Showing posts with label work. Show all posts
Showing posts with label work. Show all posts

Tuesday, 3 September 2019

‘Top Gun: Maverick’ Brings Back Original Co-Editor Chris Lebenzon

Top Gun 2 trailer

Original Top Gun co-editor Chris Lebenzon is feeling the need…to return to the franchise that earned him his first Academy Award nomination. More than 33 years after he edited the original 1986 Top Gun with Billy Weber, Lebenzon has been tapped as the Top Gun: Maverick editor.

According to The Hollywood Reporter, Chris Lebenzon has been bired by Paramount and Skydance to work on Top Gun: Maverick, the long-awaited sequel to Tony Scott’s 1980s action aviation classic. Lebenzon cut together the 1986 original with Billy Weber, earning an Oscar nomination for his work and credit for introducing what is called “MTV-style” editing to movies.

Lebenzon and Weber’s editing nod was only one of several Oscar nominations the original film earned, which included sound, sound effects editing, and won an Academy Award for original song (Berlin’s “Take My Breath Away”). But it was only the beginning of Lebenzon’s bright career, as the editor would go on to earn a second second Oscar nomination for the 1995 thriller Crimson Tide, starring Gene Hackman and Denzel Washington, which was also directed by Top Gun‘s Scott and produced by Bruckheimer. The industry veteran has been editing Tim Burton’s movies for the past 25 years, including Sweeney Todd, Big Fish, and most recently, Dumbo. Top Gun: Maverick will reunite Lebenzon not only with the film that earned him his first Oscar nomination, but with star Tom Cruise, who he worked with again on Days of Thunder, also helmed by Scott.

Joseph Kosinski is directing Top Gun Maverick, which sees Tom Cruise reprising his famous role as hotheaded pilot Pete “Maverick” Mitchell as he guides a new generation of pilots, including Miles Teller‘s Bradley Bradshaw, the son of Nick “Goose” Bradshaw, Maverick’s best friend who died tragically in an ejection accident. Also starring in the movie are Jennifer Connelly, Jon Hamm, Glen Powell, Lewis Pullman, and Ed Harris, with Val Kilmer reprising his role as Iceman. Jerry Bruckheimer returns as producer.

Top Gun: Maverick flies into theaters on June 26, 2020.

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Sunday, 4 August 2019

Sunday Times Staff Say A Recent Column About The Problems With Unpaid Work Basically Describes Their Newsroom

In fact, the practice is remarkably formalised. The Sunday Times is hardly the only news outlet to get young journalists to do unpaid work experience in exchange for the notorious “exposure” or “a foot in the door” that they offer. But a source said the placements – management describes it as “shadowing” – are tracked in a spreadsheet circulated in order to track the names of the young, unpaid journalists who’ll be in the newsroom that week.

“But there is little active outreach or attempt to be meritocratic.”

"There are certain desks that are very privileged. You have to be privately and Oxbridge educated to secure work experience,” a Sunday Times source said. “Others aren't that bad per se, and are more just first come first served.

Former staffers have said that many of the conditions, drawbacks and consequences of unpaid work laid out in Gannon’s Sunday Times column are currently widespread in the Sunday Times newsroom.

“We were just laughing at the hypocrisy,” the journalist told BuzzFeed News. Asked whether the Sunday Times used unpaid workers, one journalist on the newspaper replied over text: “The Sunday Times certainly uses unpaid interns. Lots of them.”

The former Times staffer immediately copy-pasted the Sunday Times link to WhatsApp and shared it around to journalist friends.

Gannon’s column was titled, “Only rich kids can afford to take unpaid internships. How elitist is that?” and not only called out the practice of companies using unpaid workers and interns, but said the practice should be made illegal.

When columnist Emma Gannon posted her latest Sunday Times piece to Twitter yesterday, it immediately caught the eye of a former Times journalist.

URGENT looking for a work experience replacement to help out at The Sunday Times Style from 14th - 25th January. Email me @ roisin.kelly@sunday-times.co.uk xx

When the opportunities aren’t going to those with family-friend connections, management turn to tweeting call-outs with the offers. The tweets will also often include the #journorequest hash-tag in an effort to get the attention of young journalists on Twitter.

A Sunday Times journalist said those who show up in the newsroom for the work will often, unsurprisingly, have “establishment connections”.

Or, as Gannon wrote in her piece: “Unpaid internships put a harsh spotlight on a huge social mobility issue: the cost cuts out a huge number of people who simply cannot afford to work for nothing and are unable to enter certain industries. It is elitist.”

The journalist added: “I don't think it'd be possible for there to be a less meritocratic system in terms of internships – people use establishment connections to get their goddaughters two weeks on the features desk.”

In her column, Gannon continued: “There is an argument that interning isn’t ‘real’ work but, looking back, it most certainly was, and still is. These lower-down-the-food-chain jobs are important in keeping things ticking along.”

One journalist who did more than one unpaid Times placement spoke to BuzzFeed News about their experience. According to them, at the start of the week there’d be a group of them waiting in the lobby for the “tour and health and safety talk” for the building.

“I mainly did research tasks and they published a lot of my work,” they said. “Nothing was paid; no expenses, no canteen, no salary, and I worked 10am to 6pm.”

“I wasn’t given any money for any of my work that was published. They published both short and long pieces from those of us who did the placements.”

Gannon’s column also argued that if they’re not directly related to staff, those who end up in unpaid placements in London are the so-called “rich kids” who can do a week of full-time work without getting paid.

“My parents live near London, travel only cost about £10 a day and the value it’s added to my CV is so much more than that,” a young journalist who did more than one of the unpaid placements told BuzzFeed News.

“I’m by no means rich, but I am very aware that I am very lucky to have been in a position to have been able to do it and stay with my parents.”

The Times declined to answer questions on the record for this article, including saying how many unpaid journalists were working, or “shadowing”, at the Times or Sunday Times at any one time, and whether they would take the advice of the column and end the practice.

“You have the same type of middle-class white girls coming through all the time; it can make you despair about the whole industry,” one source said. “And yet, on the other hand, it’s good experience.”

Brody And Kaitlynn Jenner Had Been Hinting At Marriage Problems For Months Before Splitting

MTV

In his testimonial, Brody explained that he was out late for work. He said: "My job is at a nightclub, DJ'ing pretty much every single weekend. Sometimes the partying, it can be fun. When she goes out with her girlfriends and stays out late, I condone that. I think it's fine. But when I do it, it can be a problem for her."

Who Is The Most Adam Sandler Director?

