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Patrick Goldstein and James Rainey
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Variety lays an egg: Is firing its critics really 'economic reality'?

In showbiz, timing is everything. It could hardly be a coincidence that the morning after Oscar season mercifully came to a close, Variety laid off its two best-known critics, longtime chief film critic Todd McCarthy and chief theater critic David Rooney. According to Variety president Neil Stiles, the firings were an "economic reality."

Forrich

You can say that again. As anyone who regularly reads the venerable trade paper has surely noticed, even at the height of Oscar season Variety has been thinner than most of the starlets who walked the red carpet Sunday night. In years past, the trade paper was so fat with ads in January and February that -- at least in my house -- a week-old copy of Variety was a perfect fly swatting machine, guaranteed to flatten the biggest house pest. But no more. Most of last week's issues of Variety wouldn't harm a flea.

Even with 10 films in the best picture race, the ads simply weren't plumping up the paper the way they had in the past. It was inevitable that Variety would once again have to find ways to cut costs, though it was definitely a shock to see the paper get rid of its top critics, especially McCarthy, who after the death of Army Archerd and the departure of former editor Peter Bart is easily the most iconic presence at the paper.

"I never saw this coming," McCarthy, who had been at Variety for 31 years, told me after the firing was announced.

Stiles acknowledged that Variety's Oscar ads were down this year, but as he told me this afternoon, the paper had seen that drop-off coming in advance. "We took action last year, making cuts last spring in anticipation of the revenue situation," he said. "There's no sense in trying to save money after you've gotten the bad news -- it's something you have to do in advance." Stiles also insisted that the importance of Oscar ads to the paper had been inflated, saying that while they were the single largest source of income, they only made up "a significant minority" of the paper's income, not a majority of its revenues.

Stiles says that he knew the paper would take a PR hit by axing its two top critics, since the media -- myself included -- seems to seize on every new critic layoff as another sign of the end of Western civilization. "But you can't make a decision based on the PR gloss," Stiles told me. "You have to do what's right for the business. This was a decision that was made on an unemotional basis. We just don't feel that we need to own our chief reviewer. There's no reason why, going forward, that we can't do all reviews on a freelance basis." 

Stiles says the trade will run "roughly the same amount" of reviews this year as last year, when a whopping 1,209 reviews appeared in its pages. But it still seemed strange that if Variety was forced to make cuts, it would get rid of its best-known writer. (The paper laid off six other employees, mostly from the copy editing and production staff.) Having been a recognizable force at Variety for decades, McCarthy represented a sizable voice of critical authority, often being the first critic to weigh in with a review of a major studio release or a much-anticipated film festival debut.

I didn't always agree with McCarthy -- we once had a very public spat over smoking in movies, with Todd defending it as an artistic freedom while I was eager to get rid of it -- but I always valued his keen grasp of the art of storytelling and his boundless knowledge of film history. He knew how to put a filmmaker's work in perspective, and he never pulled his punches.

But it's only a matter of time before we'll be writing another obituary for another respected critic. As an art form, criticism should be placed on the endangered species list. Dozens upon dozens of critics have been laid off or taken buyouts at newspapers and magazines in the last several years. And the ones who have survived have less influence than ever before. The word counts on the film reviews at Entertainment Weekly seem to keep shrinking each year. The critics at Time and Newsweek get less play than ever.

For years, the Wall Street Journal's esteemed Joe Morgenstern had a regular pole position on Page 1 of the paper's Friday arts section. But as the paper has been redesigned, Morgenstern has steadily been moved back, first to Page 3, now often to Page 5. The reasons for all this are pretty obvious. Virtually every survey has shown that younger audiences have zero interest in critics. They take their cues for what movies to see from their peers, making decisions based on the buzz they've heard on Facebook, Twitter or some other form of social networking.

If anyone pays any attention to critics at all, it's through aggregation sites such as Rotten Tomatoes, which offer a consensus score based on an accumulated ranking of critical opinion. Still, it's sad to realize that even at Variety, the film industry's most old-fashioned chronicler of events, criticism isn't valued enough to keep one critic in a full-time position. Stiles says he hopes McCarthy will continue with the paper on a freelance basis; however, McCarthy says he "has no firm offers" from Variety for any freelance work. Anyway, for me, that's sort of like hearing that the cash-strapped L.A. Dodgers had decided to cut Manny Ramirez but assured fans that he'd still be around, playing left field, although -- you know -- on a day-to-day basis.

Maybe it would work, but when you turn your chief reviewer into a freelancer, it certainly tells you, loud and clear, how little value the job has in today's increasingly critic-unfriendly market.

 
Comments () | Archives (16)

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Like a lot of what we're seeing in publications, especially during an economic panic, a clueless, graceless disgrace. Letting McCarthy go is penny wise, pound foolish, and a perfect example of how publications these days apparently can't wait around to fail, so they make failure a self-fulfilling prophecy. Hope he and Mike Fleming can look at this as a blessing in disguise. They've both been saved from going down with the ship. Don't any publications these days understand that without good contributors, you have nothing?

Just FYI, fleas are much tougher than flies. They are little armored villains. I scratch and scratch, but they just scurry to a new position and laugh at me. I hate fleas. Worse than cats.

Tim Gray's insistence Variety's readers won't notice these changes is a ham-handed insult to its audience. "Consumer-y" (whatever the hell that means) folks might not care but the industries Variety reports on notice it all.

When the print editions get slimmer than a roll of Charmin, we notice.

When you erect a paywall but start removing the very people whose words we might pay for, we notice.

When established, competent, respected voices get replaced by freelancers, you better believe Hollywood notices.

When you say you had to remove your critics because of economics but it somehow doesn't apply to Lowry (not to mention, "new hires?"), not only do we notice but we question your sincerity and your motives.

And finally, when the supposed leaders of an media institution celebrate layoffs by giving each other shiny new titles: "And you get a new business card and YOU get a new card and YOU get a new card!"...

We notice. "Schmucks" indeed.

Unbelievable. This really is a sad day for the media business.

Another victory for the enemies of the arts.

It's sad to see him go, but even more shocking to see someone against smoking in movies.

One of Top 3 film critics in the country. He won't be unemployed for long.

Variety is done for and the reason is that the folks running the studios, networks simply have climbed their way to the top over the last 15 years during the internet's ascendancy. Variety simply does not register on their radar. People used to live and die with an Army Archerd item and for the last 10 years he was active, no one cared if they were mentioned in his column. Variety is a vestige of the Ray Stark, Richard Zanuck, Dan Melnick, Sherry Lansing, et al, time of the studios.

Another victory for the enemies of the arts.

Regarding the laying off of art critics (you know, the ones who used to cover painting and sculpture for the most part): Like New York Times critic Roberta "If an artist says it's art, it's art"* Smith, most don't know what art is to begin with. So I can only say "Good riddance."

* "It May Be Good But Is It Art?" September 4, 1988.

Louis Torres, Co-Editor, Aristos (An Online Review of the Arts) and Co-Author, 'What Art Is: The Esthetic Theory of Ayn Rand' -- http://www.aristos.org

Variety is getting rid of a film critic with, arguably, something unique to say, but I assume they're keeping all the Variety writers who piled onto this year's repetitive Oscar "news" with thousands of other journalists. Note to mainstream news media: You might be pooling the wrong resources.

 
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