Category: Pay

Writers who crave independence should skip Substack—and do this instead

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Let me start by saying that I appreciate what Substack is trying to do for journalism. The promise of the hosted publishing platform is that anyone can start a subscription-based publication—primarily as a newsletter—without having to worry about building a website, setting up a membership system, and fussing with design. Just put good words in, and if your audience is devoted enough, money will come out. For a growing number of writers, it’s a welcome reprieve from feeding the algorithms of Google, Facebook, and Twitter—and a chance to make some decent money along the way. But one thing I’ve realized in nearly five years of publishing my own independent newsletters is that doing things the hard way has its own rewards, from keeping more of the money to maintaining a stronger sense of independence. As more writers start building up their own newsletter businesses, I suspect a lot of them will discover this for themselves. Starting from scratch If we’re being honest, I probably would have jumped on board with Substack myself if it had been available when I started writing a newsletter about cord-cutting in 2016. Nearly every newsletter service back then was focused on email marketing instead of editorial writing, and they all charged high prices if your mailing list grew too large. As I started to outgrow Mailchimp’s 2,000-subscriber limit for free users, self-hosting seemed like the only option that didn’t cost upward of $30 per month. (Mailchimp did have its own writer-friendly service called Tinyletter , but it, too, had a 5,000-subscriber limit Read More …

How internet pioneer Radia Perlman overcame bias to invent an core component of the web

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By Cyril Bouquet, Jean-Louis Barsoux, and Michael Wade Computer scientist Radia Perlman is often referred to as the “Mother of the Internet”—a title she shuns, but which has stuck due to her accomplishments and contributions to the creation of the web. Perlman is rightly considered an internet pioneer, but she also encountered barriers because of her gender. Read More …

Google’s former ad chief is challenging its search engine monopoly

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The government is getting its antitrust game on this year after leaving it mostly dormant for the better part of two decades, and its sights are set squarely on Big Tech. Democratic Senator Amy Klobuchar from Minnesota is leading Congress’s powerful Senate Judiciary antitrust committee. “We’ve got to look at everything when it comes to putting rules in for tech,” she says Read More …

Inside the new playbook for creating a kids’ TV hit in the streaming age

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When we think about the must-see TV that draws us to sign up for streaming platforms such as Netflix, Hulu, and Apple TV Plus, the list is endless. The Crown , The Handmaid’s Tale , Bridgerton , Ted Lasso . But what about kids’ shows? Sure, there are old episodes of Teenage Mutant Ninja Turtles and Pokémon , but there’s a gaping dearth of new, buzzy series with any real lasting power. (Does Netflix’s Miraculous: Tales of Lady Bug & Cat Noir really have a significant following?) Kids tune in to a new Netflix show here and there, but for the most part the platform’s real appeal for children is its sprawling, buffet atmosphere—and all those reruns. ( The Mandalorian over on Disney Plus is an exception, though that show skews heavily toward teens and adults too.) Cyma Zarghami , a veteran of children’s TV who spent 33 years at Nickelodeon, most recently as its president, sees this as white space in the industry, one that she is eager to fill. Last year Zarghami started MiMo Studios , a kids’ production company that aims to create the kind of franchises that have been lacking in the kids’ TV space in recent years in both the linear and digital worlds. “ SpongeBob [ SquarePants ], Peppa Pig , PJ Masks , those are all at least seven to eight years old,” Zarghami says, ticking off some of Nickelodeon’s biggest hits. “Nothing has emerged off the old platform or the new that’s really resonated with audiences.” Cyma Zarghami [Photo: MiMo Studios] As for why that is, Zarghami says, “There are too many choices, there’s not enough marketing, everything is a little derivative, and quantity, not quality, is the mandate”—especially in streaming. “So nothing has really floated to the top.” She also says that streaming companies’ priority is to grow subscribers and minimize churn, as opposed to “building the next Game of Thrones for kids.” At MiMo—which stands for “mini movie”—Zarghami hopes to do exactly that by investing in properties built on great, preexisting stories and characters that have the maximum potential to become a franchise. But the Hollywood formula ends there. Read More …

We expect our emails and texts to send instantly. Why not our money?

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Recent events such as the Robinhood-GameStop controversy and financial hardships brought on by the pandemic have cast light on a pressing underlying issue: The U.S. financial infrastructure is too slow. The snail’s pace of the system is denying consumers and businesses access to their money when they need it, with crucial tasks such as collecting a salary payment or transferring money to family members taking far too long. In a confirmation hearing earlier in March, Rohit Chopra, the newly appointed director of the Consumer Financial Protection Bureau, advocated for a “real time system” as a tool to achieve equal access. So, what’s holding us back? Of the many policy debates that arose in February when Robinhood became a household name due to the GameStop controversy, CEO Vlad Tenev cited the two-day trade settlement policy as a key reason for the slowdown of trading. While multiday settlement might be a burden for investors, the slow speed of the U.S. payments infrastructure also negatively impacts millions of consumers and businesses every day. Though payment technology companies are leading critical innovations, they continue to be bogged down by the archaic system in place. Read More …