Abbie DoobieIllustration: Elena Scotti

Most friendships have a sort of intrinsic half-life. Each passing year tends to draw you further from the people you care about or at least reduce the number of people you stay in touch with, but this is usually a good thing. I’d say the best number of friends is somewhere around MySpace’s platonic ideal of a top eight—just enough to keep up with to a point that isn’t overwhelming, with ample time left for your family or significant other. At 24, I’m not quite there yet, but have seen this number naturally erode over the years by way of geographic separation or mutual indifference; there is an essential core that is not going anywhere, and then there are those biannual check-ins that fall into the margins. This is how it works.

No one has applied this law of diminishing friendships to their professional life quite like Adam Sandler. There are those obvious pairings—longtime accomplices like Rob Schneider, Kevin James, Steve Buscemi, Henry Winkler, Nick Swardson, and so on—but Sandler has worked with just three directors for a large segment of his career, give or take the odd fling with Paul Thomas Anderson or Noah Baumbach. You probably haven’t heard their names before.

Dennis Dugan, Steven Brill, and Frank Coraci are three otherwise obscure filmmakers who have combined to direct 17 more or less interchangeable Sandler joints and, within those films, an unknown and quite possibly inexpressible number of farts. I like to imagine the three holding a sort of private auction every time a new script comes in and divvying up the films in a way that seems fair to all parties. It isn’t necessarily a unique or novel thing for directors to build up a stable of dependable actors for each new movie—Wes Anderson doesn’t seem to have added many names to his meticulously preserved antique Rolodex since like 2004—and yet it seldom runs the other way. Sandler has a stable of directors all his own, and he clearly believes in them.

Dennis Dugan, Steven Brill, and Frank Coraci have combined to direct 17 more or less interchangeable Sandler joints and, within those films, an unknown and quite possibly inexpressible number of farts.

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This is probably a good time to mention that Sandler is a skilled actor, and one who could eventually enjoy a McConaughssaince-grade reappraisal; Sandler’s next project is the Safdie brothers’ follow-up to Good Time, which really is the most ambitious crossover event in history. When Sandler works with a talented director who can harness his talents, the results are inarguable—he has the range. But his filmography is a testament to the fact that he’d sometimes rather kind of mumble some joke about butts while blearily lounging on the beach. Most actors of Sandler’s generation would be happy to trade their professional peaks or bank accounts with Sandler. It’s the stuff in the middle—the films that are mostly the work of Dugan, Coraci, and Brill—that can be a little more spotty.

It would be not just unfair but delusional to say that the DuCorBri trifecta has not coaxed a few legendary—or, anyway, profoundly capable performances—out of Sandler. Dugan has Happy Gilmore and I guess also You Don’t Mess With the Zohan under his belt; Brill at least has the Foot Scene from Mr. Deeds; Coraci can claim The Wedding Singer. There’s really nothing that quite distinguishes one director’s style from another—Coraci tends to wear a lot of fedoras and various blobs of facial hair, but that’s a whole separate conversation. All three are best pals with Sandler, who has entrusted them to guide his career from those first breakout hits in the mid-’90s through the end of his lucrative Netflix contract.

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Sandler is the center of his own universe, the rare actor who seems more in control of his creative output than any director or studio head. He tends to make all involved bend to his impulses, for better or worse. The preponderance of filmed evidence suggests that Sandler is doing more or less the work he wants to do, but those outliers suggest he’s capable of more. What Sandler will do once he gets out of his deal with the streaming titan is anyone’s guess. But to understand where Adam Sandler might go from here, it makes sense to look back at the three men who’ve shaped him, or let Sandler shape them, or just shared his taste in fart jokes. It’s time to dive into the DuCorBri canon.

To help with this work, I contacted Eloy Lugo, a music publicist for Grandstand Media by day and Adam Sandler aficionado by night and honestly also probably also by day. Lugo is perhaps our greatest living authority on this topic, a man who of his own volition leveled up from an annual 24-hour SandlerCon marathon to a full-on yearlong endurance test that he called the Year of Sandler. In honor of the thespian’s 51st birthday, Lugo is watching a Sandler movie every day for an entire year, repeats and all. When we last talked he was 100 days and maybe six more Jack and Jill viewings from the end of that task.

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This work has afforded Lugo plenty of time for noticing the dubiously graceful grace notes that Sandler includes across his canon—things like squeezing a “that’s my boy!” into almost every movie, including 2012's That’s My Boy, but also the weird multiverse of recurring characters and referential strands running throughout each of Sandler’s movies. A task like this would sound masochistic no matter the actor in question, but when that performer is Sandler it looks like a true labor of love. “I’ve always had a ton of genuine non-ironic love for Sandler, he’s a fearless and incredibly gifted performer,” Lugo told me. “He’s been a constant in my life since I was a child, through SNL, his albums, and movies. His work ethic is unrivaled, he’s made a minimum of one movie a year since 1998. He was in four movies in 2014 alone.”

And so, with guidance from Eloy and my own familiarity with the Sandler vault, I got to work. The goal was to assess not just the Sandler ouevre but the DuCorBri canon in particular. The first step in doing this was coming up with five quantifiable, mathematically objective categories to determine which of the Big Three directors are the Most Extremely Sandler.

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Sandler Ratio (SNR): This is the most straightforward metric of measuring a filmmaker’s commitment to Sandler. You take the total number of films in their filmography in which Sandler is in a lead role and then divide it by the total number of feature films in the filmography. Then you’ve arrived at their SNR.

Vacationability Index (VCI): Adam Sandler likes to travel, friends, and he is willing to make an entire feature film if it gets him a chance to visit Hawaii. The VCI chooses one movie from each director at random, and calculates the distance principal photography took place from Sandler’s home in Los Angeles. To take one (representative) example, Just Go With It was largely filmed in Maui—2,494 miles away from L.A.

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Award Season Coefficient (ASC): While I maintain that Sandler will be nominated and perhaps even win an Academy Award at some point in the next 20 years—he was probably owed something last year for Noah Baumbach’s The Meyerowitz Stories—the trifecta are not how he’s going to get there. Instead, we’ll look at some more likely places of recognition. Your ASC will take the number of Golden Raspberry nominations multiplied by the number of Kids Choice Award nominations earned by each director’s films.

Sports Proximity Sum (SPS): Adam Sandler loves his sports. He’s made four movies explicitly about sports—Happy Gilmore, The Longest Yard, The Waterboy—and is never shy about recruiting sports personalities, ranging from Shaq to Dan Patrick and John McEnroe, to appear in his films in some capacity. Tally the roles of notable sports personages in each director’s film and you’ve got your SPS.

