Skip Navigation
Megan McArdle

Megan McArdle - Megan McArdle is a senior editor for The Atlantic who writes about business and economics. She has worked at three start-ups, a consulting firm, an investment bank, a disaster recovery firm at Ground Zero, and The Economist. More

Megan was born and raised on the Upper West Side of Manhattan, and yes, she does enjoy her lattes, as well as the occasional extra-dry skim-milk cappuccino. Her checkered work history includes three start-ups, four years as a technology project manager for a boutique consulting firm, a summer as an associate at an investment bank, and a year spent as sort of an executive copy girl for one of the disaster-recovery firms at Ground Zero … all before the age of 30.

While working at Ground Zero, Megan started Live From the WTC, a blog focused on economics, business, and cooking. She may or may not have been the first major economics blogger, depending on whether we are allowed to throw outlying variables such as Brad Delong out of the set. From there it was but a few steps down the slippery slope to freelance journalism. She has worked in various capacities for The Economist, where she wrote about economics and oversaw the founding of Free Exchange, the magazine's economics blog. She has also maintained her own blog, Asymmetrical Information, which moved to The Atlantic, along with its owner, in August 2007.

Megan holds a bachelor's degree in English literature from the University of Pennsylvania and an M.B.A. from the University of Chicago. After a lifetime as a New Yorker, she now resides in northwest Washington, D.C., where she is still trying to figure out what one does with an apartment larger than 400 square feet.

The Economics of Film Distribution

By Megan McArdle
Feb 8 2010, 1:30 PM ET Comment

Interesting comment from one of our readers on digital film distribution:

I distribute films and did so for a major studio for some years. Not an exhaustive answer but here are a few things at work in no particular order.

The delay for video rental after the theatrical release is because the exhibitors (movie chains like Regal) insist on not having their business encroached by the home video market.

Studios are somewhat ambivalent about embracing online rentals for a number of reasons. With each new format VHS, DVD, Blue Ray etc. they have been getting to resell the same product to the same customer which may end with online sales.

Studios have been slow to do it but want to do their own digital distribution. On the other hand Netflix and Amazon are some of their largest customers and so are shy about going into competition with them.

Part of poor availlability in older titles has to do with the fact that ownership of the digital rights can be varied and hard to track down or establish. The studios may not own them. Some heir to some producer or star from back in the day may own them and no one is actively working to generate revenue with them. There may be fights for control of those rights that are keeping them from coming to market. Digital rights were not spelled out in contracts for films long ago.

The companies that specialize in monetizing the "brand" of a star like Marilyn Monroe typically only want to invest in a star that has lots of different revenue streams like merchandizing stuff ets. A great movie star who is not actually iconic, like a Walther Matthau for example, cannot generate enough revenue to pay for a company to work at keeping his films availlable in all formats, His films will only be moved into a new format when someone buys a whole library of content that has some of his work in it.

It isn't cost effective to spend the money establishing legal ownership of a film that won't sell many copies.

This is a little of what is happening and why. There is a real dearth of good economic history written about Hollywood. Some of this is also because so many decisions in this industry aren't made for economic reasons in a straightforward way - and a lot of the data and reasons people do make economic decisions are pretty propietary about their data.




Presented by

More at The Atlantic

Democrats Walk Out of Tense Hearing on Contraception (Video) Democrats Walk Out of Tense Hearing on Contraception
The 10 Best and 10 Worst States for High-Tech Business The 10 Best States for High-Tech Business
A Neuroscientist Debunks the Myth of Musical Instinct A Neuroscientist Debunks the Myth of Musical Instinct
Our Aging Prison Population: Should Criminals Die Free? Should Aging Prisoners Die Free?
What Is Jeremy Lin Worth? What Is Jeremy Lin Worth?

Join the Discussion

After you comment, click Post. If you’re not already logged in you will be asked to log in or register.
blog comments powered by Disqus
Special Report
The Civil War National Portrait Gallery The Civil War
President Obama reflects on what Lincoln means to him and to America, in an introduction to our special issue. Read more ›
View All Correspondents

The Biggest Story in Photos

World Press Photo Contest 2012

Feb 15, 2012

Subscribe Now

SAVE 59%! 10 issues JUST $2.45 PER COPY

Facebook

Newsletters

Sign up to receive our free newsletters

(sample)

(sample)

(sample)

(sample)

Megan McArdle
from the Magazine

Why Companies Fail

GM’s stock price has sunk by a third since its IPO. Why is corporate turnaround so difficult…

The Graduates

Busted banking careers, crashed consultants, and shrunken incomes: the author attends her 10-year…

Romney’s Business

The Republican contender touts his business experience—but does it really matter?