built a creator “front office” and launched 16 teams with creator-ambassadors. When the teams play, they live-stream on Twitch, which is supplemented with pre-recorded content and then clipped for social. Eventually, each team will also have an NBA player who joins in.

 

Mark: Why did you want to join this?

Brian: I wanted to be part of something built for the future of how people engage. This feels very different from what other sports leagues are doing. The NBA understands that if it can deepen fandom, it can turn the sport into a year-round obsession. It’s also refreshing to have an open canvas when it comes to revenue rather than working within a legacy structure.

 

Mark: What does your move say about the state of media today?

Brian: Penske Media, which owns Rolling Stone, is facing the same headwinds as the rest of the media industry. In September, the company sued Google over its use of AI summaries. By contrast, sports and creator-led entertainment feel much healthier. It really feels like the sky is the limit here.

 

Mark: You’re based in Chicago. Are the Bulls for real this year?

Brian: Local guys like Matas Buzelis and Ayo make them a very fun team and they’ve found an identity. If everyone stays healthy, absolutely a playoff team.

 

Mark Stenberg is Adweek's senior media reporter covering the business of digital and print media and publishers, including their advertising, marketing and editorial strategies. Before joining Adweek Mark was a reporter for Business Insider.

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