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Dave Matthews Butt Coconuts (DMBC): Has the director filmed a scene in which Dave Matthews, jam-band impresario and Lady Bird-soundtracker, picks up a coconut with his ass? Add 69 points to the director’s score if so; subtract 69 points if this does not apply.

To arrive at the final score, each director’s results from each category were run through the following formula: SNR x VCI/SNF + ASC + SPS + DMBC. Dugan, Brill, and Coraci were then ranked from lowest to highest score. I don’t make the rules. Here we go:

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3. Frank Coraci

SNR: .55 (5/9 films with Sandler)

VCI: 848 miles, The Ridiculous 6

ASC: 0 (2 Razzie, 0 Kids Choice)

SPS: 4

DMBC: -69

Total Score: 29.21

There are those viral tweets you see every few months that let easily amused online people generate Their Rap Names by quote tweeting with “Yung” plus their favorite marsupial/mother’s maiden name/social security number. The aliases are mostly gibberish, but there is such a thing as an intuitive, objectively correct alias. This is relevant because Frank Coraci tends to go by variations of either FrankoSpanko or Spanknyce in his online life; he uses some version of the former in his Twitter handle and DJ name, and named his production company after the latter.

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And yet, this same man is also responsible for Sandler’s closest thing to an effective melodrama. That’s Click, a movie I remembered fairly fondly on first viewing but which ended up being a little more jarring in its tonal shifts on a rewatch, is a solid enough gloss on It’s A Wonderful Life—a version of a classic American fable made for suburbanites who spend a lot of time at Bed, Bath, and Beyond. There’s nothing distinctly Coracian about Click, it should be said. He seems, as a filmmaker, to have a slightly mushier interior than his contemporaries but this...does not come through in all of his movies. For instance, he also directed the idiotic and pretty racist The Ridiculous 6. But he also directed Click, which Mick “Click” LaSalle of the San Francisco Chronicle hailed as “one of the best American films of the year” upon release. Frank Coraci’s filmography is truly a land of contrasts.

Sandler and Coraci are certainly ideal professional bedfellows, and they’ve worked together in three different decades now. But Coraci’s slightly lower output and disappointing vacationability keeps him at no. 3.

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2. Steven Brill

SNR: .5 (4/8 films with Sandler)

VCI: 2,422 miles, The Do-Over

ASC: 2 (2 Razzie, 1 Kids Choice)

SPS: 2

DMBC: -69

Total Score: 237.75

Diminishing friendships make you appreciate the ones that endure even more. Brill and Sandler went a whopping 14 years between collaborations—Brill was busy with some Sandler-adjacent projects, like Without a Paddle and Drillbit Taylor in the interim. But Sandler’s gargantuan multi-picture Netflix deal brought these titans back together for the doubleheader of The Do-Over and Sandy Wexler.

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This is honestly a fairly low bar, but Brill might be the filmmaker you’re likeliest to recognize for his work outside the Sandlerverse, which includes directing Heavy Weights, writing The Mighty Ducks, and appearing as an actor in films like Sex, Lies, and Videotape, Knocked Up, and Batman Returns (he was a revelation as Gothamite #1). But you don’t get a Sandler Score of 237.75 just from cozying up to Judd Apatow or Steven Soderbergh—this is about The Sandler, and Brill is about that, too.

While Brill has the longest gap without A Sandler of any of the DuCorBri triumvirate, his early involvement is enough to last a lifetime: before he returned to the fold during The Netflix Years, Brill directed Little Nicky and Mr. Deeds and helped with the screenplays of The Wedding Singer and Big Daddy. I will not speculate that their 14 years apart suggests some grand falling out beyond what tends happens to men of a certain age, or the natural attrition that is built into every adult friendship. What’s most important is that Brill is back.

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He’s all the way back, in fact, like to the point where he recorded a video message for this year’s SandlerCon:

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1. Dennis Dugan

SNR: .57 (8/14 films with Sandler)

VCI: 2,494 miles, Just Go With It

ASC: 36 (18 Razzie, 2 Kids Choice)

SPS: 9

DMBC: 69

Total Score: 291.70

Did you really think this could be anyone else? Even if you are not as up on the DuCorBri experience, it should have been obvious that Dugan’s the one. I could talk about his track record, which is highlighted by him directing more Sandler films (eight) than any other director. I could talk about him directing The Benchwarmers mere years before his son Kelly Dugan became the Phillies’ second-round draft pick in 2009. (Kelly appears to be out of organized baseball this year, but made it as far as Triple-A in 2015.)

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I could talk about David Spade shooting a fountain of vomit out of a tire in Shaq’s general direction in Grown-Ups, which is as purely Dugan-ian film vision as any imaginable. I could talk about Dave Matthews’ prescient turn as a white supremacist lunk in You Don’t Mess With the Zohan. I could talk about The Dunkaccino musical number, a simultaneous high and low point in Al Pacino’s strange late career. I should probably mention, as Eloy recently pointed out after watching the movie 15 times in the past nine months, that Dugan filmed and released an entirely different version of Jack and Jill for release in Spain, which featured a character and storyline that was not in the U.S. version. “I don’t think I know of another movie that has an additional character and storyline for a different territory,” he says. (Me neither.)

But nothing really distills the Dugan essence, the Sandler essence, the friend essence, quite like this quote that’s been attributed to the director:

“Audiences that go to my movies don’t want a message. They don’t want my soul exposed or my life view. They just want to laugh.”

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Sometimes that’s the best kind of friend you could want. The kind of friend you’re most likely to keep around. Sometimes you just want to laugh. Also Dugan is the filmmaker responsible for the Dave Matthews Butt Coconut moment, so this was never really going to be that close.

This Is How Things Work Now At G/O Media

When Jim Spanfeller and a private equity firm called Great Hill Partners took over G/O Media—formerly Gizmodo Media Group—in April, their stated goal was to make the company profitable. It was a welcome refrain for employees all too aware of how the company had languished under Univision’s doomed ownership. But as Spanfeller began to implement his vision, that hope was replaced by employee frustration and skepticism over his hiring practices and interference with the company’s journalism.

Spanfeller, a man who is regularly and perhaps euphemistically referred to in press accounts as a digital media “veteran,” has so far hired a slew of his former colleagues at Forbes.com—where he was CEO from 2001 to 2009—and Playboy—where he was a senior vice president from 1989 to 1993. These include a senior vice president of marketing who last week wrote a baffling reader “satisfaction” survey for Deadspin at Spanfeller’s behest; a sales executive who, sources say, appears unable to give an effective sales pitch; and an editorial director who repeatedly attempted to kill the reporting process for this story.

These men, and others who now hold C-suite positions at the company, were each hired without a public recruitment process, and several were installed over high-ranking women who had been successfully performing those jobs at the company for years. In one case, sources say Spanfeller did offer to promote a woman to run human resources, but on the condition she fire another woman at the company as her first order of business. (Spanfeller denies this claim.)

In conversations with Deadspin, more than 20 employees from across the business, tech, and editorial departments of G/O Media expressed frustration with Spanfeller’s approach to hiring and his new executives’ lack of knowledge about the company combined with their seeming unwillingness or inability to get up to speed. The employees, nearly all of whom requested anonymity because of fears of retaliation from company management, are angered by a lack of communication regarding company goals, seeming disregard for promoting diversity within the top ranks of the company, and by repeated and egregious interference with editorial procedures.

These conversations reveal that Spanfeller’s biggest effect on the company since taking over has been a deflation of morale. Several high-ranking employees have left the company over the past three months, departments have been stretched thin, and those who remain say that Spanfeller’s micromanaging and inappropriate interference has hamstrung their ability to effectively do their jobs.

Just two weeks after Spanfeller and Great Hill acquired the company, and less than a week after he said in an interview with Variety that he didn’t expect any layoffs, Spanfeller fired 25 people across the 400-person company, including Susie Banikarim, GMG’s widely respected editorial director, and the only person of color on the executive leadership team at the time. (The other woman on the executive leadership team, general counsel Lynn Oberlander, left the company this week.) In the months that followed, without posting the jobs publicly, Spanfeller, 62, hired a stable of white men to fill executive positions overseeing nearly every facet of the company. Six of these hires were Spanfeller’s colleagues from his previous jobs at Forbes, Playboy, and Ziff Davis. They include:

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  • Chief financial officer Tom Callahan, who worked at Forbes while Spanfeller worked there. (Spanfeller told Deadspin that he and Callahan had “only been in a single meeting that I recall.”)
  • Editorial director Paul Maidment, who worked with Spanfeller at Forbes and The Daily Meal.
  • Senior vice president of marketing Bruce Rogers, who worked with Spanfeller at Forbes.
  • Vice president for west coast sales Steve Thompson, who worked with Spanfeller at Playboy, Ziff Davis, and The Daily Meal.
  • Vice president for east coast sales Sean Flanagan, who worked with Spanfeller at Playboy, Ziff Davis, and The Daily Meal.
  • Vice president of sales for the south Lance Johnson, who worked with Spanfeller at Forbes (and most recently worked with Bruce Rogers at a company called SITO Mobile).

(Spanfeller declined to be interviewed in person but answered emailed questions. About their hires, he wrote, “I introduced Steve and Lance to Mike McAvoy, but I did not make the hires. Mike hired Steve, and Steve hired Lance after conducting a process around each hire.” Great Hill Partners vice president Eric Ahlgren and managing partner Chris Gaffney did not respond to Deadspin’s emailed questions.)

The internal reaction to these hires has ranged from confusion to anger. The confusion stems from a lack of communication. For instance, Rogers, who sits in a corner office in New York, still hasn’t been formally announced as a new employee internally or externally, and sources who work in sales say it’s unclear what his job description is, though he evidently has plenty of time to contribute to Forbes, where he posted 14 articles in July. (“The people I work for and the people who report to me know what I do,” Rogers, 63, told Deadspin in an email.)

Without posting the jobs publicly, Spanfeller hired a stable of white men to fill executive positions overseeing nearly every facet of the company.

The anger stems from Spanfeller’s apparent disregard for his own stated company values, which include a commitment to diversity and inclusion. While cleaning house and bringing in some trusted former colleagues is not entirely uncommon in private-equity acquisitions, Spanfeller filled nearly his entire top layer of management without any public recruitment process; the only woman hired as a department head, head of talent Angela Persaud, was also the only person at that level whose job was posted publicly. A source said Spanfeller told editors-in-chief of the company’s websites that he had chosen Maidment, 68, for the job before the sale was completed and did not interview other candidates, including Banikarim. (Spanfeller says this is inaccurate and that he “did consider other candidates for the editorial director role, but Paul quickly rose to the top after he expressed an interest in the position.”) Three of the men Spanfeller hired were installed over successful women who had been at the company for years. In two cases, women asked for and were promised the opportunity to interview for executive-level positions for which they were qualified, only to see Spanfeller hire one of his former colleagues before they were given a chance to interview.

A senior vice president who has worked for what is now G/O Media for four and a half years met with Spanfeller in the company’s Chicago office shortly after he purchased the company in April. (Though the source spoke in great detail about her experience, she requested her name not be used because she didn’t want it to affect her future employment opportunities.) In that 30-minute meeting, the woman told Deadspin, Spanfeller told her that Univision had been a bad owner and that he saw an opportunity to make improvements and turn a profit. The SVP shared her team’s revenue goals and their success in meeting those goals, staying focused on numbers and her team’s value because she knew her work would be key to profit margins. She told Deadspin she was surprised that Spanfeller seemed to know little about her team, which last year won Digiday’s “best content studio award.”

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Then, in early June, former Onion CEO Mike McAvoy, who—until he was separated from the company on July 11—had been leading sales across all the sites, told the SVP that Spanfeller had hired two new sales leaders, Flanagan and Thompson. Former SVP of sales and operations Kurt Mueller had left the company, and McAvoy told the woman Spanfeller was hiring his replacement. McAvoy described the SVP of marketing job as a combination of sales strategy, account management, and managing creative teams—all responsibilities that fell under the SVP’s purview. She asked McAvoy, then her immediate supervisor, for the opportunity to interview for the position, citing her leadership of the revenue division, her construction of a diverse team, and her renown in the industry. In an email read to Deadspin, McAvoy agreed that she was qualified for the role and said he would talk with Spanfeller to ensure she was interviewed for the new opportunity, which had not been posted publicly.

Six days after the SVP’s exchange with McAvoy, Spanfeller sent an email to the entire staff announcing G/O Media’s new company values. In addition to clichés like “we are ambitious” and “be passionate and have fun,” the fifth value on the list said, “We will be at our best when we embrace many different perspectives and experiences. DIVERSITY AND INCLUSION are core to our culture, and we expect all staff to advance and promote that.” Heartened, the SVP emailed Spanfeller to remind him of their meeting in April and express her hope that women, people of color, and people who identify as LGBTQ would be considered as he hired his leadership team, and to say that she looked forward to discussing her role in the organization. Spanfeller responded that he would be happy to get together, but did not say anything about open roles. That evening, the woman received an email from McAvoy telling her that the SVP of marketing job had been filled with someone who worked with Spanfeller at Forbes.

Illustration for article titled This Is How Things Work Now At G/O Media

The person hired was Bruce Rogers, who most recently ran the “institute” arm of SITO Mobile, a mobile data company. As for why that move was never announced, Spanfeller told Deadspin he believed Mike McAvoy would announce Rogers’ arrival, even though Spanfeller hired Rogers and he has announced other hires across the company since taking over.

When Rogers was hired less than a week after McAvoy told the SVP that she would be able to interview for the job, she said, she realized that he must have been chosen well before. “The role was not posted nor was it communicated to me in time where I would have even been given equal opportunity to be considered,” she said. “And as the only woman on the previous revenue leadership team, I started to wonder if women were being considered for leadership roles.” Indeed, Spanfeller told Deadspin that he first contacted Rogers about the job on June 11.

When asked why he didn’t consider the SVP, Spanfeller told Deadspin, “I was unaware of her interest in the role and that Mike had made that commitment and I’m sorry. If I had known, I would have been happy to interview her and consider her for the role.”

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On June 20, the next time Spanfeller was in Chicago, the SVP met with him to ask why she had been overlooked. She said Spanfeller told her that he “was unaware” of what she did at the company, and that she replied: “That doesn’t help, because that says you not only didn’t know what I did, but you also had no interest in meeting the only woman on the revenue leadership team who is an SVP who has been successful, according to meeting her revenue and finance goals.” She said the conversation ended with Spanfeller saying, “I’m sorry, I don’t know what else you want me to say.”

Spanfeller confirmed the woman’s account to Deadspin. “I was sorry and that is accurate,” he said. “I was unclear about what she did. I’m sorry that Mike didn’t more clearly convey the information to me.”

McAvoy said, “Jim has a different recollection of the facts.”

The SVP said she told Spanfeller that she wasn’t the only person who noticed this pattern of hiring his former colleagues over women at the company, and that he should be prepared to address it. “I hold myself to a high regard and ensuring that I’m respectful to others and create a community of camaraderie, hire for diversity, and that there is a work life balance,” she told Deadspin. “I expect to be treated the way I treat people.”

This pattern played out three more times in Spanfeller’s first few months as CEO. Steve Thompson, 55, was installed over a female vice president who had been running west coast sales for two and a half years. According to his LinkedIn, Thompson is the founder of Mediacentric Inc., a “multi-media representation company.”

“A man was hired with my same title [vice president for west coast sales] to be my boss,” the VP told Deadspin. “My territory has been cut in half. There are regions that were within my scope of responsibilities and within my role that I cannot call on and neither can my team.”

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The VP, who said she now reports to Thompson, said all of her previous reviews from her managers have “exceeded expectations,” and that she “was able to more than double revenue for my region” in less than a year. A source at the company familiar with the situation said Thompson’s hire had been “flagged” to upper management as a potential problem.

Spanfeller said no one told him that a female VP was already successfully performing that job before he hired Thompson. He did not answer a question about whether he was aware that a female VP was already leading west coast sales or that he installed a man (who also carries a VP title) above her.

“You also had no interest in meeting the only woman on the revenue leadership team who is an SVP who has been successful.”

Sean Flanagan, 55, who was hired to lead east coast sales, was also installed over a female senior sales employee, who had been at the company for four years before she left in July. Before he started full time in early June, Flanagan was brought in as a consultant just after Spanfeller took over G/O Media. Sources say he was retained to consult on sales and how the department could work more directly with clients, which the now-former employee says was her job. Shortly after the sale in April, she said, she met briefly with Spanfeller and explained to him her role and responsibilities in the company, which was primarily to work directly with clients to secure partnerships, instead of going through media ad agencies. She said Spanfeller didn’t have many questions for her, describing him as “apathetic.” Spanfeller seemed not to recall this interaction, telling Deadspin that “the sales team was not covering direct clients.”

“The only person that I was aware of that was calling directly on clients was an SVP at The Onion and that was to sell creative services,” he said.

The sales employee (who is not an SVP) wasn’t surprised to hear that Spanfeller didn’t know what she did. “Neither Sean nor Jim ever reached out to ask, ‘Hey, what are you doing, how are you doing it, how is it working?’ There was never a conversation about my role,” she told Deadspin. “And I didn’t know what Sean was doing. It wasn’t collaborative.”

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Soon after Flanagan started, other members of the sales team began to question his ability to do the job he was hired for—specifically, his ability to represent the websites and the company mission. During an internal sales summit meeting in New York on June 19, sales execs practiced pitching G/O Media’s “general presentation,” a deck of about 15 slides that tells clients why they should do business with the company. Flanagan volunteered to go first, and what followed “wasn’t overwhelmingly inspiring,” as one sales employee who was at the meeting put it: Flanagan read “word for word” what was on the slides, two people present confirmed.

“I think the general sentiment coming out of that meeting, at least for some of the senior sales people, was like, ‘these guys are going to lead our sales team? They can’t even pitch effectively,’” said another employee who was present.

In an email, Flanagan disagreed with those assessments: “Simply not true. As the former publisher of National Geographic, Men’s Health & Maxim—my successful presentation & leadership skills are evident.”

This response, which Spanfeller emailed out along with the questions to and answers from every other executive to the entire company as an attempt to undermine this story, prompted this response from a third sales employee.

“I’m shocked he would call that a good presentation,” said the employee who was in the meeting. “I think it makes him a bad role model for the rest of his team.”

The fourth known instance of Spanfeller overlooking a woman at the company in favor of a white male former colleague also happened on the sales team. Once it became clear that the sales department was being restructured in Kurt Mueller’s absence, another female vice president, who had been at the company for four years, asked McAvoy in early June for the opportunity to be considered for an expanded sales role, providing examples to show her success at the company. “I told Mike, verbally and in writing, that I would be interested in taking on new responsibilities and opportunities within the organization and I would like to interview for whatever position would be a part of that,” she told Deadspin.

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McAvoy told her she would be able to interview for a bigger role, she said, only to follow up a few weeks later and say that Rogers had been hired. The VP had a call with McAvoy and Spanfeller to discuss the process, asking Spanfeller why he hadn’t even reached out to her about the position. “[We] had a phone conversation, kind of confronting Jim about it, and he told Mike, ‘I thought we talked about this.’ It was throwing Mike under the bus, and Mike told Jim that they had not talked about it. Jim characterized that as a misunderstanding,” she said.

“I was going on the input I had been given by Mike McAvoy that he had discussed the position with her and laid out why she was not ready for the larger role. Mr. McAvoy was clear to me on his opinion that he did not think she was the right choice at this time,” Spanfeller said.

“Jim has a different recollection of the facts,” McAvoy reiterated.

In late July, more than a month after the woman’s conversation with Spanfeller (and after the Daily Beast and New York Post published stories about his rocky early days at the company and he became aware of the reporting process for this story about his hiring practices), that same VP was given what management called a promotion, which Spanfeller noted in his responses to Deadspin, saying that she “has been promoted to VP Marketing under Bruce Rogers with wider responsibilities.”

“I am at the same level and performing the same duties now as I was before I got this supposed promotion,” the VP said. “It also wasn’t communicated to me as a promotion until the day it was emailed out to the company.”

While these high-ranking women were being overlooked and bypassed, Spanfeller evidently was concerned about retaining at least one other VP on the sales side. Multiple sources say that Spanfeller reached out to VP of media operations Brad Klancnik to tell him he was a valuable employee and that the new owners would like him to stay at the company, but female VPs say he did not relay such messages to them.

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Spanfeller declined to answer a question about whether he expressed these sentiments to Klancnik. “I have definitely given positive feedback to numerous women, including senior executives in edit, sales, and marketing,” he offered instead.

“It definitely feels like it’s the old boys club,” a G/O Media employee told Deadspin. “This guy just seems like he doesn’t like women,” another added.

Asked for a response to the latter allegation, Spanfeller responded, “That is absurd. I am a father of three wonderful woman. Two are now successfully navigating careers in the digital advertising space. The other is still in college.”

“Four of nine major hires have been women,” Spanfeller said. “I’m not building a club, we are working to build a successful company—and that depends on great women and men.”

The four women who Spanfeller counts as “major” hires include two he hired (head of talent and deputy counsel); one he promoted from within to executive managing editor; and a yet-to-be-filled position he says he plans to offer to a woman.

“As the only woman on the previous revenue leadership team, I started to wonder if women were being considered for leadership roles.”

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In one instance in which Spanfeller tried to promote a woman within the company, his offer came with strings attached. According to multiple sources familiar with the situation, in April Spanfeller offered the job of head of talent to Katie Pontius, who until recently was the chief of staff for The Onion, Inc. The job, however, came with a condition, they said: Pontius’s first order of business would be to fire newsroom editorial director Susie Banikarim. Multiple sources say Pontius declined to go along with the plan, angering Spanfeller. (Pontius declined to comment.)

Spanfeller described the situation differently. “I hired Katie who accepted the job,” he wrote. “The next day she refused to join me in communicating our plans to Susie. I found this troubling but was okay with it given the circumstances. Katie then refused to assume the HR lead role around other wider layoffs at the company. It became clear that she was not a good fit for this position and we both agreed on this. I was disappointed. I thought she was going to be great, and it didn’t work out by her own assessment.”

In response to follow-up questions, Spanfeller clarified that “there was never a signed offer” between Pontius and the company. When asked if it was inaccurate, then, to say she had accepted the job, Spanfeller did not respond. Spanfeller also said that he “did not ask Katie to fire Susie, only to be in the room while I had the conversation about Susie’s future with the company.”

Spanfeller ended up firing Banikarim himself, and then, months later, hiring Angela Persaud for the chief talent officer job after a public search. (Pontius left the company.) On July 9, he hired Faiza Javaid as deputy general counsel, a position that was posted publicly. Announcing Persaud’s hire on July 10, Spanfeller wrote this of the process: “After a very fulsome search where we interviewed dozens of qualified candidates we identified two finalists. These two highly talented HR executives then met with a number of people around our company including representatives of the unions.”

When asked why Spanfeller didn’t follow this thorough search process before filling seven key positions with his former coworkers, he blamed his hiring practices on the financial shape of the company. “Initially, we had to move fast because the company was losing money at a rapid pace,” he said. “I had experience and confidence in the people who were hired. I was also hiring a good portion of these jobs before I actually took over day to day control of the company. This is normal in situations like these where a new group is coming in and is facing a near term challenge. Now that we are closer to stabilizing the company’s finances, we can take even more time and be more deliberate in our hiring, which the SVP Talent is already doing.”

What Spanfeller says is “normal” is, of course, a reflection of his own values, which evidently rank transparency, diversity, and inclusion as secondary concerns to financial success.

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Since Spanfeller took over G/O Media in April, more than a dozen people have left the company voluntarily, in addition to the 25 people who were laid off. Employees across editorial, sales, and tech have left, but many of these positions, even mission-critical ones, have not been filled. Laura M. Browning and Caitlin PenzeyMoog, the A.V. Club’s executive editor and managing editor, respectively, stepped down on July 12. No one has been named interim editor, and there is no succession plan in place. According to sources familiar with the situation, the Onion’s union sent a letter to Spanfeller asking that he help provide a plan for the site and fill the vacuum left by top leadership. He sent a message back about the importance of diversity and inclusion and a full hiring process. When asked by Deadspin why he wouldn’t name an interim editor while that search took place in order to stabilize the site and ensure that the people filling in were properly compensated for their work, Spanfeller said that the Onion union “demanded that we immediately promote two people into those roles. Now that we are closer to stabilizing the company, there can be a more deliberate recruitment and hiring process. It is also worth noting that multiple internal candidates have expressed interest in the position of EIC of the A/V Club.” The Onion union declined to comment, but a source with knowledge of the situation disputed that the union “demanded” promotions, saying its letter demanded “action” and used the words “We ask for the following” when addressing promotions.

Meanwhile, many people who are still at the company feel their work is being hindered by new management. Sources say that on the tech side of the company, Spanfeller has taken to micromanaging various aspects of developers’ work, holding meetings to ask what each one is working on, demanding detailed accounts of how they spend their working days, and mandating various projects based on his work at Forbes in the mid-2000s. Multiple employees on the tech team say the chief technology officer, Jesse Knight, has repeatedly shown himself unable or unwilling to stand up to Spanfeller and advocate for his team and best practice standards.

“I have stood up for and advocated for my team since the day I started at G/O. In all of those cases Jim listened to my arguments and in many cases agreed with me and the issue was settled,” he wrote in response to one question. Answering a similar one, he seemed to contradict himself: “This concern was expressed to me and I take it very seriously. I realized that I wasn’t communicating my advocacy for the department or our initiatives to upper management and other departments back to the team clearly enough. It’s something that I’m working to improve. I am and will continue to be a very strong advocate for my team.”

One major conflict arose over whether the company should build a video player in-house or pay for a third-party platform. In April, the tech team was told to move the company’s video operations off of MCP, which Univision paid for to host video content, and onto JW Player, a cheaper video system. Though neither Spanfeller nor Knight provided the team a hard deadline, they made clear that they wanted the task, which should have taken months, completed in a matter of weeks. The tech team managed to execute the move in about a month, but before they had finished, Spanfeller changed course and decided that the developers should build an entirely new video platform and player from scratch, explaining the decision by saying that “that was what he did at Forbes,” according to employees involved.

“I never changed my mind. The JW Player was an interim step,” Spanfeller said. “[...] While it is what we did at Forbes that has nothing to do with the reason to do it here. Having done it at Forbes, I simply knew it could be done quickly and with incremental value to the company.”

But Spanfeller’s expectation that the process would be done “in the next week or so” shocked the tech team. “That’s not reality,” a tech staffer told Deadspin.

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What Spanfeller says is “normal” is, of course, a reflection of his own values, which evidently rank transparency, diversity, and inclusion as secondary concerns to financial success.

At an all-staff meeting this week, Knight told Spanfeller that August 15 is the target completion date, which Spanfeller told Deadspin he believes is achievable. But after the staff meeting, sources say, members of the tech team held a meeting with Knight to explain why the date was unrealistic. Sources say the meeting concluded with an agreement that the best course of action would be to explain to Spanfeller why the player would not be finished by August 15.

Asked about the meeting, Knight initially didn’t answer. When pressed, Knight admitted the deadline may be unrealistic. “I have communicated our timeline concerns to Jim and he understands that development is not an exact science and that goals may not be hit,” Knight told Deadspin. “At the same time we are still exploring all options to get this work done by August 15th.”

In addition to poor planning and communication around the video player, multiple sources say Spanfeller wouldn’t allow the tech team to implement video tracking analytics on JW Player, so no one had any idea how many views videos were getting. One theory was that Spanfeller thought implementing analytics would take developer resources away from building the new video platform and player, though employees said implementing analytics is a relatively easy fix. Another was more direct: “That’s Jim wanting to be in control. We could have video analytics today. He’s trying to micromanage,” the tech employee said last week.

Spanfeller said that he wasn’t preventing, “just delaying” analytics from being implemented, on the grounds that it’s “not particularly useful information at the moment.” (The day after Deadspin contacted Spanfeller for comment, the tech team was given the green light to roll out video analytics.)

This isn’t the first time Spanfeller has been accused of micromanaging. Multiple people who worked for him at The Daily Meal (part of Spanfeller Media Group) told Deadspin that Spanfeller couldn’t cede any control. (Deadspin reached out to 10 former Spanfeller employees at The Daily Meal; four consented to be interviewed, though all declined to be named because they fear retribution from Spanfeller or their current companies.) “I think the biggest problem was the leadership wouldn’t get out of the way of everyone,” one former employee told Deadspin. “Sole dedication to revenue, getting it the cheapest, quickest way possible. When people came in with good ideas they were rejected.”

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A woman who was hired at The Daily Meal after responding to a Craigslist post said she was once asked to write a story about a company’s earnings, which she felt she wasn’t qualified to write and for which she didn’t receive guidance from her editors. In a follow-up meeting with Spanfeller about the story, she suggested that hard financial data might not be their audience’s central interest. “His skin got bright red,” she said. “He started screaming at me, ‘Who told you you were allowed to speak about audience? You’re not qualified. Who even told you you were allowed to think about audience?’”

“My management was straight-up scared of him,” said a staffer who worked at the site for two years and had responsibilities on both the editorial and marketing sides of the company. “I can see why. He would stop into people’s offices with the doors open and scream at them, so everyone knew what was going on.”

A fourth source, a former senior staff member at The Daily Meal who worked with Spanfeller, confirmed his temper issues and the “dysfunctional” nature of the workplace. “From a woman’s perspective, I did feel very belittled. And he made sure to make it clear that I just didn’t get it in his mind ... that I just didn’t get this whole digital thing,” she said. “[He] wasn’t interested in hearing what someone with 20 years of experience would say.”

On Glassdoor, a website where current and former employees can submit anonymous reviews of their workplaces, reviews of The Daily Meal are overwhelmingly negative.

Illustration for article titled This Is How Things Work Now At G/O Media

Asked about the former employees’ accounts, Spanfeller said he has “no idea what this refers to and it is not my recollection of working at The Daily Meal,” adding that he doesn’t recall screaming at anyone. “My management style has been widely reported on over the years and the picture you are painting does not comport with that. Additionally, as you are reporting here, there are numerous outstanding people, both men and women who have worked for me on more than one occasion.”

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By July, Spanfeller’s third full month at the company, questions about Spanfeller’s commitment to his journalists’ editorial independence began to dominate conversation in the office. On July 25, a pop-up survey appeared on Deadspin asking three questions: How satisfied are you with Deadspin? (10 is very satisfied, 1 is very unsatisfied); What do you like MOST about Deadspin? (check all that apply); and What do you like LEAST about Deadspin? (check all that apply). For the last two questions, the options were the same: “Uncompromising commentary,” “sports stories I can’t find anywhere else,” “knowledgeable writers,” “broad scope of coverage,” “political coverage and strong political point of view,” and “criticism and coverage of other media companies.”

Illustration for article titled This Is How Things Work Now At G/O Media

According to sources familiar with the situation, the tech team was instructed by Knight, who was directed by Spanfeller, to push out the survey without consent from anyone in editorial. Spanfeller said he asked for the survey; Rogers said he wrote it; and editorial director Paul Maidment said he didn’t approve it, but he told Deadspin editor-in-chief Megan Greenwell that he did not attempt to stop it from running on the site when he was filled in shortly before it was scheduled to go up.

According to Dave Reibstein, past chairman of the Board of Directors of the American Marketing Association and a professor of marketing at University of Pennsylvania’s Wharton School of Business (where he teaches a course on market research), there are several problems with the survey.

“I think the thing that’s most strange about it is that they didn’t coordinate with the editorial side of the business. At least have everybody well briefed on ‘this is what we’re doing and this is what we’d like to learn from it,’” Reibstein said. “The appropriate thing to do would be to talk to the editorial side of the business and have a clear objective for the survey.”

As for the content of the survey, Reibstein said it is possible to read it as “innocent,” a way to attempt to gauge “customer satisfaction,” as it’s known in the marketing industry. Combined with more data-driven metrics like unique views, how long a reader spends on a story, and how many times a story is shared, reader feedback can provide useful information. The survey on Deadspin, however, had some serious issues, he said.

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“It’s hard to imagine what one would not like on that list of items,” Reibstein said of the third question. “Who doesn’t like uncompromising commentary or sports stories you couldn’t find anywhere else? Or knowledgeable writers?”

“The appropriate thing to do would be to talk to the editorial side of the business and have a clear objective for the survey.”

Asked about the survey, Rogers said he thinks its responses will accurately and fully reflect Deadspin readers’ opinions of the site. Spanfeller said the goal was to “find out what the key points of attraction are for our visitors.”

The G/O Media union sent the following statement regarding the survey:

The GMG Union has made repeated good-faith efforts to cooperate with management in resolving the many outstanding issues currently facing the company, from workplace accessibility to a video player that lacks viable metrics. Naturally, we were dismayed to discover one more problem—the survey placed on Deadspin. It was placed there without consultation or even simple communication to anyone on Deadspin’s staff. That is clearly evident when you note the poor syntax and galling bias of the questions. It is ridiculous to launch a management survey questioning the editorial value of the site. We sent a request for an explanation and did not receive a response. We have also learned the tech team has been asked to post the survey again.

These actions are clearly management attempting to target, and even intimidate, staff into changing their editorial stance in spite of our contract-protected independence, especially as it comes on the heels of management’s repeated attempts to kill this story as it was being reported about the company. That management did not respond to our request for an explanation is only another of the many ways the workers at GMG have been ignored and put on the back burner in the name of a profitability mirage that is clearly more attractive to the big decision-makers than a functioning workplace. We’ll keep fighting for what’s right.

I first emailed Spanfeller on June 24, early in my reporting process, telling him that I was working on a story about the new hires he’d brought to G/O Media in his first few months. I told him I had a few questions I’d like to ask him, and asked if he had any availability for a meeting the following day. Spanfeller’s executive assistant set up a time for us to meet.

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Three and a half hours later, Maidment sent an email to Greenwell and me with the subject line, “Reporting on ourselves.” The body of the message read:

This is a tradition that makes no sense. We have no credibility in writing about ourselves. No media company does. They are parti pris, which is why the overwhelming majority do not do so and many will not even report on rivals for the same reason. So put this piece on ice. We shall have a discussion on the policy at the next EiCs leads meeting.

When I followed up about the meeting the next day with Spanfeller, I was told it was canceled. Greenwell told Maidment she was unwilling to shut down an ongoing reporting process in response to management demands, and Maidment continued to make his argument against the idea of reporting on G/O Media—a hallmark of the company since its earliest days, as well as a tradition at other major publications—in several meetings with the editors and writers he oversees. During those meetings, Maidment’s ideas—which included commissioning an editor outside the company to review and approve stories written by about the company—were met with unanimous opposition.

On July 30, the day after I emailed reporting questions to Spanfeller, Maidment, Rogers, Jesse Knight, and Sean Flanagan, Spanfeller sent a company-wide email under the subject line “Reporting on Ourselves; Deadspin Reporting On The Company and Our Executives.” In the email, excerpts of which were published by media reporters from the Wall Street Journal and Washington Post, Spanfeller voiced his opinion on how coverage of the company should work:

I believe the solution is to have that reporting reviewed by an impartial outside editor — a Public Editor, if you will [...] and not just for these situations but for any situation where someone within or without the company has issues with our coverage or reporting. In this specific case, I have committed to the current story being fully reported and submitted for external review and, if it passes that review, it will be published.

(G/O Media’s Collective Bargaining Agreement contains a clause that explicitly states that editorial decisions can only be made by editorial staff members, which Spanfeller is not. Asked about the contract, Spanfeller responded, “I firmly believe in editorial integrity. At the same time, working with the EICs to set a general editorial direction is clearly in the purview of any owner.”)

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Spanfeller’s all-staff email went on to accuse Deadspin’s staff of bias and cast doubt on the motives behind the story.

That said, I and the management team received a list of questions from the reporter working this story for Deadspin and those questions left me greatly concerned about the objectivity and core intentions of this piece. While we were given a 3pm deadline today to respond to dozens of questions, I understand that the folks at Deadspin have already submitted their story for legal review and plan to publish it on Wednesday – all without ever seeing any of the responses to the questions that they asked. For the life of me, I am not sure how you can have a legal review without a complete story and I cannot imagine how you can consider your work to be objective without reviewing the answers to the questions that you have asked. [...]

That the story has been submitted for legal review without the benefit of our responses leads me to the conclusion that the piece is already fully written and that our responses to questions are mere window dressing.

When one reviews the actual questions one might feel even more uneasy.

Shortly after Spanfeller’s email was made public, Deadspin editor-in-chief Megan Greenwell issued a statement in response to his accusations that the reporting process was unfair:

We are in an ongoing reporting process and planning to publish the story when it is ready. As with any reporting process, we asked questions intending to incorporate the answers. Legal review is often a lengthy process involving multiple reads, so talking to a lawyer is certainly not an indication that we would publish without completing the reporting process. I intend to continue supervising the reporting process, including legal review, and then publish a thorough and fair story, which of course would include responses from people we spoke to.

The rigorous and thorough reporting, editing, and legal review process that Greenwell promised to oversee has since been completed, which is why you are reading this story now.

Over the last few weeks, during their attempts to hinder or prevent the publication of this story, Maidment and Spanfeller invoked concerns about Deadspin’s credibility in covering G/O Media. In his email to the staff, Spanfeller described this story as one that had been “commissioned” by the site, and attempted to paint the reporting process behind it as haphazard and unfair. In reality, this story started with a tip the site received about Spanfeller’s hiring practices, and grew from there thanks to sources’ accounts. Nearly two dozen current G/O Media employees spoke to Deadspin for this story.

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Spanfeller admitted he contacted Maidment in June after receiving my initial email requesting an interview. Three and a half hours later, Maidment told us to “put the story on ice,” but both Spanfeller and Maidment maintain that Spanfeller never explicitly or implicitly directed the story to be killed. Maidment never responded to my questions directly; the first time I saw his answers was when they were included in Spanfeller’s company-wide email, but he had this to say about his role in the newsroom:

I have always shielded the editorial teams I have managed from commercial or business-side interference in what they write, which to my mind is the essence of editorial integrity. As you know, one reason that I don’t believe that publications should write about themselves is because I fear it damages perceived external credibility in editorial independence, which, if anything, makes keeping advertisers at bay harder, not easier.

This site’s credibility is not dependent on who and what it reports on, but on its ability to report forcefully and accurately. Its motivation is simply to publish true and interesting stories, and to make sure the things powerful people would rather stay in the dark end up in the light of day.

Additional reporting by Molly Osberg